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DISCID=46085e06
DTITLE=Rush / Permanent Waves
DYEAR=1980
DGENRE=Other
TTITLE0=The Spirit of Radio
TTITLE1=Freewill
TTITLE2=Jacob's Ladder
TTITLE3=Entre Nous
TTITLE4=Different Strings
TTITLE5=Natural Science
EXTD=\nOriginally Released January 1, 1980\nCD Edition Released June 1
EXTD=989\nRemastered CD Edition Released May 6, 1997\n\nAMG EXPERT REV
EXTD=IEW: Since Neil Peart joined the band in time for 1975's Fly by N
EXTD=ight, Rush had been experimenting and growing musically with each
EXTD= successive release. By 1980's Permanent Waves, the modern sounds
EXTD= of new wave (the Police, Peter Gabriel, etc.) began to creep int
EXTD=o Rush's sound, but the trio still kept their hard rock roots int
EXTD=act. The new approach paid off -- two of their most popular songs
EXTD=, the "make a difference" anthem "Freewill," and a tribute to the
EXTD= Toronto radio station CFNY, "The Spirit of Radio" (the latter a 
EXTD=U.K. Top 15 hit), are spectacular highlights. Also included were 
EXTD=two "epics," the stormy "Jacob's Ladder" and the album-closing "N
EXTD=atural Science," which contains a middle section that contains el
EXTD=ements of reggae. Geddy Lee also began singing in a slightly lowe
EXTD=r register around this time, which made their music more accessib
EXTD=le to fans outside of the heavy prog rock circle. The album prove
EXTD=d to be the final breakthrough Rush needed to become an arena hea
EXTD=dliner throughout the world, beginning a string of albums that wo
EXTD=uld reach inside the Top Five of the U.S. Billboard album charts.
EXTD= Permanent Waves is an undisputed hard rock classic, but Rush wou
EXTD=ld outdo themselves with their next release.  -- Greg Prato\n\nHa
EXTD=lf.com Details \nContributing artists: Hugh Syme \n\nAlbum Notes\n
EXTD=Rush: Geddy Lee (vocals, synthesizers, bass); Alex Lifeson (guita
EXTD=r); Neil Peart (drums, percussion).\n\nAdditional personnel inclu
EXTD=des: Hugh Syme (piano).\n\nAll tracks have been digitally remaste
EXTD=red.\n\nFalling somewhere in between heavy metal and AOR, Rush we
EXTD=re one of the success stories of the period from 1976 to 1986--al
EXTD=l the more surprising because few Canadians manage to break out f
EXTD=rom the land of the maple leaf in this area of music. Much of the
EXTD=ir following idolized Alex Lifeson, who was a guitar hero with th
EXTD=e technical ability of a Page or a Beck. Occasionally Neil Peart'
EXTD=s lyrics leave a little to be desired: "the shifting shafts of sh
EXTD=ining, weave the fabric of their dreams . . ." Jon Anderson from 
EXTD=Yes was afflicted with the same condition of pretentiolyricitus. 
