As to whether this is the absolute peak of Rush's career, my response is: it depends on what day it is. Usually, I'm in the mood for either A Farewell to Kings or Hemispheres, and if I'm feeling especially weird I might go for Caress of Steel first.
But like its predecessor, Moving Pictures represents a change for the band, although it is a stronger album overall.
In fact, though keyboards had been in place since A Farewell to Kings, it is the closing track here that portends greater usage in the albums to come.
I also mentioned last week that Permanent Waves was a transitional album in a sense, as it helped the band prepare for one of their greatest triumphs. There was a change in songwriting on the previous record that yielded even more dividends here. It worked out so well that the band would eventually decide to explore a new path entirely.
The album starts with one of Rush's iconic tracks, "Tom Sawyer". If there's any song the layperson would know, it's most likely this one. It shows two facets of the band's personality at the time: a simplified arrangement, despite the increased presence of keyboards, and the ever-present musicianship that the band had maintained for most of a decade. Peart hammers his drums with some inspiring fills.
Of course, being a guitarist first and foremost, I tend to be most receptive to the instrumental and the progressive material. Side A is definitely leaning more toward the wide-reaching songs of the previous album. "Red Barchetta" is slightly longer and goes on a bit of a journey, while "YYZ" lets each band member flex his muscle instrumentally.
And while "YYZ" is not a fast song, per se, it feels like a sprint thanks to those 16th note runs that are moving across the strings. It is also surprisingly melodic for an instrumental, especially one that was written by the rhythm section. I guess it's not a shock considering that "La Villa Strangiato" was written specifically to stand as an instrumental. But "YYZ" takes the technical aspects of the band's work up a couple notches. I can admit that I've never even tried to tackle the solo while playing along with the song. That said, I was fairly proficient at playing the rhythms at one point.
Side B opens with the last (to date) 10+ minute track. "The Camera Eye" is an exploration of the differences and similarities of early 1980's New York and London from a century prior. High concept subject matter, as usual, and handled adroitly by Lee and Lifeson in a two-part song that runs around 11 minutes but doesn't feel "long".
The song opens with the sounds of the city and an evolving synth line; guitar and drums come in soon after, but overall this is an intro that takes its time.
An effects-laden chord progression announces the proper beginning of the song and a recurring theme. The keyboard then leads the charge as the verse begins, though the singing doesn't come in for about a minute. Here is one of Lifeson's most powerful riffs; it utilizes dotted quarters and effects to create a drawn-out effect that only increases the subtle power of its rhythm and thus its melody.
And just when you think the verse has begun, Lee's vocals disappear as the main riff is restated and another new theme appears, this one arpeggiated.
What makes this song especially fun to play is that it's not all that difficult. Even the solo is a bit restrained, especially in comparison to something like "Xanadu" or "Freewill".
The keyboard comes back in to reintroduce the song, although technically this would be the second part that deals with "the history of London". Much like the "Apollo/Dionysus" parts of "Hemispheres", the same riff and structure is used, so the only variation is the lyrics.
It's certainly a bit more upbeat and lively. That main riff is just so infectious.
Like with "Xanadu", the solo in "The Camera Eye" functions partly as an outro; there is a bit of playing afterward, but for the most part it signals an end to the track.
The last two songs close out Side B on a decidedly weirder note. "Witch Hunt" is an ugly snapshot of mob mentality as a result of fear of the unknown and different. "Vital Signs" is a minimalist keyboard-driven affair that has that rarest of features in a Rush song: a bass solo.
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Next time: the keyboards begin to take over.
