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From: rush@syrinx.umd.edu
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Subject: 02/04/91 - The National Midnight Star #165

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          The National Midnight Star, Number 165

                 Monday, 4 February 1991
Today's Topics:
               Last Chance for Album Poll!
                          (none)
                     Copy protection
               The letter D/Superconductor
                  Where I found Visions
               Superconductor, Signals blu
                       opening acts
                  New album speculation
       Last Song's,  Peart w/ Berlin,  opening acts
                  Trivia Quiz, et al....
                        GOLD DISCS
                  whispering in Tai Shan
      Time Signatures, Amiga samples/songs, and more
                     Time Signatures
                         I Goofed
                "7 Songs on the New Album"
                  King Biscuit Resolved
           Whispering in TZ, production numbers
      Re: 01/30/91 - The National Midnight Star #162
      Re: 02/01/91 - The National Midnight Star #164
                       Opening acts
                Tai Shan Whisper (part 2)
----------------------------------------------------------

Subject: Last Chance for Album Poll!
Date: Fri, 1 Feb 91 8:19:31 PST
From: Doug Grumann <dougg@hpptc16.rose.hp.com>

This is the last call for votes in the favorite album poll I'm conducting.
Many people have responded, and I think the results will be very interesting.
For those of you who haven't responded yet, this is the last chance to let
us know what you consider the 10 best albums of all time.  I'll accept mail
votes until 2/5/91.  Remember: Top ten, one album per group, email to:

dougg@hpptc16.hp.com

Thanks!  ("Happy Birthday, Mom!")

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

From: cfynx@epsl.umd.edu
Date: Fri, 01 Feb 91 12:14:29 EST

Ho...

For all those chronicles tapes...youll probably hear the garbled stuff between
every song on the tape if you turn it up louad enough....this always used to
happen with high wuality chrome and metal tapes.

On another note (haha) i think that their new album will contain one really long
song and the rest will be HYF, PW type stuff. Itd be neet to hear another story
into music by RUSH.

To the visions person...My friend got his at the concert and hes let me hold it
for him while hes away...its ok..but I hope the B-man's new one is better..I
found Visions to be hard to read and somewhat discontinuos.

On the subject of Visions....they mention in the last few pages about Aimee Mann
singing in more than one song...i Know of time stand still but the say she is also
in open secrets as well...I listned but couldnt find her...has anyone heard her?
Its interesting that they actually got the opening to Lock and Key orchestrated
by a composer...how did they do it in concert?

well....thats about all for now.

May the force be with you

CFYNX

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

From: Kenneth Mark Maxham <max@owlnet.rice.edu>
Subject: Copy protection
Date: Fri, 1 Feb 91 11:19:30 CST

About _Superconductor_ someone said:
> ... 4-4-4-6-6-1-7 instead of 8 straight fours.  It has the same number of
> beats, but the feel is changing through there.  Maybe this is some kind
> of copy protection to keep the Vanilla Ice type from covering or copying
> this song since they can't dance to it.

I can't remember where, but I seem to recall hearing an interview in which
Geddy says about their unconventional time signatures, "We will occasionally
drop a beat just in case someone is trying to dance to it."

Nyuk.

| Mark Maxham  | No, his mind is not for rent, to any god or government |
| max@rice.edu | ... he knows changes aren't permanent.  But change is. |

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

Date: Fri, 1 Feb 1991 12:31 -0500
From: DEMEIS@ecs.umass.edu
Subject: The letter D/Superconductor

I always assumed it was quite obvious that "Brought to you by the letter D"
had to do with the fact that the CD is DDD - as in digital recording, mixing,
and mastering. Maybe I was wrong to assume this but I think this is a good
explaination.

As for Superconductor - I always think of Maurice Starr (the inventor of
New Kids on the Block and other synthesized pop acts) as the ultimate
"superconductor".  Milli Vanilli, by definition, could not be a "superconductor"
althought their *producers* certainly could be considered "superconductors"...

Get it?

