Permanent Waves

Mostly recorded in 1979, PERMANENT WAVES (1980) marked the starting point for Rush's full-blown entry into condensed, accessible progressive rock. They abandoned the 20-minute suites and mystical lyrics for catchy progressive song structures, and more human, worldly-related topics. But, Geddy Lee (vocals/bass/synths), Alex Lifeson (guitars) and Neil Peart (drums/lyrics) didn't lose their brilliance in composition, even if most of the track lengths were fit for radio.

"The Spirit of Radio" is an ever-popular track, and seems to still get as much radio airplay as it did over two decades ago. A catchy, melodic track with cerebral lyrics dealing with no other than the radio, and it's effect on us listeners (i.e. music fans.)

"Freewill" is a philosophical rocker dealing with personal beliefs (e.g., god, fate, stars) and the consequences - positive or negative - of them. Neil Peart seems to be quite ambiguous in his lyrics, and you can't necessarily tell what *his* personal beliefs are at times. He seems to be playing more a role of devil's advocate, which in some cases is probably the smartest part to play.

"Jacob's Ladder" brings slight resemblance to Rush's 70s period, as this is the most *proggish* on the album, and more than likely can please fans of that particular period. Mostly instrumental, it's an atmospheric rocker which leans toward the darker and heavier side. Highlights of the track are the instrumental section in 5/4, and later, a spatial, instrumental section featuring guitarist Alex Lifeson (later joined by band) playing a snaky riff in 13/8, while Neil is keeping time nicely, and Geddy lends some darkly airy synths on top it all. This track bears considerable King Crimson influence, though clearly, it's still Rush's trademark sound.

"Entre Nous" is something of a ballad, but with intellectual-oriented lyrics. Alex Lifeson's trademark atmospheric arpeggios, Geddy's subtle, but commanding vocal combine nicely to make a highly compelling track.

"Different Strings" is the soft tune on the album. Though possibly seen as a warm up to the following track, it stands nicely on it's own. Poignant as well.

"Natural Science" is the other most *proggish* number on the album. Written in three sections, the lyrics mostly deal with nature and the enviornment. Complex musicianship is very apparent, but doesn't overshadow the strangely catchy and addicting elements found here.

This would be a perfect place to start for anyone interested in Rush. Features a nice balance of complex musicianship and accessibility that's hard to beat. Recommended.


As great as Moving Pictures, but warmer   August 15, 2001
Frank Sellin (Charlottesville, VA United States)
35 out of 38 found this review helpful

Permanent Waves photographs Rush at the perfect moment--still young and hard-rocking but, six years after their recording debut and the requisite dues-paying of long tours, wielding razor sharp progressive songwriting experience melded with tremendous technical skills.

Yes, this album "only" has six tunes, but they are all richly crafted. There's no filler to be found on this album. Rush at this point had evolved beyond doing space-rock concept albums, but while they were admittedly moving to mildly more radio friendly songwriting, they still liked fairly long songs. Even these, however, were skillfully pared down to the essentials, centered around cohesive lyrical ideas that allowed for stretching-out musically. Cases in point: Freewill, Jacob's Ladder, and especially the intense "Natural Science" (don't let the bland title dissuade you from enjoying the full force of the trio wash over you). Even the most commercial tune on the album, "The Spirit Of Radio," is an instrumental workout that also radiates the sincerity of redoubtable musicians who are hardly "selling out."

This album resembles Hemispheres in the mind-boggling *huge* sound conjured up by only three people on the traditional guitar/bass/drums. Part of this is because Geddy's bass and Neil's drums are equally kinetic but more importantly synced up so deeply on rhythmically difficult passages. It's also because Alex chased down some of the hugest analog guitar sounds I've ever heard, a real benchmark even today. Synths are usually relegated to background pedal points and uncluttered atmospherics that subtly fill out the upper sonic reaches. The guest piano added by long-time album cover artist Hugh Syme on the ballad "Different Strings" is a perfect counterpoint in texture, a respite before the force of "Natural Science," and an example of how deft use of space paradoxically adds density. Not to mention the fact that the tune--lyrics and all--is a bit of a rarity, written by Geddy in a display of matured sophistication (usually it's Neil who writes the lyrics while the other two concentrate on the music).

