Dec 212017
 
A brief history of RUSH, and then the lyrics to all their albums.
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A brief history of RUSH, and then the lyrics to all their albums.
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Contents of the RUSH.TXT file


Excerpts from "Rush - Complete", (c) 1983 Core Music Publishing, dist. by
Warner Bros. Publications Inc. Used withOUT permission.
It's a book of Rush sheet music for all their albums up to and including
Signals... I typed up the lyrics from all the songs, and the Neil Peart
interview at the front of the book, and, well, here it is..
------------------------------------------------------------------------------
THRICE TOLD TALES - yet another Rush history
by Neil Peart

Well let me see. How can I possibly manage to write another history of Rush
that's at all different from those many others by *so* many writers (including
myself) who have told it before?
Couldn't I think up some new and imaginative way of presenting those same
old facts? Couldn't I bring a fresh and lively perspective to that tired old
story?
Ah...., no?
Alright, alright. Here we go.
(Ahem) It all began for the three of us in the summer of 1974. Or; it all
began in the early fifties when we were born. Or; it all began in the late
sixties when we began to get interested in music and playing in bands.
Let's start there, shall we?

(A phone rings in a house in the suburbs of North Toronto.)
"Hello?"
"Hello, can I speak to Geddy please?"
"Just a minute"....
"Hello?"
"Hi Geddy, it's Alex here!"
"Oh, hi man, how's it going?"
"Great, just great! Listen, ah, my band has a gig tonight at the coffee
house, and I was wondering, like, if we could borrow your amp?"
"Oh. Well, okay, I guess so. But be careful of it, okay?"
"Oh yeah! Of course! Could we pick it up at about six-thirty?"
"Sure. I'm not going anywhere."
"Great, thanks a lot, eh! That's really nice of you."
"Yeah, sure. See ya."
"Okay, 'bye."

(The same phone a few weeks later.)
"Hello?"
"Hello, can I speak to Geddy please?"
"Just a minute"....
"Hello?"
"Hi Geddy, it's Alex here."
"Oh, hi man. How's it going?"
"Great, just great. Listen, ah, my band has a gig at the coffee house

tonight, and I was wondering, like, if you could come and play bass?"
"Sure, I'm not going anywhere."
"Great! Pick you up about six-thirty?"
"Yeah, okay. See you then."
"Great! 'Bye."

So that's how the two of *them* got together. Now, I was just reading over
a biography of the band that I did for our "A Farewell to Kings" concert
program, and it covers all of this early history pretty well. Rather than try
and improve on that, I think I'll just be lazy and quote a long passage from
it. (Cheap, huh?)
THE PAST - Rush came to be in a basement in suburban North Toronto during
the first wave of progressive hard rock in the late sixties. This was the era
of the Who, Cream, Jimi Hendrix, Jeff Beck, Led Zeppelin et cetera, and was
the first truly free and creative period of popular music. This was to have a
profound effect later on. The origin of the name is now uncertain, but it
would seem to express a basic ingredient of the band even then; energy.
It was Alex, Geddy and the original drummer John Rutsey, sometimes augmented
by a temporary fourth on rhythm guitar or keyboards, but fundamentally always
a trio. They would work in the endless succession of drop-in centres,
parties, dances, high schools, hockey arenas, and finally bars, bars, and more
bars, which can prove so frustrating to a young band in Canada, (usually
spelling disaster in the form of a downward spiral toward security and a "real
job".)
(A brief aside) During this period yours truly was engaged in exactly the
same endless succession with a variety of small-time bands around the Niagra
Peninsula. I eventually took off to live in England for a year and a half
when I was eighteen, playing in more small-time bands, and doing a bit of
unglamourous session work. It was just as difficult there to get anywhere as
it had been at home, so I returned the proverbial sadder-and-wiser man, only
to find success unlooked-for in some band I'd never heard of from Toronto -
but that's another story!
(Back to the story) In early 1974, the first album, aptly and simply
entitled "Rush", was recorded - financed and independently released on Moon
Records by the band's long-time manager Ray Danniels and his partner Vic
Wilson. This had to be done because no record company in Canada would take
them for free - No Commercial Potential, you see!
The sessions were late at night, often after gigs, and extreme limitations
of Time and Money were excruciating. The material was raw and immature, some
of it in the band's repertoire for several years, and the production was a
patch-up job, rescued at the last minute by the saving grace of Terry Brown
(a.k.a. Broon), who remained our co-producer, Objective Ear, and fourth member
in the studio right up to our "Signals" album.
Still, a dream had been realized; there was an album!
During that summer of 1974, many important things occured which were to
alter the whole concept of Rush before the year was out. A radio station in
Cleveland began playing the album, resulting in the importation and sales of a
few boxes of albums.
There was interest.
An American booking agency (ATI) began discussing the possibility of some
American dates for the band, thereby triggering the interest of Mercury
Records, who signed them to a lucrative long-term contract.
There was an international release.
Next Mercury and ATI got together and came up with a promotional tour which
would cover much of the United States, and allow the band to play before many
thousands of people.
There was an American tour.
Then suddenly, after a long period of fragile health and musical
frustration, John announced that he was going to leave the band - only weeks
before the album was to be released, and the tour to commence.
There was no drummer.
It is at this point in the story that I cease to speak in the third person,
and "they" becomes "we". I joined the band on Geddy's twenty-first birthday,
June 29, 1974, with a scant two weeks remaining in which to assemble enough
material to hit the road. Somehow we managed it, and played our very first
show together in front of some 18,000 people, opening for Uriah Heep at the
Pittsburg Civic Centre.
This was the first night of an endless tour, the first of many to be spent
on the concert stages of America and Canada, refining and developing our
skill, and learning to live with a permanently packed suitcase, and a very
brief, very occasional sojourn at home.
During this time we were putting together much of the material which would
form our first album together, pooling our creative resources, and exploring
each other's aptitudes and personalities.
Somehow I found myself writing many of the lyrics, (probably because neither
Alex nor Geddy were very interested in doing it!) and it seemed to be that it
would be fun.
We were getting to know each other better, and the personal chemistry and
unity of purpose began to develop, which has sustained and inspired us to this
day.
In January of 1975, we went into Toronto Sound to record the album "Fly By
Night". We set many standards and directions for ourselves with this album,
venturing into a broad thematic and dynamic range, concentrating on
composition, musicianship, and more interesting arrangements. (Ambitious,
what?)
The album was very well received, earning us a gold record in Canada, very
respectable sales in the U.S., as well as the "Juno" award for the most
promising new group in Canada. These things helped to reinforce our belief in
what we were trying to accomplish, and we became dedicated to achieving
success without compromising our music, for we felt that it would be worthless
on any other terms.
Suddenly people began to take us seriously, or at least to recognize our
existance - (except for the radio programmers and the press, for if they had
heard of us they were keeping it a closely-guarded secret!). We were still
touring intensely, as it was the only means of being heard. (Also of course,
we enjoyed it!) There are only two ways open to survival for a band in the
music business. One is a quick capitalization on a manufactured or accidental
"hit", the other is a slow steady climb accomplished by long hard touring.
So we toured. And toured.
In July of that year, we again entered the familiar otherworld of Toronto
Sound, to record our third album, to be entitled "Caress of Steel". We went
in serene and confident, and emerged with an album that we were tremendously
proud of as a major step in our development. We felt that it featured a lot
of dynamic variety and at least a bit of true originality. This was also the
first album to display the artistic gifts of Hugh Syme, who has since been
responsible for all of our covers.
Unfortunately, many things conspired against us, and the album sold poorly.
The ensuing tour was half-jokingly referred to as the "Down-the-Tubes Tour",
and it was a pretty depressing string of small towns and small clubs, and a
lot of unwelcome pressure from certain quarters about making our music more
accessible and more "saleable". It was uncertain for a time whether we would
fight or fall, but finally we got mad!
We came back with a vengeance with "2112", certainly our most powerful and
passionate album yet. We were talking about freedom from tyranny, and we
*meant* it! This was the first real blend of our diverse and schizophrenic
influences, and it was also our first really successful album.
We felt at the time that we had achieved something that was really our own
sound, and hopefully established ourselves as a definite entity. The
side-long title piece itself became a featured part of our live shows, as much
fun for us as for our audiences, and the trend was all upwards from that point
on.
"2112" was again recorded at Toronto Sound, during the cold winter of 1976.
At last we had learned how to get our sound across on record, and how to
strike the balance between what we could do in the studio, and what we could
reproduce on stage.
"All the World's a Stage", our first double live album, was recorded in
Toronto's venerable Massey Hall from three memorable shows on June 11, 12, and
13th. It is made up of our complete live show at the time, basically an
anthology of the high points from the first four albums. To quote from the
liner notes, "This album, to us, signifies the end of the beginning, a
milestone to mark the close of chapter one, in the annals of Rush".
Which brings us up to 1976 - only seven more years to go! We may be here
for awhile!
This brings us to "A Farewell to Kings", an album which has many "firsts"
associated with it. We recorded outside of Toronto for the first time,
travelling to Rockfield Studios in the pastoral countryside of Wales. The
mixing was done at Advision Studios in London. After the long hiatus which
was made possible by the release of the live album, we were able to introduce
many new sounds on this record, with Geddy moving onto keyboards, Alex to a
greater variety of guitars, and myself info other areas of percussion "bells
and whistles". This gave the album a very open and atmospheric feel, almost
like a soundtrack, and took us into a greater instrumental emphasis in our
work. This would certainly set the stage for the next series of albums.
"Hemispheres" was once again recorded at Rockfield, with the mixing being done
at Trident Studios this time, which was an historic studio in the heart of
London's lurid Soho district and has since closed down. We went straight into
the studio at the end of the ridiculously gruelling "Drive til You Die" tour,
with none of the material prepared beforehand, and our minds already drained
from a relentless several months of constant touring. The nature of the music
was very ambitious and complicated, and the intense effort that it took to
write, arrange, and play it perfectly in such a short time was very hard on
us, leaving scars that I'm sure will never heal! We were learning the
pitfalls of overwork. The hard way.
But we learned our lesson! Oh, we still toured for the next eight months,
but we stopped doing ten or fourteen consecutive shows with three hundred mile
drives in between them! And we actually took six weeks off during that summer
of 1979 before we made our next album "Permanent Waves". And, clever lads
that we were getting to be, we set aside a month just to write the album, and
even had a chance to play quite a few of the new songs live during a short
tour prior to entering the studio. "The Semi-Tour of Some-of-the
Hemispheres"; I've always liked that.
We came back to Canada to record this time, to Le Studio in the beautiful
Laurentian Mountains of Quebec. The background, the facilities, and the
people combined to create a wonderful working environment, and of course we
would return many times to this most productive and agreeable place.
The songs were getting a little more concise for the most part, with "The
Spirit of Radio" and "Free Will" giving us new standards of both style and
substance. I have a lingering fondness for the two longer tracks, "Jacob's
Ladder" and "Natural Science", perhaps because they were the definitive and
last statements of their kind, but it was more exciting to see what we could
accomplish in a tighter and more aggressive style of song.
Which brings us to 1980, for heaven's sake! Time does fly. In the summer
of that year, we began working on the material for "Moving Pictures". We
followed the same pattern of the previous year; going up to northern Ontario
for a month of writing, then a few warm-up shows and into the studio.
Objectively speaking, I think I am justified in saying that this is probably
our best album as a whole. It just seems to hang together really well, and it
seems to be that the combination of the songs an the quality of the sound is a
near-perfect marriage. (But that's just my opinion!) It is certainly true
that songs like "Tom Sawyer", "Red Barchetta", and "YYZ" have become standards
in our live show, and it seems as if a whole lot of experiments, ideas,
developments, and techniques became consolidated into a unified whole on the
record. We must have done something right!
And then, it had been another one, two, three... yup - *four* studio albums,
and a good time to record another live one. Once again "Exit...Stage Left"
would represent what we felt to be the high-water marks of the previous studio
albums, and again serves as an effective milestone to mark and measure our
growth. This time the songs were recorded in different halls all over Canada
and the U.K., over a period of about two years, and this gave us a wide
variety of performances and different sounding halls to choose from.
During the mixing of the live stuff, there was really not a lot for the
three of us to do, other than to be there to offer our opinions when
necessary, so we began to spend our time working on some new songs. We came
up with "Subdivisions" at that time, as well as most of "Digital Man", and it
was nice to be writing songs just for the fun of it, with no pressure

whatever.
The following March of 1982 found us sequestered in the frozen (*very*
frozen!) North. Once again, it was our month of "Writing, Research, and
Development", and we would be working on some more material for our "Signals"
album. Like "Caress of Steel" and "Hemispheres" before it, "Signals" would be
a very experimental, transitional, and somewhat strange sort of record. Along
with those records which consolidated a style, like "2112" or "Moving
Pictures", it is also necessary for us to explore different areas, try out new
styles, and generally enjoy ourselves musically. (At our fans' expense, you
may cynically say, but ultimately to their benefit too, I am sure.)
It is interesting to wonder where those experiments will lead us. Some of
them we will respond to, and develop further, while others will be left behind
and forgotten (at least by us!)
As I write this, we are on the eve of beginning our traditional month of
writing, working material for an album which should be released early in 1984,
(an ominous thought). At this point we know *nothing whatever* about that
album. No title, no well-defined direction, no idea of style, or substance -
just a vague eagerness to get to work, and a determination to make *this* the
really great record we keep trying to make.
I'm sure we'll go on trying.
So what else?