-Jude (DEMEIS@ecs.umass.edu)

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

Date: Fri, 1 Feb 91 09:35:19 PST
From: ronz@imager3.llnl.gov (Ron Zasadzinski)
Subject: Where I found Visions

In response to Steve Green's question, I actually stumbled onto my
copy of Visions by accident. I was looking in the
sheet music/lyric book section of a _Musicland_ record
store for a Led Zeppelin compilation and much to my surprise,
behind a Beatles lyric book was a copy of _Visions_! At first my brain
didn't even register what it was I was looking at until I recognized
the B-man's name as the author. The price was $17.95 which in my
opinion is too high, but considering it was Rush and that I'd heard
so many stories of it being hard to find I didn't hesitate to whip
out my Visa card.

The size of the book (at least my copy of it) is the same as most
lyric books: about 8.5" X 11", 1/4" thin,
red glossy cover with a small photo of the boys.

-Ron

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

Date: 1 Feb 91 09:42:16
From: Cris Fuhrman <Cris_Fuhrman.DIAL_976@gateway.qm.apple.com>
Subject: Superconductor, Signals blu

 Digital Connectivity Development
  In reply to:    Superconductor, Signals blueprint, etc.
Well, I just listened to the part in Superconductor that seems to have everyone
wondering about the time signatures.  Well, I'm no theorist, but here's what I
came up with (times are from my CD player):

"designing to deceive  that's entertainment"
1:11-1:15  -- ten beats... measure of 8 + measure of 2?

and, just after the bridge... or whatever.
2:38 - 2:43  -- one measure of 6, followed by a measure of 7.

As for the signals blueprint, I'm a big fan of SCTV, and some of you out there
may remember the "Smengy" brothers... you know, stan a yosh?  They're the crazy
polka players with great tunes such as "Cabbage rolls and Coffee".  Anyway, I
can't help but think that there's some connection with Smeng and Smengy...
Anyone out there care to comment?

                                                             -Cris

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

Date: Fri, 01 Feb 91 13:25:49 EST
From: DMARKFIE%INDYMED.BITNET@UICVM.uic.edu
Subject: opening acts

Well since the question is there:

Mr Big - Presto
Marillion - Grace Under Pressure
Max Webster - Moving Pictures

When I saw Rush on the Moving Pictures tour Geddy performed Battlescar with
Max Webster.  In interviews leading up to the show Kim Mitchell said that he
preformed Battlescar by himself and really did not expect Geddy to join him.
Was this the case on that tour that Battlescar was done as a solo?  Or was
Kim just trying to make it the fantastic suprise that it was?

Dave Markfield

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

Date: Fri, 1 Feb 91 09:33:12 hst
From: Hinano Akaka <bigtuna!hinano@uhccux.uhcc.Hawaii.Edu>
Subject: New album speculation

Good day!

I was kinda wondering about this seven songs thing.  My speculations
about them are thus:

1. Neil has lyrics to an eighth song and they're saving that one for a
	"studio song", as in the tradition of "Witch Hunt"

2. Neil doesn't have lyrics to an eighth song, but will make them up
	in the studio for the "studio song" (<-- brilliant deduction!)

3. They do, in fact have only seven songs, but one of them is long, as
	in the tradition of "The Camera Eye."

4.  All seven songs are seven minutes long!  (actually, it's too bad
this album wouldn't be their seventh album, if this was true.  It
would make for a rather bizarre album, maybe -- 'Seventh Song for a
Seventh Album' or something peculiar like that, and all seven songs
wuld be seven minutes long.  Hmmmmm...interesting concept...)

5. Most of the songs are short and they've included an epic as in
the tradition of "By-Tor and the Snow Dog".

Frankly, the most probable would be the first one, I think.  Although
it seems to be a bit backwards -- HYF and P had at least 10 - 11
songs, it seems odd to go back to the format of only seven songs.
Especially when they were so happy with the CD in that it did away
with the time limitations that vinyl has/had.  So, one could say the
were doing another epic or long song (either in the tradition of
"Natural Science" or an instrumental like "La Villa Strangiato"), but
the seem more interested in doing shorter songs and trying to express
themselves that way, looking into song structure, etc.

If a long song is, in fact, what they're doing, most likely (or
perhaps I'm just hoping) it'll be an instrumental like "La Villa
Strangiato".

