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Subject: 05/08/91 - The National Midnight Star #234

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          The National Midnight Star, Number 234

                  Wednesday, 8 May 1991
Today's Topics:
      Re: 05/07/91 - The National Midnight Star #233
                      Guitar chords
                     Witch Hunt Live
                   Musically Innovative
                      Mystic Rhythms
      RE: 05/07/91 - The National Midnight Star #233
             Mystic Rythms and Superconductor
                The popularity of RUSH...
             Re: What makes Rush innovative?
         Crypto-Fascists and Rastaman Vibrations!
     Toronto record stores with Kim and Max material
                        Rush on TV
                   re: What if BIG hit?
                Rush Presto concert review

Subject: Administrivia
Date: Wed, 08 May 91 11:16:47 EDT
From: RUSH Fans Digest Manager 

Dan has supplied us with a new version of the Rush Frequently Asked
Questions List (FAQL) (thanks again, Dan - buy *that* man a beer!).
Because of it's size (>60K), I've decided not to post it as I previously
had to save network bandwidth.  It is available in the file:


at the Syrinx ftp site (see the tail of this or any digest for info). I
have sent a copy to the server at Ingr also.  Because I didn't post it,
I am willing to send copies to those who:

     1) don't have ftp access, and
     2) are having problems getting through to the server at Ingr.

Also, I chose to remove a post which was "a review of William Gibson and
Bruce Sterling's Difference Engine" from today's digest.  I did so because
there was no relationship as far as I could tell to Rush and/or their music.
I think that things like this should be sent directly to the people asking
the question(s), and suggested the author to do so.  Not that I wish to
stifle literary essays, let's just keep 'em a little closer to the topic
of this digest.

Lastly, I've included a review of a show on the Presto tour submitted by 
one of our members.  I was saving it for a special edititon, but it's too
small by itself, so...   It's the last article in today's NMS.



Date: Tue, 7 May 91 19:22:07 -0400
From: Sridhar P. Rao 
Subject: hmm

If rush were to ever have a popular be pleasnalty surprised.
It would add a ton of fans...but wether they are real fans or the type
of fans who like whatever the radion plays is the real point. Clearly,
most of these fans would like the song and maybe even purchase the album
but that would be it. I doubt NMS would surge by many thousnads of
subscirbers althouhg it would possibly bring on a few younger fans...
much like the Moving Pictures influence.

AS far as young fans go...around here there seem to be quite alot
in the 18-15 range. Rather odd actually..but its true. Of course
they arent the majority of music fans :(

well thats about al...may the force be with you.

Playing Ice hockey with Rush in the background is fun.



Date: Tue, 7 May 1991 19:31 EDT
Subject: Re: 05/07/91 - The National Midnight Star #233

Please remove me from the list.


Date: Tue, 7 May 91 19:37:53 -0400
From: jtkung@caf.MIT.EDU (Joseph Kung)
Subject: Guitar chords

On the subject of Fly By Night, the opening chords that were presented
before are close, but not quite right. The intro goes like :


Note the chromatically-descending bass note which adds great spice to
things, as well as the ringing G,B, and E strings. Once the 2nd chord
is planted, the last three strings should remain ringing [the pinky
and middle finger used to hold the E and B down] while the index
finger plays the bass notes. The B-flat is particularly hard to get
in the beginning while keeping the D and G open, but it gets easier
with practice. This is another example of Alex's desire to keep notes
ringing, and to use open string chords.

Also, on the subject of open chords, Alex does use a guitar tuned to
F# on The Big Money, but the tune can be somewhat replicated in
standard tuning by playing fretted harmonics during the solo. I'm not
sure if he uses any open strings in the main chords, but he probably
does [that's how he gets that full, ringing sound]. In any case, you
can play harmonics all over the fretboard, so you're not limited by
that in the song, though I guess you can't get that ringing sound without
tuning up.

- Joe


Date: Tue, 7 May 91 20:25:47 EDT
From: (Tony Mancill)
Subject: Witch Hunt Live

In regard to a question about Witch Hunt on 5/7:

>On another note:  I posted another question a few weeks ago, and
>haven't seen an answer yet.  What made "Witch Hunt" such a studio
>production that the Boyz could not originally reproduce it onstage?

