The National Midnight Star #2137

Date: Fri, 13 Nov 1998 11:53:22 -0800
Message-Id: <199811131953.LAA09620@yyz.com>
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From: rush@yyz.com
To: rush_mailing_list@yyz.com
Subject: 11/13/98 - The National Midnight Star #2137

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List posting/followup:     rush@tnms.com
Administrative matters:    rush-request@tnms.com
                                       or
                           rush-mgr@tnms.com

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

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


         The National Midnight Star, Number 2137


                   Friday, 13 Nov 1998

Today's Topics:
                      Administrivia
             Different Stages Observations...
                      More DS Stuff
           Want to hear Rush in a movie? Do ya?
                       three cheers
                      DS-What else?
                    DS! (What else??)
               re:various stuff on TMS#2136
                 Hugh Syme strikes again!
                      My take on DS
                         DS stuff
                 Natural Science from DS
                            DS
                      thoughts on DS
                Yet another DS comment...
                    Great live album!!
                      DS, of course
                     the kid's shirt
                        The Trees
                  Re: One sided are we?
                    H.S. July 10, '98
                     "The" Analog Kid
                   Re: setlist bitches
                       enhanced cd
            Thank you Al and Bill...and Aaron
                        DS Review
                     DS Art Questions
                        Headphones
                   Geddy Lee Interview
----------------------------------------------------------

From: rush-mgr@tnms.com (The RUSH Fans Digest Manager)
Date: Fri Nov 13 11:35:16 PST 1998
Subject: Administrivia

Don't forget on Sunday is the internet FANCAST! It starts at 7pm east coast
time in the U.S, 4pm on the west coast. East coast time is FIVE HOURS BEHIND
GMT time for you international folks.

There will be two parts, the first part will be a chat starting at 7. Make
sure to get yourself registered BEFORE the chat starts, or you won't be able
to get in! Go to www.yahoo.com, click on "chat", and register yourself. On
their main chat page (chat.yahoo.com) they have info on the Rush chat, but 
no link yet, I assume that before the chat starts they'll open up a new room 
for it. They use java for their chat room, but also can use HTML if you don't 
have java (I only tried the java version). Based on what I saw, I think that 
you'll be able to submit questions to a 3rd party, who will then post them 
to the screen and they'll answer. If you ask a question, please keep it 
relevant to the new album, and don't ask about Neil! I'm sure they're sick 
of answering those questions already...

The second part is the actual fancast, you WILL NEED realvideo to see/hear 
this. You can download it at www.real.com (look for the FREE realplayer). They
have a bunch of versions for various computers, I know it's supported on just
about every version of windows, macintosh, sun, I think even linux. Only
windows users can get the new G2, all other OS's will need to poke a bit and
look for the older realplayer (5.0 I think?)

Then go to Atlantic Records' website (www.atlantic-records.com) and enter
their DigitalArena. As far as I can tell, you don't need to register for this,
but older browsers might have a problem with Atlantic's site (they tend to 
use javascript instead of java, which can cause screwups with some browsers)
so make sure to visit Atlantic's site BEFORE the fancast to make sure you can
get in. This part will start at 7:30pm or so. The link directly into their
DigitalArena is www.atlantic-records.com/frames/DigitalArena/index.html
(if you get a splash page, clicking on it will take you to the arena).

Hope everyone can get connected and have fun on Sunday!

 - rush-mgr

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

From: KenDee1@aol.com
Date: Thu, 12 Nov 1998 19:17:20 EST
Subject: Different Stages Observations...

I'm about 3 or 4 listens through, here are a couple thoughts.

