Rush is one of the biggest cult bands in history, prog-rock architects who always seemed to be of and for the people. Through their consistent and seemingly ever-growing musical skill, the Canadian trio made some of the most highly-ranked albums in rock and maintained their appeal over a four-decade career.

But these kinds of accolades didn’t at all seem likely at first. Critics were disdainful of the band, and typical rock fans were suspicious. Rush played the most complex prog-rock, but often imbued it with catchy melodies and powerful hard-rock propulsion.

Like many people, I, too, warmed slowly to the magic of Rush. But like many, once it clicked, I stayed a fan. This is why today I’m looking at the good guys of rock, Canada’s elite rockers, and ranking Rush’s albums from worst to best.

19. “Presto” (1989)

Rush had spent nearly a decade reinventing themselves as a synth-pop band. Their records kept selling. But by the time they returned to hard rock with “Presto,” some of the goodwill they accumulated had run out.

Maybe it was the string of forgettable hit singles, the endless cycle of terrible album artwork, or the fact that pop music was about to change again.

Yep, the guitar is pushed to the forefront giving fans of Alex Lifeson something to celebrate. But, unfortunately, little of the material here seems particularly inspired.

“The Pass,” and “Superconductor” will give you a good understanding of this album, but you’re unlikely to return to it often.

18. “Rush” (1974)

Rush was once comprised of three good kids being swept up, against their parents’ wishes, by the siren call of rock n’ roll. “Rush” is an attempt at carving out an identity by laying on the table all the cards the band could play.

There are several things that work against making this a classic. First of all, on its debut, Rush was just obsessed with Led Zeppelin as most other teenagers at the time. Secondly, while drummer John Rutsey is very good, Neil Peart’s style (as well as his lyrics) would help define the band.

“Working Man,” has become a late-blooming classic. And, while out of character, “Finding My Way,” and “In the Mood” are fine faux-Zep jams.

17. “Fly by Night” (1975)

Rush has always been better at presenting themselves as thinkers rather than lovers. “Fly by Night” is the album that first establishes the band’s prog-rock ambitions.

On “Fly by Night,” Neil Peart reveals himself as the band’s secret weapon. Not only could he play drums at a level reserved for the likes of John Bonham and Keith Moon.

Peart was also an avid reader with a geeky, but highly imaginative style of lyric writing. His weighty ideas demand serious compositions too.

Not that this impressed critics, particularly the fickle bunch employed by the likes of Rolling Stone or NME at the time.

“Anthem,” “By-Tor and the Snow Dog,” and “In The End” help Rush veer toward the prog-rock crowd in a spectacular way.

16. “Caress of Steel” (1975)

Rush’s musicians were anything if not hard-working. Touring extensively and confident that they’d found their niche, they delivered “Caress of Steel,” but the album largely fell on deaf ears.

By now, Rush’s musicians knew what they want to be – Led Zep but much proggier. The only trouble is that they’re taking their ideas to their extremes like a diver determined to swim to the ocean floor.

In retrospect, fans have a soft spot for “The Necromancer” and “The Fountain of Lamneth.” But casual listeners found it hard to connect to 20-minute fantasy-driven songs without choruses.

15. “Grace Under Pressure” (1984)

“Grace Under Pressure” borrows Ernest Hemingway’s definition of courage. And, there’s undoubtedly bravery in Rush’s doubling down on their desire for pop stardom, even if the songs aren’t quite there.

Rush had made songs like “Tom Sawyer” seem effortlessly delivered. Three years later, they are still working with synths and pop hooks, but the results seem contrived.

“Distant Early Warning” and “Red Sector A” are alright tracks. But “Grace Under Pressure” makes Rush sound like just another synth-pop group.

14. “Power Windows” (1985)

Rush achieved its success through hard work and perseverance. Unfortunately, with “Power Windows,” they persevered with a synth-pop direction that didn’t work in their favor.

This isn’t to say that “Power Windows” was a failure. It was number 2 in the Canadian charts and number 10 in the U.S.A. And, for a while, Rush’s pop songs were on the radio.

Still, you’d be hard-pressed to hear the same songs on classic radio nowadays.

“The Big Money,” and “Manhattan Project” are alright, if unremarkable, tracks. Meanwhile, “Mystic Rhythms” would be used by Neil Peart to showcase his impressive skill on the drums.

13. “Test for Echo” (1996)

It’s incredible to consider it, but the last time Rush made (nearly) pure prog-rock had been 15 years ago. With “Test for Echo,” they return to the style that always suits them best, but the band’s rusty.