If you read the album cover of Moving Pictures very closely, you
will see that there is a "guest" keyboardist playing on Witch Hunt.
(Sorry, I don't have the album here with me.)  Maybe this is why
they could not "orginally" (I'm not sure what you mean) reproduce it
in concert.

I think it sounds pretty good on A Show of Hands, but I'm not sure
what all sequencing and the like they had to do to get it right.

I've seen Rush several times, and was even able to see them on one
of their "bad" nights (if you can really ever consider them bad).
Birmingham, Alabama on the Hold Your Fire tour... Alex missed a
sequencer hit on one of the songs off of HYF (I forget which),
but I remember that it was amazing how fast the guys readjusted
to "new" tempo, as it were.


"They shout about love, but when push comes to shove,
 They live for things they're afraid of..."  -  Neil Peart


Subject: Musically Innovative
Date: Tue, 7 May 91 18:00:17 PDT
From: Dan Dickerman GSY 1-447-4425 

> My point was that for a three-piece band, Rush is extremely innovative
> (e.g. Taurus pedals hooked up to the Oberheim, Neil's back-to-back
> kits, Geddy's Rickenbacker double-neck bass/guitar).  But Hamish
> says that *muscially* Rush is not innovative.  And in the big picture,
> I can see where he is coming from.  Compared to Brahms, Chopin, etc.,
> Rush probably *isn't* innovative.

NOTE: I have a long-held belief that you just can't argue musical taste.
      If you accept that music appeals largely to emotions, it's clear to see
      that you can't argue taste intellectually.  Sometimes despite all my
      will, I like something, although intellectually I realize it's garbage.

So what your argument boils down to is your definition of "musically
innovative."  Rush has always been innovative in the sense of their style's
uniqueness in the industry.  Rush has avoided standard "baby-baby" lyrics
(give or take a couple tracks on the first album), standard chord progressions
(I-IV-I-V-IV-I) or instrumentation.  Each musician has a strong part (as
there are only three of them), as opposed to the standard lead/backup
scenario with Ringo Star on the drums.  I have always given them a big
plus for not just following the mainstream of pop music, getting the airplay
and the money at the expense of dignity and creativity.

As for the classics, please note that both Chopin and Brahms, though extremely
creative, composed within a particular form, which in some sense limited
their creativity to go beyond a piece's form itself.  If you go back to
Mozart, duly note that he composed in a very rigid set of musical structures
as well as certain "correct" harmonies -- most of his music was intended to
be used as background, so it is very simple.  Further back to Bach (one of
my personal favorites): note that in the Well-Tempered Klavier, each book
contains exactly 24 pieces, one in each of the major and minor keys of the
well-tempered scale, and each is of a fixed, known form.

This is not to say being innovative necessarily defines "good" (although it
certainly helps) or vice versa.  Brahms was a throw-back to composers of
the previous century, and Stevie Ray Vaughn played in a 12-bar blues
pattern that's been around as long as the Blues themselves, but it's
still good music.  It's not what you say, it's how you say it.

So, to sum up:
- You can't argue musical taste
- innovative =/= good  and  non-innovative =/= bad
- many great musicians were not necessarily innovative in some
  ways (although most are innovative in others)
- Rush is musically innovative because they strive to be different
- Dan Quayle still gaining acceptance

Best wishes,
  Dan Dickerman


Date: Tue, 7 May 91 20:19:31 -0500
From: (James Moseley)
Subject: Mystic Rhythms

As posted by my sister in NMS #231, Mystic Rhythms was used in the intro
to a CBS newshour called West 57th.  It was aired weekly.

James Moseley

ORQ: "But a spirit with a vision is a dream with a mission..."


Date: 7 May 91 22:33:00 EDT
Subject: RE: 05/07/91 - The National Midnight Star #233

Does anyone out there have a copy of ATWAS with a group photo on the inside
of Rush's stage technicians, roadies, etc?  The reason why I ask is:  the
guy that cut my hair the other day claimed that he was Neil's drum tech
on the 2112 tour, and was subsequently included in a group photo that
appeared in ATWAS.  His name is David ...something..(i want to say Cooper
but that is probably not it).  Anyway, my copy of that album has no such
shot in it, just pictures of the boyz playing live and a couple of shots
of the crowd in some smallish arena.  I want to believe this guy, as he
seemed like he knew what he was talking about, and mentioned all this before
I told him Rush is my favorite band.  So, that's why i'm wondering if perhaps
an earlier release of ATWAS included the aforementioned photo.  He said he
had hair down to his waist in the picture and was wearing glasses.  Well,
i'll post some of his comments if/when anybody out there can offer some
evidence of this man's credibility.

