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Subject: RUSH Fans Digest of 07/30/90 (#19)
RUSH Fans Digest, Number 19
Monday, 30 July 1990
Today's Topics:
Re: Chronicles Information
"Peart" Pronunciation
Response to 7/26 Digest (LOOOONG)
Saga
post-ESL trauma
Re: "The Pass"
Emotions and Albums
First album
(none)
_Hold Your Fire_ & "Force Ten"
Various stuffnessisms
testing , is my mail arriving, I posted on 7/26 and 7/27.
Questions
song premiers
Posters
Songs not on the album being toured
HAPPY BIRTHDAY, GEDDY!!!
Responses to questions etc.
List outage
(none)
----------------------------------------------------------
Date: Thu, 26 Jul 90 11:09:03 -0500
From: boerio@orchestra.ecn.purdue.edu (Jeff Boerio)
Subject: Re: Chronicles Information
Figured everyone might be interested in seeing this.
- Jeff
- Chronicles, the first ever RUSH compliation, compiles 28 tracks
from one of the most influential bands of the 70's and 80's. All
phases of the band's career are represented.
- Chronicles features 3 non-CD tracks
- What You're Doing (Live)
- A Passage To Bangkok (Live)
- Take Off featuring Geddy Lee
(from Bob & Doug - Great White North)
- Chronicles features an essay by noted rock historian John
Swensen
- Chronicles was prepared from the original master tapes
Song Titles
Disc 1
Find My Way
Working Man
Fly By Night
Anthem
Bastille Day
Lakeside Park
2112
a) Overture
b) Temples of Syrinx
What You're Doing
A Farewell To Kings
Closer To The Heart
The Trees
La Villa Strangiato
Freewill
The Spirit Of Radio
Disc 2
Tom Sawyer
Red Barchetta
Limelight
Take Off featuring Geddy Lee
A Passage To Bangkok (Live Version)
Subdivisions
New World Man
Distant Early Warning
Red Sector A
The Big Money
Manhattan Project
Force Ten
Time Stand Still
Mystic Rhythms (Live Version)
UPC Bar Code Numbers
422 838 936-4 (CT)
422 838 936-2 (CD)
In Store October 3
--Rob
vislizak@ubvms.cc.buffalo.edu
----------------------------------------------------------
Date: Thu, 26 Jul 90 13:30:39 EDT
From: gordon@Stars.Reston.Unisys.COM
Subject: "Peart" Pronunciation
Hello fellow Rush fans!
I'm new to this mailing list, so please pardon me if this
question has been drummed to death before.
What is the proper pronunciation of "Peart"? Is it:
1.) rhymes with "art", "part", "heart" etc.;
2.) rhymes with "beer", "ear", "near", etc. (with a 't' on the end);
3.) rhymes with "air", "bare", "fair", etc. (with a 't' on the end);
4.) none of the above;
5.) any of the above;
6.) of no consequence to anything or anybody.
If I could choose, I'd pick #1, due to the Peart/heart
similarity. If you know the answer, can you please give any
references to back it up? (Like, "I heard Geddy pronounce it that
way," or "I read it in ___ magazine, issue [month] [year].")
Thank you! This question has been bothering me and my fellow
Rush-fan-friends for many a year.
/\ /\ /\ 1-0-0-1-0-0-1, S.O.S. 1-0-0-1-0-0-1, in distress.
/ \ /\/ \ /\/ \ /-------------------------------------------------------
\/ \/ \/ Del Gordon gordon@stars.reston.unisys.com |><-
----------------------------------------------------------
Subject: Response to 7/26 Digest (LOOOONG)
Date: Thu, 26 Jul 90 13:45:31 EDT
From: David Arnold <davida@umd5.UMD.EDU>
In the RUSH Fans Digest Number 18, Chuck King wrote:
>Now I have a question inspired by the recent discussion of p/g. It
>seems to me a lot of the zealous defenders of that album mentioned
>that it was the album that turned them on to Rush, etc. etc., and
>we've talked before about the special place everyone has in their
>heart for their first Rush album. What I want to know it this:
>
>For people who got into Rush BEFORE _Exit,_Stage_Left_ came out, what
>is your favorite album to come out SINCE ESL? And why?
