Rocktrospectiva: The Rare And Intense "Test For Echo" Turns 30

Released on 10 September 1996 "Test For Echo" was the 16th., studio album by the Canadian rock band Rush. It was the final Rush album to be co-produced by Peter Collins. The band supported the album with a world tour in 1996 and 1997, after which they went on a five-year hiatus following the deaths of drummer Neil Peart's daughter and wife, and would not record again until 2001, the album spawned the singles "Test For Echo", "Driven" & "Half The World."

The title track reached No. 1 on the mainstream rock chart. The song "Driven" became a bass showcase for Geddy Lee during live performances, while "Resist" was rearranged as an acoustic song on the Vapor Trails and R30 tours. The band did not perform any tracks from the album on subsequent tours.

In May 1994, Rush finished their Counterparts Tour of the United States and Canada in support of the band's 15th album Counterparts (1993). The group then took a usual break in activity, but this went on to last 18 months as bass guitarist and vocalist Geddy Lee wanted to be at home for the first year of his daughter's life. With their free time, guitarist Alex Lifeson recorded his first solo album Victor and drummer/lyricist Neil Peart released a Buddy Rich tribute album Burning for Buddy and spent time on his technique, receiving formal instruction from the jazz drummer Freddie Gruber.

In October 1995, the band decided to start work on the next Rush album and, as with their previous three albums, retreated to Chalet Studios in Claremont, Ontario, to write and rehearse. Having been together for more than 20 years at this point, Lifeson questioned whether Test for Echo would be Rush's last album, and if they would tour behind it. He changed his mind when it was finished, as the group was already in talks about the next album and said, "We've got a lot of stuff in us yet." The first sessions were difficult for him, having had full control of Victor and the "same old" discussions with Lee as to what direction the new Rush album would be prior to writing. "Once I exorcised those ghosts, the following week we wrote five songs. We dove into it and it was very, very positive from then on".The band put up inspirational slogans on the studio wall, including "Individually we are a ass, together we are a genius" and "If you want something done right, just forget it". Lee and Lifeson completed almost six songs before they presented any of their work to Peart as they did not want to interrupt the flow of their productive writing. They had reserved the studio for around ten weeks, but the productive sessions resulted in the writing finishing three weeks early. Lifeson said the group were in particularly good spirits throughout the album's production and put it down to the break they had taken.

The band adopted its usual method of Lee and Lifeson working on the music with Peart working alone on the lyrics, but the music was written in a different way than before. In the past, the writing had Lee and Lifeson form songs by matching pieces of music to verses and choruses as they went and all three would listen to what was put down and exchange ideas to develop them further. This time, lyrics were matched with suitable sections of music, after which they were recorded and Lee and Lifeson would work on something else. As Peart wrote: "They didn't want to get bogged down in the 'jigsaw puzzle' of assembling whole songs, but rather keep the momentum going with a flow of fresh ideas." After a collection of songs were worked out, the group started to refine their individual parts. In November 1995, the group were faced with heavy snow at Chalet Studios which led into the North American blizzard of 1996 in early January. The snow continued through the recording of the album, which inspired the album's artwork.

The album was recorded from January to March 1996 at Bearsville Studios in Bearsville, New York. The studio was chosen because the band wanted to capture "more size" from Peart's drums and the facility was more suited to his kit. Additional recording took place at Reaction Studios in Toronto, where it snowed for 40 consecutive days. Test for Echo was the first time Rush worked with American engineers and mixers, having only worked with English or Australian personnel before. They chose the recording engineer Clif Norrell, a longtime fan of the band who once performed Rush cover songs in his own group.

The album opened with "Test for Echo" features lyrical contributions from Pye Dubois who had also written lyrics for three Rush songs prior. Lee said the words reflect the group's current situation at the time. Lifeson plays a Les Paul Custom guitar and described the song as "pure Rush". "Driven" was written entirely on Lee's bass guitar and features three separate bass tracks. Lifeson said that Peart played "a little bit back on the beat" which gave the song a "heavier character" and caused Lee and himself to adjust their parts to fit his drums. "Half the World" features Lifeson playing a 10-string mandola which he had played to get a feel for the instrument, but found it changed the song's personality completely. He presented it to Lee who expressed initial doubts as it displayed an unusual texture, but grew to like it.

