Site indices

Previous Issue <-> Next Issue

Precedence: bulk
Subject: 04/20/98 - The National Midnight Star #2012

**   ____     __           ___ ____   ___        ___       **
**    /  /_/ /_     /\  / /__/  /  / /  / /\  / /__/ /     **
**   /  / / /__    /  \/ /  /  /  / /__/ /  \/ /  / /___   **
**                                                         **
**                    __            ___       ____         **
**        /\  /\   / /  \  /\  / / /  _  /__/  /           **
**       /  \/  \ / /___/ /  \/ / /___/ /  /  /            **
**                                                         **
**                  ____ ____  ___  ___                    **
**                 /__    /   /__/ /__/                    **
**                ____/  /   /  / /  \                     **

List posting/followup:
Administrative matters:

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


         The National Midnight Star, Number 2012

                   Monday, 20 Apr 1998

Today's Topics:
                      Rachel Barton
                re: Heigh-de-ho Neighbors
                  Re: YYZ and morse code
                      VH1's mistake
                         NMS post
               GUP: The G stands for Guitar
            "Grace Under Pressure" album cover
                 Calling all Rush sites!
            Lyrics at the end of Vital Signs?
                   Re: neil's drumming
                Looking for my other half
                  Rupert Hine must die!
           re: Double Agent prerecorded vocals
                 Black cover Hemispheres
                      Pass out!??!!
                     Reboks and Rush
                  Territories drum part
   live album title, anthology set title, 2nd guitarist
                   Spinal Tap for real
                       RE: Signals
                       Working Man
             p/g and kepboards, Roger Hodgsen
                Off-topic: Harlan Ellison
                     no time to count
                       Presto live
                    Rush News on Radio
     Re: 04/15/98 - The National Midnight Star #2010
                 Run From the Boot, Palo
                 alex "in the act, live"

From: Dennis Pupello II 
Date: Wed, 15 Apr 1998 20:56:59 -0400
Subject: Rachel Barton

At 02:36 PM 4/13/98 -0700, John Pullman 

>  I am in dire need of assistance.  I've tried CDNow and Borders Books
>and Music and have not been able to locate the Rachel Barton CD that
>other NMSers have been talking about.
>  Please privately email how I can go about locating this disc.  Any and
>all aid is greatly appreciated.

Sorry to answer on the NMS, but it's  Good luck and
happy listening :]

Internet mail:
WWW: personal: http:/
WWW: government: http:/
ICQ#: 308016  WWW:
IRC: #quake, #deathmatch, #florida: YyzDennis or YyzSinned
EmailExpress address: (limit 500 characters)


From: Barry Nelson 
Date: Wed, 15 Apr 1998 21:05:43 -0400
Subject: re: Heigh-de-ho Neighbors

> Anyhow, enough sermon, I'll climb off the mountain now.  But, I'd like to 
> toss this cookie out there: If the comfort of Rush keeps me together, it's 
> my ineffable, Rush-associated experiences that bookmark some of my greatest 
> memories.  What I'd really like to hear about are some of your most SUBLIME 
> Rush-connected memories.  Not just the ordinary "Dude, the Presto concert 
> was truly righteous," but the truly extraordinary, snapshot-in-time, 
> out-of-body experiences that permanently cling to your memory banks.  I 
> know I have mine, but that's for another posting . . .

'allo everyone.  I have not written for quite some time, but this post just
jumped out at me.  I thought for awhile, and came up with something rather
simple in terms of sublime Rush-connected memories.

I have two cool memories.

The first one happened when my family and I were in Vermont on a ski trip.  I
had been feeling ill, so I slept in one day instead of going out and hitting
the slopes.  When I woke up, it was very grey out ("bruised and sullen storm
clouds"), very lonely weather.  Nobody was in the house we had rented.  So I
got out of bed, made breakfast, and sat down to read a book ("What I Lived
For," by Joyce Carol Oates -- you should all read this, pretty amazing).  I
read for about an hour, got sick of reading, and noticed my Discman was
sitting next to me.  I had recently purchased 2112, and it was still growing
on me -- that is to say, it, like most Rush albums, took a little while before
I fully appreciated it.  I decided to pop 2112 in there, stick on my
headphones, and blast my eardrums out with some damn fine music.  Well, I
can't fully describe what it was like.  This was the first time 2112 hit me,
and, as I'm sure you've all known, the first time that album really HITS you
is an almost religious experience.  I just sat there, getting more and more
tense and emotional as the song went on, really feeling the vocals, the
lyrics, the guitar, the drums, the bass, all at the same time, hitting me from
so many different directions.  By the time Oracle: The Dream came around I was
ready to explode into some kind of crazy emotional response.  Alex's solo on
Soliloquy never sounded so good.  The Grand Finale is where I lost it.  By the
time all those gut wrenching ascending chords that finish it ended, I realized
I was actually crying a little.  No song had ever hit me that hard before, and
no song has hit me that hard since then (though several songs, some of them
Rush songs, have come close).  When it was over, I just pressed stop and sat
still for about twenty minutes just thinking about how awesome it had been to
hear it that way.  I then had to return to reality, but I still remember that
very clearly -- what the weather was like, the details of the room I was in -- 

The other memory is something of a party trick.  I don't mean to puff myself
up rather large, but I am nothing short of a phenomenally talented air
drummer.  I am obssessed with drums.  I have (like many Rush fans) memorized
almost every Rush song down to every single little lick Neil plays, every
little touch.  I remember being at this party in High School, everybody
getting drunk and/or stoned (standard fare back in those days....ahhhh well)
and just in general having happy happy fun.  Somebody stuck on Rush
"Hemispheres" (pretty damn surprising, as it followed some shitty dance music
stuff).  I stood up from where I was sitting with some buddies and just
started air drumming all over the place.  By the end of the album (yes, the
whole album) I had silenced a number of people who just sat and watched me.  I
didn't even notice the entire time, I had my back turned and was pretty intent
on the music (being fairly drunk and/or stoned myself :).  I recieved quite a
lot of applause at the end, and people have always asked me since then to air
drum to Rush because they think it's the funniest thing in the world to see
this guy going crazy playing exactly what they're hearing only in the air.  I
mean, it helps me that I actually do play the drums and have for some time,
but it's still pretty amusing.

