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Errors-To: email@example.com Reply-To: firstname.lastname@example.org Sender: email@example.com Precedence: bulk From: firstname.lastname@example.org To: rush-list-all Subject: RUSH Fans Digest of 09/11/90 (#48) RUSH Fans Digest, Number 48 Tuesday, 11 September 1990 Today's Topics: Radio Welcome back, etc. Rush Archives: More Files Spirit of Radio, indeed!!! 24 of May Benefits/equipment (none) RE: RUSH Fans Digest of 09/10/90 (#47) ooops Lakeside Park Permanent Waves tour program transcribed ---------------------------------------------------------- Date: Mon, 10 Sep 90 13:54 EDT From: "Derek D. Lichter [Cinderella Man]"
Subject: Radio Just a quick reply to someone's comment yesterday. Radio does not HAVE to be bad -- it's a very cheap and effective means of communication, and there ARE good radio stations out there: NPR is the best example of this; being non-commercial, it can play whatever the listeners want. College radio stations are also a good alternative, even if you have to filter out a lot of stuff you don't like. And there are the occasional good commercial stations, like WEQX up here in lower New England/upper NYS. Boycotting all radio will only help you miss out on a lot of good things. Derek L. ---------------------------------------------------------- Date: Mon, 10 Sep 90 14:05:29 -0400 From: DANIEL LAURENCE MC DONALD Subject: Welcome back, etc. Hey, I'm back on the Rush mailling list! The priests of the temples of IBM Rochester wouldn't let any of us have Internet access, so I had no news over the summer. After reading Monday's digest... Chris Klausmeier writes... >Don't be too sure of that, we HAVE a Rush hour here in Milwaukee, Wisc. >It's on at like midnight on Saturdays, on LZR (Laser) 103. And yes, >until a year ago or so, we had a "Get the Led Out". As a matter of fact, >WLZR could stand for Wisconsin's Led Zeppelin Radio, they sure play >enough of it. The Rush hour is pretty good though, they play a lot of >obscure songs. In general, we seem to have it pretty good here, Rush >radio-wise. They're pretty popular here, and a good variety is played. I agree Chris. Although I go to U. of Michigan, I was raised in Milwaukee, and the Milwaukee area has always been very kind to Rush. I remember hearing Grace Under Pressure a week before it came out, compliments of Tim the Rock-n-Roll animal on 93QFM. (I guess he''s back on QFM again, also!) By-tor writes... > Neil's sounds I've always liked, especially when he branched into the >electronic realm for odd tones and when he brought in African drums and bongos >around Power Windows time. Anyone notice a change from the Tama kit he was so >fond of to the Ludwig he's got now? He seems to really like the switch, but I >don't make much of a distinction. I'm a drummer, and I can tell some distinction. The Ludwigs have heavier bass drum (or he's miking them differently) and the toms sound slightly mellower. The reason you might not notice too much is because the cymbals are still Avedis Zildjian, and his snare drum is still that old Slingerland Artist model. DANM, it's good to be in the company of so many Rush fans again. _____________________________________________________________________ Daniel L. McDonald | Internet: email@example.com | University of Michigan| Bitnet: danmcd@umichub.BITNET | Computer Science, '91 | USnail: 1705 Hill St. Ann Arbor, MI 48104| ______________________|_____________________________________________| "rising falling at force ten we twist the world and ride the wind..." - Rush ---------------------------------------------------------- Date: Mon, 10 Sep 90 11:30:00 -0700 From: Elisabeth Perrin Subject: Rush Archives: More Files Rush Archives - Today's Files: PRESTO Tourbook & "Thrice Told Tales" PRESTO.TOURBOOK: PRESTO Scissors, Paper, Stone by Neil Peart [ Reproduced without permission ] ------------------------------------------------------------------------------ Writing a story about making a record is like making a record; you never get it quite right, so you keep trying. In the past I've talked about the studios, the people we've worked with, the weather, our methods of work -- lots about what we do, but nothing about WHY we do it, and nothing about how the songs themselves develop. So maybe it's time to try a glass-bottom boat on those murky waters. One of those French guys, Balzac or Flaubert, said that a novel should be applies to songwriting as well. "Reflecting on life" could certainly be the unifying theme of Rush's odyssey through the years -- though of course we never thought of it at the time. We were too busy moving down the road, as most people are. But at least when you're moving fast, you have to look AHEAD; there's only time for a quick glance in the rear-view, just to make sure no flashing red lights are gaining. Otherwise it's no good dwelling on what's behind you. Just your own tailights. To belabor the metaphor in a general sense: all of us are moving down that road with DIFFERENT mirrors, and we don't just REFLECT life, we RESPOND to it. We filter things through our own lenses, and respond according to our temperaments and moods. As the Zen farmer says: "That's why they make different-colored neckties." That's why they make different-sounding music too. To beat another metaphor into submission: in musical terms Rush is not so much a mirror, but a satellite dish moving down the road, soaking up different styles, methods, and designs. When the time comes to work on new songs,you turn on the satellite descrambler, unfilter your lenses, activate the manure detector, check the rear-view mirror, and try desperately to unmix your metaphors. When the three of us start working on a new record, we have NO idea what we'll come up with. There is only the desire to do it, and the confidence that we can. The uneasiness of starting from nothing is dissipated by the first song or two, but still the mystery remains -- in the know that it's what we want to do at that point in time, but we don't know what it adds up to. And often we WON'T know for a long time -- until well after the record has been released and everyone else has had their say about it. Then it seems to crystallize in our own minds, and we develop of little objectivity about it -- what we're pleased with, and where it could have been better. And that's where progression comes in -- where it could have been better. As a band and as individuals, we always have a hidden agenda, a subtext of motivation which is based on dissatisfaction with past work, and desire to improve. That agenda has changed as we have changed; when we started out, we just wanted to learn how to PLAY, and sometimes our songs were just vehicles for technical experiments and the Joy of Indulgence. But still, PLAYING is the foundation for us -- the Stone -- and rock is our favorite kind of stone. Despite our dabbles in other styles, it is the energy, flexibility, and attitude of rock which remain most compelling for us. We exercised our fingers and exorcized our demons by trying every note we could reach, in every time signature we could count on our fingers. But after we'd played with those toys for awhile, the songs themselves began to attract our interest. Rock is not made of Stone alone, and we wanted to learn more about conveying what WE felt as powerfully as we could. Paper wraps Stone -- the song contains they playing, gives it structure and meaning. More experiments resulted as we pursued that goal, and those experiments had to lead us into the field of arrangement. Once we felt more satisfied with the pieces of the songs, and how we played them as individuals and as a band, it became more important how we assembled the pieces. Scissors cut Paper -- the arrangement shapes the songs, gives it focus and balance. So our last few albums have relected that interest, tinkering with melodic and rhythmic structure in pursuit of the best possible INTERPRETATION of the song. All of these qualities -- arrangement, composition, and musicianship -- add up to one thing: presentation. Beyond the idea, presentation is everything, and must take that spark of POSSIBILITY, the idea, from inner-ear potential to a realized work. In an ideal song, music conveys the feeling and lyrics the thought. Some overlap is desirable -- you want ideas in the music and emotion in the lyrics -- but the voice often carries that burden, the job of wedding the thoughts and feelings. Since the goal of those thoughts and feelings is to reach the listener, and hopefully be responded to, success depends on the best possible balance of