RUSH THE RAREST 1977 TOUR 2112 CONCERT PROGRAMME PROBABLY THE RAREST CONCERT PROGRAMME CURRENTLY LISTED ON E BAY!!!!!!!

AN OUTSTANDING GENUINLY VERY VERY VERY VERY RARE FORTY YEAR OLD  LOVELY ITEM FOR THE SERIOUS  RUSH FAN!!AND ROCK MEMORABILIA COLLECTOR!!!!!

THIS IS IT !!!!!! SCAN THE ENTIRE WORLD WIDE WEB AND SEE IF YOU CAN EVEN FIND ONE OF THESE RARE BEAUTIES!!!!   A TOTAL “CLASSIC COLLECTORS ITEM” THIS IS THE FANTASTIC UNIQUE 2112 CONCERT TOUR FROM THE YEAR 1977 WHICH IN FACT WAS RUSH`S VERY FIRST EVER UK TOUR IN JUNE TO SELL OUT PACKED CONCERTS;

 SHORTLY AFTER THIS HISTORIC TOUR THEY PRODUCED THE WORLD REMOWNED “ A FAREWELL TO KINGS”  as well as “All the Worlds a Stage” which both go “gold”!!!

RUSH THE WORLD'S BIGGEST CULT BAND?

Because of their commercial pattern, Rush may be regarded as a "cult" band whose cult following was big enough to consistently push its album sales to platinum status. The term "cult following," refers to the patterns of fan hood Rush typically engendered-an interest that is long-term (perhaps life-long), an enthusiasm that is manifested in proselytising behaviour and imitation of the band's musical style, and a high degree of personal and time investments in various forms of fan behaviour (internet fan activity, collecting minutiae such as posters, T-shirts, etc.) (these aspects of fan behaviour are discussed further by Larry Grossberg in Lewis 1992: 54-60).

Neil Peart did not laugh – unlike the architect, Howard Roark, hero of “The Fountainhead” a book by Russian émigré novelist and philosopher, Ayn Rand. “The Fountainhead”, along with “Atlas Shrugged” and “Anthem”, was a hugely popular novel first published in the 1930s that espoused a highly individualistic philosophy that Rand further elaborated as Objectivism in a series of non-fiction works. The exact influence of Rand in the late 60s, alongside a series of libertarian thinkers such as Nozick and Hayek is hard to gauge. But as far as Rush were concerned, and Neil Peart in particular, her “genius” was credited on their breakthrough album “2112” and her influence was often cited during a series of interviews the band gave between in 1976 and 1977, and especially the beginning of 1978. It was one of these interviews, with a British journalist called Miles from the New Musical Express, which landed Peart in hot water.

Having survived as a band for two years Rush delivered their third album, “Caress Of Steel”, to a decidedly muted response. The subsequent tour was nicknamed “Down The Tubes” and it looked like that was where the band was heading. In retrospect “Caress Of Steel” is a transitional album from their more traditional and derivative heavy rock influenced style to a more experimental and progressive style, and paved the way for the follow up, “2112”. Despite pressure from their record company the band stuck to their guns and delivered the album they wanted to record, continuing the direction that “Caress of Steel” had signaled. Their determination to stay true to their artistic integrity is summed up in the following line from the song “Something For Nothing”, “Yes it was for me not you that I came to write this song”, a seemingly direct reference to Howard Roark who insisted that “I don’t intend to build in order to have clients. I intend to have clients in order to build”. Roark was an architect with innate talent, the hero of “The Fountainhead”. Throughout his life he resolutely refused to compromise his own exacting principles and design buildings that were deemed ‘good’ or ‘acceptable’ by the architectural establishment. This is not because he was unable; quite the contrary, as he constantly helped one of his main protagonists become a revered and successful architect – he just didn’t want to do it in his own name. His integrity ultimately led him to destroy an orphanage he had designed that had been modified by another architect. Another parallel between Rand and Rush is revealed in the title track of the album “2112”, a story of a man who discovers a guitar, an instrument from a previous generation that had been banished by the totalitarian ‘Priests of the Temples of Syrinx’. This broadly follows the plot of “Anthem” by Rand where the hero (re)discovers the electric light only to have his discovery rejected by the ‘Council Of Scholars’. In “2112” the hero eventually commits suicide rather than continue to live in a world where music is banned.

