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Subject: 02/01/93 - The National Midnight Star #611
Status: RO

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List posting/followup:
Administrative matters:

(Administrative postings to the posting address will be ignored!)


          The National Midnight Star, Number 611

                 Monday, 1 February 1993
Today's Topics:
                    RUSH's sound(IMO)
               Re: Gangster/solos/Buffalo!
               Re: Rush's `Different' Music
      Re: 01/28/93 - The National Midnight Star #609
                       Drum scores
                   Re: Music Questions
      Re: 01/29/93 - The National Midnight Star #610
                   Favorite Drum Pieces
                      DAT format...
                Hugh Syme and Terry Brown
                  Time Stand Still Video
                      Rush in the UK
                    Back stage passes
              Force Ten + Canada references
                   NMS CD And Politics
      Re: 01/28/93 - The National Midnight Star #609
            RUSH Tunes on NBC, Saturday 01/30
            Why DO some people not like Rush?
    Solos, Rush dislikers, drumming, and Peart Poster
          oh great, another "my fav solos list"
                         new Tab
                     new RUSH books?
                     over the europe
                  Journey = Rush ??????
                   Shut up, or Shut up!
                 What's Missing Revisited
                     Great Drum Parts
Date: Mon Feb  1 16:09:03 EST 1993
From: rush-mgr 
Subject: Administrivia

Well, since it has been posted to, I think it's time we
let the secret out.  The new producer for the next Rush album is Peter
Collins.  The latest word on the band is that yes, they *were* in
Seattle but I understand they are no longer there and are back in Canada
to start the writing process.  Apparently they were in Seattle for about
1 week to check out possible recording places and are now back home to
start on the new album.  That's all for now.

							- rush-mgr


Date: Fri, 29 Jan 1993 16:33:00 CST
Subject: RUSH's sound(IMO)

To who ever asked why Rush doesn't sound like other bands(sorry,
don't remember who)? There are lots of reasons, the main ones
being 1) they don't often use standard chord progressions (Blues,
rock, etc...), not since the 1st album anyway, 2) IMHO they don,t
use the bass as a steady, driving rythem section. Geddy's usually
all over the fret board. I think, to some people, this gives the
music a kind of empty sound. Please, no flames, I only mean for people
who don't, or can't pay attention to the music. Face it, if you don't
listen to RUSH over a good stereo system, you ARE missing ALOT!!
      (FOR BEST RESULTS......)
It's not just the bass either. All three of these musicians play
their respective instruments as leads most of the time. But, as other
bands have grown stale, it IS THIS unique sound that I have never tired of!!
Thanks for listening( reading)
ORQ-"....the air is charged with fear...."


Subject: Re: Gangster/solos/Buffalo!
Date: Fri, 29 Jan 93 17:41:44 EST

OK, just to get my bit in about the boot:
I also would love to hear the recordings.  But I'm having second thoughts as
well, especially about donating the proceeds.  One of you had a great point
yesterday about the plan is something that's just trying to ease our guilt.
"Using the project as a fundraiser ain't gonna legalize it."  I like the
petition idea myself.
BTW, I couldn't pick a favorite solo of Alex's, but just off the top of my
head, I think his solos on Grace Under Pressure are terrific, "Kid Gloves"
comes to mind immediately.

P.S. You puckheads have got it all wrong.  Alexander "The Great" Mogilny has
the Buffalo Sabres headed for the top!  Which reminds me:  GO BILLS!


Date: Fri, 29 Jan 1993 19:51:39 -0600
From: Brian E. Saunders 
Subject: Re: Rush's `Different' Music

'Kemarin'  writes:

> Does this mean:
>   1)  Rush's music has `normalised' (no flame, couldn't think of a better
>       word to use here, my vocabulary is very limited) of late?
>   2)  The world has finally caught up with Rush?
>   3)  Rush's albums are becoming more widely available?
> I think the second is most likely.
> The majority of people that like Rush here seem to be in the 25-35 age group.
> Is this true for a wider field (ie, not just insignificant parts of England)
> or just a coincedence.  People that like RTB seem to be younger, about 18-22.
> Is this coincedence also?  I'd be interested to know, as I'm 19 but have liked
> Rush for a long time.  Hmmm.