That's all for now.

Anybody else?

 -Barry Nelson


From: "Pierre Tessier" 
Date: Thu, 16 Apr 1998 09:02:23 EST
Subject: Re: YYZ and morse code

John Ambrose explained the meaning of YYZ (Toronto airport code), but 
he could of elaborated a bit more on this song.

Now I do not mean to sound like mister Rush know it all , but as 
probably all of you know here the beat at the begining means a lot 

Trying to explain

Lets say  that the bass drum is       *
and the snare is                             -

The beat at the begining is....
 y   y   z   y    y   z
|   |    |    |    |    |
 - --- ----   - --- ----     (Repeats)
 *   *   ** *   *    **  (Repeats)

Morse code for

Y     - --
Z     --

 Y     Y    Z          Y     Y     Z          Y     Y    Z
 - --  - --  --          - --  - --  --          - --  - --  --
 *     *     **        *     *     **         *     *     **

Anyway hope you can read this, you can check the net for morse code 

Questions:   1. Who came up with this idea in the band?
                   2. Is there other drums beats that conceal other 
                       cools things like this.


Pierre Tessier
Technologue, Medias et Technologie



From: "Palo, Christopher John" 
Date:        Wed, 15 Apr 1998 23:31:49 CST
Subject: VH1's mistake

Dear fellow Rusians,

I didn't watch VH1's little top 100 most influential bands, but I guess
I don't need to if they clearly ignored Rush.  But I agree that all of
us, if possible, should paint red stars on their studio.  Then we take
over the air waves and play nothing but Rush material.  But before that,
we must broadcast, "Attention all non-Rush viewers of VH1 (X3), We have
assumed control (X3)." By the way, has their ever been a rock
documentary of the guys.  If so, what is it entitled and where can I get
one?  See ya!



From: "Wilson, Daniel" 
Date: Thu, 16 Apr 1998 08:19:17 -0400
Subject: NMS post

In NMS 2010 Jack Hesse  said"

>>"Am I the only one who likes most of Roll The Bones EXCEPT the "big" 
>>tracks like "Dreamline" and "Bravado" and the embarrassing title track?  
>>Yep, "Ghost Of A Chance" is a great tune. :)  Rush doesn't do love songs 
>>often, but when they do, they do them well.  Well .. except "Need Some
>>Love" and all the crap from the first album. :)"

Ya had me with a great post until.....
Bravado?!??  Great tune, I tend to agree with the Title track as being a
bit disappointing, a little to "popish" (although there are certain
times where I really get into it) I just think that the lyrics in
Bravado are beautiful, and the arrangement works so well with them, sort
of like The Pass, a great marriage of the lyrics and the music.
Dreamline makes a great concert opener, (hmm, haven't listened to Bones
in a while, thanks for the stir, I'll have to pull it back out) Also
>...all that "crap" from the first album!?!?!  WHAT!, There is some great
stuff on that album!  John is no Neil, not even close, but for the tunes
and the "youngness" of the band, he works well.  There is some great
guitar stuff on that album, these were catchy, "hey look at what we came
up with in the garage last night" songs and have great spirit.  Just
because the lyrics don't inspire forty minute theological discussions,
no temple blocks or taurus pedals where used, or that it lacks Neil,
does not make it a bad album.  Personally, I think it rocks, not my
favorite, or top five, but it still rocks.  Just my thoughts, not a
flame, just thoughts.

Danny Wilson


From: Baba Ghannoush 
Date: Wed, 15 Apr 1998 21:46:16 -0400 (EDT)
Subject: GUP: The G stands for Guitar

	GUP has a _massive_ keyboard presence, but I don't see more posts
about Alex's guitar playing on that record.  The listener gets the best of
both worlds on that album: textured, atmospheric sounds (background stuff
on "Distant Early Warning" and "Afterimage" especially) and killer guitar
solos ("Kid Gloves," "Between The Wheels").  I'm sure this was done to
make up for what was missing in 'Signals.'  Say what you will, but I think
GUP Rocks!

and the world so hard to understand
is the world you can't live without
							Smashing Pumpkins


From: "Michael Z. Williamson" 
Date: Wed, 15 Apr 1998 00:33:50 -0700
Subject: keys

I love the keyboard albums.  The thick, orchestral roar is very moving. 
I do agree that the bass is lacking on most of them, and it's hard for
alex to get a decent lead or solo in.  SIg was phenomenal, and GUP had
some great bits, but needed more bass--the sequenced bass is to plain. 
PW is quite good, with lots of killer bass on Big Money and such.  A
longer guitar solo might have been nice.  HYF definitely needed more
guitars, but had some serious power to the playing there was.  Presto
was a good mix.  RTB was lacking in bass, badly.
And I don't consider RTB embarrasing.  It's good to see what real
musicians can do with rap and hip hop (yes, there are good artists in
both genres, but most of them are idiots.)

"90% of science fiction is crap.  But then, 90% of EVERYTHING is
crap."--Theodore Sturgeon


From: "Ken Salerno" 
Date: Wed, 15 Apr 1998 20:51:39 -0400
Subject: "Grace Under Pressure" album cover

Does anyone know any details about the Grace Under Pressure album cover?
What is the meaning behind it?


