Feedback (2004)
1.Summertime Blues
2.Heart Full Of Soul
3.For What It's Worth
4.The Seeker
5.Mr. Soul
6.Seven and Seven Is
7.Shapes of Things
8.Crossroads
Trivia Question:
Throughout Rush’s long and varied career, how many cover songs—or songs written exclusively by outsiders—has the band recorded?
A seasoned follower of the group won't be caught off guard here. The answer, of course, is none. For nearly three decades, Rush made it a point of pride to avoid covers altogether. Not only did they refuse to record songs by other artists, they also declined to perform them live. There were occasional co-writing efforts, with Neil Peart occasionally collaborating on lyrics with trusted confidants, but never anything so drastic as a full-blown cover version.
Which is what made the release of Feedback such a surprise. Issued as a mini-album to commemorate the band’s 30th anniversary, it was comprised entirely of cover songs—eight in all. What’s more, there was no sense of irony or obligation to the collection. This wasn’t a contractual filler or a playful indulgence. It was, quite simply, a sincere nod to the music of their youth.
And herein lies one of Rush’s greatest strengths. The band had always been uniquely uninterested in the expectations of others. Never chart-toppers, and often maligned by critics, they instead cultivated one of the most loyal fanbases in rock by adhering to their own compass. As long as they were satisfied with their output—and their audiences kept showing up in droves—what others thought was of little concern.
Feedback is, on the surface, an unusual move for a band so closely associated with technical precision and lyrical complexity. The songs here all stem from the 1960s, and while some—like Summertime Blues and For What It’s Worth—are recognizable classics, others are more obscure. (It’s a fair bet, for example, that many listeners had never encountered Seven and Seven Is until this release.)
What makes Feedback a success is the treatment of the material. These are not straight copies or museum pieces. Rather, each track is filtered through the band's distinctive musical sensibilities. The results feel organic—almost as though the songs were written by Rush themselves, rather than adopted from outside sources. This, of course, is the highest form of tribute: honoring one’s heroes without sacrificing one’s own voice.
It’s also telling that the band opted for restraint. The entire set clocks in at under thirty minutes—eight tracks, lean and unfussy. No padding. No “because-we-can” bloat. It’s a pointed reminder that just because a CD can hold 80 minutes of material doesn’t mean it should. The length feels just right—any more and it may have risked wearing out its welcome.
During the subsequent 30th anniversary tour, a few selections from Feedback were integrated into the setlist, and they were received with open arms by the faithful. Proof, if any were needed, that this unorthodox detour had been the right move.
In the end, Feedback is a brief but endearing celebration. It offers a rare glimpse into the formative influences of a band that usually kept its cards close to the chest—and does so with charm, energy, and not a trace of pretense.
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