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From: rush@syrinx.umd.edu
To: rush_mailing_list
Subject: 12/15/92 - The National Midnight Star #582
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The National Midnight Star, Number 582
Tuesday, 15 December 1992
Today's Topics:
Administrivia
Drumming, etc.
RE: Natural Science Question
Re: 11/23/92 - The National Midnight Star #564
Rush/Dire Straits
Rush Riff and Dream Theater in Philly
New Albumn and stuff
Neil's drumming styles.
Band members adresses
Welp...
OOPS!
Re: 12/14/92 - The National Midnight Star #581
Sex with animals (simulated, of course!)
new BOOT CD! & RTB album cover interpretation
Anyone can imitate, but...
Re:
Re: 12/14/92 - The National Midnight Star #581
----------------------------------------------------------
Date: Tues, 15 Dec 92
From: rush-mgr
Subject: Administrivia
I know I'm behind on the add/drop/address change people, so if you're still
getting this and you shouldn't be, please be patient! I plan on finishing them
up later tonight.
In other news, syrinx is getting an overhaul in the disk space, so things
might start disappearing in a week or so. The sounds directory will be mostly
eliminated and some of the images directory as well. So if you REALLY have to
have anything in those directories, you have about a week to get what you
want.
- rush-mgr
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Date: Sun, 13 Dec 92 22:06:44 EST
From: Greg.Andrade@um.cc.umich.edu
Subject: Drumming, etc.
There has been some great discussion of Neil Peart's drumming and the work
of other artists lately. Some good points have been made, but I'd like to
offer a definitive statement on Mr. Peart's work. It is not tated in any
textbook that rock drummers are supposed to play 4/4, heavy on the back
beat rythms, so when Mr. Peart uses a few jazz or reggae ideas in his
playing, he's not being a jazz or reggae drummer. He is simply being Neil
Peart. Whether you like his style or not, the fact remains that Mr. Peart
has been one of the most influential drummers over the past 15 years.
His playing combines flashy fills and crashes with very thoughtful and
well-planned technique. All of this, as was stated before, is executed
with aggression and power. All of these things are what make Neil Peart
a very unique and exciting drummer. There is no sense in arguing over who
is the best drummer: the drummers themselves don't really care. It's a
matter of who influences you the most as a musician and/or listener. If
you happen to love drummers like Mick Fleetwood or Charlie Watts, who are
very minimalisitc players, then so be it. I enjoy very technical drummers
who incorporate burning chops, phenomenal technique, and innovative ideas
in their playing. I would never listen to Fleetwood or Watts for
inspiration, but that's not to say that they should be written off as bad
drummers (in fact, they're damn good in their own right).
One last note: Rob, please send me your e-mail address. I don't have it.
----------------------------------------------------------
From: jay@btsc.ma10.bull.com (Jay Martin)
Subject: RE: Natural Science Question
Date: Mon, 14 Dec 92 9:40:36 EST
Fronefield Crawford <Fronefield.Crawford@williams.edu> writes:
> What is the last part of Natural Science called?
> I know the first two are Tide Pools and Hyperspace, but I can't remember
> the last one.
I believe it is called "Permanent Waves" (Same as the album).
--
Jay D. Martin Internet: J.D.Martin@bull.com
"The most endangered species, the honest man.
Will still survive annihilation." - Natural Science
----------------------------------------------------------
From: James Ely <netxcom!jely@uunet.UU.NET>
Subject: Re: 11/23/92 - The National Midnight Star #564
Date: Mon, 14 Dec 92 9:44:49 EST
uunet!syrinx.umd.edu!rush said:
->----------------------------------------------------------
->
->From: rush-mgr
->Date: Mon, 23 Nov 1992
->Subject: Administrivia
->
->First off there will be another mailing this evening for the star of a 3-part
->frequently asked questions list. The other two will be Tues and Wed evenings.
->Second, the "boring" lines separating these posts are for those people who use
->elm -- it apparently separates each post into a unique mail message (I don't
->know, I don't use elm.)
->
->- rush-mgr
->
I'm a little behind in my reading of the NMS. So, I'm sorry if you've
gotten many replies on this already.
I do use elm, and I get one LARGE message each day to read through.
