Site indices

Previous Issue <-> Next Issue


From temples@syrinx.umd.edu Tue Apr 13 22:54:22 1993
Return-Path: <temples@syrinx.umd.edu>
Received: from syrinx.umd.edu by dsys.ncsl.nist.gov (4.1/NIST-dsys)
	id AA01385; Tue, 13 Apr 93 22:54:19 EDT
Received: by syrinx.umd.edu (5.57/Ultrix2.4-C)
        id AA23434; Tue, 13 Apr 93 21:35:08 -0400
Date: Tue, 13 Apr 93 21:35:08 -0400
Message-Id: <9304140135.AA23434@syrinx.umd.edu>
Errors-To: rush-request@syrinx.umd.edu
Reply-To: rush@syrinx.umd.edu
Sender: rush@syrinx.umd.edu
Precedence: bulk
From: rush@syrinx.umd.edu
To: rush_mailing_list@syrinx.umd.edu
Subject: 04/13/93 - The National Midnight Star #661
Status: R

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


List posting/followup:     rush@syrinx.umd.edu
Administrative matters:    rush-request@syrinx.umd.edu
                                    or
                           rush-mgr@syrinx.umd.edu

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

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


          The National Midnight Star, Number 661

                  Tuesday, 13 April 1993
Today's Topics:
                      Administrivia
                     Modern Drummer ?
      Re: 04/06/93 - The National Midnight Star #657
                     Caress of Steel
                      Various stuff
                    Re: fretless bass
                Bravado, lick comparisons
                An idea for TNMS #666 :->
           Backwards Messages/ Hockey/ Satanism
           What does Dream Theater sound like?
                      concert sites
                    Backwards message?
                    Rush on the radio
              Led Zeppelin and Back Masking
          Convention aid; Rush fantasies, please
                       St. Etienne
          Satanic Words (for publishing in TNMS)
              Rush riff in Barenaked Ladies
                   Short coupla things
                Re: "bootleg" radio songs
                Re: Battlescar and the B's
                 Black Gold/Fly By Night
      Guitar World Article-Personal lessons w/ A.L.
                      acoustic Rush
                    Metallica and Rush
                      Satan--Anagram
          Rush parody -- I Think I'm Gonna Toss
----------------------------------------------------------

From: rush-mgr@syrinx.umd.edu <The RUSH Fans Digest Manager>
Date: Tue Apr 13 20:37:09 EDT 1993
Subject: Administrivia

Just a quick note here... the ip address to syrinx.umd.edu has been CHANGED to
129.2.8.114 -- if you have anything using the syrinx ip address, make sure to
correct the number!

- rush-mgr

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

Date: 12 Apr 1993 17:47:04 -0500 (EST)
From: MIKE <STU_MLWALL@VAX1.ACS.JMU.EDU>
Subject: Modern Drummer ?

Hello all -
 Because this is non-rush related I'll keep it short. Would any of you
percussive types that subscribe to or have a lot of issues of modern drummer
help me find where and how to order a video. I'm looking for a Bill Bruford
instructional called 'Bruford and the Beat' and modern drummer is supposed
to carry ads for it all the time. Thanks!!!
                                       Mike Wall
                                         stu_mlwall@vax1.acs.jmu.edu

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

Subject: Re: 04/06/93 - The National Midnight Star #657
From: sheep@gargoyle.hacktic.nl (Frank Schaapherder)
Date: Mon, 12 Apr 93 13:03:12 CET

Hello group,

Chad Finke writes:

> Oh yeah, one more question.  Does anyone know exactly what is being said in
> CttH on "Over the Europe?"  There is a point about 2:45 into the song where
> two Monty Python-esque voices seem to be arguing.  Is this Geddy and Alex, or
> is it from a film or something?  Anyone?

I think "Over The Europe" features the May 3rd, Rotterdam, Holland
concert. I have a copy as well, called Atmospheric. I attended the concert as
well. I am not sure about the exact things that are being said, but here's
what I have and what I know. Both voices are done by Alex, I know that.
First Alex starts singing along very loud, then this is being said:

G:			Come on, big boy.
A (still singing):	Closer to your heart

Now he starts doing weird voices:

Alex in low voice: I like you to meet a friend of mine. Hello baby, meet
                   Mr Geddy (Mr Peppy??) O look, he is such a handsome
                   man, he's very beatiful long hair??

Alex in high voice: May I go to kiss him?

Low voice: You may go to kiss him. Come, go to kiss him. [Kissing sounds]
           He is so handsome, I love him.

High voice: O okay, Mr Geddy, goodbye.
Low voice:  Goodbye

Geddy: That's why we love him.

Hope this is what you were looking for...
--------------------------------------------------------------------------
Sheep = Frank Schaapherder                      redrehpaahcS knarF = peehS
'As time goes by, there's one thing I have come to realise
 The time goes by, never let yourself be forced to compromise'  ---   Saga
--------------------------------------------------------------------------

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

From: "Michael J. Miller" <mumjm02@uxa.ecn.bgu.edu>
Subject: Caress of Steel
Date: Mon, 12 Apr 93 19:29:13 CDT

Hey Rush fans!
    I had a question about Caress of Steel.  The copy that I  have has 'Didacts
and Narpets' on side one, right between 'Bastille Day' and 'Lakeside Park'.
My friend, who bought Archives, and the lyrics at the syrinx archives, both
put 'Didacts and Narpets' where it should be:  in the Fountain of Lamneth.
This displacement means that 'I think I'm Going Bald' is located in the
Fountain of Lammeth.  The tape I copied it from (Anyone know if you can buy
COS on CD anywhere?  I couldn't find it on CD or tape.) is indeed an original,
or at least it looked to be.
    Has anyone else noticed this or had this problem?

