You are now subscribed
Your newsletter sign-up was successful
Want to add more newsletters?
Every Friday
Louder
Louder’s weekly newsletter is jam-packed with the team’s personal highlights from the last seven days, including features, breaking news, reviews and tons of juicy exclusives from the world of alternative music.
Every Friday
Classic Rock
The Classic Rock newsletter is an essential read for the discerning rock fan. Every week we bring you the news, reviews and the very best features and interviews from our extensive archive. Written by rock fans for rock fans.
Every Friday
Metal Hammer
For the last four decades Metal Hammer has been the world’s greatest metal magazine. Created by metalheads for metalheads, ‘Hammer takes you behind the scenes, closer to the action, and nearer to the bands that you love the most.
Every Friday
Prog
The Prog newsletter brings you the very best of Prog Magazine and our website, every Friday. We'll deliver you the very latest news from the Prog universe, informative features and archive material from Prog’s impressive vault.
Everyone has their favourite Rush decade, and popular opinion suggests most Prog readers favour the 70s – the era of sci-fi, sword and sorcery and those kimonos. The 80s period of mullets, rolled-up jacket sleeves and keyboards has plenty of fans too. But the band created an impressive number of great songs during the 90s and beyond, and here’s our list from 2022.
Dreamline (from Roll The Bones, 1991)
After the slightly stuttering Presto, Rush regrouped for their 14th album, the much more solid Roll The Bones. The astronomy-referencing Dreamline opened the album with it's punchy guitar riff, as well as being the first single. The song proved so popular it remained in the band's live set until 2011's Time Machine tour.
Bravado (from Roll The Bones, 1991)
The more gentle Bravado was a positive song of hope on Roll The Bones and proved to be another live favourite, featuring a delightful melodic solo from Alex Lifeson. It also didn't feature a rap sequence, as the album's title track did – a creative experiment that raised the hackles of some purists at the time.
Animate (from Counterparts, 1993)
"I love Animate. I think it’s one of the great songs we've done." Thats what Geddy Lee had to say about the opening track (and fourth single) from 1993 album Counterparts. The album continued the rockier approach of Roll The Bones as Rush returned to producer Peter Collins, having worked with Rupert Hine on the two previous records.
Nobody's Hero (from Counterparts, 1993)
A more reflective and personal lyric from Neil Peart which dealt with the loss of a close friend to AIDS. "He prevented me from ever being homophobic," Peart once said. The song featured a string section conducted by composer Michael Kamen, at the suggestion of producer Peter Collins. It was the third single taken from the album.
Driven (from Test For Echo, 1996)
Driven was written by Lee and features three different bass tracks. It formed part of Geddy's bass solo when performed live, although nothing from Test For Echo was played on stage after 2005's R30 tour. Driven by an insistent Lifeson guitar riff and boasting a melodic refrain, the song also had a promo video mixing band action sequences with madcap sci-fi scenes.
One Little Victory (from Vapor Trails, 2002)
Ah, Vapor Trails – the return of the band to activity after the tragedies that befell drummer Neil Peart, but also an album that annoyed fans with its mix to the extent that Rush delivered a new version in 2013.
One Little Victory was the opening track, its propulsive Peart drum intro and insistent Lifeson riffing designed to herald the band's return with intent. The song opened the second half of the band's set on the tour of 2002 and also featured on the soundtrack for the video game Need For Speed: Hot Pursuit 2.
Far Cry (from Snakes & Arrows, 2007)
It had been five years since Rush’s last album when Snakes & Arrows saw the light of day, with only the covers EP Feedback released in 2004. Understandably then, fans were getting a little tetchy about the band's future. The minute they heard first single Far Cry, with its twisting rhythms and more proggy sound, all fears were allayed.
Armour And Sword (from Snakes & Arrows, 2007)
Inspired by the Victorian poet Matthew Arnold's poem Dover Beach, this mid-tempo track from Snakes & Arrows is an other example of how producer Nick Raskulinecz helped revitalise the band on their last two studio albums. A brooding piece that explores the idea that we use that which protects us as a weapon to hurt others, it explodes into life with a searing Lifeson guitar solo half way through.
![Rush - Armor and Sword - Snakes and Arrows Live [HD] - YouTube](https://img.youtube.com/vi/_8imLHkDvTI/maxresdefault.jpg)
Caravan (from Clockwork Angels, 2012)
Caravan showed no let up in musical the renewed adventurism that typified the last studio album of Rush's epic career. It sounded great played live as well. The song, along with its b-side BU2B, were performed ahead of the album's release on 2010's Time Machine tour.
Headlong Flight (from Clockwork Angels, 2012)
The second single from Clockwork Angels, nods deliberately to the band's past, in particular 1975's Bastille Day while also sounding very much part of their present period. It was "a joy to write and record from beginning to end," according to Lee. Peart included a short drum solo, entitled Drumbastica, during live performances on both the Clockwork Angels and R40 tours.
The Garden (from Clockwork Angels, 2012)
The final track from the final Rush studio album, the sombre, reflective The Garden serves as a fitting end to their recording career – and it’s lent even more poignancy with Peart's tragic death eight years later. The track originally featured sampled strings, but in the end veteran arranger David Campbell was brought in to orchestrate the song.
