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Permanent Waves
Studio album by
Rush
ReleasedJanuary 14, 1980 (1980-01-14)[1]
RecordedSeptember–October 1979
StudioLe Studio (Morin-Heights, Quebec)
Genre
Length36:05
LabelAnthem
Producer
Rush chronology
Rush Through Time
(1979) 		Permanent Waves
(1980) 		Moving Pictures
(1981)
Singles from Permanent Waves
  1. "The Spirit of Radio"
    Released: February 1980[3]
  2. "Entre Nous"
    Released: April 1980[4]
Alternative cover
40th anniversary reissue
40th anniversary reissue

Permanent Waves is the seventh studio album by Canadian rock band Rush, released on January 14, 1980 through Anthem Records. The album charted at No. 3 in Canada and the UK, and No. 4 in the United States. By March 1980, the album was certified Gold by the RIAA for selling 500,000 copies. It became the fastest-selling Rush album up to that point, before Moving Pictures (1981) surpassed it the following year. Permanent Waves was later certified Platinum in November 1987 for selling over one million copies.[5]

After touring for 1978's Hemispheres ended in the summer of 1979, the band retreated to a farm near Flesherton, Ontario to work on material for a new album. This period marked a shift in the group's songwriting towards concise arrangements and radio-friendly songs such as "The Spirit of Radio" and "Freewill", though their progressive rock blueprint is still evident on "Jacob's Ladder" and the nine-minute closer "Natural Science". The album is also the first to display a more restrained vocal delivery from bassist/vocalist Geddy Lee. Recording took place at Le Studio in Morin-Heights, Quebec with production handled by the group and Terry Brown.

The release of "The Spirit of Radio" as a single in February 1980 marked the first Rush single to crack the Top 30 in Canada. The album's six-month supporting tour was significant, becoming the first to earn the band a profit. A 40th anniversary edition of Permanent Waves with bonus material was released in 2020.

Background and writing

[edit]

In June 1979, the band finished an eight-month international tour in support of 1978's Hemispheres. The tour had taken its toll on the group and, for the first time in their history, each member agreed to take a six-week break.[6] They regrouped at Lakewoods Farm near Flesherton, Ontario for two weeks to work on material for a new album and set up their equipment in the basement.[6][7] In the first rehearsal session, the band arranged what drummer/lyricist Neil Peart described as "a giant hodge-podge of instrumental mish-mash" initially titled "Uncle Tounouse". The band decided not to develop the piece further, but sections of it were used as the basis of passages on other songs on Permanent Waves.[6]

A typical day's schedule at Lakewoods Farm involved guitarist Alex Lifeson cooking breakfast for the trio, after which Lifeson and bassist/vocalist Geddy Lee worked on the music while Peart wrote lyrics at a nearby cottage.[7] This routine had a productive effect on the three, with "The Spirit of Radio," "Freewill", and "Jacob's Ladder" being recorded within several days without considerable effort.[6] The new songs marked a shift in the group's musical style towards more concise arrangements and radio-friendly songs, although Peart denied that the band consciously set out to produce commercial music.[8] Lee said the idea behind the album was "to make sure we did not lose the ability to write songs", and noted it had been some time since they had, with "Circumstances" from Hemispheres being "close" but had lacked a "main flow".[9] It also marked the first time Lee presented a more restrained vocal delivery in comparison to previous Rush albums, which he said was a "pleasant change" for him to sing closer to his speaking tone.[10] Peart attempted to write a song based on Sir Gawain and the Green Knight, an epic narrative poem set in King Arthur's time, but it was abandoned after it was deemed too out of place with the other material.[6]

After preparing some new songs, Rush moved into Sound Kitchen Studio in northern Toronto, Ontario[7] with their longtime producer Terry Brown to put their ideas onto tape. "Jacob's Ladder", "The Spirit of Radio," and "Freewill" were further polished during soundchecks. For the first time in the group's history, they arranged a short warm-up tour in August and September 1979 prior to recording the material to test the new songs on stage and gauge audience reactions.[6][7]

Recording

[edit]
Le Studio, where Permanent Waves was recorded

In September 1979, Rush headed to Le Studio in Morin-Heights, Quebec to record Permanent Waves with Brown and engineer Paul Northfield.[6][11] Having recorded their previous two studio albums in Wales the band felt it was time for a change and initially chose Trident Studios in London, but cancelled due to the high costs of studio time and accommodation.[7] The idea of working in a busy city environment became something they now wished to avoid and instead sought a remote location.[7]

The recording sessions involved the band tweaking the settings of instruments and positioning of microphones. They recorded basic tracks with multiple takes until they captured the best performance. While Lee, Lifeson, and Brown began overdubs, Peart began attempting to write another longer song, and after enduring three days of writer's block, "Natural Science" was born. Fin Costello was then brought in to photograph the band in the studio. Cover art director Hugh Syme was also brought in and recorded a piano solo on "Different Strings". Music was composed for "Natural Science", with some parts reused from the discarded "Green Knight" track. The water sounds at the beginning of the song were created by splashing oars in the private lake, performed by Brown and studio assistant Kim Bickerdike, and the natural echo outside was used to record various instruments. The rough mixes on the album were complete, and the final mix was completed in two weeks at Trident Studios.[6]

Upon the album's completion, Lifeson felt unsure about the record and for a period of time, could not listen to it due to his feeling that it failed to present any fresh ideas. His opinion changed when he first heard the album on the radio after its release, realising he had overreacted.[7] The group had difficulty in coming up with a title for the album, partly due to a lack of a unifying or conceptual theme that previous Rush albums had.[9] Peart said the title was a tongue-in-cheek reference to the New wave scene in music at the time, not towards the bands but the music press, particularly in England, "that is inclined to write off any band that was around last week and go for whatever's happening this week."[12]

