Rush ‎– Hemispheres (1978)

Hemispheres is the sixth studio album by Rush, released October 24, 1978, on Anthem/Mercury.

Cygnus X-1

Cygnus X-1 is a real-life X-ray source and the first celestial object widely accepted by scientists to be a black hole. It is a massive gravitational body orbiting a blue supergiant star about 7,000 light-years away. Matter pulled from the star forms an accretion disk around the black hole, heating up to millions of degrees and emitting the X-rays we detect on Earth.

The first part of the suite, Book I on A Farewell to Kings, introduced the protagonist, an explorer aboard the spaceship Rocinante, who travels toward the black hole Cygnus X-1. The explorer is drawn into the black hole’s gravity, experiencing the terrifying destruction of his ship and body. The section ends with his agonizing final thoughts as he is torn apart.

A. “Cygnus X-1: Book II: Hemispheres”

18:08 | prog-metal | epic, song suite

The eighteen-minute epic critiques the human tendency toward extreme thinking, advocating for a crucial balance between logic and emotion.

I. Prelude

Music: A grand, classically influenced instrumental overture, transitioning through different musical themes and time signatures.

When our weary world was young
The struggle of the ancients first began
The gods of Love and Reason
Sought alone to rule the fate of Man
They battled through the ages
But still neither force would yield
The people were divided,
Every soul a battlefield…

The prelude sets the stage, describing the eternal conflict between the forces of Love (emotion/passion) and Reason (logic/intellect), represented by Greek gods. This ancient struggle has constantly divided humanity, turning every individual’s soul into a contested battlefield.

II. “Apollo Bringer of Wisdom” (2:30)

Music: Up-tempo, complex, and highly structured progressive rock with precise instrumental interplay, reflecting the order and logic of Apollo.

‘I bring truth and understanding,
I bring wit and wisdom fair,
Precious gifts beyond compare.
We can build a world of wonder,
I can make you all aware’
‘I will find you food and shelter,
Show you fire to keep you warm
Through the endless winter storm.
You can live in grace and comfort
In the world that you transform’
The people were delighted
Coming forth to claim their prize
They ran to build their cities
And converse among the wise
But one day the streets fell silent
Yet they knew not what was wrong
The urge to build these fine things
Seemed not to be so strong
The wise men were consulted
And the Bridge of Death was crossed
In quest of Dionysus
To find out what they had lost…

Apollo, the God of Reason and the left hemisphere, offers his followers the gifts of truth and understanding and practical security (food and shelter). The logical people use this knowledge to build sophisticated cities but soon realize that a life governed only by intellect is emotionally barren. Their lack of feeling creates a spiritual void, forcing them to seek out Dionysus to discover the vital element of humanity they have lost.

III. “Dionysus Bringer of Love” (2:06)

Music: A shift to a more free-form, blues-rock feel, featuring a looser groove and soaring, emotional guitar work, representing passion and chaos.

‘I bring love to give you solace
In the darkness of the night
In the Heart’s eternal light
You need only trust your feelings
Only Love can steer you right’
‘I bring laughter, I bring Music,
I bring joy and I bring Tears
I will soothe your primal fears
Throw off those chains of Reason
And your prison disappears’
The cities were abandoned
And the forests echoed song
They danced and lived as brothers
They knew Love could not be wrong
Food and wine they had aplenty
And they slept beneath the stars
The people were contented
And the Gods watched from afar
But the winter fell upon them
And it caught them unprepared
Bringing wolves and cold starvation
And the hearts of men despaired…

Dionysus, the God of Love and the right hemisphere, offers immediate solace and emotional fulfillment through feeling, laughter, and Music. His followers abandon their structured cities for an impulsive, communal life, believing Love could not be wrong and throwing off the chains of Reason. However, their complete lack of foresight and practical knowledge leads to disaster when winter fell upon them as they had no material preparation, resulting in cold starvation and despair.

IV. Armageddon The Battle of Heart and Mind

Music: Heavy, dramatic, and aggressive with rapid time changes and discordant guitar/bass riffs, reflecting violent conflict and chaos.