[ EMACS is the program that separates the messages, not elm. : rush-mgr ]
**************************************************************************
* Jim Ely Trying to break of my lurker upbringing *
* jely@netx.com *
* Disclaimer: Do you really believe anyone would let me speak for them? *
**************************************************************************
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Date: Mon, 14 Dec 1992 12:02:22 -0500 (EST)
From: Anna Matyas <am2x+@andrew.cmu.edu>
Subject: Rush/Dire Straits
Roger Haworth writes:
>Hi all...I see from the '2nd favourite band' bits that a few of us rate Dire
>Straits quite highly. Personally (and I stress personally), I find this rather
>distressing. I remember when Presto came out, one of our celebrated British
>music publications referred to Rush as 'the Dire Straits of heavy rock', or
>something along those lines. I've always found Dire Straits to be about as
>exciting as a wet weekend in Scunthorpe (or, errm, Seattle to our North
>American cousins). Whilst I will admit that Knopfler is a superb guitarist, it
>saddens me he wastes his talent playing such suffocatingly bland music.
Stuff like this brings me out of the woodwork. Not understanding how
Rush fans can like Dire Straits is like asking someone why they're eating
something like toast when they could be eating hot peppers. Sometimes
you want something to mull over, to soothe you. Knopfler's lyrics are
superb and his guitar playing is extraordinary. When I listen to Rush my
mind races in a million directions and I'm awestruck by what I'm hearing.
Listening to DS is a more earthly experience. Mark's voice blends so well
with his guitar; the hums and gentle groans, along with the grammatical errors,
give the music a real down-to-earth, guy-next-door quality. I feel like
I'm in space when I listen to Rush; I feel "at home" when I listen to DS.
No question they are very different bands yet they're each refreshing in
their own way.
(How can you possibly listen to the beginning of "Tunnel of Love" and
use the term "suffocatingly bland music"??? Whew...)
Anna
----------------------------------------------------------
Date: Mon, 14 Dec 1992 15:28:38 -0500 (EST)
From: Chad H Hutchinson <06819@brahms.udel.edu>
Subject: Rush Riff and Dream Theater in Philly
Hi kids,
The other night, I was listening to Caress of Steel when I reached
"Panacea" and realized that the main riff to that tune is VERY similar to one
in "High Water" from Hold Your Fire. In "High Water", it's found during
the verse that has "..marble fountains..." in it, I believe. Check this
out and let me know what you think. If yo need me to be more specific of
the location of the riffs, mail me and I'll get the exact lyrics for each
part. For all you musicians out there, are these chord progressions
identical? Think the boys are getting alzheimers? Just kidding.
One final note, for all you who have mentioned Dream Theater, thanks.
Images and Words is a very cool album. Also, they are playing the
Chestnut Cabaret Tuesday Night in Philadelphia (7:00pm). Tickets are
$6.50. It should be a cool show. I'll give anyone details who wants
them. Just contact 'Ghost' at:
06819@brahms.udel.edu
Ghost
----------------------------------------------------------
Subject: New Albumn and stuff
Date: Mon, 14 Dec 92 19:20:13 -0500
From: jaborgia@mailbox.syr.edu
Hi! I'm the new guy around here and I have to say, it's really great
to finally be here!! I don't want to bore anyone right away so I'll
start slow with any questions or opinions that I might have.
Anyone heard anything about a possible time frame for the release of
RUSH's next albumn?
There was a funny story in the last issue about someone who lived near
Alex in Toronto. I have a slightly funny story of my own.
I have a friend that went to Toronto and found out where Ged lives. They
waited out in front of his house (STAKEOUT STYLE) until he came out.
Finally, he did come out to mow his lawn. They had a camcorder and taped
Ged mowing his lawn. They went a long way up to Toronto just to get that
tape! It's hysterical!! Geddy keeps looking at the camera suspiciously.
He probably thought he was being investigated by the Canadian Secret Service!
The tape was really funny!
GREAT TO BE AMONG SO MANY OTHER FANS!!!! WOW!!!!
-Joe Borgia at S.U.-
"I have dined on honeydew and drunk the milk of paradise..."-Neil Peart-
----------------------------------------------------------
From: Scott Kaplan <sfkaplan@cs.amherst.edu>
Subject: Neil's drumming styles.
Date: Mon, 14 Dec 1992 19:52:16 -0500 (EST)
As another drummer who has heard and listened carefully to a great deal of
Neil's playing, I couldn't help but add my opinions to those already expressed.
On the idea that Neil's style is a very "rock-only" style, I think that this is
basically true, but some further explination is required. Neil has, as someone
pointed out, taken a lot of influences, be they rock, jazz, fusion, or other-
wise, and used them to build his own rock style. He does not immitate much at
all (although I've heard some surprising similarities between his solo and one
I heard on a live Duke Ellington disc.) The other thing that one should
remember is that a great deal of what is considered a "rock" style these days
was developed and defined by Neil. While he is certainly not the only person
responsible for such definitions, he's a large part.
