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MOVING PICTURES
Released: February 1981
Certified Gold by RIAA: April 13, 1981 -- Certified Platinum by RIAA: April 27, 1981 -- Certified 2x Platinum by RIAA: October 12, 1984 --
Certified 4x Platinum by RIAA: January 27, 1995
Highest Billboard Chart Position: 3
| | -- |Lyrics| -- |Liner Notes| -- |Articles| -- |Album Artwork| -- |Album Review| -- |Tour Dates| -- |Back To Discography| -- | |
Liner Notes
Geddy Lee - Bass guitars, Oberheim polyphonic; OB-X; Mini-Moog; and Taurus pedal Synthesizers, vocals
Alex Lifeson - Six and twelve string electric and acoustic guitars, Taurus Pedals
Neil Peart - Drums kit, timbales, gong bass drums, orchestra bells, glockenspiel, wind chimes, bell tree, crotales, cowbells, plywood
Produced by Rush and Terry Brown
Arrangements by Rush and Terry Brown
Recorded and mixed at Le Studio, Morin Heights, Quebec, during October and November, of 1980
Engineered by Paul Northfield
Assisted by Robbie Whelan, and our computerized companions: Albert, Huey, Dewey, and Louie
Digital mastering engineered by Peter Jensen
Hugh Syme is the featured guest performer once again, playing synthesizers on 'Witch Hunt'
Art direction, graphics and cover concept by Hugh Syme
Photography by Deborah Samuel
Mastered at by Bob Ludwig and Brian Lee at Gateway Mastering Studios, Portland, Maine
Management by Ray Danniels, SRO Management, Inc., Toronto
Executive Production: Moon Records
Road Manager and Lighting Director: Howard Ungerleider
Concert Sound Engineer: Ian Grandy
Stage Manager: Michael Hirsh
Stage Right Technician, and Crew Chief: Liam Birt
Stage Left Technician: Skip Gildersleeve
Centre Stage Technician: Larry Allen
Guitar and synthesizer Maintenance: Tony Geranios
Stage Monitor Mixer: Greg Connolly
Projectionist: Lee Tenner
Personal Shreve and Factotum: Kevin Flewitt
Concert Sound by National Sound
All-Stars: Tom Linthicum, Fuzzy Frazer, Dave Berman
Concert Lighting by See Factor International
Easy Co.: Nick Kotos, George Guido, Bob Kniffen, Bob Cross
Concert Rigging: the daring Bill Collins
Transportation expertly guided by Tom Whittaker, Billy Barlow, Kim Varney, Arthur MacLear, Pat Lines, Bill Fuquay, Mike and Linda Burnham
Fabulous Persons: at Le Studio: André, Yaël, Pam, Paul, Robbie, Roger, Harry, Claude & Gisele, André et Le Bouffe en Broche, Ted (Theo) McDonald, Irv Zuckerman & Associates (The Beords), Brain (Vings) Laski, George Vis, Ted Veneman, Max Lobstors, Saga & crew, 38 Special & crew (27-24), Drexel, Gerry, Griffin & Family, Terri at the Hawkins farm, Asteroids, volleyball (the Retardos & the Frantics 21-8!), the Greenie (you must be drinking!), Bill Ward, Loveman, Lovewoman & The Lovemachine, Scar & The Ignorant Wildfire Game, Top Secret, the Montreal Canadiens, Steven Shutt, Screvato, Robin & Phase One, Bill Elson, Cliff Burnstein, Jim Sotet, Sherry Levy, and the Oak Manorians.
Special British Supplement: Wild Horses; Jimmy & Sophie, Brian & Dee, Clive, Dirk (no relation), Mr. & Mrs. Robinson, Fin Costello, Bill Churchman, Alan Philips, Barry Murfet, Tex Yodell, Lofty & Stage Crew, Steve Tuck, Robbie Gilchrist
Dept. of Above-And-Beyond: Ray, Rhonda, L.B., Dear Olde Broon (a great mind thinks alike), Happy Birthday Ms. Broon (wrong again, eh, Hovis!)
