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Subject: RUSH Fans Digest of 10/11/90 (#66)


               RUSH Fans Digest, Number 66

                Thursday, 11 October 1990
Today's Topics:
                        Sequencing
                     Digest naming...
                         Rasters
         Re:  RUSH Fans Digest of 10/10/90 (#64)
          Re: RUSH Fans Digest of 10/10/90 (#64)
          Re: RUSH Fans Digest of 10/10/90 (#64)
          Re: RUSH Fans Digest of 10/10/90 (#64)
                          (none)
               2112,jacob,radiate,letter M
                   intro and RE: Presto
                  Neil's Satanic Verses
                  Acoustic guitar - RUSH
               Playing Rush on Bass/Guitar
                     new digest name
                          Stuff
          Album sales and bombastic Digest names
                        Bass, 2112
               RE>RUSH Fans Digest of 10/1
                          Presto
          RE: RUSH Fans Digest of 10/10/90 (#64)
          RE: RUSH Fans Digest of 10/10/90 (#64)
                      Acoustic RUSH
                          (none)
----------------------------------------------------------

Date: Wed, 10 Oct 90 11:32:16 -0400
From: cs021045@cs.brown.edu (Jason Rosenberg)
Subject: Sequencing

Sinistar:
RE Sequenced parts in concert & Neil
   Usually the sequenced parts are put into a synthesiser's memory
for a concert, and played by the machine.  The boyz are very concientious
about keeping this honest.  They insist on triggering all sequences themselves
(no tapes allowed!).  So, when the part comes up, someone hits a pedal or 
keyboard and voila: sound.
   As for Neil, he is using a click track.  Again, he always starts it on
his command(the settings for speed and such are done backstage).  Actually, he
uses a drum beat instead of a click.  The sound is usually a bass drum, so if 
his bass is in synch with the track, then he will hear nothing.  Only when he is 
off (twice a year, I think) does he hear anything.  Nifty.  For harder songs 
like Red Sector, he uses headphones, for 'easier' ones, he uses his monitors.  
Most often, he just doesn't use one.
   Modern Drummer had a cover story about him from fall, last year(I think).  
Thats where I got this from.  Read it, its great

Jason Rosenberg

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

Date: Wed, 10 Oct 90 08:44:45 PDT
From: ddelany@viper.calpoly.edu (Dan Delany)
Subject: Digest naming...

How about:

Name of the DIGEST: The Daily Shreve

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

Date: Wed, 10 Oct 90 12:42 EDT
From: Chris Bhagwan Fuzzy Normandeau <N200280@pavo.concordia.ca>
Subject: Rasters

	I thank Steven Owen for the time he took to upload the rasters and
write the help for them but there is one glaring problem, they seem to have
been deleted already. There is no trace of any of the files in the incoming
directory. The site administrator may have deleted them for disk space he
needed. This getting to be exasperating, maybe I will see if our ftp site
here will allow uploads, if so then you could put them there Steven. Nobody
ever checks out our site, we have nothing here. I will get back to you on that.

					See ya later,

						Chris Normandeau
						Concordia University
						Montreal, Quebec, Canada

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

Date: Wed, 10 Oct 90 11:46:42 EDT
From: Mike Borella <borellms@clutx.clarkson.edu>
Subject: Re:  RUSH Fans Digest of 10/10/90 (#64)

In a recent post, Jason Rosenberg asked for interpretations of some lyrics
to the song Presto.

"Don't ask me I'm just improvising":  Neil is saying that he doesn't know all
the answers; he's just doing the best he can, and what he thinks is right.

"I radiate more heat than light":  Light is always been used as a symbol
of purity.  When you look at Rush, you may see "shining stars", but actually
they are not as "pure" as they may seem.  They are human like the rest of
us.

I think this song says, "I see a lot of problems out there, I'd like to
solve them all, but I can't.  I've accepted that fact, but some people
think I have all the answers.  This isn't true, I'm no better than anyone
else.  I'm just doing what I can, and sticking to what I believe in, and
hoping that it all works out."