From: Grand Designs 
Date: Wed, 15 Apr 1998 22:00:13 -0700
Subject: Calling all Rush sites!

Hey all.

I've been collecting links to Rush web sites and putting them on our
links page at the Grand Designs Rush Site. I've collected quite a few,
but I know there are other Rush sites out there that I've missed.

So . . .

If you're not listed on our links page
(, please use the form you'll
find at the bottom of the page to send me YOUR sites URL.


Against the run of the mill
Static as it seems
We break the surface tension
With our wild kinetic dreams...

Visit the Grand Designs Rush Site at:


From: "Leonardo Madureira" 
Date: Thu, 16 Apr 1998 09:14:24 -0200
Subject: Lyrics at the end of Vital Signs?


Would it be such a surprise a brazilian trying to understand what Lee says
during Rush musics? No? So, let's go...

I'm trying to understand the sentences at the end of Vital Signs, something
that doesn't appear completelly in the lyrics of the album. Lee says:

"Everybody got to deviate from the norm"
"Everybody got to elevate from the norm"

But he changes the sentences with different verbs. For example, am I really
listening to

"Everybody got to revelate from the norm" ?

By the way, I showed the music to an american girl, but she also could not
write the lyrics. So, anybody could help me to understand these sentences?

Regards from Brasil.

Leonardo Madureira
Rio de Janeiro - Brasil


Date: Mon, 13 Apr 1998 05:31:24 -0700
Subject: Re: neil's drumming

> From: "Maynard Perchant Keynes" 
> Date:   Mon, 13 Apr 1998 12:13:30 -0700
> Subject: neil's drumming
> Greetings Rush fans!
> I was perusing the back issues of TNMS and someone had posted "I was 
> listening to ... 'Territories' drum part ... Neil's beating out 16th's on a 
> (hi-hat? na, too bright for that...?) AND a rhythm on (roto?) 
> that possible?"
> Is that possible?

It is possible, and I know what you're talking about.  Neil plays 16th
notes on the hi-hat many times through the song.  He basically reaches
over to his right briefly and plays the floor-tom and snare while
keeping the beat with the hi-hat.  His right arm can't be two places at
once, of course, but he does it pretty quickly just the same, so the
hi-hat doesn't miss much.  He kind of does the same thing in Red
Lenses.  When he does his solo, he uses the floor tom basically the same
way, and plays various drums on the way to the snare, with which he
keeps the back-beat.  You can hear the hi-hat being used some in there
too, but not sixteenth notes.
					Hope this clears it up,


From: Jody Ferguson 
Date: Wed, 15 Apr 1998 19:20:17 -0700
Subject: Rush!


I would like to begin by stating I've been an avid fan for the last 9
years.  While reading issue "2010" I have come up with a few responses
to a few of the questions posted by people...:)

> Was anybody at the The Gorge T4E concert in George, WA? I was and I am just 
about positive that the guys played Carve that night. I remember it because 
that't when the sunset was at it's most fantastic as a backdrop. Or maybe I'm 
really losing it, the memory you know .... ;-)

I'd check for you, but the NMS page seems to be down, On that page is a
listing of the songs that the boys played on the legs of their tour.  I
know that they didn't play it on the first leg I saw them in
Sacramento.  If I find out, I'll let ya know...:)

> I, too, watched the show on VH1.  I was EXTREMELY dissappointed at the fact 
that Rush was not part of it.  I can't name 15 more inflential
artists, let alone 100.  It just furthers the observation that Rush is
constantly getting screwed by the media.  If anyone's interested, I say
we go down to VH1's main office and spray paint red stars all over the

It doesn't matter what VH1, MTV or any other station / network thinks,
all that matters is us, the fans, we know in our hearts and minds that
Rush is the best.  Screw The networks, they don't play Rush and don't
aknowledge cause they can't make money off of Rush's good sound.

>  RE sexy Rush Tunes:  There are sexy rush tunes?? 

Well, depends on who you are talking to!  *LOL*  Here Again is a good
one, Bravado, Ghost of a Chance, and Time Stands Still.. other's exist,
but I don't want this to be any longer than I need to...:)

> ...Everybody likes Rush for different reasons.  Some use it as a soundtrack 
to get high to, some like to absorb the whole being greater 
than the sum of the parts, some like to hear Geddy screech ("What You're
Doing" from ATWAS, anyone?!), some just like to rock out!  At least 
they're listening! :)  But yeah, Rush is a damn fine band made up of
three damn fine musicians who make some damn fine songs.

*L* I love to hear Ged howl it... I love that album...  

>  ...Am I the only one who likes most of Roll The Bones EXCEPT the "big" 
tracks like "Dreamline" and "Bravado" and the embarassing title track?  Yep, 
"Ghost Of A Chance" is a great tune. :)  Rush doesn't do love songs often, but 
when they do, they do them well.  Well .. except "Need Some Love" and all the 
crap from the first album. :)

I like RTB... The rap part plays a little havok when I play it, and I
know some guys living next door to me laugh all the way home when they
hear me playin it, then fall silent after the harmonic... *LOL*  The
entire album is a great one...  Not one of their best, but it's still a
great album.  As far as love songs, I'm glad Rush doesn't write a lot of
"love" songs.  Love songs only go so far in my book.  It seems that love
songs are the last resort for someone who needs to stamp out an album
quick.  Love is too easy to write about, it;s good that someone is
willing to write abot something a little more difficult to write

>  I don't know what bass Ged was using on their first album (my guess is a 
Ric), but I agree that the bass solo in "Working Man" doesn't quite have the 
kick I'm used to in such solos like "Cygnus X-I: Book I", "Driven" or "La Villa 

I think the "solo" as it is named in various music books shouldn't be
called a solo, it just seems to be there (no offence intended) they
might have needed something to fill in the space...:)  
I love the Bass solo for La Villa Strangiato, I drive around, blasting
it (from Exit... Stage Left) out my stereo, and I get some funny looks
as all of a sudden, the music dies down and the bass just FREAKS OUT! 

