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2112 (20:34)
   I. Overture (4:32)
   II. Temples of Syrinx (2:13)
   III. Discovery (3:29)
   IV. Presentation (3:42)
   V. Oracle: The Dream (2:00)
   VI. Soliloquy (2:21)
   VII. The Grand Finale (2:14)
A Passage To Bangkok (3:34)
The Twilight Zone (3:17)
Lessons (3:51)
Tears (3:31)
Something For Nothing (3:59)


          "I lie awake, staring out at the bleakness of Megadon. City and sky become one, merging into a single plane, a vast sea of unbroken grey. The Twin Moons, just two pale orbs as they trace their way across the steely sky. I used to think I had a pretty good life here, just plugging into my machine for the day, then watching Templevision or reading a Temple Paper in the evening
          My friend Jon always said it was nicer here than under the atmospheric domes of the Outer Planets. We have had peace since 2062, when the surviving planets were banded together under the Red Star of the Solar Federation. The less fortunate gave us a few new moons
          I believed what I was told. I thought it was a good life, I thought I was happy. Then I found something that changed it all..."
                    Anonymous, 2112

Alex Lifeson - guitars
Neil Peart - percussion
Geddy Lee - bass and vocals

Produced by Rush and Terry Brown
Engineered by Terry Brown
Arrangements by Rush and Terry Brown
Recorded and mixed at Toronto Sound Studios, Toronto, Ontario
Roadmaster - Howard (Herns) Ungerleider
Roadcrew - Major Ian Grandy, L.B.L.B., Skip (Detroit Slider) Gildersleeve

Graphics - Hugh Syme
Photography - Yosh Inouye, Gérard Gentil (Band)

Management by Ray Danniels, SRO Management, Inc., Toronto
Executive Production - Moon Records

A very special thank you to Ray, Vic, Terry, Howard, Ian, Liam, Skip, and Hugh for sharing the load.
Special thanks to ......(insert your name here)
Special guest Hugh Syme - keyboards on 'Tears'

Mercury/Polygram, March 1976
© 1976 Mercury Records © 1976 Anthem Entertainment


In Their Own Words

"The quickest ever was 'The Twilight Zone' from our '2112' album. That was written and recorded in one day." - Neil Peart, "Stories From Signals", Signals Tourbook
"I had used the double necked Rickenbacker and Taurus bass pedals when we played 'A Passage To Bangkok' live - I used to play rhythm guitar and bass pedals during Alex's solo." - Geddy Lee, The Guitar Magazine, November 1993
"I was in their studio in Toronto - my first ever visit to their legendarily private inner sanctum - and one thing led to another. Geddy and I were huddled on the floor with my Arp Odyssey synth, operating envelope filters and playing notes to produce the soundscape that opened the overture of 2112. I then went down the hall for a few hours, and developed my Mellotron string and horn parts for Geddy's song, Tears. It's still a-very fond memory." - Hugh Syme, Classic Rock Special Edition, June 11, 2012
"Polygram had written us off before '2112' had come - we'd seen their financial predictions and we weren't even on it!" - Neil Peart, Classic Rock, October 2004
"All those paeans to American restlessness and the American road carried a tinge of wistfulness, an acknowledgment of the hardships of the vagrant life, the notion that wanderlust could be involuntary, exile as much as freedom, and indeed, the understanding that freedom wasn't free. In the mid-'70s, the band was driving to a show in downtown Los Angeles, at the Shrine Auditorium, and I noticed some graffiti splattered across a wall: 'Freedom isn't free,' and I adapted that for a song on 2112, 'Something for Nothing.'" - Neil Peart, Traveling Music
"The prog-rock experiments of the band Rush are among works that should be preserved for future generations, says a committee tasked with saving the best in Canadian television, radio, film and music. The band's 1976 album 2112, a unique blend of classic rock and synthesizers that made Rush a sensation both in Canada and the United States, is one of 12 cultural pieces named Thursday as MasterWorks by the Audio-Visual Preservation Trust. The public-sector group promotes the protection of classic Canadian works and selects a dozen every year for preservation, offering funds for those in danger of being lost...'The safeguarding of these selections is so important to the foundation of Canadian culture.' added president David Novek..." - Jam Showbiz, October 19, 2006
"I would definitely fear the realization that the best record we made was 10 or 20 years ago. That would be hard to live with." - Neil Peart, TheStar.com, October 21, 2006
"To me, it's raw and immature and all that it should be - it's 30 years ago...A lot of our early stuff does (make me cringe) but on the other hand, I know that it's genuine." - Neil Peart, Jam!Music, October 22, 2006