Rush Discography Discussion 2: Caress of Steel (1975)

Spotted this at songmeanings.net. I haven't spent enough time praising the lyrics on this thread, but this post did a great job of nailing Natural Science:

"The song has three subsections (beginning of the universe, the time of man, the uncertain future and the end results).

In the beginning, life emerges from a frothing tide. It begins to form its own patterns, losing track of the complexity that it spawned from.

We make a 'quantum leap' to the time of man: ideas like the Big Bang, mysticism/theology, computers, machinery - all human constructs build on top of what was once just tidal pools. We fashion "our world" in "our image", so that we can't see what is really in control: nature.

The conclusion offers up 'the moral of the story' - Ultimately, our species will end and be recycled into nature with the tide, as part of a larger pattern. We can't stop it, because we can't supercede nature. In the mean time, we should pursue science/knowledge in a way that's harmonious with nature (rather than trying to fighting it, effectively running into a brick wall). Art should follow the same path - rather than serving human ends ("market campaigns") which are constructed on top of nature, it should be 'expression', i.e. intimately connected with the human experience.

Very similar to "Hemispheres" - an ethos for whole-brain thinking. Science and art in harmony with nature."
 
Best album. Excellent songs only. Limelight and Vital Signs are top 5 songs of mine.

What I especially like about Barchetta are the accents in the rhythms and the atmosphere. Still, Tom Sawyer and Red Barchetta are for me two of the least three favourites of the album (the other is Witch Hunt). Maybe because these particular songs are (or at least feel) relatively seen more monotone and less dramatic, who knows. I can't explain well why I find them less*, but I can try to mention the strong sides of the other songs.

Strong melodies are always important to me, and Limelight has such a beautiful melodic chorus. A superb moody chord scheme, guided by Peart's beautiful ride cymbal work. Lee does one of the best vocal melodies the band has ever written. And the solo? That build-up is just superb. And the sound Lifeson creates! The way it ends and how the "chorus"-guitar and the vocals come back with Peart playing it double time was a very good idea. In this last chorus some of the accents are hitting with the snare drum, giving it an extra punch. Living in the limelight, the universal dream...

Check this out (also Peart in the background!), filmed by my wife in 2007:

Vital Signs is another favourite of the album (either my no. 1, either no. 2). That song is full of awesome melodies and rhythmic greatness. Wonderful interaction between all three. Very strong lyrics as well. Always shamelessly underrated on this forum, when it is features in survivors. The Camera Eye I find very adventurous with lots of space for the music. Many cool instrumental parts contributing to the suspense. As opposed to earlier epics (Cygnus book 1 and Xanadu excluded) it does not feature lesser moments. It keeps going and has some great singing and special atmosphere as well. YYZ is instrumental but not per se worse because of that reason. Love that slower part. The Analog Kid's chorus reminds me of it. Love that heavy "slow" synth countering against those other faster instruments.

I particularly like the darkness and -like in Camera Eye- suspense in Witch Hunt (also a song that has not much love on this forum). It's not just that. Take for instance its build-up! Gigantic. The vocal lines are very strong melodic. The riffs way cool as well. I find it a very interesting and daring song with heartpiercing melodies and strong guitar part, matching well with the atmospherical keyboards. I guess the rhythmic beginning had me hooked immediately when I first heard it. Some info I found:

-Vocalist Geddy Lee told The Plain Dealer newspaper in a 2011 interview the song's message is even more relevant today than when it was first recorded: "It's one of those songs that means as much today, if not more, considering what's gone on in the world with racial profiling and all these different issues. The sentiment of that song is as appropriate as ever."
-The song was recorded the same night that John Lennon was shot in New York. The band was right in the middle of laying down the tune when they heard the tragic news.

Let's look at the whole album again.
Besides the stable and subtle playing of Neil Peart, the production of his drums is done nicely as well. His patterns are so iconic that I could listen to these while erasing the rest of the music from my mind. You could see this album (and also its predecessor Permanent Waves) as Rush's move from very progressive music towards more compact and catchy music. Catchy in a good way. Gone are the happy and sweet moments as e.g. in Entre Nous. No more honey and butterflies dripping from the speakers.

