Rush Compact Disc-ography: A Farewell To Kings
(Part of the Rush Collector Resources)
© Dave Weller, 2005 - last updated 8h March
Neil Peart did not laugh – unlike the architect, Howard Roark, hero of “The Fountainhead” a book by Russian émigré novelist and philosopher, Ayn Rand. “The Fountainhead”, along with “Atlas Shrugged” and “Anthem”, was a hugely popular novel first published in the 1930s that espoused a highly individualistic philosophy that Rand further elaborated as Objectivism in a series of non-fiction works. The exact influence of Rand in the late 60s, alongside a series of libertarian thinkers such as Nozick and Hayek is hard to gauge. But as far as Rush were concerned, and Neil Peart in particular, her “genius” was credited on their breakthrough album “2112” and her influence was often cited during a series of interviews the band gave between in 1976 and 1977, and especially the beginning of 1978. It was one of these interviews, with a British journalist called Miles from the New Musical Express, which landed Peart in hot water.
Having survived as a band for two years Rush delivered their third album, “Caress Of Steel”, to a decidedly muted response. The subsequent tour was nicknamed “Down The Tubes” and it looked like that was where the band was heading. In retrospect “Caress Of Steel” is a transitional album from their more traditional and derivative heavy rock influenced style to a more experimental and progressive style, and paved the way for the follow up, “2112”. Despite pressure from their record company the band stuck to their guns and delivered the album they wanted to record, continuing the direction that “Caress of Steel” had signalled. Their determination to stay true to their artistic integrity is summed up in the following line from the song “Something For Nothing”, “Yes it was for me not you that I came to write this song”, a seemingly direct reference to Howard Roark who insisted that “I don’t intend to build in order to have clients. I intend to have clients in order to build”. Roark was an architect with innate talent, the hero of “The Fountainhead”. Throughout his life he resolutely refused to compromise his own exacting principles and design buildings that were deemed ‘good’ or ‘acceptable’ by the architectural establishment. This is not because he was unable; quite the contrary, as he constantly helped one of his main protagonists become a revered and successful architect – he just didn’t want to do it in his own name. His integrity ultimately led him to destroy an orphanage he had designed that had been modified by another architect. Another parallel between Rand and Rush is revealed in the title track of the album “2112”, a story of a man who discovers a guitar, an instrument from a previous generation that had been banished by the totalitarian ‘Priests of the Temples of Syrinx’. This broadly follows the plot of “Anthem” by Rand where the hero (re)discovers the electric light only to have his discovery rejected by the ‘Council Of Scholars’. In “2112” the hero eventually commits suicide rather than continue to live in a world where music is banned.
“2112” was a breakthrough album for Rush, and their success continued with their subsequent live double LP, “All The World’s A Stage”. The summer of 1977 saw them play their first European concerts, in June, before retreating to Rockfield Studios in Wales for two weeks in July to record their next album, “A Farewell To Kings”. The overt lyrical references to Rand are not as pronounced in “A Farewell To Kings” as they were in “2112” but the influence of Rand is still apparent. The album itself is not obviously a concept album but there are a series of common themes that run though the six songs that comprise the record. Two of the tracks, “Xanadau” and “Cygnus X-1”, in fact the two longest tracks on the album – both being over ten minutes, are quests for alternative societies. Xanadu, a mythical ancient paradise, based on the poem “Kubla Kahn” by Samuel Taylor Coleridge, offering immortality to those that could find it. Cygnus X-1, a futuristic tale of a black hole that offers either destruction or the prospect of ‘soaring through the Astral Door’. The title track of the album, with it’s suggestion of republicanism, is a plea to try and not lose sight of a better future, to not be drawn from the ‘castles in the distance’ by hypocrites or ‘scheming demons’. The closing lines are a call to intellectual arms, to recall the difference between right and wrong and ‘find the minds to lead us closer to the Heart’. “Closer To The Heart”, was the working title for the album, as well as the title for one of the songs, the lyrics for which Peart co-wrote with Peter Talbot. It continues the theme of striving for change, for a better society, that is truer to itself. The final two tracks, “Cinderella Man” and “Madrigal”, both deal with the need to continue to strive for change even in the face of adversity. The lyrics for “Cinderella Man” were written by Geddy Lee rather Peart and were based on the film “Mr Deeds Go To Town”. “Madrigal” is about as close to a love song as Rush got to writing at this stage in the career. Again the plea to ‘search for truth’ is present but in this case it is love that provides the strength to continue as opposed to the vision of a better future. Two songs that present a vision, two songs that are a plea for change, and two songs that urge the listener to avoid giving up when things get tough. There is a sting in the tale though – the fate of the traveller hurtling into the black hole of Cygnus X-1 is left to be concluded, whilst the ‘pleasure dome’ at Xanadu, and immortality, deliver a false, never ending, paradise.
