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Subject: 02/21/91 - The National Midnight Star #176

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          The National Midnight Star, Number 176

                Thursday, 21 February 1991
Today's Topics:
                  Them Religious people
               Re: Rush and Sinead O'Connor
           The Pass analysis, Hemis-hiss, etc.
                      Band-Bash '91
                      Hiss?  Nah...
                       Opening Acts
             Christ, that's enough!, Deja Vu
                How to eliminate Geddy Lee
     Re:  02/20/91 - The National Midnight Star #175
                  Listening and Mr. Galt

Subject: Administrivia
Date: Wed, 20 Feb 91 17:09:00 EST
From: RUSH Fans Digest Manager 

In case anybody's interested, the Rush mailing list has now
topped 700 members; at last count we have about 705, give or
take one.  This number may be low, due to the several re-
distribution points out there.  I never imagined when this
started there would be *half* this many people!  Thanks for
making this a success, people!

Also, I've modified the tail of the digest once again; this time
I've eliminated the 'nasty threat' part, and kept just the copy-
right notice.  That should be enough; I'll still have the Privacy
Act to fall back on if someone else messes with the distribution.



Date: Wed, 20 Feb 91 10:57:32 mst
From: wicat! (John J. Mendenhall)
Subject: Them Religious people


There has been lots of talk lately regarding "The Pass". It
seems that every now and then some religious topic comes up,
wether it be satanism, backmasking, or whatever (personally
I feel that those Bible thumping backmasking doomsayers are
full of a lot of hot air - and a lot of other stuff). Well
I would like to submit a question to the list: Are there
any religious people out there (Christians, satan worshippers,
Jews, Buddists, or whatever) who have been influenced by
anything having to do with RUSH?

I'll start with a story. I belong to, what most people would
consider, a highly conservative Christian religion. I
remember two occasions, many years ago, when RUSH lyrics
were quoted in the sermon ("Freewill" & "Something for
Nothing"). The lyrics were not put down or torn apart, but
used by the speaker to emphasize the "Christian" theme
of his talk. (Actually is was two different speakers, but
my dang mailer won't let me edit text). Anyway, the sermons
went fine both times. Now are there any other readers on
the list who can see Christian values in RUSH's material?


John Mendenhall


Date: Wed, 20 Feb 91 13:27:25 EST
From: (Barry A. Warsaw)
Subject: Re: Rush and Sinead O'Connor

>>>>> On Tue, 19 Feb 1991 11:43:11 PST, said:

	Cheryl> I realize that Rush and Sinead O'Connor don't have much in
	Cheryl> common, but do we have to bash someone to make Rush look
	Cheryl> good?

Here, here, Cheryl!  I fully agree with you on the tolerance point,
but I think Sinead and Rush have a lot more in common than it might
appear at first glance. I'll try to make this brief since its perhaps
only tangentially related to Rush.

Anybody else catch Sinead on Arsenio 1/19/91?  Now, I happen to like
her music -- she's got an amazing voice (IMHO), and she's been getting
lots of undeserved bashing (again IMHO) for her decision to pull out
of the Glammies, but she got on Arsenio last night and, I think, very
intellegently explained her opinions about the whole affair. What I
see her having in common with Rush is the desire not to compromise who
they are and what they stand for, just to enjoy "success", whatever
*that* means (and ironically, enjoying success despite that -- or
maybe partially *because* of that).  Certainly, I think, we'll all
agree that Rush displays a certain unique sense of integrity in that
they do the kind of music that they want to do, and they "say" what
they want to say.  I think Sinead maintains the same integrity, even
understanding that her stance could ruin her career -- because the
people in control of the music industry do not want to hear (and don't
want *us* to hear), her version of the truth.

Sure their music is significantly different, but I think they are not
so different philosophically.  Interestingly enough, my respect for
Arsenio also went up a few notches after watching the interview. Even
though I think he disagreed with some of Sinead's opinions, he still
treated her with lots of respect and warmth.  Good to see.


P.S. Sinead's performance on Arsenio was amazing.


Date: Wed, 20 Feb 91 10:28:22 PST
From: donehoo@olivee.ATC.Olivetti.Com (Doyle W. Donehoo)

I said:
>...cut loose Peart more as in previous (before PRESTO) recent LP's.

