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Rage for Order
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| Rage for Order | ||||
|---|---|---|---|---|
 Original vinyl edition cover art | ||||
| Studio album by | ||||
| Released | June 27, 1986 | |||
| Recorded | 1985–1986 | |||
| Studio | M.D.H. Studios, Bellevue, Washington with Le Mobile Remote Sound Studio Mushroom Studios, Vancouver, British Columbia, Canada Yamaha Studios, Glendale, California | |||
| Genre | ||||
| Length | 45:42 | |||
| Label | EMI America | |||
| Producer | Neil Kernon | |||
| Queensrÿche chronology | ||||
| ||||
| Alternative cover | ||||
 Second edition cover art | ||||
| Singles from Rage for Order | ||||
| Audio sample | ||||
"Gonna Get Close to You" | ||||
| Audio sample | ||||
"Screaming in Digital" | ||||
Rage for Order is the second studio album by the American progressive metal band Queensrÿche, released on June 27, 1986. The album was re-released on May 6, 2003 with four bonus tracks.
Overview
[edit]Rage for Order was more progressive than the band's previous releases, with a layered and complex musical structure that employs a two-guitar approach, but also brought keyboards forward in the mix.[3] Lyrically, the album explored social/personal, political and technological themes, among others highlighting the dangers of artificial intelligence and government intrusion.[3] The concept of robotics was emphasized through the use of staccato rhythms and vocal effects such as a reverse echo.
The band's management insisted on Queensrÿche taking an image associated more with glam rock, glam metal or gothic metal.[4][5] As a result, the promo photos and album artwork depicted the band members wearing trench coats, heavy make-up and perms.
The cover of the Dalbello song "Gonna Get Close to You" was chosen as the album's first single.
The tour supporting Rage for Order spanned approximately seven months and included being the opening act for Ratt, AC/DC, Bon Jovi and Ozzy Osbourne, although their music was not quite compatible.[3]
Some tracks recorded during the sessions for Rage for Order were not used on the album. "Prophecy" was released as the B-side of "Gonna Get Close to You" and later included on the 1988 re-issue of the Queensrÿche EP and the 2003 re-issue of The Warning. Other songs such as "From the Darkside" and "The Dream" remained demos.[6] The band had also written "Rage for Order" as a title track. Although it was not included on the album, the main riff from this song was worked into an instrumental piece played during some shows on the tour in support of this album and eventually morphed into the track "Anarchy—X" on the Operation: Mindcrime album, released in 1988.[6]
Rage for Order was the first album cover of Queensrÿche to prominently feature the band's Tri-Ryche logo, as nearly all later album covers would, each time with subtle changes made to the logo. Although not credited, the front cover was designed by the late English-born metal and rock journalist Garry Sharpe-Young, who later also founded MusicMight.[7] It had originally been proposed for a 12" picture disc, which never materialized, but was used by EMI-America without permission for the album cover. A few thousand initial copies bear a bluish-silver banner that was later changed to black, in order to make the artist and title easier to read. The original cassette edition also had all the gold accents on the cover changed to white.[6] CDs bearing the blue ring cover are even more rare. Only a few hundred copies were printed before the ring was switched to black.
Despite the band's emphasis on keyboards and digital technology tricks such as the "reverse echo", Rage for Order was recorded and mixed in analog. On a short television documentary which aired in 1986, Scott Rockenfield stated that the drums were recorded in a stone warehouse using Le Mobile recording studios. Michael Wilton said that to get a guitar sound that they were happy with they "used two old Marshall's that were on the verge of exploding" by using a Variac causing the transformers to work harder.[4]
Music
[edit]Musically, Rage for Order has been described as a heavy metal,[8] progressive metal[9][10] and glam metal album.[11]
Critical reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [12] |
| Collector's Guide to Heavy Metal | 7/10[13] |
| Kerrang! | [14] |
| Rock Hard (GER) | 9.5/10[15] |
| The Rolling Stone Album Guide |  [16] |
In a retrospective review, Robert Taylor of AllMusic had a mixed reaction to Rage for Order. Taylor stated that the band had "lost their edge a bit on this release" and compared the album's sound to the glam metal movement of the time. The review praised Geoff Tate's vocals, but called the lyrics "heavy-handed" and stated that they had not aged well.