sttructure, song, and skill. Scissors, paper, stone. Where once we concentrated on each of them more-or-less exclusively, now we like to think that each element has been stored in the "tool box," and we're trying to learn how to juggle them all at once (though juggling scissors can be damned unpleasant). At the same time, Rush's hidden agenda has a wide scope. The presentation of our music has to accomplish several demands: it has to be all the above, plus it must be intersting, and challenging to play, and remain satisfying in the long term -- when we play it night after night on the road. The recording must be captured as well as men and machines possibly can, and thus be satisfying to listen to, as well as fit to stand as the "benchmark" performance, the one we'll try to recrate on each of those stages. Before making _Presto_ we had left those stages behind for a while. At the end of the _Hold Your Fire_ tour we put together the live album and video, _A Show Of Glands_ -- I mean _Hands_. Because we were just about to sign with a different record company, Atlantic, we found ourselves free of deadlines and obligations -- for the first time in fifteen years -- so we decided to make the most of that. We took some time off, got to know ourselves and our families once again, and generally just backed away from the infectious machinery of Rash -- I mean Rush. This was a good and important thing, although it was one of the few times in our history when the future was in doubt -- none of us really knew what would happen next. After that six-month hiatus, when Geddy and Alex came over to my house to discuss our future, there was no sense of COMPULSION about it -- it was simply a question of what WE wanted to do. And, we decided, what WE wanted to do was make another record. The reasons remain elusive, but the motivation seems obvious: something to do with another chance to express ourselves, to try to communicate what interests us in words and music, and, simplest of all, a chance to PLAY. In both senses. Without any obligations on us, we found we were still excited about making music together, and truly wanted to make something new. For _Presto_, like all of our records in recent years, we started with a trip to the country. We rented a house with a small studio at one end, a desk at the other, and all the usual stuff inthe middle. During the bright winter afternoons, Geddy and Alex worked in the studio, developing musical ideas on a portable recording setup, while I sat at my desk in the other end, staring out at the snow-covered trees and rewriting lyrics. At the end of the day I might wander into the studio, ice cubes clinking, and listen to what they'd been up to, and if I'd been lucky, show them something new. It was the perfect situation; isolated, yet near enough Toronto that we could commute home for the weekends, and with the studio and house connected, whenever we had ideas to share we could run from end to end with tapes and bits of paper. Personally, this is my favorite part of everything we do: just the three of us and a couple of guys to keep the equipment running. We have nothing else to worry about but writing new songs, and making them as good as we can. With few distractions, we can concentrate on the work, and also feel the reward: the excitement of creating things, of responding to each other's ideas, and the instant gratification of putting brand-new songs down on tape. At this time we get the REAL feedback from our work; it's new enough to be as exciting for us as we hope it will be for the listener. And that is where a coproducer comes into the picture. Peter Collins, who worked with us on _Power Windows_ and _Hold Your Fire_, told us that he felt his own career needed more varity and scope, and reluctantly bowed out of our next album. By this time we had learned how to make a record ourselves if we wanted to, but we still wanted an Objective Ear, someone whose judgment and ideas we could trust. Once we'd sorted out the paper and stone, we wanted someone to help with the scissors. Of a few different candidates, Rupert Hine was the one we decided on. Rupert is a songwriter, singer, and keyboard player in his own right, and has made about fifteen albums himself, in addition to producing seventy-odd records, for other people, like Tina Turner, Howard Jones, and The Fixx. All this experience, combined with his ideas and enthusiasm, made Rupert's input valuable, particularyly in the area of keyboard and vocal arrangements. We were a little bemused when we first played the songs for him, and at the end of some of them he actually seemed to be LAUGHING! We looked at each other, eyebrows raised as if to say: "He thinks our songs are FUNNY?" But evidently it was a laugh of pleasure; he stayed 'til the end. For the past eight years Rupert and engineer Stephen Tayler have worked together as a production team, and at Rupert's urging, we brought Stephen in to work behind the console. As an engineer Stephen was fast, decisive, enthusiastic, and always able to evoke the desired sound, while his unfailing good humore, like Ruper's, contributed to making _Presto_ the most relaxed sessions we've enjoyed in years. But it was as a volleyball player that Stephen really shone, unanimously voted "rookie of the year" in our midnight games at Le Studio. A long day's work behind us, we gathered outside, charged by the cool air of early summer in the Laurentians. We doused ourselves with bug repellant, then gathered on the floodlit grass, took our sides, and preformed a kind of St. Vitus Dance to shake off the mosquitoes. Occasionally one of us hit the ball in the right direction -- but not often. Mostly it was punched madly toward the lake, or missed completely, to trickle away into the dark and scary woods. ("That's okay; I'll get it.") We were as amused by Rupert's efforts at volleyball as he'd been by our songs, but indeed, all of us had our moments -- laughter contributed more to the game than skill. And if the double-distilled French refreshments subtracted from our skill, they added to our laughter. Between games the shout went up: "Drink!", and obediently we ran to the line of brandy glasses on the porch. Richard the Raccoon poked his masked face out from beneath the stairs, wanting to know what all the noise was about. "Richard!" we shouted, and the poor frightened beastie ran back under the steps, adn we ran laughing back onto the court. The floodlights silvered the grass, an island of light set apart from the world, like a stage. On this stage, however, we leave out the drive for excellence; no pressure from within, no expectations from others. Mistakes are not a curse, but cause for laughter, and on this stage, the play's the thing -- we can forget that we also have to WORK together. Work together, play together, frighten small mammals together: Are we having fun yet? Yes, we are. And THAT, now that I think about it, is why we do what we do, and why we keep doing it: We have fun together. How boring it would be if we didn't. Not only that, but we work well together too, balancing each other like a three-sided mirror, each reflecting a different view, but all moving down the road together. As the Zen farmer says: "Life is liek the scissors-paper-stone game: None of the answers is ALWAYS right, but each one sometimes is." ALEX LIFESON ------------ After taking a long break from touring, I started thinking about setting up a new system that was different from what I had been using during the last few tours. It occurred to me that perhaps I should consider using equipment manufactured in a country on the leading edge of this technology, and in the spirit of perestroika and glasnost decided that the Soviet Union was just the place. I arrived in Moscow and made my way to the local music shop: "Large Fun Music Store," and spoke to the salescomrade about the latest in musical equipment. "First ting, you are coming to right place. Second ting, I give you best deal dis side of Leningrad and I want you to know I'm losing rubles on dis deal. Nobody can ever say Yuri Leestiniki try to rip dem up." Feeling assured that I wasn't getting rubble for my ruble, I asked Yuri to show me what he had in the way of guitars. He returned ten minutes later with the strangest guitar case I'd ever seen. It was quite flat and about a half meter square, made of plywood with a long nail hammered into the top and bent over to use for a carrying handle. "Dis is last model in whole Soviet Union and was sold to guy from Kiev but he never call me back today, so even because I will to get in trouble, I will sell to you." What