"Working Man" is the song that started it all. If you've ever picked up a bass or a guitar and felt that itch to play something heavy, blue-collar, and unapologetically raw, you’ve probably searched for Rush Working Man tabs. It’s the closing track on their 1974 self-titled debut, long before the synthesizers, the complex time signatures, and the lyrical journeys into dystopian futures. This is just pure, unadulterated hard rock.
People often forget how different Rush sounded back then. John Rutsey was still on drums. Neil Peart hadn’t arrived with his mountain of percussion and philosophical lyrics. Because of that, "Working Man" feels more like Led Zeppelin or Black Sabbath than the "Tom Sawyer" era of the band. It’s grounded. It’s gritty. And honestly, it’s one of the most fun songs to play because it lets you dig into the strings without needing a degree in advanced mathematics.
But here is the thing: most of the tabs you find online are slightly wrong. They miss the nuance of Geddy Lee’s aggressive "fingernail" attack or Alex Lifeson’s specific phrasing during that legendary, rambling solo. If you want to play it right, you have to look past the basic fret numbers.
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Why Most Rush Working Man Tabs Miss the Mark
Most amateur transcriptions treat this song like a standard 4/4 blues shuffle. While the skeleton of the song is definitely rooted in the blues, the "vibe" is what makes it a Rush song.
When you look at Rush Working Man tabs for the guitar, you’ll see the main riff: a heavy drop from E to D, then back up. Simple? Sure. But Alex Lifeson doesn't just "hit" the chords. He uses a lot of down-strokes to keep the energy driving. If you play it with alternate picking, it sounds too polite. It loses that "factory floor" heaviness that gives the song its name.
The bass side is even more complex. Geddy Lee wasn't yet the "Lead Bassist" of the prog-rock world, but his lines here are incredibly busy. He fills the space left by the single guitar. Most tabs show the main riff as E-G-A, but they miss the ghost notes. Geddy is constantly "clacking" against the frets. That percussive sound is part of the rhythm. If your tab doesn't account for those muted pops, you're only playing half the song.
Breaking Down the Guitar Riff and That Epic Solo
The main riff is built on power chords, but it’s the rhythm that catches people out. You’ve got that iconic:
- E5 (7th fret, A string)
- D5 (5th fret, A string)
- A5 (5th fret, E string)
It’s a classic I-VII-IV progression. It’s the "Louie Louie" of hard rock, but played with a sneer.
The solo section is where the Rush Working Man tabs usually get messy. It’s a massive, multi-part jam. Lifeson moves through several distinct phases. First, there’s the bluesy, pentatonic wailing. Then, it shifts into a high-speed chromatic run that feels almost frantic. Finally, it settles into a heavy, rhythmic ostinato.
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Most people try to memorize the solo note-for-note. Honestly? Don't. Even Alex doesn't play it the same way twice. The key is staying in the E Minor Pentatonic scale but adding those "blue notes" (the flat 5th). If you're looking at a tab that looks like a wall of numbers during the solo, take a breath. Focus on the repeating patterns. Lifeson loves "pull-offs" to open strings, which gives him that blistering speed without actually picking every note.
The Geddy Lee Bass Factor
You cannot talk about Rush Working Man tabs without addressing the low end. In 1974, Geddy was using a Fender Precision Bass, not the Rickenbacker or the Jazz bass he became famous for later. This gave the original recording a thick, distorted "thump."
If you’re a bassist, your primary job in this song is to be the glue. When Alex goes off on his seven-minute guitar odyssey, you have to hold down the E-D-A pattern, but you have to walk it.
- The Verse: Keep it steady. Follow the vocal melody slightly.
- The Chorus: Dig in. This is where you match the guitar hit-for-hit.
- The Jam: This is where you get to shine. While the guitar is soloing, Geddy plays these fast, descending runs. If your tab just shows you staying on E, find a better tab. He’s moving constantly.
