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Did the Gold Rush Make America Great Again

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1993 studio album by Rush

Counterparts
Rush Counterparts.jpg
Studio anthology by

Rush
Released October 19, 1993 (1993-10-19)
Recorded April–June 1993
Studio Le Studio
(Morin-Heights, Quebec)
McClear Pathé
(Toronto, Ontario)
Genre
  • Hard stone
  • progressive rock
Length 54:24
Label Anthem
Producer
  • Peter Collins
  • Rush
Rush chronology
Roll the Basic
(1991) 		Counterparts
(1993) 		Exam for Echo
(1996)
Singles from Counterparts
  1. "Stick It Out"
    Released: October 1993
  2. "Nobody'southward Hero"
    Released: Apr 1994

Counterparts is the fifteenth studio album past Canadian rock band Rush, released October 19, 1993 on Anthem Records. After the band finished touring its previous anthology Roll the Basic (1991) in mid-1992, the members took a break before starting work on a follow-upwardly.

Counterparts reached No. 2 in the Usa, one of the band's two highest-charting albums in the country, and No. six in Canada.[i] The starting time single, "Stick It Out", was No. i on the Billboard Album Rock Tracks chart for four weeks. In 1994, the instrumental "Exit That Thing Alone" was nominated for a Grammy Award for Best Rock Instrumental Performance. Counterparts was remastered in 2004[two] and reissued in 2013 equally part of The Studio Albums 1989–2007 box set. In 2022 information technology was reissued afterward being remastered by Sean Magee at Abbey Route Studios following a straight approach by Rush to remaster their entire back catalogue.[3]

Background and writing [edit]

In June 1992, the band finished their Whorl the Basic Bout in support of Ringlet the Bones (1991).[four] Before the group started to work on the album they casually set out some goals that they wanted to achieve with it from conversations during the Roll the Bones Bout. They agreed to achieve "a sense of balance between spontaneity and refinement [...] and perhaps work on a more than organic approach to the songs".[five] The group agreed that stone ring Primus, who opened for them on the Roll the Bones Bout, and Pearl Jam influenced them to tweak their sound further.[4] [6]

As with their previous two studio albums, Rush retreated to Chalet Studios in Claremont, Ontario to write and rehearse new cloth during the week, returning dwelling house on weekends to encounter their families.[7] They adopted their usual practise of Lee and Lifeson working on the music while Peart worked solitary on the lyrics.[8] [9] They stayed at Chalet for nigh 2 months,[ten] and rehearsed well enough and so they could concentrate on obtaining a satisfactory audio and a spontaneous operation for their respective parts.[seven] Lee and Lifeson put their ideas down using an eight-rails Alesis Digital Audio Tape recorder[11] with Cubase Audio software. The group faced many technical issues which delayed the writing procedure to the point where Peart had a short amount of time to arrange his parts, just as Lee recalled: "He went through a massive rehearsal period; he works tremendously hard and it'south incredible to witness."[12]

Counterparts marks a continuation in the band's transition from synthesizers back to guitar-oriented music which had started on Presto (1989).[7] Lifeson said that this was the first fourth dimension since Moving Pictures (1981) that there was a witting decision to take the guitar take a predominant role, resulting in a more satisfying album for him.[10] The writing sessions were met with increased tension between Lee and Lifeson, matters of which began on the Ringlet the Bones Bout over musical differences. Lifeson had constantly asked for Lee not to use any keyboards for the album simply Lee brought them into the studio which created "an immediate atmosphere." Lee maintained that keyboards were used on Roll the Bones merely to embellish the songs and wished to utilize them in the aforementioned way for Counterparts. "Just Alex was making assumptions that I wanted keyboards all over the identify. It was a very volatile situation."[13] Lifeson said that the two had "greater emotional ups and downs" during the writing phase than whatever other previous Blitz album and partly blamed diverse personal "external pressures" that did not relate to either's personal lives.[10]