Keep in mind that this is my opinion.  Feel free to agree or disagree via
the digest or e-mail.  I'm looking forward to find out what other people think.

Mike

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

Date: Wed, 10 Oct 90 13:05 EDT
From: "Derek D. Lichter" <DEREK%ALBNYVMS.BITNET@UACSC2.ALBANY.EDU>
Subject: Re: RUSH Fans Digest of 10/10/90 (#64)

Opening a can of worms here, manager... :-)

        for names, how about:
                                Signals
                                Entre Nous
                                Prime Mover
                                Presto!

        and, jokingly, "The Spirit of Terminal" "All The Net's a Stage" :-)

        For aliases, what about "mission" or "the_boyz" :-)

                                                Derek L.

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

Date: Wed, 10 Oct 90 13:17:54 -0400 (EDT)
From: "William F. O'Dell" <wo04+@andrew.cmu.edu>
Subject: Re: RUSH Fans Digest of 10/10/90 (#64)

Yeah,
In answering  Jeff's question about sequencing during the shows. Neil
uses a seqencer that goes off during the beat. If he is playing
correctly (on time with the beat) he drowns out the sound of the
sequencer and knows he is on beat. There is  an interview in a Modern
Drummer magazine printed about a year ago  about touring and the making
of Presto.
   I'll write back next time with the date and some excerpts.
 Keep up the good work guys.

Furman

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

Date: Wed, 10 Oct 90 13:24:09 -0400 (EDT)
From: "William F. O'Dell" <wo04+@andrew.cmu.edu>
Subject: Re: RUSH Fans Digest of 10/10/90 (#64)

Hi, it's me again. I hate to waiste space, but Harvey's question in
10/10/9 made me think on the line inbtween the two parts of In The End
on All The World's A Stage. I'm shure most of you know it, but in case
you haven't picked up on it, it's

"One, Two Buckle My Shoe."

Furman

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

Date:  Wed, 10 Oct 90 14:04:21 -0400
From: Daniel L. McDonald <danmcd@zip.eecs.umich.edu>

Guitar lick in 2112, name for group, etc.

First of all:

"Meakin, William James" <WMEAKIN%DREW.BITNET@CUNYVM.CUNY.EDU>

says that there is a interesting lick in the end of the 2112 overture.

He's right, it is the 1812 overture melody, played at about 20 beats per minute
faster.
____________________

As for the name of the group,

Since it comes from the machine SYRINX, it might be called the Temple Paper...
                            (Taken from the liner notes/story of 2112)
On the subject of 2112, why not call it "The Overture"?
My last suggestion is, I don't care how it get's worked in, I don't care if
it is the name of Don Quixote's horse, the name Rocinante HAS TO BE PUT IN
SOMEWHERE.  (It just sounds so cool!)
________________________
One last thing, is there any Macintosh digitized sounds/pictures of Rush?
If so, please tell me.  If not, I may be able to make a few, but not be
able to keep them anywhere for all of you people to access!
(Sorry my signature file isn't here, I guess the EECS dept. is fixing
 sparky's file system.)

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

Date: Wed, 10 Oct 90 14:30 EST
From: Shane Faulkner <V127L2QZ@ubvmsc.cc.buffalo.edu>
Subject: 2112,jacob,radiate,letter M

1.  The little piece at the end of 2112 I. Overture is taken from
    the 1812 Overture.
2.  In Jacob's Ladder on ES...L , think Geddy says, 'This was done a long
    time ago by ... uhhh... T.C. Broonsie...' (Terry Brown).
3.  I've always interprested the line in Presto 'I radiate more heat than
    light...' to mean Neil generates more emotion and anger (heat) than
    enlightenment  and reason when faced with a problem.  Although this doesn't
    really sound like Neil!!
4.  I think 'Power Windows' was brought to us by the letter M because there
    are so many M's in the song titles: Money, Manhattan, Marathon, Middletown,
    eMotion, Mystic....
    This doesn't explain the Presto-D correlation.