Conclusion: I'd say that Moving Pictures is the first and last, therefore only Rush album containing very good to great songs only. *Even though I find some songs better than others: All songs I find quite better than:

A Farewell to Kings
Cindarella Man & Madrigal

Hemispheres
Circumstances

Permanent Waves
Entre Nous
 
Nice take Foro. There are no weak tracks on this album, only less great.
Speaking for myself, not the forum, I love Witch Hunt and (especially) Vital Signs.
I may vote against them in survivors but that is because of the competition.
If I ever do a list of my 50 favourite songs ever (hmm...:huh: ) Barchetta and Limelight would be on it.
More on Moving Pictures coming soon...
 
I bought this album when I was 11 and I still listen to it at least once every month or two. I meant what I wrote in my earlier post,* it really is perfect. The production is fantastic, every song fits well with every other song. I like a lot of other Rush songs, but there is not a single song on Moving Pictures that I would replace with another Rush song. Side 1 is, in my opinion, the greatest album side in rock history -- I realize that sounds like hyperbole, and I can think of some serious contenders, but I actually believe that to be true. When I was a kid, I practically wore out the grooves on Side 1. "Red Barchetta" was my favorite at the time, as I was into cars as kid and thought it told a really cool story.** Side 2 got less play back then, because at 11 and 12 years old, I wasn't as much a fan of 10-minute epics, and the opening to "Witch Hunt" freaked me out a little bit. As I've gotten older, however, my appreciation for Side 2 has grown immeasurably. I wouldn't call it "better" than Side 1 -- obviously, given what I just wrote here -- but occasionally I will listen to Side 2 only (I still have my old vinyl version, as well as a number of CD versions). Each of the three songs on Side 2 is fabulous. When I saw them on the tour a couple of years ago when they played Moving Pictures start-to-finish, "Witch Hunt" and "Vital Signs" were what I was looking forward to most (probably because everything on Side 1 has been played live many many times). The point is, I love every single moment of this album. Awesome.

Footnotes:
* No one commented on my earlier post, but I'm serious. You gents really REALLY need to watch the "Blurred Lines" video. The music is horrible, but...well...see for yourself. But don't watch the PG-rated version on YouTube, get the "grown-up" (NSFW) version on Vevo or Vimeo. Not going to embed it here, because it doesn't really belong in a Rush thread and because it might be deemed offensive to some. But, trust me. You're welcome.