>  Forgive me if my memory is incorrect, but I was sure I heard them play 
Presto live in Jacksonville during the Presto tour.  I certainly do
remember a projection of the rabbits.  Maybe I'm wrong?

I think you're talking about Tom Saywer...  With the hopping bunnies?

Well, I'll bother you a little more then I'm going to go.  

Can anyone here supply the "lyrics" for La Villa Strangiato (as they are
spoken on Exit... Stage Left)?  I need to know so when I perform it, I
can actually sing the "lyrics".

And one final thought... I've got my own little Rush page, it's still
under construciton, but it's here...:)
My homepage is at:
My Rush page is at:

Well, thanks for putting up with me for the last 5 minutes!



From: Poomoble 
Date: Thu, 16 Apr 1998 09:59:56 EDT
Subject: NMS

> From: "Krista Kokko" 
> Date: Mon, 13 Apr 1998 17:16:46 -0700
> Subject: Carve Away The Stone

It's possiable. On the CP they did Jacob's Ladder in Florida. Now I saw both
passes through NY and they did not do this song here. So it may of happened.
Remember, in Visions it says that they were going to do Bastille day on the
14, just off the cuff, but Alex couldn't remeber how to play it. 



From: Poomoble 
Date: Thu, 16 Apr 1998 10:02:39 EDT
Subject: NMS

> From:
> Date:  Mon, 13 Apr 1998 21:48:34 -0500
> Subject: Presto live and VH-1
> Not to really play into that 4-CD April Fools Day joke or anything, but seem 
> to recall Alex employing "The Omega Concern" during the Presto tour to 
> play the tune "Presto".  I saw them live twice that year (once in Providence, 
> RI and once in Worcester, MA) and seem to recall it being played live.  Any 
> Nor'easters out there that can verify this?
Ibid. my previous responce
"Better Beer" NP


From: Poomoble 
Date: Thu, 16 Apr 1998 10:18:21 EDT
Subject: Looking for my other half

> From: JJ Kuslich 
> Date: Tue, 14 Apr 1998 00:29:35 -0700
> Subject: Rush, Dating and TNMS
> The love of the music of Rush and related bands can be a powerful bond
> between two people.  So...
> How many people on the list have met someone they wound up dating? 
> Still dating?  Married?

You hit on one of my biggest problems. Here I am living in NYC and I can not
find a woman who I share the same interests.Two criteria are Modern Orthodox
Jewish and would enjoy seeing RUSH! Can anyone help me? Email me for more


From: (Kevin M. Corr)
Date: Wed, 15 Apr 1998 22:43:04 -0400
Subject: Rupert Hine must die!

I'm listening to the "The Pass" as I write this... hey, Rupert, 
ever hear of a bass knob?!  I wonder how PRESTO and RTB would've
turned out if Peter Collins had stayed as producer.  *wistful sigh*

Responding on some recent threads: my favorite cover would actually
be COUNTERPARTS, for its simplicity (also only cover w/o the title
of the album).  CP also wins, hands down, for best liner notes.
And the songs on there aren't too shabby, either.  =)

Most sublime /2ush moment?  Umm... how 'bout when I found out
that 'YYZ' was the designation for the airport in Toronto -- not
only Morse Code turned into a mean guitar lick.  Pretty damn cool.
I'm still trying to find other 'words' in that song (supposedly
they spell out R-U-S-H at the very end).

Heh heh, yeah, I bit on that April Fools' joke, too.  <>
I _do_ hope that the live album is a 2-CD set (at least) though.

/2ush listening assignment: turn up the bass -- you listening,
Rupert?! -- and see if you can hear the heartbeat at the end of
Cygnus X-1.

/\/ e v i k

 .-- -.-- --..


From: FlatYer5s 
Date: Tue, 14 Apr 1998 07:38:03 EDT
Subject: re: Double Agent prerecorded vocals

>>I was wondering why did they do that? We've seen Geddy sing all kinds of
>>vocals over all kinds of bass lines. So why is Double Agent so different?
>>Maybe its more difficult to play bass and speak rather than sing. Or maybe
>>it's hard for Geddy to reproduce that same low, spooky tone live in concert.

>>Anyone else have a theory?

>  Hey NMSers!  My first time on the board!  Great to be here!   Huge Rush
>fanatic since '85.  Berklee grad- pro musician, blah, blah... My theory
>regarding Double Agent performed live, is that, it would be extremely
>difficult for Geddy to be rhythmically precise with the spoken word vocals,
>for many reasons.   {Extremely Technical Content Cut Out}  Nearly
impossible to do.  Try it >sometime!!  It is
>not fun....  Geddy and the boys realized this and chose the best solution (as
>usual!).  And, of course, they performed it perfectly each time I saw them
>play it live (5x on CP tour).  Just my ideas anyways!
 > Dan Chernow
>"All we are give PRS a chance."

