Of the four Japanese dates, only the last two dates were documented, Osaka and Tokyo and while many fan produced titles have circulated amongst collectors, the only silver title was Made In Japan (Gypsy Eye GE-115) which at the time was regarded as the best sounding document of the Osaka show, yet flaws found within Subdivisions garnered some negative comments. There was also an incident where they witnessed a Japanese hitting his wife and intervened only to be looked down upon for not understanding the cultural differences, these factors combined would be enough for Rush to sadly never again venture to the Far East. This would make hard going for the band, anyone who is familiar with the band know how they strove for perfection and not having their own gear made a difficult transition.
With just four dates and the costs associated with transporting their equipment, the band elected to bring only their guitars and other vital equipment, even Neil Peart had Tama make a complete replica of his set in Japan specifically for the tour and the PA system etc would be of Japanese origin. The trek would be short, just four dates, November 16 Seto Aich, November 18 Fukuoka, November 20 Osaka, and November 21 Tokyo. The band would, however, play Japan for the first and only time in their touring history. The tour to support 1984’s Grace Under Pressure was fairly typical for Rush encompassing North America, both United States and Canada, and for the first time since 1977, no UK or European leg. Drum Solo, 2112, Tom Sawyer, Red Lenses, Vital Signs, Finding My Way, In The Mood Osaka Prefectural Gymnasium, Osaka, Japan – November 20, 1984ĭisc 1 (51:01) Intro, Spirit Of Radio, Subdivisions, The Body Electric, The Enemy Within, The Weapon, Witch Hunt, New World Man, Between The Wheels, Red Barchettaĭisc 2 (45:26) Distant Early Warning, Red Sector A, Closer To The Heart, YYZ incl. There are simply different versions of inspired genius, fit to suit a sweep of musical tastes.Grace Of The Master Osaka 1984 (Cygnus 026/027) But a single spin of Grace Under Pressure is enough to remind us there’s no such thing as a truly bad Rush LP. Rush’s commercial musical direction through the '80s remains a topic of hot debate within their fan base. 10 Billboard placing of its predecessor, Signals (if not the Top 5 achievements of Moving Pictures and Permanent Waves), while cruising to platinum certification. Grace Under Pressure easily duplicated the No. Yet they somehow managed to combine inventive arrangements with easily digestible hooks, even as they delved into the predominantly dark and disconcerting lyrical concepts. Regardless of their composite parts, new songs like "Distant Early Warning," "Afterimage," "Red Sector A" and "Between the Wheels" were all assembled to Rush’s typically exacting and meticulous standards. And yet, the infinitely-versatile six-string god was clearly complicit with Rush’s technology-obsessed agenda, because he abandoned power chords and showy solos for sharp strums that evoked jazz and reggae (see "The Enemy Within"). Synths provided much of the melodic thrust on Grace Under Pressure over Alex Lifeson’s once-pivotal guitar.
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