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Subject: 04/01/92 - The National Midnight Star #459

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          The National Midnight Star, Number 459

                 Wednesday, 1 April 1992
Today's Topics:
                  Bristol Concert Review
                     Rush Album Review
                     Neil's headphones
                    Axe Player Interview

From: Editor, The National Midnight Star 
Subject: Administrivia

The Admin. mail is caught up, insert regular caviat here.  :-)

Sorry for the lateness of this issue, I'm down with a bit of stomach
flu today.  :-(

That's all for me, on with the show!  Enjoy!



Date:       Wed, 1 Apr 92 13:17:14 GMT
Subject: Bristol Concert Review

Review of Rush, live at Littleton-Under-Water Youth Club, UK
April 1st, 1992.

    from your UK correspondent, Paul May, University of Bristol.

      After 4 years away, the British audience finally got a chance
to see Canadian supergroup Rush put on one of their now-legendary
performances. Despite the last-minute change of venue from Wembley
(which had closed because someone forgot to pay the electricity
bill) to a 30-seater youth club just outside Bristol, the concert
still went ahead in spectacular fashion. Both members of the
audience were ecstatic, partially from the eletric atmosphere, and
partially from the strange cigarettes they were smoking.

     At 9pm precisely, Lee, Lifeson & Peart hit the stage. After
getting up again, they started the concert with a powerful version
of Red Barchetta, their projected backdrop showing cartoon
images of a speeding roadway. These images were so realistic, that
the audience (both of them), fell off their chairs as the Barchetta
rounded a corner. Of course, that could have been due to their
strangely-smelling cigarettes, since neither of them got back up

    Undaunted, Rush continued with their set, the lighting rig
flashing brilliantly in time with the beat, just like something that,
well, flashes brilliantly in time with a beat. Now the band were
really getting into their stride, and Geddy had to be called back
onto the stage after striding too far from his synthesiser. Much
to the audience's indifference, a donkey was then brought onto
the stage, and Lee, Lifeson & Peart each kicked it several times.
Let no-one say that Rush is a group that can't kick-ass!

    They then played Superconductor, and 2 inflatable rabbits
appeared out of top-hats at either side of the stage. Lifeson
looked worried, as during the next 2 songs these rabbits moved
gradually to center-stage, blocking his view of the sleeping
audience. When the rabbits met, they began to bounce up & down
in time to the beat, just like, well, rabbits bouncing up &
down in time to a beat. Geddy Lee decided enough was enough. He
took a moment off from simultaneously singing, playing the bass
with his left hand, the synth with his right hand, footpedals
with his left foot, and writing his grocery list with his right
foot, to use his last remaining prehensile appendage (his nose)
to throw a bucket of water over the rabbits. Alas and Alack (the
names of the 2 rabbits), he was too late. Dozens of small,
inflatable rabbits popped out of the hats and leaped all over
the stage, just like Alex & Geddy don't. Neil came to the rescue,
and snarled to the rabbits "Get a Life!", who promptly exited
stage left, just like something that exits the stage after being
snarled at.

    Geddy then calmed the whole proceedings down by making the
announcement to the snoring audience that the rumours of Neil
having cancer were totally unfounded. Apparently, the real Neil
had died 2 years earlier, and had been replaced by a lookalike
android (a T1001001 terminator). That accounts for his beat-perfect
drumming, machine-like endurance, and brain the size of a planet.
Taking his cue, Neil began the intro to Dreamline.It didn't work, so he
put down the cue and began the intro again, using drumsticks this time.
Just after the line "far away from her homeland" Neil struck a cymbal
that activated a computer-controlled relay, via a sequencer, that fired
a cattleprod 3 times into a small, fluffy dog sitting to the left
of the stage. The dog gave three barks, which sounded to me exactly
like sonar blips? So now we know, eh?

   The show came to a spectacular climax, as Neil exploded in a
shower of sparks and shrapnel while trying too hard to reach the
deep notes of "That's Nice". Geddy & Alex triumphantly left the
stage, hotly pursued by hundreds of inflatable rabbits and one
slightly-burned dog. The audience snored in appreciation, and I
found myself struck by a desperate need for a suitable superlative
with which to describe this concert. I finally decided that the
concert could be summed up as follows: as fluffy as the pieces
of fluff you occassionally find in your bellybutton, as cute as
little, baby lambs before they are casseroled, and as moist as a
very moist thing that just been freshly moistened. Nuff said!