Your perceptions about the age groups of Rush's "typical" fans, and the new
Rush RTB fans, seem to be the same as mine.  I have a lot of friends who
begrudgingly put up with Rush (but didn't really like them) that like Roll
The Bones.  I think it is because Rush has "normalized" their music -
not as many really long songs, long solos and musical interludes, etc.
(which is why I got into Rush!).  Of course, I think "popular" music now
encompasses a wider range of stuff, too - many "alternative" music bands
are now quite popular.

I tried to get these people that really liked RTB listening to their older
stuff (mainly as an experiment :^) ).  Though they liked some of the songs
on Moving Pictures (but who didn't?), they still did not like most of their
older material.  My only explanation is that Rush has evolved their musical
style to please a wider group of listeners, though they may not be pleasing
some of their "core" fans while doing it.  Of course, I'm always starving
for newer music that I like, so any new Rush album is appealing to me!

Oh yeah, I'm from northeast Indiana, but now living in Madison, Wisconsin,
so I guess that your perceptions hold true over a wider field.  :^)

Brian E. Saunders


Date: Fri, 29 Jan 1993 22:28:46 -0500 (EST)
From: Young-Soo Che 
Subject: Re: 01/28/93 - The National Midnight Star #609

I think that people just don't get into the feel of the music.  They
don't really give it a chance for the reason that they're not "popular".
 Some complaints I hear are that they hate Geddy's voice, and sometimes
the music doesn't sound full, as in at times one only hears the bass and
drums, but the lead guitar is hardly noticable.  My friend said that
possibly if they turned up the volume on Alex's guitar, or gave him
something to play besides solos.
I personally don't agree with him, but this is just what I heard.


Date: Fri, 29 Jan 93 22:52:45 EST
From: (James Wilson)
Subject: Drum scores

	I'm an amateur drummer and have trouble figuring out the drum parts on
some of these there somewhere that I can get the drum scores.
? (oops)

Hopefully something better than one of the Neil Peart Style Books!

I herad that there is a drums newsgroup, what is it called?

Thanks, James


Date: Fri, 29 Jan 1993 23:26:01 CST
Subject: Re: Music Questions

   Hope I'm not outta line in answering a few music questions here.
I figured they are too short for /rush/tab and more people can see them
in the archives than thru e-mail.

First, ASILVER inquired:

>    OK, here's a question for all you guitarists.  When you play the Wheels
>Within Wheels riff in Natural Science, what fingering do you use?

         Finger    1 3   2       1 2  1    2   4

Also, Roy Germon requested:

>I am not a musician, and know little of time signitures, but does anyone
>know what time the different parts of cygnus X1 are in?  There's one part
>that just seems to drop a beat every now and then.  Any feedback from the
>musical comunity would be appreciated.

For one thing, not only does the time constantly change, but so does the tempo.
I don't know what part you were referring to exactly, but here's my
interpretation of the beginning of the song, starting from the entry of drums

 2:12           2:25            2:41          2:56
  |              |               |             |
  3 2 4 2 4 2 4  6 7 6 8 6 7 6 8 6 7 6 8 6 7 6 8  4...Slow 4/4
  - - - - - - -  - - - - - - - - - - - - - - - -  -
  4 4 4 4 4 4 4  8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8  4

Try counting 8th notes with your fingers (WITHOUT tapping your foot to the
beat) until the above makes sense to you.  Then the rest of the song should
fall together.  If anyone else has a better version, let's hear it!

Finally, P.L. Smith demanded to know:

>As a drummer who admires Neil Pearts style and and creativity when it
>comes to attacking the drums, I would like to see what you all think
>is Neils best work.

I think his best work is not the solos, but the rhythms behind some songs:
        Beneath, Between, and Behind (All)
        Bastille Day (beautifully restrained)
        In the Valley/The Fountain (All)
        Didacts and Narpets
        A Farewell to Kings (during guitar solo)
        Xanadu (Up till the vocals come in)
        La Villa Strangiato (All)
        Natural Science (it wears me out 1/2 way through!)
        The Camera Eye (All)
        Signals (The whole damn disk)
I'd better stop now - I've been reading too much Plato lately :)

Paul  "who knows nothing, but talks at length anyway"


Date: 29 Jan 1993 23:53:31 -0600 (CST)
Subject: Re: 01/29/93 - The National Midnight Star #610

Again, as a person short and to the point:

My favorite 5 best solos:

1) La Villa.....Incredible (Alex AND Geddy)
2) Open Secrets....A personal best!
3) Marathon.....Great
4)Ghost of a chance.......Alex even said that this was his fave of RTB (Guitar
  World I believe)
5) Limelight....BTTW soloing and just an all around kickin' tune

-Any response to anything feel free to e-mail me.

