Counterparts by Rush

Counterparts by RushWhile there is a definite break from the pop-leaning, synth-fused sound that had defined the Rush sound since the mid-1980s, their evolution back towards rock was not quite complete on Counterparts. Some have claimed that this was the back-to-basics album for the rock power trio, the truth is they had been migrating back on their previous two albums. But while the material leaned more towards the then-hip alternative rock sound, the album still contained its share of pop oriented and radio-friendly material, and it paid off commercially. The band’s fifteenth studio album, the album was Rush’s highest charting album in the US, peaking at number 2 on the Billboard 200.

The dark and emotional themes of Neil Peart‘s lyrics on Counterparts continue many of the trends of the band’s previous 1991 album Roll the Bones. Also resumed from the previous album was the inclusion of the instrumental, something that the band had abandoned through most of the 1980s. In this case, the instrumental “Leave That Thing Alone” was a thematic sequel to “Where’s My Thing?” and was nominated for a Grammy in the category of Best Rock Instrumental Performance in 1994.

While Peart took care of all the lyrics, bassist/vocalist Geddy Lee and guitarist Alex Lifeson composed all the music, an arrangement employed by the band since the mid 1970s.
 


Counterparts by Rush
Released: October 19, 1993 (Anthem)
Produced by: Peter Collins & Rush
Recorded: Le Studio, Morin Heights, Quebec, April-June 1993
Track Listing Band Musicians
Animate
Stick It Out
Cut To the Chase
Nobody’s Hero
Between Sun and Moon
Alien Shore
The Speed of Love
Double Agent
Leave That Thing Alone
Cold Fire
Everyday Glory
Geddy Lee – Bass, Keyboards, Vocals
Alex Lifeson – Guitars
Neal Peart – Drums & Percussion
 
Counterparts by Rush

 
An opening drum beat by Peart introduces “Animate” and suggests the album is intended to be built on musical motifs with lyrical rhymes, rhymes, and more rhymes and just a touch of poetry. Still, a decent overall sound and a very entertaining middle part which includes the line which gave the album its title followed by a short, bluesy guitar lead by Lifeson. “Cut to the Chase” contains a moody picked guitar with bass accents by Lee eventually gives way to harder rocking section. As many have labeled Counterparts as Rush’s foray into “alternative” music this may be the best example to make that case, with the sound having a definite 1990s “groove”.

“Nobody’s Hero” contains a nice strummed acoustic and good guitars all around by Lifeson, with lyrics which remember lost friends much like the song “Afterimage” on Grace Under Pressure a decade earlier. “Stick It Out” takes a more raw, grungy sound and combines it with an almost-89s-hair-band-like anthem lyrically. The simple yet doomy riff over the verse gives way to a softer middle section, which just acts as a wall to bounce off the more appealing, heavier elements of the song, which charted at #1 on the Album Rock Tracks chart.
 

 
Peart really shows his drum chops on “Between Sun and Moon”, while yielding the lyrics to guest Pye Dubois. Combined, the song is melodic and entertaining throughout, and purely the most enjoyable song on the album. “Alien Shore” is driven by a funky rhythm on Lee’s bass and a great drum shuffle by Peart, but the vocal melody kind of mundane and repetitive, resulting in the song never quite hitting its potential, as one might have under the production techniques of Terry Brown, their producer from the early days.

The album’s latter tracks include the sonically pleasing “The Speed of Love” and the odd but original “Double Agent”, which forecasts the future Rush sound of the 2000s while continuing their occasional experimental pieces of the 1990s, such as the title song from the previous album Roll the Bones. “Cold Fire” is laid back with a steady beat, soaring vocals, and a good hook which made it very radio-friendly and earned it a #2 on the U.S. mainstream rock charts. The album concludes with “Everyday Glory”, which includes Lifeson’s bright guitars and Peart’s strong rhythms with a good bridge being the salvation of this song.

While it was the commercial peak of Rush’s long career, few would rank Counterparts in the top echelon of albums in Rush’s long career. This album’s success was due primarily to weak competition during the rather weak rock year of 1993.

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Part of Classic Rock Review’s celebration of the 20th anniversary of 1993 albums.