** Here is the story on which "Red Barchetta" is based:

A Nice Morning Drive
by Richard S. Foster
Road and Track Nov,1973 pp.148-150

It was a fine morning in March 1982. The warm weather and clear sky gave promise of an early spring. Buzz had arisen early that morning, impatiently eaten breakfast and .gone to the garage. Opening the door, he saw the sunshine bounce off the gleaming hood of his I5-year-old MGB roadster. After carefully checking the fluid levels, tire pressures and ignition wires, Buzz slid behind the wheel and cranked the engine, which immediately fired to life. He thought happily of the next few hours he would spend with the car, but his happiness was clouded - it was not as easy as it used to be.
A dozen years ago things had begun changing. First there were a few modest safety and emission improvements required on new cars; gradually these became more comprehensive. The governmental requirements reached an adequate level, but they didn't stop; they continued and became more and more stringent. Now there were very few of the older models left, through natural deterioration and . . . other reasons.
The MG was warmed up now and Buzz left the garage, hoping that this early in the morning there would be no trouble. He kept an eye on the instruments as he made his way down into the valley. The valley roads were no longer used very much: the small farms were all owned by doctors and the roads were somewhat narrow for the MSVs (Modern Safety Vehicles).
The safety crusade had been well done at first. The few harebrained schemes were quickly ruled out and a sense of rationality developed. But in the late Seventies, with no major wars, cancer cured and social welfare straightened out. the politicians needed a new cause and once again they turned toward the automobile. The regulations concerning safety became tougher. Cars became larger, heavier, less efficient. They consumed gasoline so voraciously that the United States had had to become a major ally with the Arabian countries. The new cars were hard to stop or maneuver quickly. but they would save your life (usually) in a 5O-mph crash. With 200 million cars on the road, however, few people ever drove that fast anymore.
Buzz zipped quickly to the valley floor, dodging the frequent potholes which had developed from neglect of the seldom-used roads. The engine sounded spot-on and the entire car had a tight, good feeling about it. He negotiated several quick S-curves and reached 6000 in third gear before backing off for the next turn. He didn't worry about the police down here. No, not the cops . . .
Despite the extent of the safety program. it was essentially a good idea. But unforeseen complications had arisen. People became accustomed to cars which went undamaged in lO-mph collisions. They gave even less thought than before to the possibility of being injured in a crash. As a result, they tended to worry less about clearances and rights-of-way, so that the accident rate went up a steady six percent every year. But the damages and injuries actually decreased, so the government was happy, the insurance industry was happy and most of the car owners were happy. Most of the car ownersi-the owners of the non-MSV cars were kept busy dodging the less careful MSV drivers, and the result of this mismatch left very few of the older cars in existence. If they weren't crushed between two 6000-pound sleds on the highway they were quietly priced into the junkyard by the insurance peddlers. And worst of all, they became targets . . .
Buzz was well into his act now, speeding through the twisting valley roads with all the skill he could muster, to the extent that he had forgotten his earlier worries. Where the road was unbroken he would power around the turns in well controlled oversteer, and where the sections were potholed he saw them as devious chicanes to be mastered. He left the ground briefly going over one of the old wooden bridges and later ascertained that the MG would still hit 110 on the long stretch between the old Hanlin and Grove farms. He was just beginning to wind down when he saw it, there in his mirror, a late-model MSV with hand-painted designs covering most of its body (one of the few modifications allowed on post-1980 cars). Buzz hoped it was a tourist or a wayward driver who got lost looking for a gas station. But now the MSV driver had spotted the MG, and with a whoosh of a well muffled, well cleansed exhaust he started the chase . . .
It hadn't taken long for the less responsible element among drivers to discover that their new MSVs could inflict great damage on an older car and go unscathed themselves. As a result some drivers would go looking for the older cars in secluded areas, bounce them off the road or into a bridge abutment, and then speed off undamaged, relieved of whatever frustrations cause this kind of behavior. Police seldom patrolled these out-of-the-way places, their attentions being required more urgently elsewhere, and so it became a great sport for some drivers.