Musically, “A Farewell To Kings” is the most progressive of all Rush albums. The decision to record it in the UK was taken deliberately to capture the spirit of the British progressive rock groups such as Genesis, Yes and ELP. The use of acoustic instruments is far more pronounced than on previous albums and there is a much greater variation and dynamic range within the songs rather than the inclusion of individual acoustic songs or ballads. There is also the first use of synthesizers, a Mini Moog, in addition to a Moog Taurus bass pedal, and many of the percussive effects were recorded outside of the studio to create a more bucolic atmosphere. Shortly after the album was completed a video was recorded of the band performing the title track from the album along with “Xanadu” and “Closer To The Heart”. “Xanadu” features both Alex Lifeson and Geddy Lee playing double neck guitars – an image that would become a trademark for years to come.
In April 1977 Rush and their management formed their own record company, Anthem Records, named after the book by Rand, to allow them far greater control over their own careers and also to allow them to extend this approach to other bands that they and their manager, Ray Danniels, wanted to promote. In September 1977, “A Farewell To Kings” was the first Rush album to be released (in Canada) on Anthem Records, and the first record to be simultaneously released in the US, Canada and the UK. It was in the Billboard top 100 for 17 weeks, peaking at number 33. It went gold (500,000 sales) on 16th November 1977, eventually being awarded platinum status (1 million sales) in December 1993. In the UK it entered the album charts at 54, peaked at 22, and then dropped out after 4 weeks. It briefly re-entered the charts in February and March 1978, coinciding with the UK tour. It took until March 1979 for the first UK sales award – silver for 60,000 copies and was awarded gold for 100,000 sales in May 1982. In Canada the album was awarded platinum status for sales of 100,000 in February 1978.
The first single to be released from “A Farewell To Kings” was “Closer To The Heart”, perhaps the most radio friendly track from the album, with “Madrigal” on the flip side. In Canada it was released by Anthem Records in February 1978, catalogue number ANS-004, and spent 16 weeks in the charts, peaking at number 14. A follow up single was released later that year, “Cinderella Man”, coupled with “A Farewell To Kings”, catalogue number ANS-007. Mercury Records released “Closer To The Heart” in the US (catalogue number 73958) in November 1977 but it only spent 4 weeks in the Billboard charts, peaking at number 76. Mercury also released the single in Australia and New Zealand (both with catalogue number 6167-588), and in Japan with a picture sleeve (catalogue number SFL-2233). The Japanese release, along with a promotional copy of the single, is one of the most rare Rush 7” records. In England, Mercury released “Closer To The Heart” as a special limited edition 12” single in a picture sleeve, along with a track from each of the three previous studio albums; “Bastille Day”, “Anthem” and “Temples Of Syrinx”. This was part of a big promotional push to coincide with the start of the UK leg of the ‘Kings’ tour. The catalogue number for the 12” single was RUSH 12. A 7” single was also released, omitting “Anthem”, with catalogue number RUSH 7. The same format 7” single was released in Ireland, with the same catalogue number. Mercury advertised the single heavily in all the main weekly music papers in the UK and, due to heavy demand, had to re-press the 12” version. It entered the UK singles chart at number 36, then slipped down to 41 the following week, and 44 the week after before dropping out of the top 50.
