“Almost reminiscent in feel and effect of ‘Eleanor Rigby.'”—Rob Palladino, Audio Times
“Not an actual song per se, but a haunting segue built on cellos and acoustic guitars, with Lee’s minimalist vocal evoking a moonlit gospel meeting.”—Joe Bosso, MusicRadar
A short little interlude, this is more akin to an orchestral remix of its bigger brother. A rather strange piece in the context of the album, yet it’s not entirely out of place. At a little over 90 seconds though, it has gone before you’ve had time to ponder the question.
“—Dominic Hemy, The Digital Fix
“This is a moment that’s integral to the story for Neil,” Alex says in a MusicRadar interview. “He really wanted to have it in there. The problem was, we didn’t know how to approach it musically. Ged had done a vocal with some other stuff that we’d written, but he wasn’t happy with it, and neither was I. I decided to stay late one night, and I pulled out all the music and just kept the vocal. I listened to it a bunch of times, and then I created something more rhythmic––it was less musical but added a lot of tension. By the time that we got to developing it, the acoustic guitars that I originally had on it were replaced by strings. We put on some bass pedals and stuff like that, but overall we kept it all quite simple. It’s like a short chapter.”
“‘BU2B2’ is the first or clearest indication of what is probably the most uneasy use of string arrangements on a hard rock record, which will play out further come closer ‘The Garden.’ Real 16-piece (I think) section, at the hands of David Campbell. No drums, Eno/Glass-like, haunting, which contrasts jarringly to the album’s party rocker, ‘Wish Them Well,’ which aggravated Neil to no end in the bread-making. Odd, ‘cos this one rocks most forthrightly, despite a Byrdsy tinge to the chorus. Calling ‘Stick It Out’ the heaviest Rush song becomes hard lifting under the weight of much of this album.”—Martin Popoff, BraveWords