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Rush 2112 Album Archive Of PastGripsweat is a searchable archive of past rare vinyl record sales and auctions.None of the records on the site are for sale, these are all completed sales and aucitons.![]() Gripsweat is intended to be used a resource for pricing vinyl records. Record prices and the record market are highly dependent on condition and individual records pressing details. To hear audio clips older than 45 days you must become a member. AllMusic s Greg Prato described the album as one of Rushs more unfocused albums, 12 while Daily Vaults Christopher Thelen called it a tentative step for Rush, one which would lead to their masterpiece in conceptual work, in reference to the groups next album, 2112. 13. It marked a development in the groups sound, moving from the blues-based hard rock style of their debut towards progressive rock. They released Fly by Night (1975) which marked Rushs first foray into multi-part and conceptual songs with By-Tor and the Snow Dog. ![]() This marked the development in their sound as a result, from their blues-inspired hard rock towards progressive rock. Peart recalled that the band approached Caress of Steel feeling serene and confident and all three members were proud of the result. He considered the album a major step in their development with its variety in musical dynamics and original ideas. Lee said that the band were pretty high while making the album. It was inspired by Goin Blind by Kiss, for whom Rush had frequently been an opening act during their early period. Catharines, Ontario, where Peart grew up and worked during the summer as a teenager. It concerns a necromancer, someone who practices necromancy, a type of divination involving the summoning of spirits of the deceased. The song was influenced from works by author J. R. R. Tolkien; the necromancer is an alias used by the character Sauron in Tolkiens novel The Hobbit. 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. It consists of six parts and tells the story of a man in search of the Fountain of Lamneth who chronicles the occurrences of 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 (an anagram parents). He could not remember what the words were, but they took up opposite positions like: Work Live Earn Give and like that. A printing error resulted in giving the album cover a copper colour. The error was not corrected on subsequent printings of the album. 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. The source of this phrase is Christopher Marlowe s play Doctor Faustus (1588). By March 1976, it had sold around 40,000 copies in Canada. 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 Rushs most obscure and overlooked recordings, consequently being considered under-rated by fans. Given that and record-company pressure to record more accessible, radio-friendly material similar to their first album something Lee, Lifeson and Peart were unwilling to do the trio feared that the end of the group was near. Ignoring their record labels advice and vowing to fight or fall, 2112 ultimately paved the way for lasting commercial success, despite opening with a 20-and-a-half-minute conceptual title track. It remains one of the few Rush albums to not go platinum in the United States. AllMusic s Greg Prato described the album as one of Rushs more unfocused albums, 12 while Daily Vaults Christopher Thelen called it a tentative step for Rush, one which would lead to their masterpiece in conceptual work, in reference to the groups next album, 2112.
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