a deal, I thought. "Okay Yuri," I said, "let's have a look at it." Yuri opened the case by prying with two screw drivers at either end and keeping his foot firmly on the 'carrying nail.' When he finally got it opened, there was this...this thing. It sort of looked like the shape of a guitar but in place of the pickups were these magnets like we used to have in school with the red-painted ends, and in place of a volume control was an on/off switch that looked as if it had come out of a household fuse panel. Oh yeah, it didn't have a neck. "Oh, you are wanting neck too?" he said, surprised. "Neck is extra but I can order for you one to be here in four to six month. Maybe." "Okay," I said, "forget the guitar for now. What about amplifiers?" "Best amplifier in world I have in stock right now. Is called a "Khrumy" and it come already wit speaker. Is new modren design and also is good for heavy-metal sound because is made from pure and complete iron. You are first to solder wires into electric plug on wall in house and after to maybe stand ack for maybe one minutes. Is good to wear big orange rubber gloves when making amplifier to work. Is good amp but sometimes someting is maybe breaking, and so is good buying one more amplifier for spare part. Is nice green color, don't you tink?" Yes, well. I asked about the price anyway, thinking that it could make a decent fridge at least. "If you have to ask, you are not affording it," he answered me. "But I am liking you and we are just finish a big sale. Dis is last day as matter of fact. I must to be crazy but I let it go for...aah...eight tousand rubles." "WHAT!?" I screamed. "Okay, okay. How about two pair of jeans and maybe some sandwich." The amp came with wheels and a small thirty-horsepower motor, so after I paid Yuri and we got the motor started, I said goodbye and he reminded me to fill in the warranty card for the ten-day warranty. I drove the amp back to the airport and headed home. I arrived home and was excited to get the amp plugged in and hear it. I got out the soldering gun, soldered the wires into the receptacle, stood back for one minute...and my house burned down. You know, I kinda liked my OLD gear. GEDDY LEE --------- Thurs. Jan 18th -- 10:25 a.m. Subject: A Kwipment Lisp Yes, I've just received a fax (what a modrin world) from my Pal Pratt (pardon my French) requesting this year's equipment list. Sounds exciting, doesn't it? An equipment list. Just rolls off the tongue. Oh boy! Equipment. You mean equipment for performance? Equipment for living on the road? Well, how about things I need. Or things I love. Nope! Too small a space. A list or is it liszt or at least, er, excuse me -- I guess I'm wanted back on the planet Earth. Does it sound like I'm stalling? Or trying to shirk my responsibilities? It DOES? I apologize. Where were we? Lists. Ah yes, what I use. Well, I use a Wal and a Leica R5, some big amps and a Wilson Profile (what a profile!). Some black jeans and shoes. (It's so hard to find good shoes isn't it?) I now have a Mizuno Liteflex glove and lots of Roland stuff (especially samplers!...LOVE those samplers -- NEED those samplers. Once again I've been Saved By Technology). I also use the sports section of _USA Today_. I NEED that daily! I also use Jack Secret, John Irving, W.P. Kinsella, W.C. Fields, Skip G., Pedro Almodovar, Modigliani, Andre Kertesz, Sandy Koufax, Diego Giacometti (sorry, dreaming again) and obviously Woody Allen, M. Joe, B. Mink, sweaters by Loucas (just TELL me if this is going too FAR). Okay -- I also have some Fender Basses; that's equipment!! And one N. Young and Julian W. and some Steinbergers and Snidermans and... Oh...have I run out of time? But there's so much more...oh well...next time...Peace and save the planet! NEIL PEART ---------- Don't be fooled, these are NOT new drums. Nope, they're the same Ludwigs as last time, the ones that USED to be pinkish, only now they're a dark, plummy sort of purplish color. (Beautifully done by Paintworks). Cymbals are all by Avedis Zildjian, except for the Chinese Wuhans, and the brass-plated hardware is a hybrid of what-have-you: Ludwig, Tama, Pearl, Premier, and some custon-made bits from the Percussion Center in Fort Wayne. The gong bass drum comes from Tama, and the cowbells come from Guernsey & Holstein. Sticks are Promark 747, and heads -- always subject to change, just like human ones -- are some combination or other of Remo and Evans. I just keep changing my mind -- and my heads. Same with snare drums. That remains an open question, but I'm sure to using SOME combination of my old reliable Slingerland, a Solid Percussion piccolo, an old Camco, and/or a Ludwig 13" piccolo (cute little thing). The electronics are triggered by d-drum pads and Shark foot pedals, driving a Yamaha midi controller and an Akai S900 sampler. A KAT midi-marimba drives another Akai for all the keyboard percussion parts and various effects. You know, I was thinking about what my drum kit would look like if I had all the REAL instruments up there, rather than a box full of floppy disks and a couple of samplers. Picture a stage which contained (in addition to THAT little ol' drumset): temple blocks, orchestra bells, bell tree, glockenspiel, marimba, various African drums (including ones like 'djembe' that I don't even know what it LOOKS like), three tympani, a full symphony orchestra, a 'beeper,' a big gong, harp, synthesizer, congas, bongos, another timbale, castanets, voice-drums (recorded drum sounds vocalized by MOI) a big huge sheet of metal, jackhammer, wood block, claves, jingled coins, my old red Tama drumkit, and Count Basie and his band. Oh sure, it would LOOK great alright, but honestly -- where would I put all that stuff? And where would the other two guys stand? Yeah, you're right; I don't need those guys anyway. THRICE.TOLD: Thrice Told Tales by Neil Peart Well let me see. How can I possibly manage to write another history of Rush that's at all different from those many others by so many writers (including myself) who have told it before? Couldn't I think up some new and imaginative way of presenting those same old facts? Couldn't I bring a fresh and lively perspective to that tired old story? Ah...., no? Alright, alright. Here we go. (Ahem) It all began for the three of us in the summer of 1974. Or; it all began in the early fifties when we were born. Or; it all began in the late sixties when we began to get interested in music and playing in bands. Let's start there, shall we? (A phone rings in a house in the suburbs of North Toronto). "Hello?" "Hello, can I speak to Geddy please?" "Just a minute"... "Hello?" "Hi Geddy, it's Alex here!" "Oh, hi man, how's it going?" "Great, just great! Listen, ah, my band has a gig tonight at the coffee house, and I was wondering, like, if we could borrow your amp?" "Oh. Well, okay, I guess so. But be careful of it, okay?" "Oh yeah! Of course! Could we pick it up at about six-thirty?" "Sure. I'm not going anywhere." "Great, thanks a lot, eh! That's really nice of you." "Yeah, sure. See ya." "Okay, 'bye." (The same phone a few weeks later.) "Hello?" "Hello, can I speak to Geddy please?" "Just a minute"... "Hello?" "Hi Geddy, it's Alex here." "Oh, hi man. How's it going?" "Great, just great. Listen, ah, my band has a gig at the coffee house tonight, and I was wondering, like, if you could come and play bass?" "Sure, I'm not going anywhere." "Great! Pick you up about six-thirty?" "Yeah, okay. See you then." "Great! 