After 1981's classic album
Moving Pictures, it seemed that Rush could do no wrong. Not only did they have the proggy, sci-fi crowd who had been jamming since 2112 came out, but they now had a fair share of average hard rockers, because with the addition of more synthesizers and catchier, more accessible songs, they were drawing in the attention of many people who had nothing to do with the prog rock community. This was both good and bad for Rush. In 1982, Rush released the follow-up,
Signals, which often serves as a point in the band's history where the fans became divided. While many Rush fans believed that even a polka album by the Canadian masters would be great and that they would buy anything the band released, but a good number of people were disappointed with the addition of synths which often overshadowed the "real" instruments. However, despite the fact that it was a radical change from where the band was just three or four years before (there are no 18 minute prog journeys on this one), the album is still universally considered a worthwhile release in the band's catalogue by even the most close-minded of Rush's fans.
For this listener,
Signals is simply the sound of a band adapting to the sounds around them. The band knew that epic prog songs were not gonna get them anywhere. They had many influences from the bands of the time; The Police, Blondie, and even the Talking Heads. They used these influences and formed what I could only describe as proggy new wave rock music. The lyrics now deal with real-life issues, like the themes of isolation and loneliness in the concert-staple "Subdivisions", and with the band keeping their nerdy touch, there is an entire song dedicated to the subject of chemistry, entitled "Chemistry". The album has a smoother, colder atmosphere, with less prog wankery and more precise, calculated, almost robotic musicianship. This isn't to say that prog wankery is a bad thing, because it certainly wasn't for Rush, and there are still plenty of songs that are completely guitar-dominated, and they would not have been out of place on previous albums like
Permanent Waves or
Moving Pictures.
Musically speaking, this album is a high point for the band. Not a single note or sound comes off as unneeded or out of place, because by this point, the band were sure of themselves, and they were doing exactly what they wanted to. It's hard to believe that this was the group that began with Led Zeppelin posturing. Rush took advantage of the technology of the times, and they use synths far more tastefully than many of the other prog bands who had to make that transition into the 1980's. Alex Lifeson sounds almost like a robot on this one, perhaps reflecting the technological theme that the album exudes? Neil Peart is no longer drumming like a maniac, he is drumming like a true genius. He is never off-beat, he is never in-your-face, and it is clear when listening to this album to see where he gets most of his praise. Geddy's bass is still important in the mix, despite his synths driving the songs themselves. His voice at this point is as good as it ever was. Gone are the high-pitched squeaks and shrieks and squeals of early-era Rush. He means goddamn business.
Signals is Rush experimenting with a vide variety of different sounds that come from the sounds of the time period while still keeping their own trademark Rush vibe. While some were angered at the band for not having another twenty-minute epic, Rush knew what they were doing.
