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Subject: RUSH Fans Digest of 08/03/90 (#23)


               RUSH Fans Digest, Number 23

                  Friday, 3 August 1990
Today's Topics:
        1001001; also "Beneath, Between & Behind"
                           fear
                      Assorted stuff
                      Party anyone?
              Advice to The Novice Listener
          Re: RUSH Fans Digest of 08/02/90 (#22)
               Geddy being a Metallica fan
                   Yes Album suggestion
          Re: RUSH Fans Digest of 08/02/90 (#22)
                  Re: General Questions
         Countdown, Tai Shan and Caress of Steel
                 my first attempted post!
              ...to be found within a song.
        ...to be found within a song. (continued)
----------------------------------------------------------

Subject: 1001001; also "Beneath, Between & Behind"
Date: Thu, 2 Aug 90 4:55:33 CDT
From: David T. Sandberg <dts@quad.sialis.mn.org>

Okay, several people jogged my memory into remembering that "$" was
also a big symbol with Rand (yes, I read 'Atlas Shrugged', but it's
been a while - time to go to the bookstore, I think).  But I still
would guess that this was coincidence, since the song doesn't talk
about capitalism at all; it's all about self-awareness and self-
determinism, which "I" fits to a tee.

It's also true that Ayn Rand may not be a big influence on Peart any
more - but even if that's true, undoubtedly a few of the things he
gained from her works have stuck with him.  Clearly the importance
of "I" is something he still believed in when he wrote 'The Body
Electric', even disregarding the binary code.  Therefore, I think
it's entirely possible that he did mean it in exactly this way.

Learning from people and subscribing to their ideals thankfully
doesn't have to be an all or nothing affair.  I don't listen to
Edward Van Halen's albums much anymore, but that doesn't mean I
don't still use some of the chops I learned when I did listen to
him.  And I've never agreed with everything that Ayn Rand said,
but some of it I agree very much with.  Which, BTW, she probably
wouldn't have thought was sufficient... that absolute right or
wrong philosophy is in fact one of my bigger problems with her.

As far as our favorite band being made up of computer geeks (hey,
aren't a lot of us in that category? ;'), I doubt it.  (Particularly
considering Neil's reaction to Usenet and this list.)';  However,
it's pretty common knowledge that computers use binary codes, and
Peart's certainly a smart enough guy to know about that, so he could
have just gone and asked/looked up what the binary representation
for "I" was.

(Fortunately for us, it was also rather musical, as ASCII goes.  Can
you imagine the chorus of this song starting off with "one zero one,
zero zero zero, zero!"  Phooey. ;')

BTW - yeah, I think it's pretty well know that "Beneath, Between
and Behind" was written about the good old USA.  Of course, as has
already been stated by someone here, Peart doesn't necessarily
subscribe to all the same ideas he had back then, right?  (smug :)

--
 \\ "Sunlight dances through the leaves, \   David Sandberg, consultant   \\
 //  Soft winds stir the sighing trees"  /   Richfield MN                 //
 \\             _Rivendell_              \   dts@quad.sialis.mn.org       \\

----------------------------------------------------------

Date: Thu, 2 Aug 90 07:47:11 PDT
From: antonyc%chamber.caltech.edu@Tybalt.Caltech.Edu (Bill T. Cat)
Subject: fear

the songs comprising the fear trilogy are:
part 3: witch hunt
part 2: the weapon
part 1: the enemy within

what i really want to know is why they are numbered in
reverse order of their release.  were they all already
written when part 3 was released or did they think them
up as they went along?

and now for something completely different...

i have all of rush's albums on cd except for rush rush
which i only have on tape.  unfortunately everything they
did up to and including 2112 doesn't come with lyrics or
much else.  i was wondering if someone might suggest a way
i might obtain them (lyrics) short of buying the lp's.

thanks

"I've lost a few more hairs, I think I'm going bald..."

----------------------------------------------------------

Subject: Assorted stuff
Date: Thu, 02 Aug 90 10:58:52 EDT
From: David Arnold <davida@umd5.UMD.EDU>

In the RUSH Fans Digest, Number 22, Atul Ahuja writes:

>I have heard only 90125 by YES and liked it one helluva lot. So given the info
>that I like all RUSH albums and 90125 , what other YES albums should I
>venture into ?