EXTD=That aside, the music is faultless.\n\nAmazon.com essential recor
EXTD=ding\nOne of Rush's finest moments, second only to Moving Picture
EXTD=s. This album includes two classic songs, "The Spirit of Radio" (
EXTD=which has one of the most recognizable guitar riffs in all of roc
EXTD=k) and "Freewill." There's also the epic-feeling "Jacob's Ladder,
EXTD=" as well as "Entre Nous," a sort of intellectual love song (if s
EXTD=uch a thing can be said to exist). The introspective "Different S
EXTD=trings" and the anthemic "Natural Science" (which clocks in at ov
EXTD=er nine minutes) close the album. Though there are only six songs
EXTD= on Permanent Waves, it's enough; the material is rich enough tha
EXTD=t more of it would be like overdosing on chocolate. -- Genevieve 
EXTD=Williams \n\nAMAZON.COM CUSTOMER REVIEW\nRush's Second Incarnatio
EXTD=n..., September 14, 2003\nReviewer: Samhot (Star Land)\n...exclud
EXTD=ing Neil Peart's entry into the band.\nMostly recorded in 1979, P
EXTD=ERMANENT WAVES (1980) marked the starting point for Rush's full-b
EXTD=lown entry into condensed, accessible progressive rock. They aban
EXTD=doned the 20-minute suites and mystical lyrics for catchy progres
EXTD=sive song structures, and more human, worldly-related topics. But
EXTD=, Geddy Lee (vocals/bass/synths), Alex Lifeson (guitars) and Neil
EXTD= Peart (drums/lyrics) didn't lose their brilliance in composition
EXTD=, even if most of the track lengths were fit for radio.\n\n"The S
EXTD=pirit of Radio" is an ever-popular track, and seems to still get 
EXTD=as much radio airplay as it did over two decades ago. A catchy, m
EXTD=elodic track with cerebral lyrics dealing with no other than the 
EXTD=radio, and it's effect on us listeners (i.e. music fans.)\n\n"Fre
EXTD=ewill" is a philosophical rocker dealing with personal beliefs (e
EXTD=.g., god, fate, stars) and the consequences - positive or negativ
EXTD=e - of them. Neil Peart seems to be quite ambiguous in his lyrics
EXTD=, and you can't necessarily tell what *his* personal beliefs are 
EXTD=at times. He seems to be playing more a role of devil's advocate,
EXTD= which in some cases is probably the smartest part to play.\n\n"J
EXTD=acob's Ladder" brings slight resemblance to Rush's 70s period, as
EXTD= this is the most *proggish* on the album, and more than likely c
EXTD=an please fans of that particular period. Mostly instrumental, it
EXTD='s an atmospheric rocker which leans toward the darker and heavie
EXTD=r side. Highlights of the track are the instrumental section in 5
EXTD=/4, and later, a spatial, instrumental section featuring guitaris
EXTD=t Alex Lifeson (later joined by band) playing a snaky riff in 13/
EXTD=8, while Neil is keeping time nicely, and Geddy lends some darkly
EXTD= airy synths on top it all. This track bears considerable King Cr
EXTD=imson influence, though clearly, it's still Rush's trademark soun
EXTD=d.\n\n"Entre Nous" is something of a ballad, but with intellectua
EXTD=l-oriented lyrics. Alex Lifeson's trademark atmospheric arpeggios
EXTD=, Geddy's subtle, but commanding vocal combine nicely to make a h
EXTD=ighly compelling track.\n\n"Different Strings" is the soft tune o
EXTD=n the album. Though possibly seen as a warm up to the following t
EXTD=rack, it stands nicely on it's own. Poignant as well.\n\n"Natural
EXTD= Science" is the other most *proggish* number on the album. Writt
EXTD=en in three sections, the lyrics mostly deal with nature and the 
EXTD=enviornment. Complex musicianship is very apparent, but doesn't o
EXTD=vershadow the strangely catchy and addicting elements found here.