Then again, this is all speculation.  It'll be interesting to see the
final outcome of all this.

Puanani Akaka

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

Date: Fri, 1 Feb 91 13:46:48 PST
From: Theodore Jay Pederson <case%cs@hub.ucsb.edu>
Subject: Last Song's,  Peart w/ Berlin,  opening acts

This relates to a number of recent topics in NMS,  but with a unifying
idea : Rush and Jazz.  I am a new subscriber to NMS,  and having read
Digest 154 to catch up on NMS,  I was interested to see that Peart did
a couple song's with Jeff Berlin on a Passport Jazz album.  Does
anyone have this album?  I would appreciate a rewiew;  what did you
think of it and what type of music is on it (if you could give an
example of a Jazz group or individual with a similar style it would be
real helpful).
Relating to Jaime Scott's article,  yes I think it is true that Rush
often puts different songs at the end of their albums.  These are some
of my favorite songs,  too,  i.e Natural Science,  Vital Signs (which
is the first time Peart used electric drums I am told),  and Available
Light.  I agree that they seem to often put a song where they tried
something new at the end of their albums,  but I don't know if it is
fair to say that these songs are representative of the next album.

Regarding Available Light (which is my favorite song on Presto also),
I would be thrilled if the next album was along the same lines!  The
slow parts have sort of a Jazzy feel to them:  heavy cymbal and piano,
odd syncopation,  and a real bluesy guitar part by Alex.  When I saw
them last on the Presto tour,  they concluded with a little jazz bit
at the very end of their finale,  which makes me wonder if something
wonderful isn't in the works...A side note about opening acts:  if
these haven't already been mentioned,  I've also seen The Fabulous
T-Birds and Tommy Shaw open for Rush.

						Ted Pederson

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

Date: Fri, 1 Feb 91 17:36:42 cst
From: Jay Cook <cook@donald.cs.umn.edu>
Subject: Trivia Quiz, et al....

Wassup folks??  this is my first post in  awhile so I'll make it worthwhile.
Here's some trivia questions for you to ponder over:

1.)  Where did Geddy and Alex get the idea for the beginning music
     to "Big Money"??

2.)   What songs does Neil wear headphones during, to help him with
      the timing?  (Hint...those of you with Chronicles video will
      know one of these.)

Also, it is evident to me that  Rush has definitely gotten stoned before(from references in "Visions" biography and the soong "Passage to Bangkok") however I don't think the me directly from the drug feeling. But loose interpretations are acceptable. Rush
gives me a 'rush' certainly. They  probably did things at younger ages but no longer.
I think the name was meant  to imply a generic kind of feeling not an actual high experience. Just my opinion but it kinda makes sense, don't ya think?

Well, that is all the rambling I have planned...more at a later date...
Hasta la Vista y'all!!!

                                            Jay Cook
                                   cook@donald.cs.umn.edu
                                   churchy.ai.mit.edu
ORQ: I stood at the top of the
     mountain, and China sang to me"  -Rush

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

Date: 1 February 1991 17:41:02 CST
Subject: GOLD DISCS
From: U24129@UICVM.uic.edu!

hello fellow RUSH HEADS! i was flipping through my handy, dandy stereo mag.
the other day and i saw that MOBILE FIDELITY LABS ULTRA DISCS (24KT) gold
CDS (ie: floyds Dark Side of the Moon) etc... anyways, they just put out a few
more including , believe it or not (BRYAN ADAMS RECKLESS), i've called them in
the past asking if they would do any RUSH discs at all and they said they are
not sure. so how about if we sort of put the pressure on and let them know
there is a demand out there?
if people are interested , i'll post the 800 number and their address in
the next issue.

the patster

"more than high performance"

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

Date:         Fri, 1 Feb 91  17:40:53 EDT
From: "tjw3220@bingtjw.bitnet (Paul Kroculick)" <TJW3220%BINGTJW.BITNET@CORNELLC.cit.cornell.edu>
Subject:      whispering in Tai Shan

Howdy,
  The discussion on whispering in Twilight Zone reminded me of something else.
Has anyone else heard whispering near the end of Tai Shan? It sounds like
Aimee Mann's (Time Stand Still) voice. It's hard to hear because it blends
in with the music. I'll try to listen to it this weekend and give more details.
(Time into song, etc.)

