CARESS OF STEEL

This is the most underrated and misunderstood Rush album. First of all, I want to say that I've been a big Rush fan for a while. With most bands, It's not super difficult to pick out a definitive "best" album for them, but with Rush, it's different. For me, Rush has at least 10 albums I could easily consider to be their best, and really, there's not a bad Rush album. The first time I listened to Caress Of Steel, I really liked it. I'd heard Bastille Day on a compilation album before, but not the rest of the tracks. I was honestly kinda shocked to see that the general consensus online was that it's a bad album. A lot of Rush album ranking lists place Caress near the end of the list. A lot of people in their review, including Rush themselves, consider Caress to be one of their least favorite Rush albums. I get it though, Rush started out as a hard rock Zeppelin-esque band that didn't have many progressive tendencies. When they decided to try something new and more prog-like with Caress Of Steel, it was met with mixed receptions due to the pre-established audience the band had, as well as just general inexperience with creating progressive music. The album's sales and following tour nearly killed the band, and their record label wanted them to keep making their standard hard rock, no more prog. However, Rush essentially took what they learned from Caress Of Steel and tried to do it better. Boom, 2112 becomes Rush's breakthrough album and a huge success, launching Rush into a series of very very good progressive rock albums. So a lot of the complaints surrounding this album are logical and understandable, but I feel like people don't give Caress Of Steel enough credit. Caress Of Steel is a very good Rush album, definitely different, but very good. MUCH better than people give it credit for. The album opens with Bastille Day, a 4 and a half minute hard rock song similar to the stuff Rush did on their first and second albums. It's a good song, If I hadn't known the album name, I probably would've said it was from one of those first two albums. As far as an early Rush rocker goes, it's pretty standard, which is why this is most people's favorite song off the album. This is the one Caress Of Steel song that gets added to the "Best Of Rush" playlists and compilations. Next up is I Think I'm Going Bald, which is also a relatively short rocker, not too far from the first two Rush albums. However, it's the cheesy lyrics and just general unusualness of the song that throws a lot of people off. It's not a Rush song I listen too often and it's definitely the worst song on the album, but I still like it. It's got a goofy charm, especially with the way Geddy delivers the lyrics. But instrumentally, it tends to be a little generic and uninteresting. It's an alright song, but one a lot of people aren't too fond of. The last "regular song" on the album is Lakeside Park, an excellent 4 minute song with some more acoustic and phaser sounds that a lot of people will compare to Zeppelin, which I think there's nothing wrong with. I really like this one, it invokes feelings of nostalgia and fondness for the past, and just overall has a good mood. It adds variation to the album with the instrumentals, and it's overall a very good song. Even people who dislike the album will consider this to be among the great Rush songs. Again, this one feels like it could be on one of the first two Rush albums. A lot of fans were probably pretty confused when Caress released, because the last two tracks are full on prog rock epics, nothing like the shorter hard rock songs of the first two albums. However, the first three tracks, with the possible exception of I Think I'm Going Bald, are really great classic Rush tracks that resemble exactly what fans were used to at the time. It's really just the last two songs on the album, which are admittedly most of the album lengthwise, that people were frustrated about since they tend to be much longer than the standard 5 minute rock songs. They also have more grand themes, they're divided into parts, etc. They're definitely progressive rock songs, but in the style of the early Rush albums. So I understand not liking the change of genre between albums, but it's really only these last two tracks and they still sound like good old Rush! But lengthwise, they are pretty ambitious and lengthy for a band that typically didn't exceed 5 minute songs. You have to take into account though that the members of Rush were really into some prog bands like Yes, so it makes total sense that they would want to do something like this. Another complaint a lot of people have is that Rush just wasn't ready for such long tracks, and it shows in the music. I can understand this, they don't seem to be as refined as the other widely accepted "legendary prog epics," but they aren't that bad. The Necromancer is a 12 minute Lord Of The Rings/fantasy-inspired epic about an evil being that lives in a tower and terrorizes the people. Prince By-Tor (from the Fly By Night song, By-Tor And The Snow Dog, nice to see a familiar character despite the fact that he's the good guy now) eventually slays said evil being during the climax and is hailed as a hero by the people. The song is divided into three parts. Part 1 - Into The Darkness fades in and almost