[The album mentioned above released in 1984 was 'Grace Under Pressure'..]
------------------------------------------------------------------------------

---
+*+ RUSH (1974)
---

FINDING MY WAY (Lee/Lifeson)

Yeah, oh yeah!
Ooh, said I, I'm coming out to get you.
Ooh, sit down. I'm coming out to get you.
Ooh, yeah. Ooh, yeah.
Finding my way! I've been gone so long I've lost count of the years.
Well, I sang some sad songs, oh yes, and cried some bad tears.
Look out! I'm coming.
Whoa, whoa.
Look out! I'm coming.
Whoa, yeah.
I'm running, finding my way back home.
Oh yeah!

Yeah, oh yeah!
Ooh, said I, I'm coming back to look for you.
Ooh, sit down. I'm going by the back door.
Ooh, yeah. Ooh, yeah.
Finding my way! You've done me no right, but you've done me some wrong.
Left me lonely each night while I sing my sad song.
Look out! I'm coming.
Whoa, whoa.
Look out! I'm coming.
Whoa, yeah.
I'm running, finding my way back home.

I'm coming.
Ooh, babe, I said I'm running.
Whoa, babe, I said I'm coming to get you, mama.
Said I'm running.
Ooh, babe, I said I'm coming for you, babe.
I said I'm running.
Ooh yes, babe, I said I'm coming to get you, babe.
I said I'm coming.
Ooh, yeah.
I'm finding, I'm finding my way back home.
Well, I've had it for now, living on the road.
Ooh, yeah. Ooh, yeah.
Ooh, said I, I'm coming out to get you.
Ooh, sit down. I'm coming out to get you.
Ooh, yeah. Ooh, yeah.
Finding my way!

NEED SOME LOVE (Lee/Lifeson)

I'm running here, I'm running there.
I'm looking for a girl.
Cause there's nothing I need, there's nothing I want more
in the whole wide world.
Well, I need it quick and I need it now,
before I start to fade away.
That's why I'm searching, that's why I'm looking,
each and every day.

Oo, I need some love.
I said I need some love!
Oo yes, I need some love.
This feeling I can't rise above.

Well, I been hustling here, I been hustling there,
I been searching for about a week.
And I started feeling this strange sensation.
My knees are starting getting weak.
Well, I need what keeps a young man alive;
I'm saying I need it now.
I'm gonna get the message across to you
someway, somehow.

Oo, I need some love.
I said I need some love!
Oo yes, I need some love.
This feeling I can't rise above.

TAKE A FRIEND (Lee/Lifeson)

Well, I'm looking at you, and I'm wondering what you're gonna do.
Looks like you got no friends, no one to stick with you till the end.
Take yourself a friend.
Keep 'em till the end.
Whether woman or man,
it makes you feel so good, so good.

Yes, you think you're all right, and now you're lonely every night.
Well, you need a friend, someone on whom you can always depend.
Take yourself a friend.
Keep 'em till the end.
Whether woman or man,
it makes you feel so good, so good.

Yes, you need some advice. Well, let me put it to you nice.
I said you need a friend, someone who'll stick with you to the end.
Take yourself a friend.
Keep 'em till the end.
Whether woman or man,
it makes you feel so good, so good.

HERE AGAIN (Lee/Lifeson)

I said I played this song
so many times before
that the melody keeps repeating,
growing new ideas,
blowing chords and notes
like a mountain river bleeding.

Well, I say these are not bad,
And all the thoughts I've had,
They reflect just what I'm leaning.
Yes,you know that the hardest part,
It is to stay on top,
On top of a world forever churning.

Well, you say you can laugh,
but I can see that your eyes are glass.
Well, do you see, can't you see, what I'm feeling?
Yes, I've seen your face before.
Why, I've seen it everywhere,
showing up to me without a scent revealing.

Well, I said will it ever change?
Will it stay the same?
I'd sure like like to know before it's over.
Well, I said I played some.
I said it won't be long,
won't be long before I stop and play it over.

Oh, oh yeah, I've seen your face before.
Is it ever gonna, ever gonna change again?
Oh, oh yeah, I've been in one place before.
Is it ever gonna, ever gonna change again?

WHAT YOU'RE DOING (Lee/Lifeson)

Well, I see you standing there with your finger in the air.
Everything we do, you wanna leave it up to you.
Who do you think you are? You think you are a star,
trying to run the town, always trying to put us down.

Well, you think that you're right.
You think you're out of sight.
Tell me something, mister;
why'd you have to make us so uptight?

Well, you say you've been trying. You know that you're lying.
I think you need some grooving. Who do you think you're fooling now?
Well, you better start changing. Your life needs rearranging.
You better do some talking or you better do some walking now.

Yeah, you think that you're right.
You think you're out of sight.
Tell me something, mister;
why'd you have to make us so uptight?

I know what you're doing, all that you've been doing wrong.
I don't know what you're feeling, oh, but you been feeling long.

Well, you think that you're right.
Tell me something, mister;
why'd you have to make us so uptight?

BEFORE AND AFTER (Lee/Lifeson)

Love won't see me coming on a Sunday noon today.
Still don't believe we're fading, but now the world should wait.
And now you're finally listening to what I have to say.
Well, the time as right, and it is today.
Yeah, yeah, yeah, yeah.

Well, maybe we could talk about it and try to get it straight.
After all these years, baby, maybe it's too late.
But I really need to have you by my side,
and that's the only feeling, baby, I can't hide.
Yeah, yeah, yeah, yeah.

Well, you aren't listening, I ain't walking, we ain't getting nowhere.
I keep trying to get through to you, baby. All you do is stare.
I don't wanna see that. I need you by my side.
Well, I don't wanna be your lover. Babe, I wanna be your man.
Yeah, yeah, yeah, yeah.

Well, now my story's over, baby, and I ain't gonna tell it twice.
Well, you better start listening, or get out of my life.
Or you're gonna be left out, I said left out in the cold.
Yeah, before you get my loving, babe, you'll be too old.
Yeah, yeah, yeah, yeah.

Well, I'm talking to you, baby.
Well, I said yeah, yeah, yeah, yeah.

IN THE MOOD (Lee)

Hey now, baby, well, I like your smile.
Won't you come and talk to me for a little while.
Well, you're making me crazy, the way you roll them eyes.
Wont you come and sit with me. I'll tell you all my lies.

Hey, baby, it's a quarter to eight.
I feel I'm in the mood.
Hey baby, the hour is late.
I feel I've got to move.

Well, hey now, baby, don't you talk so fast.
I'm just trying to make these good times, I'm trying to make it last.
Everything's getting hazy. Now honey, where'd you go?
I just want to find out, baby, where'd you learn what you know?

Hey, baby, it's a quarter to eight.
I feel I'm in the mood.
Hey baby, the hour is late.
I feel I've got to move.

Well, hey now, baby, said, I like your style.
You really got me, baby, way down deep inside.
Oo, you drive me crazy. Baby, you're the one.
I just want to rock and roll you, woman, until the night is gone.

Hey, baby, it's a quarter to eight.
I feel I'm in the mood.
Hey baby, the hour is late.
I feel I've got to move.

WORKING MAN (Lee/Lifeson)

I get up at seven, yeah,
and I go to work at nine.
I got no time for living.
Yes, I'm working all the time.

It seems to me I could live my life
a lot better than I think I am.
I guess that's why they call me,
they call me the working man.
They call me the working man.
I guess that's what I am.

So I get home at five o'clock,
and I take myself out a nice, cold beer.
Always seem to be wondering
why there's nothing going down here.

It seems to me I could live my life
a lot better than I think I am.
I guess that's why they call me,
they call me the working man.
They call me the working man.
I guess that's what I am.

I get up at seven, yeah,
and I go to work at nine.
I got no time for living.
Yes, I'm working all the time.

It seems to me I could live my life
a lot better than I think I am.
I guess that's why they call me,
they call me the working man.
They call me the working man.
I guess that's what I am.

---
+*+ FLY BY NIGHT (1975)
---

ANTHEM (Lee/Lifeson/Peart)

Know your place in life is where you want to be.
Don't let them tell you that you owe it all to me.
Keep on looking forward; no use in looking around.
Hold your head above the crowd and they won't bring you down.

Anthem of the heart and anthem of the mind.
A funeral dirge for eyes gone blind.
We marvel after those who sought
new wonders in the world, wonders in the world,
wonders in the world they wrought.

Live for yourself. There's no one else more worth living for.
Begging hands and bleeding hearts will only cry out for more.

Anthem of the heart and anthem of the mind.
A funeral dirge for eyes gone blind.
We marvel after those who sought
new wonders in the world, wonders in the world,
wonders in the world they wrought.

Well, I know they've always told you selfishness was wrong.
Yet it was for me, not you, I came to write this song.

Anthem of the heart and anthem of the mind.
A funeral dirge for eyes gone blind.
We marvel after those who sought
new wonders in the world, wonders in the world,
wonders in the world they wrought.

BEST I CAN (Lee)

I've got a living that's rough,
a future that's tough.
You know what I mean.
Blankers and boasters,
all the bluffers and posers,
I'm not into that scene.

You can tell me that I've got no class.
Look around. You'll see who's laughing last.
Don't give me speeches 'cause they're oh so droll.
Leave me alone. Let me rock and roll.

Got an itchin' to rock,
a hate for small talk.
I'm funny that way.
Got my sights on the stars.
Won't get that far,
but I'll try anyway.

I just like to please,
don't like to tease.
I'm easy like that.
Don't like long rests.
I must confess,
I'm an impatient cat.

You can tell me that I've got no class.
Look around. You'll see who's laughing last.
Don't give me speeches 'cause they're oh so droll.
Leave me alone. Let me rock and roll.

I do the best that I can.
I'm just what I am.
I do the best that I can.
Well, I know what I am.

Got an itchin' to rock,
a hate for small talk.
I'm funny that way.
Got my sights on the stars.
Won't get that far,
but I'll try anyway.

Rock and rolling's a scream,
making millions my dream.
Well, I do that a lot.
I'll just give it a try,
won't let good times pass me by.
They're all I've got.

FLY BY NIGHT (Lee/Peart)

Why try? I know why.
This feeling inside me says it's time I was gone.
Clear head, new life ahead.
I want to be king now, not just one more pawn.

Fly by night away from here.
Change my life again.
Fly by night, goodbye my dear.
My ship isn't coming and I just can't pretend.

Moonrise. Thoughtful eyes
staring back at me from the window beside.
No fright or hindsight,
leaving behind that empty feeling inside.

Fly by night away from here.
Change my life again.
Fly by night, goodbye my dear.
My ship isn't coming and I just can't pretend.

Start a new chapter. I find what I'm after is changing every day.
The change of a season's enough of a reason to want to get away.
Quiet and pensive. My thoughts apprehensive. The hours drift away.
Leaving my homeland, playing a lone hand, my life begins today.

Fly by night away from here.
Change my life again.
Fly by night, goodbye my dear.
My ship isn't coming and I just can't pretend.

BENEATH, BETWEEN AND BEHIND (M: Lifeson, W: Peart)

Ten score years ago, defeat the kingly foe.
A wondrous dream came into being.
Tame the trackless waste. No virgin land left chaste.
All shining eyes, but never seeing.

Beneath the noble bird,
between the proudest words,
behind the beauty, cracks appear.
Once, with heads held high, they sang out to the sky.
Why do their shadows bow in fear?

The guns replace the plow. Facades are tarnished now.
The principles have been betrayed.
The dream's gone stale. But still, let hope prevail.
History's debt won't be repaid.

Beneath the noble bird,
between the proudest words,
behind the beauty, cracks appear.
Once, with heads held high, they sang out to the sky.
Why do their shadows bow in fear?

BY-TOR & THE SNOW DOG (Lee/Lifeson/Peart)

The tobes of Hades lit by flickering torchlight,
the nether world is gathered in the glare.
Prince By-tor takes the cavern to the northlight.
The sign of Eth is rising in the air.
By-tor, knight of darkness,
centurion of evil, devil's prince.

Across the River Styx, out of the lamplight,
his Nemesis is waiting at the gate:
the Snow Dog, ermine glowing in the damp night,
coal-black eyes shimmering with hate.
By-tor and the Snow Dog
square for battle.
Let the fray begin.

The battle's over and the dust is clearing.
Disciples of the Snow Dog sound the knell.
Rejoicing echoes as the dawn is nearing.
By-tor in defeat retreats to hell.
Snow Dog is victorious.
The land of the Overworld is saved again.

MAKING MEMORIES (Lee/Lifeson/Peart)

There's a time for feeling as good as we can.
The time is now, and there's no stopping us.
There's a time for living as high as we can.
Behind us you wil only see our dust.

So we'll just keep smiling, move onward every day,
and try to keep our thoughts away from home.
We're traveling all around, no time to settle down,
and satisfy our wander-lust to roam.