Date: 1 Apr 92 07:47:00 CDT
Subject:  Rush Album Review

Review of RUSH "Gangster of Boats" Atlantic F10-2112-040192
by Rolling Bones magazine.

>From the opening song "Loveline" this album really rocks.  Who can resist such
lines like: "road map of love" and "Let's just talk- NOT!", the words just
seem to flow with the music.  Geddy's BASS lines have a lot of nice HOOKS

On "24 hour bra" Neil writes with such feeling - "Put your love on me", "Don't
leave me tonight", and "Love is a four-letter word", these are sure to be
classics.  Alex performs some of his best work on this song.  The long sustain
at the end really finishes up the song.

"Roll the dough", the third track has some rap but is quick and straight to the
point-  "Jack, relax, get busy with the ex-lax."  LL Cool J is the guest
performer on this selection.

On "Facelock", Neil explores all the angles of a great kiss.  Get out your
protractor folks, Alex and Geddy really jam on this one.

With their new instrumental "Where's the beef" one gets the feeling of being
able to grasp the concept only to let it slip away again.  This one is
definitely a winner for the Grammy's.  For best results set your volume
control at '11'.

"Hersey" slows it down again with such a wonderful concept- "We will pay the
price, but we will not count the calories".  I can imagine all those almond
kisses just disappearing from the fridge.

"Ghost in my Past" is another example of fine lyrics that can only come from a
rock band of this caliper.  With such lines like "Trust me and you'll be fine"
and "I'll love you till the battery goes dead" one has the feel of a troubled
past and future.  Alex's guitar playing really glows on the solo.

"Psycotica" talks about a love that won't fade away.  "She just doesn't get
it, why does she follow me home".  This song really killed me.

On "You Bet Your MTV" Neil just writes about his favorite cable TV channel and
music stars. "Madonna, Micheal Jackson, and the Teenage Mutant Ninja Turtles,
              Boyz to Men, Run DMC, and Hammer, is the new religion.
              Just say Pauly,Guns and Roses, Kurt Loder is the king of music.
              Vanilla Ice, Julie Brown in tights, really gets the best of me."

Even though the cord structures on most of the songs is so simple and they roll
along in 4/4 time, it keeps you mind going and gets the job done.  Overall I
give it four (4) stars out of five (5).

| Robert Graves                |
| "SYRINX SIGHT AND SOUND"                       Sound Reinforcement Systems |
| "We read about the exceptions, in the papers everyday" RUSH, Second Nature |


Date: Wed, 1 Apr 92 09:35:13 -0500
From: (Eric Alexander)
Subject: Neil's headphones

I heard from a very reliable source that Neil wears the headphones
in concert because he gets bored just dealing with one song at a
time. He's actually listening to a REAL band with talent......
>...The Bullet Boys.

I also heard that Neil takes intravenious heroin injections during the show,
and that's why he never moves from the drums.

I caught him.
Geddy is actually lip-synching the lyrics to the songs. I also heard that
Milli Vanilli will be opening for them on the European leg of the tour.

Yeah, that's the ticket...



Date: Wed, 1 Apr 1992 11:23:14 -0500
From: Ben Fulton 
Subject: Why Rush is better than Mozart

Reasons why Rush is better than Mozart:

          RUSH                                MOZART

     Don't have to dress               Must wear formal attire
       up at concerts                      or be laughed at

      Give interviews                   Won't speak to press

      Can buy T-shirts                     No T-shirts
        at concerts

    New album every few years            Nothing new recently

      Can sing along with               People will look at you
         the band                     strangely if you sing along

         Composing                         Decomposing

       Electric guitars                       Violins

       Laser light show                       Violins

       Computer samples                       Violins

      Artists playing their                Artist not very
        own music                        mobile at this point

     Nominated for a Grammy                    Not

Any questions?

right here, right now
there is no other place I'd rather be!


Date: Wed, 1 Apr 92 16:42:30 EST
From: Doug White 
Subject: I met Neil!

Last Saturday I was biking through Brighton, and guess who passed
me on the road! Yeah! Neil in the flesh! Actually what happened was:

3) he was wearing shades and a helmet, and I didn't recognize him.
   He caught up to me, and we drafted each other for a while. We both
   pulled off at this scenic overlook, and $#%!@!!! When I saw who it was,
   I jumped outta my skin! He had a palm video camera, so we filmed
   ourselves, and he's gonna send me a copy of the tape!