“2112” was a breakthrough album for Rush, and their success continued with their subsequent live double LP, “All The World’s A Stage”. The summer of 1977 saw them play their first European concerts, in June, before retreating to Rockfield Studios in Wales for two weeks in July to record their next album, “A Farewell To Kings”. The overt lyrical references to Rand are not as pronounced in “A Farewell To Kings” as they were in “2112” but the influence of Rand is still apparent. The album itself is not obviously a concept album but there are a series of common themes that run though the six songs that comprise the record. Two of the tracks, “Xanadau” and “Cygnus X-1”, in fact the two longest tracks on the album – both being over ten minutes, are quests for alternative societies. Xanadu, a mythical ancient paradise, based on the poem “Kubla Kahn” by Samuel Taylor Coleridge, offering immortality to those that could find it. Cygnus X-1, a futuristic tale of a black hole that offers either destruction or the prospect of ‘soaring through the Astral Door’. The title track of the album, with it’s suggestion of republicanism, is a plea to try and not lose sight of a better future, to not be drawn from the ‘castles in the distance’ by hypocrites or ‘scheming demons’. The closing lines are a call to intellectual arms, to recall the difference between right and wrong and ‘find the minds to lead us closer to the Heart’. “Closer To The Heart”, was the working title for the album, as well as the title for one of the songs, the lyrics for which Peart co-wrote with Peter Talbot. It continues the theme of striving for change, for a better society, that is truer to itself. The final two tracks, “Cinderella Man” and “Madrigal”, both deal with the need to continue to strive for change even in the face of adversity. The lyrics for “Cinderella Man” were written by Geddy Lee rather Peart and were based on the film “Mr Deeds Go To Town”. “Madrigal” is about as close to a love song as Rush got to writing at this stage in the career. Again the plea to ‘search for truth’ is present but in this case it is love that provides the strength to continue as opposed to the vision of a better future. Two songs that present a vision, two songs that are a plea for change, and two songs that urge the listener to avoid giving up when things get tough. There is a sting in the tale though – the fate of the traveller hurtling into the black hole of Cygnus X-1 is left to be concluded, whilst the ‘pleasure dome’ at Xanadu, and immortality, deliver a false, never ending, paradise. 

In April 1977 Rush and their management formed their own record company, Anthem Records, named after the book by Rand, to allow them far greater control over their own careers and also to allow them to extend this approach to other bands that they and their manager, Ray Danniels, wanted to promote. In September 1977, “A Farewell To Kings” was the first Rush album to be released (in Canada) on Anthem Records, and the first record to be simultaneously released in the US, Canada and the UK. It was in the Billboard top 100 for 17 weeks, peaking at number 33. It went gold (500,000 sales) on 16th November 1977, eventually being awarded platinum status (1 million sales) in December 1993.

THIS HAS GOT TO BE THE ROCK MEMORIBILIA PURCHASE OF THE YEAR ON E BAY!!!! 

IF YOU COULD EVER FIND ONE MOST ROCK AND POP DEALERS BEGIN WITH AN ASKING PRICE OF WELL OVER £200 PLUS ON THIS UNIQUE AND RARE RUSH CONCERT PROGRAMME WHICH IS NOW OVER 40 YEARS OLD!!!!

I HAVE ADDED THIS AS I CANNOT SUBTRACT 1977 FROM 2007 YES IT IS 30 YEARS OLD NOT 40.. BUT IT IS TOTALLY SCARCE AND TOTALLY COLLECTABLE.