Moving Pictures, the other "peak" Rush album in the Hemispheres-Permanent Waves-MP period, is considerably darker by comparison to this bittersweet yet warm, probing, mature masterpiece. And it is a welcome example of the remasters, which have generally greatly improved the presence and warmth of all the Rush catalog, where applied. To me, Permanent Waves is the perfect "summer" album (welcome any time of year!), with a great overall groove and blend of musicianship that can't help but get the blood flowing, or make a road trip pulse just a little bit faster. As a refined, yet powerful and intriguing harder rock that not only stays with you past adolescence but also helps you reminisce with energetic warmth, this is it.


Before MOVING PICTURES, there was PERMANENT WAVES   June 11, 2001
A.F. (Bronx, NY USA)
12 out of 12 found this review helpful

Rush contains three of the greatest musicians ever formed in a rock band. With Geddy Lee's unique voice and awesome bass playing, Alex Lifeson's superb guitar solos, and Neil Peart's excellent lyrics and fantastic drumming, they knocked out fans and fellow musicians with their complex arrangements and lengthy epics. But with the release of their 1980 album PERMANENT WAVES, Rush's songwriting and musicianship began to take a new turn.

With the '80s, the trio said goodbye to the concept albums and 18-minute-plus marathons of their '70s past. Although their songs were shorter, the complexity and intelligence were still there. As a band, Rush were stronger than ever. The album kicks into high gear with the energetic "The Spirit of Radio," Rush's first ever hit single. Featuring more time changes and switches than any other Rush song, this dedication to a Canadian radio station is a great intro to what will follow. "Free Will," another classic, features one of Alex Lifeson's most magnificent guitar solos as well as some of Neil Peart's best lyrics. The 7 minute epic "Jacob's Ladder" is mostly instrumental and the playing by all three is great, most notably Geddy Lee's bizarre synthesizer piece in the middle.

"Entre Nous" is one of the most realistic love songs I've ever heard and contains a lot of catchy hooks. "Different Strings" is one of the most powerful songs the band has ever laid down. It should get more credit than it deserves; it's one of their all-time best. The album ends with the 9 minute opus "Natural Science," which starts out as a slow acoustic piece, then picks up speed like a bullet train. There are only six songs on PERMANENT WAVES and it's a very short record (35 minutes), but adding extra bonus tracks or anything else would seem very wrong. Although I still believe MOVING PICTURES is the band's greatest album (and the best album ever made), PERMANENT WAVES comes awfully close. This is one of Rush's finest masterworks.


Progressive Rock Classic   May 19, 2000
Bill R. Moore (New York, USA)
10 out of 10 found this review helpful

This album marked the transition between old Rush (Hemispheres, long songs, sci-fi lyrics) and new Rush (Moving Pictures, shorter songs, more mainstream lyrics). In turn, it ends up having the best of both worlds. For example, the great opening combo of Spirit of The Radio and Freewill gave a taste of what was to come on Moving Pictures with Tom Sawyer, Limelight, etc. And Natural Science was a sort of mini-epic comparable to (and actually better than) Hemispheres. Those three songs are absoulte classics, but Jacob's Ladder is nearly as good, and Different Strings and Entre Nous are about as close as Rush ever got to a ballad, and they are both adequate songs. Geddy arguably turns in his best performance ever on bass here (with the possible exception of MP), and, the lyrics are, of course, excellent (especially Natural Science with it's usage of tide pools as a metahpor for the human race in a sort of future Utopia). Overall, just an excellent album.


The Magical Mixing Laboratory--the hype is real   May 27, 2008
S. McCrea (Henderson, NV United States)
7 out of 7 found this review helpful

When I first started seeing "Gold" CDs in the mid-80s I thought it was just another way to get me to pay more money for basically the same quality as aluminum-substrate CDs. In other words, I thought it was all...hype.