Buzz wasn't too worried yet. This had happened a few times before, and unless the MSV driver was an exceptionally good one, the MG could be called upon to elude the other driver without too much difficulty. Yet something bothered him about this gaudy MSV in his mirror, but what was it? Planning carefully, Buzz let the other driver catch up to within a dozen yards or so, and then suddenly shot off down a road to the right. The MSV driver stood on his brakes, skidding 400 feet down the road, made a lumbering U-turn and set off once again after the roadster. The MG had gained a quarter mile in this manner and Buzz was thankful for the radial tires and front and rear anti-roll bars he had put on the car a few years back. He was flying along the twisting road, downshifting, cornering, accelerating and all the while planning his route ahead. He was confident that if he couldn't outrun the MSV then he could at least hold it off for another hour or more, at which time the MSV would be quite low on gas. But what was it that kept bothering him about the other car?
They reached a straight section of the road and Buzz opened it up all the way and held it. The MSV was quite a way back but not so far that Buzz couldn't distinguish the tall antenna standing up from the back bumper. Antenna! Not police, but perhaps a Citizen's Band radio in the MSV? He quaked slightly and hoped it was not. The straight stretch was coming to an end now and Buzz put off braking to the last fraction of a second and then sped through a 75-mph right-hander, gaining ten more yards on the MSV. But less than a quarter mile ahead another huge MSV was slowly pulling across the road and to a stop. It was a CB set. The other driver had a cohort in the chase. Now Buzz was in trouble. He stayed on the gas until within a few hundred feet when he banked hard and feinted passing to the left. The MSV crawled in that direction and Buzz slipped by on the right. bouncing heavily over a stone on the shoulder. The two MSVs set off in hot pursuit, almost colliding in the process. Buzz turned right at the first crossroad and then made a quick left, hoping to be out of sight of his pursuers, and in fact he traveled several minutes before spotting one of them on the main road parallel to his lane. At the same time the other appeared in the mirror from around the last comer. By now they were beginning to climb the hills on the far side of the valley and Buzz pressed on for all he was worth, praying that the straining engine would stand up. He lost track of one MSV when the main road turned away, but could see the other one behind him on occasion. Climbing the old Monument Road, Buzz hoped to have time to get over the top and down the old dirt road to the right, which would be too narrow for his pursuers. Climbing, straining, the water temperature rising, using the entire road, flailing the shift lever back and forth from 3rd to 4th, not touching the brakes but scrubbing off the necessary speed in the corners, reaching the peak of the mountain where the lane to the old fire tower went off to the left . . . but coming up the other side of the hill was the second MSV he had lost track of! No time to get to his dirt road. He made a panicked turn left onto the fire tower road but spun on some loose gravel and struck a tree a glancing blow with his right fender. He came to a stop on the opposite side of the road. the engine stalled. Hurriedly he pushed the starter while the overheated engine slowly came back into life. He engaged 1st gear and sped off up the road, just as the first MSV turned the corner. Dazed though he was, Buzz had the advantage of a very narrow road lined on both sides with trees, and he made the most of it. The road twisted constantly and he stayed in 2nd with the engine between 5000 and 5500. The crash hadn't seemed to hurt anything and he was pulling away from the MSV. But to where? It hit him suddenly that the road dead-ended at the fire tower, no place to go but back . . .
Still he pushed on and at the top of the hill drove quickly to the far end of the clearing, turned the MG around and waited. The first MSV came flying into the clearing and aimed itself at the sitting MG. Buzz grabbed reverse gear, backed up slightly to feint, stopped, and then backed up at full speed. The MSV, expecting the MG to change direction, veered the wrong way and slid to a stop up against a tree. Buzz was off again, down the fire tower road, and the undamaged MSV set off in pursuit. Buzz's predicament was unenviable. He was going full tilt down the twisting blacktop with a solid MSV coming up at him. and an equally solid MSV coming down after him. On he went, however, braking hard before each turn and then accelerating back up to 45 in between. Coming down to a particularly tight turn, he saw the MSV coming around it from the other direction and stood on the brakes. The sudden extreme pressure in the brake lines was too much for the rear brake line which had been twisted somewhat in his spin, and it broke. robbing Buzz of his brakes. In sheer desperation he pulled the handbrake as tightly as it would go and rammed the gear lever into 1st, popping the clutch as he did so. The back end locked solid and broke away, spinning him off the side of the road and miraculously into some bushes, which brought the car to a halt. As he was collecting his senses, Buzz saw the two MSVs, unable to stop in time, ram each other head on at over 40 mph.
It was a long time before Buzz had the MG rebuilt to its original pristine condition of before the chase. It was an even longer time before he went back into the valley for a drive. Now it was only in the very early hours of the day when most people were still sleeping off the effects of the good life. And when he saw in the papers that the government would soon be requiring cars to be capable of withstanding 75-mph headon collisions, he stopped driving the MG altogether.
 
