One of the greatest rock guitar heroes of all time and also Rush guitarist, Alex Lifeson, has been recently interviewed by ‘Make Weird Music’ last week and talked about the 25th anniversary of his solo album as well as the greatest album of Rush.

As you may already know, ‘Moving Pictures’ was showing Rush’s one of most complex songwriting and musical virtuosity in their career. The album has been released back in 1997 and it’s considered as their most accessible and best album of the band according to Geneive Williams.

In the latest interview of Alex Lifeson, he stated that Moving Pictures was really a delight and it was the greatest record they have ever made so far.  He also shared the story of the recording process and how did they put the songs together.

Here is what Alex Lifeson said:

“‘Moving Pictures’ was by far the greatest record that we made. And, from our perspective, we had such a great time making that record. We were in a great space, we spent the summer working fairly close to Toronto – to home – writing it.

When we went to the studio and started recording, everything about it fell into place and we really, really enjoyed the experience. I thought the material was strong and all that stuff, but the recording process itself was really a lot of fun, and for the most part quite smooth.

And that doesn’t happen really very often. I could tell you horror stories about [1984’s] ‘Grace Under Pressure’ that was so difficult to make, and [2002’s] ‘Vapor Trails.’

But ‘Moving Pictures’ was really a delight. When we came to ‘Vital Signs’ song, and I have to jog my memory, we had songs on the record like ‘YYZ’ and ‘Limelight’ and ‘Tom Sawyer’ that were pretty big, rock, traditional rock songs, maybe a little more concise than our previous writing as we were moving into that kind of writing economy that we sort of moved into from the late ’70s.”

He continued:

“But when we came to that, it was just really different in the way we arranged it and put it together. Starting with the sequencer and having that part, and working out a guitar part above that, around that, and Neil was really into that kind of a drum approach, to that ska sort of thing, more reggae-ish. And when I say reggae, I mean modern white reggae.

And he was really looking forward to that, and he was messing around with electronic drums at the time too, so it all became a part of this little exploration, and it touched on certain things that were coming to the world from that point forward. So that’s really it, I don’t really remember too much else about it.”

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