-Bassman J   (No relation to any rap crap)


Date:    Sat, 30 Jan 93 01:03 EST
Subject: Favorite Drum Pieces

First, to the reader who discussed the relationship between age and the
period of Rush that they listen to: I am 18, and my favorite material is
from the 2112-Moving Pictures period.  However, I agree with you in that
many of my friends that listen to Rush mostly appreciate RTB more than their
earlier albums.

Second - in keeping with the great Top Ten tradition - my top ten list of
favorite Neil Peart material:

10) Jacob's Ladder
 9) Limelight
 8) The Trees (only 5/4 bit I can remember in a song.)
 7) YYZ (live)
 6) 2112 (finale)
 5) Xanadu
 4) Hemispheres
 3) Subdivisions
 2) Freewill
 1) La Villa Strangiato (especially A Lerxst in Wonderland)

  - Brian Steinberg          No Sig, because the server won't let me do it!!!


From: (Terry Stedman)
Date: Sat, 30 Jan 1993 01:22:20 -0500
Subject: DAT format...

Derek Lichter suggested that the boot be recorded on DAT.  I would argue that
many more people have CD players than DAT decks.  Popular opinion in stereo
magazines seems to indicate that the DAT format will not survive due to the new
formats DCC and MD.  Hence many of us who do not already own DAT machines will
in all likelihood not being buying them anytime soon.  I think CD is the
best way to go.

 I ) I I <~ I_I   Terry Stedman                          .sig copyright
 I \ I_I _> I I   Internet:   1992, T. Stedman


Date: Sat, 30 Jan 93 01:40:17 EST
Subject: Hugh Syme and Terry Brown

I seem to remember the other day, someone pointing out
that in the FAQ list Geddy was mistakingly identified
as the producer of Voivod's _Angel Rat_ when it was
in fact Terry Brown.  This reminded me of something that
I don't think was discussed here yet.  Fates Warning's
album _Parallels_ was not only produced by Terry Brown,
but the art direction was by Hugh Syme.  Syme also is
listed as art director on their previous album,
_Perfect Symmetry_ .  Also I don't know if anyone ever
mentioned that Syme was art director for Megadeth's
_Countdown to Extinction_.

Just figured I'd let ya' know.

*David Sheehan   ///\\\ "There's safety in numbers --
*  \\\///  once you've learned to divide"--Peter Gabriel


From: Dale Brouwer 
Subject: Time Stand Still Video
Date: Sat, 30 Jan 1993 02:11:38 -0500

About the band's feeling about the video:

They must like it...  they choose to do it that way.

About two years ago, me and two other friends (Three rush fanatics) stayed up 
till 5 in the morning talking to someone who worked at Anthem & had for many 

We picked her brain for countless hours, and forgot about sleep even though we 
had to get up early the next morn for the beginning of our university careers.

Anyway, one question that did get asked was the one above and here's the answer:

"They have total control over the videos.  Half the people like the video & 
the rest seem to hate it.  They did it how they wanted to."

Seeing how Rush IS Anthem records (They founded it & own it), and they are a 
band guarenteed to sell XXXXXXX many copies of each new album they produce, 
Any associated label would be insane to piss them off.

    [ Please remember to use < 80 characters/line!		: rush-mgr ]


Rush does what they want, and I like it!

Dale Brouwer
University of Waterloo

I'm not looking back- But I want to look around me now
See more of the people and the places that surround me now...

Winter's going slow-
Nights growing colder
Snow's building up-
It's still getting colder
Thermometer slips away...


Date: Sat, 30 Jan 1993 2:18:32 -0500 (EST)
Subject: SEATTLE

I would think that the reason nobody can find them in any local hotels is
that either their not staying in hotels under their own names OR their not
staying in the city of Seattle itself.  In fact I would presume that they
are staying on the outskirts of the city in a little house working on the
new record.  BEAR IN MY MIND, they are not recording yet, they are writing
the material first.  Simple as that.  The question we should all be
wondering about is how this will affect the Rush sound.... grungy, will Ged
have a go-t?, will Neil be wearing flannel???

Soon enough we'll know.....

Ken F.