At this stage in their career Rush were averaging more than two hundred live shows a year. The tour to promote “A Farewell To Kings” was gruelling; it was nicknamed the ‘Drive Til You Die’ tour. Rush played over one hundred shows, starting with eight dates in Canada in September, followed by over eighty dates across the length and breadth of the United States between September and January 1978, interspersed with three shows in Canada at the end of December. In February 1978 they played fourteen shows in England and Scotland including two nights at the Hammersmith Odeon. The second night at Hammersmith was recorded with the intention of it being broadcast on radio. As the band were unhappy with the performance it wasn’t broadcast and lay forgotten in an archive until it was unearthed twenty years later and included as a bonus disc on the live album, “Different Stages”. The tour concluded with four more shows in the US in March 1978. This was their first tour where they were exclusively the headline act. Bands that supported them included Blue Oyster Cult, Anthem Records label mates Max Webster, AC/DC, April Wine, the Runaways, and UFO. The setlist for the tour included all of the new songs from the album with the exception of “Madrigal”, which has never been played live.
Rush performing Xanadu at the Public Auditorium, Cleveland on 17th December 1977
Photo taken by and courtesy of Arnold Goldman. Used by permission.
The success of Rush perplexed and frustrated some of the music press in the UK. Although heavily championed by Sounds - and by Sounds journalist Geoff Barton in particular who gave “A Farewell To Kings” a rave review and was seconded to write the notes for the tour programme – the New Musical Express was horrified. Just as punk rock was being exported to North America, it’s anathema had appeared in the shape of a Canadian band who dressed in silk kimonos, wore long hair, played songs well over ten minutes in length and seemed to revel in their musical ability and lyrical accomplishment. Punk rock was in part a reaction to the pomposity of the progressive rock of the early 70s, but it was also borne at a time of growing social unrest. Rising unemployment and racism, under the leadership of a ‘socialist’ government, provoked a musical response with many punk (and reggae) bands supporting Rock Against Racism and the Right To Work Campaign. At the time Rush first toured the UK the celebrations of the Queen’s silver jubilee were at their height, just as “God Save The Queen” by the Sex Pistols was nearing number 1 on the singles chart, and Geddy Lee recalls first seeing the sex Pistols on TV whilst recording “A Farewell To Kings”. The backlash to the anti-establishment message and rebelliousness of punk rock, plus newspaper headlines that exaggerated the violence at punk gigs, meant many councils and venues banned punk bands from appearing. The backlash was also manifested in physical attacks on punk rockers. This served to encourage a polarisation of opinion that for many meant a direct link between left wing politics and ‘good’ music. If the obvious growing popularity of Rush couldn’t be attacked, their political views and their music certainly could be.
The opening criticism was in a review of “A Farewell To Kings”, where the NME complained that the album didn’t include a single reference to unemployment. (It is worth noting that the earlier coverage of Rush by the NME, whilst referring to the influence of Rand, was actually extremely positive. The June 2nd 1977 concert at the Free Trade Hall in Manchester also got a reasonably positive review, full or praise for the musicianship and the light show, but questioning the attraction of the music itself. This was a common theme of many of the review of Rush and other ‘heavy metal’ bands at that time). But the main assault was the aforementioned interview with NME journalist Miles. The resulting feature article, which appeared in the NME on March 4th 1978, captured a wide ranging discussion with Peart, supported by Geddy Lee, proposing a highly individualistic, anti socialist (or ‘collectivist in Rand-speak) laissez faire form of capitalism with a minimal state where the only function of government is to protect the rights of individuals. Miles complained that this would eventually lead to a free-for-all with no welfare state and no protection for workers as opposed to employers. Not surprisingly the debate was somewhat polarised with Peart declaring that there were no true capitalist economies – at best America was a mixed economy – and Miles insisting the UK and Europe were ‘state capitalist’ as opposed to truly socialist. The weaknesses of each economy were attributed to the fact that they weren’t either capitalist or socialist enough.