You know we're having good days, and we hope they're gonna last.
Our future still looks brighter than our past.
We feel no need to worry, no reason to be sad.
Our memories remind us, maybe road life's not so bad.

Well, from sea to shining sea and a hundred points between,
still we go on digging every show.
The cities in the land all extend a welcome hand,
till morning when it's time for us to go.

You know we're having good days, and we hope they're gonna last.
Our future still looks brighter than our past.
We feel no need to worry, no reason to be sad.
Our memories remind us, maybe road life's not so bad.

RIVENDELL (Lee/Peart)

Sunlight dances through the leaves.
Soft winds stir the sighing trees.
Lying in the warm grass,
feel the sun upon your face.
Elfin songs and endless nights,
sweet wine and soft relaxing nights.
Time will never touch you
here in this enchanted place.

I've travelled now for many miles.
It feels so good to see the smiles
of friends who never left your mind
when you were far away.
From the golden light of coming dawn
till the twilight when the sun is gone,
we treasure every season
and every passing day.

You feel there's something calling you.
You're wanting to return
to where the misty mountains rise
and friendly fires burn,
a place you can escape the world,
where the dark lord cannot go,
peace of mind and sanctuary
by loud water's flow.

We feel the coming of a new day.
Dark gives way to light a new way.
Stop here for a while until the world,
the world calls you away.
Yet you know I've had the feeling,
standing with my senses reeling,
this is the place to grow old till
I reach my final day.

You feel there's something calling you.
You're wanting to return
to where the misty mountains rise
and friendly fires burn,
a place you can escape the world,
where the dark lord cannot go,
peace of mind and sanctuary
by loud water's flow.

IN THE END (Lee/Lifeson)

Well, I can see what you mean. It just takes me longer.
And I can feel what you feel. It just makes you stronger.
I know, I know, I know. Oh, the feeling grows.
I see, I see, I see it's got to be.

Well, I can do what you do. You just do it better.
And I can cry like you cry. It just makes me sadder.
I know, I know, I know. Oh, the feeling grows.
I see, I see, I see it's got to be.

You can take me for a little while.
You can take me. You can make me smile in the end.

Well, I can shine like you shine. It don't make me brighter.
But if I think like you think, it don't make my load much lighter.

---
+*+ CARESS OF STEEL (1976)
---

BASTILLE DAY (Lee/Lifeson/Peart)

Ooh, there's no bread. Let them eat cake.
There's no end to what they'll take.
Flaunt the fruits of noble birth.
Wash the salt into the earth.

But they're marching to Bastille Day.
La guillotine will claim her bloody prize.
Free the dungeons of the innocent.
The king will kneel and let his kingdom rise.

Ooh, blood stained velvet, dirty lace,
naked fear on every face.
See them bow their heads to die
as we would bow as they rode by.

And we're marching to Bastille Day.
La guillotine will claim her bloody prize.
Sing, oh choirs of cacophony.
The king has kneeled to let his kingdom rise.

Lessons taught but never learned.
All around us anger burns.
Guide the future by the past.
Long ago the mould was cast.

For they marched up to Bastille Day.
La guillotine will claim her bloody prize.
Hear the echoes of the centuries;
power isn't all that money buys.

I THINK I'M GOING BALD (Lee/Lifeson/Peart)

I looked in the mirror today;
my eyes just didn't seem so bright.
I've lost a few more hairs.
I think I'm, I'm going bald,
I think I'm going bald.

Seems like only yesterday
we would sit and talk of dreams all night,
dreams of youth and simple truths.
Now we're all so involved,
so involved with life.

I walk down vanity fair,
memory lane everywhere.
Wall Street shuffles there,
dressed in flowing hair.

Once we loved the flowers,
now we ask the price of the land.
Once we would take water,
but now it must be wine.

Now we've been and now we've seen
what price peace of mind;
take a piece of my mind.

My life is slipping away.
I'm aging every day.
But even when I'm grey,
I'll still be grey my way.

LAKESIDE PARK (Lee/Lifeson/Peart)

Midway hawkers calling, "Try your luck with me."

Merry-go-round wheezing the same old melody.
A thousand ten-cent wonders, who could ask for more.
A pocketful of silver, the key to heaven's door.

Lakeside Park, willows in the breeze.
Lakeside Park, so many memories.
Laughing rides, Midway lights,
shining stars on summer nights.

Days of barefoot freedom, racing with the waves,
nights of starlit secrets, crackling driftwood flames,
drinking by the lighthouse, smoking on the pier,
still, we saw the magic was fading every year.

Lakeside Park, willows in the breeze.
Lakeside Park, so many memories.
Laughing rides, Midway lights,
shining stars on summer nights.

Everyone would gather on the twenty-fourth of May,
sitting in the sand to watch the fireworks display.
Dancing fires on the beach, singing songs together,
though it's just a memory, some memories last forever.

THE NECROMANCER (Lee/Lifeson/Peart)
I. INTO DARKNESS

[(spoken)
As grey traces of dawn tinge the eastern sky, the three travellers, men of
Willow Dale, emerge from the forest shadow. Fording the River Dawn, they
turn south, journeying into the dark and forbidding lands of the Necromancer.
Even now the intensity of his dread power can be felt, weakening the body and
saddening the heart. Ultimately they will become empty, mindless spectres,
stripped of will and soul. Only their thirst for freedom gives them hunger
for vengeance...]

Silence shrouds the forest
as the birds announce the dawn.
Three travellers ford the river
and southward journey on.
The road is lined with peril,
the air is charged with fear.
The shadow of his nearness
weighs like iron tears.

II. UNDER THE SHADOW

[(spoken)
Shreds of black cloud loom in overcast skies; the Necromancer keeps watch
with his magic prism eyes. He views all his lands and is already aware of
the three helpless invaders trapped in his lair...]

Broading in the tower,
watching over his land.
holding every creature,
helplessly they stand.
Gaze into his prisms,
knowing they are near.
Lead them to the dungeons.
Spectres numb with fear,
they bow, defeated.

III. RETURN OF THE PRINCE

[(spoken)
Enter the Champion. Prince By-Tor appears to battle for freedom from chains
of long years. The spell has been broken... the Dark Lands are bright, the
Wraith of the Necromancer soars away... in the night.]

Stealthily attacking,
By-Tor slays his foe.
The men are free to run now
from labyrinths below.
Wraith of the Necromancer
shadows through the sky;
another land to darken
with evil prism eye.

THE FOUNTAIN OF LAMNETH
I. IN THE VALLEY (Lee/Lifeson/Peart)

I am born; I am me.
I am new; I am free.
Look at me; I am young.
Sight unseen; life unsung.

My eyes have just been opened, and they're open very wide.
Images around me don't identify inside.
Just one blur I recognize, the one that soothes and feeds.
My way of life is easy, and as simple are my needs.

Yet my eyes are drawn toward the mountain in the east.
Fascinates and captivates; gives my heart no peace.
The mountain holds the sunrise in the prison of the night,
till bursting forth from rocky chains, the valley floods with light.

Living one long sunrise, for to me all things are new.
I've never watched the sky grow pale, or strolled through fields of dew.
I do not know of dust to dust. I live from breath to breath.
I live to climb that mountain to the Fountain of Lamneth.

Yet my eyes are drawn toward the mountain in the east.
Fascinates and captivates; gives my heart no peace.
The mountain holds the sunrise in the prison of the night,
till bursting forth from rocky chains, the valley floods with light.

II. NO ONE AT THE BRIDGE (Lee/Lifeson/Peart)

Crying back to consciousness, the coldness grips my skin.
The sky is pitching violently, drawn by shrieking winds.
Seaspray blurs my vision. Waves roll by so fast.
Save my ship of freedom. I'm lashed, helpless, to the mast.

Remembering when first I held the wheel in my own hands.
I took the helm so eagerly and sailed for distant lands.
But now the sea's too heavy. And I just don't understand,
why must my crew desert me when I need a guiding hand?

Call out for direction and there's no one there to steer.
Shout out for salvation but there's no one there to hear.
Cry out supplication for the maelstrom is near.
Scream out desperation but no one cares to hear.

III. PANACEA (Lee/Peart)

The whiteness of confusion is unfolding from my mind.
I stare around in wonder. Have I felt my life behind.
I catch the scent of ambergris and turn my head, surprised.
My gaze is caught and held and I am helpless, mesmerized.

Panacea, liquid grace.
Oh, let me touch your fragile face.
Enchantment falls around me
and I know I cannot leave.

Here's a meaning for my life, a shelter from the storm.
Pacify my troubles with her body, soft and warm.
Naked in our unity, a smile for every tear.
Gentle hands that promise me comfort through the years.
Yet I know I must be gone before the light of dawn.

Panacea, passion pure.
I can't resist your gentle lure.
My heart will lie beside you,
and my wandering body grieves.

IV. BACCHUS PLATEAU (Lee/Peart)

Another endless day.
Silhouettes of grey.
Another glass of wine.
Drink with eyes that shine.
To days without that chill at morning.
Long nights, time out of mind.

Draw another goblet from the cask of forty-three.
Crimson, misty memory, hazy glimpse of me.
Give me back my wonder. I've something more to give.
I guess it doesn't matter.
There's not much more to, not much more to live.

Another foggy dawn.
The mountain almost gone.
Another doubtful fear.
The road is not so clear.
My soul grows ever weary,
and the end is ever near.

Draw another goblet from the cask of forty-three.
Crimson, misty memory, hazy glimpse of me.
Give me back my wonder. I've something more to give.
I guess it doesn't matter.
There's not much more to, not much more to live.

V. THE FOUNTAIN (Lee/Lifeson/Peart)

Look, the mist is rising, and the sun is peaking through.
See, the steps grow lighter as I reach their final few.
Hear, the dancing waters; I must be drawing near.
Feel, my heart is pounding with embattled hope and fear.

Now at last I fall before the Fountain of Lamneth.
I thought I would be singing, but I'm tired, out of breath.
Many journeys end here, but the secret's told the same.
Life is just a candle, and a dream must give it flame.

The key, the end, the answer, stripped of their disguise.
Still it's all confusion, and tears spring to my eyes.
Though I've reached a signpost, it's really not the end.
Like Old Sol behind the mountain, I'll be coming up again.

I'm in motion. I am still.
I am crying. I am still.
I'm together. I'm apart.
I'm forever at the start.
Still, I am.

---
+*+ 2112 (1976)
---

2112
I. OVERTURE (M: Lee/Lifeson/Peart) (instr.)

II. THE TEMPLES OF SYRINX (M: Lifeson/Lee, W: Peart)

We've taken care of everything,
the words you read and the songs you sing,
the pictures that give pleasure to your eye.
It's one for all and all for one.
We work together, common sons.
Never need to wonder how or why.

We are the priests of the temples of Syrinx.
Our great computers fill the hallowed halls.
We are the priests of the temples of Syrinx.
All the gifts of life are held within our walls.

Look around this world we've made,
equality our stock in trade.
Come and join the brotherhood of man.
Oh, what a nice contented world.
Let the banners be unfurled.
Hold the red star proudly high in hand.

We are the priests of the temples of Syrinx.
Our great computers fill the hallowed halls.
We are the priests of the temples of Syrinx.
All the gifts of life are held within our walls.

III. DISCOVERY (M: Lifeson, W: Peart)

What can this strange device be?
When I touch it, it gives forth a sound.
It's got wires that vibrate and give music.
What can this thing be that I've found?

See how it sings like a sad heart,
and joyously screams out its pain;
sounds that build high like a mountain,
or notes that fall gently like rain.

I can't wait to share this new wonder.
The people will all see its light.
Let them all make their own music.
The priest praise my name on this night.

IV. PRESENTATION (M: Lifeson, W: Peart)

I know it's most unusual
to come before you so.
But I've found an ancient miracle.
I thought that you should know.
Listen to my music,
and hear what it can do.
There's something here as strong as life.
I know that it will reach you.

Yes, we know, it's nothing new.
It's just a waste of time.
We have no need for ancient ways.
Our world is doing fine.
Another toy that helped destroy
the elder race of man.
Forget about your silly whim.
It dosen't fit the plan, nohow.

I can't believe you're saying.
These things just can't be true.
Our world could use this beauty.
Just think what we might do.
Listen to my music,
and hear what it can do.
There's something here as strong as life.
I know that it will reach you.

Don't annoy us further.
Oh, we have our work to do.
Just think about the average.
What use have they for you?
Another toy that helped destroy
the elder race of man.
Forget about your silly whim.
It dosen't fit the plan.

V. ORACLE: THE DREAM (M: Lee/Lifeson, W: Peart)

I wandered home through silent streets,
and fell into a fitful sleep.
Escape to realms beyond the night.
Dream, can't you show me light?

I stand atop a spiral stair;
an oracle confronts me there.
He leads me on light-years away,
through astral nights, galactic days.
I see the work of gifted hands
that grace this strange and wondrous land.
I see the hands of man arise
with hungry mind and open eyes.

They left our planets long ago.
The elder race still learn and grow.
Their power grows with purpose strong
to claim the home where they belong;
home to tear the Temples down, home to change.