Boy, this is a tough one for me! I hate to admit it, but most of the
pre-ESL albums would rank above all of the post-ELS albums in my personal
poll.
For me, it would be a choice between _Signals_ and _Grace Under Pressure_.
They both have their pros and cons; I think _Signals_ would have to win
out, tho. It's just a stronger album (IMHO).
On _Signals_, I *love* "The Analog Kid" - it so well captures the concept
of the young lad (could be 'lass' as well, for the most part) knowing there
are great things out there for him, but he's too young to know exactly what:
"A vague sensation quickens
In his young and restless heart
And a bright and nameless vision
Has him longing to depart"
There is also "Losing It", a poignant song about being on 'the other side
of the hill'. It somewhat contradicts the old saying "Better to have loved
and lost than to have never loved at all" by saying:
"Some are born to move the world --
To live their fantasies
But most of us just dream about
The things we'd like to be
Sadder still to watch it die
Than never to have known it"
As I get older, more and more limitations are becoming apparent in my
life. Some come with maturity, like knowing that I'll never play in that
rock band in front of screaming audiences, others are attributable to the
aging process itself; it takes longer to recover from a long day of sports
these days... I'm not "losing it" per se, but I can see the approach.
(Don't worry, since I'm not over 30 yet, I can still be trusted. :-) )
These are the two that get to me the most. There are other songs that
are pretty good (Digital Man (especially knowing the story behind the
line "He won't need a bed"), Subdivisions, The Weapon (ooh, kids, a
scary, scary song!), & Countdown), and a couple that are ok, but I can
take or leave.
On _Grace Under Pressure_, I *love* "The Enemy Within" - the imagery is
just so stark:
"Needles at your nerve ends and "Every breath a static charge
Crawl like spiders on your skin" A tongue that tastes like tin"
Also, there's the emotional "Afterimage" which I've written about in a
previous posting. This hits you really hard if you've lost a close friend:
"This is something
That just can't be understood"
That sums it up so well - you never understand the reasons behind death
(unless it's old age - I can deal with that), and the more 'freak' the
reason, the more painful accepting it can be. I get tears in my eyes
even now, looking at the lyrics!
One reason that P/G doesn't rank as high for me is that it's one of the
few RUSH albums that have songs I don't really like: "Red Sector A" and
"Red Lenses" do nothing for me. I used to avoid RSA like the plague, but
time has dulled my knee-jerk response to it.
Of the rest of the post-ELS albums (I'll stick to studio, since live music
has a special place in my heart), I think _Presto_ is better than both
_Power Windows_ and _Hold Your Fire_. With PoW and HYF, the band seems to
become more and more strapped down by overbearing production, and losing
their individuality in the process. They were presenting this 'wall of
meshed sound', quite rich in depth (which I can understand), but more of
a melange of the group while losing the individual pieces. I guess I too
miss those stunning instrumentals and biting solos of days of yore. There
are bright spots, but they got fewer and farther in between. Let me note
that this opinion has been echoed by many friends who were fans in the
first and second periods (up through ESL), but dropped away after that.
I'm now one of the few people I know (personally) who stayed loyal through
to today.
With _Presto_, they stripped away much of the synth effects, and went back
to more straight-ahead rock-n-roll with "Show Don't Tell" (love that
opening!), "Chain Lightning" (my fav. on the album), and the rolling sound
of "Superconductor". On this tour, Geddy was much more free to walk around
the stage and *play bass* instead of being tied to his many banks of key-
boards as on the previous couple of tours. Alex is playing more riffs and
individual notes instead of *always* playing chord accompaniment. I welcome
all the changes they've made. The production is still obviously there, but
isn't overbearing as it had seemed on previous albums. It's a shaft of light
through a cloud to me!
What can I say, I'm an old-school rocker (cut my teeth on the Stones, and
later, early Blue Oyster Cult and RUSH). Of my many favorite RUSH tunes,
both instrumentals would rank in the top 10, and I generally prefer the
faster tunes.