I think everyone is overanalyzing this... Simply I think Geddy loves to
croon out "Aaaaaaat Waaaaaaarrrr"



From: Robert Dittrich 
Date: Thu, 16 Apr 1998 10:27:40 -0500
Subject: Black cover Hemispheres

I was in a record store last night and found a remastered Hemispheres with a 
strange cover. It was all black, with only the red "Rush" and yellow 
"Hemispheres" lettering. The back was blue, as usual. It occured to me: after 
20 years, are we fans finally being "protected" from the "Dionysus" guy's 
tushie? I had planned to buy the remastered Hemispheres disc, but I will 
neither condone nor support this kind of censorshit, if that's what it is. 
Does anyone know the story on this? Please do not respond with mere 
conjecture - only if you KNOW the deal.

(Feel free to respond via private email)

Robert Dittrich
"Who is John Galt?"


From: (Derek Tetlow)
Date: Thu, 16 Apr 1998 09:49:23 -0600
Subject: Pass out!??!!


I enjoyed your collection of Rush tunes played by an emergency band
member.  Interesting thought, but I must answer in the same fashion as
when Chris Farley of Saturday Night Live was asked:  "Who would win in a
golf match between the Chicago Bulls and the Chicago Bears?"  His
response was, "We must come together as fans and as a society to make
sure that a tradgedy of these epic porportions would never occur."  

I would have to express those same sentiments if one Rush member ever
pased out at a concert.  I would most likely just end it all right then
and there (just kidding.  I'm not that pathetic and engulfed!)

"This moment may be brief, but it can be so bright."

Derek Tetlow
Streamline Sports Video
"Simplification through Modernization"


From: Ophelia313 
Date: Wed, 15 Apr 1998 22:05:21 EDT
Subject: Reboks and Rush

I rarely ever post but I've been disappointed lately with the lack of female
representation on this list.  Other than Puanani, Donna Halper (whose posts
are unfortunately few and far between) and a few others, the chick contingency
is, in a word, weak.  So, to respond with a feminist viewpoint to the latest
threads along with my personal gripe to the person who bashed Victor, I'll get

The favorite lyrics thread is my recent favorite because one of the elements
that I love most about the NMS is song lyric analysis.  (BTW - thanks to the
guy who posted about Beneath, Between, and Behind.  That was very interesting

Some of my favorite lyrics are from Cold Fire: "I said if love has these
conditions/I don't understand those songs you love/She said this is not a love
song/This isn't fantasy-land."  The lyrics to the whole song delight me but
these lines are really an expressive example of the coupleís argument.  On the
same vein, I would be curious to hear some opinions on what the chorus of Cold
Fire means to other NMSíers.  

Favorite sound effect:  I have two.  1.  The swoopy-wooshing-airplane taking-
off sound in the middle of Second Nature.  2.  The rattlesnake sound during
Closer to the Heart on Farewell to Kings.  Anyone know what Iím talking about?

Regarding the individual who said Victor had no creativity.  That is a bunch
of BS.  Iím always shocked when some uninformed person makes such a sweeping
generalization like that.  You can say a lot about Victoróthat it was dark and
angry or that is was more like a 60ís poetry reading than a music CDóbut not
that it wasnít creative.  I very much enjoyed the whole endeavor; I thought it
was striking in its musicality and although you could compare it to the
earlier works of Zappa or Steve Vai it was bursting with originality.  I
especially enjoy Don't Care and Start Today.

The April Fools live album song list sucked me in even though I knew it had to
be a lie (a few of those songs have never been played live {Presto, CATS,
etc.} and the post would have most likely been classified as a teaser).  But,
I still hoped because Iím dying to know what songs are on it and the idea of a
4 CD set got me excited!

Okay, I guess that's everything I have right now.  Personal to Puanani:  Were
you wearing a white tube dress and reboks at the San Diego show last November?
If you were I am glad I can match a face with the name, I really enjoy your
posts here. I will reserve my opinion on wearing sneakers with such a cute
dress until I confirm it was really you.  FYI - I was to your left (smack in
front of our pal Alex) in a iridescent silver top, black skirt and knee high
leather boots (I usually donít dress like that but I wanted attention in the
front row, just in case Alex decided to leave Char for me :-). 

Until next time


From: Bielec 
Date: Thu, 16 Apr 1998 12:00:55 -0700
Subject: Territories drum part

The answers really very simple, and I am surprised that you are not examining 
the Show Of Hands Video more closely (shame, shame : ) ).  The rhythm is 
played on the bell of the hi-hat, almost sounds like a muted crotale, 
ingenious.  Leave it to Neil I guess!! Anyway................




From: (z z z)
Date: Wed, 15 Apr 1998 21:43:24 -0500
Subject: live album title, anthology set title, 2nd guitarist

i think titles like Rush: Delivery and Rush: Delivery Available, but how
about something else?  like ESL, why not Rush: For the Door?  or Rush: To
the Store?  they not only rhyme (big deal, i know) but they just have
that odd kind of sound, a weird type of humor.  don't get me wrong,
Delivery, or Delivery Available would be good titles, i'm just proposing
new ideas.

as for titles for an anthology title (perhaps their final album or
something), how about a title that contradicts itself (sort of).  say for
example Rush: Slowing Down, Rush: Without Going Anywhere, Rush: To a
Stop, or perhaps Rush: While Yielding.  rather stupid and pointless, but
kind of funny, if you think about it for a moment or two

if rush did get a new guitarist (as i said before) Dimebag Darrell would
be a good addition.  no, i don't think it's very likely.  but as a big
fan of their earlier stuff, i think a more youthful 2nd guitarist would
give them a new (old) sound, more nostalgic of early rush tunes.

you don't have to agree with me on anything i say, which is good, it
makes for more interesting discussions.

just another Rush fan
"If at first you don't succeed, it's probably someone else's fault."