Lance says
>>...but I am a drummer and that's the main aspect of Rush's albums
>>that I felt was becomming more and more simplistic (as for the other
>>aspects, I can't say for sure.

I think the opposite is true.

>>...disappointment with the (in some aspects)
>>decline in complexity....

Perhaps you are mistaking a more hard-driving approach with power-fills
for complexity??

As a part time musician (having just completed my first LP <=plug)
and one-man-band, I have spent considerable time dissecting Pearts
more imaginative, devious, convoluted, tortured, and brilliant
drumming as a means of teaching myself to be an "electronic drummer".
(I also spent alot of time studying Bruford and some others.) Personally,
what drives Rush music for me is Peart, and the songs as compositions.
And these days, rhythm is king (to the detriment of composition), and
one needs to make a strong rhythmic statement in ones composition.
No skin off me: I like strong rhythms: I just don't feel you have to
sacrifice the composition in the process. (See RUSH :-)

Anyway, I think the three previous LPs prior to Presto featured some
of Pearts most demanding, complex, and imaginative drumming that
provided me with hours of enjoyable analysis of "how the heck did he
do THAT?" and other wowsers. PRESTO, on the other hand, was so simplistic,
there was little that inspired me to sit down and figure parts out that I
thought were new or interesting. I think PRESTO was a purely compositional
piece without the normally strong Neil musical statement. Neil seemed
vastly competent and enjoyable, but not particularly inspired. That may
just of been the approach to their more rounded compositional approach.
I liked the LP, but like I said, I hope they cut Peart loose to go wild
on the next LP.

>>Until PRESTO! Fantastic! My first opinion was "He's gone back to
>>the older style

Yes, possibly true: more basic, 4/4 feel, simplistic, driving.

>>and complexity!"

In no way!! Neil himself says his approach for PRESTO was more basic,
simplistic, and restrained.

>>Jazz???  Nah.

Perhaps in previous LPs...
As an experiment, go listen to, say, Power Windows, and listen ONLY
to the drumming. Block everything out except drums, and just listen...

>>From: (Lance Neustaeter)


Date:    Wed, 20 Feb 91 16:07 EST
From: "'Prime Mover'" 
Subject: The Pass analysis, Hemis-hiss, etc.

Hello, fellow Rushians...

After a long hiatus of *no* account priviliges on PSUVM after my account
expires, I am now back on the waves of Internet on another's account.
Ah well, such is life...

I got my first issue of TNMS for the new year and found it, as always,
interesting.  I would first like to comment on the analyses of "The Pass."

The first time I heard "The Pass," the phrase "Christ, what have you done?"
sturck me as a little weird, since, as was mentioned earlier, Peart has
traditionally stayed away from religious messages.  At first I thought it
was merely used for emphasis.

After reading the lyrics through a few times, though, I came to believe that
Peart may indeed be making an anti-religious statement.  Look at the line
before the line in question: "Nothing noble in your fate."  IMHO, Peart is
decrying religion, which has always told its followers that they are doomed
to failure/damnation/etc.  (No question as to my religious stance, eh?) I
really don't think Peart was using "Christ" as an emphatic; he's never done it
before.  I think he was trying to get the message across that belief in Christ
(fill in the blank for your religion of choice) dooms one to an ignoble fate,
or, rather, the _belief_ that one has an ignoble fate.  I guess I think this
because Neil and I have read many of the same books (read: "Ayn Rand"); perhaps
as a consequence of this reading my views are a bit stilted.

Secondly, I wanted to briefly comment on the Hemispheres CD-hiss issue.
My copy of Hemi. is a piece of crap.  The sound quality is very poor and
many of the quiet parts are horribly noisy. I usually have to set the EQ
very low to get rid of that hissing.  With any luck, maybe Atlantic will buy
the rights to all Rush recordings and re-release them after remastering and
adding decent liner notes for the earlier albums (Rush to 2112), which
now are crappy little one-sheet deals, except 2112, which isn't much better.
Dream on...

One more thing.  Anyone going to the Yes concert in Philadelphia on April 16?
Let me know... maybe we can meet up.