Songs

[edit]

"The Spirit of Radio" featured the band's early experiments with a reggae style in its closing section, which was explored further in the band's next three albums, Moving Pictures, Signals, and Grace Under Pressure. The group had experimented with reggae-influenced riffs in the studio and had come up with a reggae introduction to "Working Man" on their tours, so they decided to incorporate a passage into "The Spirit of Radio", as Lifeson said, "to make us smile and have a little fun."[7] Peart wrote the lyrics with Toronto radio station CFNY-FM in mind which had adopted the title as its slogan.[13]

"Jacob's Ladder" uses multiple time signatures, and possesses a dark, ominous feel in its first half. Its lyrics are based on a simple concept: a vision of sunlight breaking through storm clouds. The title is a reference to the natural phenomenon of the sun breaking through the clouds in visible rays, which in turn is named after the Biblical ladder to heaven on which Jacob saw angels ascending and descending in a vision. Early on the R40 Live Tour, Lee incorrectly stated that the song had never been played live before, but was corrected by fans online who clarified the song had been performed during the Permanent Waves tour and a live recording of the song was featured on the 1981 live album Exit... Stage Left.[14]

"Entre Nous" (French for "Between Us") is what Peart described as a "personal letter" about relationships, "basically what it says is, let's stop fooling ourselves, we are different let's admit it."[15] The lyrics were the only set completed prior to the band's arrival at Lakewood Farm. It was not performed live until the Snakes & Arrows Tour in 2007.[13][16]

"Different Strings" was the first Rush song with lyrics written solely by Lee since "Tears" on 2112.[9]

The nine-minute closing track "Natural Science" consists of three distinct parts, "Tide Pools", "Hyperspace", and "Permanent Waves". It is the only song on the album that was not written before the group entered Le Studio to record, and was put together during the recording phase.[10] The opening and closing ambient sections were recorded outside Le Studio.[17] The lyrics are driven by concepts of natural science.

Artwork

[edit]

The background scene comes from a photo, taken by Flip Schulke, of the Galveston Seawall in Texas during Hurricane Carla on September 11, 1961. The woman in the foreground is Canadian model Paula Turnbull, who is also featured on Exit... Stage Left (1981);[18] the man waving in the background is sleeve designer Hugh Syme.[19] To create the appearance of Turnbull's skirt blowing in the wind, a fan was placed out of frame when she was photographed.[20]

Release

[edit]
Professional review ratings
Review scores
SourceRating
Classic RockStarStarStarStarStar (2020)[21]
mxdwnStarStarStarStarStar (2020)[22]
PopMatters9/10 (2020)[23]
Record MirrorStarStarStarStarHalf star[24]
UncutStarStarStarHalf star (2020)[25]
Music guide ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[26]
The Encyclopedia of Popular MusicStarStarStarStar[27]
The Essential Rock Discography6/10[28]
MusicHound RockStarStarStarStar[29]
The Rolling Stone Album GuideStarStarStarHalf star[30]
The Virgin Encyclopedia of 80s MusicStarStarStarStar[31]

Permanent Waves was first shipped to Canadian radio stations on January 4, 1980, followed by its public release in Canada by Anthem Records on January 14. On the same day, 300,000 copies were shipped to the United States by Mercury Records, the band's international label.[32] On the day of the radio release, Lee made a guest appearance on John Donabie and Ric Ringer's show on CHUM-FM in Toronto during the premiere broadcast of the album. Mercury promoted the album with a strong advertising campaign, and RPM Weekly reported an "intense early reaction" to the album, in particular the heavy radio airplay.[32] The UK release followed on January 18 by Phonogram Records.[33]

Permanent Waves became the fastest selling Rush album at the time of release and their biggest commercial hit, reaching No. 3 in Canada and the UK, and No. 4 in the US. In two months, the album had sold half a million copies in the US.[34] The album was certified gold by the Canadian Recording Industry Association, and in September 1980 Rush sent the gold record to Terry Fox shortly after he had to abandon the Marathon of Hope.[35]: 118  In November 1980, RPM Weekly reported the album had sold over 900,000 copies in the US.[36]

The album received favourable reviews from sources such as Rolling Stone.[37]

Tour

[edit]

Following the album's release, Rush supported Permanent Waves with a concert tour of Canada, America and the UK between January 17 and June 22, 1980. The band toured with a 25-member road crew who handled the 60 tons of equipment to stage the show, which included Boeing 707 landing lights, a $50,000 mixing console and a screen projector behind the band.[34] The tour cost $12,500 per day and each band member earned $1,000 per show.[34]

Reissues

[edit]
Reissues
Year Label Format Notes
2011 Anthem CD Digitally remastered by Andy VanDette as part of the reissue of Rush's Mercury-era albums[38]
2015 Anthem/Mercury CD, LP Remaster with 24-bit/96 kHz and 24-bit/192 kHz formats[39]
2020 Anthem/Mercury CD, LP 40th Anniversary Edition with previously unreleased live content.[40]

Track listing

[edit]

Original release

[edit]

All lyrics by Neil Peart except "Different Strings" by Geddy Lee. All music by Lee and Alex Lifeson.[11]

Side one
No.TitleLength
1."The Spirit of Radio"4:59
2."Freewill"5:23
3."Jacob's Ladder"7:30
Side two
No.TitleLength
1."Entre Nous"4:37
2."Different Strings"3:50
3."Natural Science"
I. "Tide Pools" (2:23)
II. "Hyperspace" (2:47)
III. "Permanent Waves" (4:08)
9:18

