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Subject: 04/12/91 - The National Midnight Star #212

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          The National Midnight Star, Number 212

                  Friday, 12 April 1991
Today's Topics:
                    The BEST drummer?
                       Jack Secret
             THose things on Ged's keyboards
                Stick flipping in Concert
                     Boris & Natasha
      Re: 04/11/91 - The National Midnight Star #210
      Re: 04/11/91 - The National Midnight Star #210
                  rock, scissors, paper
                      alex's guitars
      Re: 04/11/91 - The National Midnight Star #210
               Excluded on the discography
          1st Post/Dante & Music of the Spheres
               Presto: Scissors, Paper, Stone
                   Fly in the Night CD
               new album - post production
                Re:  TNMS #210: Tablature
              Guitar parts/Distribution/etc.
              The guitar comes out of closet
                      Neil's Playing
                  Geddy's dolls in ASOH
              Nathan Centofani's FM question
               "Seeing Red", 2112, Strokes
                Rush on radio, Queensryche
                       Presto hands
                     Neil's drumming

Subject: Administrivia
Date: Fri, 12 Apr 91 11:32:10 EDT
From: Editor, The National Midnight Star 

Since the discography is is a fairly stable form now (with a few
exceptions), yesterday's posting will be the last mass-mailing for
it.  It is available via ftp as Digest.211.Z in the "rush/digest" dir,
and also as the first entry in the "rush/special" directory.  As things
start to be removed from the regular digest archive directory, the
special posts in certain digests will be extracted and moved to the
special directory.

>From now on, when I receive a new version from Dave D., I'll just post
an announcement of it's availability here in the administrivia section
of the NMS, and will make new copies available in the special directory
and also via the server at Ingr.  (Yes, Keith, I'll send you a copy.)

I am also considering this course of action for the FAQL, which is now
greater than 60K worth of material.  Exceeding this 60K limit makes it
impossible for some list members to receive the whole file, as their
systems limit incoming mail to 60K per item.  (There are at least two
of these out there.)  I'll think about this further (and discuss with
you, Dan); stay tuned here for new developments.

Lastly, due to a small snafu, the special edition (discography) sent out
yesterday was numbered a bit confusingly.  The correct digest number for
that was 211, which was accurately reflected in the subject and in the
tail section, but incorrect in the title between the banner and the date.
Sorry 'bout that; hopefully the next one will be edited better...



Date: Thu, 11 Apr 91 08:31:29 -0500
From: letni!! (Tom Heruska)
Subject: The BEST drummer?

In response to Mike's post on Neil:
>As if it needed to be said - Neil Peart is the BEST drummer in the business.
>Period...  (Don't come crying to me "But what about Greg Bissonette?  Or
>maybe Alex Acuna?"  I don't want to hear it!!  Phil WHO?)  Has everybody
>caught a glimpse of the light reflecting off his drum heads after a show?
>Notice how all the stick marks fall into neat little circular areas in the
>center of the head on each drum.  Let's talk about PRECISION now!  Has
>anybody ever heard Neil hit a rim by accident?  I didn't think so...

I hope you're kidding here.  I love Neil and have been a fan of his
for over 10 years, but there are MANY drummers who could clean his
clock.  I'm sure he would agree.  Don't get me wrong, I think Neil is
an excellent drummer when compared to most drummers.  It's just that
there are so many drummers better than him that saying he is "the
BEST in the business.  Period . . ." is a little silly.  If you REALLY
believe this, I suggest you check out I guy named Dave Weckl.

Flame if you must.  I'm sure I'm not alone on this one.

- Tom


Subject: Jack Secret
Date: Thu, 11 Apr 91 17:09:43 EDT

hi folks,

	A little chat about Jack Secret.  We all know that a "Jack
Secret" is anyone who switches disks or loads sounds for Ged or Pratt.
Here is some auxillary info I have come upon (more is appreciated).
Jack Secret is the name of a _British_ cartoon strip.  It is also the
name of an animated TV cartoon.  It was eventually made into a video
game (for the c-64)!  At any rate Jack Secret is a 007ish type of guy
w/loads of gadgets.  I've never seen the strip or the show, but I once
played the game (which offered all the afforementioned info in the
docs).  At any rate, I thought it was something all of you rushaholics
might like to know.