RUSH THE RAREST 1977 TOUR 2112 CONCERT PROGRAMME PROBABLY THE RAREST CONCERT PROGRAMME CURRENTLY LISTED ON E BAY!!!!!!!

AN OUTSTANDING GENUINLY VERY VERY VERY VERY RARE THIRTY YEAR OLD  LOVELY ITEM FOR THE SERIOUS  RUSH FAN!!AND ROCK MEMORABILIA COLLECTOR!!!!!

THIS IS IT !!!!!! SCAN THE ENTIRE WORLD WIDE WEB AND SEE IF YOU CAN EVEN FIND ONE OF THESE RARE BEAUTIES!!!!   A TOTAL “CLASSIC COLLECTORS ITEM” THIS IS THE FANTASTIC UNIQUE 2112 CONCERT TOUR FROM THE YEAR 1977 WHICH IN FACT WAS RUSH`S VERY FIRST EVER UK TOUR IN JUNE TO SELL OUT PACKED CONCERTS IN 1977 SO A THIRTY YEAR OLD ORIGINAL PROGRAMME;

FOR ITS AGE IT IS IN GOOD CONDITION WITH SOME EDGE SCUFFING BUT GENERALLY OVERALL ITS A NICE PROGRAMME AS WELL AS VERY VERY RARE;

 SHORTLY AFTER THIS HISTORIC TOUR THEY PRODUCED THE WORLD REMOWNED “ A FAREWELL TO KINGS”  as well as “All the Worlds a Stage” which both go “gold”!!!

RUSH THE WORLD'S BIGGEST CULT BAND?

Because of their commercial pattern, Rush may be regarded as a "cult" band whose cult following was big enough to consistently push its album sales to platinum status. The term "cult following," refers to the patterns of fan hood Rush typically engendered-an interest that is long-term (perhaps life-long), an enthusiasm that is manifested in proselytising behaviour and imitation of the band's musical style, and a high degree of personal and time investments in various forms of fan behaviour (internet fan activity, collecting minutiae such as posters, T-shirts, etc.) (these aspects of fan behaviour are discussed further by Larry Grossberg in Lewis 1992: 54-60).

Neil Peart did not laugh – unlike the architect, Howard Roark, hero of “The Fountainhead” a book by Russian émigré novelist and philosopher, Ayn Rand. “The Fountainhead”, along with “Atlas Shrugged” and “Anthem”, was a hugely popular novel first published in the 1930s that espoused a highly individualistic philosophy that Rand further elaborated as Objectivism in a series of non-fiction works. The exact influence of Rand in the late 60s, alongside a series of libertarian thinkers such as Nozick and Hayek is hard to gauge. But as far as Rush were concerned, and Neil Peart in particular, her “genius” was credited on their breakthrough album “2112” and her influence was often cited during a series of interviews the band gave between in 1976 and 1977, and especially the beginning of 1978. It was one of these interviews, with a British journalist called Miles from the New Musical Express, which landed Peart in hot water.

Having survived as a band for two years Rush delivered their third album, “Caress Of Steel”, to a decidedly muted response. The subsequent tour was nicknamed “Down The Tubes” and it looked like that was where the band was heading. In retrospect “Caress Of Steel” is a transitional album from their more traditional and derivative heavy rock influenced style to a more experimental and progressive style, and paved the way for the follow up, “2112”. Despite pressure from their record company the band stuck to their guns and delivered the album they wanted to record, continuing the direction that “Caress of Steel” had signaled. Their determination to stay true to their artistic integrity is summed up in the following line from the song “Something For Nothing”, “Yes it was for me not you that I came to write this song”, a seemingly direct reference to Howard Roark who insisted that “I don’t intend to build in order to have clients. I intend to have clients in order to build”. Roark was an architect with innate talent, the hero of “The Fountainhead”. Throughout his life he resolutely refused to compromise his own exacting principles and design buildings that were deemed ‘good’ or ‘acceptable’ by the architectural establishment. This is not because he was unable; quite the contrary, as he constantly helped one of his main protagonists become a revered and successful architect – he just didn’t want to do it in his own name. His integrity ultimately led him to destroy an orphanage he had designed that had been modified by another architect. Another parallel between Rand and Rush is revealed in the title track of the album “2112”, a story of a man who discovers a guitar, an instrument from a previous generation that had been banished by the totalitarian ‘Priests of the Temples of Syrinx’. This broadly follows the plot of “Anthem” by Rand where the hero (re)discovers the electric light only to have his discovery rejected by the ‘Council Of Scholars’. In “2112” the hero eventually commits suicide rather than continue to live in a world where music is banned.

