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To: rush-list-all
Subject: RUSH Fans Digest of 08/30/90 (#42)

               RUSH Fans Digest, Number 42

                 Thursday, 30 August 1990
Today's Topics:
                         Air Play
                  hometowns and air play
                      RUSH bitmaps?
       Re: Objectivism vs. Whatever in Rush lyrics
                 GUP tourbook transcribed

Date: Wed, 29 Aug 90 16:06:02 EDT
Subject: Air Play

Well, actually Rush recieves a bit of air play out this way, although not
nearly as much as Zeppelin. On WAAF in Boston, I'm told they played
"The Pass" and "Show Don't Tell" about every hour when Presto came
out (I don't know, I rarely listen to the radio). Usually when I do
listen, I'll be able to hear a Rush song during the course of the day
(I'll listen to the radio maybe 2 or 3 hours max, so that's not too bad)
Also, WAAF played all of Moving Pictures a couple of months ago. The
airplay has been more frequent lately since Presto than before, where
you were lucky if you heard "The Spirit of Radio", which is the most
common Rush tune played around here.....

Work:			|The X-Ray is her siren's song	|My ship cannot resist her long
School: 		|Nearer to my deadly goal	|Until the black hole....gains control   -Rush


Date: Wed, 29 Aug 90 10:14:08 hst
From: Hinano Akaka 
Subject: hometowns and air play

HOMETOWN BOYZ:  This probably has no bearing on where they grew up (I
know it doesn't for Alex), but Geddy _did_, in fact grow up in
Willowdale.  Alex was born in Surnie (sp?) British Columbia (if I'm
not mistaken), ad Neil was born in Hamilton.  I assume Alex's family
moved to Toronto as it would be slightly difficult for he and Geddy to
have gone to school together if they lived in different provinces...

RADIO AIRPLAY:  Well, it sounds like things aren't too different up
there.  One of the local rock stations, 98 rock, plays 2-fers every
Tuesday (2-fer Tuesday).  Whenever they play Rush 2-fers, it's almost
always Tom Sawyer and Closer To the Heart.  It's become predictable.
If they play them out of the blue, it's usually TS, CTTH, Spirit, or
Freewill.  Once in awhile they'll play Anthem or Fly By Night, or even
rarer, Limelight.  It really pisses me off, I mean they only have 15
albums!!!!!  They're also into Led Zep (they have "Get the Led out" at
10:00 every night) and Aerosmith.  Even the radio station here at the
University of Hawaii (KTUH) has NO RUSH ALBUMS!!!  What a bunch of
wimps!  Here, buddy, give me that mic, I'm gonna play some REAL positive note, though.  A radio station on Maui played
"Natural Science", once!  I was so happy, I taped it for historic
value!  Oh, well, off to get educated...

Puanani Akaka


Subject: RUSH bitmaps?
Date: Wed, 29 Aug 90 16:11:12 CDT
From: Keith E. Ford 

Does anyone have any computer graphics of any Rush related material.
Also, where can I get back issues of the Digest.  I need pre-#25.
Any other Rush text files would be appreciated.  I have Neil's
commentary on "satanism" already.  My reason for the request is the
fact that I will be setting up a Rush area on my BBS.  I have Digest
#26-#36 and the text of the lyrics.  Thanks in advance.
| ...!uunet!ingr!fordke    OR
| Micro Magic BBS     (Fidonet: 1:373/12,   MaBell: +1 205 830 2362)
| "and the Trees are all kept equal by hatchet, axe, and saw." -Rush


Date: Wed, 29 Aug 90 17:26:14 EDT
From: gordon@Stars.Reston.Unisys.COM (Del Gordon)
Subject: Re: Objectivism vs. Whatever in Rush lyrics

Rader ( writes:

[My stuff about "eco-guerillas" deleted...]

--|   Given Ayn Rand's public opinion concerning pollution and
--| rapacious corporations, and given that she defined Objectivism, I
--| was wondering how other Rush fans resolved this seeming
--| inconsistency.  I have my own ideas about this, but I would like
--| to see what you all think.
--|   I don't qualify as a spokesperson for Objectivism, but in a
--| nutshell, Rand feels that the American businessman (rapacious
--| corporation?) is the most persecuted minority in America today.
--| As for pollution, well, let's just say she considers it a
--| necessary evil.