instantly paints a picture in your mind of the mood and setting of the song. Part of this is do to the excellent spoken and sung lyrics written by Neil Peart that really help set the mood and setting, but a lot of this is also due to the instrumental work done here. It's very atmospheric and I feel like it merges with the lyrics very well to create said atmosphere and setting. Neil and Geddy's rhythm section holds down a slow and heavy moving backing to the song that kind of conveys a feeling of dread and darkness while Alex's guitar work sounds like squealing creatures in the distance. This is one of the first times Rush went with this more atmospherical approach to music, where the sound of instruments and the way they're used tell a story just as much as the lyrics. This kind of music is often found in progressive rock and classical suites. Overall, the first part of the song is excellently done. While many may find the spoken part a little strange, I think it fits with the song perfectly. Everything just meshes together just right here. It almost feels like the opening to a movie. Part 2 - Under The Shadow starts with some kind of swirling sound in the background, almost as if the camera is panning over towards the tower where the Necromancer dwells and we're hearing the sounds of spirits in the air. Of course, the spoken part returns to help convey this message instead of leaving the music alone to do so. Some may criticize this use of a spoken part, as the instrumental parts and lyrics should be the main things telling the story, but I'll let it pass in this situation. The spoken part feels like a narrator reading from an ancient story, which fits the song well. However, I can understand this being perceived as unfitting for a song, or maybe a musically immature way to convey a message. I'm fine with it though. Neil's drums come in with a jarring pattern that's soon accompanied by equally jarring guitar and bass riffs that vary off a common riff theme. Geddy's piercing lyrics come in to complete this sonic image of a violent creature in this tower. I can just imagine it moving in uncanny ways and acting very foreboding and threatening. Again, picture painted perfectly. The riff keeps progressing until it unleashes into a bass/drum jam with a screaming guitar solo over it. In my mind, this really depicts some kind of battle between Prince By-Tor and The Necromancer, the rhythm section sounds like things are moving along, something's happening. The guitar solo playing over this sounds like something, presumably the necromancer, is screaming as if it's being stabbed. The music then plays some final-sounding descending notes before stopping, as if the necromancer is dead. Nope. Some kind of distorted growling sounds come out of nowhere, and the band comes back in full blast. Alex is playing a very fast guitar solo while Geddy plays this galloping frantic bass line. The death was a fake-out and the true battle is just beginning. I've heard some criticize this part of the song for being too long and drawn-out, but you have to interpret the music here to really understand what Rush is trying to get you to see here. This is a frantic, violent, and difficult battle against the necromancer, it's the climax of the song. Finally, the soloing comes to a stop and the band plays some very final-sounding instrumental parts, as if the last blows are being dealt to the necromancer before it's finally defeated. I feel like this segment could've ended a little better, it definitely sounds like the death of the necromancer, but it just isn't as strong as it could be though. Rush would get better at this in the near future, for example, the ending of 2112. Overall, another very very good segment of this song that does a fantastic job of telling the story. Part 3 - Return Of The Prince is a very victorious-sounding finale to the song, introduced with fading in major guitar arpeggios and spoken words explaining By-Tor's return after winning the battle. The song soon breaks into an acoustic guitar-infused Lakeside Park-esque part that sounds pretty similar to the stuff on the first two Rush albums again. Not too much to say about this part, it wraps up the song nicely. I feel like the acoustic guitar and drums aren't super interesting in this part, but Geddy and Alex have some good Bass and Electric Guitar parts going on here. However, after Geddy finishes his lyrics, this part of the song starts to feel a little repetitive. I think it could've used a little more variation in song structure here instead of just fading out after a while. I also think it would've made much more sense for Geddy to sing about "By-Tor slaying his foe" at the end of Part 2 instead of during the beginning of Part 3, which sounds like a celebration. I think it's just the way it's worded, it sounds like he's currently slaying his foe even though the battle technically already ended musically and we've already started the victorious finale. So taking that into consideration, Part 3 isn't quite as good as the other two parts of the song, and I can see why people would have complaints here, but it wraps up the song as a whole pretty well. The Necromancer overall is most likely the best song on the album. It's well balanced, does some really awesome instrumental things, and it