From: (Graham James Reilly)
Date: Sat, 30 Jan 93 14:45:55 GMT
Subject: Rush in the UK

Some thoughts just struck me last night:

I was sitting watching the GUP video at about 2 this morning when this American
guy who is going out with one of my flatmates came in.  We started talking about
Rush and he seemed to know about them in a sort of passing-interest kinda way.
He'd heard of the more famous songs, recognised stuff like Tom Sawyer and Red
Sector A from the radio at home ( where they play a lot of Rush apparently ) and
so on.  I realised that in the US of A the band seems to be, for the majority
perhaps, just another good rock band who have been around for a bit.  Over here
I've found that you either get diamond hard fanaticism or complete not
I think I blame this on the radio.  In The States you have stations that play
loadsa music of all different sorts all the time - the Rush exposure is better
and so you get the people who go "Yeah, they're a pretty good band" as well as
the fanatics.  In Britain we have Radio 1.  With their 4 hours of rock music a
week.  And their 'we only play the stuff in the charts' bloody-mindedness.  The
band has no public exposure at all.

Just my opinion - what do y'all think?

And one other thing that is almost relevant to the posters thread - over the
summer the BBC repeated the 1st series ( from 1984/5 ) of the very excellent
Lenny Henry's comedy show.  Throughout the entire season the wall behind him at
the start of the show ( when he did his stand-up bit ) was decorated with
posters. And one of them in prime view had a big picture of Our Ladz on stage
and the words Grace Under Pressure at the top.

A completely useless piece of information.


"Even Jesus won't forgive what you do."
( An irrelevant Dylan quote but 'Masters of War' has been going through my head
all week )


From: (C.A. Peskin)
Subject: Back stage passes
Date: Sat, 30 Jan 1993 10:50:40 -0500 (EST)

I have just obtained old back stage passes from Hold your Fire, Power
Windows, and a Neail Peart Drum clinic from may 5, 1986.  I bought these
at a little trade show at the local mall.  They had many more, but were
sold before I got there.  I wondered how these guys get their hands on
these passes?  Who would go to the show, and then sell the pass?  I
thought they might be getting them from the printing company, since they
were old passes.  OTTO printing company told me that they weren't
allowed to sell back stage passess from old tours.  Does ANYONE have any
idea where these can be obtained?

    [ I've seen them for sale at various record conventions.	: rush-mgr ]

|  Rochester Institute of Technology              Chris A. Peskin  |
|  Electrical Engineering                                          |


Date: Sat, 30 Jan 93 12:54:46 cdt
From: "LaVllaStrngiato (Krauss,Eric B)" 
Subject: Force Ten + Canada references

In the Hold Your Fire tour program, Neil Peart states that Force Ten was
written on the last day the band had allocated for song writting, joining the
great tradition of "last minute" (N.P.'s words) songs such as Tom Sawyer.  It
was indeed the tenth song to be written, but there is no literal reference to
it being "forced" upon the album.

Someone posted that it would be neat if Neil Peart wrote a song about Canada.
Well, he has.  Listen to the lyrics in the trees, notice the "oak" and "maple
" references, and keep in mind that the French Canadians of Quebec consider
themselves an "oppressed minority" (please excuse the politically-correct
neologism).  Btw, Quebec never signed the Canadian constitution (similar to
Bavaria in Germany and Catalonia in Spain).  The Trees is about oppression in
general, although the references to Quebec and Canada proper are pretty
obvious; I must admit, however, that I've never seen this documented.


    [ Isn't your assumption that The Trees is about Canada, just that?  An 
      assumption?  I don't ever recall Neil saying that it was about
      Canada anywhere?  I do recall reading somewhere that it was song
      written about the public press and how vulnerable they are all.  I
      think it was from Success Under Pressure, anyone want to check? 
								:rush-mgr ]

Date: 30 Jan 93 14:04:46 EST
From: Thomas Regina <71530.417@CompuServe.COM>
Subject: NMS CD And Politics


Guys, guys(and ladies), use common sense! Don't bring attention to the
cd project by contacting Atlantic for permission, or any other Rush
organization. They will reject your idea as a point of law. Ditto on
charitable contributions.

I think the guys in Rush are moderate Democrats. They would have voted
for Clinton if they were citizens, but enjoy a good steak once in a
while :) They would also embrace the scientific view on global warming,
and not the bs media view, IMHO.


