Rush developed a singular sound that blended ambitious hard rock, progressive complexity and virtuoso performances. The Canadian trio’s musical excellence, creative independence and uncompromising integrity made them one of the most influential rock bands of all time. Their music was built around Geddy Lee‘s melodic and highly active bass lines, Alex Lifeson‘s expansive guitar work and inventive chord voicings, and Neil Peart‘s powerful and intricately constructed drumming.
The Rock and Roll Hall of Fame inductees scored enduring FM-radio hits with “Tom Sawyer,” “Limelight,” “The Spirit of Radio,” “Time Stand Still” and “Closer to the Heart.” Rush paired that sharp melodic instinct with odd time signatures, extended instrumental passages and complex arrangements. Over the course of their remarkable career, the band released 19 studio LPs and 11 live albums, selling more than 40 million records worldwide. Although Rush became famous for progressive rock compositions packed with lengthy musical passages, including “By-Tor & the Snow Dog,” “2112,” “Xanadu,” and “The Camera Eye,” they have only released nine standalone instrumentals, five of which earned Grammy nominations. Excluding Neil Peart’s iconic live drum solos, yet including everything from multiple short acoustic guitar pieces to nearly ten minutes of musical chaos, here is every Rush instrumental song, ranked.
9
“Broon’s Bane”
‘Exit Stage Left’ (1981)
“Broon’s Bane” never appeared on a Rush studio album, but it earned a lasting place in the band’s lore when it was released on the classic 1981 live album Exit… Stage Left. Alex Lifeson’s brief, classically influenced acoustic instrumental was recorded at The Forum in Montreal, Quebec back in March 1981, as an introduction to “The Trees”. Its playful title combines Rush’s nickname for longtime producer Terry “Broon” Brown with “bane,” meaning a source of torment. A prime example of the trio turning an exquisitely composed piece into an inside joke. Exit Stage Left is the group’s second live LP and captures the band firing on all cylinders on the Permanent Waves and Moving Pictures tour.
8
“Hope”
Snakes & Arrows (2007)
“Hope” is one of three instrumentals off 2007’s Snake & Arrows. For the brief solo piece, Alex Lifeson played a 12-string acoustic guitar in an open D tuning on the guitar to create a reflective and uplifting sound. The track carries traces of Celtic folk music, with resonant drones, ringing chords and a rich, expansive shimmer created by the 12-string guitar. A live version recorded in Regina, Saskatchewan, for the benefit compilation Songs for Tibet: The Art of Peace, earned Rush a Grammy nomination for Best Rock Instrumental Performance.
7
“Limbo”
‘Test For Echo’ (1996)
“Limbo” is the atmospheric instrumental from Test For Echo, Rush’s 16th studio album. It features a driving, funky bass line and Alex Lifeson’s sweeping guitar chords and delicate harmonics and layers of ambient wordless vocals from Geddy Lee. Across the five-plus minute track, the composition moves through shifting rhythms, heavy riffs and contrasting musical fragments, without losing any momentum. It also incorporates spoken samples of Bobby Boris Pickett‘s 1962 novelty hit “Monster Mash,” including the line “Whatever happened to my Transylvania twist?” The group performed “Limbo” during the Test For Echo tour, but it never returned to the band’s set lists. Despite its imaginative arrangement and playful character, it remains one of Rush’s most overlooked instrumentals.
6
“Where’s My Thing? (Part IV, ‘Gangster of Boats’ Trilogy)”
‘Roll The Bones’ (1991)
“Where’s My Thing?” is the funky, groove-oriented instrumental from 1991’s Roll The Bones. It’s deliberately absurd subtitle, “Part IV, Gangster of Boats’ Trilogy,” is another example of Rush’s playful humor, as there are no Parts I through III and, therefore, cannot have a fourth installment. The track marked the first Rush instrumental since “YYZ,” and is stamped with Geddy Lee’s relentless bass work and bright, brass-like keyboard stabs. Alex Lifesons adds cascading chords and a compact but expressive guitar solo while Neil Peart closes the piece out with a barrage of mind-bending drum fulls. “Where’s My Thing (Part IV, Gangster of Boats’ Trilogy)” earned a 1992 Grammy nomination for Best Rock Instrumental Performance but lost to Eric Johnson‘s epic single “Cliffs of Dover.”
