Caress of Steel | ||||
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Studio album by | ||||
Released | September 24, 1975 | |||
Recorded | July 1975 [1] | |||
Studio | Toronto Sound (Toronto) | |||
Genre | ||||
Length | 45:04 | |||
Label | Mercury | |||
Producer |
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Rush chronology | ||||
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Singles from Caress of Steel | ||||
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Caress of Steel [a] is the third studio album by Canadian rock band Rush, released on September 24, 1975, by Mercury Records. It was recorded immediately after the band concluded touring in support of their previous album, Fly By Night , and marked a development in the group's sound, moving from the blues-based hard rock style of their debut towards progressive rock. Caress of Steel is considered Rush's first progressive rock album. [6] Songs such as "The Necromancer" furthered Rush's advancement into narrative-driven, fantasy-based compositions, while "The Fountain of Lamneth" was their first prog-rock "epic" to span an entire side of vinyl. Other tracks like "Bastille Day" and "Lakeside Park" became staples of the band's live setlists.
Though the band members were initially proud of their work on Caress of Steel, the album proved to be a commercial and critical nadir for Rush as the album's darker sound and fantastical compositions failed to find an audience and confused some of the band's peers, while poor sales put the band in danger of being dropped by Mercury. The mediocre reception impacted the band's gigging opportunities, leading them to dub the supporting tour the "Down The Tubes Tour". Despite being more positively viewed by the band's fans in retrospect, Ultimate Classic Rock noted that the album is still considered "the black sheep of their catalog". [7]
By mid-1975, Rush had stabilised with a line-up of guitarist Alex Lifeson, bassist and vocalist Geddy Lee, and drummer and primary lyricist Neil Peart, who had joined the group in 1974. They released Fly by Night (1975), which marked Rush's first foray into multi-part and conceptual songs with "By-Tor and the Snow Dog". The group were on a rise in popularity, and received a Juno Award for Most Promising Group. [8] In June 1975, they finished touring Fly by Night, which culminated in a Canadian leg that had them as headliners for the first time. [8]
While preparing their follow-up album, Rush took the extended and conceptual song elements that they had introduced on Fly by Night and made it the central focus for their new material. As a result, this marked a development in their sound from blues-inspired hard rock towards progressive rock. Peart recalled that the band approached Caress of Steel feeling "serene and confident" and that all three members were proud of the result. He considered the album a "major step" in their development with its variety of musical dynamics and original ideas. [9] Lee said that the band were "pretty high" while making the album. [10]
The album was recorded in July 1975 at Toronto Sound Studios in Toronto, Ontario. Mixing took place in the same studio. [8]
"Bastille Day" concerns the storming of the Bastille during the French Revolution. [11]
"I Think I'm Going Bald" was written in reference to Kim Mitchell, lead guitarist and vocalist for Max Webster who shared management and touring
"Lakeside Park" is about the park of the same name in Port Dalhousie, St. Catharines, Ontario, where Peart grew up and worked during the summer as a teenager. [12]
"The Necromancer" is a 12-minute track in three parts. It concerns a necromancer, someone who practices necromancy, a type of divination involving the summoning of spirits of the deceased. The song was influenced by the works of author J. R. R. Tolkien; the necromancer is an alias used by the character Sauron in Tolkien's novel The Hobbit (1937).
The introduction contains the lyric, "Three travelers, men of Willow Dale", a reference to the band itself, as Lifeson had formed the first incarnation of Rush in the Toronto suburb of Willowdale. The final section, "Return of the Prince", sees the return of the character By-Tor from the song "By-Tor and the Snow Dog" on Fly by Night, but in "The Necromancer", the character is a hero and not a villain. [13] "Return of the Prince" was released as a single in Canada.