	As others have said in this Digest, I think Peart at one time
was highly influenced by Rand, but that doesn't mean he has to swallow
the philosophy whole.  Peart can pick the wheat from the chaff as well
as anybody, as any intelligent person should do.  I don't doubt
there's a lot of gems to be found in Objectivism, but I also doubt
that the philosophy hasn't gathered any rust.  Thus, I "resolve the
inconsistency" between the stated attributes of Objectivism and Neil's
apparent ecological consciousness by stating that parts of Obectivism
itself are inconsistent with a modern, rational world view.

--|  (Del Gordon writes again...)
--|   They (and the rest of us) will (and can) force industry to
--| change their polluting ways if industry doesn't do it voluntarily.
--|   Well, Del, I don't know exactly what you're talking about, but
--| the best way to "force industry to change their polluting ways" is
--| to do it in the marketplace.  Change yourself first, and don't do
--| business with polluting firms.  That spiking trees bull$h!+ only
--| results in seriously hurt lumber workers and a pissed off American
--| public.

	Well I agree for the most part.  I don't like the idea of
spiking trees if it causes injury or disrupts legitimate lumber
business.  I was going to go into Soapbox Mode about how your dollars
spent in the marketplace are votes, and that you should vote for those
companies that support rational ecological policies, but I was trying
to keep the article as short as possible and this is, after all, a
Rush mailing list.  That's what I meant by "the rest of us" because I
think the "eco-guerillas" are really a small, fanatical fringe that
certainly doesn't include myself and probably doesn't include anybody
that reads this list.

	I do feel strongly about saving our planet for future
generations, however, and that is one of the things I love about
Peart's lyrics because he seems to support this attitude.

	I liked Chris Schiller's interpretation of the "uninvited
guest" line.  Did you mean to say that the "eco-guerillas", or to use
a less violent phrase, the environmentally conscious people are the
"uninvited guests"?  I'll go along with that.

Random_Rush_Generator (RRG):
The elder race still learn and grow
I know that  This is the way for me to go

Like some pilgrim,
Del Gordon
 /\      /\      /\                1001001, SOS.  1001001, in distress.
/  \  /\/  \  /\/  \  /------------------------------------------------------
    \/      \/      \/          |><-


Date: 29 Aug 90 17:30 -0500
From: Kerry Yackoboski 

In the RUSH Fans Digest, Number 41, on Wednesday August 29, 1990,
David Conley  writes

"Back on the Rush track... does anyone know if the guys are all from the
same town.... I recall the part from The Necromancer... "The 3 travelers,
men of Willowdale".. I know Alex and Geddy went to school together
(check out the photo in Visions..hee-hee), but did Neil grow up in
Willowdale? Just curious."

	I think Neil is from the Hamilton, ON area.  Willowdale is
in Toronto, is it not?  Someone from south Ontario should be able to
answer the question.  A clue is that on ATWAS "Lakeside Park" is
introduced as being "not far from where Neil grew up", isn't it? (I
could be wrong - I don't have it here).  If there's a Lakeside
Park in Hamilton, good for my theory - or perhaps it's a red herring of
a clue, and I should really get a life.


Kerry Yackoboski 	
The Scanning Tunneling Microscopy Laboratory in the Cellar
U of Manitoba, Winnipeg, Canada


From: (Dave Wolf)
Date: Wed, 29 Aug 1990 23:48:45 EDT
Subject: GUP tourbook transcribed

                            PRESSURE RELEASE


                               NEIL PEART

                      [reproduced without permission]

GRACE NOTE... Now let me just think about this. I guess shortly after
the release of our "Signals" album we began to think and talk of the future.
In the early part of the tour, our long-time friend and co-producer, Terry
Brown, flew down to meet us in Miami. After the show, riding on our bus
through the dark and steamy Florida night, we sat back, drinks in hand,
to discuss our future course.
 Alex, Geddy and I had been discussing these things for a while
now, and had decided that it was time for us to strike out on our own, and
try working with someone else. We wanted, no *needed*  to find out if
someone, perhaps from a different background, might have different
approaches and different techniques to offer to both our music and our sound.