~r .signature


Date: Thu, 11 Apr 1991 18:10 EST
Subject: THose things on Ged's keyboards

Well, this is my first post in a long time.  I was watching ASOH the other
night and did happen to notice that one of the things on Geddy's keys is a
Canadian dollar bill.


Date: Thu, 11 Apr 91 16:03:57 PDT
From: (Eric Kuhnen)
Subject: Stick flipping in Concert

Wes Morgan writes:
>I think that this is also one of the reasons that Neil tends to stay
>away from the visual goodies, such as stick flipping/twirling

I think you've got a point there, but I do wish to raise an exception.  In the
Salt Palace (Salt Lake City, UT) during the Power Windows tour, I watched
Neil Peart with binoculars during "Mystic Rhythms."  Every eight counts he
flipped the stick that was being used on the snare, or what looked like the
snare from my seat.  Our group of 10 all got to look at him doing this, and it
was amazing.  I don't remember if he was wired to a click track at the time, but
I can't remember him missing any figures.  It was a short little flip, just
above the snare, and the ease with which he did this made the whole thing look
simple.  As a keyboard player who once sat before a drum kit, I find it easy to
be impressed with this small display of "extra-curricular" activity!



Subject: Drum-sticking
Date: Thu, 11 Apr 91 16:20:18 PDT
From: Dan Dickerman GSY 1-447-4425 

Wes Morgan writes:
> I think that this is also one of the reasons that Neil tends to stay
> away from the visual goodies, such as stick flipping/twirling, that are
> so prevalent among rock percussionists.  These visual effects are detrimental
> to both the percussionists's endurance and his maintenance of tempo.  How
> many times have you seen some percussionist juggling his sticks masterfully,
> only to make his entrance late in the next phrase?

Not to knock dear-old-Neil off of a pedestal, but he does do his share
of stick-twirling and tossing.  Most notably: in every concert I've seen
(live or on video), he will toss a stick a good 20-feet (6-meters) in the
air during a drumless section (e.g. towards the end of YYZ).  Also viewable
near the end of the Big Money video.  Granted it's not as constant as some...



Date: Thu, 11 Apr 91 19:31:42 EDT
From: Usually Dazed 
Subject: Boris & Natasha

	Another Guitarist YEs I am!
	(lotso dem 'ere!)

Well I remember seeing Boris and Natash on Gedsters Keyboards but I swear
that on ASOH it wasnt the two villians from Rockey and Bullwinkle!
I couldnt figure out who they were!

	Radio:  Lotso Rush here in Columbus!  Heard Limelight the other day.

			(Good thing I fixed my Subs in my car!)

	Metronome at a concert: Neat Idea!

	Not to be materialistic: but I love sports cars and I was wondering
		if anyone knows what kinds of cars the boys have?
		I met some guy who Says he lived in Canada and Says
		he played Alexes Amp at a repair shop, And Says he saw
		Geddy driving a jag...... but I didnt like him

			And didnt trust him!

	Anyone	Anyone.........
	Bueler  Bueler.........

	Chuck   Chuck


Date: Thu, 11 Apr 91 19:43:44 PDT
From: Eric Rescorla 

YES, YES, YEs....
Put in a tab server....
It would be my guess that this is legal if you transcribe the music
yourself, instead of reading it off RUSH's published sheet.
    I, for one, would love to see Something for Nothing there.
I've got the tab, but I had to decode it from sheet, and the
fingering is really clumsy.

Eric Rescorla                            
Yale University Department of Chemistry   
             "Scuse me, while I kiss the sky."-Jimi Hendrix


Subject: Re: 04/11/91 - The National Midnight Star #210
Date: Thu, 11 Apr 91 19:57:29 EDT

A couple of quick (mostly non-Rush-related) items:

I've been watching, but not participating in, the recurring Rush-based
flamewars on usenet for years now, and it's become increasingly annoying.
It's not the people who flame Rush and their fans (like Erland, Rod,
Hamish, etc) that get to me, however -- it's the fans themselves.  I've
seen messages from people who reflexively "defend the faith" that are so
painfully stupid, I end up siding with the Erlands and Hamishes.  At least
those two have a point with respect to Rush fans, who are generally
well-read, intelligent and agreeable folks, but turn into raving lunatics
if someone "blasphemes" the band.  (And I've talked to Erland via email a
few times; he LIKES Rush, he has quite a few Rush albums.)

