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Subject: 05/17/93 - The National Midnight Star #681
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List posting/followup:     rush@syrinx.umd.edu
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(Administrative postings to the posting address will be ignored!)

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


          The National Midnight Star, Number 681

                   Monday, 17 May 1993
Today's Topics:
               Rush Influenced by Journey.
                     The Rush Rap....
             The now-infamous RCB, round 3...
            Power Windows/Making of a Rush Fan
                       VIDEO WATCH
                     Rush Convention
                Musical educations of RUSH
                    Roll The Bones rap
                     Holding Our Fire
                   RUSH CASSETTE BUREAU
                       producers...
                      producers.....
                     Science Fiction
              'Pass'ing sounds and doorbells
                         Freewill
                 Audience vs. Soundboard
                         Guitars
             Re: Peter Collins producing....
           the RushFan (Tm) Cannot be defined!
                   Peter Collins et al
                 RCB and the convention
----------------------------------------------------------

From: Brian Boyes <brianboy@microsoft.com>
Date: Fri, 14 May 93 14:30:44 PDT
Subject: Rush Influenced by Journey.

Greetings and Salutations Rush Fans!

I just found out about NMS from "Screaming in Digital", which is a
weekly Queensryche fan email.  I must say this is really cool!  On to
the point of my posting:

After purchasing the Jouney box set some time ago, I finally got around
to reading the book that comes with the set.  The description for the
song "Nickel and Dime":

"At first, this complex number contained three parts, including a final
section in seven.  When the final section was dropped off, the two
remaining time signatures were in five and ten, thus "Nickel and Dime".
 Again, this Mahavishnuesque composition attracted the attention of
Journey's fellow musicians, notably the members of Rush, who
constructed their song, "Tom Sawyer," along suspiciously lines."

"Nickel and Dime" is from the album "Next" released in 1977.  The song
can also be found on the first CD of the Time3 box set.  It is a great
number by the way ... worth checking out.

Ciao,
Brian Boyes

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

Date: Fri, 14 May 93 14:24:33 -0700
From: kerry@SEAS.UCLA.EDU (Kerry J. Kopp)
Subject: The Rush Rap....

OK, I realize I'm probably never gonna hear the end of this, but I
happen to like the Rush Rap.  No, I don't like rap. Period. It gives
me the heebie-jeebies, or the "homie" equivalent there of. I do
however think the Rush Rap is more than listenable, it is in fact
kinda cool.  I'm not saying that what I want is for Neil and Iced Tea to
get together (I dunno. Anthrax/Public Enemy wasn't too bad..), but so
what if Rush wants to try a few things that are different.

Well, just my two cents worth.
kjk

ORQ: "Jack...Relax...Get busy with the facts..."
;)

/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\
	    Think about how stupid the average person is -
	Then realize that half of them are stupider than that!
					-George Carlin
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\

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

Date: Fri, 14 May 1993 19:38:03 -0400
From: mcmahan@cs.unca.edu
Subject: The now-infamous RCB, round 3...

Sorry about this, but...

When I originally responded to the RCB post, I thought I might take
some heat for it. At least only them themselves seem to be out of
whack. No one else has accused me of misplacing my head in my nether
regions.

My post was just the alternative viewpoint. RCB was spieled like it
was the greatest thing since sliced bread, while it struck me as a
superfluous service for people on the NMS. Especially considering how
eager people on the net are to trade tapes and get more new, exciting
bootlegs. (In fact, if I said I wanted to trade a soundboard 1987 show
for a tape from the Caress of Steel tour, or for something with a lot
of CoS songs, I bet someone on this very list would come forward and
take me up on it... at least I could hope :))

> A careful re-reading of the RCB Salutation post immediately refutes
> ALL of Mr. McMahan's pretentions.

Really? I think something is backward here...

> there isn't a "middle man" involved here

Yes there is -- you send your tape of a bootleg to the RCB, they get
it, and they dub the copies for the people who want it.

>what if you live in Idaho, and you know that the recording you want is
>in New Jersey?  Whaddaya do?  Why, send 'em a tape!  (This is also
>considering the person in New Jersey doesn't charge you $20 to do it.