'Bye!" So that's how the two of them got together. Now, I was just reading over a biography of the band that I did for our "A Farewell to Kings" concert program, and it covers all of this early history pretty well. Rather than try and improve on that, I think I'll just be lazy and quote a long passage from it. (Cheap, huh?) THE PAST-Rush came to be in a basement in suburban North Toronto during the first wave of progressive hard rock in the late sixties. This was the era of the Who, Cream, Jimi Hendrix, Jeff Beck, Led Zeppelin et cetera, and was the first truly free and creative period of popular music. This was to have a profound effect later on. The origin of the name is now uncertain, but it would seem to express a basic ingredient of the band even then; energy. It was Alex, Geddy and the original drummer John Rutsey, sometimes augmented by a temporary fourth on rhythm guitar or keyboards, but fundamentally always a trio. They would work in the endless succession of drop-in centres, parties, dances, high schools, hockey arenas, and finally bars, bars, and more bars, which can prove so frustrating to a young band in Canada, (usually spelling disaster in the form of a downward spiral towards security and a "real job".) (A brief aside) During this period yours truly was engaged in exactly the same endless succession with a variety of small-time bands around the Niagara Peninsula. I eventually took off to live in England for a year and a half when I was eighteen, playing in more small-time bands, and doing a bit of unglamourous session work. It was just as difficult there to get anywhere as it had been at home, so I returned the proverbial sadder-and-wiser man, only to find success unlooked-for in some band I'd never heard of from Toronto-but that's another story! (Back to the story) In early 1974, the first album, aptly and simply entitled "Rush", was recorded -- financed and independently released on Moon Records by the band's long-time manager Ray Danniels and his partner Vic Wilson. This had to be done because no record company in Canada would take them for free -- No Commercial Potential, you see! The sessions were late at night, often after gigs, and the extreme limitations of Time and Money were excruciating. The material was raw and immature, some of it in the band's repertoire for several years, and the production was a patch-up job, rescued at the last minute by the saving grace of Terry Brown (a.k.a. Broon), who remained our co-producer, Objective Ear, and fourth member in the studio right up to our "Signals" album. Still, a dream had been realized; there was an album! During that summer of 1974, many important things occurred which were to alter the whole concept of Rush before the year was out. A radio station in Cleveland began playing the album, resulting in the importation and sales of a few boxes of albums. There was interest. An American booking agency (ATI) began discussing the possibility of some American dates for the band, thereby triggering the interest of Mercury Records, who signed them to a lucrative long-term contract. There was an international release. Next Mercury and ATI got together and came up with a promotional tour which would cover much of the United States, and allow the band to play before many thousands of people. There was an American tour. Then suddenly, after a long period of fragile health and musical frustration, John announced that he was going to leave the band -- only weeks before the album was to be released, and the tour to commence. There was no drummer. It is at this point in the story that I cease to speak in the third person, and "they" becomes "we". I joined the band on Geddy's twenty-first birthday, June 29, 1974, with a scant two weeks remaining in which to assemble enough material to hit the road. Somehow we managed it, and played our very first show together in front of some 18,000 people, opening for Uriah Heep at the Pittsburg Civic Centre. This was the first night of an endless tour, the first of many to be spent on the concert stages of America and Canada, refining and developing our skill, and learning to live with a permanently packed suitcase, and a very brief, very occasional sojourn at home. During this time we were putting together much of the material which would form our first album together, pooling our creative resources, and exploring each other's aptitudes and personalities. Somehow I found myself writing many of the lyrics, (probably because neither Alex nor Geddy were very interested in doing it!), and it seemed to me that it would be fun. We were getting to know each other better, and the personal chemistry and unity of purpose began to develop, which has sustained and inspired us to this day. In January of 1975, we went into Toronto Sound to record the album "Fly By Night". We set many standards and directions for ourselves with this album, venturing into a broad thematic and dynamic range, concentrating on composition, musicianship, and more interesting arrangements. (Ambitous, what?) The album was very well received, earning us a gold record in Canada, very respectable sales in the U.S., as well as the "Juno" award for the most promising new group in Canada. These things helped to reinforce our belief in what we were trying to accomplish, and we became dedicated to achieving success without compromising our music, for we felt that it would be worthless on any other terms. Suddenly people began to take us seriously, or at least to recognize our existence -- (except for the radio programmers and the press, for if they had heard of us they were keeping it a closely-guarded secret!). We were still touring intensely, as it was the only means of being heard. (Also of course, we enjoyed it!) There are only two ways open to survival for a band in the music business. One is a quick capitalization on a manufactured or accidental "hit", the other is a slow steady climb accomplished by long hard touring. So we toured. And toured. In July of that year, we again entered the familiar otherworld of Toronto Sound, to record our third album, to be intitled "Caress of Steel". We went in serene and confident, and emerged with an album that we were tremendously proud of as a major step in our development. We felt that it featured a lot of dynamic variety and at least a bit of true originality. This was also the first album to display the artistic gifts of Hugh Syme, who has since been responsible for all of our covers. Unfortunately, many things conspired against us, and the album sold poorly. The ensuing tour was half-jokingly referred to as the "Down-the-Tubes Tour", and it was a pretty depressing string of small towns and small clubs, and a lot of unwelcome pressure from certain quarters about making our music more accessible and more "saleable". It was uncertain for a time whether we would fight or fall, but finally we got mad! We came back with a vengeance with "2112", certainly our most powerful and passionate album yet. We were talking about freedom from tryanny, and we meant it! This was the first real blend of our diverse and schizophrenic influences, and it was also our first really successful album. We felt at the time that we had achieved something that was really our own sound, and hopefully established ourselves as a definite entity. The side-long title piece itself became a featured part of our live shows, as much fun for us as for our audiences, and the trend was all upwards from that point on. "2112" was again recorded at Toronto Sound, during the cold winter of 1976. At last we had learned how to get our sound across on record, and how to strike the balance between what could do in the studio, and what we could reproduce on stage. "All the World's a Stage", our first double live album, was recorded in Toronto's venerable Massey Hall from three memorable shows on June 11, 12, and 13th. It is made up of our complete live show at the time, basically an anthology of the high points from the first four albums. To quote from the liner notes, "This album, to us, signifies the end of the beginning, a milestone to mark the close of chapter one, in the annals of Rush." Which brings us up to 1976 -- only seven more years to go! We may be here for awhile! This brings us to "A Farewell to Kings", an album which has many "firsts" associated with it. We recorded outside of Toronto for the first time, travelling to Rockfield Studios in the pastoral countryside of Wales. The mixing was done at Advision Studios in London. After the long hiatus which was made possible by the release of the live album, we were able to introduce many new sounds on this record, with Geddy moving onto keyboards, Alex to a greater variety of guitars, and myself into other areas of percussion "bells and whistles". This gave the album a very open and atmospheric feel, almost like a soundtrack, and took us into a greater instrumental emphasis in our work. This would certainly set the stage for the next series of albums. "Hemispheres" was once again recorded at Rockfield, with the mixing being done at Trident Studios this time, which was an historic studio in the heart of London's lurid Soho district and has since closed down. We went straight into the studio at the end of the ridiculously gruelling "Drive til You Die" tour, with none of the material prepared beforehand, and our minds already drained from a relentless several months of constant touring. The nature of the music was very ambitious and complicated, and the intense effort that it took to write, arrange, and play it perfectly in such a short time was very hard on us, leaving scars that I'm sure will never heal! We were learning the pitfalls of overwork. The hard way. But we learned our lesson! Oh, we