EXTD=\n\nThis would be a perfect place to start for anyone interested 
EXTD=in Rush. Features a nice balance of complex musicianship and acce
EXTD=ssibility that's hard to beat. Recommended.\n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nAs great as Moving Pictures, but warmer, August 15, 200
EXTD=1\nReviewer: Frank Sellin "political scientist" (Charlottesville,
EXTD= VA United States)\nPermanent Waves photographs Rush at the perfe
EXTD=ct moment--still young and hard-rocking but, six years after thei
EXTD=r recording debut and the requisite dues-paying of long tours, wi
EXTD=elding razor sharp progressive songwriting experience melded with
EXTD= tremendous technical skills.\nYes, this album "only" has six tun
EXTD=es, but they are all richly crafted. There's no filler to be foun
EXTD=d on this album. Rush at this point had evolved beyond doing spac
EXTD=e-rock concept albums, but while they were admittedly moving to m
EXTD=ildly more radio friendly songwriting, they still liked fairly lo
EXTD=ng songs. Even these, however, were skillfully pared down to the 
EXTD=essentials, centered around cohesive lyrical ideas that allowed f
EXTD=or stretching-out musically. Cases in point: Freewill, Jacob's La
EXTD=dder, and especially the intense "Natural Science" (don't let the
EXTD= bland title dissuade you from enjoying the full force of the tri
EXTD=o wash over you). Even the most commercial tune on the album, "Th
EXTD=e Spirit Of Radio," is an instrumental workout that also radiates
EXTD= the sincerity of redoubtable musicians who are hardly "selling o
EXTD=ut."\n\nThis album resembles Hemispheres in the mind-boggling *hu
EXTD=ge* sound conjured up by only three people on the traditional gui
EXTD=tar/bass/drums. Part of this is because Geddy's bass and Neil's d
EXTD=rums are equally kinetic but more importantly synced up so deeply
EXTD= on rhythmically difficult passages. It's also because Alex chase
EXTD=d down some of the hugest analog guitar sounds I've ever heard, a
EXTD= real benchmark even today. Synths are usually relegated to backg
EXTD=round pedal points and uncluttered atmospherics that subtly fill 
EXTD=out the upper sonic reaches. The guest piano added by long-time a
EXTD=lbum cover artist Hugh Syme on the ballad "Different Strings" is 
EXTD=a perfect counterpoint in texture, a respite before the force of 
EXTD="Natural Science," and an example of how deft use of space parado
EXTD=xically adds density. Not to mention the fact that the tune--lyri
EXTD=cs and all--is a bit of a rarity, written by Geddy in a display o
EXTD=f matured sophistication (usually it's Neil who writes the lyrics
EXTD= while the other two concentrate on the music).\n\nMoving Picture
EXTD=s, the other "peak" Rush album in the Hemispheres-Permanent Waves
EXTD=-MP period, is considerably darker by comparison to this bittersw
EXTD=eet yet warm, probing, mature masterpiece. And it is a welcome ex
EXTD=ample of the remasters, which have generally greatly improved the
EXTD= presence and warmth of all the Rush catalog, where applied. To m
EXTD=e, Permanent Waves is the perfect "summer" album (welcome any tim
EXTD=e of year!), with a great overall groove and blend of musicianshi
EXTD=p that can't help but get the blood flowing, or make a road trip 
EXTD=pulse just a little bit faster. As a refined, yet powerful and in
EXTD=triguing harder rock that not only stays with you past adolescenc
EXTD=e but also helps you reminisce with energetic warmth, this is it.