One trick to getting the sound right: turn up your "mids" on your amp. Most beginners scoop the mids to get a clean sound, but for "Working Man," you want that growl. It should sound a little "nasty."
Gear and Tone: It’s Not Just the Notes
You can have the most accurate Rush Working Man tabs in the world, but if your tone is thin, it won't feel right.
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For guitarists, you need a decent amount of gain, but not "metal" distortion. Think "pushed Marshall." Alex used a Gibson ES-335 back then, which has a lot of natural resonance. If you’re playing a Strat, you might need to roll off the tone knob a bit to get that darker, humbucker-style warmth.
For bassists, new strings are your friend. You want that "zing." Geddy Lee’s sound comes from the strings hitting the frets. It’s almost like a percussion instrument. Use your fingers, not a pick. Use your index and middle fingers and really "snap" the string upward.
Common Mistakes Beginners Make
One: Playing too fast. The song has a heavy, "stomp" feel. If you rush it (no pun intended), it loses the working-class swagger.
Two: Ignoring the silence. There are tiny gaps between the chords in the main riff. Those silences are what make the "hits" feel heavy. If you let the notes ring out too long, it just sounds like a muddy mess.
Three: Getting lost in the solo. The jam section is long. Really long. If you’re playing with a drummer, you need to agree on a "cue" to get back into the main riff. Usually, it’s a specific drum fill or a high-pitched bend from the guitar.
Mastering the "Working Man" Structure
The song doesn't follow a standard pop structure. It’s more of a vehicle for the jam.
- Intro: The heavy riff, establishing the groove.
- Verse 1 & 2: Relatively simple. Focus on the lyrics and the steady pulse.
- Chorus: The "Well, I guess it's why they call me..." part.
- The Transition: A quick build-up that leads into the solo.
- The "Big Jam": This is 60% of the song.
- The Return: Crashing back into the main riff for one last chorus.
- The Outro: A chaotic, crashing finish.
When you're reading Rush Working Man tabs, mark these sections. It’s easy to get "lost in the sauce" during the middle section and forget where you are.
Real-World Practice Tips
Don't just play along to the studio track. The studio track is great, but the live versions (like the one on All the World's a Stage) are faster and more aggressive. Practicing with both will help you understand the flexibility of the song.
Try recording yourself. It sounds simple, but you’ll often find that you’re "dragging" or "rushing" the main riff. The groove of "Working Man" is deceptively hard to lock in. It needs to feel "behind the beat" just a tiny bit to get that heavy, tired, "just got off an 8-hour shift" feeling.
Also, pay attention to the dynamics. The song starts at a level 7, goes up to a level 10 during the solo, and ends at an 11. If you play the whole thing at the same volume and intensity, it becomes boring for the listener.
Actionable Steps for your Next Practice Session
To truly nail this track, stop looking at the screen and start listening to the frequencies.
- Isolate the Bass: Use an EQ or a "bass remover" tool to hear exactly what Geddy is doing during the solo. You'll realize he’s playing a lot more notes than you thought.
- Check Your Tuning: Rush almost always played in standard EADG/EADGBE, but sometimes live recordings are slightly sharp or flat depending on the tape speed. Make sure you’re in tune with the track.
- Slow Down the Solo: Use a tool like Transcribe! or even YouTube’s playback speed settings. Listen to how Alex Lifeson "slurs" his notes. It’s not clean, clinical shredding; it’s messy and soulful.
- Focus on the "And": The main riff relies on the upbeat. Make sure you aren't just hitting the "1." The "and" of the beat is where the swing lives.
Playing this song is a rite of passage. It connects you to the roots of Canadian rock and the beginning of a legendary 40-year career. Once you get the hang of it, you’ll realize why it remained a staple of their live show until the very end. It’s just a great, honest piece of music. No fancy footwork required—just calloused fingers and a bit of attitude. Now, go plug in and turn it up. Your neighbors will understand. Probably. Or maybe they won't, but that’s sort of the point of rock and roll anyway. No more talk. Time to play. Out.