[ Do you have the two-way or three-way gatefold of this album?  The original
  had an extra (third) panel containing many pictures which was dropped from
  later packaging, probably to save costs (boo!).  I can check, but then
  again, who can tell who's in a 15 year old photo?  1/2 :-)      :rush-mgr ]



Date: Tue, 7 May 91 19:29:42 PDT
From: (nobody)
Subject: Mystic Rythms and Superconductor

>From: stedmant@LONEX.RADC.AF.MIL (Terrance A. Stedman)
>Subject: Mystic Rhythms on TV?
>        Ok, who can answer this one for me?  Several years ago there
>was a show on one of the big networks (ABC,NBC, or CBS) that used
>some instrumental sections of "Mystic Rhythms" as its theme song.
>I believe the show was broadcast on a weekly basis, but the name of
>the program eludes me.
>[ Without double-checking, I think it was "1986".  If I'm wrong, I'm sure
>  there will be plenty of people to correct me!  :-)             :rush-mgr ]

 Hmm.. I vaguely remember somthing called "Magazine" on NBC...

On another note, I just picked up a radio promo cd for Superconductor at
our local "we dont care if its says 'not for sale, promotional only' cd



From: (The Gillrocker)
Subject: The popularity of RUSH...
Date: Wed, 8 May 91 0:43:44 EDT

   I would like to share my feelings on a favorite band never getting the
success that it deserves.

   Let me start by saying that Rush is not my all time favorite band.  No
flames please.  I have liked Rush since I heard Moving Pictures, and I have
every disk/tape except for PoW and Rush.
   My all time FAVORITE band is Night Ranger.  In fact, it was their song
'Don't Tell Me You Love Me' that caused me to want to play the guitar.  As I
went through my teenage years, I watched them rise and fall in the music
world.  I always thought that Night Ranger was one step ahead of the musical
game.  I also feel that Rush is ahead of the musical game too.
   Unlike some Queensryche fans that have been shooting their mouths off on
the net that QR has "sold out", I like to watch a band grow, mature, and
enjoy success.  This is provided they deserve that success.  The New Kids
don't even deserve a squirt of pi**.
   Rush rocks and plays music without the computerized drum machine and the
sampling that has caused so much fuss in the music world.
   If Rush starts to achieve commercial success, they deserve every bit of
it.  NO ONE should WHINE about the success of a favorite band, only   its
lack of recognition.
   When I mention that Night Ranger is my fav, people immediastely go,
"Eeeeewwwww!!! You like that band that sings Sister Christian."  I can bet
that at least 100 of the NMS subscribers said just that.  That really hurts
me, because I know that they can blow the roof off of a house when they rock.
   New World Man was the only Rush song to ever enter the top 40 according to
billboard mag.  How would you feel if someone said "Eeeeeewwwww!!!  You like
the group that sings New World Man!!!".

[ Huh?  I thought that "Tom Sawyer" and "The Spirit of Radio" made top-40??
  Or was that "top-100"?                                          :rush-mgr ]

   What I am trying to say is...Don't knock success, rock success.

   Who would you rather see have a number one single???
	a) Madonna
	b) New Kids...
	c) Some joke rap act
	d) RUSH

   I hope everyone here will pick 'd' as there answer.

Nuff said...
 _ __ A straight _ line __ may be the shortest distance between two points,
' )  ) but it is//by no/  ) means the most interesting. -- Dr. Who
 /--' __.  . . //     /    __  _____    _   ______  __.  ____  pcrossma@ulowell
/    (_/|_(_/_Subject: Re: What makes Rush innovative?
Date: Tue, 07 May 91 22:42:33 +0100
From: gimper@leland.Stanford.EDU

I originally posted the innovative question and received the following
message via e-mail.  Comments following...