-Shane

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

From: jmhaas@balance.cs.mtu.edu (Jeff Haas)
Subject: intro and RE: Presto
Date: Wed, 10 Oct 90 15:02:18 EDT

Small intro to myself:  My name is Jeff Haas, commonly known as Elezar.  My
interest in Rush is mainly in their lyrics and some of the music they play.
You could say that it strikes a chord in me. :-)  I just recently bought the
Chronicles and am not quite impressed, though it is a nice collection.. They
should have stuck the Fear trilogy on there though...  Now, to business:

Jason Rosenberg <cs021045@cs.brown.edu> asks about Presto:
>                ("don't ask me, I'm just improvising...).   What do those
>2 verses mean?  What exactly does Neil mean by "I radiate more heat than

     I think it means that he is trying to do something about the situation
and that you can't expect perfect results and that none of us should.. The
next one I understand much better.

>What exactly does Neil mean by "I radiate more heat than
>light?"

     Well, rather than light/illumination on the subject, he projects more
heat/emotion.  Thence "I radiate more heat than light."  How many times have
you been involved in a discussion of something dear to you and let your
emotions override your mind?

     Enough for a first posting.  Share and enjoy.

| Elezar, last Wizard of Xandurae | "Hearken to me ye present and ye past, |
| Dekhion, keeper of the Three    |  Know ye the future need not be last." |
| Bitnet: JMHAAS@MTUS5   Internet: JMHAAS@MTUS5.BITNET | "Fiat Lux, Stop." |
| Sequents:  jmhaas@balance.cs.mtu.edu  ;  jmhaas@symmetry.cs.mtu.edu      |
"Those who know what's best for us,
 Must rise and save us from ourselves."

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

From: rlr%software@rti.rti.org (rader)
Subject: Neil's Satanic Verses
Date: Wed, 10 Oct 90 15:24:39 EDT

  Thanks go to the Rush-Mgr!  I've been wanting a copy of this article since
I first learned of it's existence.

  Well said, Neil!  It's nice to see a kindred opinion, especially in this
hellish wilderness where stupid kids painting "Satan Saves" on the walls
are suddenly elevated to antichrist status by the pro-"christian" media.

#BEGIN ANDY_ROONEY_MODE
  D'ja ever notice how idiots who have no understanding of classic demonism
beyond bible study always accuse other idiots who have no understanding of
classic demonism beyond Slayer of being the Anti-Christ?  Isn't that annoying?
#END ANDY_ROONEY_MODE
  (by the way, I listen to a lot of Slayer so forego the flames, OK?)

  while on the subject of religion and music...  I heard one of those Jim
Ladd radio interviews with David Gilmour (Floyd's guitarist, as if you
didn't know! ;)), in which Jim asked David about his public position
regarding religion (David is atheist).

(quoted from memory, so I won't vouch for it's accuracy, but you get the idea)

JIM LADD:  David, you've said you're an atheist, but listening to Pink Floyd's
music, I get a sense of something other-worldly.  Something beyond the
everyday, mundane existence.  How can you explain this?

DAVID GILMOUR:  Well, you know, this is perfect evidence of a spiritual
NOW, if you will.  (Ron's interpretation:  the element of spirit is not
something distant and removed from physical reality, it is an inherent
part of physical reality.)

  And last but not least:  Recently I posted a question regarding Neil's
bashing of Black Sabbath.  While it generated some interesting discussion,
my original question remains unanswered.  Why do you think Neil regards
Black Sabbath with casual derision, as if it were "dirty?"  Has he made
any other public statements to this effect?

  Thanks once again, Rush fans...

--
ron rader, jr               rlr%bbt@rti.rti.org = Opinions are my own and do not
| |  i gotta six-    rlr%bbt$rti.rti.org@CUNYVM = necessarily reflect those of
 | | pack, & nothin' to do ...!mcnc!rti!bbt!rlr = BroadBand Tech. (SO THERE!)
*** Punk ain't no religious cult, punk means thinking for yourself - DKs ***

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

Date: Wed, 10 Oct 90 13:07:27 -0700
From: mikea@cadence.com (Mike Abeyta)
Subject: Acoustic guitar - RUSH

 rotem@jhunix.hcf.jhu.edu (Rotem A Elgavish)  writes:

>   I realize that most RUSH songs cannot be played on an acoustic guitar -
>there are a couple that have parts which can be. I am wondering if anyone
>out there can play any RUSH on an acoustic? For example, I can play the
>acoustic part of "In the End". If any of you know how to play something
>even as simple as a few chords - please respond.