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nRush reborn and better than ever,
EXTD= April 22, 2006\nReviewer: Tom Benton (Springfield, VT USA)\nIt s
EXTD=eems as though Rush has lived through three incarnations. The fir
EXTD=st began with the band's self-titled debut and ended with HEMISPH
EXTD=ERES in 1978; this was the band's traditional hard-rock period. T
EXTD=he second began with the release of PERMANENT WAVES in 1980. Duri
EXTD=ng this phase, Rush began experimenting more with synthesizers an
EXTD=d created a sound that was more "new wave" than "hard rock". That
EXTD= said, PERMANENT WAVES is a magnificent album, ranking beside MOV
EXTD=ING PICTURES as the band's finest achievement. It opens with the 
EXTD=affectionate "The Spirit of Radio", followed by the high-powered 
EXTD=anthem "Freewill". Alex Lifeson's guitar work meshes with Geddy L
EXTD=ee's synthesizers to create an apocalyptic, stormy atmosphere on 
EXTD="Jacob's Ladder". "Entre Nous" is the band's (successful) attempt
EXTD= at making an intelligent love song. The calm "Different Strings"
EXTD= was the final Rush song with lyrics written by someone other tha
EXTD=n Neil Peart (in this case, it's Geddy Lee). Finally, the album c
EXTD=loses with the nine-minute "Natural Science", which features thos
EXTD=e wonderfully intellectual and analytical lyrics which Peart is s
EXTD=o skilled at writing. With PERMANENT WAVES, Rush burst into the e
EXTD=xperimental 80's, showcasing a new sound and attracting more atte
EXTD=ntion than ever before. It seems impossible that the band would r
EXTD=each higher heights than this - yet on their subsequent release, 
EXTD=MOVING PICTURES, Rush did just that.\n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nInto the 80's - a new approach - album # 7, Rush produce a cla
EXTD=ssic, January 29, 2006\nReviewer: Duke "Duke" (New Zealand)\nThis
EXTD= was the first Rush album I ever bought (together with Hemisphere
EXTD=s (from 1978)) after seeing a couple of videos on TV in 1980. \n\n
EXTD=Rush seemed to reach a technical peek with Hemispheres, I remembe
EXTD=r thinking, "how would you top that?" and deep down wanted a "Hem
EXTD=ispheres Part II" after I'd finished listening to it and prepared
EXTD= myself to listen to Permanent Waves. Wow what a difference, musi
EXTD=cally the album is superb, Rush play everything to perfection (as
EXTD= always), lyrically this album is quite a move away from the "sci
EXTD=ence Fiction" type based lyrics of the 3 albums that preceded it 
EXTD=("2112" - `76 / "Farewell to Kings" - `77 / "Hemispheres" - `78) 
EXTD=to more "real life" type scenarios. \n\nThe album is very diverse
EXTD=, starting with an absolutely fantastic opener - "Spirit of Radio
EXTD=" complete with a reggae feel in the middle of the song. There is
EXTD= nothing over 10 minutes on the album (the closest at 9 minutes b
EXTD=eing the stunning 3 part "Natural Science" the next longest being
EXTD= the majestic / soaring "Jacobs Ladder" at 7 minutes. A couple of
EXTD= great rockers, "Entre Nous" and the faster paced "Freewill" (fea
EXTD=turing some great interplay between Geddy Lee (Bass) and Alex Lif
EXTD=eson (Guitar) - which would be a staple of their live shows with 
EXTD=of course the ever brilliant Neil Peart on Drums. Adding to the d
EXTD=iversity of Permanent Waves was a more acoustic type number - the
EXTD= beautiful "Different Strings". \n\nIn summary this, Rush's 7th, 
EXTD=seems to take all the things that the band had tried previously (
EXTD=including their "technical peak" stage "2112" thru "Kings" - culm
EXTD=inating with the masterpiece "Hemispheres") and looked for a new 
EXTD=style and sound. Rush succeeded magnificently. I take my hat off 
EXTD=to Alex, Geddy and Neal for working thru what they had achieved t
EXTD=o date, and coming up with something so fresh and exciting. Short
EXTD=er classics such as "Spirit of Radio" and "Freewill" combined sup
EXTD=erb musicianship and complexity contained within simpler song str
EXTD=uctures and "closer to home" lyrics. "Jacobs Ladder" and "Natural
EXTD= Science") showed the band incorporating new sounds and style to 
EXTD=the "longer" compositions whilst maintaining melody and a rocking
EXTD= edge. \n\nAMAZON.COM CUSTOMER REVIEW\nOne of Rush's masterpieces
EXTD=, December 1, 2004\nReviewer: Darth Kommissar (Las Vegas, NV (USA
EXTD=))\nEver since 1976, when Rush saved their career with the 2112 a
EXTD=lbum, they continually changed their stylings in hope of improvin
EXTD=g themselves. That's one of the reasons I love these progressive 
EXTD=rockers. Their 1978 release, Hemispheres, proved to be their most
EXTD= progressive work to date, and an excellent album as well. Follow
EXTD=ing up that heavily progressive work was the Permanent Waves albu
EXTD=m. This was the band's seventh studio album, and it was released 
EXTD=in 1980. Read on for my review. \n\nEssentially, this album takes
EXTD= the stylings of the group's last album, and focuses them in a mu
EXTD=ch more mainstream direction. This decision only strengthens the 
EXTD=band's sound, in my opinion. Two massive hits came from this albu
EXTD=m - The Spirit Of Radio and Freewill. Both of these songs get ple
EXTD=nty of radio play, and it's only fair that they do - they're exce
EXTD=llent. These two hits aren't the only good songs here, though. Th
EXTD=ere isn't a single weak track on the album, but the obvious best 
EXTD=tracks are the lengthy masterpieces Jacob's Ladder and Natural Sc
EXTD=ience. Both of these songs are hailed as masterpieces by fans of 
EXTD=the band, and with one listen, you'll see why. From start to fini
EXTD=sh, Permanent Waves will rock you. \n\nMercury reissued the Rush 
EXTD=catalogue in the nineties, but their remasters are disappoiting. 