Date: 30 Jan 1993 15:01:29 -0500 (EST)
Subject: Re: 01/28/93 - The National Midnight Star #609

>Does anyone else out there have the Hemispheres album cover as a full size
>poster???  No one has ever mentioned it on the list I was wondering if there
>are very many out there...

>    Kevin

Yes I do own one. Are they that rare? I had no idea. I picked mine up at a
headshop/music store in Buffalo NY a looong time ago. I couldn't believe my
eyes! I ran and asked my mother for the $8 it was going for. It also
happened to be the last one there. It's a huge poster, prolly 5'x2' (guessing).

Neato. A Rush rarity that I _own_!


P.S A "show of hands". How many people went to see Rush at the Aud in Buffalo
when Marillion opened for them? It was, in the immortal words of Billy Connaly,
'f**king brilliant'. This was Feb. 27, 1986. I think.


Date: Sat, 30 Jan 1993 14:20:00 +0000
From: "Robert (R.A.) Herrage" 
Subject: RUSH Tunes on NBC, Saturday 01/30

I was watching "Road to the Superbowl" on NBC (KXAS, Channel 5, Dallas)
today, Saturday, 01/30 from 1pm-2pm CST and low and behold, they used
the non-lyrical portions of Subdivisions and The Big Money.  Tom Hedden
and Joe MacNamara were the musical producers.  It seems like I've heard
of MacNamara before.  I've heard Subdivisions before on the atheletic
Superstars.  I've also heard Mystic Rhythms on occasion on golf tourna-

It's good to see someone has some good taste out there ;)

Just thought if someone's keeping track of these things, they might want
to know.



Date: Sat, 30 Jan 1993 16:26:30 -0500 (EST)
From: Lisa Muggridge 
Subject: Why DO some people not like Rush?

	I thought about why some people don't like Rush's music. I think it's a
bunch of things. It can't be an age thing--my dad and my younger cousins
alike have been asking me to make tapes off of discs for them. And it's
not a geographical thing--we all know Rush has fans all over the world!
So, what is it that makes people dislike Rush?

	I think the best reason mentioned so far was that it takes an active
listener to really appreciate their music. People that prefer music that
just washes over them with no real effort just would not appreciate the
complexities and styles that Rush offers. Every time I listen to Rush, I
get new feelings and insights--something you can't get from, as someone
else wrote, Debbie Gibson!

	Also, I know for a fact that Geddy's voice must have something to
do with it. I can play RTB on volume four on my stereo without my mom
saying anything to me--but put on AFTK on one, and my mom is in there
saying it is too loud. Personally, I enjoy listening to both styles of
Geddy's voice; to some however, it is "just screeching", as my mom put it.

	One thing I will say about people that don't like Rush: they still
can appreciate the lyrics. My best friend hates Rush music, but loves the
lyrics that Neil writes. Same with my friends here at school; they might
not like the music, but they ask me to make copies of the lyrics. Anyone
else experience this?

	Well, that was my $.02.

Signing off--



Date: Sat, 30 Jan 1993 16:59:49 -0500 (EST)
From: Chad H Hutchinson <>
Subject: Solos, Rush dislikers, drumming, and Peart Poster

Hi kids,

   Lost of stuff today.  First, about favorite Lifeson solos....I have a
hard time handling the fact that no one has mentioned "Between the
Wheels."  I know some of you might say "I really don't like that song that
much,"  but I reall could care less!  This is a zinger of a solo and I
happen to love the song.  Have you ever noticed that even though the song
fades out, it does have a "stop" ending?  Turn it up at the end of the
song and you can hear the bass pedal just fade of and die.  Neat stuff.
Similar occurances on "Mystic Rhythms" and "Ghost of a Chance."  Back to
Alex.  A friend of mind have a friend who is a guitarist in a band called
Labrynth.  They have a Rush style to them and play a lot of original
tunes, but they also cover some Rush songs to fill up their live sets.
This guitarist says that of all the bands that Labrynth has done covers
of, Rush by far has THE hardest solos to figure out.  I was happy to hear
such a praise of my favorite axeman.

   I mentioned something about the _Profiled! disc on Friday's NMS.  For
those of you who don't have it, look for it relatively soon in the ftp.  I
am going to send the transcription to Meg as soon as it is ready to go.