The most significant achievement of “Test for Echo” is showing that Geddy Lee, Alex Lifeson, and, especially, Neil Peart, can still play incredibly proficiently.

This is nice to know, but apart from “Test for Echo” and “Limbo,” the record has few memorable tracks.

12. “Roll the Bones” (1991)

Rush was made up of competent musicians who could play just about any style. But, “Roll the Bones” proves that acting cool while jumping on a bandwagon wasn’t their strong suit.

Still, it’s worth remembering that “Roll the Bones” is the second consecutive guitar-driven record in Rush’s discography.

By 1991, rap-rock and grunge were about to enter the mainstream consciousness. And Rush aims to include both in their music.

It never quite works. Apart from “Ghost of a Chance,” and the epic “Bravado,” new Rush songs sound like they’re trying to play catchup with the past.

11. “Hold Your Fire” (1987)

The individual musical ability of Rush’s musicians keeps growing. “Hold Your Fire” debauches in complex pop, jazz, and atmospheric elements. It’s not cool rock n’ roll by any means. But those willing to invest time in this may well be rewarded.

For the most part, Rush still sounds like an 80s synth-driven group. Still, “Force Ten” echoes the forcefulness of their early work, while “Mission” is a deeply reflective number.

This was another hit album. However, “Hold Your Fire” didn’t exactly help Rush find a new generation of fans.

10. “Counterparts” (1993)

For a band known for its musical innovations, Rush was never unwilling to consider pop trends. “Counterparts” aims to offer a response to grunge and alt-rock. While the band’s sincerity can be debated, the results are often pretty good.

No, it did not turn Rush into a band that could tour with Nirvana or Soundgarden. And, yes, it further drove fans of the prog-rock era away. It certainly is one of the heaviest albums by Rush.

But, it sure helps that Lee, Lifeson, and Peart are likable and excellent craftsmen. Nothing they’ve done is easily ranked as the worst of the band’s discography.

“Stick It Out,” “Nobody’s Hero,” and “Animate” offer a pretty clear snapshot of Rush’s grunge era. Hey, it’s certainly not any worse than KISS’ or Motley Crue’s.

9. “Signals” (1982)

In many ways, Rush achieved its mission with “Moving Pictures.” With that out of the way, the band uses “Signals” to see how many more modern pop elements they can add to their sound.

Of course, fans are forced to deal with a few changes. Synthesizers abound here, there aren’t many long songs, and Rush is revamping itself for the MTV era.

The trio is made up of fine, highly professional musicians, of course. This makes songs like “Subdivisions,” or “New World Man” accomplished pop-rock tunes. However, it had taken Rush, as well as their fans, a long time to get used to their brand of complex prog. Letting go was not going to be easy.

8. “Vapor Trails” (2002)

Ironically, Rush shone brightest in absence. “Vapor Trails” sees the band unexpectedly returning after a lengthy hiatus. Not much had changed, but fans were just enormously happy to have them back.

Rush had won not just by virtue of their excellent musicianship. Lee, Lifeson, and Peart were unexpected heroes of the people. And, audiences shared in the heart that the musicians, especially, Peart, were feeling.

“One Little Victory,” “Ghost Rider,” or “Peaceable Kingdom” wrestle with personal and global issues, and the band’s arena-rock sound feels natural.

7. “Snakes & Arrows” (2007)

Rush had had a long time to sit back and grasp what had indeed been the pinnacle of the band’s career. “Snakes & Arrows” is a surprising return not only to that time but also to the inspired essence of the band’s early records.

But it’s not just commercial considerations that made Rush reassess matters. Their return to music had been embraced, nearly universally, with great enthusiasm. And, individual issues had given the group a new collective drive.

That’s how songs like “Far Cry,” the dynamic “Armor and Sword,” and the intricate “The Main Monkey Business” manage to sound both complex and hummable, a balance that Rush managed to find more often than most prog-rock groups.

6. “Clockwork Angels” (2012)

Fittingly, Rush ends its recording career with a lofty concept album that allows the musicians to explore most of the ideas they’d worked to perfect through the years.

It’s hard not to get a little teary-eyed when considering Rush’s legacy. By 2012, they were unlikely additions to the club of classic rock greats, and pop culture reference points.

“Clockwork Angels” is very much a prog-rock album, made far outside of the vinyl era, and one meant to rival the ambitions of the modern host of bands that Rush had helped inspire.

The album’s sci-fi narrative of good versus evil is presented through excellent songs like “Caravan,” “The Wreckers,” or “Seven Cities of Gold.”

