…The great F-Major Quartet, op. 59/1, is a highlight on the Virgin set: the Borodins take a lyrical, symphonic view with moderate tempos throughout the opening movement. Sforzandos and accents are never harsh; the dolce moments have memorable sweetness. In the Allegretto vivace, the Russian quartet realizes this somewhat unusual tempo marking without artifice or exaggeration, as 16th notes nimbly chase each other around the ensemble, perfectly matched and effortless…. Michael Fine, FANFARE

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Although keyboards dominated Rush's 1988 double live set A Show of Hands, it's a definite improvement over its somewhat flat predecessor, 1981 's Exit…Stage Left. The band's music isn't as hard rock-based as it previously was, evidenced by the more modern-sounding compositions selected for this third live album (the first Rush album to be produced completely by the band). The only tracks from the pre-1982 period to be featured are "Closer to the Heart," which is expanded to include a jamming section at the end, and the spooky "Witch Hunt," originally from 1981's Moving Pictures. The remainder of the album's track list is comprised of Rush's best compositions from 1982-1987, such as "Subdivisions," "Distant Early Warning," "Force Ten," "Time Stand Still," and "Red Sector A," as well as several tracks that have been forgotten over time ("Marathon," "Turn the Page," "Mission," etc.). Also featured for the first time on a live Rush album is a completely unaccompanied drum solo by Neil Peart – the intricate "Rhythm Method." The inspired A Show of Hands is an excellent snapshot of Rush in concert during the mid- to late '80s.

Like much of the band's '80s output, Power Windows finds Rush juggling their hard-rock heritage with new technology to mixed results. With Alex Lifeson choosing sparse, horn-like guitar bursts over actual crunch, Geddy Lee's synthesizers running rampant, and Neil Peart's crisp, clinical percussion and stark lyrical themes (evoking cold urban landscapes), the result just may be the trio's "coldest" album ever. Still, it does boast its share of important tracks in "Marathon" and "Manhattan Project," while offering an energetic, tongue-in-cheeck hit single in "The Big Money." In an album that rewards patience (repeated listens are the key), the most gripping moments are saved for last, with the beautifully eerie textures of "Mystic Rhythms," a song that was later used as a concert drum solo showcase for Peart.

“Rush had already begun using electronics and synth in their music by the time Signals was released in 1982, so the synth-heavy opener, "Subdivisions" (a song that proves that high-school separatism is older than last year), wasn't that great a departure from their previous material. Signals also contains the single "New World Man," which still gets heavy radio airplay almost 20 years later, as well as groove-heavy, tech-savvy songs like "The Analog Kid" and "Digital Man"–prescient comments on the forthcoming information technology revolution if ever there were any. This was Rush's first studio album following Moving Pictures, which arguably remains their strongest and most well-known effort, after 2112. That's a tough act to follow, and Rush did it in the best possible way–by maintaining their distinctive sound while updating it with 1980s touches. Signals indicates that it was a good move”. – Genevieve Williams

“One of Rush's finest moments, second only to Moving Pictures. This album includes two classic songs, "The Spirit of Radio" (which has one of the most recognizable guitar riffs in all of rock) and "Freewill." There's also the epic-feeling "Jacob's Ladder," as well as "Entre Nous," a sort of intellectual love song (if such a thing can be said to exist). The introspective "Different Strings" and the anthemic "Natural Science" (which clocks in at over nine minutes) close the album. Though there are only six songs on Permanent Waves, it's enough; the material is rich enough that more of it would be like overdosing on chocolate”. – Genevieve Williams

“Smart rockers Rush were just on the brink of being embraced by the album rock mainstream when they recorded Hemispheres. Already wildly popular with a certain corner of the intellectual crowd, thanks in part to drummer Neil Peart's Ayn Rand obsession, this CD marked a turning point for the Canadian trio. Hemispheres explores the political, social economic, and sci-fi themes prevalent on their early work, continuing the saga of "Cygnus" from A Farewell To Kings. Rush was fond of writing in movements, almost orchestrally, rather than the typical verse/chorus/verse/chorus structure, and Hemispheres has the usual opus-like compositions that perfectly displayed their chops. The CD features time changes that you'd need a calculator to crack, impossible guitar arpeggios from Alex Lifeson, and Geddy Lee's low end bass rumblings and high end vocal shriekings. Rush's lofty lyrics sometimes bordered on the ridiculous and, if for no other reason, Hemispheres deserves props for Lee's ability to sing the line, "There is unrest in the forest…" (from "Trees") while keeping a straight face. – Steve Gdula

Here are the original monsters of rock in all their epic, bombastic glory. The Who may have had more decibels (a dubious distinction), but no band took hard rock higher into the stratosphere than the Zep did with their cosmic mixture of deep blues, gothic melodrama, and the supernatural chops of Page, Plant, Bonham, and Jones. For listeners new to the Zep canon, there's no better primer of the band's range and power than this 4 CD box set, compiled and remixed in 1990 by Page himself. All the obvious song choices are here. But even if you've already heard "Black Dog" once too often on the car radio, this set wisely spotlights several overlooked gems, including their ultimate blues lament "I'm Gonna Crawl." It's a blueprint that later generations of head-bangers tragically failed to follow. –Steve Appleford