Errors-To: rush@syrinx.umd.edu
Reply-To: rush@syrinx.umd.edu
Sender: rush@syrinx.umd.edu
Precedence: bulk
From: rush@syrinx.umd.edu
To: rush-list-all
Subject: RUSH Fans Digest of 10/12/90 (#67)
RUSH Fans Digest, Number 67
Friday, 12 October 1990
Today's Topics:
Music oriented mailing list managers: a copy of the list
"A Nice Morning Drive"
(none)
RUSH rasters
Some comments on the latest newsletter:
List name, etc...
(none)
Name for list
Heat vs. Light
Ahsolom?
(none)
Bootlegs,etc.
Name that mailing list.
RE: RUSH Fans Digest of 10/10/90 (#64)
Rush Guitar Stuff: Count me In!
geoff
----------------------------------------------------------
Subject: Music oriented mailing list managers: a copy of the list
Date: Thu, 11 Oct 90 09:49:02 EDT
From: owen@euclid.enet.dec.com!
Hi,
This message is being sent to all the List Managers and Contacts contained in
this list. It is, as stated below, the LIST OF MUSICAL MAILING LISTS.
I have been distributing this list to a couple of internet news groups,
rec.music.misc and alt.rock-n-roll, every month or so.
I'm sending this to you so you can forward it to all the folks on your
respective lists, as it may be of some interest to them, and since many of them
can't get this list otherwise. (not everyone has access to internet news groups)
If you wish to have your entry removed from the list, please inform me.
Thanks,
Steve Owen, semi-offical keeper of this list.
********************** List of MUSICAL MAILING LISTS ************************
Update as of 10/10/90
** If anyone finds any more bands to be added to this list, feel free to **
** send the address to me, and I'll be glad to update it and send it out. **
** Or if anyone knows of any mistakes/changes, please let me know. **
Please feel free to forward this message to anyone you might think would want
it. If anyone makes any changes, please send them to me!
Send corrections/changes/etc. to: owen@euclid.enet.dec.com (Jul'90-Dec'90) or
sowen@lynx.northeastern.edu (Jan'91-???)
Thanks to all of you who sent me these addresses! It is much appreciated.
BEFORE YOU SUBSCRIBE TO ANY OF THESE _PLEASE_ READ THE DISCLAIMER BELOW!
- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Subject List Manager/Contact
==============================================================================
AC/DC trc@pollux.ucdavis.edu
Art of Noise aon-request@polyslo.calpoly.edu
Kate Bush love-hounds-request@gaffa.mit.edu
The Cure other-voices-request@bbn.com
Duran Duran luljak@csd4.csd.uwm.edu
Fleetwood Mac brunyan%utmem2.bitnet@cunyvm.cuny.edu
4AD listserv%jhuvm.bitnet
Folk Dancing tjw@unix.cis.pitt.edu
Peter Gabriel/Genesis jmacilwa@emdeng.dayton.ncr.com
Debbie Gibson ez000018@bullwinkle.ucdavis.edu
Grateful Dead dead-flames-request@uvaarpa.virginia.edu
Heavy Metal/Thrash thrash@metal.ebay.sun.com
Japanese rock/pop jpop-request@wystan.bsd.uchicago.edu
Jazz Butcher del@ab.ecn.purdue.edu
Jethro Tull jtull-request@uiuc.edu
Roy Harper stormcock-request@cs.qmw.ac.uk
Jimi Hendrix hey-joe-request@ms.uky.edu
Indigo Girls indigo-request@athena.mit.edu
Industrial music drdave@buhub.bradley.edu
The Kinks otten@cincom.umd.edu
Robin Lane robin-lane-request@maxine.wpi.edu
Led Zeppelin zeppelin-request@topaz.rutgers.edu
Manchester, UK music manchester-request@irss.njit.edu
Metallica mk.lor@forsythe.stanford.edu
Midnight Oil powderworks-request@boulder.colorado.edu
Steve Morse and the Dixie Dregs blickstein@dregs.enet.dec.com
Musicals musicals-request@world.std.com
Network-Audio-Bits(reviews) murph@maine.bitnet
New Music List nm-list-request@beach.cis.ufl.edu
New Order/Joy Division ceremony-request@chsun1.uchicago.edu
Sinead O'Connor jump-in-the-river-request@presto.ig.com
Alan Parsons Project burnett@mentor.cc.purdue.edu
Pink Floyd eclipse-request@beach.cis.ufl.edu
Pirate radio brewer@ace.dec.com
Prince prince@pawl.rpi.edu
Rap,Funk,R&B,etc. funky-music-request@apollo.lap.upenn.edu
R.E.M. valerie@athena.mit.edu
Rush rush-request@syrinx.umd.edu
Severed Heads/Ralph Records adolph-a-carrot-request+@andrew.cmu.edu
Jane Siberry siberry-request@bfmny0.bfm.com
The Smitherenes bono@andromeda.rutgers.edu
Bruce Springsteen backstreets-request@virginia.edu
Stagecraft (lighting etc.) stagecraft-request%cai@us.utah.edu
Tangerine Dream tadream-request@vacs.uwp.wisc.edu
Vinyl Freaks info-vinyl-freaks-request@dartvax.uucp
XTC chalkhills-request@presto.ig.com
Yes/ABWH v111pbxx@ubvms.cc.buffalo.edu
OTHER INFO:
The Smiths list seems to have died. If anyone can confirm or deny this, I
would appreciated it.