VI. SOLILOQUY (M: Lee/Lifeson, W: Peart)

The sleep is still in my eyes.
The dream is still in my head.
I heave a sigh and sadly smile
and lie awhile in bed.
I wish that it might come to pass,
not fade like all my dreams.
Just think of what my life might be
in a world like I have seen.
I don't think I can carry on,
carry on this cold and empty life.
My spirits are low.
In the depths of despair,
my life-blood spills over.

VII. GRAND FINALE (M: Lee/Lifeson/Peart) (instr.)

[(spoken)
Attention, all planets of the Solar Federation: We have assumed control.]

THE TWILIGHT ZONE (M: Lee/Lifeson, W: Peart)

A pleasant-faced man steps up to greet you.
He smiles and says he's pleased to meet you.
Beneath his hat the strangeness lies.
Take it off, he's got three eyes.
Truth is false and logic lost.
Now the fourth dimension is crossed.

Na na na na na na na na.
You have entered the Twilight Zone.
Beyond this world strange things are known.
Use the key. Unlock the door.
See what your fate might have in store.
Come explore your dreams' creation.
Enter this world of imagination.

You wake up lost in an empty town,
wondering why no one else is around.
Look up to see a giant boy.
Just become his brand new toy.
No escape, no place to hide,
here where Time and Space collide.

Na na na na na na na na.
You have entered the Twilight Zone.
Beyond this world strange things are known.
Use the key. Unlock the door.
See what your fate might have in store.
Come explore your dreams' creation.
Enter this world of imagination.

A PASSAGE TO BANGKOK (M: Lee/Lifeson, W: Peart)

Our first stop is in Bogota to check Colombian fields.
The natives smile and pass along a sample of their yield.
Sweet Jamaican pipe dreams, golden Acapulco nights,
then Morocco and the East. Fly by morning light.

We're on the train to Bangkok
aboard the Thailand Express.
We'll hit the stops along the way.
We only stop for the best.

Wreathed in smoke in Lebanon, we burn the midnight oil.
The fragrance of Afghanistan rewards a long day's toil.
Pulling into Katmandu, smoke rings fill the air.
Perfumed by a Nepal night, the Express gets you there.

We're on the train to Bangkok
aboard the Thailand Express.
We'll hit the stops along the way.
We only stop for the best.

LESSONS (Lifeson)

Sweet memories, flashing very quickly by,
reminding me and giving me a reason why.
I know that my goal is more than a thought.
I'll be there when I teach what I've been taught, and I've been taught.

You know we've told you before.
But you didn't hear us then,
so you still question why.
No, you didn't listen again.
You didn't listen again.

Sweet memories, I never thought it would be like this,
reminding me of just how close I came to missing.
I know that this is a way for me to go.
You'll be there when you know what I know, and I know.

You know we've told you before.
But you didn't hear us then,
so you still question why.
No, you didn't listen again.
You didn't listen again.

SOMETHING FOR NOTHING (M: Lee, W: Peart)

Waiting for the winds of change to sweep the clouds away.
Waiting for the rainbow's end to cast its gold your way.
Countless the ways you pass the days.

Waiting for someone to come and turn your world around.
Looking for an answer for the questions you have found.
Looking for an open door.

Well, you don't get something for nothing.
You can't have freedom for free.
You won't get wise with the sleep still in your eyes,
no matter what your dream might be.

What you own is your own kingdom.
What you do is your own glory.
What you love is your own power.
What you live is your own story.
In your head is the answer.
Let it guide you along.
Let your heart be the anchor
and the beat of your song.

Well, you don't get something for nothing.
You can't have freedom for free.
You won't get wise with the sleep still in your eyes,
no matter what your dream might be.

TEARS (Lee)

All of the seasons and all of the days,
all of the reasons why I've felt this way so long, so long;
then lost in that feeling, I looked in your eyes.
I noticed emotion and that you had cried for me. I can see.

What would touch me deeper?
Tears that fall from eyes that only cry?
Would it touch you deeper
than tears that fall from eyes that know why?

A lifetime of questions, tears on your cheek.
I tasted and answers and my body was weak for you. The truth.

What would touch me deeper?
Tears that fall from eyes that only cry?
Would it touch you deeper
than tears that fall from eyes that know why?

---
+*+ ALL THE WORLD'S A STAGE (1976) (Live)
---

---
+*+ A FAREWELL TO KINGS (1977)
---

A FAREWELL TO KINGS (Lee/Lifeson/Peart)

When they turn the pages of history,
when these days have passed long ago,
will they read of us with sadness for the seeds that we let grow?
We turned our gaze from the castles in the distance,
eyes cast down on the path of least resistance.
Cities full of hatred, fear, and lies,
withered hearts and cruel tormented eyes.
Scheming demons dressed in kingly guise.
Beating down the multitude and scoffing at the wise.

The hypocrites are slandering the sacred halls of Truth.
Ancient nobles showering their bitterness on youth.
Can't we find the minds that made us strong?
Can't we learn to feel what's right and wrong?
Cities full of hatred, fear, and lies,
withered hearts and cruel tormented eyes.
Scheming demons dressed in kingly guise.
Beating down the multitude and scoffing at the wise.

Can't we raise our eyes and make a start?
Can't we find the minds to lead us closer to the Heart?

XANADU (Lee/Lifeson/Peart)

"To seek the sacred river Alph.
To walk the caves of ice.
To break my fast on honeydew
and drink the milk of Paradise."

I had heard the whispered tales of immortality,
the deepest mystery.
From an ancient book, I took a clue.
I scaled the frozen mountaintops of eastern lands unknown.
Time and Man alone
searching for the lost Xanadu,
Xanadu.

To stand within the Pleasure Dome decreed by Kubla Khan.
To taste anew the fruits of life, the last immortal man.
To find the sacred river Alph.
To walk the caves of ice.
Oh, I will dine on honeydew
and drink the milk of Paradise.

A thousand years have come and gone but Time has passed me by.
Stars stopped in the sky
frozen in an everlasting view.
Waiting for the world to end, weary of the night,
praying for the light,
prison of the lost Xanadu,
Xanadu.

Held within the Pleasure Dome decreed by Kubla Khan.
To taste my better triumph as a mad immortal man.
Nevermore shall I return,
escape these caves of ice,
for I have dined on honeydew
and drunk the milk of Paradise.

CLOSER TO THE HEART (M: Lee/Lifeson, W: Peart/Peter Talbot)

And the men who hold high places
must be the ones who start
to mold a new reality
closer to the heart,
closer to the heart.

The blacksmith and the artist
reflect it in their art.
They forge their creativity
closer to the heart,
closer to the heart.

Philosophers and ploughmen,
each must know his part
to sow a new mentality
closer to the heart,
closer to the heart.

You can be the captain;
I will draw the chart,
sailing into destiny
closer to the heart,
closer to the heart.

CINDERELLA MAN (Lee/Lifeson)

A modest man from Mandrake travelled rich to the city.
He had a need to discover a use for his newly found wealth.
Because he was human, because he had goodness,
because he was moral, they called him insane.
Delusions of grandeur, visions of splendor,
a manic-depressive, he walks in the rain.
Eyes wide open, heart undefended, innocence untarnished.

Cinderella man doing what you can.
They can't understand what it means.
Cinderella man, hang on to your plans.
Try as they might, they cannot steal your dreams.

In the betrayal of his love he awakened to face a world of cold reality.
And a look in the eyes of the hungry awakened him to what he could do.
He held up his riches to challenge the hungry.
Purposeful motion for one so insane.
They tried to fight him, just couldn't beat him,
this manic-depressive who walks in the rain.

Cinderella man doing what you can.
They can't understand what it means.
Cinderella man, hang on to your plans.
Try as they might, they cannot steal your dreams.

MADRIGAL (Lee/Lifeson/Peart)

When the dragons grow too mighty to slay with pen or sword,
I grow weary of the battle and the storm I walk toward.
When all around is madness and there's no safe port in view,
I long to turn my path homeword to stop awhile with you.

When life becomes as barren and as cold as winter skies,
there's a beacon in the darkness in a distant pair of eyes.
In vain to search for order and in vain to search for truth.
But these things can still be given.
Your love has shown me proof.

CYGNUS X-1 (Lee/Lifeson/Peart)

[(spoken)
In this constellation of Cygnus
There lurks a mysterious, invisible force
The Black Hole
Of Cygnus X-1
Six Stars of the Northern Cross
In mourning for their sister's loss
In a final flash of glory
Nevermore to grace the night...]

Invisible to telescopic eye.
Infinity, the star that would not die.
All who dare to cross her course
are swallowed by a fearsome force.
Through the void, to be destroyed,
or is there something more?
Atomized at the core,
or through the Astral Door,
to soar.

I set a course just east of Lyra,
northwest of Pegasus.
Flew into the light of Deneb,
sailed across the Milky Way.
On my ship, the "Rocinante",
wheeling through the galaxies,
headed for the heart of Cygnus,
headlong into mystery.

The X-ray is her siren song;
my ship cannot resist her long.
Nearer to my deadly goal
until the Black Hole gains control.

Spinning, whirling, still descending,
like a spiral sea, unending.
Sound and fury drowns my heart.
Every nerve is torn apart...

---
+*+ HEMISPHERES (1978)
---

HEMISPHERES (M: Lee/Lifeson, W: Peart)
I: PRELUDE

When our weary world was young,
the struggle of the Ancients first began.
The Gods of Love and Reason
sought alone to rule the fate of Man.

They battled through the ages,
but still neither force would yield.
Their people were divided,
every soul a battlefield,
every soul a battlefield.

II: APOLLO - BRINGER OF WISDOM

"I bring Truth and Understanding.
I bring Wit and Wisdom fair,
precious gifts beyond compare.
We can build a world of wonder.
I can make you all aware."
"I will find you food and shelter,
show you fire to keep you warm
through the endless winter storm.
You can live in grace and comfort
in the world that you transform."

The people were delighted,
coming forth to claim their prize.
They ran to build their cities
and converse among the wise.
But one day the streets fell silent.
Yet, they knew not what was wrong.
The urge to build these fine things
seemed not to be so strong.
The wise men were consulted,
and the bridge of Death was crossed
in quest of Dionysus
to find out what they had lost...

III. DIONYSUS - BRINGER OF LOVE

"I bring love to give you solace
in the darkness of the night,
in the heart's eternal light.
You need only trust your feelings.
Only love can steer you right."
"I bring Laughter, I bring Music.
I bring Joy and I bring Tears.
I will soothe your primal fears.
Throw off those chains of Reason,
and your prison disappears."

The cities were abandoned,
and the forests echoed song.
They danced and lived as brothers.
They knew Love could not be wrong.
Food and wine they had aplenty,
and they slept beneath the stars.
The people were contented,
and the Gods watched from afar.
But the winter fell upon them,
and it caught them unprepared,
bringing wolves and cold starvation,
and the hearts of men despaired...

IV. ARMAGEDDON - THE BATTLE OF HEART AND MIND

The Universe divided
as the Heart and Mind collided
with our people, unguided
for so many troubled years
in a cloud of doubts and fears.
Our world was torn asunder into hollow hemispheres.

Some fought themselves. Some fought each other.
Most just followed one another,
lost and aimless like their brothers,
for their Hearts were so unclear
and the Truth would not appear.
Their spirits were divided into blinded hemispheres.

Some who did not fight brought tales of old to light.
My "Rocinante" sailed by night on her final flight.

To the heart of Cygnus' fearsome force we set our course,
spiralled through that timeless space to this immortal place.

V. CYGNUS - BRINGER OF BALANCE

I have memory and awareness,
but I have no shape or form.
As a disembodied spirit,
I am dead and yet unborn.
I have passed into Olympus,
as was told in tales of old,
to the City of Immortals,
marble white and purest gold.

I see the Gods in battle rage on high,
thunderbolts scross the sky.
I cannot move. I cannot hide.
I feel a silent scream begin inside.

Then all at once, the Chaos ceased.
A stillness fell, a sudden peace.
The Warriors felt my silent cry
and stayed their struggle, mystified.

Apollo was astonished.
Dionysus thought me mad.
But they heard my story further,
and they wondered, and were sad,
looking down from Olympus
on a world of doubt and fear,
its surface splintered into sorry hemispheres.

They sat awhile in silence.
Then they turned at last to me:
"We will call you Cygnus.
The God of Balance you shall be."

VI. THE SPHERE - A KIND OF DREAM

We can walk our road together if our goals are all the same.
We can run alone and free if we pursue a different aim.
Let the truth of Love be lighted.
Let the love of Truth shine clear,
sensibility, armed with sense and liberty,
with the Heart and Mind united in a single perfect sphere.

CIRCUMSTANCES (M: Lee/Lifeson, W: Peart)

A boy alone, and so far from home;
endless rooftops from my window.
I felt the gloom of empty rooms
on rainy afternoons.
Sometimes in confusion,
I felt so lost and disillusioned.
Innocence gave me confidence
to go up against reality.

All the same, we take our chances, laughed at by time,
tricked by circumstances.
"Plus ca change, plus c'est la meme chose."
The more that things change, the more they stay the same.