40th Anniversary Edition (2020)

[edit]
Bonus disc
No.TitleLength
1."Beneath, Between & Behind" (Recorded at the Manchester Apollo, Manchester, UK)2:30
2."By-Tor & the Snow Dog" (Recorded at the Hammersmith Odeon, London, UK)
I. "At the Tobes of Hades" (0:44)
II. "Across the Styx" (0:37)
III. "Of the Battle" (4:33)
i. "Challenge and Defiance" (2:53)
ii. "7/4 War Furor" (1:40)
5:52
3."Xanadu" (Recorded at the Hammersmith Odeon, London, UK)12:16
4."The Spirit of Radio" (Recorded at the Manchester Apollo, Manchester, UK)5:08
5."Natural Science" (Recorded at the Manchester Apollo, Manchester, UK)
I. "Tide Pools" (2:23)
II. "Hyperspace" (2:51)
III. "Permanent Waves" (3:33)
8:46
6."A Passage to Bangkok *†" (Recorded at the Manchester Apollo, Manchester, UK)3:57
7."The Trees" (Recorded at the Manchester Apollo, Manchester, UK)5:28
8."Cygnus X-1" (Recorded at the Hammersmith Odeon, London, UK)
"Prologue" (4:27)
"1" (0:41)
"2" (0:15)
"3" (2:43)
8:05
9."Cygnus X-1: Book II Hemispheres" (Parts I and IV-VI) (Recorded at the Hammersmith Odeon, London, UK)
I. "Prelude" (4:27)
IV. "Armageddon (The Battle of Heart and Mind)" (2:53)
V. "Cygnus (Bringer of Balance)" (6:24)
VI. "The Sphere (A Kind of Dream)" (1:02)
14:45
10."Closer to the Heart" (Recorded at the Manchester Apollo, Manchester, UK)3:26
11."Jacob's Ladder" (Recorded at the Kiel Auditorium, St. Louis, Missouri.)7:38
12."Freewill" (Recorded at the Hammersmith Odeon, London, UK)5:46

* Included on the vinyl and digital deluxe releases only
† Previously available on 2112 Deluxe Edition (2012)

Personnel

[edit]

Credits are taken from the 1980 liner notes.[11]

Rush

Additional personnel

  • Terry Brown – arranger, producer, mixing
  • Fin Costello – photography
  • Robert Gage – hairdresser for the cover girl
  • Bob Ludwig – remastering
  • Adam Moseley – mixing assistant
  • Craig Milliner – mixing assistant
  • Paul Northfield – engineer
  • Deborah Samuel – photography
  • Flip Schulke – photography
  • Ray Staff – mastering on original album
  • Hugh Syme – piano, art direction, design, cover concept
  • Paula Turnbull – cover girl (credited as "Ou La La")
  • Robbie Whelan – assistant engineer

Charts

[edit]

Certifications

[edit]
Region Certification Certified units/sales
Canada (Music Canada)[51] Platinum 100,000^
United Kingdom (BPI)[52] Gold 100,000^
United States (RIAA)[53] Platinum 1,000,000^

^ Shipments figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Permanent Waves

View on Grokipedia
from Grokipedia
Permanent Waves is the seventh studio album by the Canadian band Rush, released on January 14, 1980, by Anthem Records. Recorded at in , , from September to October 1979 and mixed at in in November 1979, the album was co-produced by the band and their longtime collaborator Terry Brown. It features the band's core lineup of vocalist and bassist , guitarist , and drummer , showcasing a refined blend of intricate instrumentation, dynamic rhythms, and thematic lyrics exploring , , and media. The album comprises six tracks: "The Spirit of Radio" (4:57), "Freewill" (5:23), "Jacob's Ladder" (7:28), "Entre Nous" (4:37), "Different Strings" (3:49), and "Natural Science" (9:16), with a total runtime of approximately 35 minutes. "The Spirit of Radio," the lead single inspired by Toronto's CFNY-FM station, incorporates reggae influences and critiques commercial radio, peaking at number 51 on the US Billboard Hot 100 and number 13 on the UK Singles Chart. "Freewill" also received radio play, emphasizing themes of personal choice and atheism. Permanent Waves marked a pivotal evolution for Rush, shifting from the extended conceptual suites of prior albums like Hemispheres toward shorter, more accessible compositions influenced by new wave and punk energy while preserving complexity. Commercially, it became the band's breakthrough, reaching number 4 on the —Rush's first top-ten album—and number 3 on the . Certified gold by the RIAA on March 17, 1980, and platinum on November 9, 1987, it sold over a million copies in the alone and elevated Rush's international stature. The iconic , featuring a manipulated photograph of the 1948 "" headline, symbolizes media distortion, aligning with the album's themes.

