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Subject: RUSH Fans Digest of 10/08/90 (#61)


               RUSH Fans Digest, Number 61

                  Monday, 8 October 1990
Today's Topics:
                        Gee wiz..
                         rush mgr
        Would the real Steven Owen please stand up
                   RUSH Posters (again)
                          (none)
                      Rush obsession
      Rush File Archives: My OWN Comments about Rush
       Rush File Archives: Why Broon Left the Boyz
    Rush File Archives: An Analysis of the "Chapters"
                        Bootlegs?
                     Bass and vocals
                    The Appeal of Rush
                     RUSH Discography
              Help in checking out a member
----------------------------------------------------------

From: kennb@clmqt.marquette.Mi.US (Kenn Baynard)
Subject: Gee wiz..
Date: 1 Oct 90 17:02:07 EDT (Mon)

[ This posting originally came in a week ago, but due to the mail problems
  Syrinx was experiencing, I saved it aside until things settled down.  I
  hope it's better late than never! (Sorry, Kenn!)               :rush-mgr ]

 This weird, I joined the RUSH BACKSTAGE FAN CLUB and it came in
today.. So what you might say, well, I needed a few more cents,
but she was resonable and gave it all to me anywayz..

 I LOVE IT ALL!!!!!

        Sign,
         A true RUSH fan!!

= kennb@clmqt.marquette.MI.US =="We have nothing to fear but fear=
=                          |_L8R_| is's self?"                   =
==================================================================

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

Date:    Fri, 5 Oct 90 08:36:29 CDT
From: storey%batse.span@Fedex.Msfc.Nasa.Gov (SCOTT STOREY X7700)
Subject: rush mgr

	I read a post from someone who wanted to pat our esteemed mgr
on the back. Well I would like to join in  myself. His monitoring of
the list is much better than most (I am on about 5 other lists). I
challenge all other posters to also buy this guy a beer when you are
in Balt. Maybe even two. We could hit Tiber Creek (DC) and I'll buy you
a yard. Keep up the good work!!!
					Scott

[ Well, thanks for the positive vote, although it's mostly unnecessery.
  Offers of a beer will be graciously accepted!  :-)  I'm available for
  either Washington or Baltimore excursions, as I'm exactly 1/2 way between
  the two...  :-)                                                 :rush-mgr ]

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

Date: Fri, 5 Oct 90 07:11:17 PDT
From: "An Cat Dubh dtn223-6886  05-Oct-1990 0950" <owen@euclid.enet.dec.com>
Subject: Would the real Steven Owen please stand up

I just thought I'd point out something for clarification.

It appears that there are two Steven Owen's here in this digest!  There's me
(the usually read-only and listen to lots of Rush Steven Owen) and then there's
another (post alot and generate heated discussion Steven Owen).

I've seen Stephen Owen and Steven Owens, but this is just two weird.  There
isn't any Steven Owen's in the entire Boston white pages, there are two Stephen
Owens'.  No Stephen Owen's either.  A quick calculation tells me there are
about a half million entries in that phone book... there are about 400 people
here.  Hmmmm.... figure the odds....

Anyway, I just wanted to make sure everyone knew what was going on.  BTW, I
usually sign my notes 'Steve'

Anyway, back to Rush.

That was an interesting interview with Neil that someone posted a day or two
ago. (thanks)  I sort of feel the same what he does about pop bands.  I don't
hate the New Kids themselves, I just despise the way that they can make
millions with no talent other than a creative businessman manager behind them.
I don't listen to them (or most any top 40), and never will, although I have a
huge taste in music. (Bach, Vivaldi, Rush, Metallica, The Cure, Ministry, U2
etc.)  If pop is just that... pop (what ever is popular now) so be it, as long
as it doesn't pretent to be anything else.  Lipsyncing pop bands are another
story.  If you can't play it, then keep it off the stage.