it tells a cool fantasy story and portrays it well through a combination of the music, spoken parts, and lyrics. It also pairs really well with By-Tor And The Snow Dog from Fly By Night. I think it could easily appeal to people who are more into prog as well as the original Rush fans who loved the first two albums. This song, along with The Fountain Of Lamneth often get overlooked by Rush songs, and they're both great hidden gems from the Rush catalogue. Alright, now time for the final track from Caress Of Steel, the one that takes up the entire second side of the vinyl release. At a whole 20 minutes long, The Fountain Of Lamneth was a very ambitious song for the band to write at the time. While 2112 is around the same length, this was the first time Rush would attempt something like this. Making a good 20 minute prog song isn't easy, but this was Rush's first attempt. I personally really like this song a lot. (maybe more than 2112, don't kill me.) Many think Rush didn't quite get it right with this song, and it wouldn't be until 2112 when they did get it right. I can see that, The Fountain Of Lamneth isn't perfect, but it's still a great piece of music, and one of my favorite Rush tracks. Part 1 - In The Valley opens with a very nice acoustic guitar introduction, with some more calm vocals from Geddy. This sounds similar in style to some of the classical guitar work Alex Lifeson would do on later Rush albums, and it's very nice. The lyrics seem to portray new life, the birth of the unidentified protagonist. I think this song is up to interpretation a lot more than The Necromancer, which is cool because it could mean something totally different to different listeners. A lot of music is like this, this isn't unique to this song at all, it's just something Neil Peart is really good at, and this is one of the first times he really began writing like that for Rush. Many later Rush lyrics are really thought-provoking and up to interpretation in some situations, so it's cool to see the writing style shift. Drums, bass, and electric guitar come in via a pretty flawless transition. It doesn't feel very jarring at all, a very natural transition out of the acoustic part. This grander musical part goes on for a short while before another nice transition into what isn't technically part 2, but more like the second part of part 1. At least musically it sounds like that, because the song opens and closes with a similar acoustic part that isn't listed as its' own part. There's a short rest before a very interesting and mood-changing chord is played afterwards to introduce the next "subpart of the first part." This is where In The Valley really begins for me. We've gotten the introductory stuff out of the way and all that, and the main core of part 1 is here. After said interesting chord change, we get some instrumental parts that actually sound similar to 2112, despite it not existing when this album was recorded. It's interesting to kind of see how Rush's sound evolved into 2112. Geddy comes in with vocals that still depict the start of a life, but this time in somewhat of a more violent manner. After the verse, Neil leads us into a softer acoustic part by Alex that makes up one of the most interesting parts of the whole album. I think the chord choices here are really good and definitely paint the picture of a shadowy valley, as the protagonist looks up at the mountain, lit up by a brilliant golden sunlight. At least that's what those chords make me think of. Overall, this part of the song is just great both instrumentally and vocally, the contrasting styles alternating between the softer acoustic-sounding part and the distorted more violent-sounding part are really nice. Definitely one of my favorite parts of this song and album. Part 2 - Didacts and Narpets is where the song gets a little weird. I've seen lots of criticism of this part. It begins with a drum solo by Neil that essentially lasts for the whole segment. It isn't a very long part, however. The drum solo stays interesting while it's the only instrument playing, and then it becomes background as Geddy and, believe it or not, Alex, come in with vocals. This part is designed to emulate adolescent conflict with authority. The drums constantly moving in the background over and over represent repeated conflict. Alex is saying things such as "Stay!" while Geddy responds with phrases like, "Go!" or whatever contradicts Alex's part. Alex represents authority figures and Geddy still represents the protagonist, although he's no longer young, he's grown up and it presumable in his teenage years now. These vocals are accompanied by guitar and bass parts, which pretty much only show up when the vocals do. This part ends abruptly with both Alex and Geddy shouting "Listen!" at the same time, ant the drums stop. This obviously represents how each side is set in their ways and is trying to get their own way. This whole part is about conflict. And while it could be more interesting musically, it resembles conflict well. However, it's one of the more controversial parts on the album, and a lot of people aren't a fan. I think it's fine. It's also interesting to hear one of the earliest Neil Peart drum solos, as well as some rare Alex Lifeson vocals, which hardly ever happen. Those are just things a