still toured for the next eight months, but we stopped doing ten or fourteen consecutive shows with three hundred mile drives in between them! And we actually took six weeks off during that summer of 1979 before we made our next album "Permanent Waves". And, clever lads that we were getting to be, we set aside a month just to write the album, and even had a chance to play quite a few of the new songs live during a short tour prior to entering the studio. "The Semi-Tour of Some-of-the Hemispheres"; I've always liked that. We came back to Canada to record this time, to Le Studio in the beautiful Laurentain Mountains of Quebec. The background, the facilities, and the people combined to create a wonderful working environment, and of course we would return many times to this most productive and agreeable place. The songs were getting a little more concise for the most part, with "The Spirit of Radio" and "Free Will" giving us new standards of both style and substance. I have a lingering fondness for the two longer tracks, "Jacob's Ladder" and "Natural Science", perhaps because they were the definitive and last statements of their kind, but it was more exciting to see what we could accomplish in a tighter and more aggressive style of song. Which brings us to 1980, for heaven's sake! Time does fly. In the summer of that year, we began working on the material for "Moving Pictures". We followed the same pattern of the previous year; going up to northern Ontario for a month of writing, then a few warm-up shows and into the studio. Objectively speaking, I think I am justified in saying that this is probably our best album as a whole. It just seems to hang together really well, and it seems to me that the combination of the songs and the quality of the sound is a near-perfect marriage. (But that's just my opinion!) It is certainly true that songs like "Tom Sawyer", "Red Barchetta", and "YYZ" have become standards in our live show, and it seems as if a whole lot of experiments, ideas, developments, and techniques became consolidated into a unified whole on the record. We must have done something right! And then, it had been another one, two, three...yup-four studio albums, and a good time to record another live one. Once again "Exit...Stage Left" would represent what we felt to be the high-water marks of the previous studio albums, and again serves as an effective milestone to mark and measure our growth. This time the songs were recorded in different halls all over Canada and the U.K., over a period of about two years, and this gave us a wide variety of performances and different sounding halls to choose from. During the mixing of the live stuff, there was really not a lot for the three of us to do, other than to be there and offer our opinions when necessary, so we began to spend our time working on some new songs. We came up with "Subdivisions" at that time, as well as most of "Digital Man", and it was nice to be writing songs just for the fun of it, with no pressure whatever. The following March of 1982 found us sequestered in the frozen (very frozen!) North. Once again, it was our month of "Writing, Research and Development", and we would be working on some more material for our "Signals" album. Like "Caress of Steel" and "Hemispheres" before it, "Signals" would be a very experimental, transitional, and somewhat strange sort of record. Along with those records which consolidated a style, like "2112" or "Moving Pictures", it is also necessary for us to explore different areas, try out new styles, and generally enjoy ourselves musically. (At our fans' expense, you may cynically say, but ultimately to their benefit took, I am sure.) It is interesting to wonder where those experiments will lead us. Some of them we will respond to, and develop further, while others will be left behind and forgotten (at least by us!) As I write this, we are on the eve of beginning our traditional month of writing, working on material for an album which should be released early in 1984, (an ominous thought). At this point we know nothing whatever about that album. No title, no well-defined direction, no idea of style, nor substance - just a vague eagerness to get to work, and a determination to make this the really great record we keep trying to make. I'm sure we'll go on trying. So what else? Rush Archives - next time: Album Artwork, Caress of Steel Press Kit, Discography, & Equipment --Mike Owen ---------------------------------------------------------- Date: Mon, 10 Sep 90 09:33:37 hst From: Hinano Akaka Subject: Spirit of Radio, indeed!!! HEY, EVERYONE, GUESS WHAT?!!!!! AAAAAAAAAAAAAHHHHHHHHHHHHH!!!!!! I'M SO STOKED!!!!!!!!!!! One of the rock stations, 98 Rock, was having, and I STILL don't believe this, a "Boxed-set Weekend" with, yep, you guessed it, RUSH!!!! They were giving away "Chronicles" and the boxed set from Derek and the Dominoes, the Layla sessions!!! The deal was, if you heard a song by either RUSH or D & D, you had to call in, and if you were the ninth caller, you got BOTH sets. That isn't all, though! I was doing my homework on Saturday and I thought, "Well, maybe I'll listen to the radio." So, I turned it on, and heard something about a "Boxed set Weekend", and that some guy had already won a set. Then I thought, "Well, they probably won't be playing anything for the contest anytime soon." So I put on my Jethro Tull cd; but after awhile, I was curious to see if they were playing anything yet. So, I turned to the radio, and they were playing "Fly By Night"! I sat there wondering if I should bother to call in. Oh, what the heck! I grabbed the phone, and immediately realized that I had forgotten the number! Oh, brilliant! It would help to know the number!!! After frantically thinking about it, I remembered it, and punched up the number. Busy signal. Damn! Try again... Oh, for Pete's sake, a dumb recording... Should I? Yeah, what the heck... dial again. It's ringing... ah, man! I'm too late! Oh well, I tried... "Hello, 98 Rock." "Yeah, hi! I'm calling about the Boxed Set thing. Did I get it?" Did I get it? DID I GET IT? What kind of line is that? Geez let's not get our heads stuffed, shall we. But what else was I going to say? "Well, you're the ninth caller. You get both sets..." Or something to that effect. I almost dropped the phone, but managed to yell in the guys ear...poor thing, and I'd forgotten that they might be recording that. How embarassing...but I WON!!!!!!! I WON!!! After getting my name and number and address, he gave me the instructions. I was to go pick them up at the station, however, they would not be getting RUSH until Wed. (I almost laughed. How appropriate, considering the date...) and D & D until the 18th. Cool. No problem. I hung up and went into an immediate frenzy. I WON!!!!! I WON SOMETHING OF RUSH!!!!! YEEEAAAAAHHHHHH! I'm still on Cloud 9...talk about making one's weekend...ah! I also took the opportunity to see what RUSH songs they would play Not surprising--FBN, CTTH, and Freewill were all I got. Geez. At least they made a contest with RUSH in it!!!!!! That's enough to make anyone feel good! BTW, I came across an interview with Neil in mag called Hitmen. I'll type it up and send it to the Digest for all to read. It was done around the time of GUP and he gives a lot of info. about it, and a bunch of other stuff. It'll take me awhile, though, but I'll get it off eventually I have a request, would anyone be willing to make transcripts of the Rockline Interviews? We don't get that down here, I guess the radio stations are on the wrong network. Thanx. Oh, I saw Chronicles in the store today-I like the cover!!! Did Hugh Syme do the cover? It's great! I can't wait to get it, now! --the Spirit of Radio, indeed! Puanani Akaka P.S. The University has gotten a new computer system. They're switching to uhnix, so my address has changed. It is now: firstname.lastname@example.org WORQ: "but glittering prizes and endless compromises, shatter the illusion of integrity." (hope you feel better, rush-mgr!) ---------------------------------------------------------- From: email@example.com Date: 10 Sep 90 14:56 -0500 Subject: 24 of May Yesterday, Chris Bhagwan Fuzzy Normandeau wrote " In the song Lakeside Park on Caress of Steel there was a reference to "sit around on the 24th of May to watch the fireworks display..." or something like that. What would be on the 24th of May that would merit fireworks? I can't think of any holidays." The 24 of May is Victoria Day in some years. The holiday is like Easter in that it's not the same date every year. It's "celebrated" across Canada except