He simply described the Red Star Of The Solar Federation as being all that is contrary to free thought and creativity, and the man as our hero. The evolution of the star and man was Neil’s and mine’s first true collaboration. What’s the history behind the “Starman” emblem? What made you come up with it? Hugh Syme created the iconic Starman emblem for Rush’s ‘2112’ album Not so much differently, but with the skill set I possess today… Hemispheres, probably. I’m pleased we followed our gut.Īnd which, looking back, do you wish you’d done differently? This all proved all too serious in the end, in light of the band’s favorable response to the dog and the hydrant concept. We had lofty notions of bringing in technicians and hooking each band member up to his own electroencephalogram, and recording their brainwave and heartbeats at the same measure of a given performance in the recording studio, then displaying each on the cover as a unique graphic. We had some trouble trying to determine the right direction: literal, metaphorical, whimsical, silly… We chose the latter. Signals was just so open-ended as a concept, it was intimidating. What album did you find the most challenging to represent visually?
#2112 cd windows
They were all fun to work on, to be honest. But painting the Power Windows cover was a special experience, and a special time in my life. As an art director, what more could I ask for than variety? Both stylistic and thematic… It’s been less a challenge, more a joy, really. What have been the challenges of working with a band as prolific and varied as Rush? But, as Neil’s lyrics became more and more thematic, the more the cover artwork was charged with the task of representing those themes – either specifically or obtusely, but, one hopes, always entertainingly. I believe that our longevity was maintained through a mutual dynamic: a band that dared to deviate from the norm was my kind of client! And they proved to be much more than that: friends, both graphic and musical.ĭo you get carte blanche when it comes to creating artwork for them, or do they give you a brief?Īt first, I pretty much did, yes. How have you managed to keep the working relationship going for so long? I considered for a moment and then agreed, completely unaware that this would mark the beginning of a 40-year sojourn, beginning with Caress Of Steel. Their manager, Ray Danniels, summoned me to his inner sanctum, where he asked if I’d consider designing a cover for Rush. I was keyboardist, singer and co-arranger in The Ian Thomas Band, who were on the same label as Rush, and with their management, SRO-Anthem.
How did you first get involved with Rush?
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