The Universe divided
As the Heart and Mind collided
With the people left unguided
For so many troubled years
In a cloud of doubts and fears
Their world was torn asunder into hollow hemispheres
Some fought themselves, some fought each other
Most just followed one another
Lost and aimless like their brothers
For their hearts were so unclear
And the truth could not appear
Their spirits were divided into blinded hemispheres
Some who did not fight
Brought tales of old to light
My Rocinante sailed by night
On her final flight
To the heart of Cygnus’ fearsome force
We set our course.
Spiralled through that timeless space
To this immortal place

The failure of both extremes causes society to fracture into hollow hemispheres, driven by confusion, fear, and conflict. The lyrics then transition back to the explorer from Book I, describing his Rocinante spiraling through the black hole into this new, immortal place.

V. Cygnus Bringer of Balance

Music: The music from the end of Book I returns; calmer, slower, and more atmospheric, creating a sense of wonder and eventual peace.

I have memory and awareness
But I have no shape or form
As a disembodied spirit
I am dead and yet unborn
I have passed into Olympus
As was told in tales of old
To the City of Immortals
Marble white and purest gold
I see the Gods in battle rage on high
Thunderbolts across the sky
I cannot move, I cannot hide
I feel a silent scream begin inside
Then all at once the chaos ceased
A stillness fell, a sudden peace
The Warriors felt my silent cry
And stayed their struggle, mystified
Apollo was astonished
Dionysus thought me mad
But they heard my story further
And they wondered, and were sad
Looking down from Olympus
On a world of doubt and fear
Its surface splintered into
Sorry hemispheres.
They sat a while in silence
Then they turned at last to me
‘We will call you Cygnus
The God of Balance you shall be’

The explorer’s consciousness, now a disembodied spirit, arrives in Olympus to witness the gods’ chaotic battle. His silent cry of terror over the divided world is felt by the warring factions, causing a sudden stillness. Recognizing the explorer’s objective view, Apollo and Dionysus cease their fighting and appoint him Cygnus / The God of Balance.

VI. The Sphere A Kind of Dream

Music: Acoustic and mellow, with a tranquil, major-key melody and a focus on layered vocals, resolving the conflict into a harmonious soundscape.

We can walk our road together
If our goals are all the same
We can run alone and free
If we pursue a different aim
Let the truth of Love be lighted
Let the love of truth shine clear
Sensibility
Armed with sense and liberty
With the Heart and Mind united
In a single perfect sphere

The final section is a hopeful vision for the future, embracing individuality while stressing the need for collective goals. It advocates for the necessary coexistence of passion (the truth of Love) and logic (the love of truth), resulting in a perfect unity—a single perfect sphere—where Heart and Mind are balanced.

Book/Film/Historical References

The entire work is an elaborate allegory on Greek mythology, using the figures of Apollo and Dionysus to represent logic and passion, respectively, a duality explored in depth by Friedrich Nietzsche in his 1872 work The Birth of Tragedy.

The explorer’s spaceship, Rocinante, is named after Don Quixote’s horse in Miguel de Cervantes’ 1605 novel Don Quixote.

The final lines, which unite Sensibility with sense, allude to the core themes of Jane Austen’s 1811 novel, Sense and Sensibility.

B1. “Circumstances”

3:42 | hard rock |

The song reflects on the character’s journey from naive isolation and confusion to a mature acceptance of life’s relentless, cyclical challenges. Geddy acknowledges that while his external reality has changed for the better, the fundamental emotional struggles and identity remain the same.

A boy alone, and so far from home
Endless rooftops from my window
I felt the gloom of empty rooms
On rainy afternoons.
Sometimes in confusion
I felt so lost and disillusioned
Innocence gave me confidence
To go up against reality

The character begins by recalling his youth as a boy alone and so far from home, experiencing the profound sadness (gloom of empty rooms) of isolation. Although he was frequently disillusioned and lost, his youthful Innocence paradoxically fueled a naive boldness to confront the world.

