They’re Canada’s gift to the world! Even better than maple syrup, ice hockey, and Tim Horton’s… It’s Rush! This thinking man’s band has created some of the most intelligent rock this world has ever heard. And we’re all smarter for it. On today’s episode, we're taking a closer look at their album Permanent Waves and its key track Freewill. Both would defy all trends and expectations. Even though Rush’s rock contemporaries were embracing radio-friendly sounds and even kowtowing to the disco movement, Geddy Lee, Alex Lifeson, and Neal Peart remained true to their sound and the record proved to be a critical turning point… one that ushered in a new decade of innovation and even commercial accessibility, with one of the most ambitious songs the band ever tackled. The lyrics confused some listeners when they heard Geddy Lee singing the wrong ones. Turns out the factory misprinted them. Find out NEXT on the Professor of Rock.

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Hey music junkies, Professor of Rock, always here to celebrate the greatest artists and the greatest songs of all time. If you remember recording songs off the radio and cussing the DJ for talking over the beginning or end you’ll dig this channel of deep musical nostalgia. Make sure to subscribe below right now so you always know. We also have a Patreon you'll want to check out. There you’ll find an additional catalog of exclusive content and you can even become an honorary producer to help us curate this music history.

Today, we’re diving deep into a pivotal album from one of the most iconic bands of the rock era. I’m talking about the record Permanent Waves from progressive rock masterminds: Rush! And from this must-have album, we’re telling the story of Freewill. So let’s get into it. During the turbulent music scene of the late 70s, Rush stood firm against the changing tides. As the ever-evolving musical landscape shifted from rock to punk to post-punk and new wave, bassist Geddy Lee, guitarist Alex Lifeson, and drummer Neil Peart refused to trade their artistic integrity for the commercial rewards of the latest trends. No, this triumphant trio remained firmly fixed on their own path of rock innovation.

There was no Rush equivalent of Kiss’s ‘I Was Made for Lovin’ You” or the Rolling Stones’ Miss You… both of which tapped into disco to have greater mainstream appeal. In October 1978, Rush released their sixth studio album, ‘Hemispheres.’ It was another classic entry into Rush’s catalog of long-form, highly conceptual epic LPs… an approach that would make up much of Rush’s 70s output. We’re talking side-consuming, 20-minute tracks that stimulated the mind and imagination in a way that few others could. For instance, 1975’s Caress of Steel had The Fountain of Lamneth clocking in at 19 minutes and 57 seconds.

1976’s 2112 had its title track, which reached 20 minutes and 34 seconds. 1977’s A Farewell to Kings scaled things back with two 10 to 11-minute tracks. And then Hemispheres upped the ante again with an 18-minute and 8-second Side One saga: Cygnus X-1 Book II: Hemispheres. However, by the time Rush completed its run through the 70s exhaustion was setting in. The band had written, recorded, and released six albums in the space of four and half years, and kept plowing ahead with a rigorous touring schedule.