Judging by the subsequent reaction what surprised Peart, and others, most were the thinly veiled suggestions that his political views were akin to Nazism and Fascism. A follow up feature appeared in the NME a few weeks later where Peart complained that his views and quotes had been take out of context, and categorically stating that they were neither Nazis nor fascists, but that “Basically we absolutely believe in the total freedom of the individual”. This believe was in a philosophical sense far more so than in a political sense. Geddy Lee expressed a similar position many years later in an interview he gave when Rush were honoured with the Order Of Canada in 1997. He acknowledged the influence of Rand but complained that some people had taken it too literally – particularly some of the English music press. What was important were her idea of artistic freedom, rather than her libertarian politics. Peart has similarly distanced himself from Rand in recent years, complaining that her influence upon him has often been overestimated, and citing numerous other authors and thinkers that have also had an impact on his lyric writing.
The influence of Ayn Rand on Rush has recently even been the subject of a academic debate, in the pages of the ‘Journal of Ayn Rand Studies’, drawing on recent cultural theory and analyses of progressive rock. Although a high school drop out, Peart’s voracious literary appetite earned him the nickname ‘professor’ within the band. Peart first read “The Fountainhead” as an eighteen year old, and then came across a discarded copy on the tube whilst a budding musician in London in 1971 (3 years before he joined Rush). He re-read “The Fountainhead” again in 1976 and so Rand was certainly part of his syllabus for a number of years. Undoubtedly, in their formative years as band, Rush were influenced by Rand, her individualism and the implications of this for (their) personal and artistic integrity. In a 1978 interview with Circus magazine Peart said, “Our music has to be an honest statement of what we want to hear and what we want to play. Honesty is the keynote, the principle which we try to apply to everything we do – the music, the business, our personal relationships with each other”. As struggling musicians battling against a music industry they saw as corrupt, it was essential to remain true to their own beliefs and values, to create the kind of music that they wanted to, and to avoid the corruption that they saw as widespread within the music industry. Rand’s novels expressed a philosophy, through the actions of heroes such as Howard Roark, which helped them achieve this and provided them some guidance in their professional life. Indeed, in his recent (2004) autobiography come travel book, “Traveling Music” Peart recalls that “to a 20-year-old struggling musician, The Fountainhead was a revelation, an affirmation, an inspiration”. Similarly, in a 1994 interview, Lee noted that he “found Ayn Rand's work at a certain time in my life - this is going back to '76-'77 - to be a great liberator and a great relief because her artistic manifesto was so strong and inspiring. Her views on art and the sanctity of individuals were very inspiring to young musicians in a band, fighting for their own identity”.
One of the ironies of some of the reviews of Rush and their music during this period of their career is that in their rush (no pun intended) to focus on the links to right wing politics the reviewers overlook the more rebellious message in many of the lyrics of this period (and subsequently, in songs such as “Red Barchetta” and “Tom Sawyer” both from the 1981 album, “Moving Pictures”). The main character in “2112” is challenging and rejecting the authority of the establishment, run by the priests. In “A Farewell To Kings” the message is more utopian but the rejection of the current orthodoxy is still quite clear. This confusion is not just limited to critics anxious to dismiss Rush. A straw poll of fans, queuing overnight for tickets to a show, conducted by sociologist Deena Weinstein, revealed that although many of them knew the lyrics to “2112” verbatim, they were unclear as to the meaning of the song. In fact a majority of the fans thought that Rush were on the side of totalitarian priests rather than the anonymous hero. It is interesting to contrast the rebellious but ultimately utopian message of Rush with the rebellious but often nihilistic message of punk rock bands. For some reviewers though, in this case Paul Morley of the NME again, the utopianism is what presents the ultimate problem with Rush and similar ‘heavy metal bands’. A year or so after he had been impressed and perplexed by Rush as a live band (see above) he concluded that the reason for their popularity was “rooted in the immaturity of both the group and their fans. Immaturity of emotions, responses, ideals, character. A striving for something they’ll never have”. The lyrics focus on searches for purity and avoid diagnosis of the underlying problem, Morley argued, and the attraction of the music itself is its power. “Fascism lurking beneath the volume and noise? Sure”, he concludes.