Later,
PDK

ORQ: ...down to 'Brother can you spare another War, Another Wasteland,
                 .... Another Lost Generation"

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

From: axelrod@mcc2.sws.uiuc.edu (Sinistar)
Subject: Time Signatures, Amiga samples/songs, and more
Date: Fri, 1 Feb 91 20:00:37 CST

Cheryl wrote:

>
> Has the blueprint on the back of the Signals album been discussed
> ad nauseum already?  I remember going over that thing with a fine
> toothed magnifying glass just to pick up all the puns and in jokes
> and silly things in it.  Anyone else do that?  I don't have the
> album handy (something about not having a turntable in the office)
> but off the top of my head I remember things like the Borough of
> Smeng, Pennsylconsin, and that this blueprint was the K9 survey.
>

	Funny you should bring up the blueprint, as I just checked out
	the _Signals_ sheet music from my library, and they have a large
	city map of the Borough of Schmeng.  On it is Lerxtwood Mall,
	Warren Cromartie secondary school, and two roads:  Olde Dirk
	Road and Line Drive (HA!).  Also, next to where it says drawn by
	there is a box with "2112" written in it.  Also, the consulting
	engineers are from "Terra Incognita, Pennsylconsin."

Then, Patrick Jost writes:
>
> Date: Thu, 31 Jan 91 14:50:51 PST
> From: jost@wilbur.coyote.trw.com (Patrick Jost)
> Subject: Time Signatures?
>
> Hello...
>
> I'd be interested in pointers to good examples of odd time signatures
> in Rush's music...
>
> Please email whatever information you have...
>

Well, the best example I can think of is Subdivisions.  It is in 7/8
time.  You can easily hear it in the beginning sixteen measures.  Each
measure consists of three synthesizer notes in the beginning.  You can
follow by counting "One and two and three and four, one and two and
three four..." with each number and "and" taking one even pulse.

Ken writes:
> Date: Fri, 1 Feb 91 08:53 EDT
> From: Ken Renard <KDRENARD@vms.cis.pitt.edu>
> Subject: Superconductor
>
> 	I hope I'm not the 17th person to respond to yesterday's
> question about Superconductor.  At the end of the first chorus, the time
> signature does seem to change.  The last 8-bar phrase feels like a
> 4-4-4-6-6-1-7 instead of 8 straight fours.  It has the same number of
> beats, but the feel is changing through there.  Maybe this is some kind
> of copy protection to keep the Vanilla Ice type from covering or copying
> this song since they can't dance to it.

	I can't seem to follow Superconductor at all.  I tried tapping
	to it, and it seemed like 4/4 to me.  I know Neil is playing
	through the 7/8, but is it 7/8 through most of the song?  If it
	isn't, what parts are 7/8?  What can I listen to to hear it?

Now for my Amiga ramblings.  I couldn't believe this one.  I was reading
through a list of cheats for Amiga games, and saw this first one.  I
thought it was neat but probably a coincidence.

                               --- Outrun ---

       While playing enter 'RED BARCHETTA' to
       access the cheat mode, then try:

       T - Increase time by 10 seconds (after
       100 secs time looks garbled)
       S - Skip Level
       B - Restart current level (and get bonus
       points)

Then, I saw this one!  I was totally surprised, and apparently Amiga
game programmers are into Rush!  I think it's possible they were both
done by the same guy though.  Still, I thought it was great.

                       --- Roadblasters ---

   When on the starting line, type
   'LAVILLASTRANGIATO', then:^

   X - Spins Car        1 - Mount UZ Cannon
   S - Next Stage       2 - Cruise Missles
   P - Refuel           3 - Electro Shields
   G - End Game         4 - Nitro Injectors
			0 - Remove all Weapons

Next, I'd like to mention that I got an 8-voice music program called
"Face the Music" for the Amiga.  It is commercial and from Germany, so
it took me a while to figure it out.  I spent about six hours working on
_Subdivisions_, trying to figure out Neil's drum patterns while entering
in the sheet music.  Anyways, my computer crashed while I left it alone
for awhile, but was able to save the files.  They don't work now though,
so I may have to start all over again.  ARGGH.  I will upload it to the
ftp site when it's finished again.

