Bastille Day (4:37)
I Think I'm Going Bald (3:37)
Lakeside Park (4:08)
The Necromancer (12:30)
I. Into Darkness (4:12)
II. Under the Shadow (4:25)
III. Return of the Prince (3:52)
The Fountain of Lamneth (19:59)
I. In the Valley (4:18)
II. Didacts and Narpets (1:00)
III. No One At the Bridge (4:19)
IV. Panacea (3:14)
V. Bacchus Plateau (3:13)
VI. The Fountain (3:49)
Geddy Lee - bass and vocals
Alex Lifeson - 6 and 12 string electric and acoustic guitars, classical guitar, steel guitar
Neil Peart - percussion
Produced by Rush and Terry Brown
Engineered by Terry Brown
Arrangements by Rush and Terry Brown
Recorded and mixed at Toronto Sound Studios, Toronto, Canada
Roadmaster - Mr. 'Herns' Ungerleider
Roadcrew - Ian 'Rio' Grandy, Liam 'L.B.' Birt, J.D. 'Kool Mon' Johnson
Art direction - AGI
Graphics by Hugh Syme
Photography - Terrence Bert, Gerard Gentil, Barry McVicker
Executive production - Moon Records
Thanks to us for making it all possible.
A special hullo to Ape Friendly, Big Macho, M. Louis, Mr. Eisen, The Texas Heartbreaker, Sal de Bain, the Black Oak, Rick & the Shermans, Wolfman Marcus, Hot Sam, C.B. & J.B., Doc Cooper, The Opner and Sophisto Joe.
A personnal thank you, Terry, for your intimate courtesy and native grace of favour.
Correspondance - 55 Glencameron Rd., Thornhill, Ont., Canada.
Photos by Bruce Cole, Massey Hall, June 25, 1975
Dedicated to the memory of Mr. Rod Serling
Mercury/Polygram, September 1975
© 1975 Mercury Records © 1975 Anthem Entertainment
"The idea [for "The Fountain Of Lamneth"] originally came from a time when I was driving from the top of a mountain to the bottom and, seeing the lights of the city beneath me, I got to thinking, What would life be like if you could only measure your position as a person by the level at which you lived up the side of a mountain?' I got to drawing relations, seeing lots of comparisons in this metaphor and eventually put down a rough sketch of the six different parts I thought there would be to such a quest. It was really naïve, I admit that now, it was a ridiculous thing, like writing a thesis on metaphysics or something. But at the time it felt right, what can I say, we did it and we really enjoyed it." - Neil Peart, Sounds, July 16, 1977
"I can't go back beyond 2112 really, because that starts to get a bit hairy for me, and if I hear 'Lakeside Park' on the radio I cringe. What a lousy song! Still, I don't regret anything that I've done!" - Geddy Lee, RAW, October 27, 1993
"We were touring a lot with KISS in those days and they had a song called 'Goin' Blind'. So we were kind of taking the piss out of that title by just coming up with this...Pratt came up with this line, 'I think I'm going bald,' because Alex is always worried about losing his hair. Even when he was not losing his hair, he was obsessed with the fact that he might lose his hair. So he would try all kinds of ingredients to put on his scalp. And I think it just got Neil thinking about aging, even though we weren't aging yet and had no right to talk about that stuff yet. It would be much more appropriate now." - Geddy Lee, Contents Under Pressure
"I remember that Caress of Steel, in the old days of cassettes, had very uneven side lengths. I think one side was 20 minutes and the other was 25, and the record company wanted us to drop a song. We said, 'No way! We went to all that trouble, it's going on the record.' So there is literally nothing unreleased. For us, there really is no vault to clean out." - Neil Peart, Billboard.com, September 14, 2006
"A big influence on me when I was starting out was Pete Townshend and he was such a consummate rhythm guitarist. I gravitated to Jimmy Page, Hendrix, and Clapton for soloing, but there was something about the way Townshend strummed the guitar that was very acoustic-like. 'Lakeside Park' is an example of that. It was written on an acoustic guitar so that strumming came naturally. It translates to an electric well." - Alex Lifeson, Guitar Player, November 2012
The was no tourbook for this album.
The lyric sheet was altered to create the live photos collage taken June 25th, 1975, at Toronto's Massey Hall. The image on the far right, originally found in the live photo collage, later appeared in the R30 Tourbook.
"In 1975, just before we recorded our next album, Caress of Steel, our manager, Ray, showed me an illustration by the keyboard player with one of Ray's other clients, Ian Thomas. The keyboard player was Hugh Syme, and thus began a 30-year collaboration between Hugh and me, on album covers, tour books, my own book covers, instructional videos, Buddy Rich tribute albums, concert DVDs - basically anything with my name on it, would have Hugh's name on it. Hugh and I learned some lessons early on. We discussed ideas for the Caress of Steel cover, and Hugh drew the illustrations and even made each of the letters from acrylic resin, cast in three dimensions. However, someone at the record company felt inspired to make a few 'creative' alterations, and when I first saw the completed album (in a record store in Winnipeg, as I recall), the illustrations were framed in bizarre fluffy clouds, and instead of the silvery, metallic look we had envisioned, the whole cover had an awful, washed-out tint of...let's say cold tea." - Neil Peart, The Complete Tour Books 1977-2004
"Hugh Syme was playing for the Ian Thomas Band when I met him, and they had the same management company as us. They showed me some artwork he'd done for Ian Thomas and I really liked it. I had collaborated on 'Fly By Night' with the art director at Mercury Records, so I was kind of the spokesperson for our graphic arts department. I still am. Hugh and I struck up such an artistic collaboration that he and I can be on the phone and bounce ideas off each other, and know how it's going to look before it's done. He does my book covers, my videos, the instructional DVD...he's my graphics art guy." - Neil Peart, Classic Rock, October 2004
"The first one I did was Caress of Steel. They were pencil drawings, even though they don't look like it on the album. They printed them in a sort of pseudo-sepia tone. I had vignetted with an airbrush the blue area around the illustrations, which was later reinterpreted by the film strippers who were making the jackets in Chicago at the time. They took it upon themselves to cut a hard-edged mask around it. The lettering was cast, and chrome plated." - Hugh Syme, Creem, 1983
"Back in the day, I had to think on my feet. I was only 21. The materials I had on hand were a portion of a dilapidated bridge on Bathhurst Street that I had photographed. It was the only monolithic piece of stone I could find that was appropriate. But then I wondered, 'How do I put letting for the lyrics and credits on that?' I hadn't been schooled in typography. In that arcane time, I thought the best way to do it was to lay acetate over the image and proceed with letter press. Even the entire concept of revising or editing type was new to me. So, when I got revisions from Neil, they were substantial. I was admonished for the lack of any italicized lettering, though italics were not part of Uncial script. The truth is I had to go back to the transparency with pieces of tape and individually perform a 'font-ectomy,' removing and replacing and fitting the new text. So they're very handmade. Embarrassingly so." - Hugh Syme, Art of Rush, 2015
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