All the same
We take our chances,
Laughed at by Time,
Tricked by circumstances

He shifts to a general observation, stating that all people must take our chances in life. This act of striving is ultimately humbled by two powerful, unforgiving forces: Time and mocking, unpredictable circumstances.

Pus ça change,
Plus c’est la même chose
The more that things change
The more they stay the same

The core theme is introduced through a famous French proverb, which literally means The more that things change / The more they stay the same. The character recognizes that external variations do not alter the constant, underlying human condition.

Now I’ve gained some understanding
Of the only world that we see
Things that I once dreamed of
Have become reality

The character asserts that he has achieved a level of understanding and maturity about the real world. He notes that some of his youthful aspirations and fantasies have actually become reality in his current life.

These walls that still surround me
Still contain the same old me
Just one more who’s searching for
The world that ought to be

Despite his success and maturity, he concludes that his inner self remains unchanged (the same old me) and is still enclosed by the constraints of his existence (These walls). He ends by identifying as one more person ceaselessly searching for / The world that ought to be, implying a continued restlessness.

The line Plus ça change, plus c’est la même chose (“The more things change, the more they remain the same”) is a well-known French proverb that originated in Les Guêpes (The Wasps), a satirical monthly published between 1839 and 1843 by French author Jean-Baptiste Alphonse Karr.

B2. “The Trees”

4:46 | folk

The song is an allegorical fable detailing a class conflict within a forest that is resolved through forced and destructive equality. Geddy narrates the story of the Maples’ fight for sunlight, which ends not in natural balance, but in the violent leveling of all trees.

There is unrest in the Forest
There is trouble with the trees
For the Maples want more sunlight
And the Oaks ignore their pleas.
The trouble with the Maples
(And they’re quite convinced they’re right)
They say the Oaks are just too lofty
And they grab up all the light
But the Oaks can’t help their feelings
If they like the way they’re made
And they wonder why the Maples
Can’t be happy in their shade?

Geddy introduces the conflict between the short Maples, who feel entitled to more sunlight, and the tall Oaks, whose height naturally obstructs the light. The Maples are certain they are victims of unfair natural hierarchy, while the Oaks simply accept their own superiority and are confused why the Maples cannot settle for the status quo.

There is trouble in the Forest
And the creatures all have fled
As the Maples scream ‘Oppression!’
And the Oaks, just shake their heads
So the Maples formed a Union
And demanded equal rights
‘The Oaks are just too greedy
We will make them give us light’

The tension escalates into a political conflict where the Maples cry ‘Oppression!’ and organize a Union to demand equal rights. The other forest animals flee the impending disaster, as the Maples vow to force the taller Oaks to share the resource they naturally possess.

Now there’s no more Oak oppression
For they passed a noble law
And the trees are all kept equal
By hatchet,
Axe,
And saw…

The conflict is abruptly resolved with a noble law aimed at achieving perfect equality. This equality is enforced violently, with all the trees being reduced in stature by the destructive tools of hatchet, Axe, And saw, demonstrating the destructive outcome of forced collectivism.

B3. “La Villa Strangiato (An Exercise in Self-Indulgence)”

9:35 | prog-metal |

La Villa Strangiato,” subtitled “An Exercise in Self-Indulgence,” is Rush’s first entirely instrumental composition and a pinnacle of their technical abilities, blending progressive rock, hard rock, and jazz fusion across twelve distinct movements. The piece was inspired by a bizarre dream experienced by guitarist Alex Lifeson.

The band attempted to record the intricate 9:37 piece in a single take but ultimately required three takes due to its complexity. The song features a remarkable display of musicianship from all three members, with Geddy Lee’s intricate bass lines often compensating for the absence of his vocals, and Neil Peart integrating big band and cartoon music influences. The segments titled “Monsters!” and “Monsters! (Reprise)” famously adapt Raymond Scott’s composition “Powerhouse.”

The piece starts acoustic, builds in complexity, incorporates a highly technical guitar solo, and revisits the main theme before its abrupt end.

I: “Buenas Noches, Mein Froinds!” (0:00–0:26) A brief, acoustic opening, performed on a nylon-string classical guitar (sometimes described as having a Flamenco-like feel).