[ Please send mail to the administration address to discuss this before you
  upload any files!  (This goes for anyone considering uploading something.)
                                                                  :rush-mgr ]

Also, I have a Perfect Sound sampler, and if anyone is really
interested, I guess I could sample some Rush.  Let me know what sampling
rate you would like, along with what song, and at what times you would
like it.  I could do stereo or mono.  Just remember, sampling rate times
seconds times one for mono or two for stereo is the length of the
sample.  So, if you have a floppy, you won't be able to get anything too
long, unless you sample it at about 8 khz which sounds like hell.
By the way, if you inferior computer owners are interested :) , the
samples are eight-bit, and I can put them up in raw format.

Lastly, would anyone care to analyze "The Weapon?"  I couldn't seem to
understand it completely.  Who is "he?"  And who are "they?"

Jeff Axelrod

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

Date: Sat, 2 Feb 91 01:17 EST
Subject: Time Signatures
From: "Charles <S3SIJDP@SAE.TOWSON.EDU>" <S3SIJDP@SAE.TOWSON.EDU>

   In response to the fellow the other day who asked about Superconducter
and any other Rush tunes that have odd time signatures:

   Well it seems that about half if not most of all Rush songs have an
odd time in it somewhere. 7 is the most common by far. Sometimes you'll
find others such as 5 at the beginning of YYZ. Perhaps the most complex
example is Jacob's Ladder where Geddy sings and plays keyboard in 4/4
while Alex and Neilalternate between 10/8 and 12/8. They also have a
habit of changing meters frequently within a single song. In my
transcription of The Trees I notated it starting in 6/8, then 4/4, 5/4,
6/8, 5/8, and finally ending in
4/4. Another favorite device is to get a riff going in a certain time
signature and to stick in others in between as transitions. This happens
in Hyperspace: Natural Science where the guitar and bass are playing a
scale pattern in 7/8 and switching to 4/8 simply to support the melodic
line. They've been doing for a while, the earliest example that I can
think of is By Pass and the Road Hog.
    Others to use odd time signatures are Yes, Genesis and Emerson Lake
and Palmer. Geddy says that one of his favorites is Genesis' Apocalypse
in 9/8 (the actual title) off of Foxtrot. Oh yes, and Prokofiev uses 7/8
in the third movement of his Sonata No. 7.

   Have I confused or bored anybody?

  -Charles Grogan

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

Date: Fri, 1 Feb 91 14:03:41 EST
From: vanth!jms@amix.commodore.com (Jim Shaffer)
Subject: I Goofed

>Date: Wed, 30 Jan 91 13:56:07 EST
>From: vanth!jms@amix.commodore.com (Jim Shaffer)
>Subject: Song Bits, Drugs, and Those Letters...
>
>I've never heard the "King Biscuit" program, but unless my memory is wrong
>I've heard them play bits of "In The End" with "Finding My Way".  I don't
>remember what concert it's in, though.  I've seen it on video -- was it
>"Exit, Stage Left" maybe?
>
>[ They frequently do "In The Mood" after FMW; do you hear "It's a quarter
>  to eight/I feel I'm in the mood" ?                             :rush-mgr ]

Yes, you're right, on the Grace... video they do Finding My Way and In The
Mood.  What I was thinking of when I wrote the message was indeed on the
ESL video.  I think they do In The End, then Finding My Way, but I don't
think now that they include In The Mood.

"Sorry about that, Chief!" --Maxwell Smart

> From the disk of:   | jms@vanth.uucp		     | "Glittering prizes and
Jim Shaffer, Jr.      | amix.commodore.com!vanth!jms | endless compromises
37 Brook Street       | 72750.2335@compuserve.com    | shatter the illusion of
Montgomery, PA 17752  | (CompuServe as a last resort)| integrity!"  (Rush)

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

Subject: "7 Songs on the New Album"
Date: Sat, 2 Feb 91 11:45:30 CST
From: David Sandberg <dts@quad.sialis.com>

Shane Faulkner writes:
> I really find it hard to believe there will only be 7 songs on the new album..
> Longer songs just aren't their style anymore, and I'm sure they'll never
> do another CD under 50 minutes, meaning each song would be 7 minutes long!!