This is not to say there aren't those who just like putting down Rush, but
most of the bashing has been on Rush FANS, and the level of debate from our
corner indicates that some of the bashing is deserved.  So many of us know
music well and intimately, are well-spoken and well-written, that I'm kind
of shocked that most of the posts defending Rush have been of the "you're
an idiot, Rush rules, if you can't see that you're blind" variety.  While
those who bash aren't saints in this matter (they seem to enjoy provoking
knee-jerk responses), I have little sympathy for the Rush fan who posts out
of anger or protection.  There are good reasons for liking the band, so if
you take part in these debates, be calm and explain yourself.  Or be above
it all, and point out the silliness of "taste" debates in the first place.
If you get angry you're just feeding the flame... :-)

Sorry about the diatribe.

The other thing I wanted to mention was, I saw someone in yesterday's issue
mention fencing (Aron?).  Hey out there, I'm an eight-year fencer (foil,
some epee), and if anyone wants to start talking the sport, send me mail!
How many Rush-fan/fencers are there anyway?  :-)

[ Well, my old roommate was one of the top 5 ameture fencers in Maryland
  back in the early-mid 80's, does that count?  (Sabre)         :rush-mgr ]

						Derek L.
       derek@albnyvms.bitnet       <>
====}=---------------`  Fencers love to touch  '-----------------={====
               "Cinderella man... hang on to your plans..."


Date: Thu, 11 Apr 91 17:04:51 -0700
From: mikes@ucscb.UCSC.EDU (60392000)
Subject: Re: 04/11/91 - The National Midnight Star #210

	About this hands on Presto thing.....  I remember reading a article
about this in Hit Parade.  Neil wrote about this  very same thing in this
article.  Unfortunately  It's at home, in my room.  Lost, is a better word
to describe the where abouts of it.  Otherwise i'd be able to send it in.
		It's been about a year since I read it, but if memory serves,
Neil said something about:
	The Rock | represents the core of the band.
	Paper    | represents the creativity that covers the core.
	Scissors?| represents the producers who cut out things that don't belong!!!!!!
		Again it's been a while since I read it, but that is what         I remember.
So, with that......... I leave you with

                	hand over fist
			paper around the stone
			scissors cut the paper
			and the rock must stand alone.
				 Mike  from UCSC  or should that be PCSC??


Date: Thu, 11 Apr 91 20:45 EDT
Subject: rock, scissors, paper

In responce to Mossy's question about the hands, I always just assumed
that the stood for the hand game rock, scissors, paper that I learned
at a very young age.  Rock smashes scissors, scissors cuts paper, paper
covers rock.  Who knows, maybe there's some deep philosophical meaning
to them, but you won't find me searching for it.

Also, I reccomed Hemispheres.


Date: Thu, 11 Apr 91 20:47:49 -0400
From: jtkung@caf.MIT.EDU (Joseph Kung)
Subject: alex's guitars

Alex Lifeson has switched to Paul Reed Smith guitars ever since
Signature guitars became non-existent [I guess they went out of
business]. He uses two on-stage, a tobacco sunburst one and a black
one, both fitted with active single coils from Evans. Everything
else is PRS, and the strings are still Dean Markleys.

His set-up also has changed somewhat. He still has his old set-up,
but now he runs a parallel set-up consisting of a Roland GP-16
to highlight certain songs. The set-ups run in stereo and go to
GK cabinets loaded with 2 Celestions. One speaker accepts the old
set-up signal, and the other the Roland GP-16. There's a complex
baffle between the speakers and other things that provide better
isolation. His preamp is still the GK CPL-2000, and a Macro series
power amp from Crown.

There's a good interview in the latest isssue of Guitar for the
Practicing Musician, where Alex talks about live performance,
rehearsals, soundchecks, equipment, etc. He was inducted into
GFTPM's Hall of Fame.