in Quebec, of course. It's a holdover from the English Empire, so it's observed in England and the rest of the commonwealth. I find it ironic that a Quebecois (and a Canadian!) has never heard of this. -- Kerry Yackoboski The Scanning Tunneling Microscopy Laboratory in the Cellar U of Manitoba, Winnipeg, Canada ---------------------------------------------------------- Date: Mon, 10 Sep 90 16:35 EST From: Shane Faulkner Subject: Benefits/equipment Every tour Rush plays 2 shows at Maple Leaf Gardens in Toronto and donates all money from one of the shows to the United Way. As far as equipment goes, I think the best sound both Geddy and Alex ever achieved is on Exit...Stage Left. I Totally agree that Gedd's Wal has not enough bottom end. Another equipment change I Don't like is Gedd's switch from Moog Taurus to Midi pedals.... (ie listen to Midi pedals during guitar solo on Closer to the Heart on 'ASOH' video)... obvioulsy they are more versatile in that he can play any sound with his feet, but to me the Moog's sounded better. -Shane ---------------------------------------------------------- Date: 10 Sep 90 16:40 -0500 From: Kerry Yackoboski >From yackob Mon Sep 10 16:29:46 1990 From: yackob To: rush Subject: Rush's gear Date: Mon, 10 Sep 90 16:29:46 CDT Yesterday Kevin Tipple started a conversation about the band's equipment and asked about Geddy Lee's Fender Jazz Bass and wanted to know of instances where it appears in a song. Kevin, my (informed) hunch is that it appears pretty well every time you think you hear a Rickenbacker. It's certainly the J-Bass on YYZ; this was stated in International Musician & Recording World's interview at the time p/g was released. I don't have my notes here, but other likely songs are La Villa Strangiato, Vital Signs, Red Barchetta, Analog Kid, Subdivisions. I know he rarely played a J-Bass in concert, but I have my theories as to why that might be. It's easier to get a Ricky sound like Chris Squire's out of a J-Bass than a Rickenbacker; I have a stock J-Bass that naturally sounds like Geddy on the songs I mentioned, or like Chris Squire on "The Yes Album" or "Tales From Topographic Oceans". A friend had a Rick 4001 that sounded nothing like this - Squire's is heavily modified, and Geddy Lee's is somewhat modified. I think the Rick might be preferable to the J-Bass in concert because the Rick is more comfortable, and the J-Bass (at least mine) weighs somewhere over ten pounds. I don't know if you play, and this might not seem like a lot, but after two hours, after you're tired and you've started slouching, night after night, it can cause some real discomfort, or even serious problems a la Carol Kaye (?) , the LA studio bassist (did the Barney Miller theme) who was temporarily crippled. Kerry Yackoboski The Scanning Tunneling Microscopy Laboratory in the Cellar U of Manitoba, Winnipeg, Canada ---------------------------------------------------------- Date: 10 Sep 90 21:02:00 EST From: firstname.lastname@example.org Subject: RE: RUSH Fans Digest of 09/10/90 (#47) Hello again everyone! It is nice to be back to school and reading up on RUSH again. Just one quick question for all of you. I only got to see RUSH once summer because I was in New Orleans and they didn't come South all summer. What a bummer. I guess I will have to wait for another tour . . . In the meantime, can anyone give me any information about the band Freewill. From what I understand, they are a RUSH tribute band. I would be interested in seeing some live RUSH, even if it isn't the Boyz. Any tour dates/locations would be apprecited. Thanks, Glenn ORQ: "The men are free to run now, from labyrinths below" - RUSH ---------------------------------------------------------- Date: Tue, 11 Sep 90 00:21:33 EDT From: email@example.com (Peter John Chestna) Subject: ooops I would like to make a formal apology for my stupid comments in the last digest to Chris and to anyone else I offended with my off the cuff comments. I really wasn't thinking and probably put it a little better. I should have taken my head out of my you know what. I'm sure you can understand getting a little emotional about Rush, not that it is an excuse. The spirit of this newsletter is the best I've seen and I don't want to be responsible for screwing it up. Sorry. -Pete ---------------------------------------------------------- Date: Tue, 11 Sep 90 00:46:02 EDT From: firstname.lastname@example.org (Peter John Chestna) Subject: Lakeside Park The 24th of May is Canada's independance day if I'm not mistaken. When I went to see them in Toronto, I made a special trip to the infamous park. Not as easy to find as I thought, it's a very small park in a very small town. It was worth the trip because it was just as the song describes it. willows in the breeze, peirs and all. a really nice place but less than I had expected. I would recomend that anyone going by car to the Toronto area should stop by Lakeside and see the place. -Pete ---------------------------------------------------------- From: Adrian N Ogden Date: Tue, 11 Sep 90 12:10:15 BST Subject: Permanent Waves tour program transcribed P E R S O N A L W A V E S The story of an album by Neil Peart [ reproduced without permission ] On June the fourth 1979, the "Tour of the Hemispheres" was brought to a successful, but relieved close, at the Pink Pop Festival, in The Netherlands. After eight months of touring across Canada, the United States, Great Britain, and Western Europe, it is probably self-evident that we were all very glad to be returning home for our first summer vacation in about four years! One forgets what a stately and serene thing summer can be when subjected to the almost uninterrupted overcast skies which are native to South Wales, where our last two summers were spent. Out of one period of three weeks, two summers ago, the sun only shone for two days! We might get rid of our green suntans! This also marked the first time that we had ever taken time off prior to recording an album, our usual schedule consisting of tour, tour, tour, write-rehearse-record, and then perhaps a couple of brief weeks of Domestic Therapy in which to attempt to glue yourself back together before going on the road again. The advantages of a rest between touring and writing new songs are probably readily apparent to the discerning reader, and certainly proved themselves to us in the making of this record, however such a liberty had never before been economically possible for us. (Nor this time either, really). Such indulgence! It was one of those classic, golden days of mid-July, six relaxing and enjoyable weeks later, we all made our way northward, to a small town not far from Georgian Bay, where we were to begin writing and rehearsing some new material. The place was Lakewoods Farm, a rambling and comfortable old farm-house, somewhat modernized, surrounded by a hundred acres of farmland, including a barn containing many interesting and articulate cows, and fascinating fields of dynamic wheat! About a quarter of a mile distant from the house was a rough little cottage, set on a tiny jewel of a lake, which proved to be the perfect setting for a flow of lyric writing. I arrived in the afternoon to find Alex happily at work in the kitchen preparing his famous lasagna, as he is our willing and able chef at every possible occasion (even on the bus microwave!), and from the basement came the exploratory mewings of the long-awaited Interface, a device which would allow Geddy to trigger all of the voices in his Polyphonic synthesizer by depressing one pedal of his Taurus Bass Pedals. This would give a rich and readily attainable texture to add to our sound, and came in very useful indeed. As did Alex's cooking. So here we were, tanned, healthy, and well-rested, fair bursting with new ideas, and our gear crammed wall to wall in the basement. The first night we put together a giant hodge-podge of instrumental mish-mash, which we christened "Uncle Tounouse". It never became anything itself, but parts of it were plundered bit by bit to form quite a few other things. We soon settled into a schedule which both suited and served us well. After a huge breakfast from Alex, I would gather my things and walk down to the cottage, to spend the afternoon working on lyrics, while Alex and Geddy would descend to the basement to work on musical ideas. Within the first few days we had put together "The Spirit of Radio", "Freewill", and "Jacob's Ladder", the ideas flowing in such a smooth and painless way that it almost seemed too easy! The only complete lyrics I had brought with me were "Entre Nous", and neither Alex