EXTD=You don't get any expanded liner notes or bonus tracks, not to me
EXTD=ntion the fact that the band didn't do twofer issues when they co
EXTD=uld have (a mistake that American record labels make all too ofte
EXTD=n these days.) Oh, well. That doesn't change how I feel about the
EXTD= album. \n\nPermanent Waves is one of Rush's masterpieces, and it
EXTD= deserves all five stars. If you're just starting your Rush colle
EXTD=ction, this album should be one of the first ones that you buy. I
EXTD= guarantee, if you're a fan of Rush, you won't regret adding this
EXTD= one to your collection.\n\nAMAZON.COM CUSTOMER REVIEW\nI will ch
EXTD=oose FREEWILL..., November 4, 2004\nReviewer: Indigo Larson (Dall
EXTD=as, TX)\nIt seemed that most people knew RUSH by the sheer radio 
EXTD=play of 'Spirit of Radio', before any other RUSH song before thos
EXTD=e supplied by their next studio album "Moving Pictures". \n\n"Per
EXTD=manent Waves" is interesting for it's stand alone value, each son
EXTD=g crafted with such creative and were well represented in thier l
EXTD=ive shows. \n\nLyrically one of the more poetic albums - \n\n"The
EXTD= clouds prepare for battle, In the dark and brooding silence" in 
EXTD=Jacob's Ladder \n\n"Just between us, I think it's time for us to 
EXTD=realize. \nThe spaces in between, leave room for you and I to gro
EXTD=w." in Entre Nous \n\n"Different eyes see different things, Diffe
EXTD=rent hearts beat on different strings." in Different Strings \n\n
EXTD="The most endangered species, The honest man, \nWill still surviv
EXTD=e annihilation." in Natural Science \n\n"Emotional feedback on ti
EXTD=meless wavelength, Bearing a gift beyond price, almost free..." i
EXTD=n Spirit of Radio \n\nAnd from Freewill - "There are those who th
EXTD=ink that life has nothing left to chance, A host of holy horrors 
EXTD=to direct our aimless dance." \n\nIt you have to get one more RUS
EXTD=H album, make it this one. \n\nAMAZON.COM CUSTOMER REVIEW\nRush g
EXTD=ets too atheistic and pessimistic, July 19, 2004\nReviewer: A mus
EXTD=ic fan\nI have been a major Rush fan since I started High School.