With the NMS, geographical location isn't important as long as the
post office sends stuff there. I have *never* been charged any amount
of money for a tape trade by *anyone* on the net before. The net is
populated by nice people who enjoy sharing rare recordings of Rush and
other groups, and aren't interested in making a profit. If someone did
want to charge money, I'd be very reluctant to trade with them.
(Unless it involved a soundboard copy of Perpetual Change... oh, never
mind)

   [ Here Here! for this attitude.  Yeah, it's just my opinion but I would 
     have to agree whole heartedly.  There *are* a lot of nice people who
     "enjoy sharing and aren't interested in making a profit." :rush-mgr ]

With a normal trade, you buy a tape, dub something on it, and mail it
to someone else. While the other guy does the same process. With RCB,
you buy a blank tape, prepare a SASE, and then mail that, doubling
your overhead of postage and mailers.

But, you pays your money and you tapes your choice. The tone of the
overbearing hyperbole surrounding the original RCB announcement struck
me as odd, and I pointed out the alternatives that were available. No
one has to pay any attention to me or RCB, nor do they have to read
those 200 tapes for $0.01 ads in Parade magazine every Sunday, either.

|Personally, I think he's pissed because he didn't think of the idea
|first.

I would be hard pressed to have come up with a system that makes
everyone's tapes one more generation of dubs away from the original..
:)

|telling a confused young man to remove his head from his anal cavity.
|Again, I am sorry.
|
|   [ This is *very* close to a personal flame. ]

No, that there is the genuine article. I don't think it is confused to
want to look at everything from many different angles, and explore all
the alternatives, something Mr. Peart has suggested we do many times.

I'm not even going to open the can of worms surrounding why the RCB is
so incredibly defensive of themselves...

Scott
--
Hold your fire, keep it burning bright... (Rush, '87)

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

From: kbullock@acpub.duke.edu (Kenneth Bullock)
Subject: Power Windows/Making of a Rush Fan
Date: Fri, 14 May 1993 23:52:00 -0400 (EDT)

Dave:

_Power Windows_ a weak album musically?  I beg to differ.  I think _Mystic
Rhythms_ is the best-produced Rush song ever, and it definitely ranks in my
top five Rush songs, for lyrics and music.  The rest of the album isn't too
shabby either.  Take _Territories_, for instance.  The distinguishing
feature of _PoW_ is its rich texture.  That's mainly a function of
production, I believe.

Since some folks are sharing stories of "how I became a Rush fan," I thought
I'd throw one in.  It's not about me (my story isn't very interesting), but
an old college roommate who is a bass player and the biggest Rush fan I have
ever personally known.  He was joining a record club one day while in high
school, I think, and he couldn't find enough LPs to start with.  He hadn't
heard of Rush, but he thought _Exit, Stage Left_ was a cool title, so he
ordered it.  Enter another Rush fan.

"If you can't beat 'em, beat 'em off."
    --unknown Greek philosopher

					Ken   kbullock@acpub.duke.edu

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

Date: Sat, 15 May 93 00:07:19 -0400
From: karaffa@scus1.ctstateu.edu (Gabriel Karaffa)
Subject: VIDEO WATCH

Greetings and Salutations,
	I' have been attempting to locate a tapw with some presto and
RTB videos on it.  Ever since I saw a clip of the RTB video on IN
CONSERT last year, I've wanted to see the whole thing.  Has anybody
heard anything about another video compilation, I don't have MTV and
feel neglected by network TV.
					Gabriel D. Karaffa

'Well I guess we all have these feelings
we cant leave unreconciled'
	-Open Secrets

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

Date: Sat, 15 May 1993 00:28:41 -0400 (EDT)
From: John Michael Santore <jsbh+@andrew.cmu.edu>
Subject: Rush Convention

Yup folks, the NMS convention IS not happening.  Sorry you haven't
heard from me sooner, but I had a bunch of end of semester projects
and finals.  Essentially I received a total of about *20* deposits for
the convention, and I couldn't do a thing without at least 80 or so,
so the whole thing died.  I was really psyched for the whole thing,
but I guess it just didn't happen.  I'd really like to thank the
support I *DID* get, especially those who DID send in their money.
(and yes it will ALL be refunded, although it make take a little).