Well, enough rambling for now,
David Arnold Keywords: Rush, Neville Brothers, Squeeze, Crack the Sky,
Peter Gabriel, ELP, Jethro Tull, Pink Floyd,
Inet: davida@umd5.umd.edu Talking Heads, Arc Of Ones (RIP), Stones, BOC,
UUCP: uunet!umd5.umd.edu!davida King Crimson, Police, Grass Roots, Hollies
----------------------------------------------------------
Date: Thu, 26 Jul 90 11:43:38 PDT
From: spike@d31mf0.Stanford.EDU (John T. Fourkas)
Subject: Saga
I'm afraid that the Saga that Ronnie Peugh saw isn't the
Saga that you'd find these days. Most of the original band members
have gone on to other projects (including the producer of their first
five albums, one Rupert Hine). From what I've heard, the band was fairly
popular in both Canada and Europe, but never made much of a splash in the
US for some reason. Their biggest album around here was Worlds Apart, which
never made a huge splash, although On The Loose got a fair amount of airplay
at the time. MTV even played a couple of videos from Heads or Tales for a
few weeks, but it didn't last. They've released two albums since then,
Behaviour and Wildest Dreams. They are both on the overly produced, stiff
side, and nothing at all like Saga's early albums. For some reason, it
seemed to be the kiss of death when this band started writing love songs.
Their best albums by far, in my opinion, are their first three (especially
Images at Twilight), and there's not a single love song to be found on them,
which I found to be rather curious at the time. At any rate, the double drum
solo can be heard on their live album, Saga in Transit; it's called "A Brief
Case", and I hear that the album is pretty hard to find these days. And I
haven't heard anything about them since Wildest Dreams was released, which
was in '87.
____________________________
John Fourkas spike@d31mf0.stanford.edu
Stanford University
----------------------------------------------------------
Subject: post-ESL trauma
Date: Thu, 26 Jul 90 13:25:46 MDT
From: Doug Grumann <dougg@hpptc16.hp.com>
Chuck King writes:
> For people who got into Rush BEFORE _Exit,_Stage_Left_ came out, what
> is your favorite album to come out SINCE ESL? And why?
Interesting question. Hold Your Fire. I don't know why (though I'm sure
somebody could tell me :-)
----------------------------------------------------------
Date: Thu, 26 Jul 90 17:59:56 PDT
From: Ron Chrisley <chrisley@parc.xerox.com>
Subject: Re: "The Pass"
In response to Gary Long's question, I'd like to talk about "The Pass".
The song is a good example of the tension in my relationship with Peart
lyrics. I think Neil is an excellent lyricst, and admire his intelligence,
insight, and strength of character. But Neil and I differ somewhat with
respect to our attitudes toward spirituality and religious belief. Thus,
while I think Christ was God's Son and the perfect example of how to live,
Peart (usually) seems to reject the religious as a way to approach life.
This is perfectly consistent with his Randian origins, and his Tom
Sawyer/New World Man personality. I won't go into the details of an
exegesis of Pearts writings in terms of anti-Christianity (The Weapon,
Freewill, et al come to mind); instead, I'll focus on "The Pass".
When hearing the lyrics to this song for the first time, I felt that same
feeling again: Peart sees Christ's death as not only a personal defeat, but
also as a defeat for all those who believe in him. "Someone set a bad
example... made surrender seem all right". I think Peart is speaking of
Christ's self-sacrifice. Christ died on the cross rather than denying the
importance of himself or his teachings, rather than using force or trickery
to escape. He died because it was the way to try to put an end to the
sorrow of the world, by giving a *good* example of putting one's love of
others above one's love of self. There is a lot more to Christ's death,
but even this would be enough to laud Christ for his love of humanity.
Peart fears that people will look at Christ and think it is OK to give in,
to fail to strive, to be mediocre, to go with the flow, etc. If people do
this, it can't be blamed on the content on Christ's teachings. Sure, there
is the "turn the other cheek" aspect, but Christ didn't want his followers
to be passive victims of the world; he called the courageous to help change
it, to "fight the good fight". Living a life of selfishness is giving in
to the easy way, the path of least resistance.
"Christ, what have you done?" is a question being directed at Christ as
well as the person at The Pass. I am sorrowed to think that Peart sees
Christ's effect on us as negative. But at least he is asking the question.
Maybe he will come to appreciate the significance of Christ's teaching and
sacrifice for us.
There have been signs lately that Peart is opening up to the spiritual side
of life: "Mystic Rhythms" and the song on HYF about China singing to him
are a far cry from the cold materialism of "Freewill". But "The Pass" is a
spritual back-step.