"The Fountain of Lamneth" is the band's first of three side-long tracks, the others being the title track of 2112 in 1976 and "Cygnus X-1, Book II: Hemispheres" from Hemispheres in 1978. It consists of six parts and tells the story of a man in search of the Fountain of Lamneth as he chronicles the occurrences on his journey. The second part, "Didacts and Narpets", consists mostly of a drum solo. In 1991, Peart said that the shouted words heard are an argument between the central character and the Didacts and Narpets (anagrams of "addicts" and "parents", respectively). He could not remember what the words were, "but they took up opposite positions like: 'Work! Live! Earn! Give!' and like that." [14]
The album cover for Caress of Steel was intended to be printed in a silver colour to give it a "steel" appearance. A printing error resulted in giving the album cover a gold colour. This error has never been corrected on subsequent printings of the album. [15] The cover artwork for Caress of Steel was designed by Hugh Syme, the first Rush album to feature his work. Syme has designed the cover artwork for every Rush album since.
On the inside gatefold of the album, just below the lyrics to "The Necromancer", the Latin phrase "Terminat hora diem; terminat auctor opus" appears, which translates (loosely) to:
The source of this phrase is Christopher Marlowe's play Doctor Faustus (1592).
Caress of Steel was released on September 24, 1975. [6] By March 1976, it had sold around 40,000 copies in Canada. [16] Although the band initially had high hopes for the album, it sold fewer copies than Fly by Night and was considered a disappointment by the record company. The album eventually became known as one of Rush's most obscure and overlooked recordings, consequently being considered under-rated by fans. [15] : 24
Due to poor sales, low concert attendance and overall media indifference, the 1975–76 tour supporting Caress of Steel became known by the band as the "Down the Tubes" tour. That, in addition to the record company's pressure to record more accessible, radio-friendly material similar to their first album – something Lee, Lifeson and Peart were unwilling to do – made the trio fear that the end of the group was near. Ignoring their record label's advice and vowing to "fight or fall", the following year's 2112 album would ultimately pave the way for lasting commercial success, despite opening with a 20-and-a-half-minute conceptual title track. [15] : 24
Caress of Steel did not attain gold certification in the United States until December 1993, nearly two decades after its release. It remains one of the few Rush albums to not go platinum in the United States. [17]
The complete album, along with the self-titled debut and Fly by Night, was included as part of the 1978 Anthem release Archives. [18]
Review scores | |
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Source | Rating |
AllMusic | [19] |
The Encyclopedia of Popular Music | [20] |
The Rolling Stone Album Guide | [21] |
Caress of Steel received negative reviews from professional critics. AllMusic's Greg Prato described the album as "one of Rush's more unfocused albums", [22] while Daily Vault's Christopher Thelen called it "a tentative step for Rush, one which would lead to their masterpiece in conceptual work", in reference to the group's next album, 2112. [23]
A remaster was issued in 1997.
Caress of Steel was remastered again in 2011 by Andy VanDette for the "Sector" box sets, which re-released all of Rush's Mercury-era albums. Caress Of Steel is included in the Sector 1 set. [24]
Caress of Steel was remastered for vinyl in 2015 as a part of the official "12 Months of Rush" promotion. [25] The high definition master prepared for this release was also made available for purchase in 24-bit/96 kHz and 24-bit/192 kHz formats, at several high-resolution audio online music stores. These masters have significantly less dynamic range compression than the 1997 remasters and the "Sector" remasters by Andy VanDette. [26]
All songs written by Geddy Lee, Alex Lifeson, and Neil Peart, except where noted.