A little side note for anyone who cares... Me and several friends of
mine are probably trekking up to Lakeside Park/Toronto anyway that
weekend, and just winging it (i.e. No formal events, stay in the
cheapest shithole we can find, etc)  I'd like to extend an invitation
to anyone who wants to show up.. I'm not organizing ANYTHING formal,
but if you are interested in just showing up, let me know and I'll
tell you how to find me.  Essentially show up if you want, or
don't.... totally informal, with NO bookeeping whatsoever (THANK GOD!)

I would like to say that, although I was very frustrated with the lack
of support for the whole thing, that I DID enjoy most of the
organizational stuff, and I hope something like this eventually DOES
happen (although I have no intentions WHATSOEVER of doing this next
year).

I only have one thing to say in response to albertr(frick@cs.utexas.edu)
Why don't YOU organize a convention next year?  Remember, I
volunteered for this, because no one else wanted to do it.  I'm sorry
the thing didn't happen, but I DID work hard, and I can only do so
much.

   [ People, John's got a good point.  He only volunteered for it, which is 
     probably more than what anyone else did at the time.  You can't really 
     blame someone for volunteering, if you yourself didn't.  :rush-mgr ]

			Sometimes you win, sometimes you lose
			but you just gotta Roll the Bones!
					John Santore

If you have any questions pertaining to the resolution of convention details
feel free to send me mail.
=============================================================================
The abbreviated .sig of John Santore (jsbh@andrew.cmu.edu)
=============================================================================

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

Date: Fri, 14 May 1993 21:36:48 -0700 (MST)
From: Steven B Gruver <gruver@gas.uug.arizona.edu>
Subject: Musical educations of RUSH

Being a music education major and definately influenced by the virtuosity
of RUSH, I'd like to know what kind of musical training each member of
RUSH has had?

It is clearly obvious that Neal Peart has gained a reputation of
excellence from the "percussion establishment"--known professionals
alike.
What kind of recognition has Geddy and Alex recieved?  Any responses would
be greatly appreciated.

Steve Gruver
University of Arizona, Tucson.

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

Date: Sat, 15 May 93 12:57:22 EDT
From: u6x22@lfkw7.bgm.link.com (Chris Bush)
Subject: Roll The Bones rap

     I too am a little interested in how people like the "rap" part of RTB.
Particularly, I am interested in how people responded when they first
heard it, that is, if like me, you had NO idea it was coming. I remember
sitting there happily listening to my first new Rush tunes in some two
years, the title track comes on and for 3 minutes or so, I was humming
along to this great sounding song, when all of a sudden... AAAAAAAACK!!!!
What is this?!?!?!?!  I was quite appalled, and even after all this time
I still can't stand it.  With all the talk about Rush, MTV, and everyone's
mutual distaste for that station, I remain a little surprised that their
little rap on RTB didn't put them on MTV's politically correct playlist for
good!
     Anyway, getting to the real point.  Using my Sun SPARCstation and CDROM
drive, I sampled the song directly from CD to the SPARCstation's digital
audio input.  Then, I edited out the two rap segments and the brief piece
of music in between.  The transition between Alex's solo before the first
rap and the resumption of music after the second rap is REALLY NASTY
sounding, but it gave me a chance to listen to it rap free.  I posted the
resulting file, rtb_norap.au, to the rush/incoming directory on
syrinx.umd.edu for anyone who cares.
     I wonder what wonderful surprises they will come up with for us on
"Critical Mass"?

------------------------------------------------------------------------------
Chris Bush          /           \                "Carpe Diem" - Seize the Day
CAE-Link Corp.     /_____/^\_____\               "Carpe Carp" - Seize the Carp
Binghamton, NY     \     \_/     /  Q: How is Christmas the same as Halloween?
cbush@link.com      \           /   A: Because Dec(imal) 25 = Oct(al) 31
   The above represents my own opinions, not those of my place of business!
------------------------------------------------------------------------------

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

Date: Sat, 15 May 1993 15:22:06 -0400
From: mcmahan@cs.unca.edu
Subject: Holding Our Fire

A truce has been declared between me & the RCB, in case anyone was
wondering. I was a little too hard on the poor guy, who didn't deserve
it. I should have held my fire in that post.