In regards to emulating his style...I would agree that it is not that hard to
do. Most good drummers are capable of playing most everything of his. On the
other hand, however, few drummers can copy the style and be as tight as he
always is. I often play Rush songs note for note whenever I feel that I am
getting sloppy, losing my accuracy, or not moving around the set as mobily as
I should be. To play his style correctly you must be clean and on the mark,
and while it's not terribly hard to do, it keeps your playing clean and strong.
Also, I think Neil's style can teach a drummer how to be more melodic, how to
take over the song when it is called for and lead the other instruments on
transitions.
Other fantastic influnces, however, would have to include Bill Bruford, Phil
Collins (old Genesis and Brand X stuff), Stewart Copeland, Buddy Rich, Max
Roach, Roy Haynes, Rudy Collins, Mitch Mitchell, Fritz Hauser, Pip Pyle, Alan
White, and the man I consider the best young jazz drummer around--Jeff Watts.
There are more, but these are people who can really show you what drums are
capable of as real expressive instruments.
Scott Kaplan
Amherst College
sfkaplan@cs.amherst.edu
----------------------------------------------------------
Date: Mon, 14 Dec 92 20:58:41 -0400
From: x92fca@px4.stfx.ca (Roy Germon)
Subject: Band members adresses
Someone mentioned that they had written to Neil (sorry, the name eludes me).
Could someone please give me a mailing list where I could write to him, and/or
Geddy and Alex? Please E-mail me privately. Thanks
Roy Germon
x92fca@phoenix.stfx.ca
----------------------------------------------------------
Date: 14 Dec 1992 19:56:51 -0500 (CDT)
From: Orchestral Bloodbath <II67@vaxb.acs.unt.edu>
Subject: Welp...
I have a good question, and would like an equal
answer: what happened to Skip Gildersleeve, their stage left
technician? He wasn't listed in the RtB credits this year...
MMc - Matthew McGarity
----------------------------------------------------------
Date: Mon, 14 Dec 1992 20:56:43 -0500 (EST)
From: Chad H Hutchinson <06819@brahms.udel.edu>
Subject: OOPS!
MGR,
Please post this for me on the NMS.
Like an idiot, I accidentally lost ALL of my previous messages. So any
of you would have previously contacted me, please do so again soon so that
I can keep in touch with my new Rush colleagues. Especially Skip (YYZ
tab, I need your address again), Phil (Honeymoon Suite Fan Club, I have
your house address I just need your E-mail), and who ever it was that's
sending me tapes for Mardi Gras (I need your E-mail address again).
Thanks for your time. I'll be a little more careful next time.
Ghost (06819@brahms.udel.edu)
----------------------------------------------------------
Date: 14 Dec 1992 21:55:35 -0500 (EST)
From: MOSUREGD@udavxb.oca.udayton.edu
Subject: Re: 12/14/92 - The National Midnight Star #581
The third part of "Natural Science" is "Permanent Waves". If any drummers
are out there and have a copy of "Drums Techniques of Rush", they can verify
this information.
-greg
----------------------------------------------------------
Date: Mon, 14 Dec 92 21:57:14 EST
From: PWALES@ucs.indiana.edu
Subject: Sex with animals (simulated, of course!)
Monday, December 14, 1992 9:29pm
Hello All!! I just wanted to respond to Jason Crabtree's posting about
strange antics on stage....
I was at the concert he mentioned in Indianapolis, 2nd row. It was a peculiar
event, I must say!!! It was during "Where's My Thing". This hombre clad in
western duds came on the stage and appeared to be looking for, well, his thing.
Like Jason said, Alex and Geddy for the most part were ignoring him, although
they did laugh when he first got on the stage--he looked ridiculous in cowboy
attire and painted-on whiskers!!! Then all of a sudden he got what appeared
to be a wild boar (or some beast of the sort) from behind the barrier and
simulated sex with it! I don't know if they were expecting *that* to happen or
not! Everybody on stage lost it--Neil, Alex and Geddy were laughing their
heads off! (So was I for that matter-you don't see bestiality on stage every-
day!) And of course, neither one of them missed a note. I never thought I'd
see sex with animals at a Rush concert!!!
Alex was on a roll that evening, too. During Geddy's solo on CttH, he
practiced his putting techniques (for a golfing vacation, I'm sure!) and when
it was time for him to play his guitar part, he slung his putter at his
roadies! He had a look of horror for about one second until he realized he
didn't hit anyone, then he started laughing hysterically! Hmmm...during Tom
Sawyer a photographer (maybe Andrew?) started taking shots of him and Geddy,
then Alex hand signalled the guy to wait. He started posing like Rodin's
"The Thinker" on his PRS!!! He kept me laughing all evening!!! What a clown!