Listen to "Something For Nothing" from 2112.  The picked chords at the
beginning of the song are exactly the same as the strummed 'power' chords
during the later parts of the tune.

       Mike				mikea@cadence.com

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

Date: Wed, 10 Oct 90 16:44:55 EDT
From: warsaw@nlm.nih.gov (Barry A. Warsaw)
Subject: Playing Rush on Bass/Guitar

>>>>> "David" == David Laurenc Gordon <chainsaw@jhunix.hcf.jhu.edu> writes:

	David> Hi! I'm a bass player and I'm super-heavily into RUSH, and,
	David> as Geddy Lee is God, he plays lots of stuff that's too
	David> complicated to pick out by ear. So, here are my questions:

	David> 1) Does anyone else here play the bass guitar?

I do, and I think there are at least a few other bass Geddyheads on
this list.

	David> 2) Is there some way that I can get my hands on some sheet
	David> music through this digest?

I've seen a few books and other sheets of Rush music. Some tend to be
rather good as far as transcribing the bass parts accurately, others
are poor. For example, I had a Hemisphere's song book which had the
bass parts practically note for note -- that's how I learned the solo
in La Villa, and other, more difficult-to-hear parts of side 1. I
remember being impressed at how well the bass parts for side 1 had
been transcribed. I've also seen sheets for Moving Pictures as part of
a (pre-GUP?)  anthology which was very accurate, which is where I
learned the solos in YYZ.  Unfortunately, I've since lost *both* books
(urrg!) so I can't give you more information than that, except look
around your local music store.  Anyone know if the backstage club has
these or any other Rush sheet music books?

I've seen at least one anthology book that was pretty poor in its
transcriptions, I think it was a best-of comprising tunes up to like
POW or HYF. Also, the Guitar School scripts of Freewill and Show Don't
Tell were okay, but not great.  For the most part, the Freewill one
was very helpful in (finally!) learning all of the bass jam section
correctly (though I small disagreements with one part of one of the
phrases). The SDT was more disappointing, blatently leaving off a few
rather obvious bass riffs.

	David> 3) Anyone have a good Geddy Lee statue that I can sacrifice
	David> my first born to? (For those without a sense of humor, I'm
	David> not kidding)

Nope, but I *do* have a little bronze casting of the Gedster's nose,
which I rub before every gig.  :-) <--- whether you have a sense of
humor or not!

>>>>> "Shane" == Shane Faulkner writes:

	Shane> By the way, if there are any other guitar playing Rush fans
	Shane> out there, drop me a line if you want to trade solos, sound
	Shane> tips, etc.  -Shane

And a personal request, which I posted a while ago, but I'll repost
now that schools are back in session.  If there are *any* Alex clones
in the Baltimore/D.C. metro area who want to jam on Rush, please email
me. A drummer friend and I love to jam on the boyz but have yet to
find a guitar player to round us out (though I do know one *hot*
air-drummer who's got Neil down! :-).  Also, vox and/or keys are also
welcome. I can think of at least one other person who'd like to see a
jam session come together (eh, rush-mgr?).

[ YES!  YES!  YES!!                                           :rush-mgr ]

-Barry          "Etch-a-Sketch(tm) is almost perfect.
                 The only thing missing is a shift key." - Me

NAME:  Barry A. Warsaw         INET: warsaw@nlm.nih.gov
TELE:  (301) 496-1936          UUCP: uunet!nlm.nih.gov!warsaw

ORQ: "Yeah, oh yeah!"

