Rush on Canadian Radio history early 1970s.
I had to use a few different search engines to discover the information written here.
Not Fade Away and You Can’t Fight It release on Moon Records in 1973.
I believe the sound on this YouTube video is better than Snowdog.
Rush - Debut Single: Not Fade Away / You Can't Fight It (1973)
Mar 7, 2022
This single was the first recording Rush ever released, preceding their debut album. This single was only ever released on vinyl in 1973 in limited quantities estimated at only 500, and was never included on a full studio album nor any future releases. Although these two songs were originally planned for inclusion on the debut album, they were ultimately scrapped. Not Fade Away is a cover of a song originally by Buddy Holly. It was common for Rush to perform covers of songs during their early formative years. Alex Lifeson explained that Rush used to play an extremely heavy version of Not Fade Away during their early years, but toned it down for this recording for better appeal. You Can't Fight It is one of several original Rush compositions that the band performed only during their early pre-album years.
RUSH - Not Fade Away & You Can't Fight It (First Single) 1973 - Moon Records (MN 001)
September 10, 2019
The very first Rush single, recorded during the Spring of 1973. The "A" side was a cover of the song made famous by the Stones, but the "B" side was an original Rush composition. These tracks have never appeared on any other (legitimate) release. Alex Lifeson talks about Rush's first single: Not Fade Away: "Man, we were very young when we did this! We were playing the clubs and didn't know better. Because we were having such a hard time getting a deal, our management thought that maybe something a little more accessible, possibly something already known, would be the way to go." "Not Fade Away is something we'd been playing live, but we did it really heavy. We rocked it out, sort of the way Led Zeppelin might have. It was powerful and very full. We had a good time with it." "By the time we recorded it, though, we lightened it up a little to make it more palatable for radio. This is the version that was to be our debut album, but we ended up dropping it and it rerecorded some of the other songs." "Everything was done so quickly, and it didn't really come out the way we wanted it to. But you know, we were 18, 19 years old. In our minds, we'd arrived. We'd made a record, which meant...we were recording artists." You Can't Fight It: "Geddy and John Rutsey wrote this one. I think it came about in 1971, something like that. It was also supposed to be on our first album, but we dropped it, too. I think we took off three or four songs that were going to be on the album." "You Can't Fight It was a fun tune to play, though, especially in the bars late at night. We would never play it early in our show; we'd always do it in the second set or the last set when everybody was feeling pretty spirited, in both senses of the word." "As to why we picked this song over some of our other originals, I think the reason was because it was short. You had to be under three minutes to get on the radio in 1973, and You Can't Fight It fit. Like Not Fade Away, I thought this recording was a little tame. I thought so then, and I've always thought so. But it's what we did at the time."
Rush - Not Fade Away / You Can't Fight It - 7" (canuckistanmusic.com) {Publication date of this article as of yet unknown].