   [ Hmm.. a sudden change of the weather eh?            :rush-mgr ]

I'm even sending him a tape. If you have a Caress of Steel bootleg,
send it to the RCB. (Or to me directly for that matter :^))

I remember hearing that CoS boots were *the* hardest to find out of
all the tours, but I know *some* Rush fanatic has one... they just
gotta.

Back to your regularly scheduled ELP discussion... er, Rush
discussion...

Scott
--
They've read the book that gives (Yes, 1983)

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

Date: Sat, 15 May 1993 21:17:10 -0400
From: Scott David Daly <skipdaly@wam.umd.edu>
Subject: RUSH CASSETTE BUREAU

Hi there!

	I read your post and I kinda like the idea of a boot
"archives"!  If this is handled right, there is a lot of potential
here!  You guys should really concentrate on tracking down LOW-GEN
stuff and archiving the stuff on DAT.  This could provide a "tape
base" deal...a way of making sure that the BEST possible quality of
each show that has been recorded through the years survives for fans
to hear forever!   If you guys could track down stuff like the master
copy of the Manchester 6/2/77 show, pop it on DAT, then this classic
recording would survive forever in it's BEST POSSIBLE QUALITY!!

	The quantity of recordings could grow really quickly too!
The fact that it's open to everyone will cut down on all the anal
retentive idiots that act like such jerks to people just trying to
get started in trading too!

	The key thing is that you guys should try to get the BEST
QUALITY of as MANY shows as you can!  If somebody offers you a lower
gen tape of a show you already have...TAKE IT!  After you get to the
point where you think you've got the lowest gen you're gonna get for
this particular show (e.g. master copy), DAT it!   You all could also
keep the details on the shows and maybe research a little to make
sure the dates, venues, etc are correct!

	I think it would even be within reason to run this kind of
like a club with annual dues and all.  This would defray costs of
stuff like the DATs, etc.  The payoff for the member is that, after
this thing really takes off, everyone will have access to the best
possible recordings for a MULTITUDE of different shows without having
to hunt everywhere trying to track down lower gens on the shows...the
club will already be doing this work!

	This ALL hinges, however, on how willing some of the anal
retentive collectors are to contribute stuff.  Some of these guys are
idiots with no lives.  I personally feel that liking a group and
collecting tapes should be a kind of "common ground", where
friendships (or at least cool conversation) might develop...but some
people see tape collecting as a kind of contest (" I've got this and
none of you can have it...nannanna!").  What I'm trying to get at is
that this thing could take a while to take off and it's gonna be a
while before it gets to the point of really appealing to a LOT of
people.  It'll be great for people just getting started, and
hopefully it will eventually grow beyond that.

If you guys want to get to that point, my suggestion would be to
request that anyone sending in their initial contribution recording
send the LOWEST GEN SHOW they have, regardless of whether it's the
"best" show they have.

This way, you'll start getting low gen tapes, and THAT is what
appeals to the real serious guys that have the awesome lists and have
been trading for 20 years.  They are always looking to upgrade
generations.  This way, THOSE guys will start sending some stuff in,
and they always have LOW gen shows!

	Please don't take anything I said in this letter as any kind
of "flame" against the way you were offering to run this thing...I'm
merely trying to offer some helpful suggestions on how this idea
could appeal to more people and have greater possibilities...I hope
this helps!

						Your Friend,
						Skip Daly

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

Date: Sat, 15 May 1993 21:48:56 -0700 (MST)
From: Steven B Gruver <gruver@gas.uug.arizona.edu>
Subject: producers...

What ever happened Terry Brown, the old RUSH producer?

What other groups has he produced?

What instrument is his primary axe?

What is he doing now?

Why did RUSH let him "go" ?

             [ Why are we here?  :) :rush-mgr ]

Steven Gruver
University of Arizona,Tucson

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

Date: Sat, 15 May 1993 21:55:00 -0700 (MST)
From: Steven B Gruver <gruver@gas.uug.arizona.edu>
Subject: producers.....