   [ The original tapes of COS split up "The Fountain Of Lamneth" because the
     entire song couldn't fit on that side of the tape. Why they didn't just 
     put the whole thing on side 2 is beyond me... and COS can commonly be 
     found on CD.  						   : rush-mgr ]

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

Date: 12 Apr 1993 20:32:26 -0400 (EDT)
From: ASILVERM@umiami.IR.Miami.EDU
Subject: Various stuff

Hi gang

	Just a few responses to yesterday's NMS, which I don't remember too
well, so bear with me.
	More talk of an MTV Rushumentary.  It could happen, and if it did it'd
most likely coincide with the release of Critical Mass(or whatever they call
it).  Remember, the catch word when dealing with MTV is *PROMOTION*.  Sell,
sell, sell!  It would be part of whatever hype they have to boost sales of the
album.  A band like Rush has a real fan base, unlike most of the fairly new
stuff on MTV, and doesn't need the commercial support.  That's why, in the
first few weeks after the album comes out it'll be fairly high on the charts,
as all the Rush fans go out to buy it, and it will taper off quickly since we
will all have it pretty quickly and therefore stop buying it.  The stuff that
stays on the charts for months, on the other hand, is stuff that gets played
and played on the radio/TV, people buy it because of recognition value(ever
take Psychology Of Music?), and it stays on the sales charts because new
people are being convinced to buy it each week.  Wow, am I rambling now!
	To the person who wondered if there are other bands with the longevity
of Rush. . .sure!  (And just because you don't consider John Rutsey a member
of the band doesn't mean he wasn't an original member!  Technically speaking,
Lerxst is the only true original member, the original bassist/singer was some
Jones guy or something like that.  I think it's in the FAQ.)  Take, for
instance, that band which was so heatedly discussed in this very forum recently,
ZZ Top.  They have not only been the same 3 guys since the sixties, but have
had the same producer(Bill Ham) on EVERY album.  Judas Priest has been the same
except for the drummer since 1971 or so.  (Anybody who has info on the rumored
split with Halford, please email me!)  Aerosmith is still going strong.  I see
Steppenwolf touring all the time(although I admit I have no idea if it's the
original members).  I don't mean to shoot you down or anything, I agree there
are very few bands with the staying power of our thriving threesome.  (One more
thing. . .anybody know anything about the upcoming Sabbath reunion?  What's Dio
up to?)
	This post is too long already, but you all knew this was coming. . .
The Bruins have clinched the second-best record in the NHL!  I DARE the Pens to
try and get by them a third time!  Come on, I DOUBLE-DOG DARE YA!!!!!!!!!!!!!!!
Joe Juneau for the Calder!  Who is this Salami guy anyway?

				Party on,

				Aaron
				ASILVERM@UMIAMI

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

Date: Mon, 12 Apr 1993 20:34:23 -0400
From: Christopher Mermagen <cmermag@wam.umd.edu>
Subject: Re: fretless bass

Yeah.. I agree of with your (tracey??) interpretation of how
a fretless bass would not really fit in.. I remember Ged saying
how he wasn't very comfortable with playing one live, anyway.
I know I bought a Fender Jazz (not fretless) from this guy
at his house, and he let me play his fretless jazz... very
difficult at first.. I found myself sliding to get the intonation
right every time. But at least I played somewhat in key- he
couldn't even tell if his pitch was off!!!

Also, didn't Geddy use a fretless Jazz for the solo of Show
Don't Tell. I think he did.. or at least I seem to recall him
filming the video with it.. it's so far in the past... :)

fretless is another reason why I so admire many jazz bassists
on the double bass.

later-
Chris

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

From: Wayne Torman <wayneto@microsoft.com>
Date: Mon, 12 Apr 93 16:37:43 PDT
Subject: Bravado, lick comparisons

Well, since I've seen more than one request, and no responses..... I
thought I'd take a stab at an analysis of Bravado:

If we burn our wings/ Flying to close to the sun
If the moment of glory/ Is over before it's begun
If the dream is won- / Though everything is lost
We will pay the price,/ But we will not count the cost

When the dust has cleared/ and victory denied
a summit too lofty/ river a little too wide
if we keep our pride - though paradise is lost
We will pay the price/ but we will not count the cost

And if the music stops  /  There's only the sound of the rain
All the hope and glory /  all the sacrifice in vain
If love remains  / though everything is lost
We will pay the price / but we will not count the cost

To me, this song is exceedingly straightforward, so please forgive me
if my analysis seems narrow.

The first verse is about when you are 98% of the way to succeeding at
your dream, how it's easy to 'smell' victory, and assume you are going
to go all the way to (or even beyond) that dream.  The goal of Daedalus
and Icarus was to fly, but when Icarus ASSUMED they had accomplished
their goal (flying), he pushed too far, his wings melted, and he ended
up in the sea, because he was overconfident.  Daedalus, on the other
hand, flew at a reasonable altitude and succeeded in FLYING (the dream
WAS won!!), which was the goal to begin with........