Now I've gained some understanding
of the only world that we see.
Things that I once dreamed of
have become reality.
These walls that still surround me
still contain the same old me.
Just one more who's searching for
the world that ought to be.

All the same, we take our chances, laughed at by time,
tricked by circumstances.
"Plus ca change, plus c'est la meme chose."
The more that things change, the more they stay the same.

THE TREES (M: Lee/Lifeson, W: Peart)

There is unrest in the Forest.
There is trouble with the trees.
For the Maples want more sunlight
and the Oaks ignore their pleas.

The trouble with the Maples
(and they're quite convinced they're right),
they say the Oaks are just too lofty
and they grab up all the light.
But the Oaks can't help their feelings,
if they like the way they're made.
And they wonder why the Maples
can't be happy in their shade.

There is trouble in the Forest.
And the creatures all have fled,
as the Maples scream "Oppression!"
and the Oaks just shake their heads.

So the Maples formed a Union
and demanded equal rights.
"The Oaks are just too greedy.
We will make them give us light."
Now there's no more Oak oppression,
for they passed a noble law.
And the trees are all kept equal
by hatchet, axe, and saw.

LA VILLA STRANGIATO (M: Lee/Lifeson/Peart) (instr.)
I. BUENOS NOCHAS, MEIN FROINDS!
II. TO SLEEP, PERCHANCE TO DREAM...
III. STRANGIATO THEME
IV. A LERXST IN WONDERLAND
V. MONSTERS!
VI. THE GHOST OF THE ARAGON
VII. DANFORTH AND PAPE
VIII. THE WALTZ OF THE SHREVES
IX. NEVER TURN YOUR BACK ON A MONSTER!
X. MONSTERS! (REPRISE)
XI. STRANGIATO THEME (REPRISE)
XII. A FAREWELL TO THINGS

---
+*+ PERMANENT WAVES (1980)
---

THE SPIRIT OF RADIO (M: Lee/Lifeson, W: Peart)

Begin the day with a friendly voice,
a companion unobtrusive.
Plays that song that's so elusive,
and the magic music makes your morning mood.
Off on your way. Hit the open road.
There is magic at your fingers.
For the Spirit ever lingers,
undemanding contact in your happy solitude.

Invisible airwaves crackle with life.
Bright antennae bristle with the energy.
Emotional feedback on a timeless wavelength,
bearing a gift beyond price, almost free.

All this machinery making modern music,
can still be open-hearted.
No so coldly charted,
it's really just a question of your honesty.
One likes to believe in the freedom of music,
but glittering prizes and endless compromises
shatter the illusion of integrity.

"For the words of the profits
were written on the studio wall,
concert hall;
echoes with the sounds of salesmen."

FREE WILL (M: Lee/Lifeson, W: Peart)

There are those who think that
life has nothing left to chance;
a host of holy horrors
to direct our aimless dance.

A planet of playthings, we dance on the strings
of powers we cannot perceive:
"The stars aren't aligned or the gods are malign."
Blame is better to give than receive.

You can choose a ready guide in some celestial voice.
If you choose not to decide, you still have made a choice.
You can choose from phantom fears and kindness that can kill.
I will choose a path that's clear. I will choose free will.

There are those who think that
they've been dealt a losing hand.
The cards were stacked against them;
they weren't born in Lotus-Land.

All preordained: a prisoner in chains,
a victim of venomous fate.
Kicked in the face, you can pray for a place
in heaven's unearthly estate.

You can choose a ready guide in some celestial voice.
If you choose not to decide, you still have made a choice.
You can choose from phantom fears and kindness that can kill.
I will choose a path that's clear. I will choose free will.

Each of us, a cell of unawareness,
imperfect and incomplete.
Genetic blends with uncertain ends
on a fortune hunt that's far too fleet.

You can choose a ready guide in some celestial voice.
If you choose not to decide, you still have made a choice.
You can choose from phantom fears and kindness that can kill.
I will choose a path that's clear. I will choose free will.

JACOB'S LADDER (M: Lee/Lifeson, W: Peart)

The clouds prepare for battle in the dark and brooding silence.
Bruised and sullen storm clouds have the light of day obscured.
Looming low and ominous in twilight premature,
thunderheads are rumbling in a distant overture.

All at once, the clouds are parted.
Light streams down in bright unbroken beams.

Follow men's eyes as they look to the skies.
The shifting shafts of shining weave the fabric of their dreams.

ENTRE NOUS (M: Lee/Lifeson, W: Peart)

We are secrets to each other,
each one's life a novel no one else has read.
Even joined in bonds of love,
we're linked to one another by such slender threads.

We are planets each other,
drifting in our orbits to a brief eclipse.
each of us a world apart,
alone and yet together like two passing ships.

Just between us, I think it's time for us to recognize
the differences we sometimes feared to show.
Just between us, I think it's time for us to realize
the spaces in between leave room for you and I to grow.

We are strangers to each other,
full of gliding panels an illusion show.
Acting well rehearsed routines,
or playing from the heart? It's hard for us to know.

Just between us, I think it's time for us to recognize
the differences we sometimes feared to show.
Just between us, I think it's time for us to realize
the spaces in between leave room for you and I to grow.

We are islands to each other,
building hopeful bridges on the troubled sea.
Some are burned or swept away,
some we would not choose, but we're not always free.

Just between us, I think it's time for us to recognize
the differences we sometimes feared to show.
Just between us, I think it's time for us to realize
the spaces in between leave room for you and I to grow.

DIFFERENT STRINGS (M: Lee/Lifeson, W: Peart)

Who's come to slay the dragon,
come to watch him fall,
making arrows out of pointed words,
giant killers at the call?
Too much fuss and bother,
too much contradiction and confusion
peel away the mystery.
Here's a clue to some real motivation:

All there really is, the two of us,
and we both know why we've come along.
Nothing to explain. It's a part of us
to be found within our song.

What happened to our innocence?
Did it go out of style
along with our naivete?
No longer a child.
Different eyes see different things.
Different hearts beat on different strings.
But there are times
for you and me when all such things agree.

All there really is, the two of us,
and we both know why we've come along.
Nothing to explain. It's a part of us
to be found within our song.

NATURAL SCIENCE (M: Lee/Lifeson, W: Peart)
I. TIDE POOLS

When the ebbing tide retreats along the rocky shoreline
it leaves a trail of tide pools in a short-lived galaxy;
each microcosmic planet a complete society,
a simple kind of mirror to reflect upon our own
all the busy little creatures chasing out their destinies.
Living in their pools, they soon forget about the sea.

Wheels within wheels in a spiral array,
a pattern so grand and complex.
Time after time we lose sight of the way;
our causes can't see their effects.

II. HYPERSPACE

A quantum leap forward in time and space:
the universe learned to expand.
The mess and the magic, triumphant and tragic:
a mechanized world out of hand.

Computerized clinic for superior cynics
who dance to a synthetic band.
In their own image their world is fashioned.
No wonder they don't understand.

Wheels within wheels in a spiral array,
a pattern so grand and complex.
Time after time we lose sight of the way;
our causes can't see their effects.

III. PERMANENT WAVES

Science, like Nature, must also be tamed
with a view towards its preservation.
Given the same state of integrity,
it will surely serve us well.

Art as expression, not as market campaigns,
will still capture our imaginations.
Given the same state of integrity,
it will surely help us along.

The most endangered species, the honest man,
will still survive annihilation,
forming a world state of integrity,
sensitive, open and strong.

Wave after wave will flow with the tide,
and bury the world as it does.
Tide after tide will flow and recede,
leaving life to go on as it was.

---
+*+ MOVING PICTURES (1981)
---

TOM SAWYER (M: Lee/Lifeson, W: Peart/Pye Dubois)

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 that 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 (M: Lee/Lifeson, W: Peart)

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 the shining car;
a brilliant red Barchetta from a better vanished time.
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 toward me, two lanes wide.
I spin around with shreiking 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 (M: Lee/Lifeson) (instr.)

LIMELIGHT (M: Lee/Lifeson, W: Peart)

Living on a lighted stage
approaches the unreal,
for those 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 fish-eye 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.

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.

THE CAMERA EYE (M: Lee/Lifeson, W: Peart)

Grim-faced and forbidding, their faces closed tight:
an angular mass of New Yorkers.
Pacing in rhythm, race the oncoming night,
they chace through the streets of Manhattan.
Headfirst 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.

Wide-angled 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 uniquely to every city's streets?
Pavements may teem with intense energy.
But the city is calm in this violent sea.

I feel the sense of possibilities.
I feel the wrench of hard realities.
The focus is sharp in the city.

WITCH HUNT (M: Lee/Lifeson, W: Peart)

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,
our immigrants and infidels.
They say there is strangeness too dangerous
in our theatres and bookstore shelves.
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 (M: Lee/Lifeson, W: Peart)

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 persistance.
Leave out conditions
Courageous convictions
will drag the dream into existance.

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.

---
+*+ EXIT...STAGE LEFT (1981/1982) (Live)
---

BROON'S BANE (M: Lifeson) (instr.)

---
+*+ SIGNALS (1982)
---

THE ANALOG KID (M: Lee/Lifeson, W: Peart)

A hot and windy August afternoon has the trees in constant motion
with a flash of silver leaves as they're rocking in the breeze.
The boy lies in the grass with one blade stuck between his teeth
A vague sensation quickens in his young and restless heart.
And a bright and nameless vision has him longing to depart.

You move me, you move me,
with your buildings and your eyes,
autumn woods and winter skies.
You move me, you move me,
open sea and city lights,
busy streets and dizzy heights.
You call me, you call me.

The fawn-eyed girl with sunbrowned legs dances on the edge of his dream,
and her voice rings in his ears like the music of the spheres.
The boy lies in the grass, unmoving, staring at the sky.
His mother starts to call him as a hawk goes soaring by.
And the boy pulls down his baseball cap and covers up his eyes.

You move me, you move me,
with your buildings and your eyes,
autumn woods and winter skies.
You move me, you move me,
open sea and city lights,
busy streets and dizzy heights.
You call me, you call me.

Too many hands on my time.
Too many feelings.
Too many things on my mind.
When I leave I don't know what I'm hoping to find.
And when I leave I don't know what I'm leaving behind.

CHEMISTRY (M: Lee/Lifeson, W: Lee/Lifeson/Peart)

Signals transmitted. Message received.
Reaction making impact invisibly.
Elemental telepathy. Exchange of energy.
Reaction making contact mysteriously.
Eye to I, reaction burning hotter.
Two to one, reflection on the water.

H to O, no flow without the other.
Oh, but how do they make contact with one another?
Electricity? Biology?
Seems to me it's chemistry.

Emotion transmitted. Emotion received.
Music in the abstract, positively.
Elemental empathy. A change of synergy.
Music making contact naturally.
One, two, three. Add without subtraction.
Sound on sound. Multiplied reaction.

H to O, no flow without the other.
Oh, but how do we make contact with one another?
Electricity? Biology?
Seems to me it's chemistry.

COUNTDOWN (M: Lee/Lifeson, W: Peart)

Lit up with anticipation,
we arrive at the launching site.
The sky is still dark, nearing dawn,
on the Florida coastline.
Circling choppers slash the night
with roving searchlight beams,
this magic day when superscience mingles
with the bright stuff of dreams.

Floodlit in the hazy distance,
the star of this unearthly show,
venting vapors like the breath
of a sleeping white dragon.
Crackling sparkers, voices tense
resume the final count.
All systems check, T minus nine
as the sun and the drama start to mount.

The air is charged, a humid motionless mass.
The crowds and the cameras, the cars full of spectators pass.
The excitement so thick you could cut it with a knife.
Technology high on the leading edge of life.

The earth beneath us starts to tremble
with the spreading of a low black cloud.
A thunderous roar shakes the air
like the whole world exploding.
Scorching blast of golden fire
as it slowly leaves the ground.
It tears away with a mighty force.
The air is shattered by that awesome sound.

The excitement so thick you could cut it with a knife.
Technology high on the leading edge of life.
Like a pillar of cloud, the smoke lingers high in the air.
In fascination, with the eyes of the world we stare.

DIGITAL MAN (M: Lee/Lifeson, W: Peart)

His world is under observation. We monitor his station
under faces and the places where he traces points of view.
He picks up scraps of conversation, radio and radiation
from the dancers and romancers with the answers but no clue.

He'd love to spend the night in Zion.
He's been a long, long time in Babylon.
He'd like a lover's wings to fly on
to a tropic isle of Avalon.

His world is under anesthetic, subdivided and synthetic
his reliance on the giants in the science of the day.
He picks up scraps of information. He's adept at adaptation,
'cause for the strangers and arrangers constant change is here to stay.

He'd love to spend the night in Zion.
He's been a long, long time in Babylon.
He'd like a lover's wings to fly on
to a tropic isle of Avalon.

He's got a force field and a flexible plan.
He's got a date with fate in a black sedan.
He plays fast forward just as long as he can.
But he won't need a bed. He's a digital man.

NEW WORLD MAN (M: Lee/Lifeson, W: Peart)

He's a rebel and a runner. He's a signal turning green.
He's a restless young romantic, wants to run the big machine.
He's got a problem with his poisons, but you know he'll find a cure.
He's cleaning up his systems to keep his nature pure.