From: "Michael Z. Williamson" 
Date: Wed, 15 Apr 1998 11:14:17 -0700
Subject: instros

If the boyz do an instrumental album, it will only sell to fans and a
few select other listeners.  The sales record of instro releases is
poor.  e.g, Satriani's first 2 albums, and Stu Hamm's.
There were no samples on Hemispheres.  Sample technology barely existed
at that point.  Nore were there sequencers. That's why they had all the
pedals and doublenecks.
The concept of Al in "high waters" is hilarious, but that kind of hokey
sales schtick is more appropriate to Devo or a grunge band than Rush,

"secret society"


From: (Brian Shaffner)
Date: Thu, 16 Apr 1998 09:34:14 -0700
Subject: Spinal Tap for real

     Howdy all, 
     Haven't posted (or read) in a good long while.  Hope all has been well 
     in Rushia.  You know, as far as 70's hard rock bands go, I've always 
     been a pretty big fan of UFO.  My tastes normally run to more 
     progressive/modern type rock (The boys, Yes, early U2, etc.), but I 
     always felt UFO (There is Rush content here, keep going) was never 
     short of a good riff and just wrote the kind of songs that are fun to 
     crank while you're drivin' around.  (Love To Love is still the power 
     ballad tour de force, IMHO.)  As a guitar player, there are a lot of 
     good things I could say about Michael Schenker's playing.  
     Naturally, when I heard they would be playing three nights at The Edge 
     (a small club in Palo Alto California) I was delighted and Rushed (no, 
     that's NOT the Rush content!) out to get tickets.  Unfortunately, all 
     three nights were sold out by the time I got there.  I was bummed.  
     Today, I was driving to work and turned on the radio.  The guys on 
     KSJO were talking about the first UFO gig that took place last night. 
     (The 15th) They were taking calls from listeners who attended and were 
     laughing about it, in fact!  Apparently, during the song 'Venus' 
     Schenker broke a string and there was no back up instrument available 
     for him!!!  (Duh, shoot the roadie) Schenker got fed up and promptly 
     stalked off stage.  Well, as might be expected, the stage was filled 
     with beer bottles and other projectiles moments later!  What a joke!  
     As much as I'd like to say I don't condone the crowds activity, I 
     cannot believe the unprofesionalism of both Schenker and UFO's crew.  
     As a veteran of numerous gigs, I ALWAYS personally made sure my backup 
     guitar was both available and functional!  
     (OK, now for the Rush content!)  Contrast this to Rush and Mr. A. 
     Lifeson.  If I had $5.00 for every time I saw Lerxt recover gracefully 
     (under pressure?) from a broken string, I would be independently 
     wealthy!  I think one of the things that differentiates Rush from the 
     rest of the throng (aside from being stellar musicians and song 
     writers) is the level of professionalism they bring to all aspects of 
     their art, from the performances down to the tour guides and 
     Anyway, I still like UFO and hope Schenker gets his act together some 
     day.  If any one on this list attends the show tonight or tomorrow 
     (16th and 17th respectively), I would appreciate a brief e-mail on 
     highlights, songs played etc.  
                                                Peace and Shreves, 


From: "Elias Granillo, Jr." 
Date: Thu, 16 Apr 1998 08:43:57 -0700
Subject: RE: Signals

> From: "Anderson, Chris " 
> Date: Tue, 14 Apr 1998 11:14:27 -0400
> Subject: On Keyboards...
> More on your subject....Signals, I think, is definitely the "keyboard
> heaviest" album by Rush - the other instruments (including the drums even) 
> made way for the sonic space of the keyboards.  Needless to say, Signals is 
> not my favorite Rush album (although "Subdivisions" is spectacular),
> but it is the BEST of the keyboard albums (SIG,GUP,PW,HYF).  Earlier on,

And what of Moving Pictures? That's also one of the *keyboard*
albums...Geddy used quite a bit o' synth on that one...maybe it's not mixed
quite so up-front, but they're there, and the first three results of Rush's
*heavy* indulgence with keyboards: Moving Pictures, Signals, and G.U.P are
spectacular (can't believe you don't like Signals that much...). Three
*perfect* albums from start to finish...sorry, there's not a dog in the
bunch. Neither is there in 2112 through Permanent Waves. Many indie prog
bands still try to emulate both periods of Rush's sound. Once you hit Power
Windows, you'd get a clunker or two (or three), excepting Roll The Boner
(typo intentional), wherein the whole damn album stunk save the title track
and "Dreamline." Counterparts stands as one of the most brilliant comebacks
I've ever heard! Finally, Rush produced another album that was
fantastic...from *beginning* to END!!!



From: (Ryan  N Waggoner)
Date: Wed, 15 Apr 1998 23:04:13 -0500
Subject: Working Man

Ok...I've always wondered about this, and, with a less-than-accurate
lyric-sheet (I pulled the lyrics off of the International Lyrics Server,
which doesn't seem to be known for it's complete and total accuracy),
it's hard telling.  

"I get home at five o'clock,
and I take myself out..."

Does he take himself out 'an ice-cold beer', or 'a nice, cold beer'.  I
know, it's a stupid question (these are definitly the MOST poignient
lyrics Alex and Geddy have ever written, aren't they?  ;) ), but I've
always wondered.

(asking all the important questions, like...
"If a turtle loses his shell, is it naked or homeless?"
"If vegetarians eat vegetables, what do humanitarians eat?")