   As far as people not liking Rush (needless to say they should be shot,
twice), when I read some of other people's speculations (which I liked!) I
thought of something that Neil wrote in the Roll the Bones Tourbook when
he was referring to "Ghost of a Chance."  He said something along the line
to "This is the type of song we said would be sure to be a big hit.  But
then we thought, maybe not, we're just too weird."  Ya gotta admit, the
general public and radio listeners have a hard time getting into Rush's
music because it's so complex it many ways.  Think about this, a lot of
people like Led Zeppelin because of the brilliant and catchy riffs created
by Jimmy Page ("Over the Hills and Far Away" and "Fool in the Rain" for
example).  Don't get me wrong on this, I am a big fan of Zep's music I'm
just using them to make my point.  From a normal listener's point of view
(not like ours, we LISTEN to the music, catch my drift?), Led Zep's songs
are very accessible and the songs are easy to get stuck in your head.
Where as Rush is concerned, they are so into a more progressive style of
writing and making all of their songs intricate in some way.  It's hard
for some people to hum a tune in their head that's in 12/7 time signature!
Have you noticed that some of the "musically complex" bands of the '70s
seem more popular now?  The PERFECT example is Yes (again, I love Yes,
they're my 3rd favorite band, but they went commercial on me).  From 1969
(Yes) to 1980 (Drama), Yes put our very progressive art rock and it was
great.  There isn't an album in that stretch that I don't like.  But, come
1983, enter Trevor Rabin.  He waltzed in with a buch of simple but clever
riffs and turned Yes into a commerical almost pop/rock band!  And the
public went nuts!  Everybody knew "Owner of a Lonely Heart" and album
sales skyrocketed because of it.  My biggest problem with the 90125-Yes is
that they called themselves Yes.  True, 90125 is a great album and
everybody in the line-up besides Rabin was a former member of Yes, BUT for
the major change in sound and style that came upon them, they should NOT
have called themselves Yes.  The originally were going to call themselves
Cinema, IMHO, they should have stuck with it.  A lot of Yes fans hold the
80's as the downfall of one of the '70s greatest bands.  Now, Rush, as we
all know, has kept very true to themselves by making the music that they
want to make, no matter how complex it might be.  They've been criticized
over and over again for putting out the "weird" music that the create.
So, I just think that people that don't like Rush, just can't handle too
much going on within the song.

   Someone mentioned some favorite drumming by Neil.  Without even
thinking about it, two songs came to my head:  "High Water" and "Red
Lenses."  Both of these songs have really cool rhythms going throughout
the song.  I also like the work done on "The Enemy Within."

   The Neil Peart poster offered by Modern Drummer gets sent really
quickly.  I got mine in about a week, I couldn't believe it.  For those of
you who didn't get the one offered in 1990, this 1992 poster comes with a
catalog from which you can order the 1990 print.

   And finally, it took me a while but I finally got my hands on the gold
verison of _Moving Pictures_.  It's a very nice package, I like the
fold-out booklet.  Yeah, too bad it ain't a "Barchette," eh?  Sounds great

  \  _____  \     \    \  _____   \                 The Ghost
   \         \     \    \          \      
    \         \     \    \_____     \  ____         University of Delaware
     \         \     \         \     \     \        Chemical Engineering
      \__       \_______  \_______    \__   \__

 * * * * * * * * Better people, better food and better beer * * * * * * * *


From: Blake Butterworth 
Date: Sat, 30 Jan 93 17:43:11 CST
Subject: oh great, another "my fav solos list"

Lifeson (god of guitar) fav solos (in no particular order):

Ghost of a Chance (greatest guitar solo of all time-so much emotion its scary)
La Villa Strangiato (ESL-blazin' solo)
Mission (ASOH-another totally emotional solo-how does he do it?)
Freewill (this solo rips also)
Xanadu (ESL)
Analog Kid
Body Electric (the ending of the song kicks hiney too)
The Necromancer
Bytor and the Snowdog (ATWAS-the interlude with all of the effects is great)
A Farewell to Kings
Natural Science
Kid Gloves

That's all I can think of right now; maybe I should just list 'em all. :)

I think the idea for the shoeleg is great.  I don't think the members of Rush
would really waste their precious time or money trying to sue someone for
making a recording of their rarities.  They may be disappointed with us, but
who says they have to know?  If you've got a problem with it, just don't buy 
it! By the way, GOB is a great title.


Date: Sun, 31 Jan 1993 06:14:11 CST
Subject: new Tab

For anyone who's interested, I've uploaded the tab for Natural Science to
Syrinx.  Sorry, but I couldn't figure out the solos.

