Finding My Way
Need Some Love
Take A Friend
Here Again
What You're Doing
In the Mood
Before And After
Working Man
Back in 1973, Rush were still an old-fashioned, no-frills power trio. Having attracted zero interest from major record companies, the band’s manager Ray Danniels formed independent label Moon Records to release the album. The recording budget was small, and Rush worked the graveyard shift during the first sessions at Toronto’s Eastern Sound studio.
“This was us trying to find a sound,” said Geddy Lee of their self-titled debut. “Thinking we wanted to be a hard rock band and emulating those bands we thought were cool.”
He isn’t wrong. The sole album to feature drummer John Rutsey owed a huge debt to Led Zeppelin and other early 70s blues rockers. But Rush has a charm and energy that they never replicated, not least on the classic Working Man, which resonated with blue-collar workers everywhere – as well as radio DJs who realised it was long enough for them to take a toilet break, turning it into an unexpected breakthrough hit.
"I can hear Led Zeppelin in there, and a bit of Humble Pie," said Geddy. "I wish I could hear more than just those influences, but I can’t. John Rutsey was very much a Simon Kirke kind of drummer – just hold down the backbeat and let’s rock out. So that’s how the songs came out."
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in March 1974
- Aerosmith - Get Your Wings
- Camel - Mirage
- T. Rex - Zinc Alloy And The Hidden Riders Of Tomorrow
- Three Dog Night - Hard Labour
- Queen - Queen II
- Chicago - Chicago VII
- Frank Zappa - Apostrophe
- Eagles - On The Border
- King Crimson - Starless And Bible Black
- Kansas - Kansas
- Bob Seger - Seven
- Mott The Hoople - The Hoople
- Grand Funk Railroad - Shinin' On
- Boz Scaggs - Slow Dancer
- Peter Frampton - Somethin's Happening
What they said...
"Many in the popular music world seem to be attempting to a more simple way of doing things, including some of the biggest manes in the business, and Rush fits into this category. Trio serves up a dose of good hard rock highlighted by the often Robert Plant-like lead vocals of Geddy Lee and the powerful guitar work of Alex Lifeson and solid drumming from John Rutsey. Good material here for AM or FM play." (Billboard)
"There's no denying that Lee and Lifeson were already strong instrumentalists, but such predictable compositions as In The Mood and What You're Doin" prove that Neil Peart was undoubtedly the missing piece to the puzzle. While longtime Rush fans can appreciate their debut because they never returned to this style, newcomers should stick with their classics from later years." (AllMusic)
"And Rush is not popular without reason. Geddy Lee's bass playing is hardly likely to threaten the likes of an Entwistle, but his voice is undeniably a great asset to the band's total punch. Guitarist Alex Lifeson surges forth with seeming teenaged abandon, wrestling riffs out of his axe that aren't totally original but could easily eclipse April Wine's present position as the guitar band in this country." (Beetle)
What you said...
Chris Downie: Some debut albums are distinctive not for their musical merits (admirable though they may be) but for their anomalous nature in a band's catalogue; the one album that showcased a sound and/or vibe quickly retreated away from and has thus left listeners pondering another possible timeline, had the artist continued along their original path. Rush is one such debut, their sole album prior to legendary drummer and lyricist Neil Peart's arrival on the iconic Fly By Nigt", the Zeppelin-on-steroids approach being released to modest success and often overlooked since.
Despite the brilliant Working Man remaining a staple of live sets until the end of their stunning 40-year career, casual listeners rarely cite this album in the annals of iconic Rush releases and it is perhaps understandable; it is primitive in comparison to their later masterworks, lacking both the lyrical depth and, with the one noted exception, a recognisable hit. That said, there is nothing to criticise about the performance of original drummer, the late John Rutsey, or indeed the raw power of the tracks throughout. Indeed, What You're Doing (later covered by Skid Row) showcases a fine mid-paced groove and despite the passionate-but-naive Plant impressions from a youthful Geddy Lee, Finding My Way hits the spot.
Perhaps the album's most compelling talking point, as alluded to above, is where Rush would have ended up, had they continued in this vein, with or without Rutsey (whose diabetes hindered his touring capabilities). A likely possibility would be that of fellow Canadians Triumph, a power trio with intelligent songwriting, but with a straighter heavy rock motif. Regardless, the changes were made and the rest is history, but this serves as a curious first entry in the distinguished catalogue of one of the greatest rock bands of all time. 7/10.
Gary Claydon: This was my introduction to Rush, via a recommendation from a friendly record shop guy who was happy to tolerate my youthful enthusiasm. It was along the lines of "I think you'll like these. They're a new band, Canadian, excellent guitarist but the vocals take some getting used to". He wasn't wrong, I did like it - a lot.