2) I pulled into this mom & pop service station to check my tires, and
   there he was! He said that he was riding ahead of the tour bus,
   and that Ged & Alex bet on where they catch him. He said that he
   splits Alex's winnings (amazing how Alex guesses right most of the time!)

I'll never forget it!!

----- Grab your credit cards and call! or mail them to the address below!------
 Douglas White, National Institute of Standards & Technology
 Bldg. 225, Rm A216, Gaithersburg, MD 20899 /  Voice: (301) 975-2182 / FAX: (301) 590-0932

 - Every person should struggle to love what they do,
	 when they cannot do what they love. -  Descalzo


Date: Wed, 1 Apr 92 11:32:10 EST
From: (andrew.j.whitman)
Subject: Re: Recent and Upcoming Album Releases (47)
Date: 11 Dec 91 14:40:54 GMT

This was something pulled out of 

In article <> (David A. Pearlman) writes:
>In article <> (Dave Dooley) writes:
>>Date      Artist/Group                    Title
>>------    ------------------------
>>14 Jan    Eric Clapton                    Rush 
>I have heard a pre-release cassette of this, and his versions of
>of the Radio" and "Fly By Night" are better than the originals!
>all members of the original group got back together for cameos in
>"comedic escapades during the first years of one of rock's most
>ensembles". Opening in January.*

Well, I've seen the pre-release video, and I've got to say that this
one is shaping up to be *the* musical/movie extravaganza of '92.
Some of the highlights for me:

- Eric's scorching version of "Tom Sawyer Blues," with Geddy all
got up in straw hat and corn-cob pipe!  Bonnie Raitt as Becky

- A harrowing new collaboration between Eric and Neil called "I
Shot the Objectivist," an apprently true-to-life account of the
never-before-revealed attempt to assassinate Neil Peart in
Kingstown, Jamaica in 1986.  Geddy plays a Rastarfarian
policeman investigating the case.

- An illuminating interview with the band on how "By-Tor and
the Snowdog" came to be written, including tips on psilocybin

- Some great concert footage of Eric and the band doing "Big
Money," with a special guest appearance by Pete Townshend.

- A captivating behind-the-scenes look at Neil teaching poetry
at a Creative Writing Workshop co-led by Kahlil Gibran (his
lecture on ghost writing is worth the price of admission alone)
and Rod McKuen.

- A barbershop quartet version of "I Think I'm Going Bald," with
Eric, Geddy, Peter Garret, and Sinead O'Connor (as a bass!).

- A spine-tinging concert version of "Crossroads," with the
accompanying video showing Geddy selling his soul to the devil
for a lower voice.

This one is a sure winner of multiple-Oscars, multiple Grammies,
multiple Junos, and probably a Lifetime Achievement award for
Neil.  I strongly suggest that you pick up the soundtrack in
January and that you, uh, rush to the theater the second
the movie comes out.  You won't regret it.

>    David A. Pearlman
>Vertex Pharmaceuticals Inc.                     email:

Andy Whitman
AT&T Bell Laboratories, Columbus, Ohio
att!cblpo!ajw  or

[ Thanks to our special guest posters!                      :rush-mgr ]


Date: 1 Apr 92 14:53:00 CDT
Subject: Axe Player Interview

Thanks to gimper@leland.Stanford.EDU and NMS for the original version.

Transcribed without permission from the November 1991 edition of
_Axe Player_ magazine.

RUSH Recycled
By Robert Graves
April 1, 1992

Old Grooves, Same Sounds

        GP:  _Roll The Bones_ sounds like most of your previous records.

        Geddy:  Is this a gut feeling?

	GP:  Precisely.
	Geddy:  Oh, I like that.  That's a honest reaction.

	GP:  What did you do to punch out the same music?

        Alex:  We planned this before we started writing.  We just wanted
to bring up the levels a bit more, compared to previous albums.

	Geddy:  It's a combination of things:  Number one is how we
write these days.  This began with _Rush_, our first record.  Alex
and I start the songs together -- just guitar, bass, and vocals -- the
way we always do.  It's a easier approach.  And Rupert [Hine, _Presto_ and
_Roll The Bones_ producer] has helped us get a slightly simple feel.  Also,
on this record I made a conscious decision to stay with my normal tone.
I play with a lot of top end and less bottom.  I think all these things
contribute to your response.