DISCLAIMER:
I take no responsibility for incorrect addresses or dead lists. I'm only
telling you what I've been told. Please don't ask me for further information
about these lists, as I know as much as you do at this point. I don't know if
all of these are still in existance or if they will accept any new members.
'nuff said.
[EOF]
----------------------------------------------------------
Date: Thu, 11 Oct 90 04:24:17 -0700
From: Steven Owen <dunadan@u.washington.edu>
Subject: "A Nice Morning Drive"
_A Nice Morning Drive_ by Richard S. Foster
Road & Track Nov,1973 pp.148-150
( Reproduced without permission...)
It was a fine morning in March 1982. The warm weather and clear
sky gave promise of an early spring. Buzz had arisen early that morning,
impatiently eaten breakfast and .gone to the garage. Opening the door, he
saw the sunshine bounce off the gleaming hood of his I5-year-old MGB
roadster. After carefully checking the fluid levels, tire pressures and
ignition wires, Buzz slid behind the wheel and cranked the engine, which
immediately fired to life. He thought happily of the next few hours he would
spend with the car, but his happiness was clouded - it was not as easy as it
used to be.
A dozen years ago things had begun changing. First there were a few
modest safety and emission improvements required on new cars; gradually
these became more comprehensive. The governmental requirements reached
an adequate level, but they didn't stop; they continued and became more
and more stringent. Now there were very few of the older models left,
through natural deterioration and . . . other reasons.
The MG was warmed up now and Buzz left the garage, hoping that this
early in the morning there would be no trouble. He kept an eye on the
instruments as he made his way down into the valley. The valley roads were
no longer used very much: the small farms were all owned by doctors and
the roads were somewhat narrow for the MSVs (Modern Safety Vehicles).
The safety crusade had been well done at first. The few harebrained
schemes were quickly ruled out and a sense of rationality developed. But in
the late Seventies, with no major wars, cancer cured and social welfare
straightened out. the politicians needed a new cause and once again they
turned toward the automobile. The regulations concerning safety became
tougher. Cars became larger, heavier, less efficient. They consumed gasoline
so voraciously that the United States had had to become a major ally with
the Arabian countries. The new cars were hard to stop or maneuver quickly.
but they would save your life (usually) in a 5O-mph crash. With 200 million
cars on the road, however, few people ever drove that fast anymore.
Buzz zipped quickly to the valley floor, dodging the frequent potholes
which had developed from neglect of the seldom-used roads. The engine
sounded spot-on and the entire car had a tight, good feeling about it. He
negotiated several quick S-curves and reached 6000 in third gear before
backing off for the next turn. He didn't worry about the police down here.
No, not the cops . . .
Despite the extent of the safety program. it was essentially a good
idea. But unforeseen complications had arisen. People became accustomed to
cars which went undamaged in lO-mph collisions. They gave even less
thought than before to the possibility of being injured in a crash. As a
result, they tended to worry less about clearances and rights-of-way, so that
the accident rate went up a steady six percent every year. But the damages and
injuries actually decreased, so the government was happy, the insurance
industry was happy and most of the car owners were happy. Most of the car
ownersi-the owners of the non-MSV cars were kept busy dodging the less
careful MSV drivers, and the result of this mismatch left very few of the
older cars in existence. If they weren't crushed between two 6000-pound
sleds on the highway they were quietly priced into the junkyard by the
insurance peddlers. And worst of all, they became targets . . .