It was a strong effort and, largely, left Rush’s long-suffering fans satisfied. “Clockwork Angels” completed a rich, often rewarding, occasionally frustrating discography, but certainly one that certainly confirms that Rush was one of the most important bands of its time.

5. “Hemispheres” (1978)

Let’s get things straight: prog-rock was an arms race. In between Yes, King Crimson, or Gentle Giant, Rush was the runt of the litter. They use “Hemispheres” to prove the band members’ musical proficiency and ability to deal with weighty topics.

Take, for example, “La Villa Strangiato.” This 10-minute piece might not be destined for pop radio. But fans loved it, and ambitious musicians have worn their ability to play this as a badge of honor. Can I play it if awoken from my slumber? No, I could not.

Meanwhile, the epic, multi-part suite “Cygnus X-1 Book II: Hemispheres,” positions Rush as the premier Canadian fantasy-rock group of the time.

4. “A Farewell to Kings” (1977)

Rush always just wanted to be loved. In the early days, they were willing to try out trends in order to uncover that affection. By “A Farewell to Kings,” however, their confidence was high enough that they trusted they could find appreciation on their own terms.

Songs like “Xanadu,” the title track, and “Cygnus X-1” prove the band’s nearly unrivaled musicianship. Music geeks had a new band to call their own. And they certainly didn’t dress any better than them.

However, “Closer to the Heart” is a brainy power ballad and one of Rush’s first brushes with mainstream pop radio. More such encounters were on the way.

3. “Permanent Waves” (1980)

Rush’s Lee, Lifeson, and Peart were always more astute about pop trends than many assumed. With classic prog-rock on its way out, Rush uses “Permanent Waves” to integrate new-wave sounds. The result is one of the band’s finest albums.

Who knew Rush could make pop music? Sure, the brand of radio-friendly material still includes ample use of musical mastery and complex lyrics.

But could Geddy Lee’s shrill vocals cut it? The answer is “yes.” “The Spirit of Radio” was one of the band’s biggest hits and most memorable songs. This is my favorite Rush song.

Meanwhile, “Freewill,” or “Jacob’s Ladder,” show that Rush was determined to bury its boots in the terrain of 80s pop-rock firmly and produce many tracks that could be used for a “Best of Rush” album.

2. “Moving Pictures” (1981)

Rush’s pop-prog experiment had worked well on “Permanent Waves.” Still, even the band’s most ardent followers were about to be surprised by the excellent quality of the songs featured on “Moving Pictures.”

The secret might lie in the fact that Lee, Lifeson, and Peart are relaxed for this one. Or, as relaxed as music nerds and literary geeks can be. A rough game of D&D must’ve always been going on in the background.

The other secret is that in “Moving Pictures,” the band found the formula for distilling prog-rock and new-wave ventures to their bare essentials.

The album contains seven songs. Only one of them, “The Camera Eye,” has a long-running time. And, all of the tunes are highly memorable. It should be ranked as Rush’s most famous album.

“Tom Sawyer” is a pop tune featuring a gigantic hook built around Mark Twain’s novel. “YYZ” creates a pop tune using the Morse Code for Toronto’s area symbol. And, “Limelight,” manages to finally turn Rush’s musicians into romantic heroes fighting off the perils of fame and fortune. Not quite L.A.’a Guns n’ Rosew, but still.

“Moving Pictures” is quite an achievement. Rush had never been everyone’s cup of tea. With this album, they made themselves known to, virtually, everyone, without sacrificing the elements that had made them interesting in the first place.

1. “2112” (1976)

With their backs against the wall, but with plenty of experience already earned, Rush delivered “2112,” their first true classic. This time around, musical complexity, as well as striking arrangements, find a way to blend.

If anything, the lackluster reception of “Caress of Steel,” didn’t quench bassist Geddy Lee, guitarist Alex Lifeson, and especially, Neil Peart’s ambitions.

“2112” contains merely six songs. The first, “2112: Overture/The Temples of Syrinx/Discovery,” is a 20-minute long suite inspired by the writings of Ayn Rand and describes a technology-dominated apocalyptic future.

It’s all heady stuff, but remember that this is an era where prog Genesis, Van der Graaf Generator, and The Alan Parsons Project were all scoring hit albums.

But, Rush has also learned how to entertain a crowd. “A Passage to Bangkok,” or “Something for Nothing” are short and memorable.

Who knows just how many shots Rush would’ve had left had “2112” failed? Luckily for the Canadian trio, it did not. Instead, it offered them the formula they’d be using for years and helped build a cult following that never left them.

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