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From: rush@syrinx.umd.edu
To: rush_mailing_list
Subject: 12/17/94 - The National Midnight Star #1040

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List posting/followup:     rush@syrinx.umd.edu
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(Administrative postings to the posting address will be ignored!)

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


         The National Midnight Star, Number 1040

                Saturday, 17 December 1994
Today's Topics:
                      Krupa and Rich
                      ode to stewart
                     Permanent Waves
               Inraged with utter jealosey
                   Names on the CP tour
     Re: 11/30/94 - The National Midnight Star #1029
                        Re: boring
                     The First Album
                       A Few Things
                        I see red!
                        Ronny baby
                      The Motor Law
                      Album In Feb?
                           Band
   Re: Neil's CP drum set. and "un-Neil-like-drumming"
                     Barchetta Blues
                   Re: Neil's CP Chops
                      One Bass Drum
               Red Barchetta's 'Motor Law'
                        Ascii pics
                Alex Lifeson is my master
             Re: Neil's drumming as of late.
                  Boring 2 - The Sequel.
           Greetings from a _FEMALE_ Rush fan!
                      Bass questions
                             
                       Re: NMS#1036
                  AZ Rush fans rejoice!
                      Mobil Fidelity
                   Favorite Alex solos
----------------------------------------------------------

Date: Sat, 10 Dec 1994 20:04:55 GMT
From: Gregg Jaeger 
Subject: Krupa and Rich

I want to take this opportunity to let people who liked
_Burning for Buddy_ know about an album they'll *love*. (Reading the
insleeve of BfB will encourage you to buy this). I just bought _Krupa
and Rich_ (from BMG in fact), which is a rerelease of a an album by
the two drummers Neil talks about in the BfB insleeve. It is *great*.
To see why Neil was into Buddy Rich, and why this is a good album,
check this out from the back of _KaR_:

"The question was once put squarely to Gene Krupa: 'What do you think of
Buddy Rich?' With no hesitation, Krupa replied 'Buddy Rich? I think
Buddy Rich is the greast drummer in the world today, bar none. Can I
make it more emphatic than that?'

"Reverse the scene. Turn the tables. Put Buddy Rich on the spot with
the same question. 'You want to know what I think of Gene Krupa?
Well, where do you begin? Gene Krupa was the beginning of the end
of all jazz drummers. He's a great genius -- a truly great genius of the
drums. Gene discovered things that could be done with the drums that
hadn't been done before, ever. He discovered these things and made the
most of them... I'll tell you about Gene. Before Gene, the drums were
in the background, just a part of the band. To put it in plainer terms,
the drums didn't have much -- _meaning_. Along comes Gene and the drums
take on meaning and they're out of the background. The drummer becomes
_somebody_, you know?'"

Gregg

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

Date: Sat, 10 Dec 1994 16:12:13 -0500
From: Mscheid@aol.com
Subject: ode to stewart

Just thought I'd let Stewart know that Alex is definitely a born again
Christian and I did hear it from the HORSE'S MOUTH.  So take it easy and stop
attacking people.

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

Date: Sat, 10 Dec 1994 18:55:42 -0500
From: MarSat1@aol.com
Subject: Permanent Waves

Hi everyone!

I wanted to ask a question that I've always wondered about....On Permanent
Waves on the first side,  there is "Freewill" which talks about how everyone
has the freedom to make their own choices.  Then on the other side there is
"Entres Nous" which talks about relationships.  Neil wrote "some we would not
chose but we're not always free".  I always took the lyrics of both songs to
heart(this is my favorite Rush album) and have always been confused about the
conflicting concepts of these two songs.  Anyone want to comment?

Thanks!
Marla
P.S.  Matt in Marseilles-technical difficulties...please stand by!

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

Date: Sat, 10 Dec 1994 17:41:47 -0700 (PDT)
From: FRANSRB@PLU.edu
Subject: Inraged with utter jealosey

Hello Rush fan's

	I sure there are a bunch of you who feel this way.  As we all
know Rush cancelled the Counterparts tour too F@$%ing early.  For the people
who saw them  play from their best album in 10 years I'm very jealos of
you guys.  (so sue me for poor spelling)  If anyone has a bootleg copy of
one of their shows, even if it's a lousey show, (imagine that) please let
me know  Email me at Fransrb@plu.edu.

	Now that I think of it.  I was thinking about putting together
all the Rush vidoes ever made.  Just one problem though.  I haven't got
hardly any of the videos.  And the videos like Roll the Bones and others
that haven't been realesed on video and I didn't have the chance to or
the sence to tape them off of MTV.  I need two things a list of the
videos 'cause I'm not sure which of the abscure ones they have.  And I
need video's.  If you have them  email me, my address is above, and I
will contact you futher.  I would also be happy to disribute the copies,
free of charge of course, to anyone who wants one.  As long as you send
me a blank video tape and a stamped addressed envelope.  But I'll get
into that when I've finished.