"Time and Motion" originated from a set of lyrics that Peart had written, after which Lee and Lifeson worked on music for it which developed quickly. They wanted to dramatise the first lyrical phrase by incorporating major chords, but Lee said a first version of the track was put together some years prior, but never used. Lee described "Dog Years" as "a bit punky". "Limbo" is an instrumental track that was pieced together from different bits of ideas that the group had sketched out but remained unused. Lifeson picked "Resist" as one of his favourite tracks, and among the best Rush had ever recorded.

Critics praised the album by saying that Rush has rarely played better in the past ten years than they have on Test for Echo". In retrospective, and according to Lee; the album has been considered a strange record in a sense. It doesn’t really have a defined direction. I kind of felt like we were a bit burnt creatively. It was a creative low time for us.

 

Test For Echo Track List:

 

1. Test For Echo

2. Driven

3. Half The World

4. The Color Of Right

5. Time And Motion

6. Totem

7. Dog Years

8. Virtuality

9. Resist

10. Limbo (Instrumental)

11. Carve Away The Stone 

Rocktrospectiva: The Renewed And Wonderful "Roll The Bones" Turns 35

Released on 3 September 1991, "Roll The Bones" was the 14th., studio album by the Canadian rock band Rush. Produced by the band and Rupert Hine, the album continued the shift away from the keyboard-heavy arrangements of the 1980s toward a more guitar-oriented sound, a transition that had begun with their previous release, Presto (1989). The sessions, primarily held at Le Studio in Morin-Heights, Quebec, saw the band embracing funk and jazz influences, most notably in the title track's inclusion of a rap segment performed by bassist Geddy Lee. The album spawned the singles "Roll The Bones", "Dreamliner", & "Ghost Of A Chance."

Lyrically, the album explores themes of chance, fate, and the weight of circumstances, inspired by drummer Neil Peart's interest in the role of fortune in human life. The title is a slang term for rolling dice, a motif reflected in the Juno Award-winning cover art designed by Hugh Syme. 

In June 1990, Rush finished touring their previous album, Presto (1989). They purposely kept the tour short, which Lee said was due to the group feeling overcautious about touring the album. However, it became an enjoyable and positive experience for them, and by the time it finished, "we were so charged up we wanted to keep on playing." This renewed energy in the band carried through to the writing and recording sessions for Roll the Bones. They then took a break, but decided to cut it short in order to start work on new material for a follow-up record.

As with Presto, Rush started work by retreating to Chalet Studios, a remote studio in Claremont, Ontario. They stayed for 2+1⁄2 months, with Lee and Lifeson working on the music while Peart wrote lyrics. The three would reconvene in the evenings, when Peart would hear what the other two had come up with during the day. Lee had developed an interest in bird watching, and ensured some broken bird feeders by the studio window were repaired and filled with feed, which he enjoyed observing while writing. The album's liner notes include a thanks to birds.

The demos were recorded using an eight-track TASCAM 388 recorder and an integrated mixer hooked up to a sequencer running C-Lab Notator software. Lee set up simple drum patterns on the computer for Lifeson and himself to work from. It took between nine and ten weeks to write and rehearse for the album, and eight weeks to record it.

The album displays the continued change in the group's sound which started on Presto, with a reduction in keyboards and a return to guitar-driven songs. Lee said the change was "a backlash against the more computer-style of writing" which had dominated their sound through the 1980s, and the band now chose to use synthesizers and sequencers as an "orchestration device", rather than a key component in the songwriting. The writing sessions for Presto had involved just bass, guitar, and vocals, which contributed to the style shift, and the group continued with this approach for Roll the Bones. 

The album contains a running lyrical theme concerning the element of chance in different aspects of life, which Peart had devised while experimenting with lyrics. The first lyric that he wrote for the album was used on "Face Up", specifically: "Turn it up – or turn that wild card down." He recalled sitting on his cottage floor "with a pile of papers around me" of notes from the previous two years, mostly consisting of phrases written on tour or during "that dreamlike moment before sleep." He started to experiment with the phrases "turn it up" and "turn it down", which led to the idea of turning a card down and a wild card, and applied them to events that a person may face.