Tom Sawyer is a great opener; it just slides into place with the such an easy, confident groove, no dramatic flourishes or tense build-ups.
It's just there, striding into your speakers and out again with purpose, never flinching — self-assured, self-possessed, capable and unwavering.
The straightforward rhythm guitar and synth swells add gravity and atmosphere, while, again, Peart's precision, melodic drum work carries the song. It has to be a toss-up between the climax of this song's musical interlude and Phil Collins' In the Air Tonight as the most air-drummed musical moment ever.
The sound is exquisite, the melodies memorable and the lyrics exceptional, some of his best.
I'm not clear on how much input Pye Dubois had on those lyrics — I think he sent Neil the idea, and Neil penned the actual words.
Regardless, I think on some level it is about Neil, or at least the kind of man Neil wanted to be at the time he wrote it.

No his mind is not for rent, to any god or government...
And what you say about his company is what you say about society...
He's just going to live the life he values. Badass stuff.

And to think, the album gets better.
 
Moving Pictures is one of those classic albums that I've never gotten tired of. I can play it now and enjoy it just as much as I did when I first heard it. Agreed with Cornfed, Side 1 is the greatest album side in rock history. Not only does it have 4 of the best songs in Rush's catalog, but the way those 4 songs compliment each other is unlike any other album side that I've heard. They didn't even have to make a second side, those 4 songs alone could compete against any Rush album.

Tom Sawyer is such a cool song. Lots of awesome things but the real highlight here is the drumming. Peart lays down a very badass beat in the verse and the drum solo before the final verse absolutely slays. It's my personal favorite part of the song. The synth parts are cool too, though this is the first example of synthesizers really overpowering the guitars. There isn't a whole lot going on guitar land. Great solo though.

Red Barchetta is my favorite on this album. It's one of those songs that really got me into Rush in the first place. The imagery is fantastic and the whole thing is just so adventurous. One of the best guitar solos. In fact, now that I think of it, every guitar solo on this album ranks among Lifeson's best. I don't have a whole lot else to say about it, I find it to be like Xanadu in that its greatness is self evident and doesn't really need much commentary.

YYZ is one of Rush's most creative songs. A jam based on Morse Code? Very cool. I love the exotic sound of Lifeson's guitar solo and the bass/drums tradeoff is excellent. Those are some of the greatest bass and drum fills in rock music. YYZ really set the standard for all of Rush's instrumentals after this, but they never really matched it.

Limelight is my least favorite of the first side, but that doesn't mean I don't love it. The odd timed riffs are really cool and there are a lot of neat melodies, as Foro pointed out. These are also my favorite lyrics on the album. Very personal to Peart, yet they're easy to relate to, even if you're not the drummer of Canada's premier power trio. This song's guitar solo (notice a trend here?) is probably the most talked about and it probably deserves that. Over the course of Rush's first ten years, Alex's solos evolved from bluesy shred solos to more atmospheric, lyrical solos. To me, the solo in La Villa Strangiato was the middle of the road for him, featuring the best of both of these traits, and Limelight is him perfecting the atmospheric style. After this, most of his guitar solos lean more toward that vibe and while they're not as much fun to play as some of the earlier stuff, they are more pleasing to listen to, and more relevant to the pieces as a whole.

One thing I love about Rush is that no two epics sound alike. As opposed to bands like Iron Maiden and Dream Theater, who tend to recycle ideas from previous epics. Each Rush epic has its own style and idea that separates it from the previous ones. The Camera Eye is particularly interesting because of how it takes the musical idea from Natural Science and applies it to the lyrics. We get two themes here, one describing New York City and the other describing London. Musically, it plays like any other song on this album and definitely doesn't feel like 10 minutes. It's a worthy bookend to Rush's long songs and given it's simple structure and the direction Rush was taking, it's probably a good idea that they decided not to write epics anymore.

Witch Hunt is the only song on this album that I don't care for. It's the one thing that keeps me from placing Moving Pictures at number one. I've tried for years to get into this song and it just doesn't do it for me. Even on A Show Of Hands surrounded by a bunch of songs that are good, but not as monstrous as what's on Moving Pictures, it doesn't do much for me. In fact it's the the only thing I don't care for on that album as well, but more on that later. It reminds me of a lot of the more riff driven songs that they did in the 90's, like Superconductor and Stick It Out. I don't really like those songs either. Just not my thing.

The album picks back up quickly with Vital Signs. Maybe my favorite of their Police inspired reggae phase. Maybe the most simple song on here, it's a nice 'ending credits' tune. Though it does leave me wanting more. I suppose that just shows how great of an album this is.
 