Either that, or the CD could include another epic in excess of 20 minutes
along with about six normal-length tunes.  Oh well.  We can dream, can't
we?  B-)

But...

Didn't the original poster indicate that the band was just going into the
studio now?  I seem to recall that the band often does a bit more writing
while they are in the studio, and wouldn't be surprised if they end up
with more than 7 tunes on the finished product.

Just another random prediction from...

--
 \\         David Sandberg         \  "Is it movement or is it   \\
 //      dts@quad.sialis.com       /   action?  Is it contact    //
 \\  uunet!umn-cs!sialis!quad!dts  \   or just reaction?"        \\

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

Date: Sat,  2 Feb 91 15:51:42 EST
From: mailrus!iuvax!New.car@uunet.UU.NET, mailrus!iuvax!caviar@uunet.UU.NET,
Subject: King Biscuit Resolved

	Thanks to the Rush-mgr.  The song mixed with "Finding My Way" at the
end of The King Buiscut Flower Hour is indeed "In the Mood."  Was this song on
the first album, or is it a cover, or what?  All in all, the Rush Buiscut was
a great concert, (except for the fact that the annoucer talked through the
Thhree Stooges theme at the begining of "Spirit of Radio" and the opening riff
of "LimeLight.")  If a local station has this show, listen for it.

					Joshua Vaughn

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

Subject: Whispering in TZ, production numbers
Date: Sun, 3 Feb 91 12:07:29 CST
From: a106d!tj@uunet.UU.NET (T.J. Higgins)

First, the "whispering" in The Twilight Zone.  This is immediately
apparent if you listen to the song through headphones.  Geddy's
singing is predominately in the right channel, while the whispering is
in the left.  The whispering occurs only during the second chorus.

Also, ez003720@deneb.ucdavis.edu writes about the songs which seem "out
of place" on a given album:

(Included text reformatted so line length is less than 72 chars.
 Rush-mgr, You're welcome.......:-)  [ Thank you.        :rush-mgr ]

>      In reference to all of the speculation about what we may or may
> not expect to find on the upcoming album I have a question.  Has
> anyone besides me noticed that the last song on any given album by
> our favorite power trio differs significantly from the other songs on
> the album?  And is it possible that this dramatically different tune
> could be a "preview of coming attract Some examples of last songs
> that differ are Something For Nothing, Between The Wheels, Mystic
> Rythms, and Available Light, to name a few.
>
> [...]
>
> I haven't really put a lot of thought into this theory of mine, so
> think about it and let me know if you feel it has any credibility.
> (or not)

Actually, Rush have been doing this almost from the very beginning (at
least since Fly By Night), though the song may not have always been
the last one on the album.  They often call this their "production
number" (Peart used this term in one of the interviews that appeared
in TNMS).  This "production number" often features a guest musician,
e.g. Hugh Syme.  I submit the following:

	Album			Production Number
	-----			-----------------
	Fly By Night		Rivendell
	Caress of Steel		I Think I'm Going Bald
	2112			Tears
	A Farewell to Kings	Madrigal, Cinderella Man
	Hemispheres		La Villa Strangiato
	Permanent Waves		Different Strings
	Moving Pictures		The Camera Eye, Vital Signs
	Signals			Losing It
	Grace Under Pressure	Red Lenses, Between the Wheels
	Power Windows		Emotion Detector, Mystic Rhythms
	Hold Your Fire		Tai Shan
	Presto			Hand Over Fist, Available Light

Of course this is just MHO.  Usually, but not always, the song is not
meant to be played live (have they ever done Madrigal live?).  On the
other hand, Mystic Rhythms appears on A Show of Hands, so I guess
they've done it live :-)  Based on what Peart said in the above-
mentioned interview, it is my feeling that they pick a song and record
it differently in the studio, as a breather from the harder stuff.  It
gives them a chance to experiment without having to worry about
reproducing the sound live.  I believe Peart said as much in the
interview.