Ron Chrisley chrisley@csli.stanford.edu
Xerox PARC SSL New College
Palo Alto, CA 94304 Oxford OX1 3BN, UK
(415) 494-4728 (865) 793-484
----------------------------------------------------------
From: tpick@apd.MENTOR.COM (Trevin Pick @ APD x2566)
Date: Thu, 26 Jul 90 18:21:57 PDT
Subject: Emotions and Albums
Hi...
My favorite album changes depending what mood I'm in and what's going
on in my life. Each album brings up certain emotions and therefore
helps me deal with different moods.
When I feel like waxing back to early 70's heavy metalish rock (which I
don't do too often) or feel somewhat obnoxious/upset I'll play
Rush, Caress of Steel, Fly By Night very loudly.
When I take a long road trip and get sleepy or bored, cranking up 2112
is my favorite album to use, especially singing along with side one.
This always gets the adrenalin going and shatters boredom.
When I'm in a somewhat relaxed or intellectual mood, I love listening to
Permanent Waves and Hemispheres.
Moving Pictures and Signals are good for any old mood, or maybe one
in which I feel somewhat alienated.
Grace Under Pressure (which took about 5 years to grow on me) is my
absolute favorite when I feel depressed or sad. It's very cathartic
and intense.
Power Windows, Hold Your Fire, and Presto are best when in a pop-rock
sort of mood, or when somewhat bored. I'll admit these albums haven't
grown on me yet but I expect them to just like previous ones!
Thanks for the forum!
-Trevin Pick
tpick@pdx.mentor.com ...!uunet!mntgfx!tpick
"...the freedom of music" - RUSH
(without stupid warning labels and puritanistic censorship)
----------------------------------------------------------
Date: Thu, 26 Jul 90 18:56:37 -0700
From: mikea@cadence.com (Mike Abeyta)
Subject: First album
In response to Chuck King's inquiry about the first album I ever got
into:
I first heard Rush at a party (All the World's a Stage) when I was in
Junior High. I immediately went out and bought 2112, and listened to
it for about a month straight. It still brings back intense memories.
I was just getting into the guitar then, and was blown away by the solos
especially on the second side.
I later bought Caress of Steel, then Farewell to Kings. Both of those
are awesome, but I still love 2112!
My younger brother subsequently got into Rush via Hemispheres. He even
inspired my father to write a Toastmaster's speech based on the lyrics
of that album.
My youngest brother's first Rush album was p/g. So we have three
'generations' of Rush fans in our family, from three different Rush
'eras'. BTW, I'm 29.
Mike Abeyta
mikea@cadence.com
----------------------------------------------------------
Date: Fri, 27 Jul 90 09:41:44 -0100
From: Frank Schaapherder <schaaphe@serc.nl>
Subject: Favorites after ESL
Hi
I'm just one of those fans, stemming from the time of 2112. At first
I was largely unpleased after ESL with the new albums. But now, after a few
years I like most of them, except for Presto, but that must be given time.
My favorites after ESL are the Signals album and the Hold Your Fire album. The
first one I like because of two songs: The Analogue Kid, with its superb guitar
solo, one of the best I heard from Alex. The other great song is New World Man.
I admit it is not the most sophisticated song made by Rush, both lyrically and
musically, but ghee, I like the bass lick and drum sound.
Hold Your Fire is my fav 'cause I like the drumming. On the first two songs on
the album I do not hear Neil hit the drums one time too many or one time
too less (excuse my English).
Well, I read a lot discussion going on about emotion in Alex' guitarplay. I
notice most of you mention solo's from later albums in Afterimage or in
Analogue Kid. How about earlier solos. My fav is the solo done in Soliloqui on
2112, man that one really gives me the shivers, you can feel the despair coming
up.
Enough for now. Later
Frank
ORQ: We can walk our road together, if our goals are all the same.
----------------------------------------------------------
Date: Fri, 27 Jul 90 10:20:14 EDT
From: Clint Legg <clint@ms.uky.edu>
Subject: _Hold Your Fire_ & "Force Ten"
> to do with the rest of the album?". And as I think I've heard, "New
> World Man" was thrown together at the last minute, and the boyz never
> planned on it being a hit (are there other songs from the past several
> albums that were, shall we say, extemporaneous?)