What's Neil doing up there on the seond floor?  Is he holding something?  He
might be giving us the finger?!?! 
What does Geddy "pop open" during Working Man?
Official Gear inside?
What is a Jolly Teabag?
Geddy Sneezes during AFTK!
The crowd sounds are great.  "Take it off Alex" -- Driven(Bass Solo)
I really wish Hemispheres(the song), The Pass, Double Agent and Camera Eye
made their way on DS.
Was Geddy talking "cut out" of the end of CTTH?  It sounds like "Thank you
everybody Good night...blah blah, etc." its masked out.
What song is opening the Hammersmith show?  --before the band is announced.
Can you hear the people screaming "Professer" (Neil's old nickname) throughout
of the Hammersmith show?
I think a drum solo was edited out of the 3rd CD (at the end of Working Man)
The Jam at the end of Bravado makes a former average song a GREAT song.
No pictures of John Rustey(sp?) in the collage
What's the device on the left of the collage (with a wire hanging off)?

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

From: "Alissa" <zeebee@cygnus.org>
Date: Thu, 12 Nov 1998 17:31:21 -0700
Subject: More DS Stuff

I love the album, but am, too, disappointed by the packaging.  This is the
first paper case I've ever owned, and it's really annoying.  The CDs will be
scratched to hell.  The other thing is that in the first copy of the CD I
bought, there was no booklet!  Luckily I had opened it up before I left the
parking lot so I was able to return it immediately.  Did this happen to
anyone else?  I just think they put this thing together in a very hasty,
shoddy manner.  The artwork is cool.  The packaging sucks.

Alissa

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

From: "Randolph Mack (Hello!)" <rmack1@micro-net.net>
Date: Thu, 12 Nov 1998 20:26:41 -0500 (EST)
Subject: Want to hear Rush in a movie? Do ya?

PUBLIC REQUEST:
                         
  If anybody out there has any experience with music licensing, or ever
better, licensing Rush's music, I would appreciate talking to you. I am
producing a short film for UCLA that we want to set to 'Cut To The Chase'
from Counterparts.
   I need the name of the Rush's licensing rep, if anybody knows it, and
any other info about this issue in general. And for the rest of you, it
would be very useful to have a list of Rush music occuring in films (no
need to mention 'The Waterboy'). You folks are a staggering resource of
Rush trivia, so let's see your stuff! 

    Randy Mack
    Los Angeles
    rmack1@micro-net.com 

 "Life in nature is solitary, poor, nasty, brutish, and short."
		 --Thomas Hobbes, 1691

 "Just like my cat Spinoza." --Randy Mack, 1996

*****************************************************************
*        |             WheatBread Magazine             |        *
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*        |             www.wheatbread.com     	       |        *
*****************************************************************

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

From: jake@ipof.fla.net
Date: Thu, 12 Nov 1998 20:28:27 -0500
Subject: three cheers

I haven't checked out the web site in a while.   It is really looking
great.  Not just as RUSH web sites go, but as web sites go in general, it
is well laid out and has good information in the right places, whether
you're a first time visitor to the NMS  or a long timer.

Great job rush mgr and all who have contributed.  Thank you for all of your
hard work!

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

From: Mike Lowe <mlowe@bellsouth.net>
Date: Thu, 12 Nov 1998 21:12:04 -0500
Subject: DS-What else?

Hello everyone,

Well, I haven't posted to the NMS in almost 2 years, but decided to put
in my 2 cents regarding the new album...err...cd (ok, I'm showing my
age).

I had a meeting on Tuesday the 10th at my other office which is 20 miles
from my main one.  After the meeting, I headed over to Media Play to
make the purchase.  Once I left the store, I popped Disc 1 into my cd
player and I felt like I was in the Omni back in December of 1996 when
Rush was last here in Atlanta.  It certainly brought back the feel of
that concert, unlike most live CDs that usually sound contrived.

Unfortunately, that 20 mile drive to my other office did not take long
and only made it through a portion of Bravado on Side 1.  Once I got
settled into the office, I listened to all 3 discs and was totally blown
away.  In my opinion, the best live recording that Rush has released (My
ranking of the live records are:  1. DS  2. Exit, Stage Left  3. All the
World's a Stage  4. A Show of Hands).