No. | Title | Length |
---|---|---|
1. | "Bastille Day" | 4:34 |
2. | "I Think I'm Going Bald" | 3:41 |
3. | "Lakeside Park" | 4:09 |
4. | "The Necromancer" III. "Return of the Prince" (3:51) | 12:28 |
No. | Title | Length |
---|---|---|
1. | "The Fountain of Lamneth"
| 19:57 |
Rush
Technical
Chart (1975) | Peak position |
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Canada Top Albums/CDs ( RPM ) [27] | 60 |
US Billboard 200 [28] | 148 |
Region | Certification | Certified units/sales |
---|---|---|
Canada (Music Canada) [29] | Gold | 50,000^ |
United States (RIAA) [30] | Gold | 500,000^ |
^ Shipments figures based on certification alone. |
Rush was a Canadian rock band formed in Toronto in 1968 that primarily comprised Geddy Lee, Alex Lifeson (guitar) and Neil Peart. The band's original line-up comprised Lifeson, drummer John Rutsey, and bassist and vocalist Jeff Jones, whom Lee immediately replaced. After Lee joined, the band went through a few line-up changes before arriving at its classic power trio line-up with the addition of Peart in July 1974, who replaced Rutsey four months after the release of their self-titled debut album; this line-up remained unchanged for the remainder of the band's career.
Signals is the ninth studio album by Canadian rock band Rush, released on September 9, 1982 by Anthem Records. After the release of their previous album, Moving Pictures, the band started to prepare material for a follow-up during soundchecks on their 1981 concert tour and during the mixing of their subsequent live album Exit...Stage Left. Signals demonstrates the group's continuing use of synthesizers, sequencers, and other electronic instrumentation. It is the last album produced by their longtime associate Terry Brown, who had worked with them since 1974.
2112 is the fourth studio album by Canadian rock band Rush, released in March 1976 by Mercury Records. It reached No. 5 in Canada and became the band's commercial breakthrough in America, peaking at No. 61.
Rush is the debut studio album by Canadian rock band Rush. It was released on March 18, 1974, in Canada by Moon Records, the group's own label, before it was released internationally by Mercury Records later that year. Recorded five years after the band's formation, this first release shows much of the hard rock sound typical of many of the popular rock bands emerging earlier in the decade. Rush were fans of such bands as Led Zeppelin, Yes and Cream, and these influences can be heard in most of the songs on the album.
Fly by Night is the second studio album by the Canadian rock band Rush, released on February 1975, by Mercury Records. It was the first Rush album to showcase elements of progressive rock for which the band has become known. It was also the first to feature lyricist and drummer Neil Peart, who replaced original drummer John Rutsey the previous summer just prior to the band's first North American tour. Peart took over as Rush's primary lyricist, and the abundance of fantastical and philosophical themes in his compositions contrasted greatly with the simpler hard rock of the band's debut album.
Vapor Trails is the seventeenth studio album by Canadian rock band Rush. It was released on May 14, 2002, on Anthem Records, and was their first studio release since Test for Echo (1996), the longest gap between two Rush albums. After the Test For Echo tour finished in July 1997, drummer and lyricist Neil Peart suffered the loss of his daughter and then his wife in separate tragedies. As a result, the group entered an extended hiatus during which it was not certain they would continue. They eventually reunited in January 2001 to rehearse material for a new album, recording for which lasted until December. For the first and only time since Caress of Steel (1975), the group did not use any keyboards or synthesizers in their music, incorporating many layers of guitar, bass and drums instead.
All the World's a Stage is a double live album by Canadian rock band Rush, released in September 1976 by Mercury Records. The album was recorded at Massey Hall in Toronto on June 11–13, 1976, during the band's breakthrough 2112 tour. The title of the album alludes to William Shakespeare's play As You Like It, and would again be referenced by Rush in the 1981 song "Limelight".
Moving Pictures is the eighth studio album by Canadian rock band Rush, released on February 12, 1981, by Anthem Records. After touring to support their previous album, Permanent Waves (1980), the band started to write and record new material in August 1980 with longtime co-producer Terry Brown. They continued to write songs with a more radio-friendly sound, featuring tighter and shorter song structures compared to their earlier albums.
Grace Under Pressure is the tenth studio album by Canadian rock band Rush, released April 12, 1984, on Anthem Records. After touring for the band's previous album, Signals (1982), came to an end in mid-1983, Rush started work on a follow-up in August. The band had decided not to work with longtime producer Terry Brown, who had collaborated with Rush since 1974. The new material accentuated the group's change in direction towards a synthesizer-oriented sound like its previous album. After some difficulty finding a suitable producer who could commit, the album was recorded with Peter Henderson.