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

Subject: new digest name
Date: Wed, 10 Oct 90 14:03:20 PDT
From: Doug Grumann <dougg@hpptc16.hp.com>

>    - Name of the Digest (instead of "RUSH Fans Digest")

How about:

 the Cyberspace Rush Review

or

 the Rush "Get A Life" Digest.

dougg ("still working on it")

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

Date: Wed, 10 Oct 90 15:34:02 PDT
From: mjahnke%sdcc13@ucsd.edu (******* Meg *********)
Subject: Stuff

If anyone would like a copy of what is said in _Chronicles_ I typed it in...
I also have the book _Success Under Pressure_ and _Visions_ (ok only some
of it right now) typed in if anyone would like a copy...

And this question I asked last year but got no responses so here goes
again:

Does anyone know how tall Neil, Geddy and Alex are?
Or their shoe size?

-Meg

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

Date: Wed, 10 Oct 90 16:27:55 -0700
From: David Conley <dmc@u.washington.edu>
Subject: Album sales and bombastic Digest names

Well here are the answers to the Quiz questions I posted
a couple of days ago (does anyone care :-), I got zero responses...
maybe that special edition that our rush mgr. put out a few days
ago didn't get to everyone??)

The only Rush album to achieve double platinum status was
Moving Pictures.

The only Rush albums to peak higher than #10 on the Billboard
album charts were: Moving Pictures (#3 in 1981)
                   Permanent Waves (#4 in 1980)

Three other Rush albums made it as high as #10:
                    Signals (#10 in 1982)
                    Grace Under Pressure (#10 in 1984)
                    Power Windows (#10 in 1985)

That makes 5 Top Ten albums in the '80s !!!
These facts are from the Billboard Book of Gold and Platinum Records.

Now, about a new snappy name for our digest:
How about these (inspired by 2112)

                         The Oracle
                         The Red Star of the Internet (hee-hee)

Or maybe something simpler:
                          Signals, the Rush Fans Digest

Just some thoughts!

-----
David Conley     "The Digital Anatomist"    ::dmc@milton.u.washington.edu
University of Washington School of Medicine, Seattle

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

Date: Wed, 10 Oct 90 13:52 CDT
From: By-tor <UCSKRT@ucs.UWPLATT.EDU>
Subject: Bass, 2112

   I've been playing bass for about four years now, and of course enjoy
following along with Geddy and the boyz. I finally finished learning the first
side of Moving Pictures, but have one question for those others who may know
the bass line for YYZ. I got a transcription for the song from _Guitar for the
Practicing Musician_ magazine eons ago, and their version wasn't very accurate
in places. In particular, Geddy's second bass solo with all sorts of sixteenth
notes in a flurry is wrong, and I've been straining to pick out the individual
notes from the album. I've gotten pretty close, but something is still wrong.
If I had my mother's reel-to-reel tape deck here, I could slow it down to
half-speed, but that's not an option at this point. If someone out there knows
the exact part, please e-mail me with the notes. I can figure out the rhythms.
   Concerning the guitar solo in 2112, it's taken from the 1812 Overture, I
believe.
   Neil is listening to a click track during Red Sector A. There's a band here
in Platteville that does a decent cover of Open Secrets, and their drummer also
uses a click track to keep things in time. Kinda neat.
   For those interested in contemporary rock with deep lyrical meaning, check
out the metalish band Queensryche. In particular, the concept album _Operation:
Mindcrime_. Along with great subject matter, they also happen to be very good
musicians, and so tend to rise above the stereotypical definition of "metal."

Kevin Tipple
Alias Blue Steel, By-tor
University of Wisconsin - Platteville
Bitnet: UCSKRT@UWPLATT.BITNET
Internet: UCSKRT@UWPLATT.EDU
===========================
"Better beer?" - Geddy Lee
===========================

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

Date: 10 Oct 90 16:03:41
From: Christine Blasko <Christine_Blasko@qmgate.radius.com>
Subject: RE>RUSH Fans Digest of 10/1

                              RE>RUSH Fans Digest of 10/10/9
Response to Jason Rosenberg (Digest  64):

While I won't venture to guess what Neal REALLY meant by his Presto lyrics, I
would like to share with you what I GET out of it...

