Show Notes
Picture this: It’s a crisp January morning in 1980. The new decade is fresh, brimming with possibility, and you’re flipping through the racks at your favorite record store. Disco is slipping out of fashion, punk’s rebellious roar still echoes, and the New Wave is gathering momentum. Amidst all this change, Rush—a band known for their sprawling progressive rock epics—is about to redefine themselves. The moment you unwrap Permanent Waves and place the needle down, something shifts. The opening notes of “The Spirit of Radio”cut through the speakers like a beacon for the new era. You’re swept into a world where Rush balances complexity with accessibility, progressive rock with mainstream ambition. The album was a turning point for a band about to define their legacy. A Balancing Act Between Complexity and Accessibility Permanent Waves, recorded at the now-legendary Le Studio in Morin Heights, Quebec, marked the beginning of Rush’s iconic 80s run. With Terry Brown returning as producer, the album showcased a deliberate pivot. Gone were the sprawling epics of Hemispheres (1978). In their place were tightly constructed, thematically sharp tracks that leaned into shorter runtimes while still showcasing the band’s virtuosity . This album reached number four on the U.S. Billboard 200 and number three in Canada, earning gold and platinum certifications. Not only was it a commercial success, but it also marked the first time the band broke even on a tour, thanks to nine months on the road supporting the record . A Showcase of Rush’s Evolution The album opens with “The Spirit of Radio”, an anthem to music’s transformative power. Lifeson’s shimmering guitar riff, Peart’s intricate drumming, and Lee’s powerful vocals meld into a track that bridges progressive rock and radio-friendly melodies. Its unexpected reggae breakdown was a bold experiment, cementing the song’s status as a classic. “Free Will”, the second single, explores existentialism with blistering technical interplay between guitar and bass. Meanwhile, deeper cuts like “Jacob’s Ladder” unfold like a storm—a dark, atmospheric journey that builds into an otherworldly crescendo. A surprising inclusion as a single was “Entre Nous”, released in April 1980. Despite its relatively low profile in Rush’s live sets, it encapsulates the album’s lyrical intimacy, proving that even Rush’s quieter moments pack a punch . Is Rush Metal? The Permanent Waves episode of Dig Me Out reignited the perennial debate: Is Rush a metal band? While their technical prowess and influence on the genre are undisputed, Rush has always been more at home in progressive rock. However, their heavier tracks, like those from 2112 and even moments on Permanent Waves, ensured they earned respect among metal fans and artists alike . Why Permanent Waves Still Resonates With its release, Permanent Waves wasn’t just another Rush album; it was a declaration of intent. The band embraced the future while honoring their past, delivering an album that remains a cornerstone of progressive rock. Decades later, it’s still finding new fans and delighting old ones. As a Dig Me Out listener said: “This album has grown with me. I’ve owned it on every format, and it never gets old” . Dust off your vinyl or pull it up on your favorite streaming platform—Rush’s Permanent Waves deserves a fresh listen. If this record still gives you chills or you’re discovering it for the first time, let us know. Songs in this Episode * Intro - The Spirit of the Radio * 27:20 - Jacob's Ladder * 35:33 - Natural Science * 41:17 - Freewill * Outro - The Spirit of the Radio Make Your Voice Heard! Rush fans, prog rock enthusiasts, and curious listeners, this one’s for you! Your input drives our journey into the music that defined eras. From underrated classics to monumental masterpieces like Permanent Waves, we rely on you to shape the episodes we bring to life. By joining the DMO Union on Patreon, you help keep us independent and ad-free while gaining the
More from Dig Me Out: 70s & 80s Metal
What happens when a band decides metal is not just a genre, but a kingdom they were born to rule? Gavin Reid joins Jay, Tim, and Chip to dig into Manowar’s 1988 Atlantic Records album Kings of Metal. From the speed of “Wheels of Fire” to the choir-drenched drama of “Heart of Steel,” the band’s self-appointed heavy-metal coronation is more melodic, theatrical, and ambitious than its barbarian artwork suggests.[2][1] We talk power metal, fantasy-world escapism, the title track’s undeniable chant, Joey DeMaio’s “Sting of the Bumblebee” bass showcase, a baffling song sequence, and why “Pleasure Slave” is the album’s obvious weak link. If you love Iron Maiden, Judas Priest, Blind Guardian, Ghost, or the grand theatrical side of classic metal, this episode is for you.[1] Episode highlights 02:02: Why Kings of Metal became our “what is metal?” test case 14:00: “Wheels of Fire” and Manowar’s unexpected aggression 19:58: “Heart of Steel,” choirs, and power-metal grandeur 26:07: The “Kings of Metal” anthem and its call-and-response hook 30:55: The album sequence that never finds its momentum 36:06: “Pleasure Slave” and the songs we would leave behind 49:50: Album, EP, or Decent Single? Subscribe to Dig Me Out at digmeoutpodcast.com | Join the community at dmounion.comHave a lost or forgotten album that deserves the spotlight? Suggest it here.
