The OPENING NOTE of This 80s ROCK Song DISRUPTED Pop Radio & REARRANGED Our Minds!-Professor of Rock

Today’s song only needed its opening note to spark a revolution on rock radio. It’s sinister, it’s mind-altering, it’s empowering. One growling intro note is all it takes to open the portal to an otherworldly soundscape, masterfully crafted by one of the most colossal forces in rock history. This Rock band broke the world in two with this 1981 gateway anthem that turned all of us into believers and even though it’s one of the biggest songs in rock history technically, it wasn’t a hit and the band hated it until it got mixed.. it was inspired by a literary classic that every generation has read, and even though it was a tall order to name the track after this novel, it’s that rare case where the song is better than the book and the movie. Find out next! NEXT on the Professor of Rock.

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After Discovering RUSH from a rock radio station as a young boy, I was off to the races. The Next RUSH album I tried on for size after Permanent Waves was MOVING PICTURES… Today we are going to break down that period with a focus on the album and it’s most iconic Track Tom Sawyer
Moving Pictures is Rush’s eighth studio album. Released on February 12, 1981. After touring to support, Permanent Waves the band began writing and recording new material in August 1980 with the help of co-producer Terry Brown.

Moving Pictures was a massive step forward into mainstream consciousness. These songs were more radio-friendly than those on previous albums. Having already started on this road with their previous release RUSH featured tighter song structures and shorter lengths. Rush had famously produced a consistent barrage of sizable tracks, sometimes reaching 18 and even 20 minutes in length. Throughout the 70s Rush’s albums typically averaged between 6 to 9 minutes per track.

Conversely, Moving Pictures averaged just over 5 and a half minutes a track. Though not a hefty decrease, it was enough to make their music more digestible for the uninitiated. The album’s longest track, The Camera Eye, clocked in at 10:58. Red Barchetta came in at 6:10. But the remainder of the songs were all south of 5 minutes.

So, depending on how many Rush concert ticket stubs you had accumulated up to that point, this transition into semi-mainstream could be viewed as a welcome step into the limelight or the loss of all vital signs. Sorry, couldn’t resist.

Look, throughout the 70s Rush proudly flew under the radar. They were anti-corporate, anti-establishment, and unconcerned with mainstream approval. They made the music that they wanted to make, and couldn’t care less about writing hit singles.

For years these attitudes coalesced to define Rush’s identity, and that of their fanbase as well. Early Rush adopters were drawn to the music not only because it was phenomenal, but also because of the band’s independent flair.

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