EXTD= After all these years I'm still a fan of their older stuff throu
EXTD=gh the eighties. \nPermanent Waves was a decent album, but it sta
EXTD=rted, unfortunately for me, an ATHEIST trend that Neil Peart got 
EXTD=on. The song "Free Will" is not simply about freedom of choice, b
EXTD=ut the lyrics take the time to call believing in God "fantom fear
EXTD=s" and "kindness that can kill" and describes a believer in God a
EXTD=s a simpleton with little brain power who believes in this grand 
EXTD=puppeteer pulling his pathetic strings and doing what he pleases 
EXTD=with us without our questioning, etc.\nI took exception to that s
EXTD=ong. \nI noticed that he brings back an atheist twinge on the alb
EXTD=um "Roll The Bones" singing about how could a kind God allow glob
EXTD=al poverty and famine, etc. that the only reason we're here on ea
EXTD=rth is because we're here. That doesn't make much sense. "Why are
EXTD= we here? Because we're here, roll the bones..." But both albums 
EXTD=play to a cynical tone of pessimism. The Roll The Bones album is 
EXTD=very much about chance and that nothing happens for a reason, esp
EXTD=ecially on the song "Ghost of a Chance," there is no fate or dest
EXTD=iny, just happenstance. \nNeil Peart was a brilliant writer and I
EXTD= just loved his songs until the time when he seemed to get into t
EXTD=he cynical pessimism and antagonistic atheism of Permanent Waves.
EXTD=\nNatural Science, Entre Nous, Spirit of RAdio, all great tunes! 
EXTD=I absolutely LOVE 2112, Farewell to Kings, Moving Pictures, and t
EXTD=he rest....I think Rush is one of, if not the greatest, next to t
EXTD=he group "Yes" progressive rock bands ever.\nAs a Roman Catholic 
EXTD=who DEEPLY believes in Christ, I was saddened to see Rush alienat
EXTD=e believers like me who also happen to be Rush fans. \nAs a resul
EXTD=t, I'm only a fan of their old stuff.\nI've seen them live in con
EXTD=cert but I'm not the fan I used to be and honestly don't care muc
EXTD=h about them anymore because their lyrics don't fit me since Perm
EXTD=anent Waves.\nChristians beware of some of the course Rush went o
EXTD=n....\n\nAMAZON.COM CUSTOMER REVIEW\nLong Gone, March 9, 2004\nRe
EXTD=viewer: C. Neely (Northampton, Massachusetts) \nIts a rather popu
EXTD=lar opinion that Rush went downhill following the release of Fly 
EXTD=By Night. What could have been a serious rocking band was ruined 
EXTD=by Neil Pearts overindulgence on wasted intellectual fodder lyric
EXTD=s and over-excessive drumming. The first album with John Rutsey w
EXTD=as as good as it got with Rush. A debut album packed with serious
EXTD= rock songs, a guitar sound to rival Tony Iommi and groove like n
EXTD=obodys business. The follow up, Fly By Night, was right on target
EXTD= with killer songs like By Tor and Best I Can. Well, after this, 
EXTD=it all went downhill rather quickly. The band decided against fin
EXTD=ding a real singer and decided it was cool to follow Neils new di
EXTD=rection and thus ended any shot they had at real stardom and legi
EXTD=timacy. Permanant Waves isn't a bad album by any means but only w
EXTD=hen you hold it up against their first two albums do you stop and
EXTD= think "where did this go wrong?" Jacobs Ladder is the only song 
EXTD=on this album that even heralds back to the once mighty rock unit
EXTD=. Neil is in full force with his songwriting, now used to having 
EXTD=all his really important thoughts put to lyrics and trying to mak
EXTD=e Keith Moon sound like Ringo Starr with his inability to play a 
EXTD=straight beat. So, if you're a fan of great rock n roll music, pl
EXTD=ease pick up the first two Rush albums. Then listen to these from
EXTD= a distance and try to figure it out for yourself why they chose 