What's the deal with RUSH changing producers all the time since Terry
Brown left?  Are they just going through a faze and just adjusting to the
many musical interpretations and styles of a new producer?

I'm rather impressed with the adaptability with RUSH, as they can handle
the many changes with changing a producer.

I've been a die-hard fan of RUSH since 1985 and am not criticizing their
choices, but I'd just like to know what the deal is.....

I'd like to know, speaking from a musical stand point.

Steve Gruver
University of Arizona, Tucson

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

Date: Sun, 16 May 93 13:05:42 EDT
From: Greg.Andrade@um.cc.umich.edu
Subject: Science Fiction

I have also read the Modern Drummer article in which there is a reference to
a song entitled "Science Fiction".  This is a mistake of the author, since the
actual title of the song in question is "Natural Science".  In the earlier
days of Modern Drummer, mistakes such as this one were fairly frequent.  For
instance, in the first ever interview with Neil Peart, the magazine spelled
Geddy, G-E-T-T-Y.  The publication is much more professional now, and you
will rarely see a blatant error.  Just sparing the confusion.

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

Date:    Sun, 16 May 1993 18:16:53 -0500 (CDT)
From: KWR08495@ACUVAX.ACU.EDU (Karl W. Reinsch)
Subject: 'Pass'ing sounds and doorbells

Date sent:  16-MAY-1993 18:04:37
 Yes, my copy of Presto has the odd little sounds during The Pass.
 But, the sound that I am always bothered by is on HYF, during Lock and
Key. When played at sufficient volume, there is a sound at 1:00 or 1:01
that always makes me think that my doorbell is ringing.
-karl.
================================================================================
Karl W. Reinsch
Internet: kwr08495@acuvax.acu.edu     Bitnet: kwr08495@acuvax
"There is 'tic' and 'toc' in 'atomic'" - Neil Peart
"He who takes up the atomic sword will perish by it." - Yevgeny Yevtushenko

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

Date: Sun, 16 May 1993 21:44:45 -0400 (EDT)
From: mhoupt@uceng.uc.EDU (Michael R Houpt)
Subject: Freewill

Hey Rushians,
i know i wrote in about this a while ago, but i'm sure i heard
a story once from a reliable Rush friend of mine once who said
Geddy screwed up the words in Freewill by saying "...you still
have made a choice" when in fact Peart wanted him to say "...you
cannot have made a choice."  can someone clarify that story, or
was my friend full of doo-doo?  Anyhow, i can look at the song
in both ways and both of them give me great vibes.
that's all for now,

mike

"Obselete ...  Absolutely"

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

Date: Sun, 16 May 1993 19:54:37 -0700 (PDT)
From: Mike <mkkowdley@ucdavis.edu>
Subject: Audience vs. Soundboard

In the boots file are mentioned recording from "Soundboard"
and from "audience"... what do these terms mean?

Also, what should one do if interested in getting any of
these?

- Mike

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

Date: Mon, 17 May 93 13:45:56+020
From: Greg@dip1.ee.uct.ac.za
Subject: Guitars

Hi...

Does anyone have details of the guitars, effects, etc. used by Alex
over the last 15 years or so.  I am particularly interested in the
guitar/s and effects used on 'Grace Under Pressure' and 'Power
Windows'.

BTW, does anyone else think that 'Grace Under Pressure' is their best
(contemporary) work?

Greg

Greg Cox                Greg@dip1.ee.uct.ac.za
Image Processing Labs
Electrical and Electronic Engineering
University of Cape Town, South Africa
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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

Date: Mon, 17 May 93 09:18:01 -0400
From: rarcuri@itsmail1.hamilton.edu (Russ Arcuri)
Subject: Re: Peter Collins producing....

<harper!brouceda@uunet.UU.NET> writes:

>PoW is not all that great musically, and it seemed as if the guys changed too
>much on PoW, most likely dur to the fact that Peter was the producer.  Also,
>HYF was not all that great musically, neither.

I can not disagree with you more.  Rather than turn this whole thing into a
flame war, I will try to say why I feel this way nicely.

First, although I don't think PoW is one of their best albums, I do think
it is a good, solid album - and not just because of the lyrics.  I think
the music is well thought out and definitely sounds good.