RRRRRRRR        U       U         SSSSSS        H    H       !
R      R        U       U         S     S       H    H       !
R      R        U       U         S             H    H       !
RRRRRRR         U       U          SSSSS        HHHHHH       !
R   R           U       U               S       H    H
R    R          U       U         S     S       H    H
R     R           UUUUUU           SSSSS        H    H       !
Till next year,
Ben Frans
P.S  Hey  a great way to study for finals is to listen to every Rush
album you own.  Which reminds me.  gotto go

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

Subject: Names on the CP tour
Date: Sat, 10 Dec 1994 22:57:26 -0500 (EST)
From: "Adam Paul Loch" 

I believe someone asked about what different names Alex introduced the band as
on the CP tour. When I saw them in Auburn Hills, MI, Geddy was Ted Nugent, Neil
was Sparky Anderson and Alex was Lee Iacocca. My friend and I were laughing our
asses off.  When Alex did himself he was like "And I'm umm...umm...uhh...Lee
Iacocca!"  BTW the whole show was incredible, I wish I would have had better
seats, but dosen't everybody?

 -Ad

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

Date: Sun, 11 Dec 1994 00:30:12 -0800
From: efjose@ucdavis.edu (Wesley Wada)
Subject: Re: 11/30/94 - The National Midnight Star #1029

I can sympathize with J. Baker's post a few weeks ago regarding:

>"...I doubt i am the only one who is tired of reading five posts about reasons
>>why geddy may or may not be jewish, just to get to one interseting post."

LOL :-), it broke the monotony for me during my 'rush' scrolling through
the NMS with one hand on the delete key as soon as I reach the bottom
(yay)! I agree wholeheartedly and each issue I wish for a abbreviated, more
informative read but to no avail.
I have only been on the list for a few weeks and there is not a issue that
goes by that I am 'borderline' ready to send my 'unsubscribe' message.

Don't get me wrong, I don't want to change anything for others that are
happy and I'm sure it's just a manifestation of their passion for RUSH so
I'm just stating my opinion here and I'm going to use FTP and WWW and if
the content is more 'pick & choose' there, I will probably unsubscribe and
occasionally visit there instead. Also IMHO, with regards to a earlier
posting, it's better to receive a single, NMS posting each week rather than
all the individual ones, as the Peter Gabriel list was like that and I
unsubscribed from it as I receive important business mail and can't be
sorting through all that mess...too annoying.

Some of the stuff was nice like the recent interview with Alex, FAQ
listings of common questions, and some cancer rumor quelling but overall, I
was just hoping for a fan resource with new release info, imports, OFFICIAL
reviews, fan club news, paraphernalia, and bulletins on
Magazine/TV/Radio/online/In-Person appearances for specials (music awards,
MTV, etc.) so I wouldn't miss out on the talented dudes.

The one good thing that came out of this was a renewed interest in listing
to my Rush collection again and I'm trying to appreciate Counterparts more
as I only listened to it three times since purchasing it and gave up as I
was disappointed compared to Roll The Bones.

*Here's my contribution to mindless chatter: I still remember being into
Aerosmith, KISS, Thin Lizzy, Rainbow, and Angel back in middle school and
the latest Rush release was All The World's A Stage and I bought every
release since then. Then ~10 years later, they finally did a long awaited
show in Hawaii and anticipating the show, the sponsoring radio station was
broadcasting on the day of the show that the lasers were broken and so we
only got them with a video wall behind them showing videos of a kid riding
on a rocket, a neighborhood, some buildings, flythrough of a high school
gym, deliverymen delivering some art to a museum (you know what I'm talking
about), all the while fog machines busy onstage...

This whole experience reminds me of that SNL episode where the guest host
was William Shatner and he does a skit of a Trekkie convention and during
his speech, he pauses, looks around the room at the disposition of the
audience, and then starts flaming the audience, "people, get a life", "you,
how old are you?", "have you ever kissed a girl?" ...[:>

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

From: mfarah@lascar.puc.cl  (Miguel Farah F.)
Subject: Re: boring
Date: Sun, 11 Dec 94 11:37:12 CST

>Date: Mon, 5 Dec 94 17:12 GMT
>From: bsimpson@cix.compulink.co.uk (Barry Simpson)
>Subject: Boring
>
>"Neils lyrics for Lock & Key are using the incorrect grammer"
  ^^^^^
>WHO GIVES A SHIT!! They sound good...

I think that should be "Neil's" }:->

>At SOR we try to print only FACTS from the horses mouth NOT speculation.

Yeah, but speculation usually is much more interesting :-)

 -
MIGUEL FARAH                       | GCS/O -d+ H s++:+>s++: !g p2+ au-
mfarah@lascar.puc.cl (mail only)   | a24 w v++ C++ UL+>++++ P+ L>L++
mfarah@ing.puc.cl                  | 3- E--- N+++ K+++ W--(+) M- V--
http://torvalds.ing.puc.cl/~mfarah | po+ Y+ t++@ !5 !j R G? tv b+ D++
#include             | B- e+* u+ h! f+ r-- n---(+) y?
 ----------------------------------+----------------------------------
"Trust me - I know what I'm doing."
 - Sledge Hammer

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

Subject: The First Album
Date: Sun, 11 Dec 1994 13:40:17 -0500 (EST)
From: "Charles Joseph Berch" 

I don't think the first album really sounds too much like Zep or Black Sabbath
at all.  True, like these bands, they did heavily rely on guitar riffs, but
what group doesn't when they first start.  I think the first Rush album is
actually quit a bit more like some of the other bands that came out at the same
time, namely Kiss and Heart.  Listen to songs like "In the Mood " and tell me
that it doesn't sound like Kiss!  Of course, I don't think they were really
influence by Kiss or Heart, but rather all three bands independently came up
with their own style at the same time.  Some of these bands simply became more
with time (namely Rush :-)1

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

Date: Sun, 11 Dec 1994 14:28:12 -0600 (CST)
From: Tom Servo 
Subject: A Few Things

I have a few things to address that were brought up in the last NMS.