EXTD=this direction when they could have had it all.\nEXTD=nAMAZON.COM
EXTD= CUSTOMER REVIEW\n4.5 stars; Rush's Gorgeous Entry Into '80's Mod
EXTD=e!, September 14, 2002\nReviewer: Bob Schneider "Lover of Life" (
EXTD=Tacoma, WA USA)\nOkay, I'm back to the Rush reviews. PERMANENT WA
EXTD=VES (1980) marked the beginning of Rush's 'middle period', i.e. t
EXTD=hey were still a Heavy Metal band, albeit a progressive one, but 
EXTD=their songs began to get a bit shorter and more radio-friendly at
EXTD= this point. This would be a bad thing for most bands; however wi
EXTD=th Rush, it just made their sound more accessible while still pac
EXTD=king a powerful lyrical punch, courtesy of drumming and songwriti
EXTD=ng genius Neil Peart, the band's resident Ayn Rand. It also gaine
EXTD=d Rush tremendous popularity, while not 'selling out'. The swirli
EXTD=ng guitar/keyboard music also packs a wallop in its own way; it's
EXTD= not as loud or heavy as it had been in the band's early days, bu
EXTD=t is no less heartfelt. Rush's signature time-changes are on full
EXTD= display on every song on this album, and if anything, Rush's mus
EXTD=ic became even more complex-just more compact.\nAnd what a compac
EXTD=t recording PERMANENT WAVES is: containing only six songs and str
EXTD=etching only 35 minutes, this album is short even by Rush standar
EXTD=ds. But every song is significant, magical and has something to s
EXTD=ay. "Spirit of Radio" is the opening track and, of course, the on
EXTD=e that people know best from this album. Although it may have eve
EXTD=ntually suffered a little from too much FM-radio overplay, one ca
EXTD=nnot deny the timelessness of its message. In fact, its thesis of
EXTD= corporate erosion of the integrity of modern music is perhaps ev
EXTD=en more relevant today than it was at the dawn of the 1980's, wha
EXTD=t with the increased proliferation of manufactured entertainers s
EXTD=uch as Billy Ray Cyrus, the Backstreet Boys, 'Nsync, O-Town, Eden
EXTD='s Crush, etc etc. "Freewill" has a strongly individualistic mess
EXTD=age to which most people can relate, as it deals with the choice 
EXTD=of how to live one's life and the methods by which one arrives at
EXTD= that choice. Musically, it pulls out all the stops: It contains 
EXTD=one of the greatest Alex Lifeson guitar solos of all time, and I 
EXTD=love the way it incorporates Rush's earlier style by having Geddy
EXTD= Lee screaming the bridge, with echo and reverb aplenty. Interest
EXTD=ingly enough, this would be the very last time we would hear Gedd
EXTD=y's early-Rush-style scream (previously heard to great effect on 
EXTD=RUSH, FLY BY NIGHT, CARESS OF STEEL, 2112, AND A FAREWELL TO KING
EXTD=S), as his voice was already mellowing out considerably, and woul
EXTD=d mellow out even more as time went by.\n\nIn continuation, we ge
EXTD=t "Jacob's Ladder," one of two long songs on the CD, and definite
EXTD=ly one to relax to while listening. Its beautiful, poetic lyrics 
EXTD=are spare, and its music spans the spectrum from soft to hard and
EXTD= then soft again. Geddy Lee's keyboard abilities are in sharp foc
EXTD=us here, as well as Neil Peart's strangely off-kilter, syncopated
EXTD= drumming (which is his trademark, of course). "Entre Nous" ("Bet
EXTD=ween Us") deals poetically with the concept of interpersonal rela
EXTD=tionships, "Different Strings" is the one Lee-penned track on her
EXTD=e; an abstract love song of sorts, it shows how much he had reall
EXTD=y grown as a lyricist from his "Take A Friend" days. Finally, the
EXTD= closer "Natural Science" is the one multi-part suite on PERMANEN
EXTD=T WAVES; clocking in at over nine minutes, it marks a bit of a re
EXTD=turn to the epic style displayed on 2112, A FAREWELL TO KINGS, an