In 2005, Rage for Order was ranked number 343 in Rock Hard magazine's book The 500 Greatest Rock & Metal Albums of All Time.[17]
Track listing
[edit]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Walk in the Shadows" | Chris DeGarmo, Geoff Tate, Michael Wilton | 3:32 |
| 2. | "I Dream in Infrared" | Tate, Wilton | 4:19 |
| 3. | "The Whisper" | DeGarmo | 3:35 |
| 4. | "Gonna Get Close to You" (Dalbello cover) | Lisa Dalbello | 4:37 |
| 5. | "The Killing Words" | DeGarmo, Tate | 3:56 |
| 6. | "Surgical Strike" | DeGarmo, Wilton | 3:20 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 7. | "Neue Regel" | DeGarmo, Tate | 4:58 |
| 8. | "Chemical Youth (We Are Rebellion)" | Tate, Wilton | 4:15 |
| 9. | "London" | DeGarmo, Tate, Wilton | 5:04 |
| 10. | "Screaming in Digital" | DeGarmo, Tate, Wilton | 3:39 |
| 11. | "I Will Remember" | DeGarmo | 4:24 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 12. | "Gonna Get Close to You" (12" version; 0:00-0:29 and 4:33-5:16 are exclusive to this version) | Dalbello | 5:46 |
| 13. | "The Killing Words" (live at The Astoria Theatre, London, U.K. on October 20, 1994) | DeGarmo, Tate | 4:10 |
| 14. | "I Dream in Infrared" (1991 acoustic remix) | Tate, Wilton | 4:02 |
| 15. | "Walk in the Shadows" (live at Madison and La Crosse, Wisconsin on May 10–12, 1991) | DeGarmo, Tate, Wilton | 3:39 |
Personnel
[edit]- Queensrÿche
- Geoff Tate – lead vocals, keyboards
- Chris DeGarmo – guitars, backing vocals
- Michael Wilton – guitars, backing vocals
- Eddie Jackson – bass, backing vocals
- Scott Rockenfield – drums, percussion
- Additional musicians
- Neil Kernon – keyboards
- Bradley Doyle – emulator programming
- Production
- Neil Kernon – production, engineering, mixing
- Dave Ogilvie – engineering
- Rob Porter – engineering
- Keith Cohen – engineering
- Howie Weinberg – mastering
- Evren Göknar – 2003 remastering
- Queensrÿche – album concept
- Moshe Brakha – album photography
- Henry Marquez – art direction
- Glenn Parsons – design
Charts
[edit]| Chart (1986) | Peak position |
|---|---|
| Australian Albums (Kent Music Report)[18] | 94 |
| Canada Top Albums/CDs (RPM)[19] | 85 |
| Dutch Albums (Album Top 100)[20] | 31 |
| Finland (The Official Finnish Charts)[21] | 21 |
| German Albums (Offizielle Top 100)[22] | 58 |
| Swedish Albums (Sverigetopplistan)[23] | 47 |
| UK Albums (OCC)[24] | 66 |
| US Billboard 200[25] | 47 |
Certifications
[edit]| Region | Certification | Certified units/sales |
|---|---|---|
| United States (RIAA)[26] | Gold | 500,000^ |
|
^ Shipments figures based on certification alone. | ||
Accolades
[edit]Rage for Order was ranked No. 88 on Kerrang! magazine's "100 Greatest Heavy Metal Albums Of All Time" in January 1989.[27]
See also
[edit]References
[edit]- ^ The Whisper / I Dream in Infrared (track listing). Queensrÿche. EMI. 1986. SPRO-9862.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ Walk in the Shadows (track listing). Queensrÿche. EMI. 1986. SPRO-9692.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b c "Queensrÿche: 1986–1987". Anybody Listening. Archived from the original on March 28, 2013. Retrieved March 4, 2013.
- ^ a b Loudwire (January 11, 2017). "Queensryche - Wikipedia: Fact or Fiction?". YouTube. Archived from the original on December 21, 2021.
- ^ "Watch Geoff Tate Perform Acoustic Version Of QUEENSRŸCHE's 'Eyes Of A Stranger' In Italy". Blabbermouth.net. December 10, 2019. Retrieved February 18, 2022.
- ^ a b c "Rage for Order". Anybody Listening. Archived from the original on March 31, 2013. Retrieved March 4, 2013.
- ^ Wiederhorn, Jon (March 19, 2010). "Garry Sharpe-Young Dies at 45". Noisecreep. Retrieved February 16, 2013.
- ^ "Queensryche: Rage For Order - Album Of The Week Club review". Classic Rock. August 19, 2019. Retrieved August 9, 2025.