First, the chords given for the beginning of The Trees were wrong, and Alex
does NOT play the same riff through the entire first verse--in fact, he changes
to a defferent riff when the singing starts.  The chords (not tab) are as
follows:  D - F#(m?) - C#m - A (where the D and G strings are barred on the
second fret and the B and E strings are barred on the fifth fret) - E - G (add
D) - A - Bm (you figure out the last five chords--if you have the Bm, then you
have your fingers where they need to be for all five.  My confusion on the F#
chord is due to the fact that I'm a drummer who's learning guitar to a RUSH
Complete music book, which I don't hav in front of me and I can't remember if a
barred F# with the middle finger on the third fret of the G string is a minor
or not.  Sorry.  I'll move on to something I know better...

Chris (cdean@mason1.gmu.edu) made a comment on the lack of intricacy in Neil's
drumming on Counterparts.  Before I address the drumming specifically, first
let me point out that the album as a whole was a different musical direction
for the whole band--this required something different from every instrument,
including drums.  I would not, howevre, say that the drumming on CP is less
complex by any stretch of the imagination.  A few examples...

1. Listen to the bridge section of Animate--hear the off-beat tambourine?  Hear
the high-toms in between?  Now listen to it continue on as the "groove" picks
up...this is by no means an easy feat, especially since he appears in concert
to be using a trigger controlled by his left foot.

2. Listen to Alien Shore.  I quote no specific part here, but if you have to
focus on one, try listening to the transitions between verse/chorus,
chorus/verse, bridge/chorus, etc., they're nothing to just write off as easy.

3. My personal favorite--Double Agent.  Listen to the alternating Ride
Cymbal/China Boy where the China Boy is on the odd time (1-3-5) through the
first two verses and first half of the bridge and the sweet transition to the
second half of the bridge and last verse where the the China Boy is on the even
time (2-4-6).  Just keeping up the alternating strokes through the whole song
is difficult enough, let alone such a smooth transition in the middle of the
bridge.

No--the drums are not less complex on CP, just different.  I might also add
that I don't know of any other album where Alex uses a drop-D tuning on his
guitar (Stick it Out and *more?*).  Listen to the album as a new sound for
Rush.  It does have some similarities to others, but all in all, it is brand
new for them.

Next--Arvid Hokanson inquired about whether or not Neil uses a double-kick
anymore, and the answer is no.  I thought at one time he said he'd never use a
double-kick pedal because you lose the dynamic sound of two kicks tuned
slightly differently, but he did, in fact switch to a double pedal, and in my
humble opinion, it works.  (By the way, it was not on this album that he
switched, it was several albums ago).  To hear it in action, listen to Animate,
and the fills before it goes into the chorus.  It works, I tell you.

Now, finally--a remark of my own.  I have yet to hear a Lifeson solo that moves
me as much as the solo in The Necromancer off of Caress of Steel--I'm talking
about the one right before  the "return of prince Bytor"--the one that *wails*
for lack of a better word.

Favorite Peart fill--the quick little number in the Hyperspace section of
Natural Science (Permanent Waves)

Favorite Bass line--The whole song, Turn the Page from Hold Your Fire.

Thank you and goodnight,

Aaron Gunsaulus

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

Date: Sun, 11 Dec 1994 21:00:07 GMT
From: Gregg Jaeger 
Subject: I see red!

>Date: Fri, 2 Dec 94 10:09:49 EST
>From: John Ambrose 
>Subject: Red Sector A
>
>	This is in response to the recent post about "Red Sector A", and, in
>fact, all of Grace Under Pressure having an anti-American theme.  I could not
>disagree more strongly.

I don't think it has an anti-American theme. The p/g tourbook is
valuable in understanding the "meaning" of p/g. My impression is
that you never read the tourbook, because what it comes down to
is that the Cold-War-80's-style was crap.

>	First of all, the comparisons between "Red Sector A" and Nazi
>concentration camps are obvious.  However, a fact that is often (and
>delibrately) overlooked by the liberal media is that the Communists had
>extermination camps which equalled, if not, surpassed the Nazis in
>atrocities.[...]  All told, Joseph Stalin ALONE exterminated FORTY
>MILLION people!  The Russian government just admitted to uncovering mass
>graves containing up to 200,000 corpses!  And, don't forget that these
>extermination camps existed long, long after the Nazis were removed from
>power.

Don't forget Mao and his glorious "cultural revolution"! I couldn't
agree more here, I wouldn't say that Neil is concerned only with
Communist concentration camps -- he's addressing all such things --
one contemporary example being Serbian ethnic cleansing in Bosnia.

>	But the point is that the Cold War is over.  We won.  We can all
>sleep better now because, despite the frantic ravings of the Communist
>sympathizers in this country (ie, liberals), Ronald Reagan had the courage
>and fortitude to face down such bloodthirsty monsters as Andropov, Chernenko,
>and Gorbachev.

