Rush Share ‘Limelight (Live In YYZ 1981)’ From ‘Moving Pictures (40th Anniversary Edition)’
Available in a variety of formats, the new edition of the band’s landmark eighth album will be out on April 15.
Rush have shared the official audio for “Limelight (Live In YYZ 1981)” from their upcoming Moving Pictures – 40th Anniversary set. You can check “Limelight” out below.
On April 15, UMe/Mercury and Anthem Records label groups continue the extensive Rush 40th-anniversary album series with new, expanded editions of the band’s ground-breaking 1981 release Moving Pictures, embodying its well-deserved classic album status. Moving Pictures – 40th Anniversary will be available to fans in six distinct configurations, including the (1) Super Deluxe Edition, (2) three-CD Deluxe Edition, (3) five-LP Deluxe Edition, (4) one-LP Edition, (5), Digital Deluxe Edition, and (6) Dolby Atmos Digital Edition.
Moving Pictures, the band’s eighth studio album, was originally released on February 12, 1981, and its adventurous-yet-accessible music catapulted the forward-thinking Canadian band to even newer heights as it began navigating the demands of a new decade.
The album’s seven songs expertly blended Rush’s intrinsic prowess for channeling its progressive roots into radio-friendly arrangements, a template the band had mastered to a T all throughout its previous album, 1980’s deservedly lauded Permanent Waves. Moving Pictures was also the second of many Rush recording sessions at Le Studio in Morin-Heights, Quebec, which was ultimately nicknamed the trio’s own personal Abbey Road recording studio.
The album’s lead-off track, “Tom Sawyer”, became one of Rush’s most cherished FM favorites in addition to taking its rightful place as a perpetual concert staple for decades to come. Next, the band shifts into the multi-generational dreamscape of “Red Barchetta”, which chronicles the thrills and chills of a high-stakes backroads car race.
The instrumental barnburner “YYZ”, lovingly named after the airport identification code for Toronto’s Pearson International Airport, runs the gamut of the band’s forever impressive progressive chops in under four minutes flat. Side A closes out with the observational luminescence of “Limelight”, a timeless, if not prescient look at how introverted artists grapple with public demands while trying to maintain a personal level of earned privacy.