The second verse is about how, after time passes, you can look back
upon what appeared to be a complete failure ('victory denied'), and
learn from it, IF YOU DON'T MAKE EXCUSES!!!  Sort of like "Ok, you
didn't achieve the final goal, but it was because you set your sights
too high to begin with" ('a summit too lofty', 'river a little too
wide').  You can deal with learning how to set your sights more
effectively the next time ('keep our pride') *OR* you can make
excuses..... "That summit was just TOO lofty for me!"  Basically, this
verse says that if you are making excuses you didn't plan well enough
in the first place AND you gained nothing from the experience of TRYING
to achieve your goal!

The third verse is the least 'transparent' and yet really the most
significant, IMHO.  It's about GIVING UP before even coming close to
your dream.  If you give up ('And if the music stops'), there will no
longer be anyone trying to acheive YOUR dream the way YOU would.  All
that would be left is the natural randomness of occurences ('there's
only the sound of the rain'), and any effort ('All the hope and glory')
that you DID put forth will have been wasted ('All the sacrifice in vain').

On the other hand, sometimes a dream MUST be given up due to
circumstances beyond our control.  At that point, all that remains to
deal with is your opinion of yourself.  While I am LEAST certain on
this line, I *THINK* Neil meant to say that you have to keep loving
yourself even if you fail, as long as you gave it your best shot! It
also probably means that those around you will love you more for what
you tried, and won't think less of you for failing, again AS LONG AS
YOU GAVE IT YOUR BEST SHOT!

Finally, the key line of the whole song..... 'We will pay the price,
but we will not count the cost".  As has been made clear MANY MANY
times on TNMS, the theme of RTB is 'taking a chance', 'making it
happen', etc.  This song further exemplifies that principle......  It's
easy to make excuses not to try something, it's easy to make excuses
for 'failing', but it COSTS LESS (emotionally, spiritually (?)) to TRY
and FAIL ('We will pay the price') than never to have tried at all.
Even a failure can give you tremendous gains *IF* you approach that
failure the right way.  If you bemoan the 'cost' of failing, you gain
nothing.  But if you look at it as VALUABLE gained experience, then it
was worth the "price" ('We will not count the cost').

And as to the title of the song... "Bravado" means 'A pretense of
bravery'.  It is important to distinguish this from "bravery".   I
think Neil means that once you have a dream in mind, it is important to
APPEAR brave in attempting to achieve it, but NO ONE attempting to make
a dream real ('Drag the dream into existence' ... but I digress) can
really BE brave.  'Brave' is when you know the enemy and really feel
confident that you can vanquish him.  'Bravado' is when the enemy is
completely unknown, and you stand there with your chin up, shaking in
your boots, and ACT brave.  Once you are in that position, the enemy
may have second thoughts about resisting, and so it is with ENTROPY
(the randomness of the universe, and the basic enemy of dream
fulfillment) as well.  GOING for the dream, my friends, is the ONLY way
to make the dream real!!!!

Well, that's my stab at it..... I hope it helps!!!!

One last note.....  It's easy (though fun!) to pick small sequences of
notes, and see how they remind you of other tunes.  I can think of two
right off the bat:  1.) The beginning of the finale on 2112 always (to
me at least) sounded reminiscent of "China Grove" by the Doobie
Brothers, and 2.) One of the songs on Side 2 of 2112 (I think it's
"Lessons" but my neighbor at work has his stereo on pretty loud so I
can't bring the tune to mind) always reminded me of "Sweet Jane" by Lou
Reed.  And there you have it!

Wayne Torman

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

Date: Mon, 12 Apr 93 21:06:42 -0500
From: irsman@iastate.edu
Subject: An idea for TNMS #666 :->

Since TNMS #666 is coming up probably next week, and with the satanism thread
going lately, I thought it'd be fun to have a 'joke issue' with an entirely
'Satanic' theme, sorta like the '92 April 1 edition.  Of course, this wouldn't
leave much time for everyone to gear up their creative juices, but a good time
could be no doubt had by all (unless maybe it was the first edition recieved
by a new subscriber, heehee :-)

Any better ideas or comments?

  [ This sounds like fun! Anyone who would like to contribute to that issue
    send your post to the rush-mgr account, with a small header to your post 
    saying it's for the special issue (which I'll delete before posting).
								  : rush-mgr ]

ORQ: "Wheels within wheels in a spiral array, a pattern so grand and complex.."

Ian Schmidt
irsman@iastate.edu

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

Date:         Mon, 12 Apr 93 23:19:19 EDT
From: Mike <MWEINTR@american.edu>
Subject:      Backwards Messages/ Hockey/ Satanism

Rushians,

I've sorta lurked silently reading the thread about backwards messages and
Satanic messages and whatnot, and now I feel I have something to say:

THERE ARE some understandable English sentences in "Stairway to Heaven", I
HAVE found them... What I did was copy the song (all 8 minutes of it) onto
my four-track home recorder onto tracks 1 and 3;  then I flipped over the
tape (at the end of the song) and listened to it on reverse tracks 2 and 4
(I tried to make this as non-technical as possible)...