nor Geddy had brought more than a few incomplete ideas, just having clear and relaxed minds had made all this difference. I had also been working on making a song out of a medieval epic from King Arthur's time, called "Sir Gawain and the Green Knight". It was a real story written around the 14th century, and I was trying to transform it while retaining it's original form and style. Eventually it came to seem too awkwardly out of place with the other material we were working on, so we decided to shelve that project for the time being. (More on that later). One of the great feature attractions at Lakewoods Farm was Alex's radio-controlled aeroplane and it's dramatic succession of "horrible crashes", into the trees, the fields, the cows, and finally to meet it's end on a combination of chimney and roof. One day, four of us spent about four hours combing the waist-high fields in search of the out-of-control plane, and Alex would spend hours every day re-assembling the pieces with gallons of epoxy, styrofoam cups elastic bands, toothpicks, bits of plastic etc. Most entertaining! These two idyllic weeks in the country were soon over, however, and it was time for the next step, into the Demo studio. We moved into a small studio in North Toronto called the Sound Kitchen, where we would be able to record the songs in a rough fashion, to hear what they really sounded like, and if they were any good or not! (All recording at the farm had been handled by the Slider JVC mobile unit, leaving him without a cassette player!) Also we had to prepare ourselves for an upcoming series of dates, which were to hone ourselves into razor-sharp precision prior to entering the studio proper. We spent our time here refining and rehearsing the arrangements, again aided and edited by the keen perception and critical appraisal of the omniscient Broon, our beloved and belaboured co-producer. We also were to spend the last few days putting together a stage presentation, and polishing up our older material. This we now did. During this "Semi-tour of Some of the Hemispheres", we were able to play "The Spirit of Radio", "Freewill", and "Jacob's Ladder" during our soundcheck every day, and the former two we had worked into the new show. This marked another significant historical first, the first time any amount of new material had been performed live prior to being recorded. The last song to receive this valuable advantage had been "Xanadu", and before that I think you'd have to go way back to the "Fly by Night" album to find any other examples of that phenomenon. Although it was only a three and a half week tour, we did cover most of the area of the United States, along with two shows each in Canada and England, and by it's end we and the songs were certainly ready for the Main Event: Le Studio. Le Studio is a wonderful place, nestled in a valley of the Laurentian Mountains about sixty miles north of Montreal. It is situated on 250 acres of hilly, wooded land, surrounding a private lake. At one end of the lake is the studio, with the luxurious and comfortable guest house situated at the other, about a mile away. We commuted by bicycle, rowboat, on foot, or in laziness or bad weather, by car. We arrived in the full, ripe glory of autumn, and were there through a genuine Indian Summer, and we heralded the coming of snow and winter, all in our four week stay! The recording facilities are, of course, nothing les than excellent in every way. The room itself features one whole wall of glass, overlooking a spectacular view of the lake and the mountains. This is in direct contrast to most studios, which are more in the way of being isolated, timeless vaults, which in that respect of course, are not necessarily bad. Here, though, we worked in the light of the sun, and one could watch the changing seasons in idle moments, rather than a dimly lit, smoky view of musical and electronic hardware. Our engineer, Paul Northfield, soon proved himself to be a helpful, capable, and congenial member of the project, as did all of the excellent people who were employed there. I don't think we have ever been so well treated anywhere. Alex's place in the kitchen was taken over by the wondrous Andre, who would bring the most amazing French food to the house, or we could alternate by going on an "outing" to his restaurant, "La Barratte", which was in a nearby town. Suffice to say that we were well fed as well! The great contributions put forth by Daisy, Mr. Broon's little cocker spaniel must also be acknowledged. She was with us for the whole session, and her state-of-the-art sleeping and running around were an inspiration to us all! We began our great labours by working on the individual sounds of the instruments. This consists of the musician banging away at his particular object, while the engineering types experiment with different microphones, mic positionings, and their own arcane world of knob-twiddling, faders, echoes, equalization, etc., refining the sound to a true and/or pleasing reproduction of the original. Once this has been accomplished, the three of us will play together, probably going over the song we plan to record first, and considerably more work is put into the sounds, to make them sit together properly. By about the second day these complexities have been resolved to everyone's satisfaction, and work begins on the "basic track", or "bed track", or "rhythm track", take your pick! This is accomplished by the three of us performing the song, pretty much as we usually would, except that things such as vocals, acoustic guitars, lead guitar, synthesizers, and percussion are omitted. The reason for this is that better separation, and more control over the eventual balance and quality of sound, is possible when these lead parts, or embellishments, are recorded separately, once a good rhythm track has been captured. Now we will be playing the song again and again until the best performance, both in it's execution and it's overall "feel", has been put onto the master tape. Here is where our preparation really proved it's value, as we were able to record basic tracks for "The Spirit of Radio", "Freewill", "Jacob's Ladder", and "Entre Nous" in an amazingly short time, as well as arrange and record the previously unrehearsed "Different Strings", which we had been saving for the studio as a sort of production number. There was still a gaping hole in our plans, however, for with the departure of "Gawain" we had left ourselves nothing with which to replace him! So..., at this juncture we parted ways, Alex, Geddy, Terry, and Paul to begin work on some of the overdubs, while I would be imprisoned in my room until I could emerge glowing triumphantly, clutching some wonder of spontaneous genious to my knotted and sweated brow!! - mere fantasy I fear. Did I perhaps have a title? Ah, no. Did I have a few strong ideas lying around? Well, no. Did I have any ideas at all? Well, maybe, but not exactly. And for two days I stared in frustration and growing unease at blank sheets of paper, and questioning eyes. There is no doubt that working under pressure can be very rewarding, as we have found many times in the studio. It seems as if the creative mind slips into a burst of overdrive, allowing a brief, exhausting, but productive surge in the creative process. On the third day of my confinement this phenomenon arrived at last, and something new began to take shape. It was the product of a whole host of unconnected experiences, books, images, thoughts, feelings, observations, and confirmed principles, that somehow took the form of "Natural Science". At any rate, there it was, I liked it, and the others liked it too, so we began another brainstorming session to set the monster to music. It was at this point in out story when the visitors arrived, in the person of Fin Costello, our effervescent and ever-ready Irish photographer, and our equally manic art director, Hugh Syme. This would be the first time that we had ever been photographed while working in the studio, but we have maintained such a long and amicable relationship with these two characters, that there was little self-consciousness on our part. We just carried on working, while Fin went to work at capturing the moments you will see on the cover of the record. There was, of course, much silliness, as when Hugh led the band in an insane and endless version of "Ruff and Reddy", (!), but we somehow found time to utilize Hugh's piano artistry, on "Different Strings", which sounds very good indeed, doesn't it? (You're welcome, Hugh) To digress for a moment on the subject of the cover, planning and