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Like any good recording artist, Rush’s sound has changed with every album. It may be subtle at times, but other times is was very noticeable. “Counterparts” was very noticeable. The album prior, “Roll the Bones”, the band tried to drop the heavily used keyboards and get back to just the three musicians playing as a rock trio. However, it really wasn’t accomplished until they recorded “Counterparts”.
The biggest change though was Neil Peart’s approach to drumming. At the time, after being a successful recording artist for 20 years, he started taking lessons with Freddie Spencer. Peart’s style before had been very complex, and even had some people say that he overplayed his parts. But for “Counterparts” he started to groove and play what was needed. He still had complex parts, but it had more feeling then ever before. And he showed off his new chops from the first moments of the album on “Animate”. The drums just pop so well on the opening track, I know it had a lot of Peart fans asking, “What the heck is he doing?”
The issue of getting back to a more rock trio sound was totally conquered with the second song “Stick It Out”. I was totally floored when I heard this song on the radio before the album was released to the public. Rush, especially Alex Lifeson, where making no bones about the fact that “We’re back!”
At times the band slipped into comfortable places from the past, like with “The Speed of Love” or “Alien Shore”, but it’s a cohesive three-piece, without the reliance on keyboards carrying the melody. And even at these times when they were treading into waters they already had been, it still sounded fresh.
The band also took chances in other areas. “Double Agent” with it’s spoken-word verses is a real juxtapose with the heavy guitar lead, but works so incredibly well. There is also the nonsensical chorus lyrics on “Between Sun and Moon” which is quite odd for Neil, yet still worked very well.
Ah ah, yes to yes, to ah-hah to yes
Why the sun, why the sun?
Overall, Neil’s lyrics worked incredibly well with the whole theme of the album. “Cut to the Chase” is one of my favorite Rush songs, not just on the album. Lyrically it has some great perceptions. (I should have added this to my “Deep Cuts” POST.)
It’s the motor of the western world
Spinning off to every extreme
Pure as a lover’s desire
Evil as a murderer’s dream
The band started making a point of recording an instrumental song every album starting with “Roll the Bones” (they had two previous releases of “La Villa Strangiato” from “Hemispheres” and “YYZ” from “Moving Pictures”). “Leave That Thing Alone” on this album is by far the best of the recent string of instrumentals. Some great funk-like bass from Geddy, some great organ fills to add to the majesty of the song, excellent melody from Alex, and the continued pocket-playing from Neil.
There is a consensus among most Rush fans that since 1980’s “Moving Pictures” the band’s releases have quite a few flaws and never quite recaptured the magic. The only album that comes close is “Counterparts”, which I tend to agree with. (Though I like each release on some level or another.)
10/10