Not Fade Away / You Can't Fight It - 7" Moon - 1973 Michael Panontin of Canuckistan Music:
Studious followers of all things Rush know that the band who championed the working stiff in their gloriously blue-collar 'Working Man' paid some serious dues of their own. Guitarist Alex Lifeson had barely blown out the candles on his sixteenth birthday cake when he, bassist and vocalist Geddy Lee and drummer John Rutsey took the stage in the fall of 1968 at The Coff-In, a sort of drop-in centre in the basement of St. Theodore's of Canterbury Church in suburban Toronto. About a year later, after a few name changes and Lee's departure for a spell, the three teenagers (who had all dropped out of high school to pursue their musical dreams) embarked on a three-and-a-half-year slog around the Toronto area and beyond, playing churches, high school gymnasiums, motels and, especially after the Ontario drinking age was lowered from 21 to 18, rock and roll bars like the Colonial Tavern, the Abbey Road Pub and the Gasworks. In 1973, with their live show presumably honed to perfection, the trio entered Toronto's venerable Eastern Sound Studio and recorded a half-dozen or so tracks for a seven-inch single. This was to serve as a calling card of sorts for their real goal, a full-on LP of their trademark hard-scrabble rock and roll. The two songs, a cover of Buddy Holly's 'Not Fade Away' backed with Lee and Rutsey's 'You Can't Fight It', were a fine debut, but certainly paled in comparison to the band's high-flying live sets. Lifeson has never hid his dissatisfaction for the way the single turned out. "Man, we were very young when we did this!" he would later tell Music Radar. "'Not Fade Away' is something we'd been playing live, but we did it really heavy. We rocked it out, sort of the way Led Zeppelin might have. By the time we recorded it, though, we lightened it up a little to make it more palatable for radio." Ditto, it would seem, for the flip side, which was a staple in their legendary live shows back in the day. "'You Can't Fight It' was a fun tune to play, especially in the bars late at night," he recalls with a laugh. "We would never play it early in our show; we'd always do it in the second set or the last set when everybody was feeling pretty spirited, in both senses of the word." Neither song would make it onto Rush's debut long-player, issued on Moon the following March. But it hardly mattered, as one tune from Rush, the aforementioned 'Working Man', was put into heavy rotation on WMMS in Cleveland, marking the group's U.S. breakthrough. Rush would tour heavily throughout much of 1974, sharing the stage with the likes of Blue Oyster Cult, Hawkwind, Uriah Heep and Nazareth. And, even more to the point, drummer-extraordinaire Neal [sic] Peart would enter the equation later that year after Rutsey's health issues (and creative differences, some say) forced him out of the fold. What's more, the album's two singles, the tough-nosed 'Finding My Way' and the poppier 'In the Mood', also started to tweak some charts, and thus the legend of Rush had begun in earnest. As for the long-forgotten 'Not Fade Away', it was pressed up in a miniscule [sic] run of just a thousand copies and has never been (legitimately) reissued in any form. Little wonder then that the record has become a holy grail of sorts for hardcore Rush collectors, with mintish copies of the hopelessly obscure disc fetching upwards of a grand these days.
Michael has since edited his page here to include the line “- reportedly between 500 and 1000 copies –“ after our correspondence.
Rush Not Fade Away / You Can't Fight It
May 22, 2014
According to Citizen Freak this 45 was created in Spring of 1973.
Information/Write-up
The very first Rush single, recorded during the Spring of 1973, the 'a' side was a cover of the song made famous by the Stones, but the 'b' side was an original Rush composition. 1,000 copies, some stamped 'not for sale'. one of the most valuable Canadian singles by Canada's most famous rockers.
A few Sites claim 1,000 copies were printed rather than only 500.
Incidentally, Library and Archives Canada is has digitized all Top 100 records from RPM regarding Rush the band on their Website.
Records:
RPM September 1, 1973
PICCADILLY TUBE FEELS THE RUSH AUGUST 21ST It's hard to say a band is debuting when they've been gigging around for the past five years, but Rush had their official industry debut last Tuesday evening at the Picadilly [sic] Tube in Toronto. The band tells me that they sent out around 250 invitations to media people. How many showed up is hard to tell, but the joint was full and 'jumping to some of the best rock to ever come out of this town. Rush filled the evening with their hard sound that ran through all types of musical styles ... blues, rock & roll, boogie and even a touch of country. No matter what the basic root of a song was, it got the Rush treatment and came out fast and hard. I've been trying to think up a new term for heavy metal music, but I haven't found one yet that can describe the kind of music that you not only hear but feel as the loud, raunchy vibrations bounce off you and everything else in the place. By the time this article goes to print, Rush will have released their first single, "Not Fade Away". Surely everyone is familiar with this traditional rocker, but be prepared for it after the Rush treatment. It's on Moon Records and distributed by London. An album by the trio will be released in early September. The single manages to capture the excitement that they can whip up in a live performance and I have no doubt the album will do the same. - Peter Taylor
Page 2.
So, it appears Rush released the Debut single 45 Not Fade Away/You Can’t Fight It the week ending August 22, 1973.