Thanks for the Nice Morning Drive, Cornfed.
Red Barchetta remains one of the greatest songs ever recorded. It is, simply, a ride.
It's got a great build, with a nice use of pauses and repeated themes and tempo changes. It's drenched in prog, but never feels proggy
It retains the power of early Rush, but the added synth washes, the crystal clear production, Geddy's more controlled singing and that special Moving Pictures groove elevate it to something more.
And the solo is exquisite. Just listen to Alex's phrasing, his bends, his holds, his pauses, his tone. But it's not just Alex soloing for those amazing 23 seconds. Geddy and Neil are doing their own solos at the same time. Yet if they blend so well, counterpunching each other in a three-way symphony of sound, how can they be called solos? There has never been a rock track with three such gifted musicians playing so freely, yet so tightly.
And after the build and the takeoff, the chase and the escape comes the easy release, leavened with some nice Lifeson harmonic touches.
Like Cornfed says, cool story; Like Mosh says adventurous; And, like Foro says phenomenal rhythms and atmosphere.
The band is so powerful, so out on the edge, yet so completely in control.
Flawless.
 
Detouring back to Hemispheres for a moment, I just learned that it is getting an audiophile SACD re-release next month. See link. Expensive, but just in case anyone is interested. To be mastered by Kevin Gray for Audio Fidelity -- he does a nice job generally.
 
I hate how expensive those gold CDs are. I have a SACD copy of Dark Side of the Moon that sounds awesome, but definitely not something I'd pay $20 for. Wish they would've given Hemispheres the 5.1 treatment when they made those box sets.

Speaking of special versions of Rush albums. Anyone hear the 5.1 mix of Moving Pictures that came out a few years ago? I've been considering checking it out since my copy is pretty worn out.
 
The Moving Pictures 5.1 has gotten mixed reviews. I like it, though. However, the CD that comes with it is the worst-sounding CD version I've heard, too loud, no dynamic range, yada yada. I think my original 1980s PolyGram CD sounds great. I've read some people praise the gold CD on Mobile Fidelity, but I don't have it -- those are out of print and REALLY expensive to obtain. The 1997 remaster (what you'd get new at retail these days) sounds fine, but not as good as the original.
 
Ah well I guess I'll skip it then. Figured since the 2112 5.1 was good then Moving Pictures would sound good as well. I have the 80's PolyGram too and yea it does sound great. I think in general Rush albums were transferred to CD well the first time.
 
YYZ is just insane. See what I wrote about the Barchetta solo section and multiply it over four-and-a-half minutes.
Crazy riffs, mind-boggling bass, ridiculous shifts, another killer solo and unbelievable tightness.
Oddly enough the part where it slows down is my favourite.
Really the only thing to complain about is the lyrics — until you discover they are actually using Morse Code.
Completely, utterly badass.
 
Mosh: I think they did a better job with the 5.1 mix of 2112 than the 5.1 of Moving Pictures, but I enjoy both -- don't mean to dissuade you, but just know that it is not as jaw-droppingly awesome as you might hope. We have a DVD player and 5.1 sound in the family truckster, which my wife typically drives, but I have been known to crank both discs on those occasions when I drive that car alone. I've read that the 5.1 mix of A Farewell to Kings is also great, but unfortunately that is not available separately, you can only get it as part of the Sectors 2 box set. So, I haven't heard it.
 
Is there a better riff than Limelight? Is there a better melody? A better solo? A better lyric?
The point and counter play between the rhythms and the melodies, the pauses and perfectly timed shifts - this is songwriting at its finest, and it is performed with passion and precision.
Rush mastered their skills as players with Strangiato. They mastered their skills as songwriters right here.
Fell in love with this track at 14 and it remains among my all-time favourites.
It also concludes - without a doubt - the finest album side in rock.
 
When we did the Rush Survivor, I ranked The Camera Eye a level below the Xanadu, Strangiato and Natural Science, something I think is common with Rush fans.
But I'm not really sure why. It's not as intricate, but it's such a smooth, powerful, melodic track.
Really, its structure has a lot in common with Steve Harris songs like Where Eagles Dare and CSIT.
The sound, like all of Moving Pictures, is perfect. So much space between the instruments.
I'm sure in 1980 it was heavy, but to my old ears in 2012 its more a cool summer breeze than hurricane.
And the 10 minutes are over before you know it.
 
Back
Top