Learning to match the beat of the Old World man.
Learning to catch the heat of the Third World man.
He's got to make his own mistakes
and learn to mend the mess he makes.
He's old enough to know what's right
but young enough no to choose it.
He's noble enough to win the world
but fool enough to lose it.
He's a New World man.

He's a radio receiver tuned to factories and farms.
He's a writer and arranger and a young boy bearing arms.
He's got a problem with his power, with weapons on patrol.
He's got to walk a fine line and keep his self-control.

Trying to save the day for the Old World man.
Trying to pave the way for the Third World man.
He's not concerned with yesterday.
He knows constant change is here today.
He's noble enough to know what's right
but weak enough not to choose it.
He's wise enough to win the world
but fool enough to lost it.
He's a New World man.

LOSING IT (M: Lee/Lifeson, W: Peart)

Dancer slows her frantic pace in pain and desperation,
her aching limbs and downcast face aglow with perspiration,
stiff as wire, her lungs on fire, with just the briefest pause.
Then floating through her memory the echoes of old applause.
And she limps across the floor
and closes her bedroom door.

Writer stares with glassy eyes, defies the empty page.
His beard is white, his face is lined and streaked with tears of rage.
Thirty years ago, how the words would flow with passion and precision!
But now his mind is dark and dulled by sickness and indecision.
And he stared out the kitchen door,
where the sun will rise no more.

Some are born to move the world, to live their fantasies.

But most of us just dream about the things we'd like to be.
Sadder still to watch it die than never to have known it.
For you, the blind who once could see, the bell tolls for thee.
The bell tolls for thee.

SUBDIVISIONS (M: Lee/Lifeson, W: Peart)

Sprawling on the fringes of the city
in geometric order, an insulated border
in between the bright lights and the far unlit unknown.

Growing up, it all seemed so one-sided,
opinions all provided, the future predecided,
detached and subdivided in the mass production zone.
Nowhere is the dreamer or the misfit so alone.

[(spoken) Subdivisions.]
In the high school halls,
in the shopping malls,
conform or be cast out.
[(spoken) Subdivisions.]
In the basement bars,
in the backs of cars,
be cool or be cast out.
Any escape might help to smooth the unattractive truth.
But the suburbs have no charms to sooth the restless dreams of youth.

Drawn like moths, we drift into the city,
the timeless old attraction, cruising for the action,
lit up like a firefly, just to feel the living night.

Some will sell their dreams for small desires
and lose the race to rats, get caught in ticking traps
and start to dream of somewhere to relax their restless flight,
somewhere out of a memory of lighted streets on quiet nights.

[(spoken) Subdivisions.]
In the high school halls,
in the shopping malls,
conform or be cast out.
[(spoken) Subdivisions.]
In the basement bars,
in the backs of cars,
be cool or be cast out.
Any escape might help to smooth the unattractive truth.
But the suburbs have no charms to sooth the restless dreams of youth.

THE WEAPON (M: Lee/Lifeson, W: Peart)

We got nothing to fear but fear itself?
Not pain, not failure, not fatal tragedy?
Not the faulty units in this mad machinery?
Not the broken contacts in emotional chemistry?
With an iron fist in a velvet glove
we are sheltered under the gun.
In the glory game on the power train,
thy kingdom's will be done.

And the things that we fear
are a weapon to be held against us.
He's not afraid of your judgement.
He knows of horrors worse than your Hell.
He's a little bit afraid of dying,
but he's a lot more afraid of your lying.
And the things that he fears
are a weapon to be held against him.

Can any part of life be larger than life?
Even love must be limited by time.
And those who push us down that they might climb:
is any killer worth more than his crime?
Like a steely blade in a silken sheath
we don't see what they're made of.
They shout about love,
but when push comes to shove
they look for things they're afraid of.

And the knowledge that they fear
is a weapon to be used against them.
He's not afraid of your judgement.
He knows of horrors worse than your Hell.
He's a little bit afraid of dying,
but he's a lot more afraid of your lying.
And the things that he fears
are a weapon to be held against him.

---
+*+ GRACE UNDER PRESSURE (1984)
---

DISTANT EARLY WARNING (M: Lee/Lifeson, W: Peart)

An ill wind comes arising
across the cities of the plain.
There's no swimming in the heavy water,
no singing in the acid rain.
Red alert, red alert.

It's so hard to stay together,
passing through revolving doors.
We need someone to talk to,
and someone to sweep the floors.
Incomplete, incomplete.

The world weighs on my shoulders, but what am I do to?
You sometimes drive me crazy, but I worry about you.
I know it makes no difference to what you're going through,
but I see the tip of the iceberg, and I worry about you.

Cruising under your radar,
watching from satellites.
Take a page from the red book,
keep them in your sights.
Obsolete, absolute.

Absolom, absolom.

AFTERIMAGE (M: Lee/Lifeson, W: Peart)

Suddenly, you were gone
from all the lives you left your mark upon.

I remember how we talked and drank
into the misty dawn. I hear the voices.

We ran by the water on the wet summer town.
I see the footprints. I remember.

I feel the way you would,
I feel the way you would.

Tried to believe, but you know it's no good.
This is something that just can't be understood.

I remember the shouts of joy.
Skiing fast through the woods. I hear the echoes.

I learned you love for life. I feel the way that you would.
I feel your presence, I remember.

I feel the way you would.
This just can't be understood.

RED SECTOR A (M: Lee/Lifeson, W: Peart)

All that we can do is just survive.
All that we can do to help ourselves is stay alive.

Ragged lines of ragged grey.
Skeletons, they shuffle away.
Shouting guards and smoking guns
will cut down the unlucky ones.

I clutch the wire fence until my fingers bleed.
A wound that will not heal, a heart that can not feel,
hoping that the horror will recede,
hoping that tomorrow we'll all be freed.

Sickness to insanity,
prayer to profanity.
Days and weeks and months go by.
Don't feel the hunger, too weak to cry.

I hear the sound of gunfire at the prison gate.
Are the liberators here? Do I hope or do I fear?
For my father and my brother, it's too late.
But I must help my mother stand up straight.

Are we the last ones left alive?
Are we the only human beings to survive?

THE ENEMY WITHIN (M: Lee/Lifeson, W: Peart)

Things crawl in the darkness.
That imagination spins.
Needles are your nerve ends
crawl like spiders on your skin.

Pounding in your temples,
and a surge of adrenalin.
Every muscle tense,
to fence the enemy within.

I'm not giving in to security under pressure.
I'm not missing out on the promise of adventure.
I'm not giving up on implausible dreams.
Experience to extremes, experience to extremes.

Suspicious-looking stranger
flashes you a dangerous grin.
Shadows across your window.
Was it only trees in the wind?

Every breath a static charge.
A tongue that tastes like tin.
Steely-eyed outside,
to hide the enemy within.

To you, is it movement or is it action?
Is it contact or just reaction?
And you, revolution or just resistance?
Is it living, or just existance?
Yeah, you, it takes a little more persistence

to get up and go the distance.

THE BODY ELECTRIC (M: Lee/Lifeson, W: Peart)

One humanoid escapee,
one android on the run.
Seeking freedom beneath
a lonely desert sun.

Trying to change its program,
trying to change its mode.
Crack the code,
images conflicting into data overload.

1-0-0-1-0-0-1
S.O.S.
1-0-0-1-0-0-1
In distress
1-0-0-1-0-0

Memory banks unloading,
bytes break into bits.
Unit one's in trouble,
and it's scared out of its wits.

Guidance systems break down.
A struggle to exist, to resist.
A pulse of dying power
in a clenching plastic fist.

It replays each of the days.
A hundred days of routines.
Bows its head and prays
to the mother of all machines.

KID GLOVES (M: Lee/Lifeson, W: Peart)

A world of difference,
a world so out of touch.
Overwhelmed by everything,
but wanting more so much.

Call it blind frustration,
call it blind man's bluff.
Call each other names,
your voices rude, your voices rough.
Then you learn the lesson,
that it's cool to be so tough.

Handle with kid gloves,
handle with kid gloves.
Then you learn the lessons
taught in school won't be enough.
Put on your kid gloves,
put on your kid gloves.
Then you learn the lesson
that it's cool to be so tough.

A world of indifference,
heads and hearts too full.
Careless of the consequence
of constant push and pull.
Anger got bare knuckles,
anger play the fool.
Anger wear a crown of thorns,
reverse the golden rule.
Then you learn the lesson
that it's tough to be so cool.

Handle with kid gloves,
handle with kid gloves.
Then you learn the weapons
and the ways of hard knock school
Put on your kid gloves,
put on your kid gloves.
Then you learn the lesson
that it's tough to be so cool.

RED LENSES (M: Lee/Lifeson, W: Peart)

I see red,
it hurts my head.
Guess it must be something
that I read.

It's the colour of your heartbeat,
a rising summer sun.
The battle lost, or won.
The flash to fashion,
and the pulse to passion.
Feels red
inside my head,
and truth is often bitter,
left unsaid.
Said red, red.
Thinking about the overhead,
the underfed.
Couldn't we talk about
something else instead?

We've got Mars on the horizon,
says the National Midnight Star.
(It's true.)
What you believe is what you are.
A pair of dancing shoes,
the Soviets are the blues.
The Reds
under your bed.
Lying
in the darkness
dead ahead.

And the mercury is rusing,
barometer starts to fall.
You know it gets to us all.
The pain that is learning,
and the rain that is burning.
Feel red,
still, go ahead.
You see black and white,
and I see red.
(Not blue.)

BETWEEN THE WHEELS (M: Lee/Lifeson, W: Peart)

To live between a rock
and a hard place.
In between time,
cruising in prime time,
soaking up the cathode rays.

To live between the wars
in our time.
Living in real time.
Holding the good time,
holding on to yesterdays.

You know how that rabbit feels
going under your speeding wheels.
Bright images flashing by,
like windshields towards a fly.
Frozen in the fatal climb,
but the wheels of time
just pass you by.

Wheels can take you around,
wheels can cut you down.

We can go from boom to bust,
from dreams to a bowl of dust.
We can fall from rockets red glare,
down to "Brother can you spare".
Another war, another waste land,
and another lost generation.

It slips between your hands
like water.
This living in real time.
A dizzying lifetime,
reeling by on celluloid.

Struck between the eyes
by the big-time world.
Walking uneasy streets,
hiding beneath the sheets.
Got to try and fill the void.

---
+*+ POWER WINDOWS (1985)
---

THE BIG MONEY (M: Lee/Lifeson, W: Peart)

Big money goes around the world,
big money underground.
Big money got a mighty voice,
big money make no sound.
Big money pull a million strings,
big money hold the prize.
Big money weave a mighty web,
big money draw the flies.

Sometimes pushing people around,
sometimes pulling out the rug.
Sometimes pushing all the buttons,
sometimes pulling out the plug.
It's the power and the glory,
it's a war in paradise.
It's a cinderella story
on a tumble of the dice.

Big money goes around the world,
big money take a cruise.
Big money leave a mighty wake,
big money leave a bruise.
Big money make a million dreams,
big money spin big deals.
Big money make a mighty head,
big money spin big wheels.

Sometimes building ivory towers,
sometimes knocking castles down.
Sometimes building you a stairway,
lock you underground.
It's that old-time religion,
it's the kingdom they would rule.
It's the fool on television,
getting paid to play the fool,

Big money goes around the world,
big money give and take.
Big money done a power of good,
big money make mistakes.
Big money got a heavy hand,
big money take control.
Big money got a mean streak,
big money got no soul.

GRAND DESIGNS (M: Lee/Lifeson, W: Peart)

A to B, different degrees.

So much style without substance,
so much stuff without style.
It's hard to recognize the real thing,
it comes along once in a while.

Like a rare and precious metal
beneath a ton of rock,
it takes some time and trouble
to separate from the stock.
You sometimes have to listen to
a lot of useless talk.

Shapes and forms
against the norms,
against the run of the mill,
swimming against the stream.
Life in two dimensions
is a mass production scheme.

So much poison in power,
the principles got left out.
So much mind on the matter,
the spirit gets forgotten about.

Like a righteous inspiration,
overlooked in haste,
like a teardrop in the ocean,
a diamond in the waste.
Some world-views are spacious,
and some are merely spaced.

Against the run of the mill,
static as it seems.
We break the surface tension
with our wild kinetic dreams.
Curves and lines
of grand designs.

MANHATTAN PROJECT (M: Lee/Lifeson, W: Peart)

Imagine a time
when it all began.
In the dying days of a war,
a weapon that would settle the score.
Whoever found it first
would be sure to do their worst.
They always had before.

Imagine a man
where it all began.
A scientist pacing the floor
in each nation, always eager to explore.
To build the best big stick,
to turn the winning trick,
but this was something more.

The big bang took and shook the world,
shot down the rising sun.
The end was begun, it would hit everyone
when the chain reaction was done.
The big shots try to hold it back,
fools try to wish it away.
The hopeful depend on a world without end,
whatever the hopeless may say.

Imagine a place
where it all began.
They gathered from across the land
to work in the secrecy of the desert sand.
All of the brightest boys,
to play with the biggest toys,
more than they bargained for.