As for the studios Rush have used in the past in Europe, they
were Trident Studios [England?] and Rockfield Studios in Wales for
_Hemispheres_, The Manor in Surrey [I think they started with PW, I'm
not sure], Sarm East in London, Air Studios, London, and Guillame Tell
in Paris. My bet is that they're probably going to The Manor, since
Neil said they have a good room there for recording his drums. If
the basic tracks are done, then I assume they probably stayed in
Toronto to record in McClear Place, or went to Quebec at Le Studio,
and they're going to maybe Air Studios for overdubs, etc. Who knows.
Either way, the boyz do not skimp on recording. These places are some
of the best recording studios in the world.

- Joe


From: The Spanish Penguin 
Subject: Re: 04/11/91 - The National Midnight Star #210
Date: Thu, 11 Apr 91 23:28:36 CDT

Greetings Rush Fans of the World:

 Two topics I'd like to address concerning the new album...

 First, to the person who broke the news to us about the new album.
I don't want to sound like a real putz or anything, but there are a lot
of people out there who CLAIM to be friends of Andy MacNaughton...when
in fact, he doesn't even know they existed.  Now, I'm not saying that I don't
believe you...("I can't believe you're saying...these things just can't be
true...")but, 2 WEEKS????  That is simply unheard of!!!  Did this source
of yours divulge who the producer would be?  Common belief says that it'll
be Rupert Hine again...but I'd like to hear official word, to make sure that
it's not Peter Collins.  To sum up, I'm not saying I don't believe you, but
I'll be more assured when I see official confirmation.

Second, to who asked about which London
studio Rush would be doing post-production at:

 My guess would be the Manor...but I've been wrong before...

Well..that's all for now...L8r's folks!!!!

*  Jay Cook (aka "Wedge" and "Pinguino: the Spanish Penguin")*
*  Virginia Tech  (UVa WHO???)                               *
* (yea, I'm a displaced Minnesotan) *
*  ORQ - "Take off, to the Great White North!!"              *


Date: Fri, 12 Apr 91 00:07:06 EDT
Subject: Excluded on the discography

I think I have some information on a CD not listed in the disoggraphy...While
attending a local record show (here in Ann Arbor), I happened upon a dealer
who had a huge stack of CD's from the King Biscuit Flour Hour show that used
to be on the radio. I was surprised when I saw a Rush disc for that show, as
I had never heard of them doing a live set for it.  Well, as it turns out,
(or at least this is how I heard it) the CD, although it was recorded and
compiled from a few shows, was never played on the air for one reason or
another.  I guess that explains its price-tag....a mere $250!! I could never
shell out that kind of dough, but I wanted to inform the interested...That
is the story as best as I can remember. Has anyone else seen this?  Or is it
extraordinarily rare?

>>>>>---------------> Rob Harris

                                   "...sometimes our big splashes
                                       are just ripples in the pool..."--N.P.

---Hulme=Glass Joe (20 seconds) will never get the banner!

---Elvis...Telly...I love ya' baby....



Date: Fri, 12 Apr 91 02:25:08 -0400
From: (Andy Rachels)
Subject: 1st Post/Dante & Music of the Spheres

In NMS #210 Mike asked for references to "Music of the Spheres", well here's onnne

  Dante makes reference to the "Music of the Spheres" in _Paradiso_, the 3rd
  book of his _Divine Comedy_.  At the beginning of _Paradiso_, Dante is taken
  by Beatrice from Purgatory into Heaven & in the process is "transhumanized."
  In this new superhuman state, he can now hear pure, heavenly music - Music of
  the Spheres - that is resonating in the heavens.  This perfect music is not
  only coming from the motion of the crystalline spheres but also from the souls
  of everyone in heaven.  (The souls inhabited the crystalline spheres, which
  not only held the planets & stars in their orbit around the earth, but also
  represented the different spheres/levels of heaven).  Anyway, from all this
  I think you can see how this reference to "Music of the Spheres" fits into
  'The Analog Kid' pretty well. (IMHO)

Now for useless info:    1)  This was my 1st Post
                         2)  The Analog Kid is probably my
                             favorite Rush song.