Well, I think a must is The Yes Album.  It's got some classics on it.  Of
course, I can't remember exactly what, so I won't try to guess and be wrong.
Also, as I'm a sucker for live music, I would also recommend "Yessongs" or
"Yesshows", but as the former is a 3-album set, you might wait on it.  The
latter is only a single or double album, so the price isn't out of the ball-
park...

Also,  Mark S. writes:

>	I had a few questions to ask: 1) What are the three parts of Fear
>that (or three songs) Peart wrote?

At the risk of stating the obvious (for much of the list), the three parts
of Fear are:

Part 1 - The Enemy Within : Grace Under Pressure
Part 2 - The Weapon : Signals
Part 3 - Witch Hunt : Moving Pictures

Note that they were written in reverse order; they were finally played in
proper sequence on the GUP tour.

>                                    2)  Has Getty or Alex ever pitched in
>for lyrics even though Neil takes care of that?

Of course, Geddy & Alex wrote most (if not all) of the first album!  :-)

But seriously, I think Neil writes about 98% of the lyrics - Alex &
Geddy might contribute ideas on phrasing, due to the arrangement of the
music, but not much else, I think.

Wait, I almost forgot the two songs on _2112_ that Alex & Geddy each
wrote singly; they are "Tears" (slow, by Ged) and "Lessons" (faster,
by Alex)

>4) What ever happened to that drummer?  Is he still playing, but for a
>different band or what?

John Rutsey is alive and well (despite all the rumours to the contrary)
and living in Canada.  He's into physical fitness (I heard a rumour that
he's involved in a health club - owner?)  He and Alex were working out
together when Alex had the bet to lose weight on the HYF/ASOH tour.  I
haven't heard if he's still involved in music, but as I haven't, I'd guess
not. (rumour, rumour!)

David Arnold       Keywords:  Rush, Neville Brothers, Squeeze, Crack the Sky,
                               Peter Gabriel, ELP, Jethro Tull, Pink Floyd,
Inet: davida@umd5.umd.edu       Talking Heads, Arc Of Ones (RIP), Stones, BOC,
UUCP: uunet!umd5.umd.edu!davida  King Crimson, Police, Grass Roots, Hollies

----------------------------------------------------------

Subject: Party anyone?
Date: Thu, 02 Aug 90 12:36:10 EDT
From: David Arnold <davida@umd5.UMD.EDU>

Ok, here goes...

I'm thinking about having a RUSH-list-people party at my place sometime
in the near future, and wanted to get some input from the list members.
This would be a chance to meet some of those faceless names you read on
the Digest, sit around, have a couple of beers, maybe some burgers & dogs
(I light a mean grill), and play lots o'RUSH.  It has also been suggested
we might even get a couple of instruments together and play some stuff.
(I'll watch, being talent-less.)

The questions I have are these:

    1) Are there enough local people to have something like this, or
       would it end up being 3 of us sitting around peeling off beer
       bottle labels?

    2) If this thing does have some sort of mass support, when would be
       good?  There are three alternatives; some weekend end August, Labor
       Day weekend, or sometime after Labor Day.  This would mainly affect
       those who are in school.

Well, there it is.  If you are local to the Washington DC/Baltimore area
(I'm about 1/2 way in between the two, between Rt 95 and Rt 295), and think
this might be interesting, drop me a line.  For the sake of those not in the
area, please respond directly to me at either of the two addresses below so
we don't clog the Digest with it.

David Arnold       Keywords:  Rush, Neville Brothers, Squeeze, Crack the Sky,
                               Peter Gabriel, ELP, Jethro Tull, Pink Floyd,
Inet: davida@umd5.umd.edu       Talking Heads, Arc Of Ones (RIP), Stones, BOC,
UUCP: uunet!umd5.umd.edu!davida  King Crimson, Police, Grass Roots, Hollies

----------------------------------------------------------

Date: Thu, 2 Aug 90 09:45:25 PDT
From: barish@gauss.llnl.gov (Greg Barish)
Subject: Advice to The Novice Listener

Hi.