------- Forwarded Message

Date: Tue, 7 May 91 21:12 CDT
Subject: innovative

Hi Stuart.  I had to take a minute to type this in because I couldn't believe
the crap I was reading from your friend (Danish?) and yourself regarding the
lack of innovation in Rush's music.  Briefly put (because I have exams to
study for) the statement that Brahms or Chopin's music is somehow more
innovative than Rush's is an unqualified stereotype.  As a musician myself
(and a damn good one as I've been told for almost 20 years now) I am always
amazed and excited by the intricacies and interweavings of the myriad of
patterns found in most of the Rush songs I've figured out by ear.  I'm now
referring only to stuff earlier than Signals as I am an "old" Rush fan who
still finds new sounds in every album from RUSH to SIGNALS.  I also have
spent some time figuring out classical music such as Beethoven's Appasionata
on the piano so I speak from experience when I say that there is definitely
as much innovation in SOME of Rush's music as in SOME classical works.  The
obvious (to a musician anyway) fact is that there are SOME incredibly complex
and innovative classical pieces (e.g. try playing Liszt) which do exceed the
technical complexities of Rush's music, but this says nothing about the
innovativeness of the melodies or chord structure.  I could go on to list
some of my favorite Rush pieces (which literally still give me goose bumps
even after the 100th listen) but this is not important.  I just wanted to
make sure you know that a statement like "...classical works by Brahms are
more innovative than any of Rush's music." are dead give-aways to the musical
ignorance of the speaker/writer.  Rush's music and Peart's lyrics are both
inspiring and "intelligent" -- at least the stuff I listen to before Signals.
And some of their music rivals that of some of the best known classical

Gotta go.  You can send this to NMS if you want.  I don't have time to
retype it and I don't know computers well enough to figure out how to
send this to two places (have pity, I'm an E.E.).


------- End of Forwarded Message

Not that I don't like the content of this message, but this is exactly
what Hamish does not like reading in alt.rock-n-roll.  Hamish dislikes
these wide-reaching statements without giving concrete examples.  Steve,
I'm not flaming you, it's just that my discussion with Hamish will not
go anywhere without specific examples.

So if *anyone* out there can give me concrete examples of how Rush is
musically innovative, I'd love to hear from you.  Any comments/
suggestions/criticms welcomed.  (But no flames, please!  :-))

(And Steve, thanks for writing!)

-- Stuart

ORQ:  "We need GUBS!!!"

[ I get the impression that Hamish will dissect *any* argument you present.
  If nothing else, he'll fall back on the definition of "innovative", and/or
  disagree with what you state.  ("I don't call *that* innovative.")  Some
  people are just lost causes...or not worth wasting time on.     :rush-mgr ]


Date: Wed, 8 May 91 10:16:40 +0200
From: (Frank Schaapherder)

Subject: Rush and facism.

Hi there,

In digest  someone (sorry, forgot the name) asked how Rush
looked upon fascism. I hope the following clarifies a bit.

Three years ago there was an article in a Dutch music magazine
covering Rush's development up to that point. One issue dealt with was the
interpretation of The Trees. I'll translate the relevant parts As some parts
have been translated from English to Dutch, and now back again, don't take
Neil's words too literally, He's paraphrased here.

" In reaction to _The Trees_, a song from _Hemispheres_, released '78, the
New Musical Express call Rush fascists. The lyrics of _The Trees_ tell how
maples form a union because oaks grab up all the light. After that the trees
pass a noble law, through which they are kept equal, by hatchet, axe and saw.

New Musical Express interpreted this as being a determined attack to unions
and organised labour force. In may 1979, Neil gets his chance to solve
misunderstandings like this, which came up by premature interpretation of
his lyrics, for once and for all:

' I can assure you that it was never my intention, to give the song the
meaning you assign to it. Originally I saw the song as a kind of cartoon.
(..) My assumption is basically derived from the strange behaviour of
people. The false ideal of equality they want to create. I simply believe
some people can do certain thing better than other people. It does not mean
they are better beings thanks to their talent, it only means they are more

Apart from the fact that 'fascist' has been an accepted swear word in
the UK far before The Young Ones used it on the television, the word
still is a big insult for a foreigner. Neil:

' It may sound weird, but it hurts when someone calls me a fascist. I don't
want to be associated with people like those of The National Front. I worked
here in England when they got their first wave of publicity and I know what
they want, and I absolutely don't like it. (..) We absolutely believe in total
freedom for the individual. Politics is only the tip of the iceberg in that
respect. I don't concern myself with politics as a solution, but with the role
they play in a broader philosophy. To portret us as a right-wing political
band thus would be totally wrong, it would provide a twisted image."