Re: Chronicles (the numerous sound quality replies)

I don't own it yet... Figured since I've got everything else there really is no
point.  So, did anyone ever sit down and do any A/B listening tests to see of
the recordings have been remixed or been changed in any way?

Later...
Steve

(the one who has been here since the beginning of the list  ;-)  )
owen@euclid.enet.dec.com

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

Subject: RUSH Posters (again)
Date: Fri, 05 Oct 90 11:08:54 EDT
From: David Arnold <davida@umd5.UMD.EDU>

In a earlier Digest,  Kenneth Suzan <kdsu_ltd@uhura.cc.rochester.edu>
was looking for RUSH posters.  This didn't dawn on me until just now,
but I have another possible source for this:  record clubs.

A few years ago I was a member of the CBS & RCA record clubs.  One of
them (CBS, I believe) offered a RUSH 'poster', which was actually a
cloth (nylon/rayon) banner, about 3'x4', with a picture of the band
on stage.  It was from the P/G tour, and has the P/G logo on it.

Also, check out record stores; sometimes you'll stumble upon something
there.

Then there's friends who sometimes are kind enough to give you something.
I had somebody give me a 1'x1' 'poster' (once again, nylon or rayon), with
the 2112 logo on it.  (Hi Jimmy! :-) )  I have a feeling this might have
come from a record store, but I really don't remember.

Something else you might consider is the record conventions that travel
around from city to city.  In addition to records, tapes, etc., they
often have assorted parapherenalia.  BTW, this is also an excellent way
to get your hands on bootleg albums - I've gotten two this way.  If you
do go to these, *bring cash* - most dealers won't take checks.

So, just keep your eyes open; you never know where something might pop
up!

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: Tue, 2 Oct 90 15:34:35 edt
From: Alan A Saporta <asaport@csserv2.ic.sunysb.edu>

Hi everyone!  This is my first posting so be gentle....
I have been on this list for many moons and have found it entertaining
AND educational.

First of all, I would like to make a correction to the "Most asked
questions and their answers" section.  It is in fact Neil Peart that says
"SUBDIVISIONS" in the low voice in Subdivisions.  Alex is SEEN saying it on
the video but it is not his voice on the record.  This was from Musician
magazine back around "Power Windows" time.  I do not have the magazine in
front of me.  When I get the exact issue I will post the exact date.

[ Note this for future reference, Dan!                            :rush-mgr ]

Now something I would like to share...

I had the great pleasure of being an extra for the Superconductor video.
I had seen RUSH four days earlier (at Nassau Coliseum in April w/27th row sts)
Little did I know that 4 days later I would be in the simulated concert
(with "fourth row" seats) in front of Alex.  There was an announcement on
the radio that went : "Anyone who wants to be in a RUSH video call this number:
xxx-xxxx".  I called and got to go.  They filmed in New York City.  It was
done in two days.  I went the second day (that was the day the band was going
to be there).  It took the whole day to set up the "stage". We watched from
a balcony while Geddy and Alex would come out or Alex and Neil would come out
to film small bits (not more than 30 seconds) at a time.  Geddy and Alex would
talk to us a bit.  Geddy thanked us for coming and asked us to calm down while
they were shooting so that we would be psyched for the "simulated concert" that
night.

After a lot of takes (it was very interesting just watching an "actual" rock
video being shot, the fact that it was RUSH was amazing.) we finally all got
to go down (there were about 150-170 extras) to the floor.  I was right in
front of Alex.  I couldn't stop smiling.  They told us about the video and
that we should do this or that when a certain part of the song came up. For
example we all had to sway back and forth when the music got slow (i.e. hit
you in a soft place....).  It was a lot of fun.  My best friend (who got me
into RUSH 5 years ago) was sitting next to me.  Anyway I was there for 6-8
hours and a lot of it was waiting but it was worth it.  It took 2 to 3 months
before I finally saw the video on MTV.