I joined this mailing list about 2 weeks ago to monitor what
people were saying about RUSH.  Although I am 22 years old, I have
yet to listen to one complete RUSH album and, before joining
this list, was unaware of how complex, challenging, and unique
this group really is.  Oh yes, I've heard some of the classics:
Tom Sawyer, Distant Early Warning, etc... but never to a whole
album. However, even from the limited exposure I've had, I gained
respect for the rhythm sections and general musical competency on
the singles I've heard.
v
My request is this: if any of you have the time, email me a list
of the RUSH albums I should listen to (IN ORDER), so that I get
an appropriate introduction to these guys.  THANK YOU.

greg (the novice)

EMAIL: barish@gauss.llnl.gov

PS: If you really want to make my experience complete, include
    a list of necessary external variables that should be set
    during a particular listen (i.e. low lights, on a rainy day,
    while driving, etc...).

----------------------------------------------------------

Date: Thu, 2 Aug 90 12:56 EDT
From: "Derek D. Lichter [MacLover]" <DEREK%ALBNYVMS.BITNET@UACSC2.ALBANY.EDU>
Subject: Re: RUSH Fans Digest of 08/02/90 (#22)

Okay, now that we've had the Peart article on satanic lyrics reposted, could
some kind and generous soul please please please post a copy of the original
story, "A Nice Morning Drive?"  I've been dying to see what Red Barchetta is
orignally based on since I first heard the album.

How can I make this get posted, hmm... err, ahh... I've got a fatal disease
and this is my last wish!  Yeah, that's it... :-)

                                                Derek L.

PS  --  I've looked in the library for a copy of the magazine the story was
        originally printed in, but to no avail...

----------------------------------------------------------

Date: Thu, 2 Aug 90 13:30:25 EDT
From: DSK@IBM.COM
Subject: Geddy being a Metallica fan

In one of the interviews that I heard with Geddy a while back he
said that he liked Metallica because they were not like all the other
band around.  He liked them because they did not copy other bands,
they have their own unique style.  The song Grand Design from Power
Windows is supposed to be about all the copy cat groups that are
around these days.

----------------------------------------------------------

Date: Thu, 2 Aug 90 13:57:12 -0500
From: zawada@ei.ecn.purdue.edu (Paul J Zawada)
Subject: Yes Album suggestion

Hi All...

Someone was asking for suggested Yes albums.  I guess I would have to
suggest _Fragile_.  It has a number of Yes classics, but even more
important, I feel Chris Squire's bass playing served a precident
to what Geddy does today.  Up until Squire (and John Entwhistle of
The Who), few bass players really *played* bass guitar.  Bass
was usually played by the poorest guitar player in the band.
In fact, early bass guitars had a thumb rest so that the musicion
had a place put his idle fingers.

I think _Fragile_ changed a number of ideas in the early '70s of
how a bass line could sound.  The style was was totally different
than what was out there at that time.  If you listen to the very
early Genesis albums, you can hear Mike Rutherford move from your
basic run-of-the-mill bass lines on _Trespass_ towards bass lines
that sound incredibly reminiscent of _Fragile_. (As in _Get_'Em_
Out_By_Friday_ from _Foxtrot_)  This transition seems to have
started about the same time _Fragile_ came out.

What other influence did _Fragile_ have on Rush?  How about the
timbre of the bass?  Another aspect that made Chris Squire popular
was the sound of his bass.  He used a none other but Rickenbacker
bass, a 4001, just like the one Geddy used up until p/g.  (Squire's
was black on white instead of white on black.) Bassists from all
over (including Geddy?) ran out to buy Rick's after they heard
that album.  The Rick has to seem it's own identifiable tonal quality.
(Sort of a "twang" I guess...) I later heard Chris Squire admit
that his Rick had even been further "modified."  Before playing for
Yes, he had been into a flower power thing.  He plastered his bass
with flower wallpaper.  Blech!  When he finally wanted it removed,
the guitar repairman convinced him that it had to be shaved off.
Consequently, Squire's Rick was 1/3 lighter than everyone else's.
Something he attributes the unique sound of his Rick.