Imagine a man
where it all began.
The pilot of "Enola Gay"
flying out of the shockwave
on that August day.
All the powers that be,
and the course of history,
would be changed for evermore.

MARATHON (M: Lee/Lifeson, W: Peart)

It's not how fast you can go, the force goes into the flow.
If you pick up the beat, you can forget about the heat.
More than just survival, more than just a flash,
more than just a dotted line, more than just a dash.

It's a test of ultimate will, the heartbreak climb uphill.
Got to pick up the pace if you want to stay in the race.
More than blind ambition, more than simple greed,
more than a finish line, must feed this burning need
in the long run.

From first to last, the peak is never passed.
Something always fires the light that gets in your eyes.
One moment's high, and glory rolls on by,
like a streak of lightning
that flashes and fades in the summer sky.

Your meters may overload, you can rest at the side of the road.
You can miss a stride, but nobody gets a free ride.
More than high performance, more than just a spark,
more than just the bottom line or a lucky shot in the dark,
in the long run.

You can do a lot in a lifetime
if you don't burn out too fast.
You can make the most of the distance.
First you need endurance,
first you've got to last.

TERRITORIES (M: Lee/Lifeson, W: Peart)

I see the Middle Kingdom between Heaven and Earth,
like the Chinese call the country of their birth.
We all figure that our homes are set above
other people than the ones we know and love.

In every place with a name,
they play the same territorial game.
Hiding behind the lines,
sending up warning signs.

The whole wide world, an endless universe.
Yet we keep looking through the eyeglass in reverse.
Don't feed the people, but we feed the machines.
Can't really feel what international means.

In different circles,
we keep holding our ground.
Indifferent circles,
we keep spinning round and round.

We see so many tribes, overrun and undermined,
while their invaders dream of lands they've left behind.
Better people, better food, and better beer.
Why move around the world when Eden was so near?

The bosses get talking so tough.
And if that wasn't evil enough,
we get the drunken and passionate pride
of the citizens along for the ride.

They shoot without shame in the name of a piece of dirt,
for a change of accent or the colour of your shirt.
Better the pride that resides in a citizen of the world
than the pride that divides when a colourful rag is unfurled.

MIDDLETOWN DREAMS (M: Lee/Lifeson, W: Peart)

The office door closed early.
The hidden bottle came out.
The salesman turned to close the blinds.
A little slow now, a little stout.
But he's still heading down those tracks.
Any day now for sure.
Another day as drab as today
is more than a man can endure.

Dreams flow across the heartland,
feeding on the fires.
Dreams transport desires,
drive you when you're down.
Dreams transport the ones
who need to get out of town.

The boy walks with his best friend
through the fields of early May
They walk awhile in silence,
one close, one far away
But he'd be climbing on that bus,
just him and his guitar,
to blaze across the heavens
like a brilliant shooting star

The middle-aged madonna
calls her neighbor on the phone.
Day by day the seasons pass
and leave her life alone.
But she'll go walking out that door
on some bright afternoon,
to go and paint big cities
from a lonely attic room

It's understood
by every single person
who'd be elsewhere if they could.
So far so good,
and life's not unpleasant
in their little neighborhood.

They dream in Middletown.

EMOTION DETECTOR (M: Lee/Lifeson, W: Peart)

When we left the covers from our feelings,
we expose our insecure spots.
Trust is just as rare as devotion.
Forgive us our cynical thoughts.
If we need too much attention,
not content with being cool,
we must throw ourselves wide open,
and start acting like a fool.
If we need too much approval,
then the cuts can seem too cruel.

Right to the heart of the matter,
right to the beautiful part.
Illusions are painfully shattered
right where discovery starts.
In the secret wells of emotion,
buried deep in our hearts.

It's true that love can change us,
but never quite enough.
Sometimes we are too tender,
sometimes we're too tough.
If we get too much attention,
it gets hard to overrule.
So often fragile power turns
to scorn and ridicule.
Sometimes our big splashes
are just ripples in the pool.
Feelings run high.

MYSTIC RHYTHMS (M: Lee/Lifeson, W: Peart)

So many things I think about when I look far away.
Things I know, things I wonder, things I'd like to say.
The more we think we know about, the greater the unknown.
We suspend our disbelief, and we are not alone.

Mystic rhythms, capture my thoughts, and carry them away.
Mysteries of night escape the light of day.
Mystic rhythms, under northern lights, or the African sun.
Primitive things stir the hearts of everyone.

We sometimes catch a window, a glimpse of what's beyond.
Was it just imagination stringing us along?
More things than are dreamed about, unseen and unexplained.
We suspend our disbelief, and we are entertained.

Mystic rhythms, capture my thoughts, and carry them away.
Nature seems to spin a supernatural way.
Mystic rhythms, under city lights, or a canopy of stars.
We feel the powers, and we wonder what they are.
We feel the push and pull of restless rhythms from afar.

---
+*+ HOLD YOUR FIRE (1987)
---

FORCE TEN (M: Lee/Lifeson, W: Peart/Pye Dubois)

Tough times demand tough talk demand tough hearts demand tough songs demand..

We can rise and fall like empires,
flow in and out like the tide.
Be vain and smart, humble and dumb.
We can hit and miss like pride.

We can circle around like hurricanes,
dance and dream like lovers.
Attack the day like birds of prey,
or scavengers under cover.

Look in to the eye of the storm.
Look out for the force without form.
Look around at the sight and sound.
Look in, look out, look around.

We can move with savage grace
to the rhythms of the night.
Cool and remote like dancing girls,
in the heat of the beat and the lights.

We can wear the rose of romance,
an air of joie de vivre.
Too tender hears upon our sleeves,
or skin as thick as thieves.

Rising, falling at force ten,
we twist the world and ride the wind.

Look in, look the storm in the eye.
Look out to the sea and the sky.
Look around at the sight and sound.
Look in, look out, look around.

TIME STAND STILL (M: Lee/Lifeson, W: Peart)

I turn my back to the wind, to catch my breath,
before I start off again.
Driven on, without a moment to spend,
to pass the evening with a drink and a friend.

I let my skin get too thin.
I'd like to pause, no matter what I pretend,
like some pilgrim who learns to transcend,
learns to live as if each step was the end.

Time stand still.
I'm not looking back, but I want to look around me now.
See more of the people and the places that surround me now.

Freeze this moment a little bit longer.
Make each sensation a little bit stronger.
Experience slips away.

I turn my face to the sun.
Close my eyes, let my defenses down.
All those wounds that I can't get unwound.

I let my past go too fast, no time to pause.
If I could slow it all down,
like some captain whose ship runs aground.
I can wait until the tide comes around.

Make each impression a little bit stronger.
Freeze this motion a little bit longer.
The innocence slips away.

Summer's going fast, nights growing colder.
Children growing up, old friends growing older.
Experience slips away.

OPEN SECRETS (M: Lee/Lifeson, W: Peart)

It went right by me.
At the time it went over my head.
I was looking out the window.
I should have looked
at your face instead.

It went right by me.
Just another wall.
There should have been a moment
when we let our barriers fall.
I never meant
what you're thinking.
That is not what I meant at all.

Well, I guess we all
have these feelings
we can't leave unreconciled.
Some of them burned on our ceilings,
some of them learned as a child.

The things that we're concealing
will never let us grow.
Time will do its healing.
You've got to let it go.

Closed for my protection,
open to your scorn.
Between these two directions,
my heart is sometimes torn.

I lie awake with my secrets
spinning around my head.
Something that somehow
escaped me,
something you shouldn't have said.
I was looking out the window.
I should have looked
at your face instead.

I find no absolution
in my rational point of view.
Maybe some things are instinctive,
but there's one thing you could do.
You could try to understand me,
I could try to understand you.

SECOND NATURE (M: Lee/Lifeson, W: Peart)

A memo to a higher office,
open letter to the powers that be.
To a god, a king, a head of state,
a captain of industry.
To the movers and the shakers,
can't everybody see?

It ought to be second nature,
I mean, the places where we live.
Let's talk about this sensibly,
we're not insensitive.
I know progress has no patience,
but something's got to give.

I know you're different,
you know I'm the same.
We're both too busy
to be taking the blame.
I'd like some changes,
but you don't have the time.
We can't go on thinking
it's a victimless crime.
No one is blameless,
but we're all without shame.
We fight the fire,
while we're feeding the flames.

Folks have got to make choices,
and choices got to have voices.
Folks are basically decent,
conventional wisdom would say.
Well, we read about the exceptions
in the papers every day.

It ought to be second nature,
at least, that's what I feel.
"Now I lay me down in dreamland",
I know perfect's not for real.
I thought we might get closer,
but I'm ready to make a deal.

Today is different,
and tomorrow the same.
It's hard to take the world
the way that it came.
Too many rapids
keep us sweeping along.
Too many captains
keep on steering us wrong.
It's hard to take the heat,
it's hard to lay blame,
to fight the fire
while we're feeding the flames.

PRIME MOVER (M: Lee/Lifeson, W: Peart)

Basic elemental
instinct to survive,
stirs the higher passions,
thrill to be alive.

Alternating currents
in a tidewater surge,
rational resistance
to an unwise urge.
Anything can happen.

From the point of conception
to the moment of truth.
At the point of surrender
to the burden of proof.

From the point of ignition
to the final drive.
The point of the journey
is not to arrive.
Anything can happen.

Basic temperamental
filters on our eyes.
Alter our perceptions,
lenses polarize.

Alternating currents
force a show of hands.
Rational responses
force a change of plans.
Anything can happen.

From a point on a the compass
to magnetic north,
the point of the needle
moving back and forth.

From the point of entry
until the candle is burned.
The point of departure
is not to return.
Anything can happen.

I set the wheels in motion,
turn up all the machines,
activate the programs,
and run behind the scenes.
I set the clouds in motion,
turn up light and sound,
activate the window,
and watch the world go round.

LOCK AND KEY (M: Lee/Lifeson, W: Peart)

I don't want to face
the killer instinct,
face it in you or me.

We carry a sensitive cargo
below the waterline,
Ticking like a time bomb
with a primitive design.

Behind the finer feelings,
this civilized veneer,
the heart of a lonely hunter
guards a dangerous frontier.

The balance can sometimes fail,
strong emotions can tip the scale.

Don't want to silence
a desperate voice
for the sake of security.
No one wants to make
a terrible choice
on the price of being free.
I don't want to face
the killer instinct,
face it in you or me.
So we keep it under lock and key.

It's not a matter of mercy,
it's not a matter of laws.
Plenty of people will kill you
for some fanatical cause.

It's not a matter of conscience,
a search for probable cause.
It's just a matter of instinct,
a matter of fatal flaws.

No reward for resistance,
no assistance,
no applause.

We don't want to be victims.
On that we all agree.
So we lock up the killer instinct,
and throw away the key.

MISSION (M: Lee/Lifeson, W: Peart)

Hold your fire,
keep it burning bright.
Hold the flame
'til the dream ignites.
A spirit with a vision
is a dream with a mission.

I hear their passionate music,
read the words
that touch my heart.
I gaze at their feverish pictures,
the secrets that set them apart.

When I feel the powerful visions
their fire has made alive,
I wish I had that instinct,
I wish I had that drive.

Spirits fly on dangerous missions,
Imaginations on fire.
Focused high on soaring ambitions,
consumed in a single desire.

In the grip of
a nameless possession,
a slave to the drive of obsession,
a spirit with a vision
is a dream with a mission.

I watch their images flicker,
bringing light to a lifeless screen.
I walk through
their beautiful buildings,
and I wish I had their dreams.

But dreams don't need
to have motion
to keep their spark alive.
Obsession has to have action,
pride turns on the drive.

It's cold comfort
to the ones without it,
to know how they struggled,
how they suffered about it.

If their lives were
exotic and strange,
they would likely have
gladly exchanged them
for something a little more plain,
maybe something a little more sane.

We each pay a fabulous price
for our visions of paradise,
but a spirit with a vision
is a dream with a mission.

TURN THE PAGE (M: Lee/Lifeson, W: Peart)

Nothing can survive in a vacuum,
no one can exist all on their own.
We pretend things
only happen to strangers.
We've all got problems of our own.

It's enough to learn
to share our pleasures.
We can't soothe pain with sympathy.
All that we can do is be reminded,
we shake our heads at the tragedy.

Every day we're standing
in a time capsule,
racing down a river from the past.
Every day we're standing
in a wind tunnel,
facing down the future coming fast.

It's just the age,
it's just a stage,
we disengage,
we turn the page.

Looking at
the long-range forecast.
Catching all the names in the news.
Checking out
the state of the nation,
learning the environmental blues.

Truth is after all a moving targer,
hairs to split,
and pieces that don't fit.
How can anybody be enlightened?
Truth is after all so poorly lit.

TAI SHAN (M: Lee/Lifeson, W: Peart)

High on the sacred mountain,
up the seven thousand stairs,
in the golden light of autumn,
there was magic in the air.

Clouds surrounded the summit,
the wind blew strong and cold
among the silent temples
and the writings engraved in cold.