    [ It's in the rush/tab directory, called ''	: rush-mgr ]

"You know that feeling when you lean back in a chair and you almost fall
 but catch yourself at the last second?  I'm like that all the time."
    - Steven Wright


Date: Sun, 31 Jan 1993 15:12:38 -0500
From: Scott David Daly 
Subject: new RUSH books?

Hi there!

	Anyone heard any updates on the books about RUSH that the
B-man and Andrew Macnaughton are supposedly working on?...are they
still gonna happen?



From: (Barrett Paul Robert)
Date:         31 Jan 93 15:32:41
Subject:      over the europe

Question- On Over The Europe's version of Closer to the Heart, there
is a cartoon which is evidently being played onto the screen.  I
don't remember seeing this cartoon in my show.  The audio has one
character who goes "Hello, hello, who's there" then there is a fight,
some mumblings and the first character gets shot. Ged then goes "you
get all that", and the first character returns saying "you missed"
Does anyone know exactly what happened on the screen or can you tell
me exactly what was said?

   [ For those of your wondering, this was supposedly the Rotterdam show
     5/3/92; anyone there remember this?		      : rush-mgr ]

Just wondering,
Paul Barrett
"No One Expects the Spanish Inquisition"


Date: Sun, 31 Jan 1993 22:29:51 -0500
From: Christopher Mermagen 
Subject: Journey = Rush ??????

Hey hey hey-

A freund of mine just purchased Journey's new boxed set, and it is
pretty good (at least from N. Schon time..). Anyway, what has this
got to do with Rush, you ask?? Well, there is a song (darned if
i can remember the name - I shall check later) that has a riff
that sounds exactly like the guitar part from Xanadu where Ged
sings (to seek the sacred river alph) -- maybe just before that..
but it sounds so much alike. The song was supposedly released in
1977 - isn't that when AFTK was released?? Also, didn't Journey
tour with Rush? No, I didn't check the faq but i am just curious
if anyone else has heard this??

There is also another song (#3 from the same disc) that begins
or sounds exactly like Carry on my Wayward son, by Kansas of

oops, almost forgot, they mention in the journey book that comes
with the set that Rush imitated their time signature work in
Tom Sawyer.. ??? not sure what they are talkin about, exactly..

Later dudes-

ps. The first song to sound like rush is #5 on the disc (disc 3,


Subject: Shut up, or Shut up!
Date: Mon, 01 Feb 93 08:31:29 -0500
From: Brian White 

Dear Rush Fans,
	I think we need to remove all posts that say something about a
bootleg being produced and then follow this with the nonsensical statement
that discussion of this be removed from the NMS.  If I had a dime for every
one of these posts that has appeared I could probably go out and buy all the
boots for myself!  Come on, if you talk about a bootleg, don't say that the
discussion should be removed and if you say the discussion should be removed
don't talk about the bootleg.  It's rather silly.

	[ It's kinda like recursion eh?  Pay your credit card bill on
	  your credit card :) 				:rush-mgr ]

oo                 __ - "Does this proposition  -"Look, Ed McMahon... I think -
  o               |18>-  entail my dressing up  - I just won a Million bucks. -
   o  oo          |-- -  as Little Bo-Peep ?  " - Oh, eee... I lost - again." -
--- o----o--o-o-oo|   -                - FLETCH -                    - FLETCH -


From: Mark Landin 
Subject: What's Missing Revisited
Date: Mon, 1 Feb 93 8:51:58 CST

   This is my first contribution, so pardon any fuax pas..
   I just wanted to say that I agree with Matt Desantis' observations about
how Rush's sound has changed over the albums. His evaluation is right on the
money. I think we will all agree that Rush is composed (no pun intended) of
fantastic musicians. Why don't they play like it any more?
   Compare Neil's work on "Tom Sawyer" and "Manhattan Project". In TS, Neil
ends every phrase/sentence with a different lick than the one before. (I am
pretty unaware of musical terminology, so if I use the wrong terms, please
forgive me...). In MP, Neil's parts are repetetive and simple. What gives?
Playing the MP type of stuff does nothing to demonstrate Neil's wonderful
ability. Ditto the de-emphasis and simplification of Ged's bass lines. Rush
(or their engineers) have really removed the "bottom end" of their music.
I prefer the heavier sounds (the end of which began IMHO w/GUP). I still love
Rush lyrics, but the *musical* aspects have become less interesting. I don't
want to start an "Old Rush vs. New Rush" debate. I'm just wondering if other
people have noticed what Matt and I seem to hear.
   FYI: Favorite everything: Trees/Xanadu on ESL
	CD project: Rush does not strike me as promoting anarchy or rebel-
		    lion, so I don't think they would appreciate an illegal
		    project associated with them. I think they *would* appre-
		    ciate a vigorous writing/harassment campaign to the
		    record company(ies) and might even help.
        Countdown: I like this song (OK, so Matt and I don't agree on every-