Some of this analysis may be correct; escapism rather than a focus on day-to-day problems, and a theoretical rather than practical ‘call to arms’ are certainly characteristics of “A Farewell To Kings”, and earlier albums. However, the conclusion is false. The music of Rush is indeed powerful. Durrell Bowman, in a lengthy essay, suggested that the reason that fans think Rush are siding with the priests in “2112” is that the priests are depicted by energetic music whereas the hero is depicted with gentler music. But the intent or focus of the music is the fan as an individual. In a 1984 interview, Peart said, “I'm always playing for an individual. I don't play for the crowd - for some faceless ideal of commerciality of some lowest common denominator of the song”. To do otherwise, to pander to the crowd and think of them as a mob could be considered fascist, but the individualism has come full circle. In the late 70s, at the time “A Farewell To Kings” was recorded, the implications of this individualism were being expressed in a political way, with the band unashamedly declaring themselves to be ‘capitalists’. Perhaps because of the (over)reaction to these pronunciations Rush never made such obvious political statements again, but the lyrics of Peart continue to present the themes of individualism, self determination and integrity.
In the liner notes to “All The World’s A Stage”, the live album released prior to “A Farewell To Kings”, the band wrote that it signified “the end of the beginning, a milestone to mark the close of chapter one, in the annals of Rush”. “A Farewell To Kings” was the first instalment of chapter two. Musically progressive in the broadest sense of the term and a clear departure from previous recordings, it was not an abrupt change of course and the foundations, the ‘characters’, of the first chapter all make a welcome return. The two longest and most ambitious tracks on the album, “Xanadu” and “Cygnus X-1” quickly established themselves as key components of the band’s live show and, along with “2112” epitomise Rush of the 70s. “Closer To The Heart” has perhaps become the most enduring song of their repertoire, the only song to appear on all four of the band’s subsequent live albums, and most recently dusted off for their appearance on the Canadian Tsunami relief benefit show. And so “A Farwell To Kings” as a whole must be considered the Rush album of the band’s early years.
A Farewell To Kings - Albums
A Farwell To Kings
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Tracks: A Farewell To Kings, Xanadu, Closer To The Heart, Cinderella Man, Madrigal, Cygnus X-1 CD, Anthem, ANC-1-1010, ?, Canada CD, Anthem, ANK-1010, ?, Canada CD, Anthem, WANK-1010, ?, Canada CD, Anthem, ANMD-1010, ?, Canada CD, Anthem, ANMD-1079, June 1997, Canada – Rush Remasters series CD, Mercury, 822 546-2, March 1987, US CD, Mercury, D-102056, ?, US – BMG mail order CD, Mercury, P2-22546, ?, US – CRC mail order CD, Mercury, 314 534 628-2, May 1997, US – Rush Remasters series CD, Mercury, D-118703, ?, US – Rush Remasters series, BMG mail order CD, Mercury, P2-34628, ?, US – Rush Remasters series, CRC mail order CD, Mercury, 822 546-2, ?, Brazil CD, Mercury, 534 628-2, ?, Brazil – Rush Remasters series CD, Mercury, 822 546-2, March 1987, Germany CD, Mercury, 534 628-2, May 1997, Germany – Rush Remasters series CD, Epic/Sony, 25-8P-5167, ?, Japan CD, Atlantic, AMCY-319, 1991, Japan CD, Atlantic, AMCY-2293, 1997, Japan – Rush Remasters series Notes:. The original US versions of the CD have been released in a variety of subtly different formats, some of which were housed in a blister pack with long insert:
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Sources
The following articles and books were consulted during the preparation for this feature.