It was a great experience.  For those who are wondering...they don't actually
play, they just lip-synched (their guitars were not attached to amps either).

[ Oh, so that guy was *you* !!   :-)                             :rush-mgr ]

Alan A. Saporta
Gandalf

"If I could wave my magic wand.....I'd make everything alright."

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

Date: Fri, 5 Oct 90 10:18:58 hst
From: Hinano Akaka <bigtuna!hinano@uhccux.uhcc.Hawaii.Edu>
Subject: Rush obsession

Jason Rosenberg brought up an interesting point yesterday--something I
had been thinking about.  Due to the amount of homework, mid-terms,
etc. I've been having recently, I hadn't been listening to a great
deal of music, and when I did listen to something it wasn't Rush.  A
couple of days ago, I finally came upon something resembling
free-time, and I put on my Permanent Waves cd, and it sounded SO GOOD!
It was almost like that "coming home again" feeling--as if I hadn't
listened to Rush for years, or something.  I suddenly felt
relaxed, even though I was quite relaxed at the time.  It was like
food for the soul.  It was so peaceful--almost *familiar*, as if
eveerything I had ben listning to before was so some kind of horrific
din.  It was real bizarre.  It had been about two weeks that I hadn't
listned to Rush, and it made me realize that I can't go at least two
weeks without listening to Rush--three at the most.  Quite frankly,
it's gotten me a little concerned (am I *that* obsessive?)!  But,
along with Jason's question, I was wondering how the rest of you fare.
How long can you guys and gals go without listening to the Boyz at
least once?  I seriously hope I'm not the only one who goes into
withdrawal after a week without Rush.  I think I'll ponder some more
on Jason's question...I've been trying to figure that one out for
quite awhile!

Puanani Akaka

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

Date: Sat, 6 Oct 90 02:16:00 -0700
From: Steven Owen <dunadan@u.washington.edu>
Subject: Rush File Archives: My OWN Comments about Rush

Here are some *original* comments of my own, in reply to a survey asking for
the greatest rock 'n roll act ever.

>Who do you consider to be the greatest rock-n-roll artist(band or solo) of
>all time?

A couple of years ago, I would have answered Pink Floyd or Zeppelin.  Today the
only answer can be: RUSH.

Rush personifies what all rock bands should strive for, and what Top 40 and the
glamour boys will never know.

First, Geddy Lee, Alex Lifeson, and Neil Peart are consummate musicians.
Together, their talent rivals that of anybody else.  Geddy Lee is generally
recognized as one of the best bassists in the world, and his work on the
keyboards, while not as prolific as his bass accomplishments, are incredible
when you take into account his singing as well.  Alex Lifeson is overshadowed
by the playing accolades of his partners, and he is rarely mentioned in the
same breath as Clapton, Townshend, Van Halen, Knopfler, Satriani, or the rest
of what people usually call "The best in the world".  Yet it is his guitar
work that are at the heart of nearly every Rush song.  It is his power chords
and solos that bring real life to their songs, and he is the true showman on
stage, with Neil behind the skins and Geddy with his banks of synth.

Neil Peart is widely regarded as the best drummer in rock.  Ever.  I've heard
his name mentioned time and time again by people with very divergent tastes in
music, but who know his style and have heard his work.  He is technically
flawless, is unquestionably the most innovative drummer around, and puts on
the most inhuman drum solos on Earth.

So, we've got three damn good musicians.  Now all you need is some music and
lyrics--and Rush writes some of the best of both.  Their blend of guitar and
keyboards melds marvellously, each emphasizing the other.  There are few Rush
songs that don't feature some of both, and while it is the screaming guitar
that carries most songs, the stunning synth intros to "2112", "Xanadu", "Tom
Sawyer", and "Camera Eye" are unforgettable.  The number of different
percussion sounds used throughout Rush's history is no less remarkable.  The
chimes, bells, gongs, and other 'exotic' sounds lend Rush's percussion a
sound all its own.