Background

Development and songwriting

Following the conclusion of the Hemispheres tour in June 1979, Rush took a brief hiatus before reconvening in mid-July 1979 at a rented farmhouse (Lakewood Farms) in to begin pre-production and songwriting for their next album, before moving to in , , for recording. Initial musical ideas had emerged during the 1978-1979 touring schedule, but the bulk of composition occurred during these intensive rehearsals, where rapidly assembled core tracks. Within the first few days, they developed "," "Freewill," and "," with the process described as unusually fluid and collaborative. Demos for longer pieces like ""—inspired by the atmospheric phenomenon of sun rays piercing clouds—and the multi-part "" were refined in the fall of 1979, emphasizing the band's shift toward more concise yet intricate structures. Neil Peart, Rush's primary lyricist since 1975, took an expanded role in crafting conceptual and philosophical themes for Permanent Waves, drawing from his extensive reading to infuse the songs with intellectual depth. For "The Spirit of Radio," Peart's lyrics paid homage to independent , directly referencing the slogan of Toronto's station as a for artistic integrity amid commercial pressures. In "Freewill," he explored themes of and personal agency, influenced by Ayn Rand's as presented in works like , with lines such as "I will choose " underscoring self-reliance and rejection of deterministic fate. Peart's approach during this period balanced literary allusions with accessible narratives, reflecting the band's internal dynamics of mutual —Peart often shared drafts for feedback while focusing on evocative, non-allegorical . Geddy Lee contributed significantly to the melodic framework, devising vocal lines that complemented the progressive elements, such as the soaring hooks in "Entre Nous" and "Freewill," which enhanced the songs' radio-friendly appeal. handled much of the riff development, generating foundational guitar ideas through ; for instance, the track "Entre Nous" originated from informal jam sessions during early rehearsals at a rented farmhouse near , where Lifeson's exploratory playing evolved into the song's rhythmic backbone before Lee's bass and vocals were layered in. This collaborative interplay, marked by Lee's focus on harmony and Lifeson's textural experimentation, allowed to iterate quickly without rigid divisions, fostering a creative environment that prioritized collective refinement over individual dominance.

Contextual influences

In the late 1970s, Rush underwent a significant evolution in their musical approach, moving away from the elaborate, extended compositions characteristic of their earlier albums such as 2112 (1976) and (1977), which featured multi-part suites and conceptual narratives often exceeding 20 minutes in length. This shift toward more streamlined song structures, averaging 4-5 minutes per track on Permanent Waves, was partly a response to the rising influence of punk and new wave movements, which emphasized brevity, energy, and accessibility over prog's technical complexity. The band consciously incorporated elements of these genres, evident in the punchy rhythms and direct songcraft that marked a departure from their prior excesses, allowing them to retain progressive sophistication while appealing to a broader audience. The grueling 1978-1979 Hemispheres tour, which spanned 136 shows across and , left the band physically and creatively drained, prompting a deliberate pivot to shorter, more radio-friendly material for their next project. Described by members as a "soul-crushing slog," the tour's relentless schedule—often involving back-to-back performances with minimal rest—highlighted the limitations of their epic-length format and fueled a desire for rejuvenation through concise, impactful songs that could sustain live energy without overwhelming complexity. This exhaustion informed Permanent Waves as a turning point, where the trio sought to balance artistic ambition with commercial viability, resulting in tracks designed for both stage dynamism and FM rotation. Amid the broader Canadian music landscape of 1979, Rush drew inspiration from evolving radio formats that challenged traditional top-40 constraints, particularly the emergence of innovative FM stations like Toronto's , known for its "" slogan and eclectic playlist blending rock, new wave, and emerging sounds. This period saw a push toward diverse programming amid subtle shifts in broadcast regulations, enabling stations to experiment with non-commercial vibes that contrasted with corporate homogenization, directly influencing Peart's critiquing radio's dual nature as both liberator and conformist. The band's frustration with limited for their longer works further motivated the album's accessible style, capturing the cultural tension between artistic freedom and industry pressures in late-1970s .

Production

Recording sessions

The recording of Permanent Waves took place at in , , beginning in late September 1979 and continuing through October. The isolated location in the provided an immersive environment, with the studio's attached residence allowing the band to live and work on-site during the sessions. Produced by Rush and longtime collaborator Terry Brown, the sessions were engineered by Paul Northfield, who had previously worked with the band on Hemispheres. The band entered the studio well-rehearsed after extensive preparation at home, focusing on capturing a concise yet dynamic sound by condensing their progressive structures. Base tracks were laid down starting with and bass, followed by guitars, emphasizing a live-band energy in the performances. The process proceeded efficiently, with the core album completed in approximately six weeks, allowing time for overdubs in November before moving to mixing. This streamlined approach marked a shift toward shorter, more radio-friendly compositions while retaining the band's technical precision.

Engineering and mixing

The engineering of Permanent Waves incorporated specific instrumentation choices that contributed to the album's refined sonic profile. debuted the on "Different Strings," marking Rush's initial foray into fuller keyboard textures alongside his traditional basses and Moog synthesizers. used Gibson guitars paired with Hiwatt and amplification to achieve a brighter, more articulate tone. Neil Peart's drum setup featured Tama Rosewood Superstar drums with associated hardware and pedals, enhancing the kit's dynamic response and precision during tracking at in , . Mixing occurred at in in November 1979, led by producer Terry Brown with assistance from Craig Milliner. The process prioritized clarity and dynamics, with a deliberate reduction in reverb compared to prior albums like Hemispheres, resulting in a punchier, more direct sound that emphasized the band's instrumental interplay and rhythmic drive. This approach was informed by the rough mixes completed at , allowing for targeted refinements to balance the album's diverse elements, such as the reggae-inflected rhythms in "." Mastering was handled by at Portland Recording Studios in , who applied a "hot" loudness technique evident in the runout etchings of original pressings, establishing a compressed yet vibrant profile that influenced production standards.