[1] ‘Rush Release: Canada's Power Trio Is Switched On Live by Anastasia Pantsios in Circus 25th November 25 1976
[2] ‘A Canadian Rush. The Metal Marvels That Took the Rock World By Surprise’ by Debra Frost in Circus 14th February 1977
[3] ‘SRO Forming Anthem records For Its Artists’ by Martin Melhuish in Billboard 28th May 1977
[4] ‘Success Spawns A New Label’ in RPM Weekly 4th June 1977
[5] ‘The American Heavy Metal Conspiracy’ by Phil McNeill in N.M.E. 4th June 1977
[6] ‘The Rush Phenomenon’ review of concert at Free Trade Hall, Manchester by Paul Morley & Paul Rambali in N.M.E. 11th June 1977
[7] ‘Rush: Routine Heavy Metal’ review of concert at Free Trade Hall, Manchester by Andrew Harries in Melody Maker 11th June 1977
[8] ‘Rush Completes First UK Tour’ in RPM Weekly 9th July 1977
[9] ‘Rush Judgement’ by Geoff Barton in Sounds 16th July 1977
[10] ‘Rush: Canada’s Most Successful (And Least recognized) Rock Band’ by Tom Harrison in Georgia Straight 8-15th September 1977
[11] ‘Rush : Lords Of The Kings’ review of “A Farewell To Kings” by Geoff Barton in Sounds 10th September 1977
[12] ‘Rush – An International Happening’ in RPM Weekly 17th September 1977
[13] Review of “A Farewell To Kings” by R.G. Brickmaster in N.M.E. 1st October 1977
[14] ‘The Rush Tapes, Part 1’ by Scott Coehn in Circus 13th October 1977
[15] ‘The Rush Tapes, Part 2’ by Scott Coehn in Circus 27th October 1977
[16] ‘The Rush Tapes, Part 3’ by Scott Coehn in Circus 10th November 1977
[17] Review of “A Farewell To Kings” by Michael Oldfield in Melody Maker 5th November 1977
[18] Review of concert at Public Hall, Cleveland, Ohio by Bob Datz and Dave Voelker in Scene 22-28th December 1977
[19] ‘Rush: Are They Afraid Of Heavy Metal?’ by Jymn Parrett in Stagelife December 1977
[20] Rush supplement from Performance, no date but probably late 1977
[21] ‘Recognition Is Only Half The Fun’ by Max Thaler in Circus 5th January 1978
[22] Review of concert at Civic Center, Providence in Variety 18th January 1978
[23] ‘To Hell with Bob Dylan’ by Roy MacGregor in Macleans 23rd January 1978
[24] ‘Rush A Chicago’ by Marie-France Remillard in Pop Rock 28th January 1978
[25] ‘Rush: We Have assumed Control’ concert review at Madison, WI by Michael St. John in ?
[26] ‘Heavy Side Of Rush’ by Simon Kinnersley in Melody Maker 11th February 1978
[27] Review of concert at Birmingham Odeon by Bill Green in ?
[28] ‘Rush Of Blood To The Heads’ concert review of Hammersmith Odeon (Sunday) by Michael Oldfield in Melody Maker 25th February 1978
[29] Review of concert at Hammersmith Odeon by Mark Ellen in N.M.E. 25th February 1978
[30] ‘Black Holes. Close Encounters With Rush’ by Geoff Barton in Sounds 25th February 1978
[31] ‘Is The Canadian Rush On?’ in Music Week 4th March 1978
[32] ‘Power Pop? What’s That Say The Rush Fans’ by Robin Smith in Record Mirror 4th March 1978
[33] ‘Is Everybody Feelin’ All RIGHT? (Geddit…?)’ by Miles in N.M.E. 4th March 1978
[34] ‘SRO/Anthem. Five Years Old And Still Growing’ by Nancy Gallo in RPM Weekly 1st April 1978?