NEW CANADIAN SINGLES Week ending August 22/73 ALL SHOOK UP Killer Music -Periwinkle C -205-V AP Progressive Rock WHAT WAS WRONG WITH THE TOWNS AND VILLAGES NRG-Gaiety G-745 MAPL Country NEXT PLANE BACK HOME Emily Quattrin-ZSP C202 MAPL Pop -Contemporary CARPENTER OF WOOD Cliff Edwards-Polydor POL681-Q MAPL Pop -Contemporary COME JOIN ME John Moran -Columbia C4 -4018-H MAPL Pop -Contemporary ON THE ROAD AGAIN The Oak Island Treasury Department Columbia C4 -4021-H MAPL Pop OH WHAT THE SUMMER CAN DO Joey Cee-A&M AMX349-W MAPL Pop -Contemporary EMPTY CLOSETS Linda Brown-A&M AMX350-W MAPL Country WHAT GOT TO YOU (BEFORE IT GOT TO ME) Ray Griff-Dot 1741X -M MAL Country THE PRISONER Shannon Two Feathers -RCA KPB00005-N MAPL Country NOT FADE AWAY Rush -Moon MN001-K AP Contemporary -Progressive MAMA'S SONG Jude-Kanata KAN 1018X -M MAPL Contemporary -Pop LOVING YOU AIN'T EASY Sullivan -Boot BT 082-K MAL Country
Page 20.
Whitey Glann joined Lou Reed Group in September of 1973 and was noted for working with Rush in this article from RPM September 15, 1973.
WHITY GLANN JOINS NEW LOU REED GROUP Toronto drummer extraordinaire Whitey Glann has just joined Lou Reed's new band as Lou readies them for a new show and a new European tour. The tour will cover many dates across Europe and gets kicked off September 9 at a two day festival in Scheesel, Germany featuring Frank Zappa and the newest Mothers, Chicago, 10 Years After, Argent, Richie Havens, Buddy Miles and the Soft Machine. The new Lou Reed show will tour for a month and do fifteen dates as well as numerous media activities. The band consists of Dick Wagner and Steve Hunter on lead guitars, Peter Walsh on bass, Ray Colcord on piano and of course Whitey Glann on drums. Whitey is best known for work with Mandala, Rush and his recent drum work on the Cantata Canada radio special due for airing on September 9.
Page 7.
Breakout Market Additions:
Rush is added to CKWS Kingston radio by Gary Shannon the week of September 22, 1973.
KINGSTON (Gary Shannon) AngielRolling Stones Carpenter of Wood1Cliff Edwards Rocky Mountain Waylloe Walsh Joyful Ressurection/Tom Fogerty Hit Bound ... Basketball Jones/Cheech & Chong Not Fade Away/Rush Could You Ever Love Me/Gary & D
Page 25.
Not Fade Away by Rush charts on the Top 100 Singles on radio in Canada for the first time the week of September 29, 1973 at Number 99 based upon “record store, radio station and record company reports”.
Pages 26 and 27.
By the week of October 6, 1973 Not Fade Away by Rush rose to Number 92 in Canada on the Top 100 Charts.
Pages 8 and 9 respectively.
With an advertisement of congratulations by Music Shoppe International on Page 19.
Rush reached Number 88 for Not Fade Away the week of October 13, 1973.
Page 11.
In RPM the week of October 20th, 1973 a mention of Rush in the article “HIBBS WHETS APPETITE OF PALADIUM HOMEYS” writes about Harry Hibbs being signed at the Paladium beginning October 7th. In this article is a mention regarding John Rutsey leaving the band “due to health reasons”, to be replaced by Gerry Fielding. To quote, “John Rutsey will have to leave his position as drummer with hard -rocking Rush due to health reasons and is being replaced by Gerry Fielding formerly with Yukon and Fatmouth”. This would be the first time John left the band Rush.
Rush is not listed on the Top 100 in this nor any following issue of RPM for the rest of the 1973 year.