Date: Thu, 16 Apr 1998 09:44 -0700 (PDT)
Subject: p/g and kepboards, Roger Hodgsen

Hi Everyone,

Rob L. writes:
Hanstones said-

>Many of you have stated that HYF has the most keyboard usage of any Rush 
album.  To my ears, P/G has the most usage by far.   Afterimage, Red Sector A, 
The Enemy Within and The Body Electric seem dominated by keyboards (and I 
love them), whereas most of HYF uses keys as accents.  Am I the only one
that thinks this?<  

You are not the only one who thinks this... And you are not the only one
who knows this.... You are correct.. I think there is a big difference in
the way their used and there is a difference (as was planned) with their
role playing in that they were used more as a feature on G.P. then they
became what I feel are the perfect finishing touches on many albums slowly
fading out as their cycle turned back to their bread and butter.

Wow!  I'm not saying you are wrong, but I am obviouly not hearing what you 
are hearing.  P/G is a total guitar album.  Geddy and Alex have said in 
interviews that they went overboard on the GUITARS(!) as an overreaction to 
the amount of keyboards on Signals.  HYF uses keys as accents?!?!?!?  
Hanstones, must like heavy accents :)  Prime Mover, Open Secrets, 
Mission etc. are incredibly synth-laden.  Anyhoo, just wanted to present an 
opposing opinion.  

PS.  If there are any Supertramp fans out there, you absolutely MUST see 
Roger Hodgsen if he comes to your town.  Most of the show was just him solo 
on a 12-string or at the kepyboards.  He does a lot of old Supertramp and 
some new stuff.  He is truly a warm kind human being (He signed CD's and 
T-shirts after the show) and an amazing musician and singer.  It was one of 
the most intimate inclusive concerts I've ever seen.  I wasn't just 
watching it, I was participating in it.  One of the reasons I love Rush 
concerts is because I love the songs and they play them very close to how 
they are recorded.  So I'm always skeptical when someone does an "acoustic 
set" or a "solo" set especially when playing such musically involved songs 
as "Take the Long Way Home."  My fears were unfounded in this case though - 
he was just awesome.  One of the best concerts I've ever been to.  Bottom 
Line - if you're a Supertramp fan -see the show.  If you're not - you'll 
probably enjoy it anyway - concert prices are fairly low ($15 at the house 
of Blues in LA)



From: "Elias Granillo, Jr." 
Date: Thu, 16 Apr 1998 09:09:18 -0700
Subject: Off-topic: Harlan Ellison

> From: Poomoble 
> > "The two most common elements in the universe are hydrogen and stupidity" -
> Hey, who is Harlan Ellison? I like the quote.

One of the greatest writers of all time, fiction *and* nonfiction. Many
relegate him to "s-f writer," but he's not one (and even says so), as his
subjects have ranged from s-f/f and speculative fictions, to media,
agricultural crises, and the Holocaust. His style is one of the most
*fluid* I've ever read, and his mind is one of the most brilliant. 

If you like the quote above, and appreciate excellent modern literature
(Harlan's 63 and still going...), start with these web sites devoted to him
(he's not online, and doesn't read these, but Webderland is an excellent

Ellison Webderland:
Islets of Langerhans:



From: greg cormier 
Date: Thu, 16 Apr 98 13:21:28 EDT
Subject: no time to count

   After watching "A work in  progress" I had a much better idea just how 
much is involved in developing each and every song that Rush produces.With 
the songs from "Test for Echo" it was even more difficult than normal.Neil 
had to wait for a couple of weeks before he heard a finished song and then 
develop a drum part to fit what Alex and Geddy had come up with.For those 
of you fortunate enough to have purchased the tapes you know what I 
mean.Another interesting tid bit that came out of the tapes was that on 
most of the songs Neil doesn't bother and figure out what time they're in 
instead he develops his drum parts to fit the tempo and  mood of the 
song.He goes on to explain that this is the main reason that there are so 
many Rush songs done in odd time signatures.The band just makes the songs 
the way they like and don't worry about fitting any particular time 
signature.What ever comes out of it is what you get.I think that's the way 
it should be done. Just develop the song the way you want it to be without 
ever worrying what particular time signature it's in.As long as you can 
reproduce that song live then who cares.Just one more reason to love Rush 
and their brand of music.    


From: greg cormier 
Date: Thu, 16 Apr 98 13:39:43 EDT
Subject: Presto live


    I am from Grafton,Ma and remember vividly seeing Presto played live at 
both Providence and Worcester in the same week.I think they played as well 
on the RTB tour but dropped it after that.Did you catch the T4E tour at 
either the Fleet Center in Boston or Great Woods in Mansfield ? I was at 
both shows and I felt the Great Woods show was one of the best I've seen in 
a long time.I've seen the band live since 84' whenever they visit the New 
England area. 
   I saw the list of 100 artists in a USA today paper just before they were 
aired on VH-1.I wasn'e surprised that they were'nt on the list just a 
little bit disappointed.I'm kind of used to it by now so just enjoy 
yourself and don't worry what all those damn critics say.



From: (Craig Brennan)
Date: Thu, 16 Apr 1998 14:28:06 -0400
Subject: Rush News on Radio

On my ride home yesterday I heard Jim Complic (a concert producer here in
New England) giving updates on various bands-including RUSH. He said that
RUSH are putting the finishing touches on thier latest live album; that it
will be from the most recent tour and one other older tour (obviosly
doesn't read the NMS); that Alex Lifeson is producing some Canadian Bands
(shouldn't that be Geddy); and that Neil is currently looking for a
publisher for his new book-a biography of his motorcycle rides from venue
to venue on the last tour.

This is exciting news for us fans becuase if Neil is actively persuing a
publisher for his latest written work then he is technically "still
working" and I see no reson why he wouldn't take the time to record another
studio album with RUSH.

Just some good news I thought I'd share. Later!