[35] ‘Power, Pomp, Purity, Pretention, Popularity… The Rush Problem’ review of “Archives” by Paul Morley in N.M.E. 24th June 1978
[36] ‘Everyone’s Pet Rock, Rush Isn’t’ by Daniel P. Kelly in Milwaukee Journal Sentinel 9th December 1978
[37] ‘The Rush’Uns Are Coming’ by John Gill in Sounds 5th May 1979
[38] ‘Rock Against Right-Wing Rock Being Called Fascist’ by John Hamblett in N.M.E. 5th May 1979
[39] ‘Permanent Raves’ by John Gill in Sounds 14th March 1981
[40] ‘Rush. But Why Are They In Such A Hurry?’ by J Kordosh in Creem June 1981
[41] ‘Rock ‘N’ Roll Royalty’ by Nicholas Jennings in Macleans 30th September 1991
[42] ‘Rush – Counterparts’ by Neil Peart in Rush Backstage Club Newsletter January 194
[43] ‘Rush – Astronomicon’ in Seconds, Issue 25 1994
[44] ‘A Polish Interview’ by Wieslaw Weiss in Tylko Rock November 1996, translated by Phillip Goss at http://www.rush.com.ar/Interview-geddy.htm
[45] ‘Rush Rocks Right Into The Order Of Canada” by Norman Provencher in The Ottawa Citizen 26th February 1997
[46] ‘A Rebel And A Drummer’ by Scott Bullock in Liberty September 1997
[47] Mystic Rhythms: The Philosophical Vision Of Rush by Carol Selby Price & Robert M. Price, 1998, Berkeley Heights, NJ, Wildside Press
[48] Heavy Metal: The Music And Its Culture by Deena Weinstein, revised edition, 2000, New York, Da Capo Press
[49] ‘”Let Them All Make Their Own Music”: Individualism, Rush, and the progressive/hard rock alloy, 1976-77’ by Durrell Bowman in Progressive Rock Reconsidered by Kevin Holm-Hudson (ed), 2001, New York, Routledge
[50] ‘Rand, Rush, And Rock’ by Chris Matthew Sciabarra in The Journal Of Ayn Rand Studies Vol. 4, No. 1, (Fall 2002) Available on-line here.
[51] ‘To Rand Or Not To Rand?: Neil Peart’s Varied Influence’ by Durrell Bowman in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[52] ‘Rand, Rush, And De-Totalizing The Utopianism Of Progressive Rock’ by Steve Horowitz in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[53] ‘Concerning The Politics Of Prog’ by Ed Macan in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[54] ‘Ayn Rand And The Music Of Rush: Rhapsodic Reflections’ by Bill Martin in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[55] ‘Fancy Meeting Rand Here’ by Robert M. Price in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[56] ‘Saying Yes To Rand And Rock’ by Peter Saint-Andre in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[57] ‘Lyricist Neil Peart: A Brandenian Pedigree’ by Thomas Welsh in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003)
[58] ‘Rand, Rock, And Radicalism’ by Chris Matthew Sciabarra in The Journal Of Ayn Rand Studies Vol. 5, No. 1, (Fall 2003) Available on-line here.
[59] Rocking The Classics: English Progressive Rock and the Counterculture by Edward Macan, 1997, New York, Oxford University Press
[60] Listening To the Future: The Time Of Progressive Rock, 1968-1978 by Bill Martin, 1998, Chicago and La Salle, Open Court
[61] Travelling Music - The Soundtrack To My Life And Times by Neil Peart, 2004, Toronto, ECW Press
[62] Visions: The Official Biography by Bill Banasiewicz, 1988, London, Omnibus Press
[63] Rush by Brian Harrigan, 1982, London, Omnibus Press
[64] Anthem by Ayn Rand
[65] The Fountainhead by Ayn Rand
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