The thing that has stood out for me thus far is "Closer to the Heart".
Granted this is the 3rd live version, but I think this one is the best.
It has a funky ending that is almost Calypsoish.  I had a big smile on
my face.

The packaging...I hate the cardboard packaging (yes, I dropped the 3rd
disc also).  The images leading to the present are very nostalgic.  I
love that pic of Neil and Peter Criss from KISS.  And I love the sleeve
for the Hammersmith show...Ged scalping tix and Alex being carried off
made me howl.

Anyway, I really enjoyed this...it certainly brought back some warm
memories for me.  I hope we have the opportunity for 4 more studio
albums and another live album around 10 years from now.

Mike

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

From: Adrianne Bosco <abosco@connix.com>
Date: Thu, 12 Nov 98 21:21:12 -0500
Subject: DS! (What else??)

Hey everyone,

Oh MY! This album is AWESOME.  The set list just ROCKS.  You can tell 
this is a real tribute to the /real/ fans.  Yeah, CTTH and Tom Sawyer 
were on there, but so were Analog Kid, Natural Science, 2112, etc!  The 
graphic design is awesome, and I loved playing with that Clusterworks 
program on my PowerMac.

Like many others, this CD brought a few tears to my eyes.  I just love 
this /raw/ sound.. raw power.. raw emotion.. the way rock should be.

And listening to this album brought back all my memories of June 97 when 
one of my best friends (who I incidentally met on this list 3 and a half 
years ago!), my brother, and I all trekked up to Great Woods to see them! 
 Perfect!  I actually saw a bunch of guys with NMS shirts roaming around 
(we were sitting right on the edge of the lawn).  We wanted to yell 
"NMS!" to the people we saw wearing them, but we were too shy! Oh well!  
It really was an awesome show.

Adrianne

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

From: "Alan N" <alann@roava.net>
Date: Thu, 12 Nov 1998 21:30:37 -0500
Subject: re:various stuff on TMS#2136

OK.  Where do I start?  First, after getting my DS CD from my wife as my
34th B-day
present ( gee, I *didn't know* :)  ), I gotta say, it's the best RUSH live
CD/album so far.
In many ways. Content, sound quality, recordings, selections, etc.
As a guitar player, I can say Alex sounds much better on this CD..  Those
30th
anniversary Marshalls sound good. ( almost as my JCM-2000 ..hehhe )..
But the Marshalls are a definite big PLUS over past live cd's/albums,
except when you go back to ATWAS ( or, the Hammersmith included!!).
The whole thing brings back memories for me of the CP's tour.

I do got to reply from various post's I've seen..  As far as the tinkertoy
"meaning"..  Many have said it's Neil separated from his loved ones.
I dunno but seems to me judging from the back cover, clearly listed on the
left side is stage 1, stage 2, stage 3, where as tinkertoy 2 and 3 are side
by side ( representing the CP's tour and TFE tour ) and the lone but still
related
tour was the 78 CD/tour.  ( I thought this was obvious. ?? maybe not?? )..

Now as to Neil in the second story window.
I'm sorry, but I don't see it!  This guy looks more like the lead
singer for Jackyl than Neil!  He's got long hair ( brownish looking from
blown up B/W scan, and NO mustache ).
When has Neil had NO mustache?

Sorry, I don't see this as him.

Anyway, hats off to Geddy ( my money to him on the way :) )) for
a really great live CD at a time when all us Rush fans were sort of
"dry"..  Sounds good, looks good and by my rough calculations,
about 215 minutes of music ( RUSH ).

Hard to beat that!

Alan

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

From: Hanstones@aol.com
Date: Thu, 12 Nov 1998 22:10:55 EST
Subject: Hugh Syme strikes again!

Why is it "The Analog Kid" on Signals and "Analog Kid" on DS?  How about the
Cygnus X-1 teaser at the end of YYZ on Different Stages?  Or Ged's solo during
Driven?

