The Creative Process Behind Rush’s ‘Tom Sawyer’

The MTV-facilitated rise of videos in the 1980s was both a blessing and a curse for the music world. Artists had a new avenue to showcase their craft, but being on video meant that, in addition to sounding good, they had to present an interesting appearance. Musicians were no longer judged solely by sound; image became part of the equation. Over time, that shift would arguably overshadow musical depth. Still, for a brief period, audiences benefited from visually accessible, musically ambitious work that required little artistic compromise.  

A few artists managed to catch this wave of uncompromised musical expression, with Canadian band Rush definitely being one of them. Their 1981 song “Tom Sawyer” is a masterpiece of musical excellence and lyrical craftsmanship that may not have received its due praise without the unprecedented accessibility provided by MTV. 

By the early 1980s, Rush was already established as a standout prog-rock band. Formed in late 1960s Toronto, the band consisted of vocalist and bassist Geddy Lee, guitarist Alex Lifeson, and drummer Neil Peart, who joined in 1974. Having achieved decent levels of popularity with 1970s albums Fly by Night and 2112, they were ready to add new dimensions to their lyrics and sound.

This came with 1981's Moving Pictures album, which included the song “Tom Sawyer.” Lifeson said in a Classic Rock interview that “Tom Sawyer” was a real trademark song for the band. “Musically, it's very powerful, and lyrically, it has a spirit that resonates with a lot of people. It's kind of an anthem.” 

The inspiration for this anthem came from the lyrics of Canadian poet Pye Dubois. He sent Peart a poem called Louie The Warrior, which he based on Mark Twain's 1876 novel, The Adventures of Tom Sawyer. Peart, who was responsible for drafting the band's lyrics since 1975, loved the concept but had to tinker with it to shape it into a viable set of song lyrics. And so Louie The Warrior became Tom Sawyer. Similar to Twain's character, the song's protagonist echoed character traits such as individualism, independence, and rebellion.

Peart's changes to the original poem also added an autobiographical touch. As he remarked in a December 1985 Rush Backstage Club newsletter, “His (Dubois) original lyrics were kind of a portrait of a modern-day rebel, a free-spirited individualist striding through the world wide-eyed and purposeful. I added the themes of reconciling the boy and man in myself, and the difference between what people are and what others perceive them to be, namely me, I guess.”

The band recorded “Tom Sawyer” at Le Studio in Morin-Heights, Quebec, Canada. Recording the song was quite challenging, as they couldn't quite capture the grooves and sounds they had in their heads. 

As Lee said in an interview for Prog Magazine, “I mean, when we were working on 'Tom Sawyer,' actually, for the longest time, it was the worst song on the record. We had more trouble with that song than almost any other song. I had real doubts about whether the song was working at all. I remember when we came to do the solo, and we were having a lot of trouble getting a sound that you were happy with.” 

Lifeson remembers the song's transition from one that's impossible to get right to one of the band's standout tunes. “It went from being this immovable thing to the obvious candidate to open the record — that opening and then Neil's drums. But I do remember it being a real relief to tick off the chalkboard,” he said.

By the time the Moving Pictures album was being recorded, synthesizers were becoming increasingly common in rock music. Inspired by the disco fever and British electronic music pioneers, rock bands were experimenting with the new electronically generated sounds. This included Lee, who used an Oberheim OB-X polyphonic synthesizer to give the song a distinct sound. While this definitely helped the song achieve its iconic status, it certainly made life harder on the road for Lee. As the band's bass player and main vocalist, he now had to handle the keyboards.

A synth may add a new dimension to a rock song, but nothing can replace a great guitar solo. During a 2008 interview with Guitar World magazine, Lifeson confessed that his solo on “Tom Sawyer” was mostly a fluke and a result of innovative studio work. “I winged it. Honest! I came in, did five takes, then went off and had a cigarette. I'm at my best for the first two takes. After that, I overthink everything, and I lose the spark. Actually, the solo you hear is composed together from various takes,” he said.

Peart did much more than pen the song's lyrics. His drumming blends mathematical precision with creative improvisation. The song has a highly distinct rhythm sequence, beginning in 4/4 before switching to 7/8 and 13/16 in the instrumental section, then returning to 4/4 before finally changing to 7/8 for the outro. This fluctuation, as well as Peart's use of an expanded drum kit, takes the listener on an intricate musical journey.

Part of what makes “Tom Sawyer” enduring up to this date is its balance between complexity and accessibility. While the song incorporates shifting time signatures, layered synthesizers, and intricate arrangements, it doesn't sacrifice momentum or emotional clarity. Each element serves the song rather than overshadowing it.

Arguably, no other song symbolizes Rush's unique ability to blend commercial success with the complexity of prog-rock quite like “Tom Sawyer.” Besides being a masterpiece by itself, the song is also a highly effective gateway into Rush's amazing musical catalog.