UNDER LINE... It was important (and difficult) for us to express to
Terry that this in no way signified a dissatisfaction or lack of
confidence in him. It was just that after almost ten years and eleven
albums together, we had evolved into a comfortable and efficient
recording team, the four of us, and we could even pretty well
predict each other's opinions and reactions to different ideas. As
positive as this situation may sound, this is exactly what we were worried

PRESSURE POINT... Still, it's no easy thing to tell someone that
after all this time you want to work with someone else for a change-
and still harder to be told it. It was tough for us, and it was
tough for Terry. We had been through so much together, and he has
contributed so much to our development and refinement- both as people and
It was awkward, difficult, and even a bit painful, but we had to do it
or always wonder "what if we had?" While objectively one may recognize
the right thing to do, subjectively it's sometimes too easy to
rationalize the easy way out. We had to cut the umbilical cord.

GRACE NOTE... At first, "The Great Producer Hunt" was a lot of fun.
We searched through the credits of albums we liked, and we made lists.
Tried to figure out "who did what to whom." Was the producer or the
artist more responsible for the ideas and textures that we were responding
to? Would so-and-so be of more benefit to us in a creative, musical sense,
than would so-and-so in an interpretive, production sense? This kind of stuff
is fun.

UNDER LINE... But it was time to get serious. People were contacted.
Who is available? Who is interested? During out European tour of '83
we met with a number of producers and engineers of the English persuasion.
"Well, so-and-so has a really nice manner, but so-and-so really seems to
know a lot!" We talked and talked with them about sound, about music,
about other people they had worked with, about Method, about Technique,
about studios and effects. If nothing else we learned a lot just from
all that talking. Then we talked among ourselves, wondering. We made a
decision- We would pick Mr. So-and-so!

PRESSURE POINT... And everything seemed pretty nice for a while there.
We met again with the illustrious Mr. So-and-so, discussed our mutual
ideas, criticisms, habits, and tastes, and we came to an understanding.
Then, only two weeks before we were to start working on new material
we got *The Call*. "Mr. So-and-so has decided that he's not the right
person for the job." Right. Great.

GRACE NOTE... Naturally, we were a bit shaken at first- wind out of
the sails etc.- but it turned out to be a very positive time for us.
Another list was made, more people were contacted. Who is available?
Who is interested? Time was growing shorter, but we were determined to
find someone. Some people urged us to go ahead and do it on our own,
as we certainly could have done, but our intention was to work with
someone new- and we were *going* to! All of our unemployed friends
began to volunteer.

UNDER LINE... The important thing was, we were suddenly totally on
our own, responsible to make the decisions and set the wheels in motion.
Of course, there were people behind us to help with the
organizing and contacting, but the rest was up to us. This really
drew us together and gave us a strong resolve and a mutual determination
to make a really great record. Doing well is the best revenge.
So, we contacted Mr. Whosis, yet another English producer of great
musical and technical ability. We met with him at our rehearsal place,
and he had much to contribute in terms of arrangement and interpretive
ideas.  He seemed to be very interested in working with us as well, and
just had to sort out "a few complex little problems" in order to free
himself to do the project. Great!

PRESSURE POINT... Not so great. These "complex little problems" are
somehow insurmountable, and Mr. Whosis cannot make himself available.
*For crying out loud*!! Now this began to shake our confidence a
little.  "What are we- chopped liver?" Back to the list again. Who is
available? Who is interested? Of course, by now we were getting closer and
closer to the time booked for the studio, and week by week we are
postponing it.  And, naturally enough, a lot of people with whom we would have
been interested in working, are already committed to other things by
now.  Yikes!

GRACE NOTE... All was not doom and gloom, however. In mid-August we
had begun to work on new material, and we poured our determination
and *angst* into that. On the first night, while we were just
"banging around", we put together the three parts to what would become
"Between the Wheels." Within a few days we had written "Kid Gloves"
and "Afterimage", and we, at least, began to feel more confident with
ourselves. By the end of three weeks we had written and made rough
"demos" of those three, plus "Red Sector A" and "The Body Electric."
We had *that* to be happy for.