II: “To sleep, perchance To dream…” (0:27–1:59) The atmospheric, quieter section that establishes the dream-like ambiance, played before the main theme’s entrance.

III: “Strangiato theme” (2:00–3:15) The introduction of the main, fluctuating, zig-zagging guitar riff and central motif of the entire piece.

IV: “A Lerxst in Wonderland” (3:16–5:48) The most complex segment, featuring an increasingly complex, technically demanding guitar solo by Alex Lifeson, backed by synthesizer and intricate rhythm changes.

V: “Monsters!” (5:49–6:09) A brief, hard-driving section that adapts the “Powerhouse” cartoon music motif.

VI: “The Ghost of the Aragon” (6:10–6:44) An atmospheric, somewhat eerie section, sometimes invoking Arabic-like ambiences.

VII: “Danforth and Pape” (6:45–7:25) A middle section featuring an almost jazz-sounding bass line and intricate hi-hat work from Neil Peart.

VIII: “The Waltz of the Shreves” (7:26–7:51) A brief, rhythmically distinct waltz section.

IX: “Never turn your back on a Monster!” (7:52–8:02) A short, sharp transitional moment of high tension.

X: “Monsters! (Reprise)” (8:03–8:16) A return to the aggressive, cartoon-inspired musical motif.

XI: “Strangiato theme (Reprise)” (8:17–9:20) A return to the main theme before the song’s close, showcasing the unified technical performance of the trio.

XII: “A Farewell to Things” (9:20–9:37) The abrupt final segment, concluding with a phased (processed) bass and drums effect.

Review – “La Villa Strangiato”

The song “La Villa Strangiato” by Rush is an instrumental piece characterized by its sonic thrust and harmonic dexterity. The reviewer highlights its prog-metal nature and notes the presence of flamenco-like sounds, Neil Peart’s glockenspiel, and ghostly sustains*. The song features power chords with intricate “filigree” on top, deft transitions between sections, and a bluesy tinge. Zaragon also points out palm-muted notes and the interlocking parts, counterpoint, and tight cadences played by Geddy Lee’s crisp bass figures and Alex Lifeson’s fluid guitar runs. Neil Peart’s drumming adds rhythmic complexity.

*In the context of the song “La Villa Strangiato,” “ghostly sustains” refers to a specific musical effect characterized by sustained notes that evoke an ethereal, haunting, or lingering quality. While not a formal musical term, it suggests sounds that are drawn out and have a somewhat eerie or atmospheric presence within the composition.

Tracklist:

A1. “Cygnus X-1 Book II: Hemispheres” (18:08)
—I. “Prelude”
—II. “Apollo (Bringer of Wisdom)”
—III. “Dionysus (Bringer of Love)”
—IV. “Armageddon (The Battle of Heart and Mind)”
—V. “Cygnus (Bringer of Balance)”
—VI. “The Sphere (A Kind of Dream)”

B1. “Circumstances” (3:42)
B2. “The Trees” (4:46)
B3. “La Villa Strangiato (An Exercise in Self-Indulgence)” (9:35)
—I. “Buenos Nochas, Mein Froinds!”
—II. “To Sleep, Perchance to Dream…”
—III. “Strangiato Theme”
—IV. “A Lerxst in Wonderland”
—V. “Monsters!”
—VI. “The Ghost of the Aragon”
—VII. “Danforth and Pape”
—VIII. “The Waltz of the Shreves”
—IX. “Never Turn Your Back on a Monster!”
—X. “Monsters! (Reprise)”
—XI. “Strangiato Theme (Reprise)”
—XII. “A Farewell to Things”

Credits:

Alex Lifeson – 6- and 12-string electric and acoustic guitars, classical guitar, Roland guitar synthesizer, Moog Taurus pedals
Neil Peart – drums, orchestra bells, bell tree, tympani, gong, cowbells, temple blocks, wind chimes, crotales
Geddy Lee – bass guitar, Minimoog synthesizer, Oberheim polyphonic synthesizer, Moog Taurus pedals, vocals

Terry Brown – production, arrangement, mixing at Trident Studios