A Top 40 single, a Capitol Records deal, KISS-world connections, and Jack Douglas in the producer’s chair. So why is Starz’s Violation still a record most rock fans have never heard? Jay, Tim, and Chip dig into the 1977 album that turned Starz into a musicians’ favorite without making them stars. We get into Bill Aucoin, Richie Ranno’s connection to Gene Simmons and Ozzy Osbourne auditions, “Cherry Baby” reaching No. 33, and the strange mix of power pop, hard rock, theatrical vocals, and sharp melodic turns that makes Violation both rewarding and frustrating. If you love KISS, Cheap Trick, Angel, or late-1970s melodic hard rock, this episode is for you. Episode highlights: 00:44: The poll that sent Starz to the table 07:23: Bill Aucoin, Capitol, and Jack Douglas 16:44: “Sing It, Shout It” and “S.T.E.A.D.Y.” 30:07: “Subway Terror” and the album’s harder edge 32:41: “Is That a Street Light or the Moon?” 38:40: Why Starz never broke through 56:22: Worthy album or better EP? Subscribe to Dig Me Out at digmeoutpodcast.com | Join the community at dmounion.comHave a lost or forgotten album that deserves the spotlight? Suggest it here.
What if one of 1985’s most overlooked metal albums was not from the Sunset Strip at all? This week, Jay, Tim, and Chip dig into Holland’s 1985 Atlantic Records debut, Little Monsters. The album won an 80 percent community runoff, and it became a first listen for all three of us. Featuring powerhouse vocalist Tom Holland and future guitar virtuoso Michael Angelo Batio, it is a tight 34-minute hard-rock record with equal parts melodic songwriting, technical guitar, Chicago identity, and mid-’80s major-label ambition. We get into the power-pop instincts beneath the riffs, Batio’s surprisingly disciplined shred work, “Wake Up the Neighborhood” appearing in Girls Just Want to Have Fun, the album’s strongest songs, and why Holland may have needed one more record to find its real commercial lane. If you love Cheap Trick, Vinnie Vincent Invasion, Enuff Z’Nuff, early Def Leppard, or overlooked ’80s hard rock, this episode is for you. 00:44: The poll result and Holland’s underdog victory 01:40: Holland’s short history and Chicago roots 02:22: Michael Angelo Batio before Nitro 02:37: “Wake Up the Neighborhood” and its movie connection 03:09: The album’s best riffs, hooks, and influences 04:04: What keeps Little Monsters from being a complete statement 04:50: Final verdict Subscribe to Dig Me Out at digmeoutpodcast.com | Join the community at dmounion.comHave a lost or forgotten album that deserves the spotlight? Suggest it here.
A Swedish band nobody outside Scandinavia ever heard live sounds like it was mixed by people who actually understood 80s post-punk instead of just imitating it. This episode, guest Darren Leach brings his first pick from the 2000s: Cut City's 2007 debut Exit Decades, a nine-song, 34-minute record that channels Joy Division, The Sound, and early Interpol while arriving a few years after the post-punk revival's commercial peak. We dig into the mechanical-versus-expressive tension in the arrangements, the mix that lets every instrument breathe, and why the album might be missing the one quirky vocal hook that made its peers famous. If you love Interpol, Editors, Bloc Party, or 2000s post-punk revival, this episode is for you. Highlights: 01:49: Darren introduces Cut City and the album 08:51: The mechanical/expressive dynamic breakdown 19:05: The mix and bass discussion 26:49: What doesn't fully land on the record 33:09: The post-punk revival timeline 37:41: Ratings revealed Subscribe to Dig Me Out at digmeoutpodcast.com | Join the community at dmounion.com Have a lost or forgotten album that deserves the spotlight? Suggest it here.
Tora Tora beat Metallica in a poll. That alone should tell you something about how this show works. This 80s Metal episode covers Tora Tora's 1989 debut Surprise Attack, the surprise winner of a four-way Patreon poll against Metallica's Master of Puppets, Slade's Keep Your Hands Off My Power Supply, and Motörhead's Iron Fist. The Memphis band's blend of Judas Priest style riffing and Beale Street blues set them apart from the Sunset Strip pack, and the hosts dig into the record's three singles, its reverb-heavy production, a firsthand tour bus story from 1992, and the band's ongoing reissue campaign and 2019 reunion. If you love Tesla, Badlands, or late-80s hard rock that never quite got its due, this episode is for you. Episode highlights: 00:00: Poll results and Tora Tora's landslide win 06:35: A 1992 tour bus story from backstage at a Newport headlining show 20:39: What works on Surprise Attack 40:04: The production issue holding the record back 49:43: Final host ratings Subscribe to Dig Me Out at digmeoutpodcast.com | Join the Board of Directors at dmounion.com Have a lost or forgotten album that deserves the spotlight? Suggest it here.