Rush fan would find interesting though. Overall, a weaker point of the album, serves its purpose well, I'm fine with it. Part 3 - No One At The Bridge starts with clean guitar arpeggios fading in with a phaser effect on them. You can hear ocean waves in the background. This, plus allusions to the sea in the lyrics portray a feeling of uneasiness, like rocking in a ship out in the middle of an ocean at night. This part of the song represents loneliness, uncertainty and confusion, and just feeling lost. Later parts in the lyrics even invoke a feeling of desperation, as if the protagonist has made mistakes in his life, he's lost now, and he doesn't know if he can go further. This is a powerful part in the song, and one of my favorite moments on the album. I just feel like it's overall done very well. Lyrics here are powerful. The guitar solo here is also really awesome. This part actually feels kind of similar to part 1 of the necromancer, so it's got that atmospheric vibe going on. I especially love when the guitar solo transitions from the instrumental verse part of this part of the song to the chorus instrumental, that chord change is powerful. Overall a really solid part of the song. Part 4 - Panacea opens with really fantastic classical guitar by Alex, and beautiful mellow vocals from Geddy. This is the softer middle part of the song, the ballad. The lyrics get a little confusing here. Well, not necessarily confusing, it's just the transitions that don't exactly make things clear in The Fountain Of Lamneth. Like I said before, most of this song is allegorical and up to interpretation, but it can sometimes be a little unclear how the protagonist got where he is in each part of the song. It's kind of like if a movie left out the text on screen that tells you what happened between two scenes that were separated by a considerable amount of time. Nevertheless, this is a good ballad, and a nice soft middle to the song. Part 5 - Bacchus Plateau feels similar to some of the Rush stuff on the first two albums. It's got a steady tempo and drumming with some distorted chord work from the guitar and a standard Geddy Lee bass part. Not too many complaints here. The short bass solos and the longer guitar solo are great, and Geddy's got some really good vocals here. I actually think The Fountain Of Lamneth has some of the best Geddy Lee vocals ever to be honest. This part feels kind of similar to Part 3 of The Necromancer as well, it's got that same sort of feel. The lyrics here imply another time skip in the story, the protagonist now seems to be near the end of his life, he's much older now. Not entirely sure what the lyrics really mean here. A solid part of the song, maybe a tad bit boring, but the solos and things keep it interesting. I really do like the way the solos flow here. Part 6 - The Fountain opens with the same guitar part we heard at the start of the song in the second part of In The Valley. It's kind of neat having this musical motif come back at the end of the song as the protagonist is reaching the fountain and coming to conclusions about his life. The Fountain he reaches is not what he was expecting, he feels desperation again as he's discovering this. The Valley's theme returns again with Alex soloing over it. I've always interpreted that as the protagonist returning to the valley from the mountain. Nothing too new here other than lyrics and the guitar solo, we've heard this music before in the song. Some may consider that poor songwriting or laziness to just recycle part of the song again, but it works fine. This song is sort of structured in a way so that the beginning and end are the same instrumental part, implying that the protagonist has gone on this journey throughout his life, or "up the mountain" and now he's coming down back into the valley near the end of his life. The song finishes with the same acoustic guitar part we heard at the very beginning, but with different lyrics to represent the end of life instead of the beginning. I'm assuming the protagonist dies here, again, up to interpretation, but it just sounds very final and mellow. Geddy's singing here is great. And The Fountain Of Lamneth Ends. Overall The Fountain Of Lamneth is an awesome song, and I really like it. A lot of people will say that it isn't as good as 2112 because Rush was still trying to figure out how to make a prog epic, but I feel like Lamneth is equally as good. I may or may not like it more than 2112. I think most of that has to do with the general atmosphere of the song, and not necessarily how good of a composition it is overall. There are some flaws, it's not perfect, but I really like it. So overall, Caress Of Steel is a great Rush album in my opinion. I understand why it failed and why people have complaints about it, but I wish more people would give it a chance and appreciate it for what it is instead of what they wanted the next Rush album to be. It's the precursor to 2112, and while not perfect, It's a very enjoyable listen. I was hesitant to rate it 5 stars, I know most wouldn't consider it a masterpiece of prog rock music, but I love this album. I think everyone who's interested in this kind of music should give Caress Of Steel a go, they may find some real hidden gems here. Overall one of my favorite albums, despite its flaws.