Essentially, what this does is allow you to hear StH backwards, in stereo...

Using the tape speed adjuster on the four track (a Tascam X-26, for those who
care) I was able to locate the following two sentences, which are VERY
obvious if you know what to listen to...

"Oooh, there's no escaping it"
"[and?] here's to my sweet Satan"

Both parts occur about halfway through the song, right before Bonzo enters
on drums (I *think*, it's been a while)

Now, what this has anything to do with Rush, well, I have no idea, I just
thought I'd clarify that, eh :)

Also, congratulations to the VANCOUVER CANUCKS, 1992-1993 Smythe Division
Champs!!!!!  (ObHockeyContent)

Mike, who's procrastinating on his 15 page Astronomy paper

***Yes-Rush-Marillion-ELP-Genesis-King Crimson-Dream Theater-Beatles***
* Mike Weintraub, aka Jvi on IRC              "Courageous convictions *
* mweintr@american.edu                         will drag the dream    *
* jedi@wave.cerf.net                           into existence"        *
* The American University, Washington DC        - Rush (NOT Limbaugh) *
***Go Vancouver Canucks (Smythe Div. champs) & Philadelphia Phillies***

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

Date: Mon, 12 Apr 1993 23:56:50 -0500
From: jsandfor@mib05.eng.ua.edu (Jamie W. Sandford)
Subject: What does Dream Theater sound like?

	I was just curious about the type of sound that Dream Theater has,
coming from someone that has never heard them before.  I am tempted to go buy
on of their albums, but I don't feel up to shelling out the money right now.
Can someone describe their type of music? (you know, you could do one of those
"well if you like (so-and-so), you'll like Dream Theater")

	And to whoever posted the question about Neil's dad being a plumber
and doing work on your friend's house: I believe (and the other Rushheads
might be able to corroborate or correct me) that it was *Alex's* dad that was
the plumber, according to "Rush: The Story of Kings" CD....

						jsandfor@buster.eng.ua.edu

						"A spirit with a vision is a
						 dream with a mission..."

(try listening to
 this before you take
 a big test..A GREAT moral
 booster!)

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

Date: Tue, 13 Apr 1993 01:00:53 EDT
From: jenkinsp@kenyon.edu
Subject: concert sites

  My dorm here at Kenyon College contains three huge Rush fans, and we can't
wait for the upcoming tour.  We are located in the middle of Ohio, and I wonder
if people could tell me if Rush usually stops in Cincinnati, Cleveland,
Columbus, and Louisville.  Also, I think the Rockumentary idea is a great one,
and I'm going to call MTV too.  Later---Peter Jenkins

    "You can do a lot in a lifetime,
     If you don't burn out too fast.
     You can make the most of the distance-
     First you need endurance-
     First you've got to last."  --NP

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

Date: Tue, 13 Apr 1993 00:58:18 EDT
From: rsw2@Lehigh.EDU (ROB WAGNER)
Subject: Backwards message?

The "There's still time to change the road you're on" message is a bona fide
one.

Also- while on the topic of other bands' songs that have the same titles as
Rush songs, doesn't The Church (a band that someone mentioned) do "Witch
Hunt?"

-- Rob

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

Date: Tue, 13 Apr 1993 01:01:42 EDT
From: rsw2@Lehigh.EDU (ROB WAGNER)
Subject: Rush on the radio

Oh, one more thing.  I do a radio show on 91.3 WLVR-FM in Bethlehem, PA every
Sunday night from 9 to 11 pm.  Most of the stuff I play is college
rock/alternative stuff, but I always throw a few Rush songs on here and there.
I'm planning an all-Rush show sometime before the semester's done.  If anyone
on this list listens to the station, give me a call during the show- I'd be
glad to play any request.

-- Rob

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

Date: Mon, 12 Apr 1993 23:50:49 -0700 (PDT)
From: Richard Bruch <slikrick@u.washington.edu>
Subject: Led Zeppelin and Back Masking

First of all, this isn't a flame directed at Gregg Jaeger at all.  I would
like to say that I have listened to my tape copy of the fourth Led
Zeppelin album backwards and _have_not_ heard any "backwards" lyrics.
This came about because someone told me about this myth of the word Satan
appearing in Stairway to Heaven.  So I asked my friend with a four-track
if we could check it out and we did.  We listened to the whole song at
different speeds, multiple times.  And yes, at the part Gregg referred to,
there is a part that sounds like something Satan.  If you look at the
lyrics in that section, there's a lot of t and s sounds, and plenty of
vowels to create the illusion of Satan, or whatever you happen to be
listening for.  Anyway, although Zeppelin did get into some mysticism and
stuff like that, I don't believe that they were Satanists.  (And not Jimmy
Page individually either.)

Also, I'd like to give a big *rofl* to Bill Bertram for the Rush
song/lyric/theme narrative.  Quite amusing, I'm looking forward to part II.

Talk to you later!

Rick

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

Date: 13 Apr 93 03:53:26 EDT
From: Bruce Holtgren <70724.1622@CompuServe.COM>
Subject: Convention aid; Rush fantasies, please

I recently returned from a hiatus from the NMS, and now that I've
mostly caught up with the past few issues, I've a few things to
address. (Actually, as always, there are LOTS of things I'd like
to respond to, but I'll force myself to keep to the essentials.
This post will be too long even if I do that.)