Including Gorbachev here is *quite* unfair. Gorby prepared the way
for the peaceable downfall of the Soviet Union -- IMHO, no small
achievement.

>In the 1980's, it was politically correct to criticize Reagan, and to be
>sympathetic to Communism.  Neil is not now, nor was he then, a mindless
>automaton, waiting to be programmed by the Left.

That's true, but he'd also be a mindless automaton if he automatically
supported Reagan too. Here's a little analysis of "Red Lenses" to show
that he *did* criticize Reagan's position as well as the "Commies":

In an interview {\it Guitar} magazine interview of Oct. 1986,
Neil Peart said of ``red lenses,'' ``the color red is the
theme of [the song],'' and stated that his strategy in writing
the songs lyrics was to use that theme as a tool for bringing
together a number of ideas through an onslaught of images...
The use of a lower case ``i'' character for the pronoun ``I'' alludes
to E.E. Cummings, a renowned individualist poet.
Here are some lyrics:

  inside my head
  and truth is often bitter --
  left unsaid
  said red red
  thinking about the overhead --
  the underfed
  couldn't we talk about something else instead?''

This stanza contains a play on the old maxim ``the truth is
often better left unsaid'' which also its adaption to the present
context. ``The pulse to passion'' can be broadly interpreted to mean any
sort of emotional reaction, any animalistic urge. This interpretation
is reinforced by Peart's evoking of the image of blood at the outset:
``the colour of your heartbeat,'' which is also the colour of
``the battle lost -- or won.'' Peart goes on to introduce
another visual image with the phrase ``the rising summer sun''
which also brings to mind the economic battle occurring with
the Japan,``Land of the Rising Sun.'' The lyrics continue with the stanzas

``we've got mars on the horizon
  says the national midnight star
  (it's true)
  what you believe is what you are
  a pair of dancing shoes --
  the soviets are the blues --
  the reds

  under your bed
  lying --
  in the darkness
  dead ahead''

`We've got mars on the horizon/says the national midnight star'
can be viewed a sarcastic expression of annoyance with tabloids
and the psychology they help foster. The first line could indeed
be a headline that might appear such a tabloid, in this case saying
`war is imminent' via a reference to Mars, the ancient Greek god of
war. This can also be identified as the rally cry of the McCarthy-era's
`red scare', the fear of communist infiltration and expansionism
(a la Krushchev's  `We will bury you'), the latter being
recalled by President Ronald Reagan's `Evil Empire' (ca. 1984, the
year of the album) characterization of the Soviet Union, which itself
was viewed by many to be neo-McCarthyist ``free-world'' propaganda.
`The soviets are the blues -- the reds' is a further ground for the
interpretation of the central theme, ``red'' as in part a reference
to communism. `What you believe is what you are/ a pair of dancing shoes
--' can then be seen Peart's put-down of those who are inclined to
believe whatever they read in tabloids or of propaganda, saying
 `it's true' simply because it appears in print -- he portrays such
people as puppets, pairs of dancing shoes.
 `Under your bed/lying --/in the darkness/ dead ahead' is a final
fun poke at the paranoid fear of the Russian empire.

``and the mercury is rising
  the barometer starts to fall
  you know it gets to us all
  the pain that is learning
  and the rain that is burning --
  feel red
  still -- go ahead
  you see black and white --
  and i see red
  (not blue)''

`The mercury is rising/the barometer starts to fall' can be interpreted
to mean events are ``heating up'' and the ``atmosphere is becoming
unsettled.'' This is really nice as Mercury, like Mars, is also a
member of the pantheon, and mercury is (as we all know) one of the
liquids used in thermometers (which, like barometers, monitor weather
conditions). As for `you see black and white -- and `i see red/(not blue)',
`see[ing] black and white' means believing that the truth of the matter
is simple -- the way the paranoid feel that the existence of conspiracies
is clear -- and `i see red' is probably Neil's reaction to this
simplistic psychology. The `(not blue)' can be seen as an expression of
the feeling that the future wasn't so clear and bright (with blue sky)
as Reagan supporters thought, but rather was quite uncertain and
foreboding (clouds, a falling barometer).

E.E. Cummings' opinion of Russia is noteworthy; Cummings
said ``Russia, I felt, was more deadly than war; when nationalists
hate, they hate merely by killing human beings; when internationalists
hate, they hate by categorying and pigeonholing human beings.''
In ``red lenses," Peart brings out in human terms the psychology
of the conflict between American nationalism and Russian internationalism.

Another thing to keep in mind is that Neil was in the middle of his
Dos-Passos-citing period, and Dos was known for most of his life for
his independent thinking with regard to the issue of "free market"
vs. "planned" economies and their social impact.

Gregg

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

Date: Sun, 11 Dec 1994 21:15:19 GMT
From: Gregg Jaeger 
Subject: Ronny baby

>From: OttoPilat 
>Subject:      GUP, Reagan, and the USA
>
>This is in response to Chris Mahoney's speculation on the meaning of "Red
>Sector A."  First of all, let me say that you presented a very interesting
>argument that made me think quite a bit. But here's what I think. . .
>
>I don't believe Neil Peart was as anti-Reagan and anti-US as you might think.
>This is again only speculation, but here is how I reason it out.  Primarily,
>I look at the fact that Peart and Reagan both had a common influence, that of
>Ayn Rand.

