Power Windows (40th Anniversary Remaster 2015) Rush

Album info



Label: Mercury

Genre: Rock

Subgenre: Classic Rock

Album including Album cover

I`m sorry!


due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.

We suggest, that you bookmark the album and use our Short List function.

Thank you for your understanding and patience.

Yours sincerely, HIGHRESAUDIO

  • 1The Big Money05:39
  • 2Grand Designs05:07
  • 3Manhattan Project05:09
  • 4Marathon06:13
  • 5Territories06:21
  • 6Middletown Dreams05:16
  • 7Emotion Detector05:12
  • 8Mystic Rhythms05:51
  • Total Runtime44:48

Info for Power Windows (40th Anniversary Remaster 2015)

After the success of its 1984 synth-driven album, GRACE UNDER PRESSURE, Rush continued in the same direction for its follow-up, POWER WINDOWS. Although the trio had made a name for itself originally with hard-edged prog-rock, Rush began embracing new wave sounds by the mid '80s. While many other hard rock bands of the '70s who made similar musical detours struggled to maintain their audiences in the '80s, Rush thrived and expanded its already huge fan base even further. While past Rush releases like 2112 contained tales of science fiction, by POWER WINDOWS, head wordsmith/drummer Neil Peart was penning lyrics about current events, especially the threat of nuclear war. 'Big Money' was a popular clip on MTV, while other Rush highlights of the era included 'The Manhattan Project,' 'Marathon,' 'Mystic Rhythms,' and 'Territories.' After the release of POWER WINDOWS, Rush slowly began returning to its more hard rock-based roots, resulting in COUNTERPARTS and TEST FOR ECHO during the '90s.

While critics routinely dismissed Rush as pretentious operatic heavy-metal bozos, this indefatigable Canadian trio was actually busy becoming the Police of power rock. On their recent studio LPs, leading up to 1984's appropriately titled Grace under Pressure, they tightened up their sidelong suites and rhythmic abstractions into balled-up song fists, art-pop blasts of angular, slashing guitar, spatial keyboards and hyperpercussion, all resolved with forthright melodic sense.

'The Big Money,' the first hot FM focus track from Power Windows, may be the best of Rush's Cool Wave experiments to date. Neil Peart whips up a Molotov drum cocktail that is half Stewart Copeland psycho-ska and half 'Blitzkrieg Bop'; from deep within his Edge-like echo pit, guitarist Alex Lifeson opens fire with a metallic descending chord sequence that rips through the song's chrome-finish production like grapeshot. In 'Territories,' a simple disco-style pulse becomes a Lifeson-spurred gallop, his Chinese guitar chatter alternating with the telegraphic synth patterns and sheet-metal keyboards played by singer-bassist Geddy Lee.

To most U2 and Simple Minds fans, these may not seem like major advances. There are moments when Power Windows sounds too much like the sum of its Eighties inspirations — that ghostly U2 resonance, the Police-like mesh of multirhythms and ping-pong dub effects. Yet Rush, no doubt responding to familiar impulses, revs up these songs with brute metal force. Lifeson's solo in 'Grand Designs' teeters on white noise, his demon strokes dissolving into feedback howls and strangled vibrato, while Peart and Lee subdivide the beat into frenzied algebra.

This is not a case of old Seventies arena-rock dogs fudging new tricks. Rush remains faithful to vintage progressive aesthetics but has accepted the challenge of the postpunk upheaval and made notable adjustments. 'Manhattan Project' is the first song about the A-bomb that successfully combines Genesis-like grandeur, real strings and a breakaway middle à la Siouxsie and the Banshees at full throttle. Lee has also toned down his keening shriek to a more accessible tenor; Peart, the group's uncompromising lyricist, has streamlined his verse to pithy effect.

None of this is likely to impress the New Wave in crowd, which is their loss. Because Power Windows may well be the missing link between Yes and the Sex Pistols.' (David Fricke, Rolling Stone)

Geddy Lee, vocals, guitar, classical guitar, keyboards, bass guitar
Alex Lifeson, guitar, acoustic guitar, electric guitar, 12-string guitar
Neil Peart, drums, percussion

Recorded at The Manor, Air Studios Montserrat and Sarm East, London.
Strings recorded at Abbey Road Studios, London.
Choir recorded at Angel Studios, London.
Engineered by Jimbo 'James' Barton
Mastered by Bob Ludwig
Produced by Rush and Peter Collins

Digitally remastered

Alex Lifeson, Geddy Lee und Neil Peart: Gemeinsam sind sie Rush, das kanadische Power-Progrock-Trio und ein Phänomen in der Rockgeschichte.