Somewhere in my instincts,
the primitive took hold.

I stood at the top of the mountain,
and China sang to me,
In the peaceful haze of harvest time,
a song of eternity.

If you raise your hands to heaven,
you will live a hundred years.
I stood there like a mystic,
lost in the atmosphere.

The clouds were suddenly parted.
For a moment I could see
the patterns of the landscape,
reaching to the eastern sea.
I looked upon a presence
spanning forty centuries.

I thought of time and distance,
the hardships of history.
I heard the hope and the hunger
when China sang to me.

HIGH WATER (M: Lee/Lifeson, W: Peart)

When the waters rose
in the darkness
in the wake of the endless flood,
it flowed into our memory,
it flowed into our blood.

When something broke the surface,
just to see the starry dome,
we still feel that relation
when the water takes us home.
In the flying spray of the ocean,
the water takes you home.

Springing from the weight of the mountains,
like the heart of the earth would burst,
flowing out from marble fountains,
in the dreams of a desert thirst.

Something swam through the jungles,
where the mighty rivers roam.
When the water takes you home.
I hear the wordless voices,
when the water takes you home.

Waves the crash on the shoreline.
Torrents of tropical rain,
streaming down beyond our memory,
Streaming down inside our veins.

When something left the ocean
to crawl high above the foam,
we still feel that elation
when the water takes us home.
In a driving rain of redemption,
the water takes me home.

---
+*+ A SHOW OF HANDS (1989) (Live)
---

---
+*+ PRESTO (1989)
---

SHOW DON'T TELL (M: Lee/Lifeson, W: Peart)

How many times do we hear it?
It goes on all day long.
Everyone knows everything,
no one's ever wrong,
until later.

Who can you believe?
It's hard to play it safe.
But apart from a few good friends,
we don't take anything on faith,
until later.
Show, Don't Tell.

Show me, don't tell me
You've figured out the score
Show me, don't tell me
I've heard it all before
Show me, don't tell me
I don't care what you say
Show me, don't tell me

You can twist perception,
reality won't budge.
You can raise objections,
I will be the judge,
and the jury.

I'll give it due reflection,
watching from the fence,
give the jury direction
based on the evidence.
I, the jury.
Show, Don't Tell.

Show me, don't tell me
Hey, order in the court
Show me, don't tell me
Let's try to keep it short
Show me, don't tell me
Enough of your demands
Show me, don't tell me
Witness take the stand
Show me, don't tell me

Show me, don't tell me
Hey, order in the court
Show me, don't tell me
Let's try to keep it short
Show me, don't tell me
I don't care what you say
Show me, don't tell me
Let's see exhibit A

CHAIN LIGHTNING (M: Lee/Lifeson, W: Peart)

Energy is contagious,
enthusiasm spreads.
Tides respond to lunar gravitation,
everything turns in synchronous relation.

Laughter is infectious,
excitement goes to my head.
Winds are stirred by planets in rotation,
sparks ignite and spread new information.

Respond, vibrate, feed back, resonate.


Sun dogs fire on the horizon,
meteor rains stars across the night.
This moment may be brief,
but it can be so bright.

Hope is epidemic,
optimism spreads.
Bitterness breeds irritation,
ignorance breeds imitation.

Sun dogs fire on the horizon,
meteor rains stars across the night.
This moment may be brief,
but it can be so bright,
reflected in another source of light.
When the moment dies,
the spark still flies,
reflected in another pair of eyes.

Dreams are sometimes catching.
Desire goes to my head.
Love responds to your invitation.
Love responds to imagination.

Respond, vibrate, feed back, resonate.

THE PASS (M: Lee/Lifeson, W: Peart)

Proud swagger out of the schoolyard, waiting for the world's applause.
Rebel without a conscience, martyr without a cause.
Static on your frequency, electrical storm in your veins.
Raging at unreachable glory, straining at invisible chains.

And now you're trembling on a rocky ledge,
staring down into a heartless sea.
Can't face life on a razor's edge,
nothing's what you thought it would be.

All of us get lost in the darkness.
Dreamers learn to steer by the stars.
All of us do time in the gutter.
Dreamers turn to look at the cars.
Turn around and turn around and turn around,
turn around and walk the razor's edge,
don't turn your back and slam the door on me.

It's not as if this barricade blocks the only road.
It's not as if you're all alone in wanting to explode.
Someone set a bad example, made surrender seem all right.
The act of a noble warrior who lost the will to fight.

And now you're trembling on a rocky ledge,
staring down into a heartless sea.
Done with life on a razor's edge,
nothing's what you thought it would be.

No hero in your tragedy, no daring in your escape,
no salutes for your surrender, nothing noble in your fate.
Christ, what have you done?

WAR PAINT (M: Lee/Lifeson, W: Peart)

Girl before the mirror appraises her disguise.
Child become a mother tries to fix her eyes.
No more of his excuses, it has to be today.
She can keep her fantasy if she can get away.

Paint her name on a one-way street,
painted cheeks with angry heat.
Wounded pride on painted eyes,
paint the night with battlecries.

All puffed with with vanity,
we see what we want to see.
To the beautiful and the wise,
the mirror always lies.

Boy before the mirror checks his camouflage,
polishes his armor and the charger in the garage.
No more lame excuses, it has to be tonight.
He can take the princess if he can take the fight.

Pund the drums with martial beat,
pund the streets with marching feet.
Wounded pride, distorted eyes,
paint the night with battlecries.

All puffed with with vanity,
we see what we want to see.
To the powerful and the wise,
the mirror always lies.

Boys and girls together mistake conceit for pride,
ambition for illusion, dreams for self-delusion.
Girls and boys together see what it is we lack.
Boys and girls together, let's paint the mirror black,
paint it black.

SCARS (M: Lee/Lifeson, W: Peart)

I've stood upon my mountaintop
and shouted at the sky,
walked above the pavement
with my senses amplified.
I get this feeling.

All my nerves are naked wires,
tender to the touch.
Sometimes super-sensitive,
but who can care too much?
I get this feeling.

Scars of pleasure, scars of pain.
Atmospheric changes make them sensitive again.

Each emotional injury
leaves behind its mark.
Sometimes they come tumbling out
like shadows in the dark.
I get this feeling.

When I thing about all I have seen
and all I'll never see,
when I think about the people
who have opened up to me,
I get this feeling.

Snow falls deep around my house
and holds the winter light.
I've heard the lions hunting
in the Serengeti night.
I get this feeling.

Forests turned to factories
and river, sea, and sky.
Hungry child in the desert,
and the flies that cloud her eyes.
I get this feeling.

Pleasure leaves a fingerprint
as surely as mortal pain.
In memories they resonate
and echo back again.

PRESTO (M: Lee/Lifeson, W: Peart)

If I could wave my magic wand...

I am made from the dust of the stars,
and the oceans flow in my veins.
Here I hide in the heart of the city,
like a stranger coming out of the rain.

The evening plane rises up from the runway
over constellations of light.
I look down into a million houses,
and wonder what you're doing tonight.

If I could wave my magic wand,
I'd make everything all right.

I'm not one to believe in magic,
but I sometimes have a second-sight.
I'm not one with a sense of proportion
when my heart still changes overnight.

I had a dream of a winter garden,
a midnight rendezvous.
Silver, blue, and frozen silence.
What a fool I was for you.

I had a dream of the open water.
I was swimming away out to see,
so deep I could never touch bottom.
What a fool I used to be.

If I could wave my magic wand,
I'd set everybody free.

I'm not one to believe in magic,
though my memory has a second-sight.
I'm not one to go pointing my finger
when I radiate more heat than light.

Don't ask me, I'm just improvising
my illusion of careless flight.
Can't you see my temperature's rising,
I radiate more heat than light.

Don't ask me, I'm just sympathizing
my illusions a harmless flight.
Can't you see my temperature's rising,
I radiate more heat than light.

SUPERCONDUCTOR (M: Lee/Lifeson, W: Peart)

Packaged like a rebel or a hero,
target mass appeal,
to make an audience feel
he really means it.

Package the illusion of persons
careful to conceal,
the fact that she's only too real.
She's got to screen it.

Hit you in a soft place,
a melody so sweet,
a strong and simple beat
that you can dance to.

Watch his every move
Superconductor
Orchestrate illusions
Superconductor
Watch his every move
Superconductor
Hoping you'll believe,
designing to deceive.
That's entertainment.

He can put a target on the market,
bask in your applause.
Reality withdraws,
now he believes it.

The role becomes the actor.
She's addicted to applause.
The stage a world because
she never leaves it.

Hit you in a soft place
with sentimental ease.
They know the fantasies
that you romance to.

Watch her every move
Superconductor
She can manipulate reactions
Superconductor
Watch her every move
Superconductor

Pin the donkeys on her tail.
Fantasy for sale.
That's entertainment.

ANAGRAM (FOR MONGO) (M: Lee/Lifeson, W: Peart)

There's a snake coming out of the darkness,
parade from paradise.
End the need for eden,
chase the dreams of merchandise.

There is tic and toc in atomic,
leaders make a deal.
The cosmic is largely comic,
a con they couldn't conceal.

There is no safe seat at the feast.
Take your best stab at the beast.
The night is turning thin,
the saint is turning to sin.

Raise the art to resistance,
danger dare to be grand.
Pride reduced to humble pie,
diamonds down to sand.

Take heart from earth and weather,
the brightness of new birth.
Take heart from the harvest,
shave the harvest from the earth.

Reasoning is partly insane,
image just an eyeless game.
The night is turning thin.
The saint is turning to sin.

Miracles will have their claimers.
More will bow to Rome.
He and she are in the house,
but there's only me at home.

Rose is a rose of splendor,
posed to respond in the end.
Lonely things like nights,
I find, end finer with a friend.

I hear in the rate of her heart,
a tear in the heat of the art.
The night turns thin.
The saint turns to sin.

RED TIDE (M: Lee/Lifeson, W: Peart)

Nature has some new plague
to run in our streets,
history some new wrinkle
we are doomed to repeat.
Fugitives at the bedroom door,
lovers pause to find an open short.
Rain is burning on the forest door,
and the red tide kisses the shore.

This is not a false alarm.
This is not a test.

Stay out of the sun,
it only burns my skin.
Sky full of poison,
and the atmosphere's too thin.
Bless the sun, the rain no more,
river running like an open sore.
black wind falling to the ocean floor,
and the red tide washes ashore.

This is not a false alarm.
This is not a test.
Nowhere we can fly away,
nowhere we can rest.
The party is disrupted by
an uninvited guest.

Deadline approaches
for the weary land.
It used to be something
but we let it run down in our hands.
Too late for debate, too bad to ignore,
quiet rebellion leads to open war.
Bring a sea-change to the factory floor
as the red tide covers the shore.

Now's the time to turn the tide.
Now's the time to fight.
Let us not go gently
to the endless winter night.
Now's the time to make the time,
while hope is still in sight.
Let us not go gently
to the endless winter night.

HAND OVER FIST (M: Lee/Lifeson, W: Peart)

Hand over fist,
paper around the stone.
Scissors cut the paper,
cut the paper to the bone.
Hand over fist,
paper around the stone.
Scissors cut the paper
and the rock must stand alone.

I could disappear into the crowd,
but not if I keep my head in the clouds.
I could walk away so proud.
It's easy enough if you don't laugh too loud.

I thought I was okay alone.
Wait for the postman and the telephone,
lost in a world of my own.
I thought I could runalone,
thought I could run through the night alone.

Hand over hand
dosen't seem so much.
Hand over hand
is the strength of the common touch.

You talk as we walk along.
You never imagined I could be so wrong.
Humming your favorite song,
you know I've hated that song for so long.

How can we ever agree?
Like the rest of the world,
we grow farther apart.
I swear you don't listen to me.
Holding my hand to my heart,
holding my fist to my racing heart.

Take a walk outside myself
in some exotic land.
Greet a passing stranger,
feel the strength in his hand,
feel the world expand.

I feel my spirit resist,
but I open up my fist.
Lay hand over hand over
hand over fist.

AVAILABLE LIGHT (M: Lee/Lifeson, W: Peart)

The restless wind
has seen all things.
In every kind of light,
rising with the full moon
to go howling through the night.

The sleepless wind
has heard all things.
Between the sea and sky,
in the canyons of the city,
you can hear the buildings cry.

Oh, the wind can carry
all the voices of the sea.
Oh, the wind can carry
all the echoes home to me.

Run with wind and weather
to the music of the sea.
All four winds together
can't bring the world to me.
Chase the wind around the world.
I want to look at life in the available light.

Play of light,
a photograph,
the way I used to be.
Some half-forgotten stranger
doesn't mean that much to me.

Trick of light,
moving picture,
moments caught in flight.
Make the shadows darker,
or the colors shine too bright.

Oh the light can carry
all the visions of the sea.
Oh the light can carry
all the images to me.

Run to light from shadow,
sun gives me no rest.
Promise offered in the east,
broken in the west.
chase the sun around the world.
I want to look at life in the available light.

All four winds together
can't bring the world to me.
Shadows hide the play of light,
so much I want to see.
Chase the light around the world.
I want to look at life in the available light.


 December 21, 2017  Add comments

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