organizing had been going on in the background for the last couple of weeks. The album still had not received a title right up to the time when we were ready to record, every time we came up with something it seemed to be already taken. Even when we did settle on the one, it immediately popped up all over the place too, but by now it was too late, as the artwork was already in progress, and we knew it to have been an original idea, if not the only one. Hugh is the main person involved in putting the cover together, but we also contribute to the general layout, compiling the credits, choosing the photos, correcting and submitting the lyrics, and arguing about all of the things that we want and the record companies don't. There are always the inevitable last minute crises, such as the Chicago Daily Tribune being still so embarrassed about their "Dewey defeats Truman" error of more than thirty years ago, that they actually refused to let us use it on the cover! These things are sent to try us! Meanwhile, back in Le Studio, "Natural Science" was becoming a song, forged from some bits from "Gawain", some instrumental ideas that were still unused, and some parts newly-written. This is where we used up some of the time that we had gained earlier, as we had to work a lot on refining and rehearsing something as new and complex as this had grown to be. We were about halfway through our time there, and ready to move into the "Overdub Mode". Mention must now be made of the great game of volleyball. At dinnertime, and after the sessions at night, it was our great pleasure to play intensely athletic and competitive volleyball. One of a few games played in the pouring rain starred the members of Max Webster and their crew, while other games would continue despite mud-mires or blinding snow. One particularly warm night kept us playing until six o'clock in the morning! The studio's video camera also proved to be an interesting source of entertainment, one notable evening when created the "The Jack Secret Show", a half hour talk show starring Jack, Punjabi, and many other famous and interesting guests! Frivolities aside, the work continued as we plowed through a mountain of overdubs. Alex and I splashed oars in the lake with shivering hands to record the "Tide Pool" effects, voices and guitar sounds were sent out over the lake to make use of it's natural echo, the tympani was recorded outdoors, guitar amps were strung all over the building to take advantage of as many different sounds as possible. The parade of guitars, synthesizers, vocals, percussion, and experiments went on, and the days wore away. But... we finished early! We had about three days at the end to spare, in which we could make some rough mixes of the songs to take home and listen to before the real mixing began. As straightforward and logical as this again must sound, it was the first time that such a thing had ever happened. In the past we had always had to begin mixing the day after the recording was finished, giving no opportunity to get away from the material, and return to it with a fresh, objective ear. One week later, the four of us flew across to England to begin the two weeks of our sojourn at Trident, which is buried in the small streets and lurid night-life of the Soho district of London. This would be the final stage in the album's history, the mixdown. I think that it is quite an obscure thing to many people, just what is done here, so I'll take a moment to try and clarify it. The album is actually complete at this point, at least in terms of content, but there are a myriad of small adjustments, individual sounds can be shaped slightly differently, relative balances can be altered, echoes or other effects can be added to certain sounds to make them more interesting or to punctuate them, and the overall sound is made adaptable to different listening conditions or equipment. Here once again, Alex moves into the kitchen, as Trident is so completely equipped as to possess one, and proceeds to regale us yet again with a series of delicious meals. This is also the point at which Mr. Broon really comes into his own. Taking over the engineering himself, the console becomes an instrument, as he and his capable assistants orchestrate the faders and switches. The gods once again rule in our favour, and we work ahead of schedule, our two weeks at Trident speeding pleasantly by. Soon it is time for that most satisfying and enjoyable of ceremonies, the Final Playback. This is the climax of the whole project for us, the time when we stop working on the album, and just listen to it. A few friends are invited, a goodly amount of Champagne is consumed, and a relaxed and twisted time is had by all. This is the moment for which all that has gone before becomes fair value; all has been worth it. The moment when you sit back and think to yourself: "It is good". We hope you agree. Neil Peart I recently became the proud owner of a new set of Tama drums, once again with the inner side of the wooden shells coated with the Vibra-Fibing treatment. Along with the custom finish and the brass-plated metal hardware, this operation was performed by the Percussion centre of Fort Wayne, Indiana. The sizes of the drums remain unchanged, consisting of two 24" bass drums, 6", 8", 10" and 12" concert toms, 12", 13" 15" and 18" closed toms, and a 5 1/2 x 14" wooden snare drum. I probably need hardly add that both on the road, and most especially on this newest record, I am very pleased with the combination of the thick, wooden shells, and the dependable, modern hardware. All my cymbals are still by Avedis Zildjian, with the exception of one 18" chinese cymbal. They are a 6" and 8" splash, two 16", one 18", and one 20" crash cymbals, a 22" ride, a pair of 13" high-hats, an 18" pang, and a 20" China type. Digging into the toy box we find the usual assortment of effects, including timbales, melodic cowbells, orchestra bells, wind chimes, tubular bells, bell tree, tympani, temple blocks, triangle, gong, and crotales. On my snare and bass drums I use Remo black-dot heads, Ludwig silver-dots on the concert toms, and Evans Looking Glass (top) and Blue Hydraulic (bottom) on the other toms. Ludwig Speed King Pedals and Tama hardware complete the set- up. My drumsticks are still Pro-Mark 747's with the varnish removed from the gripping area. Geddy Lee My guitars are: two Rickenbacker 4001 basses, one Rickenbacker 4002 bass, one custom-modified Fender Precision, one Fender Jazz Bass, and one Rickenbacker custom double-neck, which incorporates a 4001 bass with a twelve- string guitar. All basses are equipped with Badass bridges and Roto-Sound strings, and a Roland chorus is used on the guitar. My amps are two BGW 750-B's, running through two Ashley pre-amps, into two Thiele-design 2 x 15 cabinets, and two Ampeg V4B 2 x 15 cabinets. All cabinets are fitted with JBL K140 speakers, and I also use a Fender Twin Reverb amp for guitar. My synthesizer set-up has grown to: Mini-Moog, Oberheim polyphonic, OB-1, an Oberheim digital sequencer, a Roland Space Echo, and Moog Taurus Pedals, which are also interfaced with the Oberheim polyphonic. Alex Lifeson My guitars are one each Gibson ES335, Gibson ES355, Gibson Les Paul Standard, Gibson Custom Double-Neck, custom built Pyramid, Fender Stratocaster, Roland Guitar Synthesizer, Gibson Dove, Gibson J-55, Gibson B-45-12, Gibson C-60 classical, and a Ramirez Classical. I also play a set of Moog Taurus Pedals. My amplifiers are three Hiwatt 100's spread over four 4 x 12 cabinets and one Leslie cabinet, with one spare amplifier and two spare cabinets. A Fender Twin Reverb with JBL's is also used. My effects are: three Roland 301 Space Echo's, one Roland Chorus, an Electric Mistress, a Morley volume pedal, a Cry Baby wah-wah, a Maestro parametric filter, Ashley pre-amps and parametrics for the acoustic guitars, and a custom built effects board designed by L.B., and built by Steele-Power Supply. --------------------------- << Adrian Ogden _ . _ _ _ . _ _ _ _ . . email@example.com >> ---------------------------------------------------------- To submit material to the Rush mailing list, send mail to: firstname.lastname@example.org For administrative matters (additions, deletions & changes), send mail to: email@example.com The contents of the Rush Fans Digest are solely the opinions and comments of the individual authors, and do not necessarily reflect the opinions of the management. List Management ******************************** End of RUSH Fans Digest ********************************
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