Music and lyrics

Musical style

Permanent Waves marked a significant evolution in Rush's sound, transitioning from the extended, conceptual epics of their earlier output to a more concise and accessible format while retaining technical complexity. The album features six tracks with an average length of around 5–6 minutes, a stark contrast to the 20-minute suites on previous releases like Hemispheres, emphasizing tighter song structures and radio-friendly hooks blended with and progressive elements. This shift incorporated new wave influences, making the music more streamlined and pop-oriented without sacrificing the band's instrumental prowess. Instrumentally, the album showcases Alex Lifeson's innovative guitar work, including layered textures and chorus effects that add depth and shimmer to tracks like "Freewill" and "." Geddy Lee's high-register vocals and intricate bass lines provide a dynamic foundation, often weaving melodies that enhance the rhythmic drive, while Peart's drumming introduces precise odd-time signatures, such as the odd-meter sections (like 13/4 and 7/4) in "Freewill," contributing to the album's rhythmic sophistication. Synthesizers make a notable appearance, particularly in "Entre Nous," adding atmospheric layers that foreshadow Rush's 1980s sound, and reggae rhythms influence the upbeat groove of "." The overall runtime of 35:30 allows for a balanced mix of energetic anthems and atmospheric pieces, totaling a cohesive exploration of progressive rock's boundaries. Compared to contemporaries like or , Permanent Waves adopts a sleek, new wave polish but remains anchored in Rush's signature technicality and edge, distinguishing it as a pivotal bridge between prog and arena . This fusion not only broadened the band's appeal but also refined their ability to integrate diverse influences into a unified sonic palette.

Thematic content

Permanent Waves features Peart's lyrics that emphasize humanistic and libertarian ideals, focusing on individual agency and societal critique. In "Freewill," Peart explores the tension between and , advocating for personal choice over predestined paths or religious as a humanist affirmation of . This track reflects Peart's broader libertarian leanings, promoting against . Similarly, "" critiques the commercialization of media, lamenting how corporate influences erode radio's original spirit of artistic freedom and innovation. Peart drew inspiration from Toronto's CFNY station, highlighting the loss of authentic expression to market-driven decisions. Environmental concerns emerge prominently in "Natural Science," where Peart uses a tripartite structure to contrast natural ecosystems with human technological overreach, portraying as an interconnected web disrupted by progress. The song's narrative begins with tidal pools symbolizing life's fragile balance, transitions to human observation through , and ends with a warning about technology's potential to "permanently wave" away natural harmony. This environmentalist message underscores resilience in the face of exploitation, aligning with Peart's evolving interest in real-world issues over fantastical elements. "Jacob's Ladder" employs a metaphor to depict atmospheric drama, with clouds and personified in a battle that resolves in radiant breakthrough, evoking nature's indomitable cycles without . Interpersonal dynamics receive introspective treatment in "Entre Nous" and "Different Strings," shifting toward personal . "Entre Nous" examines the challenges of connecting across individual differences, suggesting that mutual respect fosters understanding in relationships, a theme resonant with Peart's humanist outlook on . Co-written with , "Different Strings" reflects on relational discord arising from divergent personal growth, portraying love as a delicate interplay of harmony and tension that requires adaptation for endurance. These tracks mark a departure from Rush's earlier science-fiction-heavy narratives, influenced by Peart's readings in and , toward grounded commentary on human resilience and societal interplay. The album's cohesion arises from recurring motifs of the human spirit's amid external pressures, binding philosophical inquiries with vignettes into a unified exploration of and connection. Peart's lyrics here prioritize real-world resilience over the mythic epics of prior works like 2112, signaling Rush's maturation into accessible yet profound social observation.

Artwork

Cover design

The cover design for Rush's 1980 album Permanent Waves was created by the band's longtime art director , in collaboration with drummer and lyricist , drawing on the album's title to explore multiple puns related to "waves"—including hairstyles, tidal surges, and cultural phenomena like . Initially, Syme and Peart considered a more technical aesthetic featuring electrocardiogram (ECG) readings of the band members' heartbeats, rendered with red and gold foil stamping to emphasize the album's polished production, but this evolved into a surreal, humorous composite image symbolizing the enduring impact of amid chaotic forces. The central visual features model Paula Turnbull, photographed by Fin Costello, posed as a cheerful housewife with a signature permanent-wave hairstyle, strolling along a while seemingly oblivious to a massive tidal wave crashing behind her; Turnbull flashes a playful glimpse of her undergarments, adding a lighthearted, cheeky element to the scene. The background is a historical black-and-white photograph of the Galveston, Texas seawall during in , captured by photojournalist Flip Schulke, which Syme composited to heighten the dramatic tension of the encroaching "permanent wave." Syme himself appears in the distant background as the small waving figure, a self-referential nod to his role in the band's visual identity. A key foreground element is a weathered newspaper based on the infamous November 3, 1948, edition of the Chicago Daily Tribune bearing the erroneous headline "," which Syme incorporated as another layer of historical irony and wave-related wordplay (alluding to political "waves"); however, legal objections from the Tribune prompted alterations in subsequent pressings, obscuring or modifying the text to "Dewei Defeats Truman." Additional details include a rain-swept signpost listing members' surnames—Lee, , Peart—and subtle integrations like the album title overlaid in a vintage font, all rendered in a sepia-toned palette to evoke an old aesthetic that contrasts the album's forward-looking sound. Peart initially expressed skepticism about the whimsical concept but ultimately approved it for its clever ties to the ' themes of resilience and natural forces, such as shipwrecks in "."

Inner sleeve and packaging

The original vinyl edition of Permanent Waves was released in a gatefold sleeve format, featuring inner illustrations by longtime Rush art director Hugh Syme that incorporated surreal drawings tying into the album's themes and songs, such as a radio tower evoking "The Spirit of Radio" and scientific motifs illustrating concepts from "Natural Science." These elements extended the visual puns from the cover into the interior packaging, enhancing the album's conceptual cohesion. The liner notes, printed in a custom font designed to mimic typewriter text, included detailed production credits alongside poetic dedications penned by Neil Peart, reflecting on themes like the enduring "spirit of radio" and the interplay of human observation with natural phenomena. These notes provided context for the album's lyrical content and acknowledged contributors, including engineers and the band's instrumentation. Upon its 1980 release, Permanent Waves was available in multiple physical formats beyond vinyl, including cassette and 8-track tape adaptations that retained the essential artwork and lyrics where possible, though condensed for the media's constraints; the first compact disc edition did not appear until the 1987 reissue by Mercury Records. The packaging emphasized durable cardboard construction.