Andy Rachels - GaTech


Date: Fri, 12 Apr 91 02:59:53 -0400
From: axm24@po.CWRU.Edu (Atashi Mandal)
Subject: Presto: Scissors, Paper, Stone


   Hola to all the worshippers of the holy trinity of
Geddy, Alex and Neil-

Hopefully this hasn't already been pointed out since I haven't
been on the mailing list of NMS too long, but I purchased a
program for the Presto tour at the concert in Cincinnati, and at
the beginning of the program Neil wrote a summary explaining
how and why Rush writes their music and how that music starts
turning into another album, etc........  In that explanation Neil
implemented the images of the rock, paper, and scissors.  I won't
do injustice to Neil's excellent writing abilities and try to
explain what he wrote myself, so I'll just tell you what he wrote
(I hope I won't be busted for a copywright or something, knowing
my luck....)

6th paragraph-

    "And that's where progression comes in-where it could have
been better. (it=their music)  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 stared 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 exer-
cised our fingers and exorcised our demons by trying every note
we could reach, in every time signature we could not 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 the playing, gives it structure and
    More experiments resulted as we pursued that goal, and those
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 shape
the song, gives it focus and balance.  So our last few albums have
reflected that interest, tinkering with melodic and rhythmic structure
in pursuit of the best possible interpretation of the song."

Well, sorry it was long, but I didn't feel right cutting any
of that out since all of that has to do with Neil's explanation.
(Sorry to all those who have the program and have already read
this)  But I think this might give the rest of you a new insight
into the image of the Rock, Scissors and Paper game and exactly
what Rush meant by including that illustration on the cover.
Well- excuse the typos; it's been a rough night for me.

                          In Rush we trust-  Atashi


Date: Fri, 12 Apr 91 03:20:36 EDT
From: Mike Borella 
Subject: Fly in the Night CD

From: (nobody)

>Mike Borella writes
>>Subject: Fly in the Night CD bootleg
>>I just picked up a "new" CD bootleg of the Permanent Waves tour called
>>"Fly in the Night"
> You wouldnt happen to have noticed how many they had would you? Also
>how much it cost you?

They had 1 other than the one I bought.

It was $32.99 + tax  (yes, I know I got ripped off...)

>>According to the cover, this is a limited edition release, with only 1000
>>copies made.

> Yeah, Ive heard that before. (-:

So have I, but why take chances? :-)

BTW, I think I was mistaken about it being from the permanent waves tour.
The disc says Montreal 1980, but there are no songs from Hemispheres or
PM, and there are 5 songs from Farewell, so I'd say it's more like 77 or

-Mike Borella


From: Nick Pitfield 
Subject: new album - post production
Date: Fri, 12 Apr 91 11:13:08 BST


Regarding the studio used for post production of the new album; I thought they
were going to the Manor Studios in Oxford (England) as they have in previous
years. I've not heard before that they were going to a London Studio.


|| From the mighty fingers of >> Nick Pitfield << (The Bugfynder General...) ||
|| INTERNET  :                                           ||
|| UUCP      : ..!uunet!mcvax!ukc!iclbra!ntp                                 ||
|| "More than just performance, more than just a spark,                      ||
||  More than just the bottom line, or a lucky shot in the dark."            ||
||                                         "Marathon" (Rush - Power Windows) ||


Date: Fri, 12 Apr 91 09:11 CDT
From: (6079 Smith J)
Subject: Re:  TNMS #210: Tablature

Concerning the question of the legality of posting Rush tab:  I believe that
if you listen to the song and write it out yourself, it's OK; but you can't
copy it out of a copyrighted book or sheet of music.  It's the same principle
that allows bands to cover other bands' music:  they have to do their own
version, not learn it out of sheet music.  I'm no lawyer, but that's how it
was explained to me several years ago....


From: (Jeff Beck)
Subject: Guitar parts/Distribution/etc.
Date: Fri, 12 Apr 91 8:06:25 CDT

> From: habbinga@tramp.Colorado.EDU (erik habbinga)
> Subject: LIMELIGHT tab and Alex's guitar

>    Also, I am curious as to when Alex started playing a Paul Reed Smith
> guitar.  At the Denver show (Jun 22, 1990), Alex played the PRS the  entire
> show.  In the poster I got at the concert, he is shown w/ one of his white
> Signatures.  Has anyone ever heard Alex say why he switched?