Featuring Daisy as 'Ski Bane'
Our continuing appreciation to the people and products of Tama, Avedis Zildjian, and Rickenbacker
Coolidge Dog Painting from the Archives of Brown & Bigelow, St. Paul, Minnesota
Correspondance: P.O. Box 640, Thornhill, Ontario, Canada L3T 4A5
Red Barchetta inspired by "A Nice Morning Drive" by Richard S. Foster
© 1981 Mercury Records © 1981 Anthem Entertainment
Articles
Inside Rush's Moving Pictures - Music Express Magazine, January 1981
Rush Cover Story - Cashbox Newspaper, March 1981
Neil Peart & Rush Go Public on 'Moving Pictures' - Circus Magazine, March 1981
Rush To Glory - Hit Parader Magazine, April 1981
Sometimes Rush Is In A Hurry - Philadelphia Inquirer, May 1981
Rush: Power From the People - Rolling Stone Magazine, May 1981
Rush: But Why Are They In Such A Hurry? - Creem Magazine, June 1981
There's a Rush on Platinum - Cashbox Newspaper, June 1981
Rush: The How And Why Of Their Long Climb To The Top - Record Review Magazine, August 1981
Caught In the Act: Rush - Hit Parader Magazine, October 1981
Alex Lifeson: The Making of a Killer Sound - Guitar World Magazine, November 1981
Rush - Canadian Musician Magazine, November 1981
Notes on the Making of Moving Pictures - Parts 1&2 - Modern Drummer Magazine, December 1982
Track Listing (click on any track for the lyrics)
1. Tom Sawyer (4:33)
2. Red Barchetta (6:06)
3. YYZ (4:24)
4. Limelight (4:19)
5. The Camera Eye (10:56)
6. Witch Hunt (Part III of Fear) (4:43)
7. Vital Signs (4:43)
Tom Sawyer
A modern-day warrior
Mean mean stride,
Today's Tom Sawyer
Mean mean pride.
Though his mind is not for rent,
Don't put him down as arrogant.
His reserve, a quiet defense,
Riding out the day's events.
The river
What you say about his company
Is what you say about society.
Catch the mist, catch the myth
Catch the mystery, catch the drift.
The world is, the world is,
Love and life are deep,
Maybe as his skies are wide.
Today's Tom Sawyer,
He gets high on you,
And the space he invades
He gets by on you.
No, his mind is not for rent
To any god or government.
Always hopeful, yet discontent,
He knows changes aren't permanent,
But change is.
What you say about his company
Is what you say about society.
Catch the witness, catch the wit,
Catch the spirit, catch the spit.
The world is, the world is,
Love and life are deep,
Maybe as his eyes are wide.
Exit the warrior,
Today's Tom Sawyer,
He gets high on you,
And the energy you trade,
He gets right on to the friction of the day.
Red Barchetta
My uncle has a country place
That no one knows about.
He says it used to be a farm,
Before the Motor Law.
And on Sundays I elude the Eyes,
And hop the Turbine Freight
To far outside the Wire,
Where my white-haired uncle waits.
Jump to the ground
As the Turbo slows to cross the Borderline.
Run like the wind,
As excitement shivers up and down my spine.
Down in his barn,
My uncle preserved for me an old machine,
For fifty-odd years.
To keep it as new has been his dearest dream.
I strip away the old debris
That hides a shining car.
A brilliant red Barchetta
From a better, vanished time.
I fire up the willing engine,
Responding with a roar.
Tires spitting gravel,
I commit my weekly crime...
Wind-
In my hair-
Shifting and drifting-
Mechanical music-
Adrenalin surge...
Well-weathered leather,
Hot metal and oil,
The scented country air.
Sunlight on chrome,
The blur of the landscape,
Every nerve aware.