Release and promotion

Initial release

Permanent Waves was released on January 14, 1980, through in and internationally, with Anthem Records managing distribution in . The album debuted in standard formats of vinyl LP, bearing the catalog number SRM-1-4001 for the Mercury pressing, and . The rollout featured no elaborate launch event, as the band prioritized preparations for their ensuing world tour, though advance promotion included the release of the "" in early 1980.

Marketing strategies

The from Permanent Waves, "", was released in February 1980 to generate buzz for the album, peaking at number 51 on the chart. The track, inspired by Toronto's station and its slogan, served as a tribute to radio's role in music discovery, aligning promotional efforts with a targeted push for airplay on (AOR) stations across . To position the album as an accessible evolution of , the band conducted interviews emphasizing shorter song structures and broader appeal. In a late 1979 radio discussion during the album's warm-up tour, and highlighted the creative shifts that made Permanent Waves more radio-friendly while retaining the group's technical prowess. Print advertisements in major rock publications like and Circus magazine underscored this "new wave of " angle, aiming to attract both longtime fans and new listeners amid the landscape. Merchandise played a key role in fan engagement, with early tour posters and T-shirts featuring the album's iconic distributed through official channels and fan clubs to heighten anticipation ahead of the supporting tour.

Commercial performance

Chart success

Permanent Waves marked a commercial breakthrough for Rush, achieving strong positions across major international charts. In the United States, the album peaked at number 4 on the on March 8, 1980, becoming the band's first top-10 entry on the chart. It remained on the for 117 weeks, reflecting sustained interest bolstered by extensive tour support. In the , Permanent Waves reached a peak of number 3 on the in February 1980. In , it peaked at number 3 on the RPM Top Albums chart. The album also charted internationally, including number 38 in the and number 21 in . The lead single "" contributed to the album's visibility, peaking at number 13 on the UK Singles Chart and number 51 on the US Billboard Hot 100. On Billboard's year-end chart for 1980, Permanent Waves ranked number 53, underscoring its impact during the release year.

Sales certifications

In the United States, the (RIAA) certified Permanent Waves on March 17, 1980, for shipments exceeding 500,000 units, reflecting its rapid commercial breakthrough following release. The album was later upgraded to status on November 9, 1987, acknowledging shipments of 1,000,000 units. In Canada, the Canadian Recording Industry Association (CRIA, now ) awarded Platinum on May 1, 1980, for sales of 100,000 units, underscoring the band's strong domestic support. In the , the (BPI) granted Gold on July 22, 1981, for 100,000 units shipped.
RegionCertifying BodyLevelUnitsDate
RIAAGold500,000March 17, 1980
RIAAPlatinum1,000,000November 9, 1987
CRIA/Platinum100,000May 1, 1980
BPIGold100,000July 22, 1981
Global sales estimates place Permanent Waves at approximately 1.2 million copies sold. No significant re-certifications have occurred since the , and as of 2025, RIAA rules incorporating streaming equivalents for older titles have not yet been applied to this .

Critical reception

Contemporary reviews

Upon its release in , Permanent Waves received generally positive reviews from American music publications, which praised the album's shift toward more concise song structures and improved accessibility compared to Rush's earlier progressive epics. In a March 1980 review, highlighted the band's refined production and melodic appeal, noting how bassist-vocalist Geddy Lee's high-pitched vocals and drummer Neil Peart's philosophical lyrics were integrated more effectively into radio-friendly tracks, awarding the album four out of five stars. Creem echoed this sentiment in its April 1980 assessment, describing Permanent Waves as Rush's most consistent work to date and defending the trio against prior criticisms of overambition, emphasizing the album's tight instrumentation and standout opener "" as evidence of their maturation. UK critics offered a more mixed but ultimately approving take, with in February 1980 commending the return to brevity after lengthy compositions on prior releases like Hemispheres, while praising Terry Brown's crisp sound and individual contributions from guitarist , Lee's synthesizers, and Peart's lyrics—calling it Rush's most praiseworthy effort yet, though noting it as somewhat lighter in progressive depth. Fan-oriented magazine Circus in April 1980 lauded the album's self-assured energy and Peart's dynamic drumming, portraying Rush as undeterred by new wave trends and highlighting tracks like "Jacob's Ladder" for their technical prowess amid broader rock shifts.