The one thing that stands out most about Rush's lyrics is that THEY MEAN
SOMETHING.  Neil Peart's lyrics are about contemporary issues, issues that
matter, yet that are presented in ways that marry them perfectly to rock.
His use of alliteration and other literary devices make them stand out from
the rest of the 'bubble gum' rock that time and time again focuses on women,
love, and relationships.  I could go on for pages about Rush songs that not
only sound great, but once listened to carefully, actually convey important,
meaningful messages.

All of this incredible energy, talent, and expertise is packed into just
three guys, and it is this Power Trio that rocks better than anybody else.
So, there's my vote.  Sorry for the lengthy testimonial, but these guys and
their music mean a lot to me.

ORQ: "And the magic music makes your morning mood"

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

Date: Sat, 6 Oct 90 02:19:13 -0700
From: Steven Owen <dunadan@u.washington.edu>
Subject: Rush File Archives: Why Broon Left the Boyz

To answer the question as to why Terry Brown hasn't co -produced Rush
albums since Signals, let me quote from Visions:

         During the course of several days of meetings, it was decided
that Terry would not produce the next album. He had been with the band
for a decade, and had been called `the fourth member of Rush' by the band
themselves. They realised that they needed a change, but as Neil later
said it was "like cutting an umbilical cord."
        " It's no easy thing to tell someone that, after all this time,
you want to work with someone else for a change - and still harder to be
told it. It was tough for us and tough for Terry. We had been through so
much together and he has contributed so much to our development and
refinement - both as people and musicians. It was awkward, difficult and a
bit painful, but we had to do it or always wonder `what if we had?' While
objectively one may recognise the right thing to do, subjectively it's
sometimes too easy to rationalise the easy way out. We had to cut the
umbilical cord."
        Alex later told the Milwaukee Journal that... "After Signals we
were at a point where we wanted to know how someone else would treat our
music. We had become so close with Terry that it was difficult to be
unsure about anything."
        Geddy told Scene magazine that... "The main problem was that we
had tried so many different experiments the last few years that we lost
sight of the essential Rush sound. We needed to regain our confidence and
our trust."
        Whatever the artistic reasons for the change, the personal cost
was high. Terry was not just a co-producer, he was a friend, and Alex,
Geddy and Neil always believed in sticking behind the people loyal to
them. Yet, at the same time, they needed to show fidelity to the music
that had brought them so far. Terry would later produce the soundtrack
for a concert film of the band's performance, but he was out as their
studio producer.

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

Date: Sat, 6 Oct 90 02:21:45 -0700
From: Steven Owen <dunadan@u.washington.edu>
Subject: Rush File Archives: An Analysis of the "Chapters"

From: kudla@pawl.rpi.edu (Robert J. Kudla)
(SAME) Subject: Re: live albums (was Re: New Rush studio album)
Date: 4 Oct 89 13:14:10 GMT

I'm glad someone else has realized that live album does not equal
change in musical style. They fall into groups of three much more
neatly. However, I'm really sick of all the Rush fans out there who
say "oh, there's too many synthesizers on the new albums". The
difference is that they only used to use one note at a time, and now
they use several. Is that so big of a difference?

Look at this sequence.
First period (Rush - Caress of Steel)
        Geddy: Extra screechy vocals and John Paul Jones bass playing
        Alex: Jimmy Page/generic 70's metal guitar with a few
                acoustic bits thrown in
        Neil (on the relevant albums): Basic 70's rock drumming.

Second: (2112-Hemispheres)
        Geddy: Down a little bit; extra arty bass playing
                A bit of synth work, random spacey analog stuff
        Alex: Imitation Yes/Genesis type guitar work
        Neil: Beginning of the Set from Hell with billions of
                dollars worth of crotales and all

Third: (Waves-Signals)
        Geddy: Down some more. Tight bass playing. Discovers fat
                analog polyphonic synthesizers to give that "classic
                Rush" sound.
        Alex: His most original period, in my opinion. Only sounds
                a little like Andy Summers; heavy on big power
                chords.
        Neil: Set from Hell continues. He actually learns to
                syncopate heavily.