Well, Hugh Syme and the boyz have done it again!  Did everyone notice the
tinkertoy in Neil's shipping crate during the "Hemispheres" time era of the
memoribilia photos?  How about the "tinkertoy" blueprint?  Earth's
gravitational constant is there (32 ft/sec-sec), but why...?  Also, didja
notice the "volume" of the hole in the tinkertoy is 2112 cubed?  Again, why?
But then again, am I the only person who cares :)  I found these things while
scanning the art for my webpage (I was trying to find the secret phone number,
but...).

The Power Windows website has been revamped to commemorate the release of
"Different Stages Live".  You'll find nearly every image from "Different
Stages", plus many other updates as well.

There's a new "Permanent Waves" cover for download thanks to Steve Longo.
This one has the "Dewei Defeats Truman" headline (check out my webpage to see
why it doesn't read "Dewey").

Along with a few other changes, I also have created two VERY cool animated
"Neil" and "Alex" cursors, based on the "A Show of Hands" cover (really, they
are very cool, trust me :). 

Hanstones
http://www.2112.net/powerwindows
"I watch their images flicker,
bringing light to a lifeless screen..."

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

From: Dom Kallas <dkallas@emerald.tufts.edu>
Date: Thu, 12 Nov 1998 22:16:34 -0500 (EST)
Subject: My take on DS

DS is AWESOME, no if's and's or but's about it. 
	 I give props (and stage hands...) to the three members of Rush for
being a great band in the first place to come up with all those songs and
then play them well, complete with the little glitches and nuances that
happen to spice up the songs from their recorded versions.  I give props
to Paul Northfield and Terry Brown for their work in recording the songs;
Paul was the perfect man to handle the production process for the recent
shows, because Discs 1 and 2 sound so clear and crisp.  Props go as well
to Hugh Syme for more nifty digital artwork; the Hammersmith Odeon piece
was pretty funny, and it would make a great poster.
	I really dig the songs that they had included on the set, both for
their choice and their renditions.  I dare say that the tracks on the
album range from well done to exquisite (especially "Natural Science").  
	On that note, I am GLAD that they included "Closer To The Heart" 
on DS.  It's a great concert singalong that all Rush fans know, and it has
that extended "jam" at the end that rounds out the song quite nicely and
shows off the band's abilities.  As far as concert songs go, the DS
rendition of "Closer to The Heart" serves to show the connection between
Rush and their fans.
								Cheers,
								Dom
			

________________________________________________________________________________
People always turn away from the Eyes of A Stranger
Afraid to know what lies behind the stare
						Queensryche
						"Eyes of A Stranger"
________________________________________________________________________________

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

From: "unknown _" <revelation7@hotmail.com>
Date: Thu, 12 Nov 1998 19:38:52 PST
Subject: DS stuff

 Hail, 
     DS has quite possibly the best sound of any live CD i've heard! The 
crowd cheering is actualy in perfect stereo and adds a great ambient 
touch, in most live albums you only hear them at the beging of the song 
and at the end.  Also the guy screaming in Driven must be pretty damn 
proud of himself now.  
things i didn't like 

2112: all the parts previously played on an accoustic were played on an 
electric 12string, verry unsetteling at first, but it still rocks

Not enough monolog by the band.  Some live albums, IE Gamma Ray "alive 
95" and Iron Maiden "Live after death" all have the band introducing 
each song and making comments, it gives the band a personable quality 
that you get when you see them in concert. all i can hear is ged's 
remark about scottland before resist and the we'll be back in 20 
minuits..... [something] at the end of 2112

Also, any math whiz out there know what the equations on the back mean?  
the quantity is kind of garbled, here's what i mean,  it looks like 
[ab+xy(a^3+?)]/[x^2+y^3] (written from memory so i may have gotten it 
wrong)  But i can't figgure out what the "?" is it looks like vb or 
checkmark b.  anyhow, can anyone tell me what this is a graph of?  i 
can't tell by looking at it, and don't really want to take the time to 
solve it (so mabey someone else out there had the same thoughts as me 
and already solved it)  Or is it all BS?

