Rush Discography Discussion 2: Caress of Steel (1975)

[Forostar]

Alright, so you guys are getting off on these details "on top" so to speak. When I speak of variation in chords (or tones if you wish), I am talking about deeper variation. Variation on the foundation, the basis of the music. The root tones.

OK, I admit that on the one hand you can say it is cool that Alex and others brings variations on these constantly same root tones, but the foundation still stays the same. That's very audible. So mckindog, for me that is valid, at least.

So, in Rush, I prefer music with more different root tones. It gives bigger variation. Bigger change, so to speak. Wider use of the musical spectrum. In the next two songs, we really hear bigger changes in the foundation of the music (and listen to those awesome voicings).

Still, even if we don't get closer in this discussion, it still urges me to pay more detail to the voicings in DEW. Thanks for the insight.

 

[Mosh]

I think in this case, we have a difference in preference then. I'm much more into modal music. I can get off on one root tone as long as there are interesting things going on harmonically and rhythmically. It goes for Jazz too (especially Jazz really), I like hearing one chord vamps and hearing all the different things the players can do with them.

 

[Forostar]

I am indeed less into that. I am in Jazz for rhythmic reasons (although Grant Green's guitar playing is also something else).

 

[Mosh]

Well yea that's what I mean, really. I'm more likely to enjoy a tune with only one chord with a lot of exciting rhythms as opposed to a song with a bunch of chord changes but really boring rhythms. The ii/V/I pattern that's used in most Jazz irritates me, really, but as long as the rhythms are good then I'm okay with it.

 

[Cornfed Hick]

Monotone and repetitive is a valid criticism of Highway to Hell, not Distant Early Warning.

It's a valid criticism of every AC/DC song ever. But that doesn't mean DEW can hold HtH's jock -- it can't.

 

[mckindog]

It's a valid criticism of every AC/DC song ever. But that doesn't mean DEW can hold HtH's jock -- it can't.

Ordinarily I'd love the argue this point, but I'm so bloody happy to see some praise for AC/DC on this forum, I'm just going to let it slide.

 

[mckindog]

Foro that bit on roots helped me understand better where you are coming from on DEW.
Now for the album's "weak sisters."

If you said The Body Electric is among the worst songs Rush had recorded since 2112, I couldn't argue. But that doesn't make it a bad song. It's solid, if not very adventurous. The martial rhythm is different, the melodies and solo are fine, the tempos are bland, and the lyrics don't work for me. OK is the best descriptor.

Red Lenses was my least favourite song when the album was new. But what I used to think was goofy, I now see as ironic and interesting. I like the cool bass groove in the intro, and the middle section is kind of a synth-era The Trees with that great melodic percussion. Plus the slap bass on the outro and the SCTV reference are nice touches. Just an offbeat, original and playful diversion for the band.

I absolutely love Kid Gloves. There are times it battles for my album fave. The main reason is the stumbling, staggering crystal-clear tones of the main riff. It's wonderfully off-kilter and irresistible. The rhythms throughout the song, verse and chorus, just pull me along and I like the melody and the musical quality of the words. (The proper word for this quality escapes me at the moment). And Alex rips off a delightfully unmelodic solo that contrasts the rest of the song perfectly. This one is high on my list of underrated tracks.

 

[Cornfed Hick]

Ordinarily I'd love the argue this point, but I'm so bloody happy to see some praise for AC/DC on this forum, I'm just going to let it slide.

I don't think there has ever been a more popular hard rock band. Ever. Everything from the Bon Scott era is great, plus the first two Brian Williams albums. After that, things get spotty, though "Thunderstruck" is a great single. To bring it back to this topic, and to put things into relative perspective, I'd rather listen to Rush from 2112 through Moving Pictures than any AC/DC, but I'd rather listen to Bon Scott era AC/DC albums than anything Rush did after Signals.

 

[Mosh]

Power Windows (1985)

By 1985, Rush's sound was drenched in synthesizers and electronic drums. The once progressive rock masters had become almost a New Wave group. With Power Windows, this controversial era was in full swing and showed no signs of slowing down. Someone listening to Rush for the first time would have no idea that this band had such a heavy rock past.

After more or less self producing Grace Under Pressure, the band found the up and coming Peter Collins to produce their next effort. Not only did Collins work as a producer, but as an arranger contributing song writing ideas. His contributions can be heard on several songs, including Manhattan Project. Apart from the outside help, the songs on Power Windows were written in typical Rush fashion. With Geddy and Alex writing music to fit Peart's lyrics.