Rage For Order was one of the boldest metal albums of its time
- ^ Wagner, Jeff (2010). Mean Deviation: Four Decades of Progressive Heavy Metal. Bazillion Points Books. p. 51. ISBN 978-0-9796163-3-4.
- ^ Rivadavia, Eduardo (April 25, 2017). "Queensryche Albums Ranked". Loudwire. Retrieved February 10, 2021.
- ^ Kerber, Scott D. (November 1, 1991). "QUEENSRYCHE TAKES ITS METAL TO THE LIMIT". The Morning Call. Retrieved January 28, 2021.
- ^ Taylor, Robert. "Rage for Order - Queensrÿche". AllMusic. Retrieved September 7, 2011.
- ^ Popoff, Martin (November 1, 2005). The Collector's Guide to Heavy Metal: Volume 2: The Eighties. Burlington, Ontario, Canada: Collector's Guide Publishing. p. 275. ISBN 978-1-894959-31-5.
- ^ Oliver, Derek (July 10, 1986). "Kage the Ragers". Kerrang!. Vol. 124. London, UK: United Magazines ltd. p. 12.
- ^ Trojan, Frank (1986). "Review Album: Queensryche - Rage for Order". Rock Hard (in German). No. 18. Retrieved January 13, 2017.
- ^ Rolling Stone list
- ^ Best of Rock & Metal - Die 500 stärksten Scheiben aller Zeiten (in German). Rock Hard. 2005. p. 72. ISBN 3-89880-517-4.
- ^ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6.
- ^ "Top RPM Albums: Issue 0715". RPM. Library and Archives Canada. Retrieved August 22, 2022.
- ^ "Dutchcharts.nl – Queensrÿche – Rage for Order" (in Dutch). Hung Medien. Retrieved August 22, 2022.
- ^ Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki: Kustannusosakeyhtiö Otava. ISBN 978-951-1-21053-5.
- ^ "Offiziellecharts.de – Queensryche – Rage for Order" (in German). GfK Entertainment Charts. Retrieved August 22, 2022.
- ^ "Swedishcharts.com – Queensrÿche – Rage for Order". Hung Medien. Retrieved August 22, 2022.
- ^ "Queensryche | Artist | Official Charts". UK Albums Chart. Retrieved August 22, 2021.
- ^ "Queensryche Chart History (Billboard 200)". Billboard. Retrieved August 22, 2022.
- ^ "American album certifications – Queensryche – Rage for Order". Recording Industry Association of America.
- ^ "Kerrang! 100 Greatest Heavy Metal Albums Of All Time". Rocklist.net. January 1989. Archived from the original on February 14, 2006. Retrieved February 16, 2013.
| Studio albums | |
|---|---|
| Unofficial album | |
| EPs | |
| Live / video albums | |
| Compilation albums | |
| Singles | |
| Concert tours | |
| Related | |
Rage for Order
View on Grokipediafrom Grokipedia
Background and Recording
Conception and Songwriting
Following the release of their debut full-length album The Warning on January 23, 1984, Queensrÿche initiated songwriting for their sophomore effort in 1985, driven by a desire to advance beyond straightforward heavy metal toward more intricate progressive structures and atmospheric experimentation.[9] Guitarist Chris DeGarmo assumed a dominant role in the creative process, composing the majority of the album's music and establishing himself as the band's principal songwriter during this period.[1] [10] The band's evolving dynamics emphasized collaboration between DeGarmo and vocalist Geoff Tate, with Tate providing key lyrical contributions that infused tracks with introspective narratives on technological intrusion and emotional isolation, as seen in songs like "I Dream in Infrared" and "The Killing Words."[11] Influences from progressive rock acts such as Rush and Pink Floyd informed the shift, prompting the integration of keyboards and synthesizers to craft a dystopian, synth-heavy sonic palette distinct from their prior guitar-centric approach.[12] [1] This experimentation yielded multi-sectional compositions, including the title track's rhythmic interplay and harmonic layering, prioritizing melodic complexity over conventional riffing.[13] Tate later described the sessions as a deliberate pivot to standalone songs rather than overt concepts, allowing for balanced exploration of individual themes while honing the group's chemistry in pre-production jams.[14] DeGarmo's riffs and arrangements, often developed in isolation before band input, underscored a methodical evolution, with tracks like "Walk in the Shadows" emerging from joint efforts among DeGarmo, Tate, and guitarist Michael Wilton.[11]Recording Sessions