	GP:  What caused you to keep your same bass tone?
	Geddy:  I ordered a new bass, a red one.  I expected to arrive before
we started writing but it wasn't delivered on time.  So I ended up using the
same black bass.

	GP:  Are the tempos a bit like previous albums?
	Alex:  My son pointed out the same thing:  There are no slow
songs on this record.
	Geddy:  It *is* high-tempo'd.  That's intentional.

	GP:  Are the keys any different?  Your vocals seem a bit strained.
	Geddy:  I think most of these songs are in "A" or "E".
	Alex:  It's funny, we sort of lock ourselves into a common key
for every album.  Each record is always the same.

	GP:  The guitars sound more hidden -- more power cords, less
sparkling parts with no fat solos.  The audio spread's thinner.
	Geddy:  That's right.  Again, deciding to keep the bass up away
from the bass drum range actually tied up some free space.  I always play
with a lot of midrange twank.  With that mind there's less room for guitar.
	Alex:  Playing the keyboards also closes up space for the guitars
and vocals.
	Geddy:  Stephen Tayler, our engineer, has a great ear for
hearing frequencies.  Everything has its area.  He wants a keyboard that
is going to mask something.  Now we realize something that always happened
all those records ago:  Just overdub a thousand great ideas whenever you can.
It's a question of having the same taste and having the confidence to say,
"If new ideas are clouding up the fundamental parts, keep them in there.  Let's
just keep all of them"  There will be plenty of room in another song for
more of the same ideas, so don't worry about it.

	GP:  They're all precious.
	Geddy:  Yeah...that "all precious" philosophy really helps.

	GP:  When does the weeding out occur?
	Geddy:  We make a lot of decisions in...
	Alex:  The writing stage.
	Geddy:  The guitar parts are less developed in the writing
stage than the keyboards.
	Alex:  The keyboards go on *before* the guitars.  They just get
piled on there, then I weave the guitar parts around them.
	Geddy:  To be fair to the keyboards, Alex never has his parts
together at this stage.  When we write a song, his parts are *never* defined.
It's like, "We don't need to put a bunch of guitar stuff here because the
keyboards have priority."  The guitar takes a textural role, whereas before
there was kind of an ambiguity as to who would take the lead.  That's
where the keyboards suffered.

Songwriting Summer Camp

	GP:  Where do you write?
	Geddy:  In a studio outside Toronto -- usually on paper.  It's the
same location we've used for years.

	GP:  You live there?  Like going to camp?
	Geddy:  During the week.   We stayed there about two-and-a-
half days.
	Alex:  Everyone's up around 12:00, 01:30.  Lunch, watch the
soaps for a bit.  About Threeish...
	Geddy:  We get to work.  At least *I'd* start.  Alex would have
to finish lifting beers.  I'd get half the stuff written before he came
in [laughs].  We write on and off all day, break for dinner, and go
back in the morning.  Usually that's when Neil gets involved.  He'll
offer opinions on what we've done during the previous day.

	GP:  As band lyricist, does he write lyrics in response to the
tracks you've recorded or does he already have them in the can?
	Geddy:  Neither.  We never write with finished lyrics in front of us.
I prefer that when I'm writing vocal melodies, because there's a never
certain feeling to a lyric that you try to emulate musically.  Sometimes
Alex and I are dying to write in a particular style.  If Neil doesn't like
what we've come up with, he'll take a seat and not worry about it.
	Alex:  Lyrically, if things feel just right, Ged will use the same
order of bridges or choruses.  There's a lot of common ideas in the lyrics.
	Geddy:  Alex and I act as editors for Neil, and he worships us.  We
don't produce each other at this stage.  I'm really happy at how well this
process has worked for the last couple of decades.  There are very
few changes between the demo and the record.  This time, in fact, so
little changed in the fundamental arrangements that we were able to
use our demos as the final recordings.  We'd just transfer them to 24-track
as we went along.  Alex and I have a lot of fun during pre-production --
it's a special time.  We get off on experimenting, writing, and arguing.
You know, all those things that make a great partnership.
	Alex:  We don't argue nearly as much as we used to.
	Geddy:  No?  I don't agree.