Let's also not forget that Rand called Reagan an "imbecile."

>Now, the defense build up of the '80s did heighten the tensions of the Cold
>War, and I believe that around the time of GUP, the nuclear weapon reduction
>talks between the US and USSR had just collapsed.  There was definitely a lot
>of "Pressure" in the world at that time.
>
>However, I believe that Peart would put as least as much blame on the USSR as
>the USA.

Definitely.

Gregg

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

Date: Sun, 11 Dec 1994 15:35:52 -0600
From: Mike Silverman 
Subject: The Motor Law

This is in response to jambrose@eden.rutgers.edu's post about "the motor law."
I don't want to get political, but a post attcking environmentalists seems out
of place, considering that Rush has an environmentalist thread throught their
lyrics ("Red Tide", most of the HYF album, "Natural Science", etc).

The whole object of those "motor laws" is to force car manufactures to try some
alternative fuel automobiles since "the market" by itself isn't. That may be
semi-socialistic, but a good idea is a good idea, wheter it be called socialist,
capitalist, or whatnot.

 --
"One likes to believe in the freedom of baseball" - Geddy Lee

Internet:        cubsfan@falcon.cc.ukans.edu
WWW:             http://falcon.cc.ukans.edu/~cubsfan/index.html

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

From: Jason Peter 
Subject: Album In Feb?
Date: Sun, 11 Dec 1994 18:45:48 -0500 (EST)

I subscribe to new-releases mailing list and I have seen Rush scheduled for a
release in February sometime.  Can anyone put a stop to this ugly rumor,
or is it true (he says hopefully)?

Also, are there any plans to tour again in the spring for a 25th tour?

Thanks,

Jason

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

Date: Mon, 12 Dec 1994 00:21:50 EST
From: HI 
Subject: Band

Okay, my stab, with that 1 a band limit:
Lead guitar=Eddie Van Halen	simply the best guitarist today
Rythm guitar=Scott Ian          put done chords for Eddie to go off of
Bass guitar=Billy Sheehan       he's damn good
Drums=Neil Peart                a no-brainer, along with Eddie
Vocals=Geoff Tate               judgement call/taste preference, I like him
Keyboards/Piano=Kevin Moore     best alternative to Geddy(remember the rule)

hope you like it.

"I will chooose a path that's clear
 I will choose Freewill"

ps-like that guy's one thing, who cares about speculation, we want facts!

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

Subject: Re: Neil's CP drum set. and "un-Neil-like-drumming"
Date: Mon, 12 Dec 1994 12:44:20 +0000 (GMT)
From: Mr S.P.Bates 

In TNMS #1036, Arvid Hokanson (9443740@NESSIE.CC.WWU.EDU) wrote..

>I recently ordered a poster from Ludwig, out of Modern Drummer magazine.
>It is a picture of Neil sitting inside his CP drumset.  I see that he
>only has one bass drum.  I thought he has always had two of them, and
>Rush didn't come to Seattle this year :(.  So could someone tell me if
>Neil is using one bass or two, and if one, why.  Thank you.

I don't know about the CP drumset, because living in the UK means we
get to see Rush about once every 4 years. In the UK leg of the RTB Tour
(April '92) Neil used a set with 1 bass drum. In the program notes he
explains how he wanted to change the layout of his kit. Getting rid
of the 2nd bass removed a large empty resonating chamber that he didn't
use that often. He opted for another bass pedal onto the 1 remaining
bass. I suppose he kept this for the CP tour?

While I'm on this subject.....in the same issue, Christopher L Dean wrote
about Neil's drumming on RTB and CP being "very un-Neil-like". I suppose
it all comes down to what any one person perceives to be "Neil-like". I
happen to think that both these albums are very "Neil-like" (whatever that
means) : try the end of YBetYLife off RTB. That, like the end of L&K off HYF,
is another of those endings to a Rush song that makes hapless amateurs like
myself wonder _how does he do that??_ ....

_____________________

Simon Bates
mcdaspb@vpx.mcc.ac.uk
_____________________

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

Date: Mon, 12 Dec 94 10:04:55 EST
From: "Mertens, Craig D" 
Subject: Barchetta Blues

Two weeks before I left for my freshman year in college, my friend Phil
Beenhouwer and I were driving from my house to another friend's house to
continue a round of going-away parties. It was about 2:00 AM, and as I got to
my stylish 1980 Chevy Malibu wagon, he called from his car that "Red Barchetta"
was on the radio.
This provided all the impetus we needed to ignore the posted speed limit (35
mph). The officer, whose parking lights I noticed a full 2 seconds before he
illuminated the night with red and white flashers, informed me that I had been
clocked at 52, and Phil and 48. I didn't bother with the Rush plea, though, as
he was kind enough to write us both up for the lesser speed.
It's been 6 years, and I'm ticket-free since, but it's good to know we're in
good company (jeremy@brick.purchase.edu and spod@u.washington.edu).
Laughing out loud,
Craig

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

Date: Mon, 12 Dec 1994 9:17:17 -0700 (MST)
From: MNW@ALPHA.SUNQUEST.COM
Subject: Re: Neil's CP Chops

>the drumming on CP is very straight-ahead.  In fact, it is very un-Neil-like.
>[snip]
>If he _is_ doing amazing stuff, will some drummer please enlighten
>me and point me to a spot in a song off CP or RTB?