Roll the Bones was recorded at Le Studio in Morin-Heights, Quebec, and McClear Place in Toronto, between February and May 1991. The band resumed working with co-producer Rupert Hine and engineer Stephen Tayler, both of whom had worked on Presto. The vocals were recorded in England. Rush wanted to continue to work with Hine due to his accomplished songwriting, the feedback he gave their songs and his ability to allow the group to achieve a looser sound than previous albums. The bass and drum parts were recorded in four days, and the guitars in eight. Lee was amazed at how Peart had learned his parts for an entire song prior to recording it, and that "Nine times out of 10 it took only one pass for him to nail it." 

The album opener "Dreamline" had references to astronomy, which Peart was inspired by after bicycling a hundred miles from Cincinnati to Columbus between two gigs on the Presto tour. Upon arrival, he watched the popular science series Nova on PBS, and a program on satellite imaging captured his imagination. "Bravado" dealed with how one should not give up after failing, as opposed to ending life by suicide, which Peart had addressed in "The Pass" on Presto. "Roll the Bones" was named after a science fiction story by Fritz Leiber that Peart had read some 15 years prior, titled "Gonna Roll the Bones". Though the story had no influence on the music or its message, Peart took a liking to the particular phrase and had kept it in his notebook. "Where's My Thing?" was the band's first instrumental since "YYZ" from Moving Pictures (1981). It has the humorous subtitle of "Part IV, 'Gangster of Boats' Trilogy", referring to an inside joke where Lee and Lifeson threatened to name a Rush album Gangster of Boats if Peart ever had difficulty coming up with a title, as well as the joke that it's the fourth part of a trilogy. 

Then was "Heresy" is a more straightforward rock song with a rhythm that Lee described as a "heart beat pulse" that reflected some of Peart's lyrical ideas for it. Peart was inspired by the events surrounding the fall of Communism in eastern Europe in the early 1990s and people regaining their freedoms. "Ghost of a Chance" features Lifeson playing a PRS guitar, and he rated his solo on the track as one of his best. Lyrically the song is based on the compromises that one makes in a relationship to make it work. Peart was particularly proud of his words for it, as he had written a love song that avoided the clichés of more typical, sentimental love song lyrics. "You Bet Your Life", was the most difficult to record, partly due to getting a balance in the chorus between the vocals and the vocal melody. It was also hard to mix, and Lee "never felt confident that we actually nailed [it]."

Critical reception was positive praising the band renewed musical energy and melodic focus althought some critics were polarised by the rap section, also called the album as one of the most darkest in Rush's career, highlighting "Dreamline" and the finest tracks such as "Bravado", The Big Wheel," & "Heresy" for their wonderful melodies and arrangements.

 

Roll The Bones Track List:

 

1. Dreamline

2. Bravado

3. Roll The Bones

4. Face Up

5. Where's My Thing? (Part IV, Gangster Of Boats Trilogy) instrumental

6. The Big Wheel

7. Heresy

8. Ghost Of A Chance

9. Neurotica

10. You Bet Your Life 

New Music: Distant Early Warning (2026 Terry Brown Mix)

           

Rush have shared a visualizer video for their track "Distant Early Warning (2026 Terry Brown Mix)." UMe/Mercury and Anthem Records label groups continue the comprehensive Rush albums expanded reissue series with the March 11 released of new Super Deluxe Editions of the band's 1984 release, Grace Under Pressure, an album that saw the trio shifting gears to construct eight technology-driven tracks that were forward driving compositions from their previous works. Grace Under Pressure: Super Deluxe Edition will be available in five distinct configurations, including the (1) Super Deluxe Edition 4-CD + Blu-ray, (2) Super Deluxe Edition 5-LP + Blu-ray, (3) Super Deluxe Digital Edition, (4) Dolby Atmos Digital Edition, and (5) Grace Under Pressure Tour: Live in Toronto 1984 at video DSPs. Grace Under Pressure, Rush’s tenth studio album, was originally released in April 1984, and it features some key sonic-template modifications resulting from the band’s decision to further evolve its sound by enlisting a new producer after a successful decade of working with Terry Brown behind the board.