UNDER LINE... The fact that we had already booked studio time wasn't
the only deadline hanging over our heads. Anticipating that we would
have everything sorted out by then, we had agreed to play a series
of shows at Radio City Music Hall in New York in mid-September.  Not
having played live since summer meant that we would need a week of
rehearsals to get toned up for that. Our usual habit after writing
new songs was to go out and play a few small shows, a few big shows,
and then go right into the studio. This time we felt it would be
suitably dangerous to come right out of hibernation and on to one of
the most prestigious stages in the world. (Weren't *we* brave!)
Since we were definitely not ready for the studio as yet, we
returned from New York to the rehearsal place and continued working
on material while we were looking for Mr. Good-ear.

PRESSURE POINT... And the hunt continued. Phone calls, telegrams
and telexes flew around the world. Anyone we could think of whose
worked we liked, we contacted, no matter how unlikely they seemed.
More people were brought in to see us. Messrs. Alpha, Beta, Gamma,
and Epsilon came over, and we went through a quadruple deja-vu -
repeating the same conversations about what we wanted from a producer,
what we wanted from our music, what they had done, what they could do,
what was important, what wasn't- etc., etc., etc.
"Just two things we're looking for in a producer; *ideas* and

GRACE NOTE... We adopted "Roger Kneebend" as our mascot producer -
a ten inch tall action doll (formerly owned by Geddy's son Julian)
replete with flippers and wet suit. He was placed prominently atop
Alex's tape machine- so he could stay on *top* of the recording!
(Groan) Then it became four things we required in a producer; ideas,
enthusiasm, flippers- and a wet suit so we can spit at him! Yep,
we were losing it!

UNDER LINE... It was a tough thing we were putting these guys through.
By this time we had written and recorded "Distant Early Warning" and
"The Enemy Within", and had begun work on "Red Lenses." Our method
was to talk in general ways to each of the "candidates" until we began
to feel a bit more comfortable with each other, and then at some point
play all of these songs- and expect *them* to offer intelligent
criticism and suggestions. Then, on the second day we would choose a
song for which they had some ideas, and work on it together. No question,
they were on the spot in a big way - but so were *we*!

PRESSURE POINT... Peter Henderson was a bit of an unknown quantity
to us at the time, but perhaps because of that we had high hopes for
him. He arrived from England one sunny afternoon, and we greeted each
other a bit nervously. We sat on the floor of the rehearsal room, amid
all our gear, and, like dogs meeting in the road, we sort of metaphorically
sniffed 'round each other. As often happens, friendship and mutual
respect began to grow out of a discussion of *other peoples'* music.
Shared likes and dislikes on such a personal subject can be so
important. One of the things that most impressed us about Peter
immediately was that he was obviously - like ourselves -  a tremendous
*fan* of music. If we spoke of a group or a song that we liked, it was
in terms of the second song on side two, or the third track, side one -
knowing the titles and the order - the way a *fan* does. Not as if
we were "talking shop" but just talking about a subject that interested
us all. This we liked.

GRACE NOTE... After dinner that night we played him the songs, and went
through the same rap again about the flaws in the songs, what we
*really* wanted it to be like, our feelings about perspectives and possible
improvements and what did he think about this or that idea? Well, he
thought the kinds of things we'd hoped he would, and expressed them in
a very intelligent and confident way. When he had left the room that night,
the three of us turned to look at each other - smiling and nodding. Eureka!
But, we were still pretty insecure from our previous disappointments.
Would *he* feel he was "the right man for the job"? Would *he* have some
"complex little problems" which he had to sort out? Would *he* disappear
and never be heard from again? Probably. We were determined to ask him
first thing in the morning if he would like to commit himself to the
project. After breakfast, we told him that we felt he was the man, and
asked him if he were interested. "Well", he replied with a dry English
smile, "I wouldn't have come all the way over here if I wasn't
interested, would I?"
"ALLRIGHT!" "GREAT!" "LET'S GO!" we chorused. Then someone thought to
add; Oh, by the way - do you have a *wet suit*?"

UNDER LINE... So away we went, off to Le Studio to finally begin
recording. We could hardly believe it! These songs had been demoed,
rearranged, and demoed again so many times - we though it would be
easy. (Ha!) Of course, we had to get to know each other, to develop
a working relationship - and start to have some fun with each other.
It was around this time that the title "Grace Under Pressure" was
suggested. Not only was it relevant to so many of the songs, but it was
also rather fitting to the way this album was going. The fact that we
didn't always exhibit this quality made it none the less a desirable
one! It seemed appropriate.