I saw Alex play it at the Alpine Valley show too.  I thought it was great!
It sounds great and plays well (I own one too!).  He switched because it
is a kick-ass guitar, IMHO :-)

> also, as an aside:  PLEASE, don't respond to the Rush-fan baiting currently
> in vogue on alt.rock-n-roll (and, to a lesser extent in

I agree here!  People, I don't even respond to ANY Rush articles on anymore.  Rush is in my kill file!  Now, don't take this
the wrong way.  I like Rush, but the discussions on r.m.m are so totally
useless (certainly compared to this digest), that they are not even
worth reading.

> From: Phil Kime 
> Subject: Rush Guitar Parts
> Date: Thu, 11 Apr 91 14:11:32 BST

> Is there a lot of interest in guitar tab to Rush tracks/bits of Rush tracks?
> I can play most  Rush stuff and would be willing, if there are enugh people
> interested, to submit some stuff. Has anyone got the exact tab to the chord
> solos in Distant Early Warning and Afterimage?

> [ There was some interest a while back by some of the list members in
>   getting together a TAB archive of Rush tunes.  The main question was
>   that of copyright - are permissions needed to distribute?    :rush-mgr ]

Frank Schaapherder and I have been collecting and putting Rush tablature
into our respective computer systems for months now.  As soon as we have
completed it, we will post an article to the digest listing all songs,
and which parts are there and requesting additional material.  Our goal is
to have *every single song* in tablature, eventually.  I believe we have
some odd 20 or 30 so far.  So, if you have tabs you want to contribute,
send them to me, and I will archive them until release, and compare
them to what we already have.  Please don't send mail yet requesting
tabs as the whole kit 'n kaboodle (sp?) will be send to the digest in a
few weeks or longer.

[ Well, actually made available via anon. ftp, and I'll send them to the
  server at Ingr also.                                          :rush-mgr ]

 * Jason Bold - Madison,WI= [(rutgers||ames)!uwvax||att!nicmad]!astroatc!bold *
 * "A strawberry mind, a body that's built for two" - Michael Hedges          *


Subject: The guitar comes out of closet
Date:    Fri, 12 Apr 91 10:48:46 EDT

I've played guitar for many years, but it's been getting dusty the last
couple of years.  Last night I was diddlin' with my roommate's acoustic
and figured out the intro to A Farewell To Kings.  Well, that got me
reminiscing about the hours I used to spend in front of the turntable
figuring out songs.  I'd like to get back into it, and was wondering if
the guitarists on the NMS would be willing to give me some info on those
chords that Alex uses frequently.  Someone mentioned at one time that
he uses sus2 chords.  What would they be?  I have an ear for picking
out solos, but can't get those "jangly" chords that Alex is into!!

If any guitarists would be willing to help me out here,  I will be
forever in your debt.

Mike Goodwin


Date: Fri, 12 Apr 91 11:27:51 -0400 (EDT)
From: "William F. O'Dell" 
Subject: Neil's Playing

I haven't posted in a while, so if it seems like I'm drawing things out, sorry.

I think Neil uses a double stick technique once in a while. I believe
the final roll on Limelight is a double stroke (RR LL RR LL).

Also, though I agree that showmanship (drum stick twirling etc.) can get
in the way, Neil integrates it almost perfectly. And he does it with
more flamboyance than your *typical* heavy metal rock-n-roll drummer.
Have you ever seen Tommy Lee (Motley Crue) do a twenty feet stick throw
and then get right back on beet? How about two tom fill real fast while
twirling the stick in between each hit?
If it started to mess the band up, I would get weary of Neil's stick
play. But since it makes the show all the more better, I live for it.



Subject: Geddy's dolls in ASOH
Date: Fri, 12 Apr 91 8:38:37 PDT
From: Dan Dickerman GSY 1-447-4425 

> Subject: Those little dolls on Ged's keyboard, etc.
> I don't know for sure what those dolls are, but I thought they might be
> the Rockin' Constructivists (see ASOH liner notes!) - those characters
> at the beginning of the ASOH video...any guesses?