Page 7.
In the article Nuts & Bolts by Peter Taylor in the RPM issue of November 11, 1973 it is stated that John Rutsey had been given the go ahead by his doctor to remain in the band.
“Rush drummer John Rutsey has received the OK from his doctor and will remain with the band. Rutsey and his mates Alex Lifeson and Geddy Lee are readying for their gig opening the New York Dolls show at the Victory Threatre [sic] in Toronto, October 27”.
Page 6.
On page 11 another article states, “TO BOOK MUSIC AT VICTORY EXCLUSIVELY S.R.O. Productions of Toronto and the Victory Theatre, one of the oldest Burlesque Palaces in Canada, have signed an agreement giving exclusive booking rights to musical concerts in the threatre [sic] to S.R.O. Ray Daniels of S.R.O., has announced that his organization plans a series of concerts in the near future covering the folk, rock and blues areas of music. Kicking off the concert series will be the New York Dolls, with special guest artists Rush on Saturday October 27 for two shows. The regular schedule of Burlesque stage shows will continue as before at the theatre, with the periodic concerts representing the first time that the Victory has been used for strictly musical purposes”.
The November 10, 1973 issue of RPM on page 6 features this following article of the New York Dolls concert with Rush as the back up band, as we said in Canada back in the day. I found rather amusing considering there are no strip clubs in Saskatchewan to this day although we do have the occasional shows!
“NEW YORK DOLLS - VICTORY THEATRE - TORONTO OCT. 27 As shadowy forms drift across the dimly lit stage amidst the blaring strains of "Valley of The Dolls" (cute!) plugging in cords here and twisting dials there, one is frankly apprehensive as to what is about to happen. After all, isn't this the Toronto debut of the now legendary New York Dolls? Of course, and one look around the audience at the curious array of fans will attest to the fact that this is much more than a concert ... it's an event! These short moments of conjecture are immediately shattered by the opening chords and vocal grunts of the first number which, to say the least, is abominable. From this opening, the concert takes a beautiful plunge, that if drawn on a graph would Dow Jones average some forty four years earlier. The New York Dolls show at the Victory Threatre [sic] in Toronto on October 27 has earned it's place among the worst concerts of all time. The Dolls are horrible and rock music has not experienced such an all time low since the heyday of Blue Cheer. Never before have electric guitars and amplifiers been utilized as torture devices rather than musical instruments! Camping it up between numbers, the visually outrageous darlings of New York City managed to excite a small percentage of the audience as they rambled through such tunes as: "Trash", "Personality Crisis", "Pills" and "Looking For A Kiss" from their initial album release for Mercury. Also featured were some new tunes from their forthcoming set. As bad as they are, both live and on record, the New York Dolls have managed to make a credible showing in the retail sales and managed to sell out two shows for S.R. 0. Productions. Opening the show with a solid set, marred by sound problems, were Rush, a three-man, flashy, hard -rock band. The crowd was there to see the Dolls and reacted very cooly [sic] towards Rush, who are awaiting the release of their first album for the Moon label distributed by London Records. The New York Dolls show was the first all - musical program to play the Victory Theatre, a tacky Burlesque Hall that will continue to play host to concerts as well as the regular schedule of strippers. S.R.O. Productions have the exclusive contract to book and promote the music concerts in the Theatre and plan bi-monthly shows on Sunday evenings throughout the winter. - Peter Taylor
In this December 15th, 1973 issue of RPM is the following advertisement to book bands in a talent directory to be named “The Canadian Talent Directory” to be used as a “tool” for band promoters, booking agents, managers, radio and television, anyone in the music industry overall and includes general interest for the public. This new directory spotlights groups “that have shown the greatest potential” is an application form from both RPM and their management company, S.R.O. Productions Ltd. that includes the booking services from Music Shoppe International and introduces the planned release of the Rush Debut record planned for that December. This details Rush as a “Rock Group” and lists their Latest single”” ‘Need Some Love’” as their example. The cost for an ad in RPM Magazine is $100.00 payable by cheque or money order for a ¼ page ad listing with a deadline of December 15, 1973. This is the first advertisement for RPM’s new feature printed as “This year we launched the first Canadian Talent Directory” and Rush the band is the band they featured for this new concept of advertising in print. They weren’t wrong!