PRESSURE POINT... I have mentioned that we had worked with the same
co-producer for a long time now, so we had to (and were determined to)
start right from the ground up in making things as different as we could.
For myself it was a welcome opportunity to try some new approaches.
It would be too easy to just do what we had had good results from in the past.
So; I am hitting different things out in the studio, Peter is twiddling
different things in the control room, both of us a bit wary of the other.
Suggestions and opinions are exchanged, we try some more different things,
and a good basic sound is finally achieved. We move on to the bass,
then the guitar sounds, and soon we are working away at "Distant Early

GRACE NOTE... 1983 was a tough year for many people, no question
about it - but wasn't the *weather* nice? I can't remember a more
glorious summer, nor - and some may disagree - a more glorious winter.
Our time off before writing, and the August and September of the
writing period, were so hot and incessantly sunny that it was almost
tropical. (And as much of a struggle sometimes as in the tropics to
get any work done!) Then while we were in the studio from November
into March, it was bitter cold and we had *tons* of snow. Five or
six feet of it must have fallen through the winter - heaven for the
cross country skier. (Me) The crew arrived to load in at the studio
with the first big storm of winter, ill-prepared in running shoes
and light jackets. Early that first morning they were all off to
"Mickey's" in Morin Heights, to return resplendently clad in giant
green hunting boots, and very attractive ski jackets. Our crew are
also very "graceful under pressure."

UNDER LINE... Yes, it was a year of crisis and tragedy - both
globally and on the home front. While we were at "Writing camp" the
Toronto Globe & Mail was delivered to our doors each morning.  Since
it was there, I found myself reading it over breakfast every day,
before I would start working on lyrics. The topics of the day,
especially as expressed in the editorials and letters to the editor
were necessarily on my mind, and this circumstance affected the lyrics
to certain songs profoundly. This was the time of the Korean 747
murders, the on going cruise missile controversies, acid rain (one
of my pet protests) was large in the Canadian news, wars raged
everywhere - and we, our families, and our friends were trying to
cope with economics, death, illness, stress, romantic problems,
unemployment, and depression. (Well, not all at once!) Songs like
"Distant Early Warning", "Red Lenses", and "Between the Wheels"
were definitely interwoven with these thoughts and feelings.
Like the newsman Peter Trueman says: "That's not news, but that
too is reality."

PRESSURE POINT... There is a certain state of mind, not exclusive to
musicians, which is called (in medical terms) "The Black Ass."
Things in your life may be whirling just a little beyond your control
it may be "one of those days" when humanity and fate conspire to
throw obstacles in your way - or maybe you're just "too tired".
Everybody gets their share of dark clouds. You're working away
at a song that you know *can* be good, but it just *won't* be.
You sit in the studio with aching hands and heavy heart, unable to
deliver the performance that the song demands, after grinding it out
for so long. You listen to a playback of something, and when it's over,
no-one says anything. Pregnant silences. Avoiding eyes. (Anyone know
a good joke?) A certain tension descends at these times. The room
is silent. Everyone knows something is wrong, but no-one really
wants to be the one to say "it ain't right." To criticize is to
presuppose an alternative, to suggest an idea is to put your own
pride on the line, to expose your vulnerability to possible
rejection and disagreement. To listen to someone else's idea,
with which perhaps you do not agree, is a challenge to your objectivity
and self control. It's hard to say what's *right* about it before you
say what's *wrong* about it. Handle with kid gloves, handle with kid
gloves. Indeed.