When it came to writing lyrics, Peart did not have a form of common thread between the individual songs similar he had on Scroll the Bones and instead devised "a selection of individual themes I didn't really associate at the time." Amidst the topics he idea most were the differences between genders, the anima and animus principle devised by psychologist Carl Jung, and the good and bad regarding heroism. Peart did point out that duality became the only unifying theme and inspired the album'southward title.[xiv]

Recording [edit]

Lee recalled the difficulty the band had in achieving more power from some tracks with producer Rupert Hine on Roll the Bones in the studio simply were able to on bout, "and I call back that stuck in the dorsum of our minds." This matching of music and production way became an element that the band wanted to focus on for Counterparts and in doing so wanted to work with different producers and engineers.[14] Initially, they talked to a lot of young producers, but they soon realized that there was niggling to gain from someone who had worked on fewer albums than the group had released over its career and sought someone experienced.[5] [14] Rush chose English producer Peter Collins who'd co-produced Ability Windows (1985) and Concord Your Fire (1987) with the band. Lee said that the band had remained friendly with Collins, and noticed he'd developed as a producer since they'd last worked with him, including his work with more American rock bands. "As soon as we talked we knew it would be not bad [...] and he agreed with the vision of what nosotros saw; and his comments, criticizing the past couple records, sonically anyway, were very much in line with the direction nosotros wanted to become, and we idea, 'Bingo! Hither y'all get, this is what we demand.'[fourteen] Collins had different engineers in listen to piece of work with, so a "laborious just interesting search" took identify to detect someone suitable that involved hearing tapes from artists worldwide. In the end, they chose Kevin "The Caveman" Shirley for the recording; Lee said information technology was because of his "raw" and "natural" sound,[5] which required minimal employ of reverb which was difficult for the ring to get used to at beginning.[xv] For mixing, the band employed Australian engineer Michael Letho.[5] [fourteen] [9]

The album was recorded from April to June 1993 at Le Studio in Morin-Heights, Quebec and McClear Pathé in Toronto, Ontario.[9] The 8-track demos were transferred onto the studio's 24-rails recorder and became guide tracks for the band to follow and re-record their parts.[12] Lifeson recorded his parts onto analogue record; the residue were put down digitally.[11] With Peart having less fourth dimension to record his parts, he put down 11 tracks in three days.[12] Lifeson said Shirley adopted a "very straight" fashion of recording the instruments to capture as lilliputian resistance from the microphones to the tape machine as possible. Though various furnishings were explored with later, Lifeson commented on the simplicity of recording: "It was simply a matter of plugging into the amp and miking it".[14] He'd resisted the idea of recording his guitars outside of the studio'due south command room for the past 12 years, simply Shirley talked him into playing in the studio room. After a few days, Lifeson enjoyed the experience and wanted to go along recording in this manner: "You could feel the woods of the guitar vibrating against your body, and information technology was more than susceptible to that actually cool feedback, and it was your own little world; it was a fiddling bit of an escape."[14] Lee used a 1960s Fender jazz bass and Lifeson played Les Paul, Fender Telecaster and PRS guitar models. He often combined the Les Paul and Telecaster, along with audio-visual guitars, to create a single sound.[7] [11]

Upon completion, the album was mastered by Bob Ludwig at Gateway Mastering in Portland, Maine. The album's championship was decided upon subsequently the music was finished.[13] Blitz had difficulty in selecting the running order on Counterparts partly due to the fact that it was easier to split up the anthology with ii sides of a vinyl. To help, Lifeson listed each rail on a magnetic board then they could play around with the gild until they had 1 that they were happy with. Lifeson drew a graphical representation of the mood for each runway which helped them select an order which Lee said helps "to ease you out of the record" as much of the album had an aggressive edge.[14] The band had planned to release the album earlier but Lifeson said that would have meant starting the tour before, but no members were keen to practice so.[10]

Songs [edit]