I have yet to find a clear shot of the dolls, but from what I can decipher
it seems he has 6 dolls and a brandy snifter (with cash, of course)
distributed onto 2 keyboards: nearest the snifter is Boris Badenov (Bullwinkle
fame) and further to our left is a group of 3 consisting of Rocky the Flying
Squirrel (Bullwinkle), a toy robot, and something that looks vaguely like a
cowboy drawing both pistols (knees bent, etc).

[ I think this last one might be Roger (?) Kneebend, one of Julians old toys,
  which the group sort of adopted as a mascott during the recording sessions.
  I'll try to find the reference to him....                        :rush-mgr ]

On the other keyboard (facing the front of the stage) is a thinner toy robot
and (this one's really a ballpark guess) a cartoon dog (though none that I
recognize) that is acting the part of the gracious waiter.


Date: Fri, 12 Apr 91 12:16:48 EDT
From: (Valentino Herrera)
Subject: Nathan Centofani's FM question

From: Valentino Herrera (
Subject:  Nathan Centofani's FM question

Nathan writes:
>Mark Marcelissen in NMS #207 said that the band FM was the backup band for the
>Ottawa "Power Windows" gig.  Would that be the British band "FM" (a la Dige
>Digital on keyboards), or am I confusing this with another band?

I've never heard of a British band called FM, but it wouldn't suprise me
if there was a band somewhere with the same name. I'm more familiar with
the Canadian band FM, who enjoyed airplay (probably about ten years ago)
with the progressive/pop song "Phasors on Stun". I think the name of the
album this was from was titled _White Noise_. Hope this helps.

Valentino Herrera


Subject: "Seeing Red", 2112, Strokes
Date: 11 Apr 91 22:14:09 PDT (Thu)
From: (Lance Neustaeter)

   Does anyone else out there suffer from the same syndrome as I?  You
know, when you consciously avoid watching any news programs and stop
reading newspapers?  If your flipping through the channels and stop on
any current news story it usually accomplishes nothing but getting you
annoyed, flustered and frustrated with the world--so that you just
stop listening to avoid the blood pressure?
   This, my friends, is (IMHO) what "red lenses" is about.  I think
the line that many people on the list zeroed in on and mistook for the
theme of the whole song (about Soviets/McCarthyism) is NOT the theme
of the whole song, but merely one particular expression of the theme
as I described, above.  I also think that Neil meant for that passage
to be taken either way:  Literal disapproval of Soviets and their
ideology (as I take it) and scorn for mindless McCarthyists (as I also
take it).  "The flash to fashion" is society's preoccupation with
glamour and superficialality.  "The pulse to passion" is preoccupation
with sex.  "We've got mars on the horizon / says the national midnight
star / (it's true)" is sarcastic annoyance with tabloids in general.
The rest is pretty self explanatory (or has been mentioned here
already).   Hmmm.  Except "(not blue)".  I think he just stuck that
one there to keep us guessing.
    I've always and still do interpret the end of 2112 as a tragedy (I
know, I'm in the minority here {again!}).  The protagonist cannot bear
to go on with life after comparing his world with the world he saw in
his dream.  After he's dead, the Priests no longer had a freethinking
upstart around to threaten their serene rule.  Their control was
reasured and secure again.  The Priests announce to the pilots of the
Solar Federation that they once again had control of the situation.
The masses can continue living their contented lives as they had done
before without fear of the disruption or change that the protagonist
potentially represented.
    Neil Peart is predominantly a single stroke drummer.  He does,
however, occasionally use buzz and military (looser, more open.  Can
sound "uneven", but it's supposed to--it's not a buzz) rolls.  He also
sometimes will play "ghost notes" on the snare (hard to explain. if
any other drummer here wants to take a shot at it for the non-drummers
on the's easier to show than tell).  Uh...I think he does in
Freewill, for example (during the lead--very kool!) and in other
songs, as well.
    I've never noticed Neil using two handed ride patterns when one
hand would do.  "Tom Sawyer" comes to mind.  This could conceivably be
played with two hands on the hi-hat; Neil uses one.  The times that he
does use both hands, I defy anyone to try it for long with one. eg:
begining of DEW (p/g), La Villa Strangiato (16th note hi-hat plays an
alternating R-l-r-L-r-l-R... where the capital letters are open
hats--quite peachy) or Xanadu, etc.
    "Whispering" trivia question:  Can you pick out the steel drums in
"The Spirit of Radio"?  (you drummers, put your hands down!)
    ps.  On Xanadu, Neil plays a tubular bell (chime) and the note
bends downward.  Does anyone know how this is done?  I have an theory
(haven't tried it, so it's still a theory) so if no one knows, I'll
see what you think of my version of an explanation.