Well, I hope this sheds some light..


Date: Wed, 8 May 91 10:16:19 +0200
From: (Frank Schaapherder)

Hi there,

Welcome to the guitar tab archive for Rush songs.

Before you hit off, you should know that the archive is in no way 'Alex'
acknowledged or so, so don't expect all songs to be accurate for each note.
Further, as you're a guitarist and should have a trained ear, we decided to
skip all more or less redundant information, such as measures and length of
notes. We also assume you are familiar with guitar tabs in general, and of
course, know how to play your chords.

In the tabs, the following symbols are used :

|  - A pair of these indicate a part of music, not the usuals bars.
:  - Indicates that a part is to be repeated. This may be ommited, you should
     hear it too.
_  - Indicates a hammer-on or pull-off (You should know which is appropriate)
>  - Indicates a bend-up or down or a slide. With a bend, the note to bend to
     is between '(' and ')'. Use the whammy for a downbend. With a slide, the
     follow-up note is the one to be slid to.

With most songs, the name of the contributor is included. So, as he did the
transcription, for difficulties and questions, refer to him:-).

Further, if you've got any comments, suggestions, additions or questions
you can also contact one of the addresses below. We are always open for them,
and to be more honest, we'd love to see a kind of 'Rush Complete' in tabs.
So, if you play a song that's not in the archive, and you're willing to lend
a hand, please contact one of us!!!


Frank Schaapherder                   Jason Bold           

[ Well, apparently this is the official announcement for the TAB archive.
  It is available in the anon. ftp directory 'rush/tab', and currently has
  tab for four songs (3 lead/1 bass).  Please send ALL submissions to Frank
  or Jason, as they are coordinating this effort.  Don't ask me nuthin', I
  am musical-instrument-challenged (unless you count air drums).  As files
  are made available to me, I'll be sending them to the mail server at Ingr.
                                                                  :rush-mgr ]


From: (Ron Rader)
Subject: Crypto-Fascists and Rastaman Vibrations!
Date: Wed, 8 May 91 9:49:17 EDT

  I trashed the original attribution for this question (sorry):

>I've read in some music publications articles about Rush which quite
>worried me. The writers describe Rush as "crypto-fascists", "nazis",
>"right-wing extremists", etc.
>Is this true? What basis do these writers have for these allegations.

  People who call Rush fascist are almost always indicting Neil for
his Objectivist influence.  This attitude belies a blatant lack of
understanding of Rush (as we all know), and Objectivism in general.
Rand kept some strange company and had a penchant for saying things the
more left-leaning collectivists don't like, hence the 'right-wing extremist'
bit.  I suppose they feel it's easier to convince others by calling
people nasty names instead of rationally debating.  Neil isn't much of
a rabid Objectivist to begin with, so ignore these silly people and
feel satisfied that Rush aren't Nazis.

  And Robert B Simmon  sez:

> 	Zion & Babylon were associated with a rastafarian colony, while
> digital man was written when Rush was exploring Reggae, a musical form
> associated with the Rastafarian movement.

  Zion and Babylon are Biblical references (which is where Rasta gets them),
so perhaps someone more up on their Bible can corroborate this.

  Zionist religious movements strive for a religious homeland.  The Rastas
consider Ethiopia their Zion, while Judaism's is Israel.  Not so sure what
Babylon represents to the Rastas, or what major significance this has in
Analog Kid.  All I can think of is a parable for 'sin city.'  Time to whip
out the lyric sheet, I guess.