"Animate" features Lee playing his bass with an erstwhile amplifier that was in the studio garbage and repaired by ane of the studio'south technical assistants. Shirley wanted Lee to play his parts to "Breathing" with it. "It sounded great, I had a tremendous amount of energy, and all the explosion sounds of it kind of disappeared in the track, so y'all're not really aware of the fact that information technology'south an amplifier on the verge of decease."[14] Lee liked Peart'southward count in at the start of the track every bit it displays a "human touch".[vii] Lyrically, Peart wrote the words about one person yet structured them to make it equally if information technology may concern a relationship, "virtually a dearest vocal." He thought that such love lyrics had become a cliché throughout the 1980s, however, and turned to works by Jung and Camille Paglia to understand "what the modern man was supposed to exist."[14] He and so took Jung's concept of anima and animus to write about a man dominating his softer, feminine side with aggression and ambition, more than typical male person traits.[fourteen] Peart said he plays a "basic R&B rhythm that I played back in my early days, coupled with that hypnotic outcome" that bands like Curve and Lush used.[xv]

"Stick It Out" adult from a guitar riff that Lifeson had come up with which Lee had liked, so they "stretched it out a scrap, added a few more things and it became that vocal."[7]

"Cutting to the Chase" is one of the few songs on the anthology where Lifeson's original guide guitar solo on the demo tape was used on the final accept.[11]

"Between Lord's day & Moon" features lyrics co-written past Peart and Pye Dubois, who'd also shared lyrical credits for "Tom Sawyer" and "Strength Ten".[14] Peart had always been welcome for Dubois to contribute ideas as he had liked his style of writing. "In this case that was one that we all responded to some of the images in his presentation, so over again I went to work on it, shaped it up into the kind of structure that we like to work with, and then added some of my own images and angles on it. And so information technology went".[14] The music developed from a jam that had Lifeson play a riff that Lee said had a "very un-Alex Lifeson sound," comparing it to the style of The Rolling Stones.[7] Lifeson pointed out the musical span earlier his guitar solo sounds "very Whoish", and named their guitarist Pete Townshend and Rolling Stones guitarist Keith Richards as influences.[eleven]

"Nobody's Hero" was inspired by a gay friend of Peart'south who worked with him during his time in London and considered his friend as a role model. For Peart, he "prevented me from ever being homophobic" and when they drifted apart geographically, he found out that his friend had died of AIDS. "And so, it's certainly non like his life was in vain, but his heroism was in a very pocket-sized arena."[14] Collins suggested having a string section added and chose Michael Kamen to orchestrate and conduct, and so Lee devised some orchestral ideas that were included in the final arrangement.[7] [9]

"Double Agent" was one of the last tracks written for the album and it was described by Lee every bit "a complete exercise in self-indulgence."[14] Having come upwards with songs that were more complex in arrangement, Lee fancied a change of pace and have a track where the band has "a scrap of a rave."[14]

"Exit That Affair Lone" is an instrumental the group decided to do because they have fun writing them as ideas get put down for them apace.[14] Lee and Lifeson clarified that despite the connexion between it and the instrumental "Where'due south My Thing?" from Roll the Basic where they both have "Thing" in the titles, there is no further link between the ii.[14] Lifeson rated the track's melody every bit particularly strong.[14]

"Cold Fire" went through several rewrites and Lee credited Collins in helping to put the song together by highlighting the strongest sections in the previous versions. Lee and Lifeson then got a feel into the previously difficult verses which led to Lifeson calculation his steel guitar-like parts to which Lee was able to contribute harmonics.[14] Post-obit the difficulty, Lee rated the verses as one of the album's strongest moments.[14]

Release [edit]

Earlier the album was released, information technology premiered during a radio special hosted past Steve Warden on CILQ in Toronto on October 14, 1993.[14]

It debuted at No. 2 on the Billboard album chart for the calendar week ending Nov. half dozen, 1993, kept out the meridian spot past another debuting anthology, Pearl Jam's Vs.[16] Counterparts earned a golden certification in the United States in December 1993. The album earned a gilded certification in Canada in 1994.[17]

The band supported Counterparts with a four-month tour limited to the United States and Canada.[18] Relations betwixt the members were reportedly tense, and they followed the tour with a long break, during which lead singer/bass player Geddy Lee planned to spend time with his growing family, while each member explored other creative interests, such as a Lifeson solo album.[xix]

Reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [20]
The Encyclopedia of Popular Music [21]
Entertainment Weekly B−[22]
The Rolling Stone Album Guide [23]
Sea of Tranquility [24]

Odyssey wrote that Counterparts is i of Blitz's most unique and best releases in their unabridged catalog, and called it very heavy sounding.[25]

Track list [edit]

All lyrics are written past Neil Peart, except "Between Sun and Moon" by Peart and Pye Dubois; all music is composed past Alex Lifeson and Geddy Lee.