A case could be made that in today's world of sampling and computer-
driven sequencers that anything can be reproduced live, so why do a
production number.  This may indeed be true.  However, seeing as how
at least 2 songs on the most recent studio album appear to fit into
the "production number" category, Rush seem still to be doing them,
regardless of technology.  This is not a very good analogy, but here
goes anyway:  just as we use TNMS as a break from our real work,
playing around with our work tools, Rush "plays around" with their
tools/toys in the studio.  However, one big difference between us &
them is that they get paid even when they "play around!"

I personally find the production numbers a nice change of pace, and it
is my hope that Rush keep doing them.
----------------------------------------------------------------------
T.J. Higgins    205-730-7922  |  higgins@ingr.com    (Internet)
Intergraph Corp.  M/S IW17A5  |  uunet!ingr!higgins  (uucp)
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ORQ:	"A lot of useless talk"  (Grand Designs)

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Date:         Sun, 03 Feb 91 23:09:32 EST
From: mike <H97SI@CUNYVM.CUNY.EDU>
Subject:      Re: 01/30/91 - The National Midnight Star #162

Hi,
   Someone recently asked about groups that have opened for Rush.  I saw Mr.Big
open for them last year, and I also saw Ratt(well I didn't actually see them
open for Rush in 1984, it was my first concert ever and quite frankly I didn't
that to be my first taste of a concert, so I stood outside until Rush opened),
and I also saw Tommy Shaw(formally of Styx, now Damn Yankees) open for them
(that one I saw).
   I would like to address the issue of what Rush means.  I wish everyone out
there would stop with this foolish 'anal'ysis and just listen to what Geddy had
to say in an interview:
              "A rush is a good vibe"
                             -and that was !!!his!!! own explanation, why can't
we leave it at that.:)
                                       ...UNLIT LATER... mike

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Date:         Sun, 03 Feb 91 23:40:18 EST
From: mike <H97SI@CUNYVM.CUNY.EDU>
Subject:      Re: 02/01/91 - The National Midnight Star #164

Hi again,
   I haven't learned how to use the >
                                    > to borrow a quote yet but,

Ken Renard made mention to Vanilla(the thief)Ice, and referenced the fact that
....."you cant dance to it", I am talking about Superconductor

but, correct me if I am wrong Sandy, but if I shoot all the golfers(gophers)
they'll lock me up and throw away the key, oops sorry,

let me try again

but, correct me if I am wrong, isn't there a line, that says "that you can
dance to" in Superconductor, and if so does this mean that even Geddy and the b
boys aren't safe from that oil slick named, I hate even thinking it, Vanilla
(the hairball, no-good, *^$@!#&)Ice?
                                         ...UNTIL LATER...
                                                  mike

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Subject: Opening acts
Date: Mon, 04 Feb 91 10:27:21 -0600
From: neely@antares.mcs.anl.gov

A couple of acts that I saw open for Rush that I haven't seen mentioned are:

	Blue Oyster Cult  (Binghamton, NY - Power Windows)
[ Whoooeee, talk about a killer concert!                       :rush-mgr ]
	Chalk Circle      (Montreal - Hold Your Fire)

Plus, there was another rather unheard of (at least by me) Canadian band that
warmed up in Montreal for the Presto tour.  Was there anyone there that can
remember the name?

Rob Neely
Argonne Nat'l Lab

"Everybody got to deviate from the norm"

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Date:         Mon, 4 Feb 91  14:40:27 EDT
From: "tjw3220.bingtjw.bitnet(Paul Kroculick)" <TJW3220%BINGTJW.BITNET@CORNELLC.cit.cornell.edu>
Subject:      Tai Shan Whisper (part 2)

Howdy,
Here's the details of what I think is whispering in Tai Shan.
The first "verse" is from 3:35-3:43, with an emphasis at 3:43.
There 'sort of' is a second verse at 3:57-4:04
Maybe this is an example of "China sang to me".
Any comments?

Later,
PDK

ORQ: (no time for one. I'm already late)

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End of The National Midnight Star Number 165
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