For a debut, this was very assured. It's pointless comparing it to their later output - different band, essentially and there was no way of predicting the direction(s) Rush would take. So forget comparing the songwriting, just revel in an excellent heavy rock album. Sure, there are shades of Led Zep or Cream but so what? Lifeson's guitar is the star for me, the riff-solo-riff of most of the tracks was fine by me. I was a fan of Geddy's vocals straight from the off. I get why they are a bit 'marmite' but they always worked pretty well to my ears. John Rutsey does some sterling work, including some nicely groovy fills.
Highlights? Undoubtedly the mighty Working Man is a powerful and enduring classic. The rest of the album is none-too shabby either. In The Mood, What You're Doing, the slow burn of Here Again and Before And After all worthy of mentioning in dispatches. Even the more throwaway tracks (Take A Friend and Need Some Love) aren't exactly duffers.
I didn't know at the time that Rush would become one of my favourite bands or that they would move in very different directions but that was yet to come and by any standards, this is a mighty fine debut album.
I've often heard, or read, expressions of surprise and/or, in many cases, disappointment at the band's early work from people who would discover them at some later juncture. At times there seems to be a suggestion that the straightforward heavy rock of the debut is somehow beneath the band. I think that's somewhat missing the point, looking at it the wrong way round. This was a youthful trio - if you'll forgive the pun - finding their way. Peart, the grandiose Sci-Fi and fantasy, the prog metal par excellence were all for the future (not to mention the highly divisive but no less interesting second half of their career). No, the surprise was never what had gone before but always what would follow, for Rush were the very definition of a band who refused to stand still.
Brian Carr: Killer album, but man, is it hard to listen without hindsight affecting things. Straightforward hard rock that in almost no way predicts what Rush would become. The band is tight, the performances solid for such a young group looking for their own unique sound. Rush’s debut is great, but is so overshadowed by what was to come that it isn’t an album I usually grab.
Philip Qvist: From a lyrical point of view, things could only improve for Rush once Neil Peart came on board, but that was for the future. In the meantime, while John Rutsey did not fancy himself as a lyricist (he apparently tore up the lyrics before the recording as he wasn't happy with them) you couldn't fault his drumming - far from it, in fact.
Add in the musicianship, if not the vocals, of Geddy Lee and Alex Lifeson, and you have the basis of a pretty decent debut album. No, it isn't a Moving Pictures, but as debuts go it is both solid and rather good; while Working Man is still my to go-to song on their debut.
I give this one a solid 7; due partially to the lyrics, but also to how it compares to what they were going to produce in the future.
Chris Elliott: An album completely lacking anything that made Rush interesting.
This was one of my earliest album purchases - a budget collection of their first three LPs - I'd gone to buy 2112 but found the triple album at the same price. I don't think I've played this one album in the 40 years since - never even bought the CD or downloaded it unlike pretty much every other Rush album. For me it's just another dull sub-Zep album
Nigel Mawdsley: I've never heard this album before as I've never really 'got into' Rush, but I was pleasantly surprised. Very Led Zeppelin-esque, with guitar playing that reminded me of Dave Davies of The Kinks at times. I can appreciate why people do like Rush but this debut album is leaning more towards my style of music. Good stuff!
Gus Schultz: I as well was introduced to Rush with All The World's A Stage on a crappy 8-track in a buddy's VW and loved it. The live tracks of Working Man and Finding My Way just blow the studio versions to bits. I never really paid much attention to the first album as I bought All The World's A Stage and Caress Of Steel first then onward because it just got so f#$king good after that. I later bought the first LP and enjoyed it, but I wouldn't say it would be my go-to album.
Most tracks are a great listen but you can tell it was a band just starting out trying to find its groove (notice I didn't say finding their way), and back in those days, it was a tough go getting a first album recorded, especially when you've been playing schools and town halls in early seventies Ontario. I think it's a great album considering what their situation was at the time, and who knows how their career would have gone if they continued with that lineup, but along came Neil Peart and the rest is history. It's a nice LP to have in your Rush collection nonetheless.
Andrew Cumming: Very much formative Rush and a sound and style that is definitely a work in progress. But a really good album with some great songs. Bookended by stone-cold classics Finding My Way and Working Man. In The Mood is a bit of fun that didn’t survive into the serious years. What You’re Doing made it all the way to their last show. A real hidden gem is Before And After. If you like Rush, this is a must. Admittedly might not be the place to start for newcomers.
John Davidson: A stone-cold classic. Yes, it's from the time before Neil Peart elevated the lyrics (and drumming) to the next level, accidentally inventing progressive metal in the process, but this is as rock-solid a debut as you'll find.
The songs have a groove to them that the later albums rarely rediscovered and the lyrics, while simple, are at least singable.
Lee and Lifeson, at the start of their career, arguably at their most basic and stripped back, demonstrate they are a songwriting duo that can go toe to toe with anyone in the business.
