Another five years between proper Rush studio albums is enough to drive their
most diehard fans to the brink of insanity. Of course, Between 2002’s
Vapor Trails and their latest CD Snakes & Arrows,
the group issued new and archival live CDs and DVDs, along with an uncharacteristic
covers record that solidified the potent chemistry brewing between vocalist/bassist
Geddy Lee, guitarist Alex Lifeson, and drummer Neil Peart. But with Snakes
& Arrows, a title loosely based on the children’s game ‘Chutes
& Ladders,’ Rush prove once and for all they are not your garden-variety
“classic rock” band churning out product for the sake of keeping
the flame lit and money coming in. No, this is a trio whose relevance is a watershed,
an indication that even a stable lineup for over 35 years can continuously hit
pay dirt without compromising their integrity.
“Far Cry,” the lead track and first single (as if ‘singles’
mean that much any more), sets the pace as Lifeson’s guitar bolts into
action and carries the tune over an ambulant rhythm. Lee’s voice delivers
the refrain “I can get back on” assertively without pretense, imbuing
the ying and yang of savagery and salvation. The struggle becomes even more
evident during “Armor And Sword” as the band builds a mighty wall
while Lee declares that “no one gets to their heaven with a fight.”
Peart’s lyrics often embrace traces of Ayd Rand’s objectivism (where
the mind doesn’t so much create reality as it discovers it); but here,
they direct their ire on the human condition of today. “The Larger Bowl”
suggests “some are blessed and some are cursed,” but resolves there
is “such a lot of pain on this earth.” He’s even more straightforward
on “The Way The Wind Blows” by stating matter-of-factly that “it’s
like we’re back in the Dark Ages,” yet suggesting there’s
not much we can do in a world gone mad except “grow the way the wind blows.”
Thought-provoking lyrics aside, Rush remains a tight-fisted, muscular contender
of the first order. Lifeson elegantly strums his acoustic before blasting through
a series of power chords, gauging the mood from fatalistic to undulated joy.
The spark and electricity exclusive to the three players is especially grounded
on “The Main Monkey Business,” “Hope,” and “Malignant
Narcissism,” the record’s three instrumentals. On the whole, the
songs on Snakes & Arrows will slip in nicely with the hits
and favorites uncorked during the obligatory world tour accompanying the record.
The seamless continuity, yet unbounded growth that flows through each and every
new Rush release is key to their popularity and importance in the rock and roll
quagmire. The sound is indisputable, the tension high, and the delivery practically
infallible. The standards by which the legendary Canadian threesome live and
thrive by never fall victim to concession or half-heartedness. Which is probably
why the anticipation — whether it’s five months or five years —
never lets up for Rush.
~ Shawn Perry