Counterparts track listing
No. Title Length
1. "Animate" 6:04
2. "Stick It Out" 4:30
3. "Cut to the Chase" 4:48
4. "Nobody'south Hero" 4:55
five. "Between Lord's day and Moon" 4:37
6. "Conflicting Shore" 5:47
7. "The Speed of Love" 5:02
viii. "Double Amanuensis" 4:52
9. "Leave That Thing Alone" (Instrumental) 4:05
10. "Cold Fire" iv:27
eleven. "Everyday Glory" 5:eleven

Personnel [edit]

Credits taken from the album'south 1993 liner notes.[9]

Rush

  • Geddy Lee – bass, vocals, synthesizer
  • Neil Peart – drums, cymbals, electronic percussion
  • Alex Lifeson – electric and acoustic guitars

Additional personnel

  • John Webster – boosted keyboards
  • Michael Kamen – orchestration and conducting on "Nobody's Hero"

Production

  • Rush – arrangements, production
  • Peter Collins – arrangements, production
  • Kevin "Caveman" Shirley – recording
  • Simon Pressey – recording at Le Studio, mixing assistant
  • Bill Hermans – recording assistant at McClear Pathé
  • Michael Letho – mixing
  • Brett Zilahi – mixing assistant
  • Bob Ludwig – mastering at Gateway Mastering
  • Hugh Syme – art direction, design

Charts [edit]

Certifications [edit]

References [edit]