>I recall reading somewhere---it may have been in the HYF tour
>program---that "Force Ten" was just thrown together at the last
>minute.
Yes, it's true. Rush only planned to release 9 songs on Hold Your Fire, but
Polygram insisted that another one be included. As a slam/dig at the
record company, the boyz named the song "Force Ten", since they were FORCED
to write a TENTH song for Hold Your Fire.
Clint
--
+ =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= +
+ Clint Legg {rutgers,uunet}!ukma!clint clint@ms.uky.edu clint@UKMA.BITNET +
+ "Summer's going fast-- / Night's growing colder / Children growing up-- / +
+ Old friends growing older" --Neil Peart, "Time Stands Still" +
+ =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= +
----------------------------------------------------------
Subject: Various stuffnessisms
Date: Thu, 26 Jul 90 18:34:33 CDT
From: David T. Sandberg <dts@quad.sialis.mn.org>
Chuck King (chas@morgana.pubserv.com) asked people who got into Rush
before Exit Stage Left what their favorite album since then is. Well,
I got into Rush around the time of A Farewell To Kings, so I guess I'm
a likely candidate to answer.
And the answer IS... Hold Your Fire. By far.
Oh - you wanted to know _why_, too? ;')
When I first started listening to Rush, I was just a heavy metal kid at
heart, and songs like "Bastille Day" were what I liked about them. But
as the years have passed, my musical tastes have matured very much along
the same lines of the band. Now, at 27 (28 in two weeks), the music I
write myself is very synthesized and "mellow", in contrast to the heavy
metal guitar rock I used to do a decade ago; as such I am now particularly
moved by HYF songs like "Mission", "Second Nature" and "Tai Shan". But
more than that, I personally found something immediately involving about
every song on the HYF album, whereas usually there are several songs on
each Rush album which take a while to grow on me (including 'Presto'...
apologies all around, but "Hand Over Fist" is a little bland for me).
I just think that the band really hit the nail on the head with HYF.
All of this isn't to say I don't still enjoy cranking up "By-Tor and the
Snow Dog" on occasion. ;')
On another topic, John Fourkas (spike@d31mf0.stanford.edu) mentions that
ASCII 1001001 is "I" and ASCII 100100 is "$", as a possible explanation
of the chorus of "The Body Electric". I tend to think the former ("I")
is indeed the intended reference. Reason: Neil was as we all know quite
influenced by Ayn Rand, and in her works Rand held the word "I" to be of
enormous significance, the key to self-realization in fact. As far as
the "100100" at the end of the chorus, it's my guess that was merely a
musical decision to trim off the last syllable, in order to cut off the
chorus cleanly.
BTW, I think P/G is one of the band's better albums... I like it more
than either Signals or Power Windows, although there are standout songs
from both of those. I particularly like "Between the Wheels", although
my assessment of it's meaning seems to vary somewhat from what others
have suggested (I don't get a man vs. machine thing out of it at all -
instead, I see it as saying we are pulled through our lives by this
fast-paced society without ever being able to stop and comprehend any
of it). Musically, Neil's driving backbeat cymbals all the way through
the chorus are deadly, and Alex's solo is extremely powerful, especially
the ending. I'd love to have had the chance to play that solo live - oh
well, maybe someday.
--
\\ "Frozen in the fatal climb, but \ David Sandberg, consultant \\
// the wheels of time just pass / Richfield MN //
\\ you by..." _Between_the_Wheels_ \ dts@quad.sialis.mn.org \\
----------------------------------------------------------
Subject: testing , is my mail arriving, I posted on 7/26 and 7/27.
From: MGOODWIN@maine.maine.edu (J. Michael Goodwin)
Date: Fri, 27 Jul 90 15:20:13 EDT
----------------------------------------------------------
Subject: Questions
From: mailrus!iuvax!ndmath!nstar!thespot!root@uunet.UU.NET (Postmaster)
Date: Fri, 27 Jul 90 16:03:34 EDT
I have of couple of questions about the album _Caress_of_Steel_...
1) On the inside of the album, there are the lyrics.. On 'Lakeside Park'
the lyrics "drinkin' by the lighthouse" are there, but "smokin' on the
pier" is not.. Why?