Well, enough of having fun....I have to study for finals now!!! Hope every-
body has a festive holiday season, and you get all the Rush goodies your heart
desires! Think Santa could deliver Alex to my house????!!!! (Joking, of
course...!)
--Pam
----------------------------------------------------------
Date: Mon, 14 Dec 1992 22:00:41 -0500
From: Scott David Daly <skipdaly@wam.umd.edu>
Subject: new BOOT CD! & RTB album cover interpretation
Hi there everyone!
First off...I was glancing through the new Goldmine today,
and I noticed a new Rush boot CD listed by one of the German
dealers...it said:
Rush:"Kaleidoscopic Harmonies" USA '92
Anyone heard of it?...or heard IT? God...please let it be
the first of the boot cds from the 3rd LEG! THAT is what I'm waiting
for! That'd be awesome to get The Analog Kid on a CD boot
(especially if it sounded like "Over The Europe"!)!
Second...(since I'm a little bored right now), there's been a
bit of discussion with people trying to interpret the Roll The Bones
album cover, so I thought I'd give MY personal (humble)
opinion/interpretation:
1) The boy in the foreground nonchalantly (or casually)
kicking the scull is obviously symbolizing a kind of "scoffing at
death". He is young (at least in HIS mind...kinda like Neil says
they feel), and death is obviously not a big concern of his. We ALL
feel this immortality, or "nothing can happen to me", complex at one
time or another...one of the messages of this album seems to be a
reminder that we ARE all immortal and we need to live life to the
fullest NOW...you only live once, so if you have a chance: TAKE IT!
2) The dice that make up the background (and whose "pattern"
seems to have everyone so perplexed) make perfect sense to me...(most
of you will probably think MY interpretation is "stretching it" a
bit...but then that's why I'm calling it "MY" personal
interpretation!). If you start at the bottom, the numbers are all
mixed up...as you proceed up the wall, more and more of the dice are
"three"...until finally, they are ALL three. This is how I interpret
it: The 3 obviously symbolizes the band. Rush started out at the
very bottom and worked their way up to where they are today. When
they first started, the odds were against them, and their "number was
not coming up"...but, by being PERSISTENT, and continuing to ROLL THE
DICE, they were able to get where they are. They didn't give up, but
rather: they kept Rolling those Bones. The whole message is that
there is a RANDOM element in life...but there is also HARD WORK. To
paraphrase Neil in the tourbook: so what if your number doesn't come
up the first few times...pick up the dice, load them (with a
DREAM,HARD WORK and PERSISTANCE), and ROLL AGAIN! You may have to
wait awhile (e.g. 20 years!), but things will eventually begin to
fall your way (if there is no "failure INSIDE OF YOU...a failure of
CHARACTER")
So there it is...don't look for a "pattern" in the mixed up
dice on the wall...the whole message is RANDOMNESS! This is all just
MY OPINION...that's the great thing about art: it means something
different to everyone! So, please don't waste time with flames about
this...if anyone wants to DISCUSS it, or add something, or disagree
constructively...I'd be VERY interested in hearing opinions. I, for
one, LOVE Hugh Syme's art (anybody know if you can get PAINTINGS of
his somewhere?). I also don't think that interpretations like this
are "reading too much into it"...the man is subtle, but he definitely
is a genius at representing "deep" ideas...if you have an open mind
and can pick stuff out...and maybe do some drugs!
Sorry for the long post!
Skip
----------------------------------------------------------
From: frick@cs.utexas.edu (Baltasar Allende Reva)
Date: Mon, 14 Dec 1992 22:44:17 -0600
Subject: Anyone can imitate, but...
I can paint just like Leornardo Devinci, and Michael Angelo..and Van goh
is a joke....Does that make me a great artists?
I DON'T THINK SO!!!!!!!!!!!
This reminds me of the guy that said
Anybody worth anything can duplicate him, but it'd be
mighty hard to find someone who can BE Neil.
So all these people can play just like Neil, but none have made it as far
and they will never get anywhere, simply because Neil is the originator
, and the rest are mere imitators.
In other words...if a paint another Mona Lisa, does that also make me great?