Second, I believe that both musically and lyrically, HYF is one of their
top two or three albums.  Now, if I was writing this letter two months ago,
I would not be saying this.  As I mentioned several issues ago, I never
really liked HYF when it first came out.  It fell into that category of an
album that I really needed a break-in period for.  But, needless to repeat
(I'll do it anyway), I now find it to be one of their best.

It's impossible for me to know whether you have given HYF a serious listen
or not, but if you haven't, here are a few suggestions:

1.  Listen to HYF on a really good sound system.  This is vitally
important, because there is a lot going on there sonically, and a boombox
or walkman usually muddies the complex pieces.

2.  Just for the first couple of listens, skip these songs: Force Ten, Time
Stand Still, Turn the Page.  These are great songs, but they are probably
the ones you've heard most already.  Give the rest of the album a chance.

3.  Listen to Open Secrets sitting in a relaxed position with your eyes
closed.  I feel that this is one of the most underrated Rush songs on any
album.  Geddy's bass work on this song, while not the most complex, is to
me quite impressive.  What I mean is this: if you don't listen for the
bass, you might let it pass unnoticed.  But once you've given it a good
listen, you will notice it every time from now on.

Of course I could probably list a hundred other "tips" for listening to and
appreciating HYF, but I won't bore you with any more.  I really think that
if you haven't given it a second chance, you are missing out.

Russ Arcuri
rarcuri@hamilton.edu

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

Date: 17 May 93 08:35:30 CST
From: GSCHMIDT@lib.auburn.edu
Subject: the RushFan (Tm) Cannot be defined!

Any attempt to categorize and generalize a Rush fan (or RushFan (tm))
is as ridiculous as it is impossible.  I believe it is safe to say
that Rush fans run the gamut of descriptions; from mongoloid rednecks
to quantum physicists!  I happen to fall in between and feel any
attempt to generalize my passions and tastes is an insult to
individuality.  Let the individual Rush fan decide the "proper"
definition of a Rush fanatic.  Making a list of RushFan qualities
results in a heirarchy or class-system of fans..."I play bass, have
been to 30 shows, and know all the words to every album, so I must be
a bigger and better fan blah-blah-blah." Keep freewill alive, and be
yourself. The desire to listen to stunning, provocative, and
revolutionary music is the core of our kinship. Take care Rush
brothers and sisters.
                            -Greg  (the Closet Anarchist)

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

Subject: Peter Collins et al
Date: 17 May 93 13:03:34 EDT (Mon)
From: hc27@summitis.com (Dan Kelley)

> Subject: Peter Collins, SoF
> From: Jimmy Shorts <harper!brouceda@uunet.UU.NET>
>
> I have to agree with Alan Ristow's comment on not liking Peter Collins as
> a producer for Rush albums.  PoW is not all that great musically, and it

Oh contrare!!  I think that Peter Collins producing is much Much MUCH better
than the last two efforts by Rupert Hine (too much "pop" for my liking).  PoW
and HYF and dynamic and "crystal clear" if you will (just listen with
headphones).  They have just the right "mix" of hi-tech and traditional sound
IMHO.

> seemed as if the guys changed too much on PoW, most likely dur to the fact
> that Peter was the producer.

I disagree totally.  I think that PoW was the sound they were looking for
after the somewhat failed efforts of Signals and GUP.  Just listen to the
comments made by the band regarding those two albums.  It doesn't take a
genius to figure out that they were not very pleased with either (especially
Signals).  Granted, we are talking about music sound not lyrics and the
contents of the music itself (although I think each album had each problem).
There is a difference because GUP is great musically, it just sounds like
junk.  For instance, I'd rather listen to Distant Early Warning on ASOH than
on GUP.  Anyway, I think the band experimented and had too much sync in the
music on Signals (problem was music itself) and GUP had more of the right mix
of guitar and sync (although maybe a little guitar heavy in some areas) and
PoW was just the right mix of both.  Also, GUP's problem was that it was too
"tingy" sounding (so the problem was producing).  Furthermore, notice that
they did not bring back Peter Henderson (GUP producer) for any future efforts
for some reason or another.