*  Mark C. Landin					 *
*			         *
*  1 + 1 = 3 for sufficiently large values of 1          *


Date: 	Mon, 1 Feb 1993 07:50:04 PST
Subject: Great Drum Parts

Hi Fellow Rushians,

	I am new to NMS but I have been a Rush FANATIC since 1977, Hemispheres
era.  I just received NMS #610, and in there someone mentioned the fave drum
parts throughout the ages.  Being that I like to dabble in the fine art of
drumming (unfortunately I go by feel rather than technical knowledge of time
signature and the like) I would like to cast my 2" into the ring for best drum

	- By-Tor and the Snowdog
	- Lakeside Park
	-  Didacts and Narpets
	- 2112 - Overture section
	- Hemisperes - The entire album is a fantastic piece of work
	- Natural Sciences & Spirit of Radio
	- YYZ is so much fun to play as well as the rest of the album
	- The Enemy Within
	- Red Lenses
	- Territories
	- Force Ten is interesting to play

	This is certainly not an exhaustive list but I think it represents the
ones that I find the most interesting and challenging to figure out.  I'll be
interested to read more fave pics.  Thanks for letting me ramble.

"I see Red..."


From: umnevile@ccu.UManitoba.CA
Subject: Grblfrxt!
Date: Mon, 1 Feb 93 10:41:36 CST

Five things:

I don't remember who it was that suggested we collect signatures and
petition the record company, and that's a great idea, but remember that
there could be little more difficult than amassing 1500 signatures from
people living in many different continents.  And all on one page?  It
could be done, I guess, but it seems rather.. well, I just don't know.
Color me skeptical.

Secondly, about the Force Ten dispute  -  haven't you noticed yet
that 'The Boyz' seem to like things lthat fit in more than one sense, or
things that could mean more than one thing?  I mean, it doesn't have to be
one or the other.  My guess is that Pye Dubois gave them the idea, and
someone thought of the Beaufort Scale, and lo and behold it was the tenth
song, and it just fit so well that they had to call it that.  It's not an
elusive thing, I don't think.

(Oh, and by the way, I think we should make a new rule:  Anyone referring
to the members of Rush collectively as 'The Boyz' should be subject to
some sort of cruel punishment.  Of course, the rule should take effect
after this posting.. :>)

On the subject of Alex's best guitar solo, I think that The Analog Kid has
his best work.  I do like Freewill too, though.  Being a bass player, I've
never tried either.  Which is the most difficult to perform?  (And please,
no flames about difficult not equalling best; I'm not in preschool.)

Having to do with why people don't like Rush, the biggest objection I've
heard is that people dont' like Geddy's voice.  I have to admit, it is
kind of.. well, unusual, but I've learned to love it, that's for sure.
I've also noticed that it seems to be female-types that don't like the
voice (just an observation, not a rule, as evidenced by this newsletter
alone!)  I don't know why that is.. who knows.  All I know is that I've
had more than one relationship ruined by a lack of respect for Rush.
Having your girlfriend put down Rush, it's as if she's kicking your dog,
if you know what I mean.. (which you probably don't.)

The last thing I'm posting about, although it is entirely not
Rush-related in the least:  The Winnipeg Jets are the hottest team in the
league right now (even though they did take a stomping from Boston just a
couple of days ago), so the rest of you hockey fans can just look and be
jealous.  Selanne is rookie of the year, easy!

(Oh, and I just noticed this subject line (which follows).   Thanks, pal.  :>)

> Subject: Bruins crush Jets;  Earth continues to rotate on its regular axis
[ ... ]
> 			As the world turns & the Bruins dominate,


One last quick mention:  Is it just me, or does anyone else get infinite
amounts of satisfaction by punching your fist along with the bass drum at
the very beginning of La Villa Strangiato?

I'll stop now.



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End of The National Midnight Star Number 611

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