  It's also good to remember that Reggae existed prior to and has significance
other than the Rastafarian association.

ron rader, jr OR ...!mcnc!bbt!rlr = Opinions are my own and do
| |  i gotta six-pack & nothing to do...       = not necessarily reflect those
 | | i gotta six-pack & i don't need you       = of BroadBand Tech. (SO THERE!)
  *** Punk ain't no religious cult, punk means thinking for yourself - DKs ***


Date: Wed, 8 May 91 11:54:08 -0400
From: "Douglas G Schwabe" 
Subject: Toronto record stores with Kim and Max material

Last weekend I went to Toronto to find some Kim and Max cassettes.  I found
"akimbo alogo" (featuring Go For Soda, All We Are, Love Ties, Lager and  Ale,
Called Off) for 5 dollars at a used record and tape store on Younge street
Kim's debut EP was there as well, but I was caught up in the excitement of
getting "akimbo".  I fell in love with "Go For Soda" when it came out in
'85 but I haven't heard anything else from him since then.  Question:  What
American record company released 'Soda' or was it released as an import?
Is Kim making his new album under Alert records?  Is the fan club address
that is on "akimbo" the same address?

I couldn't find any used Max tapes at this record store (Incredible Records,
by the by).  As Michael Sensor from Penn State ( stated
last week "Universal Juveniles" is available on CD as well as other titles
from Max, all on Anthem Records and I think all them produced by Terry Brown.
Question:  Was Max Webster the first band to be signed to Anthem?  Who are the
other members of Max and how are they doing?

I heard "Rock n Roll Duty" while I was up there as well as Cinderella Man
Closer to the Heart, and In the Mood.  The Station to listen to in Toronto
is Q107 featuring John Gallagher and his Bruin bashing (I can imagine how
happy he was when the ruins lost last night he has been getting letters from
irate Bruins fans after the Bruins beat the Habs, those Canadians do not like to

Doug Schwabe

LETS GO PENS (2 Down, 2 to go, beat the Traveling Milburys!!!!!!)
LETS GO BUCS AND BISONS (Watch out Buffalo, here comes the Buccos, tommorrow
                         night Pilot Field, BE THERE!!!!!)
LETS GO JAYS (Any one going to the All-Star Game July 9, TAKE ME WITH YOU, 


Date: Wed, 8 May 91 11:16:28 EDT
From: srl@com (Shawn Lee)   [ Bogus address - use address below for replies! 
Subject: Rush on TV                                               :rush-mgr ]

A few years ago (I think it was '89), I was watching auto racing on ABC. I
forget which race it was, maybe the Daytona 500, but during the race, they
showed an up-close & personal story on a well-known driver named Rick Mears.
The music they used in the background??  New World Man!  It was a very
pleasant surprise to hear Rush on network TV!

Shawn -- glinj!

OBR:  I hear their passionate music...


Date: Wed, 8 May 91 12:38:20 EDT
From: Doug White 
Subject: re: What if BIG hit?

In regard to Derek L.'s question in NMS 233 as to how I'd feel if Rush
had a song that "hit it _really_ big" ...
I think that there could be the potential for an influx of new fans,
fans who had just heard that hit, or the latest album. I personally would
feel a bit peeved in that they oculdn't possibly appreciate the band
without knowing the excellent previous work done. This is a feeling I've
had several times - many other (unnamed here) bands I've grown up with
put out a "hit", and  tons of screaming 13 & 14 year-olds pour into the
concert. HOWEVER - at least they've heard the band, and some may start
going back, picking up older disks, and keep with it. It may be a Catch-22 -
ya gotta have flash to get attention, and flesh to keep the fans ya got.
I think Rush definitely has the flesh (hoorah Neil!) and the flash is
true artistry and skill on the part of all three.
It has been an interesting road from Zep clone, thru Sci-Fi to politics,
I think they've "grown up" during the time I've grown up. An interesting
sort of bond.

I'll toss this in fer reference:  I'm 26, knew of Rush in mid '70s, loved
FBN, 2112 & AFTK, and have bought every album since (& including) PWaves
on the day of release (have since converted to CD - missing 2 from catalog).

