Rush - A Farewell to Kings
- FaceOff - עימות חזיתי
- Aug 29
- 7 min read
Updated: 6 days ago
On August 29, 1977, in Canada and the US, and on September 1, 1977, internationally, "Rush" released their fifth studio album, "A Farewell to Kings".
This album plays a crucial role in the band's musical evolution and in broadening the variety of instruments the members use. However, this progression wouldn't have been possible without the success of their prior album, "2112".
For those who haven't read our review of the album "2112", it's worth noting that after the release of their third album "Caress Of Steel", the future of "Rush" was uncertain. The record company considered ending their contract due to poor sales, and only after extensive persuasion did they agree to give "Rush" one more chance, with the condition that the band adopt a more commercial approach. The three band members disregarded the record company's demand. They believed they were about to record their final album and chose to stay true to their musical vision, starting the album with a 20-minute sci-fi epic, which ultimately became a massive success, not only in Canada and the US but also across Europe and worldwide.
After the success of "2112", Rush was finally granted creative freedom by the record company to write as they wished. This creative freedom enabled the band to continue experimenting and evolving musically.
In 1977, the band relocated to Rockfield Studios in Wales, UK, to record "A Farewell to Kings". The band members describe the creative process as highly significant, marking a milestone in their musical evolution. In an interview conducted by Geddy Lee coinciding with the release of the album's expanded edition for its 40th anniversary, he mentioned that this album was crucial for him and that he gained a lot of knowledge during its creation.
Indeed, "Rush" learned, experimented, and pushed their boundaries with this album. They stepped out of their comfort zone and strengthened their hold on the progressive-rock genre, incorporating more advanced elements into their work than in previous albums.
To highlight the album's progressive themes, the band introduces the Minimoog Synthesizer, significantly broadening their sound and exploring new musical dimensions. While the band had previously used a mellotron in the song "Tears" and a synthesizer for the effects at the beginning of "2112", both instruments were played by the band's cover designer, Hugh Syme. This time, Geddy Lee takes on the challenge of learning and playing this remarkable instrument himself.
Additionally, Geddy Lee and Alex Lifeson played 12-string guitars, while Neil Peart expanded his drum set with various percussion instruments such as wind chimes, a gong, and tubular bells. The band devised a solution to perform the new material live without relying on guest musicians. A key tool in achieving this was the Bass-Pedal Synthesizer used by Alex and Geddy, a keyboard operated with the legs that enabled the band to broaden the range of sounds in their performances.
The album begins with the title track "A Farewell to Kings," featuring Alex Lifeson's gentle (yet sofisticated) classical guitar accompanied by birds chirping in the background. Geddy Lee soon joins with the Minimoog, creating an atmosphere reminiscent of the Middle Ages. This opening track was recorded outside the studio as the band members observed the Welsh countryside. Producer Terry Brown positioned microphones outside to capture the ambiance, and the birds heard at the start of the song (and in "Xanadu") are real birds present during recording. Over a minute into the song, the first section reminds us of the band's strong Hard Rock roots. At 1:32, there's a break, a shift in tempo, and Alex Lifeson introduces the main riff. Just as we're adjusting to the previous rhythm change, at 3:10, another shift occurs with Geddy Lee's bass solo, seamlessly transitioning to Alex Lifeson's solo. The band members admit this song is challenging to play due to its unconventional time signatures and frequent rhythm changes (another occurs at 4:02, among others). This might explain why they rarely performed it live over the years, which makes it all the more wonderful to see the song return to the setlist as part of thier 2026 reunion. It's no surprise that Neil Peart, a literary enthusiast, drew the song's title from Ernest Hemingway's "A Farewell to Arms." The song concludes with the words "Closer To The Heart," which is also the title of the album's third track.