GRACE NOTE... Oh well, of course we had some fun too! The "Commons"
hotel was sometimes a welcome watering-hole at the end of the day
(or night, really). We played volleyball until the snow got too deep,
tried to drive the rental car across the lawn *after* the snow got
too deep. (Alex's idea, naturally) We practiced our "snow diving"
off the porch into two or three feet of fresh snow. Skip and Larry
decorated the little guest cottage, ("The Little House on the Driveway")
with Christmas lights and a wreath. Peter, Alex, Geddy and Larry got
up early to play tennis, I got up early to go skiing, Skip got up
early to come home from the "Commons" and Jack got up early to roll
over. And yes, from time to time we had visitors from "The Outside"
a brief interlude with family or friends made a terrific change
from looking at each other all the time. The great people at the studio,
Andre's wonderful food, and the fantastic library of movies ("The Man
With Two Brains" was a big hit this time) helped to provide diversion
and make us as comfortable as we could be (considering our condition!).
We enjoyed a pleasant day in Ottawa, having ourselves immortalized
by the famous portrait photographer, Yousuf Karsh. It was an inspiring
and elevating experience to sit before the lens of the portrayer of
kings, queens, presidents, popes, astronauts, authors, scientists and
film stars. And there he was, taking an album cover photo for bums like
*us*! It was wonderful to see, at his seventy-five years of age, his
tremendous energy, creativity and swift changes of mood. He provided us
with a memorable and broadly applicable quote when told that the
lights in the room were not independently adjustable: "That is
not an answer that I can accept. That is *not* an answer that I can
I wish I had said that. (I will, I will!)

UNDER LINE... By this time we had completed the basic tracks, a
couple of *months* of keyboard, guitar, percussion, and vocal overdubs,
and we were beginning the mixing stage. It was all taking a lot of
time, but at least things were progressing. Throughout this period
I was in a daily (or twice, or thrice daily) communication with our
art director, Hugh Syme back in Toronto. He was "herniating" (his own
word) over the cover painting, and I tried  to offer what help I
could over the phone, without actually *seeing* it. (Difficult,
you may imagine!) Detail after detail of the artwork was ironed out,
the credits painstakingly compiled, the lyrics corrected and typed
up for the typesetters, the photograph and typeface chosen, inner
sleeve and label designed - until one day a transparency of the
painting hangs on the window at the studio, beautifully lit by
the sun on the snow behind it - and Hugh can get some sleep.

PRESSURE POINT... But not us. By this time we were decidedly
*late* , as our record company and the advancing year were more
than eager to remind us.(as if we needed reminding!) The pressure
was on. Fourteen hours a day became the norm, with dinner hastily
eaten right in the studio lounge. But why, after all, shouldn't the
mixing be as stubborn as everything else? (You expect a break or what?)
Admittedly, in these last few weeks things began to drag on a bit too long.
It became more and more difficult to concentrate on life outside the
studio, life becomes so cloistered, like some weird monastery.  One
drifts farther and farther away from the everyday affairs of your
family and friends. Mail piles up, neglected business rises even higher,
but everything seems somehow remote in the grip of this crazy obsession.
Time to go away now! At this point we had another series of meetings,
this time with the video people. We had decided to try and get moving
on that end of things as soon as we could. We knew we wanted to use
several different directors, and do quite a few songs in different
styles, but *what* songs? - and *which* directors? All of these songs
would make good videos, but we only had so much time - actually so
*little* time.

SAVING GRACE... But yes, finally it is done. Fans and critics have yet
to pass their judgments, but we are well pleased. Our records tend
to follow in cycles, some of them exploratory and experimental, others
more cohesive and definitive. I think that this one, like "Moving
Pictures," "Hemispheres," or "2112" before it, is a definitive one of
its type. An indefinable thread, both musical and conceptual, emerges
in a natural way, and links the diverse influences and approaches
into an overall integrity. Of course, to arrive at this happy station,
all of the experimentation and exploration is shown to be worthwhile.
We are glad that most of our fans understand, appreciate and support
this fact. As we approach our ten year milestone, it is more than
ever important to remain true to our youthful ideals; to resist
the urgings and demands of the shortsighted, the narrow-minded,
and all those who are fearful of change. We think that *we* can
adapt. We are determined to remain - as far as ever we can -
graceful under pressure.
Or at least try not to scream out loud.