Exit... Stage Left is the second live album by the Canadian rock band Rush, released as a double album in October 1981 by Anthem Records. After touring in support of their eighth studio album Moving Pictures (1981), the band gathered recordings made over the previous two years and constructed a live release from them with producer Terry Brown. The album features recordings from June 1980 on their Permanent Waves (1980) tour, and from 1981 on their Moving Pictures tour.
Hold Your Fire is the twelfth studio album by Canadian progressive rock band Rush, released on September 8, 1987. It was recorded at The Manor Studio in Oxfordshire, Ridge Farm Studio in Surrey, AIR Studios in Montserrat and McClear Place in Toronto. Hold Your Fire was the last Rush studio album released outside Canada by PolyGram/Mercury. 'Til Tuesday bassist and vocalist Aimee Mann contributed vocals to "Time Stand Still" and appeared in the Zbigniew Rybczyński-directed video.
A Show of Hands is a live album by the Canadian rock band Rush, released in 1989. The band released a video of the same name, originally on VHS and LaserDisc, the same year. A DVD version was released as part of a box set in 2006, and as an individual DVD in 2007. In 2015 it was reissued after being remastered by Sean Magee at Abbey Road Studios following a direct approach by Rush to remaster their entire back catalogue.
Counterparts is the fifteenth studio album by Canadian rock band Rush, released October 19, 1993, on Anthem Records. After the band finished touring its previous album Roll the Bones (1991) in mid-1992, the members took a break before starting work on a follow-up.
Test for Echo is the sixteenth studio album by the Canadian rock band Rush, released on September 10, 1996, by Anthem Records. It was the final Rush album to be co-produced by Peter Collins. The band supported the album with a world tour in 1996 and 1997, after which they went on a five-year hiatus following the deaths of drummer Neil Peart's daughter and wife, and would not record again until 2001.
R30: 30th Anniversary World Tour is a live DVD by the Canadian rock band Rush, released on November 22, 2005 in Canada and the US, and November 28, 2005 in Europe. The DVD documents the band's R30: 30th Anniversary Tour, and was recorded on September 24, 2004 at the Festhalle Frankfurt, Germany.
Exit... Stage Left is a concert film by the Canadian band Rush that premiered on MTV in February 1982 and then released on CED, Laserdisc, Betamax, VHS and DVD at various times between 1982 and 2007. It documents a live concert performance by the band on their 1981 Moving Pictures tour. In October 1981, the band released an audio album of the same name of the same performance at the Montreal Forum, in Montreal, Quebec on vinyl LP, audiocassette, 8-track cartridge and (later) compact disc. The video has a different track list from the album, as well as voice-over comments from the band members about songwriting and performing. The four songs from the European dates of the Permanent Waves tour, included on the audio album, are not included on the video.
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Feedback is an EP by Canadian rock band Rush, released in 2004. The record features eight covers of songs that were influential for the band members during the 1960s. The outing marked the 30th anniversary of both the release of Rush's debut album, which featured the original lineup of Geddy Lee, Alex Lifeson and John Rutsey, and of Neil Peart's joining the band in the wake of Rutsey's departure. The tour in support of the Feedback album was called the R30: 30th Anniversary Tour. The record was remastered and reissued in 2013 as a part of the box set The Studio Albums 1989–2007. In 2016 it was reissued after being remastered by Sean Magee at Abbey Road Studios following a direct approach by Rush to remaster their entire back catalogue.
"Bastille Day" is a song by the Canadian rock band Rush, and is the opening track from their third album, Caress of Steel. Like most Rush songs, the music was written by Geddy Lee and Alex Lifeson, and the lyrics by Neil Peart. The song uses the storming of the Bastille, which began the French Revolution, as an allegory for revolutionary fervor needed in the struggle against tyrannical government.
Rush Through Time is a compilation album by Rush, released in Europe as a picture disc only in 1979.