 Douglas White, National Institute of Standards & Technology
 Bldg. 225, Rm A216, Gaithersburg, MD 20899 /  Voice: (301) 975-2182 / FAX: (301) 590-0932

 "The only reason some people get lost in thought is because it's
  foreign territory." - Paul Fix

Losing It - best song (IMO).   :)


Subject: Rush Presto concert review
Date: Fri, 3 May 91 13:11:52 WET
From: Moschops 

                Kerrang magazine
                March 24,1990
Rush/Mr Big
Convention Center Arena
San Antonio

AUDIENCE PARTICIPATION. It can make or break a show, and tonight the 
fabulous crowd made Mr Big bigger and Rush into an overpowering aural

At 7.30pm sharp, Mr Big ease onstage to a healthy round of applause
and jump into a seven-song set of bluesy rock and roll. The tunes are
catchy and well played ( of course! ), but I have to admit that I 
preferred them in the more intimate setting of a small club I'd seen 
the band in a couple of months ago. It's da blooze, after all, so it
can't really knock over a stadium rock crowd.

The crowd's enthusiasm and the bands energy, do win out though, and
_Merciless_, _Take a Walk_, and _Big Love_ are three heavy hitters.
Vocalist Eric Martin is a showman as well as a soulful singer, getting
down on his knees to praise the virtues of Texan women, then harassing
his bandmates during their instrumental sections.

Then it's a fun ride to show closer _Addicted to that Rush_ , and the
band increase their efforts, culminating in Eric Martin's query:
"Are you Addicted to RUSH?" The song is momentarily drowned by screams
and yowls. Ask a stupid question....

There are a lot of Rush fans in South Texas, and it looks like every 
one of them got a seat for this show. How else can you explain the 
tremendous roar that goes that goes up when the lights go black, the
vibration that rolls up your spine as 13,000 people rise to their feet,
the applause that crackles like prairie fire from balcony to 

The opening video is an oldie with a new twist; tonight the cartoon
people are queueing to see "Attack of the killer Rabbits". The 
musicians onscreen hit their stage just as the opening bars of 
"Force Ten" burst from the expertly wielded instruments of the now visible
Lifeson, Peart and Lee.  The song streams through multicoloured cones 
of light, and we're all entranced like deer on the highway - well,
deer who yell and play air guitar and jump up and down!

The band are in shades of black, white, grey, and silver ( Peart's
drumkit, that ), but the crowd are bathed in a rainbow for much of the
show. Being able to see each other and knowing that Rush see us 
inspires even higher levels of hyperactivity. The perfectly clear
and strong notes ( especially those from Geddy's throat ) answer us 
and encourage us to still more. Let me tell ya, I'm not going over the
top here; These are easily the most exciting concert moments I've 
experienced in years.

Its the old songs that get the best response, and Rush run through 
several of them; _Freewill_ , _Time Stands Still_ and _Red Barchetta_
are the biggest adrenalin pumpers. How can the music be so hot, while
the band are so cool?

_Superconductor_ and _Show don't tell_, off the new album, don't meet
with as big a welcome, but then they're not old friends yet. Just wait
a couple of years. In the meantime the new video backup ( cartoon 
magicians and computerised weirdness emerging from a top hat ) keeps 
up properly impressed.

After Geddy shows his best on the classic _Closer to the heart_ ,
it's time for a surprise - the seldom heard _Xanadu_. It leads into
_YYZ_ and Neil Peart's kilt spins around in preparation for what will
be another lesson in When You Certainly May Solo, In Fact, When You Had
Better! The sound is nearly African in parts, orchestral in others.
Special effects and synthesized jazzy outbursts keep us cheering,
though Peart never stops to indulge himself in our praise.

Back to full band efforts, and a portion of their stage show obviously
affected by their excellent sense of humor. From each side of the stage,
two giant rabbits emerge from magicians' hats. They remain static 
through _War paint_ and the _The Mission_ but can't resist _Tom Sawyer_
-they begin to shake and shimmy and wave their long white ears. Utter
silliness and perfect one-upmanship of the Rolling Stones' inflatable
bimbos. Even Geddy's laughing as he strolls across the stage,
grabbing the sides of Alex's mouth in an attempt to make him smile too.

It's not over till It's over, and Rush give us our money's worth on
the encore, hopping through _Big money_, _2112_'s rocketing 
_Overture_ with a segue into _La Villa Strangiato_ and _In the mood_
under dark blue lights and lasers gone mad. Even Alex infected by the
general joyousness, shows us some dance moves, under Geddy's 

We're screaming, they're smiling, and it's for the same reason;
"You guys have been great" Geddy yells.

Right back atcha, gentlemen.

Written by 'Maribeth Bruno'


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

End of The National Midnight Star Number 234

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