Even though the lyrics of this record rely heavily on the writings and faux philosophies of Ayn Rand — a plagiarized
|l.-r., Alex Lifeson, Neal Peart, Geddy Lee, 1976|
Don't confuse Alex Lifeson for Jimmy Page. But don't confuse Steve Jones for Alex Lifeson. When the guitar needs to sound like science fiction itself — as it does on 2112 — or later in their careers when it sounds like an outlawed automobile being chased by an "alloy air car," on their 1981 classic, "Red Barchetta" from arguably their most creative release, Moving Pictures, nobody in rock history has ever made the electric guitar sound so consistently and convincingly dystopian.
|Deluxe ed. in 5.1 surround sound, released 2012|
The Sex Pistols released one album in their "career" — iconic and influential as it was, granted — that garnered them a place in the Rock and Roll Hall of Fame. While Rush, dozens of great albums out, all (except their first) filled with Neil Peart's poetry —yes, poetry — lyrics that could pass as poetry and not just lyrics (read Closer to the Heart or Freewill for starters), and worldwide critical acclaim (except in almighty U.S. of A.) are not (WTF?)-- in the Rock and Roll Hall of Fame? Get serious. Rush, in fact, hasn't even been nominated for the Hall of Fame. Absurd. No, BEYOND ABSURD.
I'm no rock critic, but I'd posit that if a "career" based solely on Never Mind The Bollocks by the Sex Pistols, is worthy of Hall of Fame status, then so should Rush gain entrance into the Hall of Fame based solely on one its finest releases, 2112 — an album sonically superior and lyrically more astute (even despite Ayn Rand's nefarious influence) than that raucous, one-chordish, veritable boy band, Sex Pistols shit.