The band also brought in outside musicians to contribute to this record. Andy Richards and Jim Burgess performed some additional keyboard and synthesizer parts. A 30 piece orchestra and 25 piece choir were also used on this album to help accentuate the sound.

Appropriate for its title, Power Windows largely explores different situations of power. The Big Money describes the power that money holds and Manhattan Project is about the develpoment of the atomic bomb. There are other themes too, such as nationalism (Territories) and the longing to escape suburbia (Middletown Dreams).

Musically, the album continues their experimentation with synthesizers, now more present and varied than ever. Even Neil Peart was starting to use to electronic drum kits. For the first time since Moving Pictures, there are no reggae influences present on this album. Though we hear some African rhythms on Mystic Rhythms.

Despite the band increasingly leaving old fans cold with their synth driven sound, Power Windows was yet another commercial success for the band. It reached #10 in the US, #2 in Canada and #9 in the UK. It also had a slew of successful singles. The Big Money, Manhattan Project, and Marathon all reached the top ten in the US mainstream rock charts, with Territories and Mystic Rhythms in the top 40. It was mostly received well critically, even Rolling Stone gave it a positive review!

 

[Cosmiceddie]

Everybody knows that Geddy Lee is an awesome bass player. But what he plays on the 'Power Windows' album is nothing short of stellar. The bass runs in 'The Big Money' are simply mind-boggling. And even more crazy is that he manages to sing, to boot. This guy is a wizard. More amazing bass work can be found in 'Territories' and 'Marathon'. I think these three songs are the highlights from the album as well.

 

[mckindog]

Crap, Ive still got some Grace catching up to do before moving on to Windows.

Don't have much to add to the great takes by Foro and Mosh on Afterimage.
I do like to recommend comparing its lyrics with those of Vapour Trails and the pictures they paint about the same subject. Even grief comes in different flavours.

The Enemy Within is just as strong a track and for a lot of the same reasons.

Red Sector A deserves its status as one of those songs everyone respects.
I don't think Lifeson gets enough praise for his textures here. His rhythm work is alien, jarring and dangerous, his leads are deliberately tentative, beaten, plaintive - incredibly atmospheric stuff. The cold production style is particularly effective here. The one thing I question is the drum sound. I am not fan of electronic drums and while I like Neil's fills, I wonder if I would like them more with a more organic feel. The lyrics are perfect and perfectly delivered.

 

[Forostar]

Power Windows! The atmosphere is mindblowing. This is such a deep work.

Love those big chords in Big Money, and the way the instrumental part starts gives me goosebumps. What a solo.

Grand Designs: this is for me the least interesting song. Compared to the other songs, it just passes by. I challenge others to say something positive, like on the previous album. Who knows I hear something new next time.

I like the change to the chorus in Manhattan Project. These are the kind of changes some songs need to stay interesting. The instrumental midsection is short but cinematic. Check the pounding bass line when Geddy starts singing again. Then a short "solo" which is rather an extra emphasis on the main melody. Good fade out ending.

Marathon. After having read Cosmic's post I am focusing more on the bass now (thanks!). And indeed! Stimulating stuff. I find the singing melody in the couplets a bit bland (and the modulation in the last chorus was perhaps not necessary) but all other parts rule.

Territories features suspenseful, haunting motives. There's a great part in which Alex does some fast rhythmic playing. Geddy does superb vocal harmonies.

Middletown Dreams is an absolute highlight, not only of eighties Rush but in their entire discography. Melancholic atmosphere.. but not too sweet. Just perfect. I love those instrumental parts and synths on it as well. Catchy chorus. Certainly the most striking melodies. And there are many of them. Strong second half, which is a bit comparable with the rhythm in Subdivisions. The passion in Geddy's singing is unmatched!

Emotion Detector. I remember from an interview that this song features a solo which is -together with Limelight- one of Alex's own favourites. But there's more. The build-up is excellent, when the toms kicks in, you get into a vibe straight away. Great supportive bass playing again. Good chorus. Keeps you at the edge of your seat.

Mystic Rhythms is what it is: an atmosphere of mystery, with intricate percussion work. Powerful chorus. Very epic and a brilliant conclusion. Do you guys recognize an echo of Natural Science in the sound of the rhythmic accompaniment of mister Lifeson (first couplet)?