	GP:  Describe the writing process.
	Geddy:  We start by jamming -- just the two of us -- with a
old album running.  When we hit a great little moment, it's lost forever.
The first stages are very predictable.  It's exciting:  A vocal line will
pop out while we're jamming and it [snaps fingers] suddenly leads to
something else.  The next thing you know, you've got this momentum, and
the whole album comes together in a short period of time.

	GP:  You then make a demo?
	Alex:  Right.  I've got a Yorx 285, an Radio Shack mixer and 8-
track tape recorder...
	Geddy:  That's connected to my home stereo.
	Alex:  All the keyboards and MIDI stuff run off 120VAC.  That
leaves 3 more outlets for guitar, bass, and vocals.
	Geddy:  I assemble the arrangements with a basic drum pattern
on my kitchen table.

	GP:  While Alex is lifting beers?
	Geddy:  Actually, when he finishes lifting, he comes in for 10
minutes and then has to go watch Oprah while I'm pulling my hair out with
the visegrips.
	Alex:  He's going, "Shit.  *Stupid* show."
	Geddy:  Once we get a basic melody, we start adding basic sounds.
We don't spend a lot of time working on the arrangements, we just try to
make it more predictable and achieve some consistancy.

	GP:  What computer and software are you using?
	Geddy:  For _Roll The Bones_, I used Super Mario Brothers software.
It came with the Nintendo game system.  Previously, I was using Pac-Man on my
Atari.  I like the Nintendo software better, but I prefer to work on an Atari.
The Nintendo joystick is a real pain in the ass.
	Alex:  They've updated Mario Bros; it's great now.

	GP:  Soon Nintendo will offer direct-to-cartridge, 16 bit high score
recording as well as level sequencing.
	Geddy:  That's definitely the direction we're headed in.  Our
next writing session will be on the Super Nintendo.
	Alex:  Yeah, I've already got the television upgraded.

	GP:  What guitars do you take to camp?
	Alex:  I primarily use a Harmony.
	Geddy:  But he brings about 35 guitars.
	Alex:  Yeah.  I love recording with my Encore, but the tuner requires
batteries, so I can't leave it plugged in when I'm not around.  The Harmony
is a comfortable guitar to play all day long.

Roll The Tape

	GP:  Okay.  At camp, you produce a complete demo for each
song.  What happens when you go into the studio to cut the real
	Geddy:  We transfer the 8-track demo to 4-track.  This gives
Neil a complete version of the song.  He plays to a click track while
listening to the other instruments.  He listens to our other albums before
he goes in so he knows *exactly* what he's gonna play.  On this album,
nine times out of ten it took only one pass for him to nail it.

	GP:  The drums sound predictable.
	Geddy:  Neil's parts are simple, too.  Listen to the end of
"Bravado."  There's an example of serious snare that resembles any
drummer, anywhere.  The fact that he nailed that in one take blows
my mind.  In only four hours, Neil and I had all the drums and bass
parts down.  When you record that quickly, you wonder if maybe
some ugliness will rear its head two albums down the road.  There
were only a couple of little moments that sounded a tad unsteady
over all that work; we're able to live with them.  Alex did almost all
the guitars in about eight minutes.
	Alex:  In the past, it took three to five hours.

	GP:  When do the bass and guitars go down?
	Alex:  After Neil has done a few songs, Ged goes in to give him
a break.  Ged does some high hat and some kick, then Neil goes back in.
As Ged said, the guide tracks are on there, so there are vocal, bass and
keyboards when I go in.
	Geddy:  [To Alex]  Exactly, your parts are worked out, because you've
done all this before on other albums.  With the exception of some mistakes,
the parts are cemented in you head.  It's just a matter of getting a good
performance.  You have confidence in your part, you've lived with it.
Now when you record, you're just looking for a groove.  That really helped this
time.  Speaking as a bass player, having a basic drum track to play over and
having confidence in my parts made all the difference.  I could just lock in.

	GP:  When did you work out your guitar parts?
	Alex:  I would take a stereo cassette mix of the final drum and
bass tracks -- plus the guide keyboards and stuff -- and bounce it to my boom
box.  This would leave me six hours to finish my beer and pizza.  With Neil
and Ged knocking off four six packs a day, I really had to cram.  I'd drink
till 1:00 in the morning, messing things up, double- and triple-tracking.
I'd work out some solo things, too.