Wie viele Bands fallen einem ein, die komplett ihr Ding gemacht haben, konsequent vorbei am Mainstream, mit massivem kommerziellem Erfolg?

Rush haben 40 Millionen Schallplatten verkauft. Was die Anzahl ihrer Gold- und Platinalben anbelangt, stehen sie auf Augenhöhe mit den Beatles und den Rolling Stones. Neben Joni Mitchell, Leonard Cohen und Gordon Lightfoot gehören sie zur Canadian Songwriters Hall of Fame. Queen Elizabeth II, die ja irgendwie auch noch Königin von Kanada ist, verlieh ihnen einen Orden, auch das kennt man sonst nur von den Beatles und den Stones.

Aus Bluesrockern und Led-Zep-Klonen der späten 1960er wurden Rush in den 1970ern interessante Progrock-Science Fiction-Figuren. Mit Synth-Drums und Synthesizern ging es in den 1980ern auf die New Wave- und Reggae-Schiene. Dann gab es Rush wieder als Gitarrenband, als Paten des Alternative der 1990er. In den letzten Jahren ging es „back to the roots“.

Obwohl es diverse Rockradio-Hits in ihrem Repertoire gibt: „Tom Sawyer“, „Finding My Way“, „Fly By Night“, „New World Man“, „The Spirit Of Radio“, „Time Stand Still“... ist Rush trotzdem die einflussreichste Band, die man nicht kennt, zumindest außerhalb Nordamerikas und Japan. Alex, Geddy und Neil sind keine Mode-Ikonen wie Lady Gaga, eher das Gegenteil.

Rushs Songs handeln von Bäumen, Freiheit und Fantasie, haben merkwürdige Science-Fiction-Songtexte wie „...die massiven grauen Mauern der Tempel erheben sich aus dem Herzen der Hauptstadt der Föderation“.

Um den schönen Schein ging es bei Rush noch nie. Um Sex and Drugs and Rock´n´Roll ging es Rush noch nie. Als Rush in den 1970ern mit Kiss auf Tour waren, ließen sie die Groupies vorm Hotelzimmer herumstehen, schauten Fernsehen, waren sie schwul? Rush wurden zum Inbegriff des „Nerds“, bevor es den Begriff gab. Awards von Musiker-Fachblättern gingen dutzendfach an die Drei.

Während die Medien und die Musikpresse uns die Beatles und die Rolling Stones mittlerweile über-erklärt haben, legt sich beim Thema Rush immer noch Schweigen über den Blätter- und Bildschirmwald. In den 1980ern verriss der „Rolling Stone“ sie als musikalische Muskelprotze, es klang direkt verzweifelt.

Denn ihr ikonoklastischer, völlig unkommerzieller Sound brachte Rush eine Fanbase vom Kaliber der Grateful Dead ein: Legionen, in ihrer Hingabe geradezu angsteinflößend. Erklärte Promi-Fans von Rush sind zahllose Konsens-Rockmusiker: Gene Simmons von Kiss, Jack Black, Sebastian Bach von Skid Row, Kirk Hammet von Metallica, Billy Corgan von den Smashing Pumpkins, Vinnie Paul von Pantera.

2011 arbeitete die Band an ihrem 20. Studio-Longplayer „Clockwork Angels“, gemeinsam mit Nick Raskulinecz, dem Co-Produzenten ihres 2007er US-Top-3-Albums „Snakes & Arrows“. Wenn sie nicht gerade auf ihrer „Time Machine“-Tour kreuz und quer durch die Welt unterwegs waren. Ende Mai 2011 spielten Rush in Frankfurt/Main ihr einziges Deutschlandkonzert der „Time Machine“-Tour. Im irrlichternden Popbusiness sind sie sich selbst treu und authentisch geblieben.

This album contains no booklet.

© 2010-2019 HIGHRESAUDIO