The recording of Rage for Order occurred between 1985 and 1986 across multiple facilities, including M.D.H. Studios in Bellevue, Washington; Le Mobile Remote Sound Studio; Mushroom Studios in Vancouver, Canada; and Yamaha Studios in Glendale, California.[15] Producer Neil Kernon oversaw the sessions, emphasizing sound design elements that contributed to the album's atmospheric quality.[16] Kernon's approach involved integrating synthesizers and keyboards to add depth beyond traditional heavy metal instrumentation, diverging from the rawer production of Queensrÿche's prior album The Warning.[16] Techniques such as extensive multi-tracking of guitars and vocals created layered textures, with Geoff Tate's harmonies often doubled or multiplied for choral effects.[16] This process resulted in a denser mix, achieved through precise overdubbing and effects processing to enhance complexity without overpowering the core riffs.[16] The band experimented with digital synthesizers, including Yamaha models like the DX7, to introduce futuristic tones that supported the album's thematic elements of technology and dystopia.[17] Mobile recording units, such as Le Mobile, facilitated on-location captures that added sonic variety, while final mixing refined the polished aesthetic amid the era's transition toward more elaborate prog-metal productions.[15]Musical Style and Themes
Instrumentation and Production
The album features the standard Queensrÿche lineup of Geoff Tate on lead vocals and keyboards, Chris DeGarmo and Michael Wilton on guitars, Eddie Jackson on bass, and Scott Rockenfield on drums. Producer Neil Kernon contributed additional keyboards, expanding the sonic palette beyond the band's core electric guitar, bass, and drum setup. Instrumentation includes synthesizers such as the Emulator II sampler and Roland Juno, integrated into tracks for layered textures and electronic elements.[17] Queensrÿche's dual guitar approach, with DeGarmo and Wilton employing harmony lines and intricate riffing, supports the progressive heavy metal framework, often featuring acoustic passages alongside electric leads.[1] Tate's keyboard work and Kernon's synth additions introduce density through multi-tracked overdubs, contrasting the debut album's reliance on straightforward heavy metal riffs without electronic augmentation.[18] Drum patterns by Rockenfield incorporate varied rhythms to underpin the arrangements, while Jackson's bass lines maintain a foundational pulse amid the expanded elements.[7] Kernon oversaw recording and mixing at studios including Triad in Seattle and Music Grinder in Los Angeles, achieving a polished clarity that highlights technical interplay over raw distortion. The process involved Emulator computer programming by Bradley Doyle to sequence synth parts, enabling precise integration of digital effects. Mastering by Howie Weinberg at Masterdisk finalized the full-bodied yet bright tone, emphasizing separation of instruments in the final mix. This approach marked an early incorporation of technology-driven production techniques in heavy metal, prioritizing layered precision.[17]Lyrical Content
The lyrics of Rage for Order form a loose conceptual arc centered on the "rage for order," examining impositions of control amid personal, societal, and technological chaos through interconnected motifs of intrusion, desire, and alienation. Songs traverse tiers of human experience: intimate relationships marked by possessive longing, as in "Gonna Get Close to You," where the narrator shadows footsteps, fumbles with keys in pursuit, and vows proximity at night, depicting an obsessive drive to breach boundaries.[19] Similarly, "I Dream in Infrared" evokes surveillance-like empathy, with the speaker sensing tear-stains and inner heat via an infrared gaze, unable to touch yet attuned to unspoken distress, highlighting emotional overreach in fractured bonds.[20] These personal narratives extend to broader societal strains, such as "The Killing Words," which details verbal manipulation eroding will—"Your silence screams" amid calculated barbs—rooted in relational power dynamics. Technological and political dimensions amplify this framework, portraying order as a mechanical or authoritarian force stifling organic rebellion. In "Screaming in Digital," the lyrics confront fusion of flesh and circuitry, where screams echo in binary voids and data streams commodify identity, reflecting alienation from analog humanity. "Chemical Youth (We Are Rebellion)" counters with defiant youth rallying against systemic numbness—"We are the youth, chemical youth, we are rebellion"—framing resistance to homogenized control as a visceral, substance-fueled uprising. Political undertones surface in "Surgical Strike," envisioning precise governmental incursions—"Target locked, surgical strike"—as metaphors for overreach, while "Take Hold of the Flame" urges seizing chaotic energy to forge direction from entropy. Recurring gothic-futuristic imagery underscores causal undercurrents of decay and imposition: vampiric hunger in shadowed pursuits, whispers infiltrating minds, and digital screams symbolizing eroded autonomy, drawn from observable realities of interpersonal coercion, state surveillance, and tech-mediated detachment rather than abstracted idealism. Geoff Tate's phrasing employs dense, layered syntax—evident in elliptical lines like "Feel the heat, it's infrared" or "London's calling with its raven"—to mirror unease, prioritizing unflinching depiction of flawed impulses over resolution.[21] This structure coheres thematically without rigid narrative, prioritizing textual evidence of order's fragile assertion against inherent disorder.[10]Release and Promotion