2) Under the titles of some songs there is the name of a city. I noticed
South Bend was on a couple. I'm from South Bend, and wondered why it
was there...
Thanks!
Damian Gick
Internet: root@thespot
UUCP: !iuvax!ndmath!nstar!thespot!root
TheSpot, South Bend, Indiana
----------------------------------------------------------
Date: Sat, 28 Jul 90 00:55:00 EST
From: Digital Man <cse2002%eve.wright.edu@RELAY.CS.NET>
Subject: song premiers
Just a short note. On the tours for Hemispheres and Permanent Waves, the
first shows contained no material from upcoming albums. But towards the
end of the tours, they debuted some new material. On Hemispheres, they
played the Spirit of Radio and Freewill as previously mentioned. On
Permanent Waves they debuted Tom Sawyer and Limelight. I saw or heard
Geddy or Neil (I can't recall which) state that they had stopped debuting
new material prior to its release on album because of all the bootlegging.
They didn't want anyone to hear the stuff until they had refined it to
suit themselves. So, I guess we may have seen the last of that.
BTW, on the Hemispheres tour, they played the entire Hemispheres album
with the exception of one song, one I've been dying to here them play
live for years...Circumstances. Has anyone seen them do this live?
(oops, I guess this wasn't so short after all)
Digital Man
..Plus ca change, plus c'est la meme chose...
----------------------------------------------------------
Date: Sat, 28 Jul 90 11:02 EDT
From: "Malzor" <MXP122@PSUVM.PSU.EDU>
Subject: Posters
Does anyone have any mail order addresses for RUSH posters, I can't seem to
find them anywhere. . .
---
Later. Sodalitas Laminae Regnat! Mark, MXP122@psuvm.psu.edu
I take up space at PSU. (aerospace)
--
"I set the wheels in motion, turn up all the machines" R
"activate the programs, and run behind the scenes" U
"I set the clouds in motion, turn up light and sound" S
"activate the window, and watch the world go 'round-" H
---
----------------------------------------------------------
Date: Sat, 28 Jul 90 13:33:12 EDT
From: cygnus@wpi.wpi.edu (Marshall Robin)
Subject: Songs not on the album being toured
Well, as far as I can remember, the previewed songs were Fly By Night and
Best I Can on Stellar Dynamics, I think Xanadu was previewed on 2112 (at least
it looks this way on a boot I
signals tour. I may be mistaken, but also there was a preview of Spirit of Radio
on hemispheres (not really sure....). As far as playing songs off albums that
were not played on that albums tour (what the hell does that mean? I cant follow
it!) the only one I can think of is Twilight Zone, and Witch Hunt.
Marshall
Sorry for the bunch of messages, but Im catching up on my mail!!
----------------------------------------------------------
Date: Sun, 29 Jul 90 21:59:46 hst
From: Hinano Akaka <bigtuna!hinano@uhccux.uhcc.Hawaii.Edu>
Subject: HAPPY BIRTHDAY, GEDDY!!!
HAPPY BIRTHDAY, GEDDY!!!!!!
Well I must say it's been a fun day. After putting up my newly
acquired "Hold Your Fire" poster from those wonderful people at the
Rush Backstage Club, I blasted Rush tunes to all h*ll, and
capped off the days "celebration" (well, I wasn't _really_
celebrating) by going to the Old-Timers All-Star Baseball Game--a
fitting event considering the occasion! Oh well, 'nuff said.
I have to go, this computer screwing things up. Puanani Akaka
----------------------------------------------------------
From: rstark@cogsci.edinburgh.ac.uk
Date: Mon, 30 Jul 90 11:17:00 BST
Subject: Responses to questions etc.
spike@d31mf0.Stanford.EDU (John T. Fourkas) writes:
>Vocally, I would say that P/G was Geddy's most subdued album ever
>(something that seemed to please the critics at the time). Does anyone out
>there know why? I've heard various theories, including the fact that he was
>smoking to much at the time (which seems fairly unlikely, since he seems to
>have the range back now), the producer insisted on it, and that they were
>looking for a wider audience.