Suddenly ahead of me,
Across the mountainside,
A gleaming alloy air-car
Shoots towards me, two lanes wide.
I spin around with shrieking tires,
To run the deadly race,
Go screaming through the valley
As another joins the chase.
Drive like the wind,
Straining the limits of machine and man.
Laughing out loud
With fear and hope, I've got a desperate plan.
At the one-lane bridge
I leave the giants stranded at the riverside.
Race back to the farm, to dream with my uncle at the fireside.
YYZ
Instrumental
Limelight
Living on a lighted stage
Approaches the unreal
For those who think and feel
In touch with some reality
Beyond the gilded cage.
Cast in this unlikely role,
Ill-equipped to act,
With insufficient tact,
One must put up barriers
To keep oneself intact.
Living in the Limelight,
The universal dream
For those who wish to seem.
Those who wish to be
Must put aside the alienation,
Get on with the fascination,
The real relation,
The underlying theme.
Living in a fisheye lens,
Caught in the camera eye.
I have no heart to lie,
I can't pretend a stranger
Is a long-awaited friend.
All the world's indeed a stage,
And we are merely players,
Performers and portrayers,
Each another's audience
Outside the gilded cage.
The Camera Eye
I
Grim-faced and forbidding,
Their faces closed tight,
An angular mass of New Yorkers
Pacing in rhythm,
Race the oncoming night,
They chase through the streets of Manhattan.
Head-first humanity,
Pause at a light,
Then flow through the streets of the city.
They seem oblivious
To a soft spring rain,
Like an English rain
So light, yet endless
From a leaden sky.
The buildings are lost
In their limitless rise.
My feet catch the pulse
And the purposeful stride.
I feel the sense of possibilities,
I feel the wrench of hard realities.
The focus is sharp in the city.
II
Wide-angle watcher
On life's ancient tales,
Steeped in the history of London.
Green and grey washes
In a wispy white veil
Mist in the streets of Westminster.
Wistful and weathered,
The pride still prevails,
Alive in the streets of the city.
Are they oblivious
To this quality?
A quality
Of light unique to
Every city's streets.
Pavements may teem
With intense energy,
But the city is calm
In this violent sea.
Witch Hunt (Part III of Fear)
The night is black,
Without a moon.
The air is thick and still.
The vigilantes gather on
The lonely torchlit hill.
Features distorted in the flickering light,
The faces are twisted and grotesque.
Silent and stern in the sweltering night,
The mob moves like demons possessed.
Quiet in conscience, calm in their right,
Confident their ways are best.
The righteous rise
With burning eyes
Of hatred and ill-will.
Madmen fed on fear and lies
To beat and burn and kill.
They say there are strangers who threaten us,
In our immigrants and infidels.
They say there is strangeness, too dangerous
In our theatres and bookstore shelves,
That those who know what's best for us
Must rise and save us from ourselves.
Quick to judge,
Quick to anger,
Slow to understand
Ignorance and prejudice
And fear
Walk hand in hand.
Vital Signs
Unstable condition,
A symptom of life,
In mental and environmental change.
Atmospheric disturbance,
The feverish flux
Of human interface and interchange.
The impulse is pure;
Sometimes our circuits get shorted
By external interference.
Signals get crossed
And the balance distorted
By internal incoherence.
A tired mind become a shape-shifter,
Everybody need a mood lifter,
Everybody need reverse polarity.
Everybody got mixed feelings
About the function and the form.
Everybody got to deviate from the norm.
An ounce of perception,
A pound of obscure.
Process information at half speed.
Pause, rewind, replay,
Warm memory chip,
Random sample, hold the one you need.
Leave out the fiction,
The fact is, this friction
Will only be worn by persistence.
Leave out conditions,
Courageous convictions
Will drag the dream into existence.
A tired mind become a shape-shifter,
Everybody need a soft filter,
Everybody need reverse polarity.
Everybody got mixed feelings
About the function and the form.
Everybody got to elevate from the norm...
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