Rocktrospectiva: The Impressive "Moving Pictures" Turns 45

Released on 12 February 1981 "Moving Pictures" was the 8th., studio album by Canaian rock band Rush. After touring to support their previous album, Permanent Waves (1980), the band started to write and record new material in August 1980 with longtime co-producer Terry Brown. They continued to write songs with a more radio-friendly sound, featuring tighter and shorter song structures compared to their earlier albums. The album spawned three singles "Limelight", "Tom Sawyer", & "Vital Signs".

In June 1980, the band ended their 10-month tour of the United States, Canada and the United Kingdom in support of their previous album, Permanent Waves (1980). The tour was a commercial success for the group, becoming the first of their career to earn them a profit. During their stop in New York City a month prior, the band decided to scrap plans for a second live album in favor of making a new one in the studio. Cliff Burnstein of Mercury Records suggested the idea to the band, and Neil Peart was particularly enthusiastic about the new ideas that were being developed at sound checks and was keen to put them to tape. Geddy Lee and Alex Lifeson caught on to his enthusiasm. 

The band retreated to Stony Lake, Ontario to write and develop new material. The sessions were productive. "The Camera Eye" was the first song to be worked on, followed by "Tom Sawyer", "Red Barchetta", the instrumental "YYZ", and "Limelight". Lee noticed a change in Peart's lyrics during this time, which had started with Permanent Waves, towards more concise and direct words. Following these sessions, Rush returned to Phase One Studios in late August 1980 with their longtime co-producer Terry Brown and prepared demos of these songs. The tracks were refined further during subsequent rehearsals for a series of warm-up shows across the US in September and October 1980, during which "Tom Sawyer" and "Limelight" were performed live for the first time.

Moving Pictures was recorded at Le Studio in Morin-Heights, Quebec in October and November 1980. Rush and Brown worked with 48-track recording for the first time. They'd record the basic tracks - drums and bass - to one 24-track tape reel, and transfer a stereo mix of these to a second 24-track reel for overdubs. This allowed them to preserve the quality of their recordings as much as possible as they were able to place the original backing track reel in storage until the mixing stage, thereby reducing potential damage to the tape from frequent playback. They experimented with a pressure zone microphone, a type of boundary microphone that picks up direct sound and no reverberated signals, that was taped onto Peart's chest as he played the drums. The audio captured from it was used to pick up the ambience in the studio room and was inserted into the final mix. Peart is seen wearing the microphone in the music video for "Vital Signs". The album was mixed down onto a Sony digital mastering machine, being an early example of digital recording. However, the completion of the album was delayed by two weeks due to technical issues in the studio, including with the Sony unit, but, as Brown elaborated, "it’s to be expected when you’re pushing the latest gear to its limits". 

The album opened with "Tom Sawyer" which featured a backbeat in a ⁴
₄ time signature, along with instrumental and closing sections in ⁷
₈. It was the first Rush recording for which Lee used his 1972 Fender Jazz Bass, which provided a punchier lower end than he had been able to obtain with his usual Rickenbacker 4001. Lee said the group had more trouble with "Tom Sawyer" than any other song on Moving Pictures, and at times had doubts as to whether it would work. The band had technical difficulties with the computer that mixed the tracks, so they decided to operate the mixing desk manually with each member handling their own set of faders. Peart described it as "an enjoyable work", which took around a day and a half to record, "collapsing afterwards with raw, red, aching hands and feet". Its instrumental section grew from what Lee would play on his synthesizer during sound checks on tour, which initially was forgotten about until the band traded ideas on what the section should be.

Peart's lyrics for "Red Barchetta" were inspired by the short story "A Nice Morning Drive" by Richard S. Foster, originally published in the November 1973 edition of the American car magazine Road & Track. Lee described the tale as "Orwellian in nature", which deals with an individual taking their Barchetta on a fast ride despite the banning of high speeds and is chased after by hovering patrol cars for breaking the law. "YYZ" is an instrumental titled after the IATA airport code for Toronto Pearson International Airport; its rhythm is that of the letters "YYZ" in Morse code. The lyrics for "Limelight" are autobiographical and based on Peart's own dissatisfaction with fame and its intrusion into one's personal life. The song contains two self-references: the first, the line "living in a fish-eye lens, caught in the camera eye" references the album's following track