Album Release
was released on June 27, 1986, by EMI America Records.[2] The album marked the band's second full-length studio effort following their 1984 debut The Warning, which had garnered a dedicated underground following in the heavy metal scene.[1] Initial commercial availability included vinyl LP and cassette formats, with compact disc editions issued subsequently. The album's artwork depicts a surreal, futuristic scene with metallic structures and ethereal figures, evoking themes of technological dystopia and internal conflict central to the record's conceptual leanings.[4] EMI positioned the release to leverage the band's growing reputation without extensive pre-launch marketing, emphasizing tracks with potential for radio airplay amid a competitive 1980s metal landscape.[23]Singles and Touring
The lead single from Rage for Order was "Gonna Get Close to You", a cover of Lisa Dalbello's 1984 track, released in August 1986 with "Prophecy" as the B-side. [24] A music video for the track, directed and featuring performance footage, premiered earlier in February 1986 to promote the upcoming album.[25] "I Dream in Infrared" received subsequent promotional focus as a single, paired with "The Whisper" in some markets during 1986, helping to highlight the album's atmospheric elements through radio and video play. Queensrÿche embarked on the Rage for Order tour starting in April 1986, encompassing over 75 dates across North America and Europe through 1987.[26] The band served as the opening act for Bon Jovi's Slippery When Wet Tour, including U.S. shows like December 3, 1986, at Eilenriedehalle in Hanover, Germany, and multiple North American stops, where they performed before crowds drawn to Bon Jovi's rising popularity.[27] [28] Geoff Tate later recalled the Bon Jovi tour as professionally run, with respectful treatment from the headliners fostering a positive environment despite the progressive metal band's stylistic contrast to Bon Jovi's hard rock.[28] In addition to arena support slots, Queensrÿche headlined smaller venues and clubs to build grassroots momentum, such as October 17, 1986, at Sherwood Hall in Salinas, California, and various U.S. dates like April 23 at Providence Civic Center in Rhode Island.[29] [30] Setlists prioritized tracks from Rage for Order, often comprising over half the performance—such as "Walk in the Shadows", "I Dream in Infrared", and "The Whisper"—to demonstrate the album's shift toward synth-infused progressive metal and differentiate from prior material.[26] This approach, amid the mid-1980s heavy metal boom, expanded their dedicated fanbase through consistent live exposure in both major markets and regional circuits.[28]Commercial Performance
Chart Positions
Rage for Order entered the US Billboard 200 at number 93 on July 26, 1986, climbed to number 53 the following week, and reached its peak position of number 47 for two consecutive weeks in August 1986.[31] [32]| Chart | Peak Position |
|---|---|
| UK Albums Chart | 66 |
Sales Certifications
Rage for Order was certified Gold by the Recording Industry Association of America (RIAA), indicating shipments of 500,000 units in the United States.[36] This certification highlights the album's steady accumulation of sales through ongoing catalog demand, supported by Queensrÿche's rising prominence in the progressive metal genre during the late 1980s and beyond, rather than rapid blockbuster performance upon its 1986 release.[36] No higher-level certifications, such as Platinum, or documented international equivalents have been awarded.[36]Critical Reception
Contemporary Reviews