“2112” was a breakthrough album for Rush, and their success continued with their subsequent live double LP, “All The World’s A Stage”. The summer of 1977 saw them play their first European concerts, in June, before retreating to Rockfield Studios in Wales for two weeks in July to record their next album, “A Farewell To Kings”. The overt lyrical references to Rand are not as pronounced in “A Farewell To Kings” as they were in “2112” but the influence of Rand is still apparent. The album itself is not obviously a concept album but there are a series of common themes that run though the six songs that comprise the record. Two of the tracks, “Xanadau” and “Cygnus X-1”, in fact the two longest tracks on the album – both being over ten minutes, are quests for alternative societies. Xanadu, a mythical ancient paradise, based on the poem “Kubla Kahn” by Samuel Taylor Coleridge, offering immortality to those that could find it. Cygnus X-1, a futuristic tale of a black hole that offers either destruction or the prospect of ‘soaring through the Astral Door’. The title track of the album, with it’s suggestion of republicanism, is a plea to try and not lose sight of a better future, to not be drawn from the ‘castles in the distance’ by hypocrites or ‘scheming demons’. The closing lines are a call to intellectual arms, to recall the difference between right and wrong and ‘find the minds to lead us closer to the Heart’. “Closer To The Heart”, was the working title for the album, as well as the title for one of the songs, the lyrics for which Peart co-wrote with Peter Talbot. It continues the theme of striving for change, for a better society, that is truer to itself. The final two tracks, “Cinderella Man” and “Madrigal”, both deal with the need to continue to strive for change even in the face of adversity. The lyrics for “Cinderella Man” were written by Geddy Lee rather Peart and were based on the film “Mr Deeds Go To Town”. “Madrigal” is about as close to a love song as Rush got to writing at this stage in the career. Again the plea to ‘search for truth’ is present but in this case it is love that provides the strength to continue as opposed to the vision of a better future. Two songs that present a vision, two songs that are a plea for change, and two songs that urge the listener to avoid giving up when things get tough. There is a sting in the tale though – the fate of the traveller hurtling into the black hole of Cygnus X-1 is left to be concluded, whilst the ‘pleasure dome’ at Xanadu, and immortality, deliver a false, never ending, paradise. 

In April 1977 Rush and their management formed their own record company, Anthem Records, named after the book by Rand, to allow them far greater control over their own careers and also to allow them to extend this approach to other bands that they and their manager, Ray Danniels, wanted to promote. In September 1977, “A Farewell To Kings” was the first Rush album to be released (in Canada) on Anthem Records, and the first record to be simultaneously released in the US, Canada and the UK. It was in the Billboard top 100 for 17 weeks, peaking at number 33. It went gold (500,000 sales) on 16th November 1977, eventually being awarded platinum status (1 million sales) in December 1993.

THIS HAS GOT TO BE THE ROCK MEMORIBILIA PURCHASE OF THE YEAR ON E BAY!!!! 

IF YOU COULD EVER FIND ONE MOST ROCK AND POP DEALERS BEGIN WITH AN ASKING PRICE OF WELL OVER £200 PLUS ON THIS UNIQUE AND RARE RUSH CONCERT PROGRAMME WHICH IS NOW 30 YEARS OLD!!!!