I won't even go into the simularities between Neil and Bill Bruford...

pjz...

P.S. 90125 does not sound a lot like _Fragile_, so you were warned...
     If your looking for something a lot like 90125, your best bet
     would be their last album, _Big Generator_...

Paul J Zawada                          |   zawada@ei.ecn.purdue.edu
Titan P3 Workstation Support           |  ...!pur-ee!zawada
Purdue University                      | _ .... .  ... .__. ._. .. _
Engineering Computer Network           | ___ .._.  ._. ._ _.. .. ___

----------------------------------------------------------

Date: Thu, 2 Aug 90 11:44 EST
From: Paul Ackerman -- The Quiet Storm <ACKERM25%SNYBUFVA.BITNET@CORNELLC.cit.cornell.edu>
Subject: Re: RUSH Fans Digest of 08/02/90 (#22)

Intro to YYZ :

     Neil got the idea from that from the beacon signal that is sent out by all
airports to incoming airplanes.  I believe the signal is a message to the pilot
assuring him/her as to what airport they are approaching.  I did not know that
the signal was the 3 letter code for the airport, I thought it was some message
the airports send out (now Rush is putting their subliminal stuff in Morse
code, it'll soon be the next Bible beating issue...we'll need telegraph
operators to see if a rock album needs a new sticker for detrimental morse
coded music I'm sure)

     This brings me nicely to my next topic

"Rock Groups Hardly Satanistic" :

     Thank you for posting this.  I've read this before in a Rush fanzine that
I subscribe to.  I especially think the line "I don't even believe in the old
bastard!" (referring to Satan) is so timely for the digest now.  I don't
believe that Neil is anti-Christian, he just doesn't believe in the Christian
way of thinking which dates back to the peasants of the middle ages where no
matter how much you hated your life and the life you lead, you would be
rewarded in heaven for all of your toils and hardships.  Hence the line "You
can choose a ready guide in some celestial voice / But if you choose not to
decide you still have made a choice" in Freewill.  (Short aside: does anyone
know why this line is different is a book of sheet music that I have?  "still
have made a choice" is "cannot have made a choice"  Typo perhaps?)

Advice needed about YES albums :

     When I want to listen for something by a group, and I don't know what to
get I look for a "Greatest Hits" (I don't like giving in the commercialism of
these items, but CD's are too expensive to buy just for a song or two)  Look
for "Classic Yes".  It has songs like "Long Distance Runaround", "Starship
Trooper", and it has live versions of "All Good People", and "Roundabout".
It's good enough to buy, and then if you like what you hear try buying the
actual studio albums.  Yes is one of my favorite bands, so the stuff they put
out between "The Yes Album", and "Going For The One" I like.  Another good
album to get is "Anderson, Bruford, Wakeman, & Howe".  This was last year's
best release (next to Presto of course).

assorted questions :

>1) What are the three parts of Fear that (or three songs) Peart wrote?
     Part III - "Witch Hunt", Moving Pictures
     Part II  - "The Weapon", Signals
     Part I   - "The Enemy Within", Grace Under Pressure

>2)  Has Getty or Alex ever pitched in for lyrics even though Neil takes care
>of that?
     Yes.  They always have input on what Neil writes, just as Neil has input
on the music they compose.  Correct me if I'm wrong...I don't have the albums
here with me at work...
     "Something For Nothing", 2112, by Geddy
     "Tears", 2112, by Alex
     "Different Strings", Permanent Waves, by Geddy
     "Chemistry", Signals, by Geddy
There is more, but that's all that I can think of now.  Neil also is credited
with with the music for "La Villa Strangiato", from Hemispheres and "YYZ", from
Moving Pictures.

>3) Does anybody know how Getty and Alex met Neil after dropping their first
>drummer for Rush after "RUSH"?

     They didn't drop the drummer.  Before they started their first tour John
Rutsey had to leave the band beause he is a diabetic, and at that time he
couldn't get daily insulin shots while on tour.  Anyway, they met Neil when
they were auditioning for a new drummer for the band.  Geddy and Alex described
him as a scary looking person wearing shorts, and  having all of his possesions
in the back of his car or something like that.