Rushically yours,

Michael L. Sensor (, now accessing
Terra Incognita, Pennsylconsin


Date: Wed, 20 Feb 91 17:17 EDT
Subject: Band-Bash '91

	I was listening to "Superconductor" today, and it occurred to me that
Rush is _seemingly_ guilty of the crimes we have been accusing other bands
(i.e. Red Kross, etc.)-  Bashing each other's motives and methods behind the
production of records.
	The lyrics of "Superconductor" are a _very_ clever criticism of today's
Pop music, and they seem to bash all of the bands that make a tune that anyone
can dance to easily.  "that you can dance to . . ."

	What does anyone think about this?  Does anyone see Neil/Rush as
writing this to "bash" today's musicians (if that's what they really are)
(any group or person in specific?) did Neil/Rush just want to point out the
 fact?  Send me Email if you have any feelings on this subjet and I'll post
results in an upcoming NMS.

Ian Bjorhovde
			University of Pittsburgh


From: Jonathan Sturges 
Date: Wed, 20 Feb 91 19:23:23 EST
Subject: Hiss?  Nah...

     I just wanted to throw in my thoughts on hiss on Rush discs...
I listened to MP (trying to hear the analog tape hiss someone said was
there), but heard nothing.  Maybe the disc you were listening to was one of
the AAD ones?  Mine is ADD, and I couldn't hear anything noticable.  In fact,
I think it's a very clear sounding disc.  Of course, I might have a warped
perspective of what is bad: if ya wanna hear REAL bad, try listening to almost
any Led Zeppelin disc!!  (There is some AWFUL noises in The Ocean [Houses of
the Holy], for example).
     My Rush collection is small (4 CDs out of 111 total), but all their
analog stuff seems to sound clean when put on disc...

                  - Rugrat


Date: Wed, 20 Feb 1991 17:37 MST
From: KAY_E@CUBLDR.Colorado.EDU
Subject: Opening Acts

While catching up on some old NMS issues the topic of
opening bands came up. I can remember rumors about Rush
opening for Uriah Heap and then vice-versa a few years
later. On a more factual note, I did see a band called
"Wireless" open for Rush in Denver in the early '80s.
This could be the susspected Canadian band another NMS
reader mentioned.

                          One Happy NMS reader-  Eric Kay


Date: Wed, 20 Feb 1991 22:53 EST
Subject: Christ, that's enough!, Deja Vu

  I think it's about time that the argument about the use of Christ in
"The Pass" be dropped. Everyone here is a Rush fan. Everyone here is entitled
to there own opinion. Everyone should stop trying to force (yes, by the way
some of you word your arguments you are forcing) your OPINIONS on other
people. Everyone here is a Rush fan. So, everyone should stick together, and
not try to flame everyone else. (I'm surprised that the rush-mgr still puts
these posts in the NMS). 'Nuff said.
  Awhile back someone mentioned seeing the PW room in the window on the
picture inside HYF. I have also just read that the Tai Shan restaurant has
a clock above it set to 9:12 pm (it's dark out). This is the same 21:12
on a 24-hr clock. I also read that Neil's watch (presumably from the Presto
album) is also set to 9:12. Has anyone noticed any other instances of
allusions to other albums? (The 2112 references were found in TNMS #1 for
those intrested). Are there any instances in the videos on the big screen,
or on the video collection tapes (Camera Eye & Chronicles)? If anyone is
intrested in this, send me your observations and I'll compile them and post
them latter. Send to .

[ Before anyone does this, why don't you check the FAQL (latest copy is in
  issue # 154); there is a question in there which reads "How many Rush
  symbols are there in the _Hold Your Fire_ inside photo?"      :rush-mgr ]

"Different eyes see different things,
 Different hearts beat on different strings"
                        --You know who (otherwise your on the wrong list!)


Date: Wed, 20 Feb 91 22:32:20 MST
From: kellerl@holst.CS.ColoState.Edu (laura s keller)

Subject: Things, things and more things...