Last: (last 3 albums)
        Geddy: Low enough for me to sing. Extra tight, funky bass
                playing. More polyphonic analog synths. Has the
                producer or someone play the real parts.
        Alex: Andy Summers and the Edge have spawned a child.
        Neil: Imitation Bill Bruford with all the electronic pads
                and high syncopation.

Four different styles, each not so different than the one before. If
you look at the last three, you'll notice that most of what your
problem with them is amounts to the fact that they changed producers.
Terry Brown gave them a very warm, spacious sound; I can't remember
who produced Grace or the last two, but their sound was more digital,
cold, reverbed to hell and back, and new-wavy. Granted the song length
came down a bit. However, most of the problem I have is with the
sickening 80's wall-of-digital-reverb sound. Songs like Red Sector A,
Territories, Turn the Page, Between the Wheels and Mystic Rhythms
would have fit perfectly on previous albums had Broon been producing.

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

Date: Sat,  6 Oct 90 13:31:26 -0400 (EDT)
From: "William F. O'Dell" <wo04+@andrew.cmu.edu>
Subject: Bootlegs?

Does anyone know of any Rush bootlegs floating around? I used to have a
copy of a King Bisket  live show which had such gems as Witchhunt (which
was a diamond during the days befor Show of Hands), New World Man,
Subdivisions (also a diamond), and other greats.
   If anyone knows the whereabouts of any life stuff, please let me know.

[ This might be an interesting addition to the FAQL - the names of the
  several 'official' bootleg albums out there (Xanadu, Stellar Dynamics,
  Looking Though a Window, etc.  While you can't list a catalogue number,
  you can list the approximate (or exact if known) date.  I would suggest
  only including the actual albums you can find at record conventions, 
  etc., not the personal bootlegs made by ... various people.   :rush-mgr ]

Thanks ahead of time.

How about them bucks?

wo04@andrew.cmu.edu

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

Date: Sat, 6 Oct 90 15:13 CST
From: By-tor <UCSKRT@ucs.UWPLATT.EDU>
Subject: Bass and vocals

   The fall 1990 edition of Bass Player magazine has a short column inside
written by Chris Jisi called "Ask the Experts." This issue's question is, "How
did you develop your ability to sing while playing an active bass line?" The
three players asked were Will Lee, Jack Bruce, and, of course, Geddy Lee! So I
thought some might be interested in what Geddy had to say.

Geddy Lee: In the early days of Rush, during the _Farewell to Kings_ and
_Hemispheres_ period [both albums on Mercury], we were writing material in the
studio as we were recording. A lot of the time, I'd create my vocal melodies
after the basic tracks were down. Then, when it came time for live rehearsal, I
realized that I'd written this complicated bass line that didn't relate
rhythmically to the vocal part at all. I had no choice; I just had to woodshed.
Now, there's more consideration for the vocal melody. I try to save the more
complicated bass parts for the instrumental passages. Still, when you're
recording parts separately in the studio, your individuality as a bass player
sometimes overwhelms your sense of taste as a singer, and you end up with an
involved bass part. Once again, it's simply a matter of rehearsal. If you
rehearse anything long enough, you will develop the independence needed to
reproduce both parts. Even after you've developed that skill, though, certain
things are going to be a bit of a head scratch at first. But eventually
something clicks in. You have to gain familiarity with-- and confidence in--
both parts, and then bring them together. That's the key: learning the parts
separately first. Then, when you combine them, you soon become aware of which
sections are most difficult and concentrate on those a bit more.

