"I went to see them at The Bowery," says Shedd, "and the sound that these three guys could create together was just really something. I saw the crowd reacting to music they'd never heard before as though they had. They were doing some covers, but a lot of the ALABAMA show at the time was original material, including stuff that wound up on the first three albums we did together."
The fact that some of the heirs of that legacy--Eli Young Band, Rascal Flatts and Florida Georgia Line--are among the stars paying tribute on Alabama & Friends is part of their legacy as surely as the awards and plaudits they've earned through the years. And those, of course, have been legion. They include more than 150 major industry nods, including two Grammys, the Minnie Pearl Humanitarian award, Entertainer of the Year awards three times from the CMA and five times from the ACM, as well as the latter's Artist of the Decade award. They earned 21 Gold , Platinum and Multi-Platinum albums and were named the RIAA's Country Group of the Century.
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Lee remembered an earlier crossroads: Rush's third album, 1975's Caress of Steel. An audacious leap beyond their progressive-blues beginnings, dominated by two extended suites, Caress of Steel was battered by negative reviews and sold so poorly the band nearly lost its record deal. "Then we realized how stupid we were," Lee said. "Because of all these people putting pressure on us, we were looking at ourselves through their eyes. From then on, we knew exactly what our direction was going to be, and we were determined to have success strictly on our own terms." The band responded with 2112 - a creative and commercial rebound that was concept-driven on one side, shorter power-trio fury on the other and, as Lifeson put it recently, "the first record where we sounded like Rush." "You'd have to be a fool to ignore constructive criticism," Lee said as the Mercedes pulled up backstage at the Ottawa Civic Centre. "We've changed things in our music that were pointed out to us some years ago, things about feel or a tendency to sometimes sound forced."
That is the meat of "Limelight," a song that is suspicious of success, on an album that delivered it in aces and spades: "Ill-equipped to act/With insufficient tact .. . I can't pretend a stranger/ Is a long awaited friend," Peart wrote, and Lee sang. But "Limelight" is also about the wisdom of stardom - that it is a privilege, not a right, and you take it for granted at your peril. One afternoon in January, 1979, Lee stood in the wings at the Pittsburgh Civic Arena while Rush's crew set up the lights, sound and pyro for a show there. "The first time we played here," he said, "we only had three feet of space from the front of the stage with no special effects. Just the basics. But those kids who saw us and liked it will come back, and when they do, they expect to see what the saw the first time.
View artist page Montreal native Allison Russell is an artist, activist, songwriter and multi-instrumentalist of extraordinary power, talent and grace. A founding member of the acclaimed groups Our Native Daughters (with Rhiannon Giddens, Leyla McCalla and Amythyst Kiah) and Birds of Chicago (with her husband and musical partner JT Nero), she has begun to emerge as a potent force among creative circles worldwide. Her debut solo album, Outside Child, shares the harrowing story of her abusive childhood in a deeply moving song cycle of courage, empathy, hope, and love. Named the #2 Best Album of the Year by the New York Times, Outside Child garnered multiple honors, including three Grammy nominations, Best International Artist from the Americana Awards, and a 2022 Juno Award for Contemporary Roots Album of the Year. 2ff7e9595c
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