Hello All,
	I just wanted to put in my ideas about a few things..
First off, I was looking at the La Villa Strangiato lyrics from Exit...
Stage Left, I would guess that these were said in French? But what exactly
does the poem mean? I have the translation but what exactly is it talking about?
Also I heard a rumor awhile back abour Neil doing some sci-fi and fiction
story writing and getting them published. Anybody else hear about this and
if it's true where might the books be?
	Some people say that Neil has gone down hill on Presto. I would have
to differ greatly on this. I think Neil is being incredibly restrained. You
can tell he wants to just go at it, but the songs and the ideas therein
would not allow it. As far as I'm concerned with each new album hegets
exceedingly better. I personally think Hold Your Fire would be the best
album for his drumming thus far. Songs such as High Water and The Mission
are fine examples.
	As was said about Rush always getting real bad press and nothing
positive being said about them, I remember reading in a review of Presto
in some magazine, like People or some such raggy thing, that basically
stated that Neil was trying to be clever beyond his means and ends up
making a mess of words. Also Geddy was "The whitest sounding man in America"
I have no idea why the press attacks the guys so badly and never gives
them any credit or parise. Why so hostile? I personally feel that if you
can get 17 albums put together and remain on the music scene for some 15
years and have the following they do, that you must be doing something
	Also I hate to be incredibly rude, but could we drop the
interpretations of "The Pass?" I think everything that can be said about it
has been said and we are repeating ourselves and getting redundant. I feel
that whatever you feel it says is fine and if it has more than one meaning
Neil would be happier than hell, but let's not ruin the song by beating
it to death...

Well that's it for me, I would just like to say that finding this magazine
has just made my year!!



From: (Jonathan L. Orwant)
Date: Thu, 21 Feb 91 02:06:08 EST
Subject: How to eliminate Geddy Lee

I bet I have your attention now.  Try a simple modification to your stereo
that drastically affects the way many songs, espec. Rush songs, sound.
Twist or tie your two ground (black) speaker wires together instead of
having them receive input from the amp.  Each speaker then gets the difference
of the right and left tracks.

Since Geddy's singing is (usually) mixed equally left and right, doing this
modification eliminates his singing.  To restore his singing, simply crank
the balance knob all the way to the left or right.

Rush does weird things with their mixing; once in a while (listening to
Moving Pictures now) his voice will blast through, or the drums will fade...

Caveat: I've only tried this with a bit of HYF and MP.  I plan to
leave my stereo like this for a few days and then switch back.



Date: Wed, 20 Feb 91 23:27:58 PST
From: (Old Tom Bombadil)
Subject: Re:  02/20/91 - The National Midnight Star #175  writes:

>"I swear- by my life, and love of it- that I will never live for the
> sake of another man, nor ask another man to live for mine."
>    - John Galt
>    (I haven't read this, but it sure sounds like something Howard
>    Roark from "The Fountainhead" would say, too...did Ayn Rand just
>    have one plot for all her books?)

No, she simply has one theme:  Freedom.

ORQ:  Live life for yourself, there's no one else more worth living for.

Matthew Deter    |  |  Taxes are not levied for
UC Santa Barbara |  6600mld@ucsbuxa.bitnet    |  the benefit of the taxed.


Date: Thu, 21 Feb 91 07:28:25 -0800
From: wbarry@cory.Berkeley.EDU (Bill Barry)
Subject: Listening and Mr. Galt

Good day all!

Here's a topic that was brought up a long time ago that
did not recieve much feedback. The question was, "How often
do we listen to Rush every day?" For me, it is about 2 hours a day.
It is not that I am some rabid fanatic, but it's just the fact
that I really like music, in general. Fortunately, or unfortunately,
Rush has been the only band that I have come across that plays music I
can listen to more than five times without becoming sick of it. Everytime
I put in a tape, or cd, I ask myself, "Is this what you really want to hear?"
The answer, of course, is "YES!" So I think it would be informative to know
if there are others out there as bad, or good, as me!

Also, Cheryl from Xerox asks the question about this quote
from Mr. Galt:

"I swear - by my life, and love of it, that I shall never live for
the sake of another man, nor ask another man to live for mine."

Yes this does sound like Howard Roark. I am a little more than half
way through The Fountainhead right now, and I must say that it is good.
But Atlas Shrugged, where the quote comes from, is a lot better. There are
about 8 or 9 characters in Atlas Shrugged that are like Howard Roark. I think
that this shows the style of Ayn Rand's hero.

"Live for yourself
 There's no one else
 More with living for.
 Begging hands and
 Bleeding hearts
 Will only cry out for more"

Until later ...

Bill Barry


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Copyright The Rush Fans Mailing List, 1991.

Editor, The National Midnight Star
(Rush Fans Mailing List)

End of The National Midnight Star Number 176

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