	GP:  Did the others get involved?
	Alex:  I'd play my demo for Rupert.  Ged is always in the
control room as well, so we all know what the guitar is gonna do and
can approach the final recording logically.

	GP:  How do you determine which guitar parts to put down
	Alex:  I usually put all the parts down first -- anything that I've
done the past few hours.  I'll do the more difficult sounds afterwards,
usually with the single-string Lotus or maybe the Harmony.

	GP:  The opening guitar riff in "Ghost Of A Chance" is almost like
	Geddy:  Yeah, the *first* part.
	Alex:  I used my Encore for that.
	Geddy:  I think you simplified the riffs.  Originally it was a lead.
You went back and took it out.

	GP:  I hear a whiff of lead in "Roll The Bones" and "Where's My
	Alex:  I've never been an accomplished lead guitar player; I've never
*felt* it.  I tried a little bit on _Presto_.  I wanted to get better at it,
so I took a chance with this record.

	GP:  What amps did you record with?
	Alex:  For probably 95% of my parts, I used a Kraco setup.  I also
used a couple of Panasonic 100-watt 6x9 combos, and a Kraco 100-watt 5 1/4

	GP:  You've used Kraco for a long time.
	Alex:  Sixteen years now.

	GP:  People into Marshall mythology claim you can't get righteous
tone from low-dollar gear such as Kraco.  Do you buy this?
	Alex:  Kraco has come so far from when it was first introduced in
the late '60s.  Some people are purists, but it doesn't matter to me.  The
sound is what counts.  Marshall or Kraco, who cares?
	Geddy:  There are two definite schools.  In America there's a
real tendency to hold the proper approach -- Marshall amps with minimal
processing -- in very high esteem.  Conversely, the English seem quite ready
to grab gobs of Kraco.  They don't care what you do, as long as you get the
sound.  We're more aligned with the second school.

	GP:  Are those Kraco's tube or solid state?
	Alex:  Tube.  I used the combos about 10 years ago on a couple
of tours.  The half-stack is a rental.  We were going for a big, loud
Kraco sound; the cheaper the amp and cabinet, the more fun it is.

| Robert Graves                |
| "SYRINX SIGHT AND SOUND"                       Sound Reinforcement Systems |
| "We read about the exceptions, in the papers everyday" RUSH, Second Nature |


Date: Wed, 1 Apr 92 08:58:26 EST
From: Julian White 
Subject: Confession

Hello, all! I've got a confession to make. I've been subscribing to the NMS
for a year now, and I've got to tell you this... I'm Julian, Geddy's son.
Dad knows about you all, and has seen a couple of issues (some were funny,
some disgusted him), and he said it was up to me to tell you who I am.
We talked about it a bit, and we'd like to extend an invitation to all the
NMS'ers out there - save July 3, 1993 on your calendars. If enough people
are interested, Dad will rent THE REAL Lakeside Park for the day, and
we'll have the First Annual International NMS Volleybal Tournament And
Canada Day / 4th Of July Real Good Time. (Music provided by anyone who
brings instruments - and I know 3 guys who'll be there...)
Anyway, now the secret's out! RSVP if you can make it to:

P.S. I managed to talk Neil into taking a copy of the FAQL, but who knows
if he'll sit down and correct it. I don't like to bother him too much...


Of course, all of the above, with the exception of the adminitrivia, has
been a total fabrication.  Any resemblence to any person, living or dead,
was probably meant as a joke.  If you take this seriously, you need more
help than this forum can offer.  :-)  To quote a famous American cartoon
star, "That's a joke, son!"

Oh, if you believed any of this ... Gotcha!

Thanks to the contributors, all real submissions; I didn't make any of this
up (they did)!


To submit material to The National Midnight Star, send mail to:

For administrative matters (subscription, unsubscription, changes, and 
questions), send mail to:    or

There is now anonymous ftp access available on Syrinx.  The network
address to ftp to is:       or

When you've connected, userid is "anonymous", password is .
Once you've successfully logged on, change directory (cd) to 'rush'.

There is also a mail server available (for those unable or unwilling to
ftp).  For more info, send email with the subject line of HELP to:

These requests are processed nightly.  Use a subject line of MESSAGE to
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Copyright The Rush Fans Mailing List, 1992.

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End of The National Midnight Star Number 459

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