Later appraisals

In the decades following its release, Permanent Waves has been frequently reassessed as a pivotal work in Rush's catalog, often praised for its balance of progressive rock complexity and accessible songcraft. In Rolling Stone's list of the 80 Greatest Albums of 1980, the album ranked at #39, highlighting its role in bridging the band's ambitious 1970s epics with the more concise style of the 1980s. Similarly, in a 2025 ranking by Mojo magazine of all 19 Rush studio albums, Permanent Waves placed fifth, commended for its "fantastic musicality" and striking lyrics that captured a new decade's energy. Post-Neil Peart's death in January 2020, the album received renewed attention as a high point of the band's creative peak. The 40th anniversary reissue in May 2020, featuring remastered tracks and previously unreleased live recordings from the 1980 tour, was lauded in reviews for preserving the album's timeless appeal, with no weak tracks and standout performances of songs like "" and "." A conceptual animated video for "," released that June, served as a to Peart, emphasizing the track's enduring radio-friendly spirit and the drummer's intricate contributions. In a 2025 retrospective marking the 45th anniversary, Brazilian outlet Rush Brasil described the album as continuing to impress with its blend of prog ambition and thematic depth, solidifying its status as a golden-era highlight. Scholarly analysis has also elevated Permanent Waves for its philosophical undertones. The 2009 book Rush and Philosophy: Heart and Mind United, edited by Jim Berti and Durrell S. Bowman, devotes chapters to unpacking the album's themes of , , and human endeavor, drawing on Peart's in tracks like "Freewill" and "Natural Science" to explore broader existential ideas. Among fans, the album maintains strong acclaim, earning an average rating of 3.87 out of 5 on based on over 11,800 user votes, with many citing its influence on through concise yet intricate compositions.

Touring and live performances

Tour overview

The Permanent Waves tour, supporting the album's release, spanned from January 17, 1980, to June 22, 1980, comprising approximately 98 shows across and (including the ). The itinerary emphasized headline arena performances, reflecting the band's rising status, with logistical coordination handled by their long-standing crew to accommodate the demanding schedule of international travel and large-scale venues. Typical opening acts included , , Saxon, and . Central to the tour's structure was a core setlist that debuted five of the album's six tracks, integrated with enduring classics such as "By-Tor and the Snow Dog" from their earlier catalog. Performances averaged two hours in length, balancing new material like and "Freewill" with fan favorites to maintain high energy throughout the shows. Production highlights included lighting design by Howard Ungerleider, who had been integral to Rush's visual presentations since 1974. Among the tour's milestones were Rush's inaugural headline arena runs in , including a five-night residency at London's Hammersmith Odeon in June 1980, solidifying their transition from theaters to major circuits.

Notable live renditions

During the Permanent Waves tour, "The Spirit of Radio" served as the show's opener, often featuring extended instrumental intros that built tension before Geddy Lee's vocals entered, showcasing the band's evolving stage dynamics. A later rendition was captured on the live album (1981), recorded on March 27, 1981, at the during the Moving Pictures tour, where the track's reggae-infused bridge and Peart's intricate fills were highlighted in a high-energy performance. "Xanadu," an epic track from their previous album , was adapted for live play by slightly extending its runtime to approximately 11:35 from the studio version's 11:08, incorporating Peart's signature percussion during the atmospheric sections to enhance the song's mystical quality. Bootleg recordings from early 1980 North American shows preserve this immersive arrangement, emphasizing Alex Lifeson's soaring guitar solos amid the tour's elaborate lighting setup. The band's first major UK appearances on the tour took place at London's Hammersmith Odeon in June 1980, where "Freewill" became a highlight due to enthusiastic crowd sing-alongs during its anthemic chorus, reflecting Rush's growing European fanbase. These performances, part of a five-night residency, marked a pivotal moment in the tour's international expansion, with the audience's participation amplifying the song's themes of . Tracks from Permanent Waves continued to feature prominently in subsequent tours, including the 1984–1985 Grace Under Pressure tour, where "The Spirit of Radio" remained a setlist staple as the opener, bridging the band's progressive roots with newer material. In the , following Peart's death in January 2020, tributes incorporated these songs, such as Rush's animated video for released in June 2020, which honored Peart's legacy and the track's radio heritage through conceptual visuals. Fan-driven , including covers and videos, proliferated online, often revisiting Permanent Waves material to celebrate the drummer's influence.

Legacy

Cultural impact

Permanent Waves exerted a significant influence on and , particularly through its blend of technical precision and concise song structures, inspiring subsequent bands to balance complexity with accessibility. , for instance, drew heavily from Rush's approach during the Permanent Waves era, with drummer citing the album's shift toward shorter, more radio-friendly compositions as a model for incorporating progressive elements into mainstream rock without sacrificing instrumental virtuosity. This technical brevity encouraged progressive acts to refine their epics into more digestible forms, as evidenced by Portnoy's for Rush's reissue, where he highlighted how Permanent Waves exemplified Rush's evolution toward innovative yet approachable prog. The album's thematic depth, exploring individualism and resilience, resonated in circles. In media, "The Spirit of Radio" paid homage to Toronto's , which adopted the "" slogan in its early freeform era, symbolizing the station's innovative programming that the song critiqued and celebrated for its purity before commercial pressures. The track's cultural footprint extended to television and gaming, with Rush incorporating animations into live performances of related hits like "" during their 2008 tours, amplifying the band's satirical edge in pop culture. Similarly, "The Spirit of Radio" appeared in (2008), introducing Rush's sound to younger gamers and reinforcing the album's role in . Following Neil Peart's death in 2020, Permanent Waves gained renewed resonance, its themes of resilience and amplified in tributes that positioned the as a cornerstone of Rush's enduring . As a symbol of Canadian rock's global export, the record highlighted Rush's role in elevating progressive sounds from North American stages to international arenas, with libertarian motifs in songs like "Freewill"—emphasizing individual choice over —continuing to inform philosophical discourse in rock lyrics.