>4) What ever happened to that drummer?  Is he still playing, but for a
>different band or what?

     He is a body builder now I believe.  I've heard that Alex works out with
him occasionally.

----------------------------------------------------------

Date: Thu,  2 Aug 90 18:27:41 -0400 (EDT)
From: Gregory Ross Thompson <gt0t+@andrew.cmu.edu>
Subject: Re: General Questions

  Being a Metallica fan myself, I can understand why Geddy likes 'em.
And yes, it's true, in the liner notes for Master of Pupetts it does
say "Thanks to Geddy, Alex, and Neil" among the other 400 thank-you's.
I was beside myself when I first saw it.

  Someone also mentioned Yes a little while back.  If you want some
other album names, try "Relayer", "Close to The Edge", and "Anderson,
Bruford, Wakeman, and Howe"  I admit that the last one there isn't
really Yes, but it's the four principal components...  Yes minus
Trevor Rabin (big deal) and Christopher Squire.

		-Greg T.

----------------------------------------------------------

Date:      Thu, 02 Aug 90 19:16:21 EDT
From: Mike Bear <bear@syrinx.bgsu.edu>
Subject:   Countdown, Tai Shan and Caress of Steel

        Someone was talking about Countdown being a bad song on Signals,
I must disagree.  If you don't like it, try watching the video.  It is
almost all scenes from a shuttle launch, and the picutres are
incredible.  I always liked the song, and watching the video is even
better.

        Why doesn't anyone like Tai Shan?  I always thought it was a
very emotional song.  I heard that Neil wrote it after an experience he
had in China.  I may be biased, because I like everything on Hold your
Fire.  I got into it and POW before I discovered the older stuff.

        Someone else mentioned Caress of Steel, there was recently a
discussion about it here.  The tape is badly scrambled, and not worth
having.  The vinyl and CD versions are in the right order, and the
Fountain of Lamneth is probably the best work on the album.  It makes
so much more sense when played in order.  I heard it on CD first, so I
was very disappointed when I first found out what the tape was like.  It
is an incredible album that many fans don't give a fair shake...

--
-------------------------------------------------------------------------------
UUCP:     ..!osu-cis!bgsuvax!syrinx!bear             |Put aside the alienation
Internet: bear@syrinx.bgsu.edu or bear@andy.bgsu.edu |Get on with the
Bitnet:   bear@bgsuopie.bitnet                       |fascination

----------------------------------------------------------

Date: Thu, 2 Aug 90 17:40:43 -0700
From: god@ucscb.UCSC.EDU (GOD)
Subject: my first attempted post!

I don't know if this is old news or not, but has anybody noticed that
if you pronounce YYZ phoneticaly, you get "easy?"

On another subject, I'd have to say that Presto is by far my favorite
recent Rush album.  It gets rid of the clutter of Power Windows and
Hold Your Fire, but keeps the sophistication and depth of those albums.
I also think that the lyrics in Presto are a great leap foreward,
getting away from the rather pedantic bromides of the last two albums
and actually saying something deeper than "war is bad" (the point of
Territories)  with Peart's usual wit and incicivness.  To me it sounds
like a Permanent Waves of the 90s, and gives a lot of hope for the
future of the band.

----------------------------------------------------------

Date: 2 Aug 90 18:24:12 PDT (Thursday)
Subject: ...to be found within a song.
From: "Brad_Armstrong.WBST129"@Xerox.COM

Hello, all!  It has been awhile since I had net access, and this list is
(of course) the first place I am going to dive in...

The first issue I received was 30 jul '90, so I'll start there:
Glad to hear Chronicles is more than a rumour; where did you get a list of
the tracks though, Rob?!  Good going!