[ Doesn't this also occur in "Cygnus X-1"?                     :rush-mgr ]

   "Some might think--though I don't--that nine years ago there was
some excuse for men not to see the direction in which the world was
going.  Today, the evidence is so blatant that no excuse can be
claimed by anyone any longer.  Those who refuse to see it now are
neither blind nor innocent."  --Ayn Rand, intro to "Anthem" (1946)


Date:     Fri, 12 Apr 91 13:13 CST
Subject:  Rush on radio, Queensryche

    I can't believe that radio stations in Wichita,Ks play more
Rush than stations in Pitsburgh.  I hear around 6-10 Rush songs a
week and do'nt really listen to the radio that much.

    I read today that the Queenryche's lead singer Geoff Tate's
first band was a Rush/Van Halen cover band.  This might explain
the simularity between Rush and Queensryche.  A Rush/Van Halen
cover band, boy that sounds wierd!!


      "I like to believe in the freedom of BASEBALL"-Geddy Lee


Date: Fri, 12 Apr 91 09:30:36 hst
From: Hinano Akaka 
Subject: Presto hands

Good day and welcome to day 12 --

Not to over-extend the discussion about the hands on Presto, but I had
wondered what they were when I first got the album.  (My mom finally
had to point it out).   It threw me because when I was a kid, we never
called it 'paper-scissors-stone'; it was called 'jun-ken-a-po' (run it
together really fast) -- don't ask me how the h*ll we got that term!
We even had God, dynamite, superman, etc.  Man oh man...

I wonder if Neil wrote the Presto program in conjunction with Hands
Over Fist, or if he found a neat little analogy in the song by
accident, or if he planned it that way.  If you saw the hands as being
the Boyz, it would coincide with the Presto concert program (or vice
versa).  I don't recall the sequence of the hands on the album, but
perhaps they could be the Boyz in relation to their pictures.  As you
all know, most of their pictures on the albums are positioned from
left to right as you would see them on stage (Alex, Neil, Geddy).
Perhaps the picture on the left (your left if you're facing the
picture) of the hand represents Alex, etc., etc.?  Not that I'm trying
to make an overly big deal about this, but it's just a thought.
Comments?  (Or is the sequence of the hands simply 'paper-scissors-
stone'?  I don't remember...)

Puanani Akaka


From: David Arnold 
Subject: Neil's drumming

In the last NMS, Wes Morgan wrote:

>I think that this is also one of the reasons that Neil tends to stay
>away from the visual goodies, such as stick flipping/twirling, that are

Oh, Neil doesn't stay away from the flips; he may do them so well that
you can't tell any difference in the beat, but he does them.  As a matter
of fact, that was one of the things that attracted me as a young Rush
listener - he can do all that *and* flip sticks too!  We'd watch him
during shows and try to catch the first time he'd toss.  He would start
with just a 1' toss, and work up to a good 6' by the end of the evening.
He was great at tossing during a lull, catch and strike a drum or cymbol
precisely on time.  It was great stuff back then.  In more recent years,
I haven't noticed as many tosses, or as high.  I think he's evolved past
the "be amazed at what I can do" phase.

David Arnold       Keywords:    Rush, Jethro Tull, Crack the Sky, Squeeze, BOC,
                                 Neville Brothers, Peter Gabriel, Pink Floyd, 
Inet:       Talking Heads, King Crimson, Rolling Stones, 
UUCP: uunet!!davida  Police, ELP, Grass Roots, Hollies, Guess Who


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