> Also, HYF was not all that great musically,
> neither.  NOW before ya all flame me for saying those nasty things, I DO
> belive that those two albums were some of the best lyrical work that Neil has
> done.  I happen to really like those two albums for what was said and tend
> to ignore the music in the background of the words.
[..]

Uhmm, I don't mean to flame and I tend not to get involved with opinion-
related things (because we all know the fact about opinions :-) but I just
had to throw in my $.02 worth here because I really like the sound on PoW
and HYF and am looking forward to the new album (whenever it may be).

Dan...

--
     Dan Kelley      |   sss                                            /\
System Administrator |  ss   u u  m   m  m   m  i ttt  Information    /\/\\/\
  dank@summitis.com  |   ss  u u  mm mm  mm mm  i  t   Systems, Inc. //\\\\\\\
   (216)-384-1717    | sss   uuu  m m m  m m m  i  t   Akron, OH    ///\\\\\\\\

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

From: ~ Rush Fanatic ~ <jlang@syrinx.umd.edu>
Date: Mon May 17 16:47:54 EDT 1993
Subject: RCB and the Convention


>Date: 12 May 1993 21:53:53 -0600 (CST)
>From: BEEZUS@utxvms.cc.utexas.edu
>Subject: Scott McMahan vs. the RUSH CASSETTE BUREAU
>
>The RUSH CASSETTE BUREAU does not run on the "What's in it for me?"
>ethic.  

Having dealt with bootlegs for quite some time now, I find this ethic more 
and more prevalent than not.  If indeed the RCB (as you so call yourself)
does not operate on the above ethic then I applaud them for that.  But I
wonder if in Scott's original message if he was hinting at the "What's in 
it for me" type of operation, eh?  As perhaps I am, but then as long as
you have stated above, I can only hope that yours is the exception to the 
bootleg scene.

>This is a co-operative by Rush fans for Rush fans.  And, contrary
>to what Scott claims, there isn't a "middle man" involved here.  The RCB
>has the recordings, you tell us which ones you want (one at a time), and
                     ^^^^^^^^^^^
>you get them taped onto your own blank cassettes (the quality is your 
>preogative considering you're sending 'em).

Who is the "us" in the above paragraph?  It would seem the middle man is
the "us" part.  

>A careful re-reading of the RCB Salutation post immediately refutes
>ALL of Mr. McMahan's pretentions.  Personally, I think he's pissed because
>he didn't think of the idea first.  Oh, well...

I don't see it as that at all.  Why would he be pissed?  This is a silly
assumption.

>I am sorry to have wasted everyone's time basically telling a confused
>young man to remove his head from his anal cavity.  Again, I am sorry.

Puuuulllleezee...  It would appear from the tone of your post, it's not
Scott that is the one who needs to orientate his head.  Your last comment 
is not necessary.  If your reaction to his post is such that it resorts to 
name-dropping I wonder what the response would be should some differences
arise out of your RCB project?  Sigh..

>From: frick@cs.utexas.edu (Baltasar Allende Reva)
>Date: Wed, 12 May 1993 23:21:29 -0500
>Subject: why the concvention was a failure
>
>I think the convention was a failure ... I told mr. Santore ... which in my 
>opinion would have been a great sucess ...  I suggested this twice, but
>he ignored me!  .... I would have gone ... since I knew that ...  I knew
>this had to be done ... I also suggested ... I'm sure there are ... Again
>my idea was defeated ... If he would only have listen to my many warnings

I vote that you volunteer for the next Rush convention.  After all, with all 
the critique and great ideas you've had, the next one should be a blast.  Come
on!  He volunteered!  Sheesh... he wasn't under contract or anything, it's 
indeed unfortunate about the outcome but you can't go and blame him for it.
Next year, hopefully you can pull off a good effort to get the convention
going.

>About 4 years ago I meet a guy that told me that he had a tape from the
>2112 era that contained many unrelease songs with Alex singing...
>has anyone heard about this tape before?????
>Rush-mgr?  How about you Jimmy???? whats the deal with this strange rumor?

Never heard of it.  Perhaps he was confusing it with the song they did
with Jack Secret.

>albertr
>frick@cs.utexas.edu
>
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End of The National Midnight Star Number 681
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