Grace Under Pressure (1984)
1.Distant Early Warning
2.Afterimage
3.Red Sector A
4.The Enemy Within
5.The Body Electric
6.Kid Gloves
7.Red Lenses
8.Between the Wheels
This was arguably Rush’s first true 80s album. No, not the first they released in the 1980s — by that count, it’s their fourth — but the first that truly sounded like it belonged to that peculiar neon-tinged decade of Reaganomics, Rubik’s Cubes, and ill-advised wardrobe decisions. The music is awash with synth textures and shimmering keyboard layers, and even Neil Peart trades in his acoustic kit for something called “electronic percussion”. The back cover photo reveals short hair, new wave aesthetics, and the unmistakable suggestion that the band had moved into unfamiliar territory. Five of the songs were made into music videos. To some, it looked like Rush had gone MTV.
Fortunately, looks — and sounds — can deceive.
The good news, which turns out to be the great news, is that Grace Under Pressure works. All of it. That’s not to say the process was smooth. Longtime producer Terry Brown had been with the band since the beginning, but sensing creative stagnation, the group cut ties. After much searching (and much second-guessing), they landed on the relatively unknown Peter Henderson. The mood during recording, by all accounts, was tense and uncertain. Would this experiment implode? Would the fans revolt? In retrospect, no album title could have been more apt.
Despite the shift in tone and texture, Grace Under Pressure is a triumph. Yes, the keyboards are everywhere — but this time, they serve the material rather than overwhelm it. And those who lamented the near-invisibility of Lifeson’s guitar on Signals could finally exhale: Alex is back in force. His riffs sting, his solos cut, and the album reasserts Rush’s rock credentials in bold strokes.
Of course, not everything lands easily on first listen. The two “Red” songs — Red Sector A and Red Lenses — veer into bold, rhythmic territory. Dance beats and jazz inflections crop up in unexpected places, and for those clinging to the Rush of 2112 or A Farewell to Kings, it was all a bit much. But — and it’s an important but — the tracks reward patience. Beneath the sheen lie tight arrangements, pointed lyrics, and grooves that wear well over time.
Other tracks play it straighter. The Enemy Within and Kid Gloves could have been lifted from earlier albums, albeit with a few telltale signs of the digital age (those drum pads again). Then there’s the middle ground, where classic and contemporary sensibilities collide. The Body Electric, Distant Early Warning, and Between the Wheels blend old-school urgency with modern architecture, managing to be both fresh and familiar.
There’s also something to be said for the band’s newfound energy — not just in the studio, but on screen. Five music videos accompanied the album, and for a band not known for their visual flair, Rush suddenly looked animated, engaged, even youthful. Unlike many of their peers, who would spend the decade issuing half-hearted stabs at relevance (yes, we’re looking at you, Dirty Work and The Elder), Rush embraced the moment with integrity and verve.
In the final tally, Grace Under Pressure stands as a rare feat: a band evolving in real time, incorporating modern sounds without losing their soul. It may not have pleased everyone on first release, but it’s aged remarkably well. Rush, as ever, were not content to rest on their laurels — and for that, they once again emerged ahead of the curve.
Go back to the main page
Go To Next Review