Date: Thu, 16 Apr 1998 13:25:50 -0600 (MDT)
Subject: Re: 04/15/98 - The National Midnight Star #2010

Regarding the VH1 "Top" 100 Artists.  I too was disgusted, but honestly
not surprised that the boys were not included in the list and bands like
Devo were.  The only way I could vent this anger would be to write to VH1
via email, so I did.  I basically was wondering whether Rush just didn't
fit their format, or if they really weren't voted in by musicians.  still
have yet to receive a reply, and not really expecting that they have an

"So much style without substance,
So much stuff without style,
It's hard to recognize the real thing,
It comes along once in a while."


From: (Matt Masi)
Date: Thu, 16 Apr 1998 04:17:16 -0400
Subject: Run From the Boot, Palo

 This is my first post to this list in about 2 years.  Aren't you happy
for me?  Thank you.  I'm the guy who used to transcribe Rockline
interviews and album premiers.  I was 15 at the time; a computer geek
with no social life.  Well, now I'm 19 with no social life, but a little
wiser.  In fact, I actually got on Rockline in '96 and talked to my
heroes.  I sounded quite stupid..  Anyway, this isn't about me.  Being
somewhat of a bootleg collector, I felt the need to respond to something
in the last digest.

On Mon, 13 Apr 1998 23:12:30 CST, "Palo, Christopher John"

> Hey, hey! AFter reading Joseph Ornelas' post on issue 2009, I felt that
> I needed to ask a question about Ged's voice live.  I recently got a boot,
> "Run from the Fans".  I have only given it one listen, but it seems like 
> Ged is really struggling and concentrating on trying to get the right notes 
> out and just to keep on singing.  AT times, it seems like he has almost 
> no strength left in his vocal chords to keep going.  I guess I can understand 
> why all the "official" live releases of Rush were reworked in the studio--to 
> give Ged a better sounding!  Now, I may well be completely wrong.  I 
> gathered that only from one live recording. I have never ever been able to 
> see Rush for whatever reason. For the many of you that have, did you ever 
> make similar observations or am I completely off bass (ha!)? 
> Thanks.

 The boot you've got is not a good example of a Rush concert, unless you
were consuming large amounts of hallucinogens or silly cigarettes at the
concert (whatever drug causes time dilation; I wouldn't know).  The
reason is that the entire CD runs 3.2% slow, so Geddy, as well as the
rest of the band, sound like they forgot to take their Geritol that
night.  If you listen to it enough, you will really notice the music
drag.. but yeah, Geddy's voice jumps right out at you as being "off". 
It's really a shame that this boot has that speed problem, because
otherwise, it would be great. 

 Well, we don't have to worry about what it could have sounded like
anymore.   Fortunately, a cool guy named Ryan Whitaker has corrected the
speed problem and tweaked the sound a bit, and re-released the boot as
"Run Faster".  You can find ordering info for that boot and others
Whitaker creations (he's mean with MP3's) here: 

 So, to sum it up, no, Geddy does not usually sound like that in concert.
 In fact, the past couple of tours, his voice has been stronger than
ever, and he's even been able to hit more of those high notes and not
sound like a suffering llama.  Anyway, if you, or anyone else wants to
talk boots, let's take it to email, eh?  I wouldn't want to upset the
famed rugh-mgrs!

Web site ("Supper With the Aliens"):  (add "rush/" to go to my
Rush section)
Please ignore the shameless advertising below.  It's free, so I use it.  
   [ I delete the shameless advertising. I'm sure we all know about how
     juno/hotmail/yahoo/joe blows internet offers free email accounts, we
     don't need to see 20 posts with the same message at the bottom!
                                                               : rush-mgr ]


From: "Limbo ." 
Date: Thu, 16 Apr 1998 12:48:07 PDT
Subject: alex "in the act, live"

good day,

     one thing i always just assumed about rush is that they were a 
(more or less) serious band. being a rush fan for only 5 years i haven't 
gotten much of a chance to see their earlier tours.  but i have the good 
fortune of scoring excellent seats for the first show of the t4e tour, 
in albany.  everything was was normal until after the intermission. rush 
went into tom sawyer, geddy was on one side of the stage on the 
keyboards and alex was far on the other side. just then alex started 
dancing around like a little girl imitating geddy. the crowd went nuts 
and geddy looked up and acknowledge, just then realizing what alex was doing. 
then, (diff. tour) during another song alex kicked off his boots into 
the crowd, went behind neil's set and grab his drum sticks.  he then 
went on to throw them into the crowd also. i wonder what would have 
happened if neil broke a stick. they would have had to stop the show, 
repremand alex, and then kindly ask if anyone was willing to give one up.
*meanwhile* the guys who caught the stick would be out near the tour 
book vender going, "dude, i got one of neil's drum sticks!!!!!"

has anyone else seen anything funny or abnormal other than the double 
agent syncing?



To submit material to The National Midnight Star, send mail to:

For administrative matters (subscription, unsubscription, changes, and 
questions), send mail to:    or

There is now anonymous ftp access available on Syrinx.  The network
address to ftp to is:       or

When you've connected, userid is "anonymous", password is .
Once you've successfully logged on, change directory (cd) to 'rush'.

There is also a mail server available (for those unable or unwilling to
ftp).  For more info, send email with the subject line of HELP to:

These requests are processed immediately, and you should have back a response
within a few minutes. Any problems please direct to the rush-mgr.  

For those of you on the World Wide Web, there is now a Rush home page at:

The contents of The National Midnight Star are solely the opinions and 
comments of the individual authors, and do not necessarily reflect the 
opinions of the authors' management, or the mailing list management.

Copyright (C) 1998 by The Rush Fans Mailing List

Editor, The National Midnight Star
(Rush Fans Mailing List)
End of The National Midnight Star Number 2012

Previous Issue <-> Next Issue