- A synth-charged rock milestone where sharp riffs meet introspective lyrics and iconic cover art
"Signals," released in 1982, marked a bold turning point for Rush as the Canadian trio embraced synthesizers and technology to expand their progressive rock sound. Recorded at Le Studio in Quebec, the album blends sharp guitar riffs, intricate bass lines, and Neil Peart’s thought-provoking lyrics with a polished, modern edge. Songs like Subdivisions and New World Man reflect themes of alienation, change, and individuality. With Terry Brown’s final production for the band, "Signals" stands as a milestone where Rush bridged their hard rock roots with the evolving sounds of the 1980s.
Rush, the iconic Canadian rock band known for their intricate compositions and virtuosic musicianship, added another jewel to their crown in 1982 with the release of "Signals". This 12" LP vinyl album, a treasured item in the collection of any rock enthusiast, not only encapsulated the band's musical prowess but also featured compelling cover artwork, all of which makes it a fascinating addition to your vinyl collection.
The Making of "Signals"
"Signals" marked Rush's ninth studio album, and it was a pivotal moment in their career. The album was produced by the band themselves, alongside renowned producer Terry Brown. The sound engineering was masterfully handled by Paul Northfield, ensuring that the music was captured with precision and clarity.
Recorded at Le Studio from April through July 1982, "Signals" was crafted in a studio known for its picturesque location in Quebec, Canada. This tranquil setting undoubtedly influenced the album's mood, which often features introspective and thought-provoking lyrics.
Bob Ludwig, a distinguished name in mastering, lent his expertise to the album's final touch, ensuring that the sound quality was nothing short of exceptional.
The Artwork and Design
One cannot discuss "Signals" without mentioning the striking album cover. Designed by the talented Hugh Syme, who was known for his collaborations with Rush, it depicts a mesmerizing blend of art and symbolism. The cover portrays a Dalmatian standing on a rocky shore, gazing at a red star. This enigmatic imagery perfectly complements the album's themes of communication and human connection, as depicted in songs like "Subdivisions" and "New World Man".
Deborah Samuel, a renowned photographer, captured the image that adorns the album cover. Her work beautifully encapsulated the mood and atmosphere of "Signals", making it an iconic piece of rock album art.
The Band's Lineup
As with any Rush album, the trio of Geddy Lee, Alex Lifeson, and Neil Peart shines brightly on "Signals". Geddy Lee's distinct basslines, Alex Lifeson's virtuoso guitar work, and Neil Peart's intricate drumming create a soundscape that is instantly recognizable as Rush.
Geddy Lee handles bass and vocals, his unmistakable voice delivering the album's lyrics with emotion and precision. Alex Lifeson's guitar work adds layers of complexity to the music, while Neil Peart's drumming is a masterclass in rhythm and technique. Together, they create a sonic tapestry that is the hallmark of Rush's sound.
Canadian Rock
Mercury 6337 243
This album "RUSH - Signals" includes the original custom inner sleeve with album details, complete lyrics of all songs by and artwork/photos.
12" LP Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
1982 – Made in Holland
Le Studio – Morin-Heights, Canada
The album cover of Signals is defined by Hugh Syme’s minimalist and witty design. At the center sits a sharp, vivid photograph of a bright red fire hydrant placed on a lush green artificial grass surface, rendered in clean and high contrast tones.
Beside the hydrant, a black-and-white Dalmatian dog bends down, nose pressed curiously to the hydrant’s base, a humorous play on the concept of “signals” and communication. The textures of the spotted fur, hydrant metal, and grass all stand out clearly.
Above the photo, abstract black brushstroke symbols spell out the band’s name in stylized form, with the word Signals presented in wide, spaced capital letters beneath. A soft gray border frames the entire composition, giving it a restrained yet striking modern feel.
The back cover of Signals carries a cool, technical atmosphere. A pale gray canvas centers a bold blue suburban blueprint marked “Warren Cromartie Subdivision Plan.” The map shows neat rows of lots and streets, with a yellow route traced across and red dots marking key intersections.
Above the blueprint appears the understated production credit Produced by Rush and Terry Brown in small red lettering. Below, the track list is presented in clean serif type, splitting Side One and Side Two with their four songs each.
In the corners, functional details anchor the design: a Mercury catalog number with a price sticker on the upper right, and a small marketed by Phonogram logo on the lower right. Together, the imagery echoes the album’s themes of suburbia, order, and the modern signals of daily life.
The custom inner sleeve of Signals places three striking portraits of the band side by side, each rendered in a glowing, pixelated style. From left to right: Alex Lifeson’s face shimmers in red mosaic tones, Geddy Lee appears in sunglasses surrounded by fiery oranges and deep shadows, and Neil Peart glows in violet and magenta highlights.
Below the portraits, the lower half of the sleeve is filled with detailed production notes and credits. Set in neat serif text, the information lists the band’s roles, production team, recording locations, mastering details, and acknowledgments, all arranged in structured blocks that balance the vibrant artwork above.
The overall presentation combines bold digital-inspired imagery with the precise documentation of a studio album, perfectly capturing Rush’s forward-looking aesthetic of the early 1980s.
The original custom inner sleeve of Signals features all the lyrics from the album laid out in structured columns. On a cream-toned background, each song title is set in bold red capitals, with the verses neatly printed beneath in fine black text.
Side One’s lyrics — including Subdivisions, The Analog Kid, Chemistry, and Digital Man — appear on the left half, while Side Two’s tracks — The Weapon, New World Man, Losing It, and Countdown — are on the right.
The design highlights Neil Peart’s detailed writing, presenting each line with precision. The catalog number 6337 243 stands printed at the top right corner, underscoring the pressing’s identity.
Side One of the Signals LP is pressed with a vivid blue Mercury label. The Mercury logo dominates the top, surrounded by a ring of copyright text circling the edge.
Large white lettering displays STEREO and 33 1/3 alongside catalog number 6337 243, clearly marking it as a Holland pressing. The tracklist is printed in bold: Subdivisions, The Analog Kid, Chemistry, and Digital Man.
Production credits at the bottom confirm Rush and Terry Brown as producers, with songwriting attributed to Lee, Lifeson, and Peart. The legal imprint of PolyGram Inc. USA finalizes the label design, balancing function with classic early-80s Mercury style.
Released in 1981, Moving Pictures is Rush’s eighth studio album and one of their most acclaimed works. Blending progressive rock with radio-friendly hooks, it features classics like Tom Sawyer, Red Barchetta, and YYZ. The album showcases the trio’s peak musicianship and became their best-selling release worldwide.
Released in 1982, Signals is Rush’s ninth studio album and marks a bold shift toward synthesizers and modern rock textures. Recorded at Le Studio in Quebec, it features standout tracks like Subdivisions and New World Man, blending technical musicianship with introspective lyrics that captured the spirit of the early 80s.