How 'bout the theory that he sang that way because that's how *he* wanted to
sing?
nyx.UUCP!fpeabody%nyx.uucp@nike.cair.du.edu (Fred Peabody) writes:
> I know that Geddy is a really big Metallica fan [like me].
Is this true? I didn't know this, what is the source?
> Why did they put that cheesy ending in War Paint. "Boys and girls together,
> paint the mirror black." I hate that! It seems to me Atlantic or Hine made
> that commercial demand.
Again, as in the above "why did geddy sing the way he did on P/G" bit, I see no
reason to assume that Rush did anything they didn't want to do on any of these
albums. Neil wrote *all* the lyrics on War Paint. I question the value of
blaming evil outside forces on parts we don't like.
Having been a fan since 1979, I have constantly heard the "Rush has sold out"
bit. I know *many* fans who though premanent waves and moving pictures were
"commercial" (indeed, for many years I always skipped "Tom Sawyer" on MP because
of all the "fans" who though this *was* Rush). The truth, as has been remarked
on this forum many tmes before, is that they are always changing and trying new
things. Not everything works for everybody, and sometimes it takes some of us
a bit of time to get used to a new direction. But I think that we can safely
assume that anything they put out with their name on it, that they publically
support with tours and interviews, reflects their own work!
>I think that they should make at least one instumental/heavy hitting song
>that will show that RUSH can still rock heavy.
Does this need to be shown? They have *always* had heavy hitting "rockers" on
their albums, which seem to occupy the "first song on the album" track: witness
Spirit of Radio, Tom Sawyer, Subdivisions, Distant Early Warning, Big Money,
Force Ten, and Show Don't Tell. Who belives that Rush can't "rock"?
>Here's another Canadian Band: Voivod. A wonderful progressive metal band.
>Kinda weird, but cool. They remind me of a cross between RUSH, Pink Floyd,
>and Metallica.
Sounds interesting. In another forum, I heard this bad also described as
"Rush meets Pink Floyd". Any other comments on this band?
Not a shriek <chas@morgana.pubserv.com> writes:
>> And as I think I've heard, "New
>> World Man" was thrown together at the last minute, and the boyz never
>> planned on it being a hit (are there other songs from the past several
>> albums that were, shall we say, extemporaneous?)
>I recall reading somewhere---it may have been in the HYF tour
>program---that "Force Ten" was just thrown together at the last
>minute.
"Natural Science", while not exactly extemporaneous, was composed in the studio
after the rest of the album was done. "Vital Signs" was similarly written.
>For people who got into Rush BEFORE _Exit,_Stage_Left_ came out, what
>is your favorite album to come out SINCE ESL? And why?
I would have to say "Power Windows" is my fave after ESL ("Hemspheres", the
album that made me a fan, winning out before then). I think this is their most
successful *album* overall, in that it all hangs together, without a real dog
in the lot. The sound represents quite a step forward (I liken it to the step
taken with "Permanent Waves"), and shows impressive range (from Big Money to
Territories to Middletown Dreams to Mystic Rhythms). I also think it
represents their most successful overall use of keyboards. I think that
their very best stuff since ESL is probably on "Signals", but much of it is
buried under the bad mix, and the album is nearly as inconsistent as "A
Farewell to Kings". While the best moments on Signals (ie, "Analog Kid")
represent some of their best work ever, the album as a whole, as has been
noted, doesn't quite hang together well enough to be their best.
Well, I've blabbered on enough; I don't get a chance to post often due to time.
Please do not take any of the above as flames.
Randall Stark
"Too many hands on my time..."
----------------------------------------------------------
Subject: List outage
Date: Mon, 30 Jul 90 10:22:50 EDT
From: RUSH Fans Digest Manager <rush-mgr>
If you were wondering, there was no RUSH Fans Digest created on Friday,
July 27th. Sorry folks...
Manager,
RUSH Fans Digest
From: Adrian N Ogden <ano@csres.cs.reading.ac.uk>
Date: Thu, 26 Jul 90 16:21:03 BST
Also, can anyone give me an approximate value for the
following rarities:
Hemispheres (red vinyl)
Force Ten (radio promo 12" with the same track both sides)
and, for a friend:
Everything your listeners wanted to hear by Rush
but you were afraid to play.
Adrian Ogden (ano@uk.ac.rdg.cs.csres)
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