From there, we transition to one of the highlights of this album and one of the band's finest compositions - the mini-epic "Xanadu". This track extends over 11 minutes and begins with an instrumental section lasting nearly 5 minutes, making it one of the longest instrumental intros for a song. This opening sets the mood, inviting the listener to imagine the story's introduction. Alex Lifeson's pedal-guided guitar, Peart's remarkable percussion, and the recorded bird chirping outside the studio guide us into the narrative. The lyrics draw inspiration from Samuel Taylor Coleridge's poem "The Unfinished Kubla Khan," where Neil Peart explores the quest for the mystical "Xanadu," believed to grant eternal life to its discoverer. This marks Rush's first song where the Minimoog synthesizer plays a crucial role. Performing it live demands significant virtuosity from the band. Alex Lifeson handles a 6-string double-necked guitar and a pedal synthesizer. Geddy Lee sings and plays double-neck guitar, bass, 6-string guitar, synthesizer, and bass pedals, while Neil delivers on drums and an extensive array of percussion, showcasing his skill and enhancing the song's mystical and mysterious aura. Notably, the album's extended version for its 40th anniversary includes an accurate and insightful rendition by "Dream Theater" of this masterful piece. Additionally, in 1980, a film titled "Xanadu" featuring Olivia Newton-John was released, with "ELO" co-writing the soundtrack, which included a hit of the same name. While there is no musical connection between the songs, one might wonder if the film and album were inspired by "Rush's" interpretation of Samuel Taylor Coleridge's poem.
The other side of the vinyl begins with the semi-ballad "Closer To the Heart", which became the band's first hit during the Christmas season of 1977. This marks the band's first song where credit is given to an outside writer, Peter Talbot, a friend of Neil Peart. It is one of "Rush's" most popular tracks, performed in nearly all their shows. Although the band stopped playing it during the Vapor Trails tour in 2002, due to audience demand and its popularity in South America, it was included in the setlists for their shows in Rio, which were recorded and released in both audio and video formats. Unlike Rush's typically complex material, this song appears musically straightforward, especially when compared to the previous track "Xanadu". However, the bridge after the second verse reminds us that this is still "Rush", as what initially seems simple reveals deeper complexity.
The second track on the second side of the vinyl "Cinderella Man" is one of the band's rare songs where the lyrics were not penned by drummer Neil Peart, but by Geddy Lee. Geddy also composed the music, which was inspired by the 1936 movie "Mr. Deeds Goes To Town" starring Gary Cooper. The film narrates the tale of a small-town man who receives a large inheritance and is deemed crazy when he spends his wealth on aiding the poor. Musically, the track features an intriguing melody with a beautiful blend of Alex Lifeson's acoustic and electric guitars and Geddy Lee's distinct and bold bass playing, particularly in the slightly funky transition section.
The third track on the second side of the album "Madrigal", is perhaps the album's weakest and strangest piece. It is led by Geddy Lee's Minimoog synthesizer, which sounds much like a whistle, accompanied by soft guitar, a touch of jazzy bass playing, and a bit more percussion. While it seems to be a song about dragons and knights, a deeper look into the lyrics reveals it to be a kind of love song.
The album concludes with "Cygnus X-1 Book 1: The Voyage", the first of two parts, with the sequel appearing on the band's subsequent album "Hemispheres", released in 1978, titled "Cygnus X-1 Book II: Hemispheres".
"Cygnus X-1 Book 1" is segmented into three parts, narrating the tale of an explorer aboard a spaceship named "Rocinante" as he ventures toward the black hole "Cygnus X-1", hoping to traverse it and reveal what lies beyond. The epic track's opening features "space" sounds and effects, accompanied by a spoken word segment by producer Terry Brown. This "spacy" section is disrupted by Geddy Lee's dynamic bass riff, featuring syncopations and frequent rhythm changes between 3/4, 7/8, 3/4, and 4/4, continuing until the guitar and drums join. As the musical section concludes, Geddy Lee begins singing, depicting the black hole and the fate of those who fall into it. The second part of the piece describes the explorer's journey toward the black hole, featuring a wild "Wah, wah" solo by Alex Lifeson. The third part narrates how the explorer nears the black hole, his ship spiraling out of control and being powerfully drawn into it. This segment of the song showcases Geddy Lee's highest recorded vocal range (9:30 min into the song). This concludes the album and the first book of the story.
The second book, found on the album "Hemispheres", details how the explorer survives and emerges on the other side of the black hole in Olympus.
In summary, this is a crucial album in the "Rush" catalog, significantly contributing to the band's musical evolution and the expansion of their instrumental and sound range. The album's importance extends beyond the band's development, marking a milestone in the evolution of the Prog-Metal genre, which began on the band's previous album and would continue to grow on the next album.
For listening to the album in the original version: Spotify, Apple Music
For listening to the extended 40th ann. version: Spotify, Apple Music
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