Buzz was well into his act now, speeding through the twisting valley
roads with all the skill he could muster, to the extent that he had forgotten
his earlier worries. Where the road was unbroken he would power around
the turns in well controlled oversteer, and where the sections were potholed
he saw them as devious chicanes to be mastered. He left the ground briefly
going over one of the old wooden bridges and later ascertained that the MG
would still hit 110 on the long stretch between the old Hanlin and Grove
farms. He was just beginning to wind down when he saw it, there in his
mirror, a late-model MSV with hand-painted designs covering most of its
body (one of the few modifications allowed on post-1980 cars). Buzz hoped it
was a tourist or a wayward driver who got lost looking for a gas station. But
now the MSV driver had spotted the MG, and with a whoosh of a well
muffled, well cleansed exhaust he started the chase . . .
It hadn't taken long for the less responsible element among drivers to
discover that their new MSVs could inflict great damage on an older car and
go unscathed themselves. As a result some drivers would go looking for the
older cars in secluded areas, bounce them off the road or into a bridge
abutment, and then speed off undamaged, relieved of whatever frustrations
cause this kind of behavior. Police seldom patrolled these out-of-the-way
places, their attentions being required more urgently elsewhere, and so it
became a great sport for some drivers.
Buzz wasn't too worried yet. This had happened a few times before,
and unless the MSV driver was an exceptionally good one, the MG could be
called upon to elude the other driver without too much difficulty. Yet
something bothered him about this gaudy MSV in his mirror, but what was
it? Planning carefully, Buzz let the other driver catch up to within a dozen
yards or so, and then suddenly shot off down a road to the right. The MSV
driver stood on his brakes, skidding 400 feet down the road, made a
lumbering U-turn and set off once again after the roadster. The MG had
gained a quarter mile in this manner and Buzz was thankful for the radial
tires and front and rear anti-roll bars he had put on the car a few years
back. He was flying along the twisting road, downshifting, cornering,
accelerating and all the while planning his route ahead. He was confident
that if he couldn't outrun the MSV then he could at least hold it off for
another hour or more, at which time the MSV would be quite low on gas. But
what was it that kept bothering him about the other car?
They reached a straight section of the road and Buzz opened it up all the way
and held it. The MSV was quite a way back but not so far that Buzz couldn't
distinguish the tall antenna standing up from the back bumper. Antenna! Not
police, but perhaps a Citizen's Band radio in the MSV? He quaked slightly
and hoped it was not. The straight stretch was coming to an end now and
Buzz put off braking to the last fraction of a second and then sped through a
75-mph right-hander, gaining ten more yards on the MSV. But less than a
quarter mile ahead another huge MSV was slowly pulling across the road
and to a stop. It was a CB set. The other driver had a cohort in the chase.
Now Buzz was in trouble. He stayed on the gas until within a few hundred
feet when he banked hard and feinted passing to the left. The MSV crawled
in that direction and Buzz slipped by on the right. bouncing heavily over a
stone on the shoulder. The two MSVs set off in hot pursuit, almost colliding
in the process. Buzz turned right at the first crossroad and then made a quick
left, hoping to be out of sight of his pursuers, and in fact he traveled
several
minutes before spotting one of them on the main road parallel to his lane. At
the same time the other appeared in the mirror from around the last comer.
By now they were beginning to climb the hills on the far side of the valley
and Buzz pressed on for all he was worth, praying that the straining engine
would stand up. He lost track of one MSV when the main road turned away,
but could see the other one behind him on occasion. Climbing the old
Monument Road, Buzz hoped to have time to get over the top and down the
old dirt road to the right, which would be too narrow for his pursuers.