			Neil Peart

 Hi there folks! I'm the blurry blob in the middle of all those DRUMS!
I don't know where they came from, but every time I turn around there
are more of them! When they're packed away in those dark, warm cases
you don't suppose they...? (eerie music fades up)
 "You are entering a world of imagination..."
 You are entering a world of drums - that's what! I've got drums literally
coming and going this year. Everywhere I turn, more of 'em close in around
me. More and More of them, getting bigger and bigger - and they're *red*!!
Red, like *blood*! "Izzen dat scaddy kids?" O-O-W-H-O-O-O-o-o-o.
 O.K.!... Ahem. The main kit remains the same, the prototype for what
they're calling the Tama Arstar these days. Two 24" bass drums, 6", 8",
10" and 12" concert toms, 12", 13", 15" and 18" closed toms, and a 22"
gong bass drum is the basic outfit. The "Old Faithful" 5x14" Slingerland
snare is still number one, and I am again using a metal timbale, a 13"
Tama to be exact.
 The symbols are of course by Avedis Zildjian, 8" and 10" splash, 13"
hi-hats, two 16" crashes, one each 18" and 20" crash, a 22" ride
(ten years old now!), an 18" pang, and a 20" China type. There is also
a China type which is really from China. (As opposed to America,
Switzerland, Italy or Turkey.) On the rear kit there are *more* Zildjians -
another 22" ride, 16" and 18" crash, 13" hi-hats, and another of those
Chinese jobs.
 The rear set consists of a Tama 18" bass drum, another Slingerland
snare, three Simmons tom modules and one snare module, and the Simmons
"Clap Trap" with foot switched both fore and aft.
 The incidental percussion department is also in a change of state as
we speak, but may consist of orchestra bells, wind chimes, crotales,
temple blocks, cowbells and/or a bell tree, I'm just not sure.
 I'm still using the Remo clear-dot heads on the snare(s) and bass
drums, Evans Heavy Duty Rock (top) and Evans Tom Tom (bottom) on the
closed toms, Remo black-dots on the concert toms, and plain Remos on
the timbale and gong bass drums. All of the hardware (but for a couple
of small bits) is by Tama, as are the "Camco" chain-drive pedals,
and I'm still chewing up Promark 747 sticks, which have the varnish
filed off the shoulder area by Larry. (He's the blurry black blob in
the back tearing his hair and gnashing his teeth over the drums, the
monitors, the headphones, the electronics and all of the presets for
the Simmons and the claptrack!)
 AH-HA-HA-HA-ha-ha!! (O-o-o-o-o...scaddy!)

			Geddy Lee

 Hi there, and welcome sports fans around the world. I'm Geddy Lee, once
again bringing you play by play coverage of the 1984, Grace Under Pressure
Tour, Equipment List!! (Applause)
 Total Basses - Steinberger L2*, Rickenbacker 4001, and Fender Jazz.
 Synthesizers - PPG Wave 2.2#, Roland JP-8 and TR 808, Oberheim OBX-A and
DSX digital sequencer, Moog Taurus pedals and Minimoog.
 Amplifications - BGW 750C power amps, Furman Sound PQ-3's used as pre-amps,
and API 550A equalizers. Special Brother Russell mystery speaker cabinets
(built by monks somewhere in Arizona) with two 15" speakers in each.
 Also a Nady wireless unit complete with a "BZZZ Thing."
 Well, now that's over with!
 Let's play two!

* Rookie of the Year 1983-84
# M.V.P 1983-84

PS. Contrary to what was said on another page, I do *not* use a
Hentor Barbarian bass - they're too long...

			Alex Lifeson

 So another tour, huh? Well let's see. I've got these great new guitars.
You may have heard of them;they're Hentors. They're named after Devidip
Hentor who was a very interesting character. He was born some years ago
and grew to amazing lengths. Instead of body hair he grew a kind of green
woolly substance all over his upper torso which resembled a sweater. He was
a brilliant man who could sit in a chair all day and think of a million great
things to do without actually doing them.
 He was an inspiration until his unfortunate accident whilst jogging in three
feet of snow wearing cheap snowboots and light summer cottons. Two models
were built and I'm lucky enough to have them both. One is a "Sportscaster"
and the other is I'm not going to tell you. (Hey, check Geddy's page and
see if he mentions his Hentor Barbarian bass!)
 Anyway, these guitars look a lot like the guitars I had on the last 47
tours. So much so that if someone was really stupid they'd think they were
different guitars. I also got a new Jimmy Johnson and I haven't seen one
of those in at least eight years.
 Otherwise everything's the same. So, here we go...I use amps! And magic
guitars that have no long black wires;and talk about strings! I have at
least six on all my guitars. I also use expensive boxes with knobs and
lights on them and instructions in more than five languages except English.
I also have these piano-like things but I,m not sure on how to switch
them on. You have to use a special Jack for that. Finally, all the
equipment I use is made in factories.


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