Next was "The Camera Eye" was a two-part track with sections unofficially titled "New York City" and "London". Peart wrote the lyrics after taking walks in both cities, recalling observations and the rhythms he felt during them.  It was the final song the band included on a studio album with a length of over ten minutes, something which was a frequent occurrence on their earlier albums. Its title refers to short pieces of the same name in the U.S.A. trilogy of novels written by American writer John Dos Passos, which Peart admired. "Witch Hunt" opened with faint voices, which were recorded on the driveway of Le Studio in sub-zero temperatures, with the band and studio staff shouting in a humorous way while drinking Scotch whisky. Lifeson said one of his lines, "Fucking football", can be heard if the listener tries hard enough. The tracks were overdubbed multiple times until it sounded what Lee described as a "vigilante mob". "Vital Signs" was the last song that the band wrote for the album, which was pieced together at Le Studio. It features a sequencer part produced by an Oberheim OB-X synthesizer, and shows a distinct reggae flavour. Reggae influences in Rush's music were first heard on Permanent Waves, and would later be heard more extensively on their next two albums.

The cover was designed by Hugh Syme who estimated the artwork cost $9,500 to produce. Anthem Records refused to cover the entire bill, leaving the band to pay for the rest. It was a triple entendre; the front depicts movers who are carrying pictures. On the side, people are shown crying because the pictures passing by are emotionally "moving". Finally, the back cover has a film crew making a motion (moving) picture of the whole scene. It was photographed outside the Ontario Legislative Building at Queen's Park, Toronto. The pictures that are being moved are the band's Starman logo featured on the reverse cover of 2112 (1976), one of the Dogs Playing Poker paintings entitled A Friend in Need, and a painting that shows Joan of Arc being burned at the stake. The film crew on the back cover actually shot the scene, from which a single frame was used for the cover. 

Moving Pictures illustrated that the first great era of progressive rock had been taken as far as it could, or should, the album received a positive reception from contemporary and retrospective music critics and became an instant commercial success. The album reached number one in Canada and number three in both the United States and the United Kingdom. Moving Pictures is the fastest-selling album in the band's catalogue. So far, the album has been considered not only Rush’s masterpiece but one of those rare albums that epitomizes an era. It represents both a culmination and a progression: the peak of the band’s development as well as the blueprint for Rush’s subsequent work.

 

Moving Pictures Track List:  

 

1. Tom Sawyer

2. Red Barchetta

3. YYZ

4. Limelight

5. The Camera Eye: I

                             II

6. Witch Hunt

7. Vital Signs

Rocktrospectiva: Rush's Most Succesful Album "Permanent Waves" Turns 45

 

Released on 14 January, 1980 "Permanent Waves" was the seventh studio album by Canadian rock band Rush, the album showed a shift in the group's sound towards more concise arrangements and radio-friendly songs such as "The Spirit of Radio" and "Freewill", though their progressive rock blueprint is still evident on "Jacob's Ladder" and the nine-minute closer "Natural Science." The album spawned two singles "The Spirit Of Radio" and "Entre Nous", the album received a mostly positive reception from critics and became the band's most successful album at the time of its release, reaching No. 3 in Canada and the UK and No. 4 in the United States.

Back in June 1979, the band finished its eight-month tour of the United States, Canada and Europe in support of its sixth studio album, Hemispheres (1978). The tour had taken its toll on the group and, for the first time in the band's history, each member agreed to take a six-week break before starting work on a new album. They regrouped in mid-July 1979 at Lakewoods Farm near Flesherton, Ontario to write and rehearse new material for two weeks. 

The band developped an unusual way to record. A typical day's schedule involved Lifeson cooking breakfast for the trio after which Lifeson and Lee worked on musical ideas while Peart gathered his notes and walked to a nearby cottage to write lyrics with "Entre Nous" being the only set completed prior to their arrival at Lakewoods Farm. This routine had a productive effect on the three with "The Spirit of Radio," "Freewill" and "Jacob's Ladder" being recorded within several days without considerable effort.