I think you all got my point, Neil is an original, and perhaps like
no one else. I also play the drums, and no one ever before inspired
me to play the drums until I heard him. I mean power windows in
an incredible drums album (an all around). Anyways....I recemmend
Over the Europe to anyone, but why only get audio while you can
get audio and video, go video...the following are good
Madison Square Garden 1991
Reno 1992
later
Albertr
----------------------------------------------------------
Subject: Re:
Date: Tue, 15 Dec 92 11:16:34 PST
From: Will Hartung - Master Rallyeist <villy@uunet.uu.net>
> Another question: Does anyone else out there have a personalized license
> plate that refers to Rush? Mine happens to be 2112-AD. So if you're ever in
> SE Pennsylvania and you see the plate, you know it's "The Ghost".
>
On my '90 Honda VFR 750 (VFR stands for Very Red :-):
Plate: WKLY CRM
Frame: No Barchetta, but it's RED!
[ ELP Concert note... ]
I got to see ELP in Irvine at a Real Small Venue. It was amazing being
able to see them in such a small place. During the encore, the side
and back seating areas pretty much flowed onto the floor. I ended up
standing on a chair (with three other people) in the second row right
in front of Lake. Very Cool.
I don't know if this show is syndicated out anyplace else in the
country, but here in LA we've got a show on KLOS called 'Stone Trek'.
It's on 9am on Sundays, and claims "The Best in Progressive Rock".
Greg Stone plays all sorts of stuff, and and it's on at a great time
(i.e. I'm contemplating dragging myself out of bed...) You might want
to give it a listen if you haven't yet.
----------------------------------------------------------
Date: Tue, 15 Dec 1992 15:28:04 -0500 (EST)
From: Herschel A Gelman <hagst3+@pitt.edu>
Subject: Re: 12/14/92 - The National Midnight Star #581
Excerpts from mail: 14-Dec-92 12/14/92 - The National Mid..
rush@syrinx.umd.edu (47974)
> Just thought I'd let you all know that the Japanese version of the
> Chronicles has 12 tracks, not 11 that the US version has. I forget
> the different track that's missing.
> [ The US version does not contain "Red Sector A". : rush-mgr ]
Woah. Hang on. Chronicles has 11 tracks?? No "Red Sector A?" What am
I missing? Why does mine have closer to 25 tracks or so, and *has* Red
Sector A? I be confused...
[ He's referring to the laser disc of Chronicles, not the CD. : rush-mgr ]
> more (in true Python trad) Oh BTW, (switches subject) nice to see another
> Douggie Adams fan. Does Mr. Adams like Rush, I wonder, well I guess not.
> Oh well.
I missed something, somewhere around here. Where did that come from.
Douglas *is* a great writer, of course. Finally got around to the
Holistic Detective Agency. Which...uh...deals with time-travel. Yeah!
Which shows the Rush influence from "Hemispheres!" Of course. (So,
this was Rush-related after all...) :-)
> [ Skip, yes, it's real. I've known quite a few people who have
> received postcards from Neil in the same fashion as yours
> (typed reply on a postcard, but handwritten signature) and
> like you, it did take a while for the letter to be answered, but
> Neil does eventually get around to it. : rush-mgr ]
Wow. That's mighty impressive. Does anyone know if there are other
musicians or people of similar fame that show that kind of dedication?
While I'm posting...my other favorite musicians. Hard to do. I have
really *no* definite ordering. Not sure where Rush falls in, really.
But I like everything. Quick overview: Rush, They Might Be Giants,
Billy Joel, U2, Branford Marsalis, 10,000 Maniacs, Indigo Girls, Duke
Ellington, Joe Satriani, Led Zeppelin, Queen, Eric Clapton, Eric
Johnson, The Police, Sting, New Order, Jimi Hendrix, Rockapella, Bob
Marley, Paul Simon, The Steve Miller Band, Procol Harum, Pink Floyd, The
Eagles, Yes, The Cure... The list just goes on and on (and on and
on...) I don't think that I like *too* much (yet). I'm beginning to
actually like some rap songs. (NWA, Arrested Development, Tribe Called
Quest.....). Anything but country, I suppose.
Oops, that got long. Low Rush level. Sorry.. Getting back on course:
I heard someone on here mention a while ago that they had a copy of "Sir
Gawain and the Green Knight." Anyone out there have this? A decent
copy? It would be really interesting to hear what those guys would
consider not good enough...
----------------------------------------------------------------------------
| Herschel Gelman | Calvin: I wonder where we go when we die. |
| hagst3+@pitt.edu | Hobbes: Pittsburgh? |
| (412)648-4309 | Calvin: You mean if we're good or if we're bad? |
----------------------------------------------------------------------------
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Copyright The Rush Fans Mailing List, 1992.
Editor, The National Midnight Star
(Rush Fans Mailing List)
********************************************
End of The National Midnight Star Number 582
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