Two CP spots I can think of off the top of my head: in Cut to the Chase, during
the "Cut - Cut" part, there are some neat fills in the background.  Also,
during Leave That Thing Alone, there is an awesome fill just before the
ride-out, you can't miss it.  On RTB, I would draw your attention to the
ride-out of Roll the Bones, where there's a fabulous double-bass roll.  Also
check out the snare fill on Dreamline going into the last chorus, and that tom
fill going into the chorus on The Big Wheel.  There are probably others that
don't come to mind at once, too.  Oh yeah, everything on Where's My Thing.

In general, CP does have a more basic approach to the drums, as befitting the
harder-edged music.  That doesn't mean its easy!  The beat for Alien Shore
contains some hi-hat/ride stuff that I could never play.  But the bottom
line is, he played what was best for the songs.

	--Matt Waller
	  mnw@alpha.sunquest.com

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

Date: Mon, 12 Dec 1994 9:22:11 -0700 (MST)
From: MNW@ALPHA.SUNQUEST.COM
Subject: One Bass Drum

>        Dear Rush-ites,

>I recently ordered a poster from Ludwig, out of Modern Drummer magazine.
>It is a picture of Neil sitting inside his CP drumset.  I see that he
>only has one bass drum.  I thought he has always had two of them, and
>Rush didn't come to Seattle this year :(.  So could someone tell me if
>Neil is using one bass or two, and if one, why.  Thank you.

One.  He's using a slave pedal for his left foot.  As for why, I couldn't
tell you, but I was glad: it gave me a much better view of what he was doing
back there.  I saw things I'd never noticed before, like his footwork during
Mystic Rhythms--unbelievable!

P.S., How's the poster?  In concert the drums looked good enough to eat!

	--Matt Waller
	  mnw@alpha.sunquest.com

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

From: Robert Slaven 
Subject: Red Barchetta's 'Motor Law'
Date: Mon, 12 Dec 1994 10:12:09 MST

>    There was a recent question on NMS about the Motor Law mentioned in
> "Red Barchetta".  Again, I'd have to echo the rush-mgr in saying that you'd
> really have to refer to the poem on which "Red Barchetta" was based for more
> on this.

Two things.  First, it's actually a short story ('A Nice Morning's Drive') upon
which the song is based.  Second, the story was written just after Mr Nader
came along, and cars started having to add all these safety features.  The
narrator of the story was trying to drive an old BMW around, but all these 6-
ton tanks driving around ('cause that's what the law mandated, so people
wouldn't kill themselves in crashes) kept trying to bash him into bits, so he
gave up driving.

The details of the story and song are quite different, but the principle
(totalitarianism trying to protect us from ourselves) is the same.

Disclaimer: I actually *agree* with most of the laws re: safety features and
higher mpg.  I just think it's a shame that we, as a society, are so stupid
that we won't act responsibly enough on our own (e.g. driving more safely,
driving only when we need to so as not to pollute or waste resources) unless
laws are passed.  It's our own damn fault, guys!
>
>    However, although "Red Barchetta" takes place in the future, I
> maintain that the seeds of the Motor Law have been sown by today's radical
> environmentalists.  These socialists-in-disguise have consistantly shown a
> higher regard for "the environment" than they have for human life.  A good
> example of this would be legislation requiring automobile companies to comply
> with higher and higher mile-per-gallon standards.  Since anyone familiar with
> rudimentary thermodynamics knows that internal combustion engines can only
> achieve an efficiency of 35-45%, the only way to comply with these standards
> is to make the cars lighter.
>
>    The result of this self-righteous, misguided legislation is thousands
> of more automobile deaths a year -- deaths that could have been prevented if
> the victims' cars were heavier and sturdier.  But, hey, at least the sky
> won't fall now.

Grin--read the story!  I'm sure it's in the archives--in fact, I think that's
where I got it from to read in the first place....

Robert

 --
 --------------------------Robert_Slaven@gov.nt.ca--------------------------
Research Officer, Legislative Assembly of the Northwest Territories, Canada
`It's a dead body, Pats.' `Yeah, but is it art, Edi?'  Absolutely Fabulous
**********Just 'cause I work for 'em doesn't mean I speak for 'em**********

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

Date: Mon, 12 Dec 1994 16:35:39 GMT
From: mr216@greenwich.ac.uk (Russell Marks)
Subject: Ascii pics

>         Also, I second the request for good RUSH Ascii pic's... I think
> it would be cool to have one on my plan!