The new songs marked a shift in the group's musical style towards more concise arrangements and radio-friendly songs, although Peart denied that the band consciously set out to produce commercial music. With some material prepared for Permanent Waves, Rush moved into Sound Kitchen Studio in northern Toronto, Ontario with their producer Terry Brown to put their ideas onto tape. "The Spirit of Radio," "Freewill" and "Jacob's Ladder" were further polished on the warm-up tour during soundchecks and by early September, "The Spirit of Radio" and "Freewill" were being performed live on the band's warm-up tour in August and September 1979

In September 1979, Rush headed to Le Studio in Morin-Heights, Quebec to record Permanent Waves with Brown and engineer Paul Northfield. Having recorded their previous two studio albums in Wales the band felt it was time for a change and initially chose Trident Studios in London, but cancelled due to the high costs of studio time and accommodation. The idea of working in a busy city environment became something they now wished to avoid and instead sought a remote location.

The recording sessions involved the band tweaking the settings of instruments and positioning of microphones. They recorded basic tracks with multiple takes until they captured the best performance. While Lee, Lifeson, and Brown began overdubs, Peart began attempting to write another longer song, and after enduring three days of writer's block, "Natural Science" was born. Fin Costello was then brought in to photograph the band in the studio. Cover art director Hugh Syme was also brought in and recorded a piano solo on "Different Strings". Music was composed for "Natural Science", with some parts reused from the discarded "Green Knight". The water sounds at the beginning of the song were created by splashing oars in the private lake, performed by Brown and studio assistant Kim Bickerdike, and the natural echo outside was used to record various instruments. The rough mixes on the album were complete, and the final mix was completed in two weeks at Trident Studios.

"The Spirit of Radio" featured the band's early experiments with a reggae style in its closing section, which was explored further in the band's next three albums, Moving Pictures, Signals, and Grace Under Pressure. The group had experimented with reggae-influenced riffs in the studio and had come up with a reggae introduction to "Working Man" on their tours, so they decided to incorporate a passage into "The Spirit of Radio," as Lifeson said, "to make us smile and have a little fun." Peart wrote the lyrics with Toronto radio station CFNY-FM in mind which had adopted the title as its slogan.

Talking about "Jacob's Ladder" uses multiple time signatures, and possesses a dark, ominous feel in its first half. Its lyrics are based on a simple concept: a vision of sunlight breaking through storm clouds. The title is a reference to the natural phenomenon of the sun breaking through the clouds in visible rays, which in turn is named after the Biblical ladder to heaven on which Jacob saw angels ascending and descending in a vision. The track "Entre Nous", which means"Between Us" in English, did not receive heavy radio airplay and was not performed live until the Snakes & Arrows Tour in 2007.

While the band began stepping back from the epic song format on this album, the closing track "Natural Science" is more than nine minutes long and is composed of three distinct movements: I) Tide Pools, II) Hyperspace, and III) Permanent Waves. The lyrics are driven by concepts of natural science.

The album reached No. 3 in Canada and the UK, and No. 4 in the United States. Permanent Waves received a mostly positive reception from critics and became the band's most successful album at the time of its release.

 

Permanent Waves Track List:  

1. The Spirit Of Radio

2. Freewill

3. Jacob's Ladder

4. Entre Nous

5. Different Strings

6. Natural Science

    I. Tide Pools

    II. Hyperspace

    III. Permanent Waves

La Reedición: Rush Anuncia Box Set De "Moving Pictures" Por Motivo De Su 40 Aniversario

La banda Canadiense Rush, por motivo del 40 aniversario de su álbum "Moving Pictures" anuncia un box set el cual será lanzado el próximo 15 de Abril por medio del sello UMC. El box set vendrá en tres versiones: Limited Edition, Deluxe, Super Deluxe, la primera de ellas trae un vinilo de 180 gramos con el disco principal y uno de los manuscritos con las letras escritas por Neil Peart. 

 

La segunda versión trae lo mencionado antes más una edición deluxe de un CD, una edición deluxe de cinco LPS,  en un estuche con una funda que además incluye el LP remasterizado y dos cubiertas para los LP 2 al 5 que incluyen los 19 tracks del concierto "Live In YYZ 1981" hasta ahora inédito. 