Alex's role is actually quite big on the album, but at times, his contributions are a bit drowned. If you focus on what he is doing it is not that much of a problem. And it's the total ride that does it. The band put a hell of work into this album. After Power Windows, for decades Rush did not reach such a high level of songwriting that focused so much on combining melody, technique and atmosphere(!). It wasn't until Clockwork Angels before they finally reached that level again.

I know there are many albums in between which you guys hold very high in regard, but these were not as consistent in the melodic and atmospheric department, and I am talking about most of the album, not just one or two songs. Later, either Rush failed in these categories, either they chose to focus more on rhythm guitar driven style. Not a bad thing, but it's something else, and in my opinion it's not as rich, not as deep and moving as the material on Power Windows.

 

[Mosh]

Everybody knows that Geddy Lee is an awesome bass player. But what he plays on the 'Power Windows' album is nothing short of stellar. The bass runs in 'The Big Money' are simply mind-boggling. And even more crazy is that he manages to sing, to boot. This guy is a wizard. More amazing bass work can be found in 'Territories' and 'Marathon'. I think these three songs are the highlights from the album as well.

Totally. Despite being one of my favorite albums, the bass playing on P/G sorta takes a back seat, I feel like it really comes back to the forefront on Power Windows. I'd say that Geddy is the MVP of this album in general. He shines in every department; vocals, bass and synth.

Grand Designs: this is for me the least interesting song. Compared to the other songs, it just passes by. I challenge others to say something positive, like on the previous album. Who knows I hear something new next time.

Not one of my favorite songs but I'm not one to resist a challenge. I quite like the atmospheric bridge followed by the intense guitar solo. The main melody is also nice.

I have more to say on PoW but I'll save it for later.

 

[Cosmiceddie]

Listen to the second verse in 'Marathon' (0:52 - 1:10) and enjoy the magical interaction between the players . What an amazing bass line, and a brilliant drum pattern, and the tasty guitar chords.

This is one of my favourite Rush moments ever.

 

[Mosh]

Power Windows is a good album and is the end of the run of great albums that started with A Farewell To Kings. Foro is right about the atmosphere. In fact, this album probably has the best atmosphere of any Rush album. While it is not my favorite of the synth era, it really culminates all the best parts of those previous albums while maintaining its own identity. There are quite a few less memorable tracks that keep this away from being higher in my rankings, but the best songs are among the be best in the Rush catalog.

The Big Money is actually the song that got me into Rush (on A Show of Hands, to be exact, but more on that later). Great song, some wonderfully 80's keyboard parts and some of my favorite vocal lines from Geddy. The middle section is also awesome with a somewhat overlooked Alex solo. Also some really crazy bass playing from Geddy. As Cosmiceddie already pointed out, this album shows that despite all the keyboards, Geddy was still a bass wizard. Like I said before, he really shines on this album the most.

Grand Designs is one of the lesser tracks on this album, though it's not too bad. The intro is pretty cool and it has an awesome middle section, but the verses and chorus are pretty forgettable. It also tends to get pretty repetitive at times.

But after Grand Designs come the real highlights of this album. The Manhattan Project is another top Rush track, not just of the synth era, but of the entire discography. Very awesome buildup and some amazing atmosphere. A real 5 minute epic. Not the best lyrics, but the superb vocal melodies make up for it. The orchestral interlude is one of the highlights of the album. Some really great melodies there.

Marathon might be my favorite on this album. It has one of the best Rush's choruses, I also happen to quite like the modulation in the end. Really should be a classic Rush track. The 7/8 instrumental section is one of the proggiest things to come out of the synth era and wouldn't be out of place on A Farewell To Kings. The real highlight, though, comes next with the synth interlude followed by a mindblowing guitar solo. Alex doesn't get a lot of moments in the synth era, but when he does he really shreds. The quiet verse that follows is also really cool, very suspenseful. The way it builds to a triumphant final chorus is spectacular. One of the best Rush songs. The choir and orchestra also really make it special.

Territories is another lesser track, though it's a change of pace for Rush with its exotic beat. Don't care too much for the verses though and the main melody repeats itself way too much. I love the chorus and that's about it. Unfortunately, not enough to redeem this track.

I've noticed that Middletown Dreams gets a lot of praise. Every time I listen to Power Windows I try to jump on that bandwagon but it never happens. It's not a bad song though and has some really cool stuff going on. Just doesn't hold up to the stronger material IMO.

For me, Emotion Detector is the worst song on the album. Some good melodies, but it all feels pasted together and doesn't flow well. Because of that, it's pretty forgettable and I never have an urge to listen to it.