To me, the song is about the battle man wages with himself.  We are walking
contradictions; heir to the grandiosity of the universe [imagination &
creativity], yet limited by our ape heritage [fear & survival].  We are capable
of picturing a better world, yet apparantly limited in our personal power to
achieve it.  We look to each other, and to people of authority, for answers to
questions that only we ourselves have answers to, or to questions that have no
answers...hence the line, #210#Don't ask me, I'm just improvising#211#.  Neal does not
have the answers, he is struggling with the same things we are!  There is no
RIGHT way to live life, we must each find our own way [easier said than done].

Now my favorite line...#210#I radiate more heat than light#211#.  When I first heard
this, the idea of entropy popped into my mind.  [And here some physics wiz is
going to correct me, but...]  Heat is generally considered a waste product of a
system which converts energy into work or light [ie, a human being].   Here is
a man who feels he takes more from the world than he gives back.  (For a
similar reference to light and heat, see/listen to Steve Vai's first solo
effort, Flexible.)

Overall, this song is a contradiction.  On one hand, there is frustration at
our limitations.  On the other, there is peace and the power that comes from
acceptance of our nature.

Ah, what an excellent song!

On a larger scale, I would like to contribute how music [especially RUSH]
serves my life.  I am someone who is not always satisified with the #210#answers#211#
that are provided to me in everyday.  In the search for my own meaning, I often
encounter lonliness of a scale which I can barely tolerate.  (I haven't gotten
to the acceptance part of my own nature yet)  Music eases my lonliness by
showing me that there are others out there that battle with similar questions.
It is truly a gift that someone I don't even know can touch my soul and make it
OK for me to be human again.

Plus, music is fun and nice to listen to after a long day!

I look forward to hearing how others have interpreted Presto and also what role
music in general plays in their lives....

                                              - Christine

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

From: Chris Schiller <chris@hpsctcd.hp.com>
Subject: Presto
Date: Wed, 10 Oct 90 17:24:56 PDT

 Jason Rosenberg writes:

>    All of this talk about the appeal of Rush has brought up a question that I
> have been wanting an answer to.  The song Presto, what does it mean?  I got
> the general theme of the song: yes, I would love to be able to make everything
> all right, but I'm not magic.  No one is.  Even though I can look at the past
> and see what was wrong('my memory has a second sight...') and sometimes even
> see whats wrong in the present, I can't change it.    Now, my problem comes
> at the bridge.  ("don't ask me, I'm just improvising...).   What do those
> 2 verses mean?  What exactly does Neil mean by "I radiate more heat than
> light?"  I've been looking at this for a while, and I'm still fuzzy.  Any
> ideas?
>

To me the lines about "I'm just improvising" tie in with the "I'm not one
to believe in magic".  He is just saying he is a common man "made from
the dust of the stars..."   Advising not to take him as some new
messiah.  His music and words are not magic, don't take him too seriously.
"So deep I could never touch bottom, what a fool I used to be"  Maybe he
tried in the past to be too deep just to be artsy.  "Can't you see
my temperature's rising, I radiate more heat than light".  I see this
as him saying his lyrics are getting more involved with controversial
issues, and he is equating himself with old red dwarf stars (tying into
the first line) which do indeed radiate more heat than light.  Suns such
as ours, which do not nova or collapse into neutron stars, expand and
then contract into dim red dwarfs when they get old, slowly dying away.
Maybe saying he's getting to be an old fart.  He said it (I think) not me.

Or maybe "some of our views are spacious, and some are merely spaced"

Chris Schiller
chris@hpsctcd.hp.com

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

Date: 10 Oct 90 21:28:00 EST
From: gbear@ucs.indiana.edu
Subject: RE: RUSH Fans Digest of 10/10/90 (#64)

In response to Jason Rosenberg's question concerning Presto- "What exactly
does Neil mean by 'I radiate more heat than light'?"  Of course I haven't
had anopportunity to discuss it with Neil, but I thought that this reference
referred to things that people can feel but can't see.  "I radiate more heat
than light" could mean that sometimes people can feel things that they can't
see, the way people can feel heat but can't see unless there is light.