FIRST: Glad to see the convention talk is still going, and I urge
all who haven't done so to send your deposit by the April 17
deadline to John Santore, Convention Organizer and Hero of Our
Times, 1071 Morewood Ave., Pittsburgh PA 15213. For info, e-mail
John at jsbh@andrew.cmu.edu, or call him at (412) 268-5533.

I was disappointed to see that so many people won't be able to
make it to Toronto because of cost, and hope you'll reconsider
when you download the following boffo info:

As further incentive to get people to make the trip, I'm hereby
announcing that I'll be providing nifty prizes to a handful of
lucky attendees. All said prizes will be legal, worth at least
$21.12 (Canadian, of course), and will go to: 1) the person who
travels the furthest to attend (worldwide category); 2) the
person who travels the furthest (North American category -
Puanani, are you listening?); and 3)4)5) door prizes to be
awarded randomly, or otherwise, as I decree.

ALSO, I'm willing to consider providing *modest* financial aid
for a FEW students, depending on demand. (We're talking 10 or 20
bucks a person, max - and I won't do it if it costs me so much
that *I* won't be able to go.) If you think such a small amount
might make the difference and would allow you to go to T.O.,
e-mail me with your grabbing hands/bleeding hearts plea. Proper
spelling and use of the apostrophe will help you.

(Disclaimers: Yes, this is for real. No, I am not rich (and
certainly won't be after all this foolishness) - it's just that I
have a Real Job, I remember what it was like to be a starving
student, and I don't want to see the convention die due to apathy
(unthinkable just a few weeks ago, when everyone seemed so gung-
ho). I reserve sole right to determine how and to whom the loot
is distributed, since it's my money, my idea, and my life. (I
will be the judge, and the jury.) TNMS and convention staff and
management are not eligible. This offer cannot be rebroadcast,
retransmitted or otherwise used in any form without the express
written permission of Major League Baseball. So there.)

SECOND: In a similar vein, I, too, am willing to carpool, if your
location and schedule are compatible with mine. In general: I'm
in suburban Cincinnati; I'll be leaving Thursday and returning
Monday; and I'm willing to pick up one other person (sorry, my
car's too small for more). OR: I'll ride with someone else and
pitch in on gas and driving. AND/OR: If you need a free place
to stay on your way north, or on your way back, you can probably
crash here. For details on any of this, e-mail me. (To the Purdue
guy: Sorry, but West Lafayette is just too far out of my way.)
I'm also all for sharing a hotel room. I'll take the first good
offer(s) on any of this, so don't delay asking ...

THIRD: As if I haven't already given everyone plenty to talk
about, here's a new thread - what's your secret Rush fantasy?
Don't deny it - everyone has at least one. To get things started,
here's mine: I happen upon Neil in the middle of nowhere and
rescue him from a serious cycling accident. In gratitude, he
reveals to me the Real Lyrics to "Didacts and Narpets," and I in
turn persuade him to become an active member of TNMS. We become
lifelong friends and soulmates, and Jimmy Lang is insanely
jealous.

   [ ...finally succumbing to the pressures of jealousy, thereby committing
     suicide while listening to "The Pass"  :) :) :)		: rush-mgr ]

OK, I'll stop now. Hope none of this gets anyone too worked up -
apologies for such a long post. And here's to seeing MANY of you
at the convention!

Bruce
70724.1622@compuserve.com

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

Subject: St. Etienne
Date: Tue, 13 Apr 93 8:36:37 GMT
From: Dominic Binks <binks@compsci.bristol.ac.uk>

Last Saturday I went to town (I now sounds exciting doesn't it) and where I
wanted to go was closed due to an electrical fault.  So, I wandered around town
for about 2 hours until they'd fixed the fault and I could what I needed to do.
Anyway I went into HMV records and was looking through some CDs and one I
picked up was St. Etienne.  Anyway there was a note that said that The Spirit
of Radio was sampled and thanks Core Music.  So my question is this is
presumably The The Spirit of Radio so does anyone know which song this is on
which bit is sampled etc.  Basically any info ?

Dominic Binks
binks@uk.ac.bris.cs

P.S. I don't think this is a FAQ. If it isn't maybe there should be a FAQ for
all known sampled Rush songs, where they occur and what they are ?

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

Date: Tue, 13 Apr 93 11:34:01 EST
From: poyart@rdc.puc-rio.br (Eduardo Ribeiro Poyart)
Subject: Satanic Words (for publishing in TNMS)

A word on the matter of Satanic Messages:

> I've listenened to a record of Led Zep IV backwards in its entirety
> and heard nothing but noise until one portion of "Stairway to Heaven",
> precisely when Plant sings "there's still time to change the road you're
> on," where one can discern something sounding very much like the phrase
> "my sweet Satan." I SWEAR this can be heard. I hate all this bull about
> rock and roll being Satanic, bla bla bla, but one _can_ really hear this.
> Seeing as Page is a whiz in the studio and went out of his way to buy
> the castle of an infamous Satanist it seems plausible enough that this
> is an actual case of a "hidden message".

There's a way to really figure out what a phrase says when played
backwards. You have to work with the phonemas, not with the letters
themselves. Let's see where is "my sweet Satan" in the verse above.