Climbing, straining, the water temperature rising, using the entire road,
flailing the shift lever back and forth from 3rd to 4th, not touching the
brakes but scrubbing off the necessary speed in the corners, reaching the
peak of the mountain where the lane to the old fire tower went off to the left
. . . but coming up the other side of the hill was the second MSV he had lost
track of! No time to get to his dirt road. He made a panicked turn left onto
the fire tower road but spun on some loose gravel and struck a tree a
glancing blow with his right fender. He came to a stop on the opposite side of
the road. the engine stalled. Hurriedly he pushed the starter while the
overheated engine slowly came back into life. He engaged 1st gear and sped
off up the road, just as the first MSV turned the corner. Dazed though he
was, Buzz had the advantage of a very narrow road lined on both sides with
trees, and he made the most of it. The road twisted constantly and he stayed
in 2nd with the engine between 5000 and 5500. The crash hadn't seemed to
hurt anything and he was pulling away from the MSV. But to where? It hit
him suddenly that the road dead-ended at the fire tower, no place to go but
back . . .
Still he pushed on and at the top of the hill drove quickly to the far end of
the clearing, turned the MG around and waited. The first MSV came flying
into the clearing and aimed itself at the sitting MG. Buzz grabbed reverse
gear, backed up slightly to feint, stopped, and then backed up at full speed.
The MSV, expecting the MG to change direction, veered the wrong way and
slid to a stop up against a tree. Buzz was off again, down the fire tower road,
and the undamaged MSV set off in pursuit. Buzz's predicament was
unenviable. He was going full tilt down the twisting blacktop with a solid
MSV coming up at him. and an equally solid MSV coming down after him. On
he went, however, braking hard before each turn and then accelerating back
up to 45 in between. Coming down to a particularly tight turn, he saw the
MSV coming around it from the other direction and stood on the brakes. The
sudden extreme pressure in the brake lines was too much for the rear brake
line which had been twisted somewhat in his spin, and it broke. robbing Buzz
of his brakes. In sheer desperation he pulled the handbrake as tightly as it
would go and rammed the gear lever into 1st, popping the clutch as he did
so. The back end locked solid and broke away, spinning him off the side of
the road and miraculously into some bushes, which brought the car to a halt.
As he was collecting his senses, Buzz saw the two MSVs, unable to stop in
time, ram each other head on at over 40 mph.
It was a long time before Buzz had the MG rebuilt to its original
pristine condition of before the chase. It was an even longer time before he
went back into the valley for a drive. Now it was only in the very early
hours of the day when most people were still sleeping off the effects of the
good life. And when he saw in the papers that the government would soon
be requiring cars to be capable of withstanding 75-mph headon collisions, he
stopped driving the MG altogether.
----------------------------------------------------------
Date: Thu, 11 Oct 90 10:32 EDT
From: LHARRIS@CLEMSON.CLEMSON.EDU
Subject: RUSH rasters
I would like to thank the person who uploaded the RUSH rasters to an
FTP site, but there is one small problem... It seems as if this FTP
site no longer accepts anonymous logins. Is there another site that
these could be uploaded to? It's nice to have RUSH rasters, but not
to usefull if no one can access them.
........................................................................
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
< / /| /'''/ /'''/ | / > E-mail: LHARRIS@CLEMSON.bitnet >
<___ / / | / / / / | /__> -OR- LHARRIS@clust1.clemson.edu >
<-- / /--| /--|- /--|- |/---> Clemson University Computer Engr. >
< /____ / | / | / | / >-Disclaimer: Go ahead and sue me|- >
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Look in to the eye of the storm, Look out for the force without form.
----------------------------------------------------------
Date: Thu, 11 Oct 90 11:26:38 -0400
From: nth@cs.brown.edu (Nate Huang)
Subject: Some comments on the latest newsletter:
> the Rush "Get A Life" Digest.
Yes, The Rush "What time is it on Neil's watch?" Digest,
unfortunately, says a lot about the mailing list.
My suggestion for the digest name: The Camera Eye
Makes sense.
> He's right, it is the 1812 overture melody, played at about 20 beats
> per minute faster.
Either your CD player is busted, or you were playing your LP of the
1812 Overture at 16 rpm, or you are in a symphony with a very bad
conductor.
One song I think is great for solo acoustic guitar and vocal is
Different Strings. It has been experimentally proven by myself to be
able to win a girl's affection when played and sung properly.
(Seranading with Rush? Hey, it worked.)