  1. ^ "Music Albums, Top 200 Albums & Music Album Charts". Billboard. 16 October 1993. Retrieved 10 February 2012.
  2. ^ "Rush Remastered: 4 Archetype Collections Make it in Stores Aug. 31st | Market Wire". Marketwire. August 2004. Archived from the original on two April 2015. Retrieved 16 March 2015.
  3. ^ "Abbey Road - Engineers - Sean Magee". Archived from the original on 2020-12-14. Retrieved 2020-12-xiv .
  4. ^ a b "Tour – Gyre the Bones Tour". Rush.com. Archived from the original on Nov xx, 2018. Retrieved November xx, 2018.
  5. ^ a b c d Peart, Neil (1993). "Reflections in a Wilderness of Mirrors". Anthem Records. Archived from the original on November 19, 2018. Retrieved November xviii, 2018.
  6. ^ DeRogatis, Jim (January 1994). "Blitz Reconsidered". Request. Archived from the original on Nov xx, 2018. Retrieved November 20, 2018.
  7. ^ a b c d eastward f chiliad h Noble, Douglas J. (Nov 1993). "Counter Attack". The Guitar Magazine. Vol. 3, no. nine. Archived from the original on Baronial nineteen, 2018. Retrieved November 19, 2018.
  8. ^ Leblanc, Larry (Oct 22, 1993). "Rushing Back to the Limelight With 'Counterparts'". Billboard. Archived from the original on November 19, 2018. Retrieved November 18, 2018.
  9. ^ a b c d e Counterparts (Media notes). Anthem Records. 1993. ANK 1067. Archived from the original on 2018-11-19. Retrieved 2018-11-xix .
  10. ^ a b c d Masters, Drew (November 1993). "Alex Lifeson Reveals "Counterparts"". M.Eastward.A.T. Archived from the original on May 10, 2018. Retrieved November nineteen, 2018.
  11. ^ a b c d e Widders-Ellis, Andy (December 1993). "Alex Lifeson: Rush Strips Downwards". Guitar Player. Archived from the original on November 19, 2018. Retrieved November 19, 2018.
  12. ^ a b c Coryat, Karl (December 1993). "Geddy Lee: Still Going!". Bass Player. Archived from the original on November twenty, 2018. Retrieved November 18, 2018.
  13. ^ a b Shoults, Darrell (Oct 27, 1993). "A Farewell to Bings". RAW. Archived from the original on Oct 29, 2017. Retrieved November 18, 2018.
  14. ^ a b c d eastward f 1000 h i j k l k n o p q r s t u 5 Warden, Steve (October 14, 1993). "The World Album Premier of 'Counterparts'". CILQ-FM (Interview). Toronto, Ontario. Archived from the original on November 19, 2018. Retrieved November 18, 2018.
  15. ^ a b Miller, William F. (February 1994). "Neil Peart: In Search of the Right Feel". Modern Drummer. Archived from the original on January 26, 2018. Retrieved Nov xx, 2018.
  16. ^ "Archived copy" (PDF). Archived (PDF) from the original on 2021-01-21. Retrieved 2021-01-27 . {{cite web}}: CS1 maint: archived re-create equally title (link)
  17. ^ a b Music Canada.
  18. ^ Popoff 2013, p. 129.
  19. ^ Popoff 2013, pp. 129–130.
  20. ^ Rivadavia, Eduardo. Counterparts – Rush at AllMusic. Retrieved xx May 2012.
  21. ^ Larkin, Colin (2007). The Encyclopedia of Popular Music (4th ed.). Oxford University Press. ISBN978-0195313734.
  22. ^ Sinclair, Tom (22 October 1993). "Counterparts". Entertainment Weekly. Archived from the original on ix May 2008. Retrieved 22 February 2013.
  23. ^ "Rush: Album Guide". Rolling Stone. Archived from the original on 10 June 2013. Retrieved 23 February 2013.
  24. ^ Hannaleck, Keith (2019). "Review: Blitz: Counterparts – Body of water of Tranquillity – The Web Destination for Progressive Music!". seaoftranquility.org. Archived from the original on 1 March 2019. Retrieved 28 February 2019. Keith Hannaleck
  25. ^ Clouse, Matthew (5 July 2017). "Blitz: Counterparts Anthology Review". theodysseyonline.com. Archived from the original on 16 September 2018. Retrieved 9 Jan 2019.
  26. ^ "Elevation Albums/CDs – Volume 58, No. 17, November 06 1993" (PDF). RPM . Retrieved May xiii, 2022.
  27. ^ "Dutchcharts.nl – Rush – Counterparts" (in Dutch). Hung Medien. Retrieved July three, 2020.
  28. ^ Pennanen, Timo (2021). "Rush". Sisältää hitin - 2. laitos Levyt ja esittäjät Suomen musiikkilistoilla 1.1.1960–xxx.half-dozen.2021 (PDF). Helsinki: Kustannusosakeyhtiö Otava. p. 221. Retrieved May 17, 2022.
  29. ^ "Offiziellecharts.de – Blitz – Counterparts" (in German). GfK Entertainment Charts. Retrieved July three, 2020.
  30. ^ "Swedishcharts.com – Blitz – Counterparts". Hung Medien. Retrieved July 3, 2020.
  31. ^ "Official Albums Chart Superlative 100". Official Charts Company. Retrieved July 3, 2020.
  32. ^ "Rush Chart History (Billboard 200)". Billboard. Retrieved July 3, 2020.
  33. ^ "The RPM Top 100 Albums of 1993". RPM. December 18, 1993. Archived from the original on Oct 20, 2012. Retrieved May thirteen, 2022.
  34. ^ "American album certifications – Rush – Counterparts". Recording Manufacture Clan of America. Retrieved July 3, 2020.
  • Music Canada. "Gold/Platinum". Music Canada. Archived from the original on 2016-03-24. Retrieved 2016-03-18 . {{cite web}}: CS1 maint: ref duplicates default (link)
  • Popoff, Martin (2013). Rush: The Illustrated History. Voyageur Press. ISBN978-0-7603-4364-7.

External links [edit]

  • Counterparts at Discogs (listing of releases)

culpepperpatut1995.blogspot.com

Source: https://en.wikipedia.org/wiki/Counterparts_(album)

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