The phonemas for "there's still time" are:

/th/ /e/ /r/  /s/ /t/ /i/ /u/  /t/ /a/ /y/ /m/

The consonants 'th' sound something like a percussive 'z' in
portuguese. And the 'l' at the end of 'still' sound something
like 'u': 's t i u'. I will not write the '/'s, for simplicity.

We have:

th e r   s t i u   t a y m

Inverting:

m y a t   u i t s   r e th

or...

m y a   t u i t   s r e th

If we observe that a noisy 't' backwards resembles an 's', we have
something very close to 'meea sweet sreyt'. And if Plant sings an 'a-'
before the whole verse, as he does sometimes, we have 'meea sweet sreyta'.
Remember that in 's r e th a', the 'th' is the percussive z, not a real
't'.

Observe that ' m y a   t u i t   s r e th a ' are the phonemas, not the
letters. I speak Portuguese, so it's easier to me, because it's a
language in which the letters have almost always the same sounds. In
English, for example, 'a' sometimes is /a/, and sometimes is /e/ /y/.

The phrase would sound in English very close to: meea sweet sreh-tha.
In the context of a song, with all the instruments in the background,
it could really come as "my sweet Satan".

I think there was nothing "forced" in this deduction, except for the
fact that I have not heard the music paying attention to whether he
sings an "a" before this verse. I'll do it as soon as I get home today.
But even if he does not, that will only be an "a" missing. One more thing
is different: the word "my" will be 'm y a', not 'm a y'. But even so,
it's still very close tho the satanic words.

You could use the same system to see if the voice backwards says what
you think it says. To do it in portuguese is very easy, because you
only translate it to the phonemas, invert it and read. In English,
after you invert, you have to analyse it, taking care not to form
written words, but to speak all the phonemas in sequence.

Now my conclusion: I think it's a coincidence. If you hear all of
the songs from all of the rock groups in the world, backwards, you could
possibly hear many satanic messages. I do not doubt that there are
any of them in Rush records.

Along with satanic messages, you could hear God's messages too, and
any kinds of messages you want, because the words backwards resemble
very close to normal words. By hearing strange sounds that are
made by the instruments backwards, especially guitars and drums,
people feel a satanic atmosphere, leading them to hear satanic
messages in the words.

Eduardo Poyart.
poyart@rdc.puc-rio.br

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

Date: Tue, 13 Apr 1993 10:07:11 +0000
From: Robert King <Robert_King@qmserver.vortech.com>
Subject: Rush riff in Barenaked Ladies

Hello Rush Fans --

   I just picked up a CD from a new group (for me,) called "Gordon" by
Barenaked Ladies.  On the track entitled "This is Me in Grade Nine,"  the band
breaks from the almost polka-ish song into 8 measures of "Tom Sawyer!"  The
guitar work is pretty good, but the drums are lacking (big suprise there :-| )

   That got me to thinking -- Why Rush?  Well it turns out that they're from
Canada too.  Also, if they are just a bit younger than I am (which it looks
like from their photos, then "Tom Sawyer" would have hit the airwaves about
the time they would have been in the ninth grade.

   Just a humble observation from a humble fan (sort of...)  Anyhow, if you
like quirky bands with really facinating lyrics, check out Barenaked Ladies, I
doubt that you'll be disappointed.  Any band that would record "Be My Yoko Ono"
 Can't be all bad...

Robert King
(P.S. Trebor Sux! -- Werdna)

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

Date: 13 Apr 1993 09:50:10 -0700 (MST)
From: BROWNEA@CC.UVCC.EDU
Subject: Short coupla things

Hi, Everybody!
	Quick couple of notes...
Prime Mover:  "The point of the journey/is not to arrive" - supports the
argument of 'live life to the fullest'.  IMO, of course.

Other songs by the same name just don't sound as sweet department:
	In The Mood is actually quite a bit older than Steve Miller - it's a
big band song from _way_ back when.  If any of you remember the 'Hooked On...'
phase of early-mid '80s, In The Mood is the main theme of the big-band 'Hooked
On' song; the one that made the airwaves.

	Earl
	brownea@cc.uvcc.edu

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

Date: Tue, 13 Apr 93 11:43:43 CDT
From: danfogr0@seraph1.sewanee.edu (Gordon Danford)
Subject: Re: "bootleg" radio songs

 Hi there folks
        I just wanted to respond to Chris Johnson's post about hearing  Tom
Sawyer and Spirit of Radio on the radio...I just visited my friendly local
Camelot music store, and picked up a CD single with Roll the Bones, Tom
SAwyer, and the Spirit of Radio on it.  Both TS and SoR are live versions
that I hadn't heard before, and I suspect that that is what they played.
Sorry if I'm wrong, just my .02 worth.

        -Gordon

*******************************************************************
"We go out in the world and take our chances, Fate is just the weight of
circumstances..."
        CRush

Gordon Danford                                  z
The University of the South          |^---|
###################################################################
___________________________________________________________________

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

From: maxwebster@aol.com
Subject: Re: Battlescar and the B's
Date: Mon, 12 Apr 93 15:36:07 EDT

Aaron-

The liner notes for Battlescar off Max Webster's Universal Juviniles CD say
recorded live - I don't think it was meant that they played live at Massey
Hall or anything.  The 7 of them just set up in the studio (Phase One in
Toronto, if I'm correct) and did the song in one take.  You can kind of tell
because during the lengthy solo part Alex and Kim Mitchell take simultaneous
guitar solos that don't technically compliment each other, yet sound pretty
cool.  They're just improvising to their own grooves.