Well, I've had this displayed by my .logout for over two years now,
you'd need to edit out my junk:

                                      ----
                                ------ - -------
     Z    -    G    -    E    --   D  -- --  N  ---    E    -    I    -    L
                            --       --   --       -
                          --     **+ -     -        --
                      ---------- * +   **++ -------------
                       ---       * +  **  +  **+      --
                        - ---     * + ** ++  *     --- -
                        -   ---    * * **     + ---    -
                        -      --  ******    +---      -
                        -       -  ** *** + + --       -
                        --     -    * **  +    --     -
                         --    -   ****   +-    -    -
                          --  -    ** **  +----  -  --
                            -- --- *  ** +    --- --
                             ---- *   ** +    -----
                                  * +  *+- ---
                                  * - ** -
 "against the run of the mill     *   **                     static as it seems
   we break the surface tension       *+         with our wild kinetic dreams
     curves and lines -               * --        of grand designs..." - NP

I did the CP pacmen and an ascii autostereogram as replacements, but I
quite like the starman, so I never actually changed it. I've also got
some others I did with pbmtoascii, if anyone's interested...

I tried doing the Signals 'Rush' logo, but it didn't work too well:

     '-,                , .                  ,_                .'____
   /^-/_               |_/|                _|                 -:^    ^^--,

Hmm. Anyone got any others to contribute?

 -Rus.

 --
/ : russell marks :: mr216@gre.ac.uk :: speak softly and carry a +6 kitten : \
| GCS -d+ -p+ c++++ l++ u++ e+(*) m+@ s+/++ n--(---) h+(*) f+ !g w+ t+ r- y? |
\ ::: "His world is under anaesthetic - subdivided and synthetic" - Rush ::: /

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

Date: Mon, 12 Dec 94 13:21:28 EST
From: John Ambrose 
Subject: Alex Lifeson is my master

Attention all Planets of the Solar Federation...

	Alex Lifeson is the greatest guitarist of all-time.  I'd like to hear
Eric Clapton, Jimmy Page, Jeff Beck, Carlos Santana, Steve Vai, Eddie Van
Halen, or Jimi Hendrix play "Broon's Bane!"

					--"laissez faire"

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

Date: Mon, 12 Dec 1994 10:24:50 -0800 (PST)
From: FESSLER@UCSVAX.SDSU.EDU
Subject: Re: Neil's drumming as of late.

I tend to agree with you.  Up to Roll the Bones, he did seem to "fill in
the gaps" and make the music seem much more fulfilling.  I too noticed the
lack of fills, and thought the same thing.  I think the only fill that
really impressed me (compared with what I know Neil CAN do), was the
beginning fill of Alien Shore.

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

Date: Mon, 12 Dec 94 19:46 GMT
From: bsimpson@cix.compulink.co.uk (Barry Simpson)
Subject: Boring 2 - The Sequel.

I would like to thank everyone for their very great response to my
Posting titled "Boring".

Most people were completely behind me, but ONE person (you know who you
are) was the opposite, he gave me shit for, trying to be Alex. I said in
the last boring that I use the same gear as Alex etc. etc. Well I ain't
mad enough to blow around 20k on one rack plus about 6k on 4 Marshall
Stacks. I use the same makes as Alex, not exact same models, and I only
buy one of each *NOT* four.

What I'm getting at, I'm not trying to be Alex. I have my own style which
is like a Bizar cross between, Alex, Ty Tabor (Kings X) and Dave Gilmour.
Hmmm Weird combo.

But hey, In the coverband, we play the Rush stuff as close as we can,
Because in the UK we don't see Rush over here very often these days. They
DON'T play Rush on the radio, we don't even have any rock stations it is
*ALL* TOP 40 SHIT. So we have to try and do our best to keep the interest
up, thats why in the band we try to keep our current sets close to the
ones that Rush to on there Tours. EG this time we do all the songs they
did on the CP apart from, Nobody's Hero, TSS, Mystic rhythms, but we do,
do Cut To the Chase, Different Stings and Afterimage.

Anyway this is getting way long, so I'll go and let you return not your
Little Big world.

        Bye!!

        Stewart...

Thats right I'm not trying to be Alex, Keek.

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

Date: Mon, 12 Dec 1994 15:58:21 -0500 (EST)
From: ANGIR@delphi.com
Subject: Greetings from a _FEMALE_ Rush fan!

Hello, all!!

I finally got caught up on reading my NMSs today.... (I know!!! It's about
time!!!) I got behind like 5 issues. So, anyway, please forgive me if any of
this is "old news"!

First of all, I would like to mention to all the guys (there was probably a
note I missed from a girl who has done the same thing... So, don't go
thinking that I am picking on only you guys!!) who have written the words to
"Ghost of a Chance" or any other song, down and gave them to their
girlfriends. When you do that "why not tell the girl that where the words
came from?!" It is always best to be yourself, because when you try to be
something you are not, it almost always backfires!

Second, to the many, many notes about the amazement when you find another
FEMALE rush fan. Geeezzzz..... We are out here. Granted, I may not be a
fanatic, but I am  a Rush fan nonetheless. Give us women some credit here,
will ya!!!!!

And finally, the issue about "stars who blow off there fans." (I am not
going to insert any quotes, at the risk of missing an important part of what
was said, then having someone upset with me.) Well, you know, "stars" as you
say are only human. They have families, their lives that we as "fans" are
not a part of. They should not be "expected" to give up personal time for
us because they don't "owe" us a thing. Sure we buy the albums, we go to the
concerts, but they aren't forcing us to do that. We all have good days and
bad, and they shouldn't be expected to be any better than us.... After all,
they, as entertainers are just like the rest of us.... Human!!! :)

Thanks for letting me put in my $.02 ($.50?!) worth!! I promise not to be so
winded next time!