Reissues and remastering

In 1997, Permanent Waves was remastered for CD release by Bob Ludwig at Gateway Mastering Studios, restoring greater clarity and detail to the original analog tapes while preserving the album's dynamic range. The album's 40th anniversary was marked in 2020 with a Super Deluxe Edition box set containing five CDs and three 180-gram vinyl LPs, featuring the 2015 remastered stereo album, unreleased rough studio mixes of key tracks, and a three-disc set of live recordings from the 1979–1980 Permanent Waves tour, newly mixed from multitrack tapes by engineer Richard Chycki. In the streaming era, issued a limited-edition 24-karat Ultradisc II in 2007, mastered from the original analog sources for enhanced on high-end audio systems. A Dolby Atmos spatial audio mix, also crafted by Richard Chycki, became available exclusively on in October 2025, immersing listeners in a 3D derived from the multitrack recordings. Digital platforms like offer Hi-Res 24-bit/192 kHz remasters of Permanent Waves, prioritizing the warmth and nuance of the original analog production for streaming. As of November 2025, no official 45th anniversary edition has been released or announced.

Track listing

Standard edition

The standard edition of Permanent Waves was released as a double-sided vinyl LP on January 14, 1980, by Anthem Records in and in the United States, featuring six tracks with a total runtime of 35:32. All songs have music composed by and with by .

Side one

No.TitleWriter(s)Length
1."The Spirit of Radio"Lee, Lifeson (music), Peart ()4:57
2."Freewill"Lee, Lifeson (music), Peart ()5:23
3."Jacob's Ladder"Lee, Lifeson (music), Peart ()7:27

Side two

No.TitleWriter(s)Length
4."Entre Nous", Lifeson (), Peart ()4:37
5."Different Strings", Lifeson (), Peart ()3:51
6."Natural Science", Lifeson (), Peart ()9:17

Expanded editions

The 1997 edition of Permanent Waves was released as part of "The Remasters" series by , featuring the original album tracks remastered for improved audio quality while maintaining the standard track listing. This version includes a six-page foldout booklet with and artwork faithful to the original release, but no additional bonus tracks or alternate mixes. In 2011, Permanent Waves was reissued as part of the "Sector 2" by Records, which covers the band's albums from to 1981. This edition presents the album in a remastered stereo format on CD, alongside a hybrid SACD layer offering mixes created by Richard Chycki from the original multitrack tapes. The integrates Permanent Waves with other titles like , Hemispheres, Moving Pictures, and , each enhanced with bonus audio content such as interviews and archival material, though specific bonuses for Permanent Waves emphasize surround audio immersion over new tracks. The 2015 edition features a remaster by , released on vinyl with the standard track listing in high-quality 180-gram pressing. The 2020 40th anniversary editions, released by Anthem Records on May 29, expanded the album across multiple formats, including a Edition with two CDs, three 180-gram vinyl LPs, and additional media. Disc 1 contains the 2015 remastered version of the original album tracks. Disc 2 features 11 unreleased live recordings from the Permanent Waves World Tour 1980, sourced from shows in (), (), and (); notable inclusions are performances of "" and "Freewill," alongside other tour staples like "By-Tor and the Snow Dog" from . A separate deluxe edition adds expanded packaging but no additional audio mixes. The package includes a 40-page booklet with reimagined artwork, essays, and rare photos, plus a replica tour poster and laminate. No new studio rough mixes or were included, focusing instead on live enhancements. In October 2025, spatial audio versions of Permanent Waves became available on streaming platforms like and , featuring mixes of the core album tracks to deliver immersive, three-dimensional soundscapes without altering the original sequencing or adding new content.

Personnel

Core band

The core band for Rush's Permanent Waves (1980) comprised the longstanding trio of , , and , who handled all primary performance duties on the album. Geddy Lee provided lead vocals, bass guitar, and synthesizer parts using an 8-voice polyphonic, alongside OB-1 and Mini-Moog models, as well as foot-controlled Taurus pedals for bass synthesizer effects. Alex Lifeson contributed guitar throughout, playing a six- and twelve-string for electric tones and a six-string double-neck guitar, augmented by various effects pedals. Neil Peart performed on a Tama Superstar drum kit, supplemented by extensive percussion including timpani, timbales, orchestral bells, tubular bells, wind chimes, bell tree, triangle, and crotales. The album's songwriting is uniformly credited to the collaborative efforts of Lee, Lifeson, and Peart across all tracks.

Production team

The production of Permanent Waves was led by longtime collaborator Terry Brown, who co-produced the album alongside the band Rush, marking a continuation of their partnership that began with the 1975 album Fly by Night. Brown also handled the mixing engineering at Trident Studios in London during November 1979. Recording took place primarily at Le Studio in Morin Heights, Quebec, from September to October 1979, under the engineering of Paul Northfield, with general assistance from Robbie Whelan. Mixing assistance was provided by Adam Moseley, Craig Milliner, Geddy Lee, and Steve S. Hort. Mastering was performed by and Brian Lee at Gateway Mastering Studios in . Additional musical contributions came from , who played piano on "Different Strings" and provided art direction, graphics, and cover concept in collaboration with . Erwig Chuapchuaduah contributed steel drums on relevant tracks. Photography was handled by Fin Costello, Flip Schulke, and Deborah Samuel, with color collaboration by Peter George. Management was overseen by of SRO Productions in , under executive production by Moon Records.
RoleContributor(s)
ProducerTerry Brown (with Rush)
Recording EngineerPaul Northfield ()
Assistant EngineerRobbie Whelan
Mixing EngineerTerry Brown ()
Mixing AssistantsAdam Moseley, Craig Milliner, , Steve S. Hort
Mastering Engineers, Brian Lee (Gateway Mastering Studios)
Additional Musician (Piano) ("Different Strings")
Additional Musician (Steel Drums)Erwig Chuapchuaduah
Art Direction & Graphics
Cover Concept,
PhotographyFin Costello, Flip Schulke, Deborah Samuel
Color CollaborationPeter George
Management (SRO Productions)
Executive ProductionMoon Records

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