1993 Images

 

Candlebox by Candlebox

Candlebox 1993 albumCandlebox was one of the last riders of the huge Seattle grunge wave of the early 1990s. Consequently, they were at the vanguard of the post-grunge wave, where this newly labeled “alternative” music was becoming less and less alternative. Their debut album Candlebox came in mid 1993, a couple of years after many of their Seattle contemporaries made an international splash with this fresh new sound. Further, the commercial success of the album took a while to materialize, as the album did not enter the Billboard 200 until over a year following its release, although it did remain on that chart for two subsequent years.

The four-piece band was formed in late 1991 and took their name from a line in a Midnight Oil song. Their rise to fame was quite rapid as a demo tape found its way to Madonna’s Maverick label and the group landed a record deal in 1992. In their early career, Candlebox was occasionally looked down upon by members of the grunge movement who criticized their style which leaned more towards classic rock then the punk and indie sound of other bands in the genre. Nevertheless, the band worked and played hard until they got their big break.

We start our look at 1993 with this album because it is an example of where 1993 was on the rock timeline – in a phrase, it was when alternative rock stopped being alternative. Candlebox is the perfect representation as they had one of the greatest songs of the decade but it was the only truly complete song on the album, as the rest just seem to be reaching for the gold ring but falling just a bit frustratingly short.
 


Candlebox by Candlebox
Released: July 20, 1993 (Warner Brothers)
Produced by: Kelly Gray & Candlebox
Recorded: London Bridge Studios, Seattle, March–April 1993
Track Listing Band Musicians
Don’t You
Change
You
No Sense
Far Behind
Blossom
Arrow
Rain
Mother’s Dream
Cover Me
He Calls Home
Kevin Martin – Lead Vocals
Peter Klett – Guitars
Bardi Martin – Bass
Scott Mercado – Drums

Candlebox 1993 album

 
A little nervous laughter (intentional or not) starts the album before the song “Don’t You” breaks in with a Pearl Jam–like-jam, riff-driven hard rock with simple and steady drumming and some boilerplate vocal effects. “Change” is a distant and moody song with picked out, reverb-drenched guitar notes by Peter Klett, before it breaks into a strong part during the choruses. Like many of the alternative albums of the day, this song employs a tactic in use since “Babe I’m Gonna Leave You” on Led Zeppelin I in 1969, of letting the dynamics be extra-dynamic by sheer use of contrast.

Deadened guitar notes introduce the rotating shuffle of “You”, a minor radio hit for the band. The song’s best moment is the sustained-notes guitar lead by Klett towards the end, preceded by an an almost rap-like lyrical rhythm and choppy drumming  by Scott Mercado. On the next track, “No Sense”, Mercado adds some Boss-Nova style drums accompanied by some interesting guitar and bass interplay before it unfortunately launches into typical grunge orgasm, which is quite a shame for this good beginning showed promise before it gets formulaic.

“Far Behind” is, quite simply one of the greatest songs of the decade of the 1990s, led by incredible vocal intensity by lead vocalist Kevin Martin. Everything comes together on this song, from the crisp opening riff and fantastic middle lead by by Klett to the incredible climax after in the final minute mark of this song. The song was actually recorded in April 1992, four months after the band’s formation, for their original demo tape and it peaked at #18 on the U.S. charts in 1994. The song is a tribute to the late Andrew Wood, lead vocalist of Mother Love Bone, the band which sparked much of the grunge movement.
 

 
“Blossom” is slow and methodical with good bass accents by Bardi Martin, again breaking into grunge formula, but strong enough to remain one of the better songs on the album. The next two songs are not quite there, just thrashing for the sake of thrash as the formula and becomes more of an unfocused distraction than a true sonic reward. Kevin Martin has an adequate voice, but not quite the soaring mystical kind necessary to pull off the heavier moody stuff which requires much range (see Pearl Jam’s Eddie Vedder). The most unfortunate production faux pas is “Rain”, cool and bluesy from the start with the band doing an adequate job pulling it off before the song abruptly stops about halfway through and breaks into a funk/grunge section which was totally unnecessary for this song.

The album does recover a bit with the final two, acoustic driven tracks. “Cover Me” is a refreshing slow ballad with great strumming and picking by Klett. “He Calls Home” concludes the album as a bit of melodramatic ballad about a homeless man, carried by mainly by the vocals of Kevin Martin.

Candlebox had success both critically and commercially and the band was eager to follow up on the success, But by the time the band released the follow-up record, Lucy in October 1995, the rock landscape was already changing again and they never quite surpassed the success of their debut.

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1993 Images

Part of Classic Rock Review’s celebration of the 20th anniversary of 1993 albums.