Here's my answer to the 'favourite album after Exit...Stage Left of
pre-Exit Stage Left fans' question.  Signals, no contest.  This is the
first Rush album that took awhile to grow on me, and the last one (until
Presto) that got me immediately interested in it.  Besides, all songs on
this (and every previous) album are simply great!  John Rutsey was less of
a drummer than Neil, but the guys have always had it.  (By the way, my
first album was A Farewell to Kings, which I got on the recommendation of
my best friend  in the summer of '80.  Of course, I soon had them all, and
drove 140 miles to the Signals tour.)  I'm not saying that the three studio
discs prior to A Show of Hands don't have some great tracks on them, but
they simply have not  *forced* me to study/enjoy them to no end (yet).  In
Presto, I have recognized a return to the ceasely shifting rythyms and many
other techniques that made them great (and impossible to cover well).

My comment on the 'is the Pass a religous song' debate is simple:  Neil is
a great lyricist for many reasons, like careful diction, universality, etc.
One of the things he has always been extremely skilled  at is lamination of
meaning ("You can't build a glider from glue and carbon! ... Well, maybe
you can't, but a genius in materials science can, and it will be the
lightest, strongest, fastest available, *and* it will be the only kind he
would ever wish to own."), and I'm sure there are few unintended
interpretations to the line "Christ!, what have you done?!"  Certainly, all
of the ones I've read in the last few days strike me as the sort of things
Neil would intend.

The info. Clint put in about Force Ten certainly clears that one up for me,
thanks Clint.

On the '1001001, 100100' debate:  I am sure that 'I' and '$' were both
intended meanings.  Those of you who have commented that he has drifted
from his Ayn Rand influenced days haven't been listening too closely (or
perhaps you never read all of the books and essays?).

In regards to Damian's inquiry, and the followups, about the city names on
the Caress of Steel liner notes; There are city names on both that album
and Fly by Night (yes, I have the original inner sleeve), and they are the
locations Neil was touring through while writing those lyrics.  I'm not
sure about the reasons for the difference between the lyrics listing and
the recording on Lakeside Park, but I have seen this in more places than
that, and suspect it is simply errors in printing, differences of opinion
with the record co. over how to write something down, or represents
evolution in song lyrics/differences in performances.  I have heard them
change lyrics many times during live performances (I've even heard them
make a mistake or two in concert! :) ).  It is surely not much more than
this.

'Digital Man' asked about a live performance of Circumstances.  I can't say
that I've ever heard that, now that you mention it.  Perhaps they don't
feel it would be as spectacular as some of their others ... nah.

>  Why did they put that cheesy ending in War Paint. "Boys and girls
together,
>  paint the mirror black." I hate that! It seems to me Atlantic or Hine
made
>  that commercial demand.
Oh, get real!  The song's pattern includes a verse about boys, a verse
about girls, and (one of Neil's trademarks) an additional level of meaning
or two.  In this case I'm sure the song not only refers to boys and girls,
but politics (and, I'm sure, a few more things I haven't thought of yet).

Response to Ron Chrisley (Hello, PARC!):

Yes, he does sing Babylon instead of Avalon.

No, I don't find the pre/post Exit...Stage Left division to be artificial
at all.  They have always been growing and changing.  Even though Moving
Pictures and Signals could arguably be grouped as a transitional phase in
instrumentation, I feel they bridge the largest change in style that the
group have ever made.

Battlescar is a classic.  I own Universal Juveniles for that song only.
Max Webster were friends of 'the boys' as far as I can tell from the notes.

Evan Hunt commented:
> (the song on Hold Your Fire, with
> the lyric "We fight the fire while we're feeding the flame," would make
> Ayn Rand retch)
Sure a particular line may seem this way, but what is the meaning of the
song?  Does depicting something in the world mean you agree with it?
Certainly not; it may just as well serve to point it out as something you
find repulsive (This argument applies to analysis of religious meaning in
The Pass as well).  Art is communication, and one must communicate ones
views in the best way one can.  From what I've seen, Neil is subtle, yet
direct and still applies at least some of Ayn's tenents to get his world
view.  I'll reiterate, have you read the books *and* the essays?

Ron Z. writes:
> did anyone else out there realize that
> YYZ is the three-letter-identifier for Toronto's International Airport?
Yes, found out about it by noticing YYZ on a friend's luggage tag (I still
have the tag!).  Later someone points out that the opening rythym spells
out YYZ in morse code.  This is also true, in fact the whole song is done
in pattern of two the same, followed by one different.  It also sounds like
a sound-painting of an airport to me.