Just taking a stab at it. . .

					Glenn

ORQ:  To the beautiful and the wise,
      the mirror always lies.
				-Neil, dude.

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

Date: Thu, 11 Oct 90 11:46 GMT
From: CHRISLEY@vax.oxford.ac.uk
Subject: RE: RUSH Fans Digest of 10/10/90 (#64)

Sorry for the boring subject line; this is a poor mailer...

Several things:

The solo at the end of 2112 includes a snippet from the 1812 Overture by
Tchaikovsky.

Geddy says that Jacob's ladder was by P.T. Broonzy, referring to Terry Brown.

I saw a CD bootleg a few days ago called "Attention all planets of the solar
federation".  It looked like an "Exit...Stage Left" era bootleg.

Now some of my own questions:

Could anybody type in the booklet from Chronicles?  I started to read it in
the store (one of the advantages of shopping in the UK), but gave up when the
first sentence mentioned "unchartered waters [sic]"...

Has anybody noticed that Geddy says "evelate" instead of "elevate" once at the
end of Vital Signs?

Ron Chrisley

By the way, there's a good book with 6 or so Rush guitar parts in TAB notation:
Different Strings, Broon's Bane, Something for nothing, Etc.

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

Subject: Acoustic RUSH
Date: Wed, 10 Oct 90 18:36:05 CDT
From: David T. Sandberg <dts@quad.sialis.mn.org>

In addition to playing many of the acoustic pieces people have already
mentioned (Rivendell, Panacea, Closer To The Heart, Broon's Bane, the
intro from A Farewell to Kings, etc.), I have also managed to put together
a version of "Madrigal" for solo classical guitar.  It's by far the most
difficult bit of Rush I play around with, requiring some monster stretches
and changes (for example, it incorporates the entire bass part, note for
note!), but it was very much worth it (I always loved that song).

(A nice thing about "Madrigal" is that Geddy sang it in a range that
isn't out of everyone else's reach... the highest note is an A, which
is at the very top of my full voice, so I can perform the song in a
pretty complete form.  Funtimes.)

Speaking of performing Rush tunes, in a band I played in back in '84 we
used to do "Fantasy" by Aldo Nova (pretty bland tune, but almost required
in the circuit at that time).  If you'll remember, that song features a
sort-of long pseudo-helicopter/synthesized fade-in... so to make the tune
more interesting, we used to replace that intro with the entire first part
of "Xanadu".  No one in the audience knew what the heck we were doing, but
at least we were having a good time with it.  B-)

--
 \\         David Sandberg          \     ,=,       ,=,           \\
 //     dts@quad.sialis.mn.org      /     | |uadric '=,ystems     //
 \\  uunet!rosevax!sialis!quad!dts  \     '=\       `='           \\

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

Date: Thu, 11 Oct 90 08:36:55 -0500
From: Russ Glaeser <cs325cy@ux1.cso.uiuc.edu>

Behold my powers of ASCII-artist:
    #
|-#--------------------|---------|-------|-----||
|                  |   |     |   |       |     ||
|----#-------------|---|-0---|---|-o-----|-----||
|  #       4       | 0 | | 0 | 0 | |     |     ||
|---------------H--0-|-|-|-|-0-|-|-|-Q-0-|--o--||
|     #    4         | | | |   | | |     |     ||
|--------------------|-|---|---|-|-------|-----||
|                      |         |       |     ||
|----------------------|---------|-------|-----||
(^ Imagine a snazzy little G-clef here!)
(               ^Half-rest           ^Quarter-rest)
(                                      ^HN  ^WN)

I think the passage is in B.  This (from the second solo, Overture, 2112)
originally came from Tchicovskys (sp?) 1812 Overture.  As was mentioned
in an article posted in this mailing not to long ago, Alex was and continues
to be heavily into classical music.

An interesting note: 2112 takes place three centuries to the year after the
Russian victory over Napoleon(1812).  Could this be part of the reason they
chose 2112, and not some other year?

Russ Glaeser

ORQ: I don't believe in anything being obligatory.

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