I have mixed feelings for Mystic Rhythms. On one hand, it has some cool melodies, the verses are awesome. On the other hand, those electronic drums just don't do it for me. The rhythm is also very repetitive. It works well as a closer though.

So that's Power Windows. It has some really great material, but it also shows Rush beginning to go downhill. It would be a very long time before they'd come back to their level of greatness that they showed in most of the 70's and early 80's. For these reasons, Power Windows stands as a middle of the road album for me. The good material is some of their best and the bad, unfortunately, is a sign of things to come.

 

[mckindog]

I agree with a lot of the praise for Power Windows. It's got some good writing and melodies and the performances are exquisite.
Peter Collins creates some of the cleanest production ever caught on record: every note is perfect every synth wash and orchestration lush, every computerized chord and electric drum beat crystalline.
And in the process he cuts the balls off the band.

The world's best power trio, in an album called Power Windows, has no power. Nothing rocks.

Emotion Detector is the worst offender; it's saccharine. Grand Designs isn't quite as wimpy, but it's soft and forgettable.
Despite that, most of the album works because of the unmistakeable creativity of the band.
Mystic Rhythms and Territories have such unique rhythmic patterns. Rhythms, in particular is huge and mysterious.
Middletown Dreams has such a great melancholy melody and Big Money some very cool musical parts.
And Marathon and The Manhattan Project are such great, huge compositions, I'm left to wonder what might have been.

I like Power Windows. I can listen to it all the way through.
But it has too many swirls and flounces for me and that is made worse because I can hear how strong the underlying material is. And there is no single track on there I've ever fallen in love with.
I appreciate it, but I don't think I've ever really forgiven it for not being what my 18-year-old self wanted it to be.
It's among my least favourite Rush albums.

 

[Mosh]

Nice to see a different perspective of PoW. Personally I'm okay with the clean polished sound because the power and rock is replaced with really nice atmosphere.

 

[Cornfed Hick]

Sorry I'm not able to devote as much time to my posts on this thread as before, very busy. In short:

Power Windows is a good album and is the end of the run of great albums that started with A Farewell To Kings.

I think the run started at 2112 and ended at Signals, but that's just me.

The world's best power trio, in an album called Power Windows, has no power. Nothing rocks.

<<Nodding head vigorously. >>
Oh wait, there's a smiley for that:

It's interesting. Everyone accuses Metallica of "selling out" with the black album. But didn't Rush pretty much do the same? The band speaks now of evolving to fit the times -- and it is true, the band had been evolving and changing since its inception, so this is not such a major break. Yet I can't help think the "evolution" may have been driven by what would get them greater airplay and record sales. Not that I can criticize anyone for trying to get financial security, and tip your cap to them -- it worked. I just think it's interesting that Rush tends to get a pass from its hardcore fans on this.

 

[Forostar]

Cornfed, aren't you a bit selective in your criticism?
If Rush sold out on Power Windows then they did that at least as much on Signals. Ok, the guitars might be one decibel louder on Signals but the majority of the songs are softer and less complex. Signals has for the most part easier accessible music. It sounds to me as a more commercially appealing album

Power Windows might be softer sounding, production wise, but it has depth and there's at least as much going on.

Perhaps you have to connect (be open) to the atmosphere this in order to appreciate it:

Nice to see a different perspective of PoW. Personally I'm okay with the clean polished sound because the power and rock is replaced with really nice atmosphere.

Yes sir! And the playing is some of the finest level, and so are the melodies. There's a lot to (re-)discover. A shame that a thing as production can make that disappear. Well, I won't be fooled so easily.

 

[Mosh]

I try to avoid accusing bands of selling out. Its next to impossible to truly understand an artist's motives and sometimes they just evolve that way. What separates Rush and Metallica for me is the fact that I don't like anything they've done since The Black Album. I don't care what made them write that music, but I think it's awful. I still like a lot of the stuff Rush put out post-Moving Pictures.

I can see why Rush gets a free pass though. Their change of sound was more gradual and still sounded like Rush. Each album was a logical successor of the previous one. There was never a sound that came completely from left field. With Metallica, the shift from AJFA and The Black album was like flipping a light switch. Each album after that was some completely different style, it really sounded like they were trying to please someone else. When they went back to their roots with Death Magnetic, it sounded forced and not genuine. On the contrary, when Rush really returned to their prog roots with Clockwork Angels, it sounded natural and was obviously an album they were genuinely proud of.