EXTD=d HEMISPHERES. Its weird space-age sound and vocal effects in fac
EXTD=t remind me very much of AFTK's "Cygnus X-1." Similarly, it does 
EXTD=merit some repeated listenings in order to 'get into it'.\n\nPERM
EXTD=ANENT WAVES marked the beginning of a new direction for Rush. Ind
EXTD=eed, with this album, the stage was set for an all-time masterpie
EXTD=ce...which will be discussed later. All in all, this CD is HIGHLY
EXTD= RECOMMENDED.\n\nAMAZON.COM CUSTOMER REVIEW\nAs great as Moving P
EXTD=ictures, but warmer, August 15, 2001\nReviewer: Frank Sellin "pol
EXTD=itical scientist" (Charlottesville, VA United States)\nPermanent 
EXTD=Waves photographs Rush at the perfect moment--still young and har
EXTD=d-rocking but, six years after their recording debut and the requ
EXTD=isite dues-paying of long tours, wielding razor sharp progressive
EXTD= songwriting experience melded with tremendous technical skills.\n
EXTD=Yes, this album "only" has six tunes, but they are all richly cra
EXTD=fted. There's no filler to be found on this album. Rush at this p
EXTD=oint had evolved beyond doing space-rock concept albums, but whil
EXTD=e they were admittedly moving to mildly more radio friendly songw
EXTD=riting, they still liked fairly long songs. Even these, however, 
EXTD=were skillfully pared down to the essentials, centered around coh
EXTD=esive lyrical ideas that allowed for stretching-out musically. Ca
EXTD=ses in point: Freewill, Jacob's Ladder, and especially the intens
EXTD=e "Natural Science" (don't let the bland title dissuade you from 
EXTD=enjoying the full force of the trio wash over you). Even the most
EXTD= commercial tune on the album, "The Spirit Of Radio," is an instr
EXTD=umental workout that also radiates the sincerity of redoubtable m
EXTD=usicians who are hardly "selling out."\n\nThis album resembles He
EXTD=mispheres in the mind-boggling *huge* sound conjured up by only t
EXTD=hree people on the traditional guitar/bass/drums. Part of this is
EXTD= because Geddy's bass and Neil's drums are equally kinetic but mo
EXTD=re importantly synced up so deeply on rhythmically difficult pass
EXTD=ages. It's also because Alex chased down some of the hugest analo
EXTD=g guitar sounds I've ever heard, a real benchmark even today. Syn
EXTD=ths are usually relegated to background pedal points and unclutte
EXTD=red atmospherics that subtly fill out the upper sonic reaches. Th
EXTD=e guest piano added by long-time album cover artist Hugh Syme on 
EXTD=the ballad "Different Strings" is a perfect counterpoint in textu
EXTD=re, a respite before the force of "Natural Science," and an examp
EXTD=le of how deft use of space paradoxically adds density. Not to me
EXTD=ntion the fact that the tune--lyrics and all--is a bit of a rarit
EXTD=y, written by Geddy in a display of matured sophistication (usual
EXTD=ly it's Neil who writes the lyrics while the other two concentrat
EXTD=e on the music).\n\nMoving Pictures, the other "peak" Rush album 
EXTD=in the Hemispheres-Permanent Waves-MP period, is considerably dar
EXTD=ker by comparison to this bittersweet yet warm, probing, mature m
EXTD=asterpiece. And it is a welcome example of the remasters, which h
EXTD=ave generally greatly improved the presence and warmth of all the
EXTD= Rush catalog, where applied. To me, Permanent Waves is the perfe
EXTD=ct "summer" album (welcome any time of year!), with a great overa
EXTD=ll groove and blend of musicianship that can't help but get the b
EXTD=lood flowing, or make a road trip pulse just a little bit faster.
EXTD= As a refined, yet powerful and intriguing harder rock that not o
EXTD=nly stays with you past adolescence but also helps you reminisce 
EXTD=with energetic warmth, this is it. YEAR: 1980
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