CNBR10@vaxa.strathclyde.ac.uk commented about the meaning of Beneath,
Between and Behind.  All I can say is, quite.  I had noticed this years
ago, and agree with his/her comments.

Derek writes:
> I agree completely with Evan Hunt on Ayn Rand.  For a period of time some
of
> her philosophy was an influence on Neil's lyrics, but it is hardly likely
that
> they still hold the same place.  One can infer this from his changing,
more
>"sensitive" lyrics in later works, ...
What *are* you talking about?  More sensitive?  As an element in being more
accomlished, sensitivity is an issue; as a comment on his influence from
Ayn Rand it has no place.

In response to Mark S.'s assorted questions:

For the three parts of fear, read the notes for Moving Pictures, Signals,
and  p/g for the answer to that.  Then think about what it was like for
those of us who bought these albums as they came out!

For songs not written by Neil, refer to Rush.  I think there may have been
other(s), like I'm pretter sure that one of the songs on the second side of
2112 was not written by Neil.  I have to go back and study my notes again!

The story I heard about the first drummer, John Rutsey, was that there was
a difference of opinion about the musical direction the band should take
after the first album.  This is only hearsay, however.  I don't know if he
is still playing, although he did soon after he split.

Our mailer won't let me send messages any longer than this, so I'll
continue this in another post.

----
 Brad Armstrong
Lion.Wbst129@Xerox.COM
 Xerox MB Lab, Webster, NY
W: (716) 422-9688
              ... everybody got to elevate from the norm. - N. Peart
> None of these opinions have anything to do with anyone besides me. <

----------------------------------------------------------

Date: 2 Aug 90 18:24:35 PDT (Thursday)
Subject: ...to be found within a song. (continued)
From: "Brad_Armstrong.WBST129"@Xerox.COM

Scott asked what good Rush things were there to do in Toronto.  I'll tell
you about one I did, that only a true Rush fan would understand.  I found
the spot where the Moving Pictures album cover was shot and have pictures
of myself standing on the very same step, taken from a similar angle (after
all, I didn't have a ladder).  My shots were taken with the pavement wet,
just like on the cover, too!  I was there!!  This is my suggestion for a
Rush related thing to do in Toronto.  The building in the picture is the
old City Hall building, in the North part of downtown (not the current city
hall!).  All I can tell you about finding it is it is several blocks South
of the Toronto Planetarium (still does LaserRock shows!) surrounded by a
park.  There is a multilane road that splits into two multilane roads to
run around both sides of it and joins up again on the south side.  The
entrance on the cover is on the South of the building, and it still looks
exactly like the cover, except for a crack in the pavement.  Anyone else
got as fan-atic a thing to do?

I agree with Todd Day's feelings about the shuttle and Countdown (so there,
Derek), even if NASA is turning into one gov't screw up after another.
Let's hear it for the latest private attempt to make a manned spacecraft!

Re: Fred Peabody's General Questions:

Metallica?!, really?!  They are one of those teen-fan, screaming,
no-talent, waste of time metal bands, no?  Perhaps I'll have to find
someone with a copy of the Master of Puppets album you mentioned.  I hope
it isn't catching.

Anyway, there is half of a concept album in Caress of Steel, the second
half to be exact.  The vocal in Didacts and Narpets is "Listen!...", and I
think that even that one word has several meanings.  I think the album
title is this way as well, and I'll leave them both to your own
interpretation.

Well, I've written quite enough ... this DL is a breath of fresh air for a
long time apostle of the Rush kingdom (if anyone is offended by the
'religious' connotation in this sentence, then they deserve to be).

Electronic communication, making your life better;
Magician.

----
 Brad Armstrong
Lion.Wbst129@Xerox.COM
 Xerox MB Lab, Webster, NY
W: (716) 422-9688
              ... everybody got to elevate from the norm. - N. Peart
> None of these opinions have anything to do with anyone besides me. <

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