Kerrang! praised Rage for Order for its bold progression into more complex, atmospheric heavy metal, including the album among the best releases of 1986 and highlighting its integration of progressive elements with Geoff Tate's soaring vocals and intricate guitar riffs from Chris DeGarmo.[37] The magazine noted the band's evolution from the straightforward aggression of their 1984 debut The Warning, viewing the shift toward synth-driven textures and thematic depth as forward-thinking, though potentially challenging for fans seeking unrelenting heaviness.[37] Metal Forces similarly acclaimed the album's melancholy melodies, high-register vocals, and technical ambition, positioning it as a significant advancement in the genre with standout tracks like "Walk in the Shadows" showcasing layered production and dynamic shifts.[38] However, some contemporary critics critiqued the dense, introspective lyrics and prominent synthesizer use as occasionally overshadowing the metal core, resulting in a perceived inconsistency compared to purer heavy metal contemporaries, with overall scores averaging around 3.5 out of 5 across period publications.[7] Tate's vocal performances and DeGarmo's riffing were consistently cited as strengths amid the experimental risks.Retrospective Evaluations
In retrospective analyses, Rage for Order is frequently characterized as a transitional work in Queensrÿche's discography, bridging their early progressive metal experimentation with the narrative-driven concept albums that followed, such as Operation: Mindcrime (1988). A 2009 review describes it explicitly as a "transition album," noting the band's exploration of new sonic territories, including intricate arrangements and atmospheric keyboards, which laid groundwork for their more mature roles without yet achieving the cohesive storytelling of later efforts.[39] This positioning aligns with the album's empirical context: released in 1986 after the rawer The Warning (1984), it incorporated studio enhancements like multi-tracked vocals and synthesizers, but preceded the commercial hooks of Empire (1990), resulting in a sound that prioritized technical complexity over radio-friendly anthems.[40] Critics post-2000 have praised its ahead-of-its-time fusion of progressive elements with industrial-like sterility, particularly in the 2017 remaster, which highlights the "cold, sterile but powerful" production and layered choruses that enhance Geoff Tate's vocal range.[40] However, persistent criticisms focus on the album's relative lack of memorable hooks; a 2021 assessment rates most tracks as merely "alright" to "not too bad," with opener "Walk in the Shadows" as the closest to standout, underscoring how its experimental structures alienate listeners seeking the anthemic accessibility of successors like Empire.[41] Lyrically, the intent to provoke discomfort—through themes of obsession, loss, and predation—is acknowledged as effective in setting a dark tone, yet often deemed alienating or subpar in density, failing to resonate as broadly as the band's later narrative peaks.[21][42] While its gold certification (achieved retrospectively via enduring sales) and influence on prog-metal's technical evolution are noted, evaluations grounded in the band's trajectory reject it as a pinnacle, viewing it instead as a necessary bridge that honed skills for conceptual ambition without standalone commercial dominance.[1] Mixed verdicts persist, with some labeling it an underrated "black sheep" for its uniqueness, but others a "descent" from prior highs, reflecting causal factors like production choices that emphasized atmosphere over immediacy.[12] This balanced appraisal debunks narratives of unbridled innovation, emphasizing empirical evidence from sales (peaking lower than Empire) and genre shifts toward more structured prog narratives in subsequent releases.[39]Track Listing and Personnel
Standard Track Listing
The standard edition of Rage for Order features ten tracks with a total runtime of 45:59.[43]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Walk in the Shadows" | DeGarmo, Tate, Wilton | 3:34[44][45] |
| 2. | "I Dream in Infrared" | Tate, Wilton | 4:18[44][45] |
| 3. | "The Whisper" | DeGarmo | 3:36[44][40] |
| 4. | "Gonna Get Close to You" | Dalbello | 4:37[44][45] |
| 5. | "The Killing Words" | DeGarmo, Tate | 3:42[44][45] |
| 6. | "Surgical Strike" | DeGarmo, Tate | 3:42[44][45] |
| 7. | "Neue Regel" | DeGarmo, Tate | 4:35[44][45] |
| 8. | "Chemical Youth (We Are Rebellion)" | DeGarmo, Tate | 4:18[44][45] |
| 9. | "London" | DeGarmo, Tate, Wilton | 5:06[44][45] |
| 10. | "Screaming in Digital" | DeGarmo, Tate | 3:37[44][45] |
Personnel Credits
Geoff Tate performed lead vocals and played keyboards.[2]Chris DeGarmo handled guitars and contributed backing vocals.[2][46]
Michael Wilton played guitars and provided backing vocals.[2][46]
Eddie Jackson performed on bass and contributed backing vocals.[2][46]
Scott Rockenfield played drums.[2] The album was produced by Queensrÿche and Neil Kernon, who also engineered and mixed the recordings.[2][16]
Additional keyboards were provided by Neil Kernon.
Mastering was completed by Eddy Schreyer at Capitol Studios.[2]
No external guest musicians appear on the album, underscoring the band's self-reliant production approach.[2]