Nate
----------------------------------------------------------
Date: Thu, 11 Oct 90 12:19 EST
From: "C. Alex Harden" <V409EPK3@ubvmsc.cc.buffalo.edu>
Subject: List name, etc...
Hi!
My submission for the name of the Mailing list is:
Vital Signs: The NET-Wide Rush Digest
The address can remain the way it is...rush@syrinx.umd.edu is easy to
remember and to type in.
Happy naming!
K ^ A Cygnus, The God Of Balance | "To you, is it movement
^ | ^ (Lbh'ir sbhaq gur frperg | -- Or is it action?
\|/ C. Alex Harden zrffntr!) | Is it contact or just reaction?
<--+--> SUNY at Buffalo | And you, revolution or
/|\ V409EPK3@UBVMSB.BITNET | just resistance?
v | v V409EPK3@UBVMS.CC.BUFFALO.EDU | Is this living or just existence?"
O v S harden@autarch.acsu.buffalo.edu| - Peart, "The Enemy Within"
----------------------------------------------------------
Date: Thu, 11 Oct 90 17:02:23 GMT
From: scott <scott@blueeyes.kines.uiuc.edu>
On Wed, 10 Oct 90 15:34:02 PDT, mjahnke%sdcc13@ucsd.edu (Meg) asks:
>And this question I asked last year but got no responses so here goes
>again:
>
>Does anyone know how tall Neil, Geddy and Alex are?
>Or their shoe size?
>
>-Meg
Well, Meg, I'm afraid I don't know the specific answers to your questions, but
rumor has it that if you knew their penis sizes, you could infer the other
two measurements... ;-) ;-) ;-)
[ And at the risk of being crass (in continuation), you can tell that size
by looking at a fellows hands, and .... nose! ;-) Wait, then Geddy should
be 10 feet tall, and ... well, never mind! :rush-mgr ]
--
Scott Coleman khan@ux1.cso.uiuc.edu
University of Illinois at Urbana-Champaign
Wanted: Specs on the edit control protocol for the Panasonic AG-1960 VCR. If
you have them or know where I may find them, PLEASE email me! Thanks!!
----------------------------------------------------------
Date: Thu, 11 Oct 90 13:14 EST
From: Shane Faulkner <V127L2QZ@ubvmsc.cc.buffalo.edu>
Subject: Name for list
How about 'The National Midnight Star' (It's True!!!)
You'd really have to be into Rush to get that one!
[ Actually, this is directly attributable to SCTV, with whom RUSH has a
couple of minor links (Bob & Doug, Count Floyd). I'll make a note of
it tho... :rush-mgr ]
-Zulu
----------------------------------------------------------
From: lhummel@urbana.mcd.mot.com (Lionel Hummel)
Subject: Heat vs. Light
Date: Thu, 11 Oct 90 12:50:49 CDT
> Date: Tue, 9 Oct 90 10:23:29 -0400
> From: cs021045@cs.brown.edu (Jason Rosenberg)
> Subject: Presto
>
> What exactly does Neil mean by "I radiate more heat than light?"
> I've been looking at this for a while, and I'm still fuzzy. Any
> ideas?
>
> Jason Rosenberg
I that other peoples' interpretations of intentions vs. effect explain the
purpose of these lyrics. As to the effectiveness of the image, I'd like to
also point out that heat often goes hand-in-hand with light. As one knows
who has ever sat under a hot, incandescent bulb at a writing desk, it always
feels like you're getting more heat than light out of the thing.
--
< Lionel
-----------
Lionel D. Hummel, Software Engineer [H] (217) 344-8713
Motorola Microcomputer Division, Urbana Design Center [W] (217) 384-8511
lhummel@urbana.mcd.mot.com uiucuxc!udc!lhummel uiucdcs!large!lionel
----------------------------------------------------------
From: jmhaas@balance (Jeff Haas)
Subject: Ahsolom?
Date: Thu, 11 Oct 90 14:17:46 EDT
Just a small question, what does Ahsolom (sp?) mean in the song Distant
Early Warning?