Anyone who doesn't have any Max Webster - get some!!!  I was so dismayed
after moving from Buffalo 6 years ago to Boston that no one has ever heard of
them.   Awesome band.  THEY would have been the best opening band for Rush,
IMO.

Thanks for listening-
Rob "Q" Aquino

P.S.    Oh, yeah, a final thought to Aaron down there in the delirious heat
of Miami:  don't get too ahead of yourself - if the Sabres (somehow) knock
off the B's in the 1st round, I'll never let you hear the end of it!!!!!
Patty La, Alex the Great, and the mighty Grant Fuhr - c'mon boys!!!

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

From: Rohit Keswani <keswani@UMDNJ.EDU>
Subject: Black Gold/Fly By Night
Date: Tue, 13 Apr 93 13:48:14 EDT

Someone mentioned having heard Black Gold (it's by Soul Asylum) and
recognizing a riff similar to one from Fly By Night. Actually, I
picked up on that too. The riff where Geddy sings "This feeling
inside me says it's time I move on" (Well, something like
that...I'm sure you all know what I mean). At first I thought I was
just imagining the similarity. I guess not.

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

Date: Tue, 13 Apr 1993 15:11:03 CDT
From: shawstaj@uwwvax.uww.edu
Subject: Guitar World Article-Personal lessons w/ A.L.

reprinted without permision from:

****************************************************************************

"MUSICIAN" Magazine
"1993 Whole Guitar Book" Issue
"Private Lessons" Section
"Dual-ing Guitars" by Alex Lifeson

Because of the constraints of the three-piece, I always felt that the guitar
had to be more than a solo insrument; it had to be more rhythmic and capable
of developing a melody completely. There's been a lot of freedom in Rush to
experiment and to cultivate a fairly broad style, and it was always important
to refine the chord voicings so that the guitar took up a lot of space and
sounded full. Of course, when we added keyboards, they took up a lot of slack,
but I think the use of these sorts of chords to get more width out of the
guitar stylistically, I've always been an effects-type guitar player. I've
tried to stay on top of effects as they've come along over the years, from
the very first MXR phasers right through the modern stuff, and that plays an
important part in developing textures. So it's really the combination of those
kind of voicings with the technology that's available.
	To use "Distant Early Warning" as an example, Geddy Lee basically
pedals through that in A. I tried to incorporate most of the melody he's
playing in the structure of the chord just to get it as broad as I can. I
play the basic chord, but I add the seventh:

	X  O 				X	       X
        ================		================
      	|__|__|__X__|__X		|__X__|__|__X__|
	|__|__|__|__|__|		|__|__|__|__|__|
	|__|__X__|__|__|		|__|__X__X__|__|
	|__|__|__|__X__|		|__|__|__|__|__|
	|__|__|__|__|__|		|__|__|__|__|__|

	It sounded right in the line he was playing; it just filled that whole
space and sounded broader than a standard chord. You can move the chord
structure at right, A C with an added D, up to the tenth fret to get to G with
an added A.
	I started playing with chords like that around the time the Boss
chorus came out; I found that the jangliness of the chorus really accentuated
those kind of chords and the broadness of the sound almost made it sound like
there were two guitars playing. And that's really what it comes down to with
my voicings: I try to make it sound like it is two guitars rather than one.
	This is going back 15 years, but a lot of the chords in the piece
"Hemispheres" were played with the open B and high E strings droning. It opens
up with an F# but with those two strings ringing out, and goes up with that
same major idea - with the two open strings - to the A at the fifth fret, and
continues throughout. I play all the chords keeping those notes open, whether
it's a B at the seventh or the second fret, again for that reason of giving it
width and size. Instead of playing, say, a regular B major, I'd play a chord
with the same sort of structure as in "Distant Early Warning," but with those
two strings open.

	            O  O		X           O  O
	================		================
	|__|__|__|__|__|		|__|__|__|__|__|
	X__|__|__|__|__|		|__X__|__|__|__|
	|__|__|__X__|__|		|__|__|__|__|__|
	|__X__X__|__|__|		|__|__X__X__|__|
	|__|__|__|__|__|		|__|__|__|__|__|

	Play along with records you like, learn the parts and get a sense of
what the players are doing in terms of songwriting and structure; develop an
understanding of it from that point and then translate it to whatever that
person does with people he plays with. I've been lucky in that the rhythm
section in the band I work with is pretty hot; Neil Peart and Geddy are really
in tune with each other, and a lot of times it's uncanny - they'll be jamming
along and just click in on all these little nuances. It's very, very solid yet
interesting and quit experimental, so the guitar can play over it until it
locks into what's going on from a rhythmic standpoint. In the early days I
wasn't really sensitive to what Neil's bass pedal was doing, or the little
things on the hi-hat. I tried to lock in on that, and it's been a great benefit.
It also made things harder to play, which was a very important consideration for
us back then; we always wanted to push ourselves.
	I hear inspiring guitarists constantly - Eric Johnson's _Ah_Via_Musicom_
was a spectacular album. We were lucky enough to have Eric open for us for a
month, and I was up there every night watching him play; he's absolutely my
favorite guitarist, and he's a positive, good person. Steve Morse, same thing.
Those guys I put in a completely other category: They are truly guitarists, and
they are brilliant. These guys know _everything_. But everyone's different, and
that's really important for guitarists to remember. You shouldn't gauge your
abilities against somebody like that; you should strive to learn the things
they know, but always maintain the self-confidence that what you're doing is the
best you can do at any given time.