Angi

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

Date: Mon, 12 Dec 1994 19:26:11 -0500 (EST)
From: James R Noble 
Subject: Bass questions

I have been a bass player for three and a half years, and most of what I
practice learn and play is..you guessed it, RUSH songs. (I can play
original stuff and other groups, but for now..) Anyway, I just bought a
brand new Rickenbacker 4003 bass guitar, and I love it. Yes, this is the
same bass that Geddy played from FBN to about GUP. I'm not that smart as
far as EQ and amplifiers go, so can anyone help me get my Rickenbacker's
sound to approximate the tone that Geddy got out of his? I own a Crate
B-60 watt amp. Any info on how he EQ'd his bass would be appreciated. My
E-mail address is "noblejr@wilkes1.wilkes.edu" Thanks! By the way, CP is
the best album yet, especially that Fender Jazz that Ged is playing again!

-Jim Noble from Wilkes University, Pennsylvania.
 (ps-Any good Rush guitarists out there? Drop me a line if you are in
northern NJ, or north-eastern PA..I can play about 40 different Rush
tunes on bass and some on keyboards..)

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

Date: Mon, 12 Dec 1994 21:51:42 -0500 (EST)
From: Anthony Hahn u 
Subject:

In one of the previous issues, someone wanted to know how I could say
that a certain band/artist was not something that "typical Rush fans"
would like.

To refresh everyone's memory, that artist was Kim Mitchell.  I derived my
conclusions from the facts that most Rush fans I know are fans of such
bands as Yes, ELP, King Crimson, etc. etc.  And, they go on to make fun
of Kim Mitchell, classifying him as simple, infantile and basically
without substance.

I agree that most Rush fans have very wide tastes.  My other two favorite
artists are Alice in Chains and Neil Young.  However, I think if you were
to listen to Kim Mitchell, many Rush fans would think of him as
ridiculous.  Can anyone else who is familiar with Kim Mitchell comment?

I also think it's ludicrous to mention a band that one supposes most Rush
fans would not like, and then to carve up that person by saying that Rush
fans are very open-minded in musical taste.  How many of us here enjoy
listening to music such as C + C Music Factory, etc.?  I don't think
many.  There are a number of other bands that could be mentioned that
fall into this category, and I think that most (if not all) of us could
agree on bands that collectively we as Rush fans dislike.

Tony

hahn8320@mach1.wlu.ca

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

From: Michael Joseph De Cresenzo 
Date: Tue, 13 Dec 1994 14:44:59 -0500
Subject: Re: NMS#1036

I'm writing in response to this letter:

        Dear Rush-ites,

I recently ordered a poster from Ludwig, out of Modern Drummer magazine.
It is a picture of Neil sitting inside his CP drumset.  I see that he
only has one bass drum.  I thought he has always had two of them, and
Rush didn't come to Seattle this year :(.  So could someone tell me if
Neil is using one bass or two, and if one, why.  Thank you.

                                -Arvid Hokanson

Neil has been using one bass drum for a couple of years.  He uses a Yamaha
double pedal in place of the second bass drum.  This is all in much more
detail in the February 94 issue of Modern Drummer.  (with Neil Peart on the
cover)

Hope that this could help...

						...Mike D

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

Date: Tue, 13 Dec 1994 13:09:41 -0700 (MST)
From: Anthony J Zimmermann 
Subject: AZ Rush fans rejoice!

How many NMS'ers would be interested in seeing a good cover band in
Arizona?  Our trio played 3 1/2 hours of Rush material at our practice on
Sunday.  Phoenix will be our most likely gigs, Tucson 2nd, then Flagstaff.

Respond private email 
Later,
Tony Z.

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

From: dlemay@emr.ca (Doug Lemay)
Subject: Mobil Fidelity
Date: Tue, 13 Dec 1994 16:23:32 -0500 (EST)

Hello NMS'ers

I'll be brief, Please ignore this post RUSH-MGR if someone has already
provided this.

The email address for Mobil Fidelity Sound Labs is:

	mofi@mofi.com

That's it, Thanks
Doug

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

Subject: Favorite Alex solos
From: BARNETTE@afc4a.safb.af.mil (Barnette, Gary V 1Lt)
Date: 13 Dec 94 17:00:42 EST

Greetings, fellow RUSH fans.  Dennis Pupello wanted to know what some of
us deemed as great guitar solos from Alex.  One of my absolute all-time
favorites is the solo in "Limelight".  The way the guitar notes and
Geddy's base line mesh here still gives me goose bumps even today when I
listen to it.

Other great Alex solos are in:

Marathon
Ghost of a Chance
Distant Early Warning
YYZ

How about favorite baselines from Geddy?  Although there are many, the
first one that comes to my mind is the breakdown in "Show Don't
Tell"...INCREDIBLE!

Later...
Gary

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

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comments of the individual authors, and do not necessarily reflect the 
opinions of the authors' management, or the mailing list management.

Copyright (C) 1994 by The Rush Fans Mailing List

Editor, The National Midnight Star
(Rush Fans Mailing List)
*********************************************
End of The National Midnight Star Number 1040
*********************************************


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