Pages 19 and 20.
In the final publication of the 1973 year of RPM Magazine dated December 29th, 1973 entitled “Year End Wrap Up”, Rush is, once again featured in the “Artist Profile” section on page 13.
Detailed is the same promotional photograph as seen above and the following article in print:
ARTIST PROFILE: RUSH This three piece hard rock group have had their sound tagged as energized rock. The music defies passivity in the listener. It just isn't the kind of thing that is conducive to soft conversation ... or loud conversation for that matter. When Rush strike up their amps no words are necessary, for they create a total involvement situation where the music is everything. You want to move, to dance and shout. You want to immerse yourself in the middle of the aura that the high energy - high volume sounds are weaving throughout the room. Rush is made up of Alex Lifeson, lead guitar and background vocals; Geddy Lee, bass and lead vocals; and John Rutsy [sic], drums. Together they'll perform their own compositions or they'll give the Rush treatment to traditional rock standards, like "Not Fade Away", which is their first single deck for Moon Records. The song maintains enough of the roots that made it the first hit for the Stones': but at the same time Rush give it a few twists bringing it into the seventies. All three of the boys are from a Toronto suburb where they met and formed a band while still in high school some five years ago. Many long hours of practice coupled with their apparent gut feelings of what rock music is all about have honed the three individuals into the powerhouse trio they are today.
Bedecked in the flash trappings of satin, sequin and rhinestones, Rush look like a rock band and what's more important, they sound like a rock band.
I must emphasize the interview with Ross Reynolds where he stated “there is more to Canada than Toronto” and is a main reason his GRT record company got involved. How “some of their best material will never make it to singles” (speaking of Ian Thomas but relates to many artists even today). This year of 1973 saw the “Cross Canada Booking Alliance” from Music Shoppe in Toronto creating offices in Calgary and Edmonton. A little known local fact is how Calgary was once called “Little Toronto” in late 1970s and the 1980s. At least that's how I remember it.
Just because it isn’t recorded in print doesn’t mean the young kids, teenagers and young adults weren’t aware. We did call into radio stations and often. In my case to CKXL to request songs we may have heard once or twice and sometimes songs were played and many times it would depend on if the bosses were there.
This still stands today and this past holiday season of 2022 when a favourite DJ on my local Rock radio station, well; she just played whatever people requested. Yes, we still do that here. She kept saying bosses aren’t here so I can play whatever I want and you want. And allow me also to point out that between my conversations with this DJ, whose name is Whitney from Saskatoon's Rock 102, over the past couple of years regarding Rush the band, requesting songs on radio and the letter I wrote to her recently telling her just a part of my “RUSHstory” and "My Rush Journey" as a lifelong Canadian fangirl from the very beginning, I am hearing just a bit more RUSH on my radio and I like it. I gotta give some credit to Gary as well. He loves RUSH, too. You can view a couple of my radio recordings with each of them from that station on my YouTube Channel here where I get my favourite radio DJs in trouble because it's fun!
**This research was inspired by Donna Halper and is dedicated to her as RUSH rock royalty and radio historian. Thank you Donna for all your patience regarding my questions on 2112 and other things. I will get that research up in due time. I began writing this at the beginning of January 2023 but have been thinking about it all since the Summer of 2022 because I wondered about this history. Let it be known the information from Michael Panontin is used with express written permission. All items and articles quoted are Cited properly because I am a professional. If anyone wishes to use my research in any of their writings, Blogs, Facebook, Twitter or Instagram accounts or any other Online Source, Cite my Blog and research with the same professional courtesy. Thank you for your consideration and attention to this important matter.