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

Subject: The Appeal of Rush
Date: Sun, 07 Oct 90 03:43:14 -0400
From: yamauchi@cs.rochester.edu

cs021045@cs.brown.edu (Jason Rosenberg) writes:

>Rush's
>songs truly move me, and that is coming from below the neck.  The
>intelligence factor is big, I love them all the more because they stimulate
>my mind.  But there IS something else.  Any ideas as to what it is?

While people like songs for a variety of reasons, I think the songs
that become favorites are those that speak to the emotions that people
feel most deeply.  Most rock bands write about love, sex, rebellion,
and/or politics.  There's nothing wrong with this, and there are bands
which I like which fall into all of the above categories.

Rush speaks to a different set of emotions.  They sing about grand
dreams, youthful ambition, and hopeful restlessness.  They have a
positive sense of life that extends beyond the trite ("Don't worry, be
happy").  I can't think of any other band that would write anything
like Fly By Night, Something For Nothing, The Analog Kid, Countdown,
Grand Designs, Marathon, Prime Mover, The Mission, Chain Lightning, or
Available Light to name a few.  Some of Rush's songs (Red Barchetta,
for example) are exhilarating in a way that few other bands can match,
and the music and the lyrics work together to create this emotion.

Love songs appeal to those who want to fall in love.  Songs about sex
appeal to those who want to get laid.  Songs about rebellion appeal to
those who want to rebel against repressive authorities (government,
society, parents, etc).  Political songs appeal to those who want to
make the world a "better" place.  Perhaps Rush's songs appeal to those
with grand hopes who want their lives to be more than the ordinary and
the mundane, to those whose goals extend beyond a house in the suburbs
with 2.5 children, and to those that believe life should be enjoyed
and not just endured.

I suppose I'm probably projecting a lot of my own feelings onto the
above analysis -- I'm sure there are some fans who just like Geddy
Lee's guitar playing :-).

ORQ:

	I'm not giving in		To security under pressure
	I'm not missing out		On the promise of adventure
	I'm not giving up		On implausible dreams

	Experience to extremes	------	Experience to extremes

_______________________________________________________________________________

Brian Yamauchi				University of Rochester
yamauchi@cs.rochester.edu		Computer Science Department
_______________________________________________________________________________

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

Subject: RUSH Discography
Date: Mon, 08 Oct 90 08:48:51 EDT
From: RUSH Fans Digest Manager <rush-mgr>

Just to let you know, I've sent a copy of the RUSH discography to

   David Datta <datta@vacs.uwp.wisc.edu>

for the FTP archives at vacs.uwp.wisc.edu.  He had sent me mail asking
if we'd like to make it publicly available; I saw nothing wrong with
that.

I pulled it from the FAQL posted earlier.

Manager,
RUSH Fans Mailing List

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

Subject: Help in checking out a member
Date: Mon, 08 Oct 90 08:56:10 EDT
From: RUSH Fans Digest Manager <rush-mgr>

Hi y'all out there!

    I have a situation which is causing me a bit of a headache, and I
was wondering if somebody out there could help me.  As there are a fair
amount of people at UCSD, I was hoping I could get this cleared up.

    I've been getting a lot of bounces when I try to send mail to:

    Robert Doolen <bob@sdchems1.ucsd.edu>

What happens is that mail to "sdchems1" frequently times out - almost
on a daily basis.  When I tried to contact him directly to check with
him, the mail timed out!

    If there's anybody out there that can check this out, I'd be greatly
appreciative.  I don't know if Robert is receiving anything I've been
sending to him.  I haven't gotten any complaints from him, so I'm not
even sure if he's interested anymore!  I'd like to know if he has an
alternate address I can use to send to, if indeed he's still interested
in being on this list.

Thanks,
Manager,
RUSH Fans Mailing List

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

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The contents of the Rush Fans Digest are solely the opinions and comments
of the individual authors, and do not necessarily reflect the opinions of
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********************************
End of RUSH Fans Digest
********************************



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