CARESS OF STEEL

Although the band maintained its influences related to classic rock, as with the warrior "Bastille Day" and its unbeatable riff, or the nostalgic "Lakeside Park", they also begin to sail in progressive waters with two songs that occupy most of "Caress of Steel": the hypnotic and fantastical "The Necromancer", the best achieved composition of the album, standing out clearly Lifeson's guitar solos that go through its three parts, and Geddy Lee's active bass; and "The Fountain of Lamneth", one of the longest songs in the band's discography. And this last song, in spite of its promising acoustic beginning and Neil Peart's fleeting and incisive drum solo, fails to coalesce in all its development as a fluid structure, and perhaps that is the main point that works against not only the song but the album as a whole and its relationship with the record label.

Becoming a cult album over the years, in part perhaps because of the guilty indifference it suffered at its release, and in part perhaps also because of that mysterious character of lost gem and, separating the wheat from the chaff, "Caress of Steel" has above all the merit of having been the fundamental basis for the release of "2112", the band's first international mega-hit. And the end of the discussion with their record company...

3 stars

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