*******************************************************************************

>....and, for whoever said they couldn't imagin Geddy in 15 or 20 years....

ORQ:	"but even when I am grey, I'll still be grey my way, yah!"...Rush, COS

ORQ:"....no you idiot, I said P.R.S."---George from Alex's
                                    profile, RTB tour book

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

Date: 13 Apr 1993 16:58:32 -0400 (EDT)
From: Samantha--First Lady of Rush 
      <JJARNOT1%ITHACA.BITNET@CORNELLC.cit.cornell.edu>
Subject: acoustic Rush

Just a random thought or two:
        In response to Russel's comment on Rush unplugged:
                In my opinion, a number of Rush tunes sound pretty darn
        good acoustic.  I was in a band that only played Rush most of the
        time, and I'd get together with the guitarist and his acoustic
        guitar and practice.  The point of this whole bit is that I reallyy
        think songs like Lakeside park and even parts of Hemispheres sound
        great acoustic if done by someone who can play (I don't need to
        mention the guys' playing ability, do I?).  And even Clapton
        covered a number of tunes in his unplugged stint.  So, ladies and
        gentlemen, before you write off an unplugged session, think about
        some of their material that could be done with a trio(guitar, acoustic
        bass, drums/percussion), or toss in a piano or other acoustic
        keyboard instrument.  To write off an unplugged session would be
        underestimating three of (my opinion here, folks) the most
        creative musicians of all time.

And, no this isn't a flame.  I'm a firefighter.

                                                sometimes......

                        Samantha

"with the heart and mind united in a single, perfect  sphere"

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

From: Chris Schiller <chris@cdc.hp.com>
Subject: Metallica and Rush
Date: Tue, 13 Apr 93 13:27:56 PST

Another Rush and Metallica connection:

On the "Metallica with black cover and snake" album, the most recent
album that someone called controversial (why?), there is a obvious
borrowing of lyrics.  On _Holier Than Thou_ there are the lines: Point
the finger, slow to understand / Arrogance and ignorance go hand in hand.
Sound familiar?  There is no mention of Rush in the liner notes, maybe
because there were thanks on the previous album.  The two songs
have a similar theme, maybe this was another tip of the hat.

Chris
chris@cdc.hp.com

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

Date: Tue, 13 Apr 93 17:13:05 CDT
From: andrew kenneth culver <akc1@midway.uchicago.edu>
Subject: Satan--Anagram

On the Satanic lyrics note,

	Does anyone have any idea about the meaning of the Anagram chorus:

		There is no safe seat at the feast
		Take your best stab at the beast
		The night is turning thin
		The saint is turning to sin

	I had a friend come up to me and tell me that this is satanic; I told
him it couldn't be, but I'm at a loss to explain an alternative meaning.  It
does sound similar to the ever-controversial _Hotel California_ by the
Eagles.  Any ideas?

	Andy C

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

Date: 13 Apr 1993 18:11:29 -0600 (CST)
From: World Kickball League <TBEAUDOIN@VAX1.UMKC.EDU>
Subject: Rush parody -- I Think I'm Gonna Toss

"I think I'm gonna toss"
Inspired by "I Think I'm Going Bald" by Rush
by Thomas Beaudoin

I looked in the toilet today
My breakfast stared right back at me
I'd lost some major chunks
I think I'm , I'm gonna toss
I think I'm gonna toss!

Oooh, it seems like only late last night
I was sitting and eating spam-and-cheese on white
Grape tamales, and grits so jolly
But now I'm all so blotto
All I feel is vertigo!

I get up out of bed
Digested food rising to my head
I dive in just in time
To share last night's pork rinds!
Go wild!

Once I loved raw hamburger
Mixed with eggs and a touch of tobasco!
Once I would inhale molasses
If they were stirred with rabbit droppings
But then chunks would fly
And I'd have to decide
If I wanted to use it for ice cream toppings
No more passersby gawking!

My chow time's woefully bad
Glancing at the porcelain throne just makes me sad!
But just as I think my life's a wreck
I eye the eggnog and the Chex!
Yeah!

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

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

    rush@syrinx.umd.edu

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

    rush-request@syrinx.umd.edu    or
    rush-mgr@syrinx.umd.edu

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

    syrinx.umd.edu       or       129.2.8.114

When you've connected, userid is "anonymous", password is <your userid>.
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:

    server@ingr.com

These requests are processed nightly.  Use a subject line of MESSAGE to
send a note to the server keeper or to deposit a file into the archive.

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 The Rush Fans Mailing List, 1993.

Editor, The National Midnight Star
(Rush Fans Mailing List)
********************************************
End of The National Midnight Star Number 661
********************************************




Previous Issue <-> Next Issue