I even had a Tower Records employee tell me, "The only difference is that the gold doesn't oxidize as fast." (Given the intellectual level of the average Tower employee, that he used "oxidize" was impressive enough.) Which, while true, it also tells me that the guy had either never heard one of the discs or didn't have access to even mid-level audio equipment.

So I've been laboring under a 25+ yr delusion that Gold CDs were a marketing ploy.

Well, I've justed listened to Mobile Fidelity's "Permanent Waves", Special Limited Edition no. 3042. (I read somewhere that only 5000 are made, if so I got lucky since I almost passed it up.)

Not only was a I wrong, I was DEAD WRONG. I feel like such an idiot. I could have--SHOULD HAVE--all of MoFi's Rush editions. Now they are going for $100 and up (if nothing more than an investment!). The wife--sadly, like most women, a Rush-hater--ain't gonna go for dropping that kind of cash.

As for the sound quality I concur absolutely with many of the reviewers: this is simply the best sounding "Permanent Waves" I've ever heard, and I've owned FOUR previous editions (LP, Cassette, un-Remastered CD and Remastered ["The Rush Remasters"] CD) and this blows them ALL away.

The sound quality is breathtaking. I used the "STRAIGHT" setting on my Yahama HTR-6050 Receiver so that none of its decoders would alter the sound out-put from my Toshiba HD-A30 (yes, it's an HD-DVD player, it's also a d*mn good CDDA player). Only in concert (esp on this last tour) have these songs sounded better.

Geddy's bass: clean and punchy; sharp and fat at the same time (Rush fans should know exactly what I mean), something rarely fully captured on disc ("Power Windows," even pre-remastering, was an excellent example--and don't I wish I had that Mo-Fi version of that!).

Alex's guitar: Mr. Lifeson's guitar ranges from shimmering (the 12-string on "Natural Science"), to the emotive scream of "Spirit of Radio's" solo, to the measured, martial pace of the mid-section of "Jacob's Latter." (The last being the only Rush song ever called "beautiful" by a Rolling Stone reviewer--not that we Rush fans CARE what Rolling Stone thinks anyway.)

Neil's percussion: probably the most amazing thing about this disc is the complete fidelity to his "old" kit, with its plethora of percussive devices both familiar and bizarre.

The tympanis on "Jacob's Ladder", to give one example, reverberate so cleanly it was almost as if I could reach out and touch them. His snare snaps back with a wicked authority so many drummers aim for and so very, very few achieve.

The only better sounding disc I've ever heard are SACD's, e.g. Coltrane's "Lush Life" and Janine Jansen's "Four Seasons". Of course, even this disc doesn't equal an SACD, but it's closer than anything else.

I could write 10,000 words about this gem of a remastered disc. But Amazon only allows 1000 and I doubt most folks would want to read it.

For an album I've listened to on at least a weekly basis since 1983, if not daily, I was further surprised as how many "new" things I discovered from this single listen. (Needless to say, there'll be many more.) The opening tidal pools of "Natural Science" to the closing crash of the in-coming tide reminded me so much of La Jolla Shores it was eerie.

Hugh Syme's piano work on "Different Strings" is also beautifully rendered. I don't know if he was playing a Steinway grand--it certainly sounded like it. Whatever it was, few of my "classical" piano CDs sound this pure. The fidelity is so good that at the end of this track I can hear what I believe Alex's pick tapping a pick-up. It's THAT good.

If you're a Rush fan and an audiophile (and aren't the two really synonyms?), you simply MUST have this disc.

Let's hope this disc sells enough copies to warrant yet more Rush albums from MoFi's Magical Mixing Laboratory. They deserve it--and so do we.

I only hope that more Rush CDs are coming from MoFi's Magic Mixing Laboratory.

The cover art also wasn't quite what I expected. It looked like it was done with a low-end HP copier/scanner. I think we deserve better for the $26.99 paid. Hopefully, future Rush releases (if there are any) will correct this flaw. The only flaw in the release.

Finally, HUGE props to Shawn R. Britton (of MoFi) who did the remastering job.