[ I think this is 'Absolom', and it's answered in the latest Backstage Club
newsletter! (Which of course I don't have here... :rush-mgr ]
Second question: Who else thinks that the version of Distant Early Warning
was better done in _A Show of Hands_ than the original album?
| Elezar, last Wizard of Xandurae | "Hearken to me ye present and ye past, |
| Dekhion, keeper of the Three | Know ye the future need not be last." |
| Bitnet: JMHAAS@MTUS5 Internet: JMHAAS@MTUS5.BITNET | "Fiat Lux, Stop." |
| Sequents: jmhaas@balance.cs.mtu.edu ; jmhaas@symmetry.cs.mtu.edu |
----------------------------------------------------------
Date: Thu, 11 Oct 90 15:15 EDT
From: <KLB130@PSUVM.PSU.EDU>
just a few questions for anyone out there who might have a few answers:
why were ATWAS and ESL shortened by on song on the CD when both of them
are under 79 minutes long and would easily fit on a single disc with no
problem?
why is p/g aad when the two albums before it, MP and signals are add?
why does Fear appear III,II,I on the albums when it is played I,II,III?
[ That's just the way Neil wrote it... :rush-mgr ]
any answers to these questions would be greatly appreciated.
----------------------------------------------------------
Date: Thu, 11 Oct 90 17:33:44 -0400
From: Michael S Savett <savvy@brahms.udel.edu>
Subject: Bootlegs,etc.
Greetings- there IS a CD bootleg out and about called 'Red Star of
The Solar Federation.' It was taken directly from the 'Exit...'album.
(Same tracks, song order, sound, etc.)
In case people missed my posting in the recent special edition,
I have heard that the boyz did some instrumental music for the movie
'Darkman,' out this summer. I doubt this is true, but could someone
confirm or deny this?
Does anyone know where I can get a poster of the boyz from the
'Presto' tour...The Backstage Club (last time I got something from
them) didn't have anything for it. If anyone has info, please post
or e-mail to me.
Michael Savett
savvy@brahms.udel.edu
----------------------------------------------------------
Date: Thu, 11 Oct 90 18:25:51 -0500
From: Patrick.Quairoli@cyber.widener.edu
Subject: Name that mailing list.
Sorry I haven't been as active in the worship of the "four horsemen" (Neil,
Alex, Geddy and Mongo), but work has kept me very busy. I have a few
suggestions for some name changes:
I would first like to suggest that we bestow are brave leader with
a befitting title: *Prime_Mover*
[ Oh, no, I don't want to let this go to my head! I'll settle for all those
beers I've been offered! :-) :rush-mgr ]
After all he is the one who "...sets the wheels in motion.
Turn(s) up all the machines.
Activates the programs.
And runs behind the scenes."
The second suggestion is for the Mailing list it self how about....
RUSH Chronicles ;) <grin>
[ No, I can't abide by this one, as this list (with almost 450 people that
I *know* of, may eventually come to their attention. (I know, I know,
but Neil may have been having a bad day...) I don't think they would
approve of "Chronicles"! Luckily you did include the smiley! :rush-mgr ]
As for the mailing address anything with 'Cygnus' in it will do. :)
_____________________________________________________________________________
Hey ":rush-mgr ]" I'm going to be in Annapolis MD on Saturday for
the Festival, any chances of bumping into you there?
[ Geez, sorry dude, I'll be up just north-east of Philadelphia, PA this
weekend... Otherwise I'd probably have been there! :rush-mgr ]
----------------------------------------------------------
From: gatech!beow!mike%gatech.edu@mathcs.emory.edu
Date: Thu, 11 Oct 90 17:46:08 EDT
Subject: RE: RUSH Fans Digest of 10/10/90 (#64)
>From: "Meakin, William James"
<WMEAKIN%DREW.BITNET@CUNYVM.CUNY.EDU>
> It's been awhile since I posted, but I just discovered
something
>that really blew me away! To make it more exciting for everyone
else,
>listen to the first part of 2112. Concentrate on the last
guitar solo.
>
Could it be one of the major 'motifs' from the Overture 1812 by
Tchaikovsky?? Of course it is. I noticed that listening to the
record (now disc) soon after getting it. My major interest in
is classical music, but I like some jazz (Pat Metheny, Stanley
Clarke, Jean-Luc Ponty) and various rock-n-roll (Rush, Yes,
Dixie Dregs, Moody Blues, and a host of others). In rush (and
Yes) I like the full sound made from several instruments. Tales
from Topographic Oceans is symphonic in nature as is 2112. I
always have liked concept albums (I by Patric Moraz).