As for the execution. Lee and Lifeson are excellent and Rutsey shows he was no slouch either.
Working Man gets all the plaudits but there isn't a weak track on the album. I personally have a soft spot for the slow-burning blues of Here Again.
9/10. It's only not a 10 because they went on to produce even better albums.
Mike Canoe: While Rush would certainly make albums that I like more - some, a lot more - their debut still has plenty going for it, especially in the musicianship of the three players. As a non-musician, I have no complaints about John Rutsey as a drummer. Finding My Way is still a great opener and Working Man is still a great closer. As far as the stuff in between, unheralded other epic Here Again has some great soloing by Alex Lifeson and there are some nice acoustic bits on Before And After before it takes off at around two minutes plus.
The songwriting would improve on future albums and, of course, the lyrics as well - although it's amusing to hear Geddy Lee, one of the most intellectual rockers of all time, sing about something as mortal as being horny, as he does on Need Some Love and In the Mood. At the same time, while Rush went on to pen many an epic, did they ever write another lyric as simple and profound as "I got no time for livin', yes, I'm workin' all the time"?
Bill Griffin: I love Led Zeppelin. Robert Plant is one of the best singers ever. Geddy Lee sounds like Robert Plant on this album. I hate Rush because I can't stand Geddy Lee's voice.
How does that make any sense whatsoever?
Anyway, I think this album is remarkably mature for a debut, as if they had been making albums for years. I'm sure that Terry Brown had a lot to do with that and will always believe that the biggest mistake the band ever made was to sever ties with him. He was the constant, the glue that held their experiments together. They were forever searching from that point forward.
This album is almost as good as the rest of them, only lacking a little in the lyrics department. They aren't that different from this album to Fly By Night. There was a much larger leap between Fly By Night and Caress of Steel. I would give this one a 10 but for the lyrics and only because they got so much better.
Greg Schwepe: So, even though I’m a huge Rush fan, I somehow didn’t manage to buy their debut until well into my Rush fandom. My first Rush purchase was the live All The World’s A Stage, back in 9th grade and I bought each subsequent new album upon release, then at some point “went backwards” to get the early stuff I missed. And pretty sure I bought this with two or three other record store finds, along with some other bands that day just to “check the box” so I could fill in the missing Rush albums. Having already been familiar with the live versions of four tracks from this album I figured I’d at some point immerse myself in this classic… which I did.
You can almost call this album and lineup of the band “Rush 1.0.” This is the only album to feature drummer John Rutsey. And the only album to feature probably the most straightforward rocking Rush album of the whole batch. By the time the follow-up came around, they had changed 33 1/3% of the band’s lineup (Rutsey out, Peart in), and maybe 100% of the direction of the music.
You’ve got a power trio in the form of Cream playing Zeppelin-style riffs. I mean, how can you go wrong here? And the cowbell on In The Mood? Yes! If you’ve seen any of the Rush documentaries or read Geddy’s autobiography, you know how WMMS out of Cleveland in northeast Ohio picked up the album. They started playing the crap out of it, and the rest is history. I grew up on the other side of the state out of the range of WMMS, but once every other station caught on, you knew who Rush was.
Now it’s time to address the elephant in the room. Or the rooster, or chipmunk, or any other animal with a high shriek that was used to describe Geddy Lee’s vocals in one review or another. For some, the vocals are a non-starter for even liking or listening to Rush. I have not read other comments or reviews on this album on the Album Of The Week post yet, but I can bet there will be a few saying they won’t even listen to Rush because of the vocals. I for one, don’t mind them. There are a zillion distinctive voices in rock and roll, and Geddy is just one of them. I was into Led Zeppelin before Rush, so maybe high-end wailing was not a show-stopper for me.
As far as the songs go, there is nothing Earth-shattering here in terms of lyrical content. That didn't happen until Mr. Peart arrived. But for a band that’s still finding their way (sorry, partial song title pun there), there’s a lot of fist-pumping grooves to keep you entertained to the last track. Alex Lifeson’s playing is somehow simple and complex all at the same time. Geddy holds down the bottom end with his trusty Rickenbacker bass and Rutsey is just fine for this style of rock.
And yes, that last track is the encore getting lighter waving Midwest FM rock station Friday night party starter; Working Man. All 7:09 minutes of guitar solos, riffs, and an homage to those that labour to get their paycheck. If this came onto the radio at a party you were at, it got turned up…loud.
8 out of 10 on this one for me. An excellent album for a band that had longevity. Standing there with my son as they kicked into Working Man on their farewell tour, we looked at each other with huge smiles on our faces, gave ourselves a big high five and both let out a hearty “yeah!” That’s how you end it.
Final score: 8.32 (136 votes cast, total score 1132)
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