 

La versión Super Deluxe tras tres CD's, un disco blu-ray y cinco LPs de vinilo, en donde viene remasterizada la edición "Abbey Road Mastering Studios", del 2015, por primera vez en CD, dos discos inéditos de directos mezclados por el productor original, Terry Brown, un concierto realizado en 1981, en Canadá, más el álbum principal, todo mezclado en Dolby Atmos, Dolby True HD 5.1y sonido envolvente DTSHD Master Audio 5.1 y la mexcla estéreo PCM, el blu-ray incluye los videos remasterizados de "Tom Sawyer", "Limelight" y "Vital Signs", más un nuevo video para el tema "YYZ", más un libreto de tapa dura de 44 páginas con fotos inéditas y nuevas ilustraciones del diseñador de la tapa del disco original, Hugh Syme además de notas de fans de la banda como Kim Thayil, Bill Kelliher, y Les Claypool entre otros. 

Y por si eso fuera poco, vienen dos baquetas MP40 de la firma Neil Peart, dos puas con las firmas de Geddy Lee y Alex Lifeson, una réplica del programa de la gira oficial de "Moving Pictures" de 1981; una litografía lenticula 3D; un poster del concierto de Toronto de 1981; una entrada del concierto del show que dieron en el Maple Leaf Gardens en 1981; un póster de "Rush Through The Years 1973-1981; una etiqueta de equipaje YYZ; y un inserto All Acces World Tour 1981. 

Moving Pictures Box Set Track List: 

CD 1

Álbum Original – Remasterización 2015

1. Tom Sawyer
2. Red Barchetta
3. YYZ
4. Limelight
5. The Camera Eye
6. Witch Hunt
7. Vital Signs

CD 2

En Directo en YYZ 1981

1. 2112 – Overture
2. 2112 – The Temples Of Syrinx
3. Freewill
4. Limelight
5. Cygnus X-1 Book II: Hemispheres – Prelude
6. Beneath, Between & Behind
7. The Camera Eye
8. YYZ
9. Broon’s Bane
10. The Trees
11. Xanadu

CD 3

En Directo en YYZ 1981

1. The Spirit Of Radio
2. Red Barchetta
3. Closer To The Heart
4. Tom Sawyer
5. Vital Signs
6. Natural Science
7. Working Man / Cygnus X-1 Book II: Hemispheres – Armageddon: The Battle Of Heart And Mind / By-Tor & The Snow Dog / In The End / In The Mood / 2112 – Grand Finale
8. La Villa Strangiato

BLU-RAY

Dolby Atmos / Dolby TrueHD 5.1 / DTS-HD Master Audio 5.1 / PCM Stereo

1. Tom Sawyer
2. Red Barchetta
3. YYZ
4. Limelight
5. The Camera Eye
6. Witch Hunt
7. Vital Signs
8. Bonus: Videos Promocionales
9. Tom Sawyer
10. Limelight
11. Vital Signs
12. YYZ

LP 1

Lado A

1. Tom Sawyer
2. Red Barchetta
3. YYZ
4. Limelight

Lado B

1. The Camera Eye
2. Witch Hunt
3. Vital Signs

LP 2 – En Vivo en YYZ, 1981

Lado A

1. 2112 – Overture
2. 2112 – The Temples Of Syrinx
3. Freewill
4. Limelight

Lado B

1. Cygnus X-1 Book II: Hemispheres – Prelude
2. Beneath, Between & Behind
3. The Camera Eye

LP 3 – En Directo en YYZ, 1981

Lado A

1. YYZ
2. Broon’s Bane
3. The Trees
4. Lado B
5. Xanadu
6. The Spirit Of Radio

LP 4 – En Vivo en YYZ, 1981

Lado A

1. Red Barchetta
2. Closer To The Heart
3. Tom Sawyer
4. Lado B
5. Vital Signs
6. Natural Science

LP 5 – En Vivo en YYZ, 1981

Lado A

1. Working Man / Cygnus X-1 Book II: Hemispheres – Armageddon: The Battle Of Heart And Mind / By-Tor & The Snow Dog / In The End / In The Mood / 2112 – Grand Finale
2. LaNoticiaPaLarga

Lado B

1. La Villa Strangiato

El box set lo pueden adquirir en este link: Moving Pictures