Mike Kazmierczak gatech!beow!mike@gatech.edu
no lyrics...
----------------------------------------------------------
Date: Fri 12 Oct 90 00:17:29-PDT
From: Tony Stark <I.IRONMAN@Macbeth.Stanford.EDU>
Subject: Rush Guitar Stuff: Count me In!
Just a note about a couple of things regarding Rush Guitar stuff that might
happen to go on on this mailing list.
1) Rush, more so than most other bands, has written such a wide variety o types
of music that it is very difficult to listen to an entire album by them
without hearing many beautiful acoustic guitar parts. It seems to me that
Alex's inspiration for many songs comes from classical lines, if not, at
least, to some degree, classical theory. "Broon's Bane," is a perfect
example. Even Alex's non-acoustic parts, including many of his long solo
runs, use classical mixolydian, lydian or aeolian mode scales. It seems
that in a band with as much technical prowess as Rush, it's hard to think
of the guitarist limiting himself to power chords with the distortion
turned all the way up. (Not to say distortion is bad. Personally, I love
it.)
2) I, probably like many other readers on this list, also play guitar, and any
solo trading or tips that happens to go on on this list I would love to be
involved in. I guess a little background might be worth it. I play a Kramer
Striker with a Floyd Rose Licensed Tremolo, on a Peavey Amplifier. I love to
play stuff by Eddie Van Halen, Joe Satriani, Alex Lifeson, Eric Clapton,
Jimi Hendrix, and pretty much most anything that I can challenge myself with.
I'm even starting to listen to some Michael Hedges now, (big concert here
at Stanford this Friday) and he's phenomenal. Anyone interested in guitar
should check out any of his albums. Also, tomorrow is Joe Satriani/Eric
Johnson in San Jose. I'm there. Rock on!
3) Sorry about that. Getting back to Rush related stuff...I was wondering if
any of the other guitarists out there noticed this about Alex's playing.
Personally, I love to play Alex's parts from earlier albums, because it
seems that he was more involved in making the song move then than he is
now. I'm not saying that he's any less talented or taking it easy even.
But previously, his guitar parts seemed more involved. Not having too much
money to spend on equipment (I'm a starving student.) like digital delays,
reverbs, I have a hard time imitating Alex's heavily effects-based sound
on later albums with the distortion built into my amp. His parts now, as
always have been, are integral to the song, but I sort of miss jams like
the one all through "La Villa Strangiato" and even those crunching guitar
riffs on things like, "I Think I'm Going Bald." ;)
4) As for solo trading and stuff over the net, I figure someone did a reasonable
ASCII representation of a musical staff, so it couldn't be too hard to
represent tab. Rhythm could be figured out independently. It would take a
heck of a long time to type in though. Oh, well. Who knows? Just a thought.
Anyway, to close this out here, let me say, anybody who lives in the Stanford
area and wants to jam, feel free to e-mail me and we'll try to arrange
something.
Later for now.
--Chacko Sonny
-------------------------------------------------------------------------------
"Some are born to move the world, to live their fantasy.
But most of us just dream of all the things we'd like to be.
Sadder still to watch it die than never to have known it."
-Rush "Losing It"
Chacko Sonny =====> i.ironman@macbeth.stanford.edu
punisher@bart.stanford.edu
chacko@helens.stanford.edu
sonny@nova2.stanford.edu
-------------------------------------------------------------------------------
----------------------------------------------------------
Date: Fri, 12 Oct 90 10:15:45 -0400
From: Tonya Y Schooler <tysst@unix.cis.pitt.edu>
Subject: geoff
Towards the end of the epic on side two of moving pictures I swear I hear
"morning ing Geoff". Has anyone else heard it?
[ I thought it was "Mornin' gov" (as in governor) ? :rush-mgr ]
----------------------------------------------------------
To submit material to the Rush mailing list, send mail to:
rush@syrinx.umd.edu
For administrative matters (additions, deletions & changes), send
mail to:
rush-request@syrinx.umd.edu
The contents of the Rush Fans Digest are solely the opinions and comments
of the individual authors, and do not necessarily reflect the opinions of
the management.
List Management
********************************
End of RUSH Fans Digest
********************************