5
“Malignant Narcissism”
‘Snakes & Arrows’ (2007)
“Malignant Narcissism” is the blistering two-minute instrumental off the 2007 album Snakes & Arrows. It was the final track recorded for the album and came together quickly after producer Nick Raskulinecz overheard Geddy Lee experimenting with a riff on a fretless bass. Neil Peart’s massive drum set had already been dismantled and packed away, so he set up a small four-piece drum kit, the smallest set he ever used on a Rush effort, to record the song. Alex Lifeson was absent when Lee and Peart developed the piece and upon returning he had only one day to compose and record his guitar parts. Around the one-minute mark, the track incorporates a sample from Team America: World Police, the 2004 satire created by South Park gurus Trey Parker and Matt Stone. The short yet ferocious tune was nominated for the 2008 Grammy Award for Best Rock Instrumental Performance.
4
“Leave That Thing Alone”
‘Counterparts’ (1993)
“Leave That Thing Alone” is a sequel of sorts, as well as a comic response to Rush’s previous instrumental, “Where’s My Thing?,” from Roll The Bones. First, the band could not find this mysterious “thing,” and now they’re encouraging everyone to leave it alone. Darker and heavier than its predecessor, the track develops out of an etherial opening into a hypnotic groove built around Geddy Lee’s expressive and melodic bass work. Alex Lifeson layers clean guitars, distorted chords, and ambient effects to create the expansive soundscape, while Neil Peart’s technical yet fluid drumming holds the shifting arrangement together. “Leave That Thing Alone” earned the power trio its third Grammy nomination for Best Rock Instrumental Performance at the 1995 ceremony, losing Pink Floyd‘s “Marooned.” It remains one of Rush’s finest later-era instrumentals, a tightly constructed fusion of atmosphere, melody and a funky groove.
3
“The Main Monkey Business”
‘Snakes & Arrows’ (2007)
“The Main Monkey Business” is one of the most intricate compositions from the later period of Rush’s career. The six-minute sonic journey weaves through shimmering 12-string acoustic passages into massive electric guitar riffs, propelled by shifting meters, melodic bass lines and dense layers of percussion. Cinematic and atmospheric, the arrangement fuses folk-inspired textures with the weight and complexity of progressive hard rock. Neil Peart described it as the most painstaking song on Snakes & Arrows to write, arrange and record. To capture its urgency and spontaneity, the trio performed the basic track together in the same room before adding overdubs.
2
“YYZ”
‘Moving Pictures’ (1981)
“YYZ” is the legendary instrumental from Rush’s most commercially successful album, Moving Pictures. On a record boasting the band’s signature hit “Tom Sawyer,” along with enduring classics “Limelight” and “Red Barchetta,” “YYZ” still emerged as a fan favorite and a concert staple. Musically, the track compresses the trio’s progressive rock complexity into a compact yet elaborate composition, combining rapid unison riffs, abrupt rhythmic changes, interlocking guitar and keyboard melodies with Geddy Lee’s acrobatic bass work and Neil Peart’s powerfully intricate drumming.
The song takes its title from the code of Toronto’s Pearson International Airport, translating the letters’ Morse-code pattern into its head-spinning opening rhythm in 5/4 time. During his iconic guitar solo, Alex Lifeson utilizes the phrygian scale to generate tension and an exotic Eastern-tinged flair. “YYZ” earned Rush its first Grammy nomination for Best Instrumental Rock Performance in 1982. It lost to The Police track “Behind My Camel.”
1
“La Villa Strangiato”
‘Hemispheres’ (1978)
“La Villa Strangiato (An Exercise in Self-Indulgence)” is Rush’s first fully instrumental composition and the closing track from the band’s 1978 album Hemispheres. The nine-and-a-half minute, 11-part progressive rock odyssey was inspired by Alex Lifeson’s vivid dreams and recurring nightmares. Its tongue-in-cheek subtitle acknowledges both the piece’s extravagant complexity and the band’s self-deprecating humor. Driven by dramatic tempo shifts, changing meters and instantly memorable riffs, the evocative composition carries listeners deep into the strange, surreal recesses of Lifeson’s imagination.
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The extraordinarily complicated arrangement could not be captured in one uninterrupted performance, so Rush recorded it in sections and assembled the finished piece in the studio. Geddy Lee later admitted that the trio’s ideas initially exceeded its ability to perform them. However, through extensive rehearsal, the musicians mastered the composition, transforming it into a concert staple and enduring fan favorite. “La Villa Strangiato” is Rush’s greatest instrumental and remains a definitive example of balancing virtuosity, atmosphere and humor, while proving the band can create a memorable narrative and emotional arc without lyrics.
Rush – Exit… Stage Left
- Release Date
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January 1, 1982
- Runtime
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60 minutes
- Producers
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Grant Lough
Cast
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Alex Lifeson
Himself – Guitars
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Geddy Lee
Himself – Bass, Synthesizers
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Neil Peart
Himself – Drums, Percussion