Shake it off alex!!

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

From: Robert Robbins <baskin@worldchat.com>
Date: Thu, 12 Nov 1998 23:32:51 -0800
Subject: Natural Science from DS

I was listening to Natural Science off of DS and I noticed that Geddy
sings the...

"    Wheels within wheels
    In a spiral array
    A pattern so grand..." ( you know the rest) :-)

verse twice.. (back to back). I know they repeat the chours again of
Analog Kid at what should be the end but did they always sing that NS
verse twice or did Geddy screw it up???

also... like just about everyone else....

THE ALBUM KICKS *SS!!!!!!

Rob.

ps...

Nice touch that they dedicated it to Neil's wife and daughter!!!

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

From: rmortensen <ladyland@dtc.net>
Date: Thu, 12 Nov 1998 22:31:50 -0600
Subject: DS

All I have to say is another killer work in a long line of a real class
act. Rush Rules, I love them and cant get enough!!!!!!!
I think that the sound is just outstanding. What can I say but I am partal
and dam proud of it.

Rod 

I am still in the works on a new webpage Called Force Ten details to come

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

From: Ray Lambert <rlambert@foliage.com>
Date: Thu, 12 Nov 1998 23:33:01 -0500
Subject: thoughts on DS

>From: "David Muennich     Jennifer Seibert" <davidjen@one.net>
[snip]
>have noticed, the third disc is laying loose in the case. I almost dropped
>it as I opened it for the first time. I am by no means an engineer of CD
>packaging, but come on, how many poor souls are going to drop this disc
>when the first open the album.

I agree.  It also sucks when you're trying to switch discs while driving your
car!

I have a suggestion to fix this (two, actually):

1. Get some of that 'invisible' scotch tape and tape the third disc sleeve in
place; one strip on the left, one on the right, and bend the tape under the flap
where the booklet is, so the booklet can still be removed easily.  That'll keep
the third sleeve in place and the tape will *probably* come off easily later
(that stuff often comes off glossy cardboard pretty easily).  If you're very
concerned about ruining the sleeve, and you can afford to buy a second copy of
DS, do so, and keep one at home and use the one with the tape as your 'road
copy'.

2. Leave the third disc sleeve home and slip the third disc into the same slot
that the booklet lives in.  (The sleeve itself doesn't fit in that slot very
well, I've already tried...)  This shouldn't be anymore damaging to the disc 
than the sleeve itself is!  (Of course, that, in itself, is a subject for
debate; I, personally, don't believe it'll cause any significant damage.)

BTW: I've bought several of these cardboard disc packages now, and I've finally
decided that I prefer them to those cheesy, shitty, plastic jewel cases that
break just from looking at them funny... Arrrgg! :)

@@@@@@@@@

>
> From: "Derek Walker" <geddy@san.rr.com>
> Date: Wed, 11 Nov 1998 01:30:06 -0800
> Subject: Loose Pouch
>
> I was wondering, on the loose pouch that holds the Hammersmith-Odeon CD, I
> see Geddy scalping tickets, i see Alex getting dragged away, but where is
> Neil???  Is he up in the window next to the billboard sign?????  Just
> curious

I was wondering that too.  Although, I think that guy looks a bit like Jack
Nicholson in The Shining. :)

@@@@@@@@@

I have another interpretation of the meaning behind the tinker toys.  If you'll
notice, when you first open the package, the page with the tinker toys in the
middle and "In loving memory of Jackie and Selena" printed on it: this page
suggests to me that the tinker toys contain a symbolism that represents Neil
being separated from Jackie and Selena.  The red and blue 'blocks' that are
together on the bottom represent Jackie and Selena, while the yellow 'block'
alone on the top represents Neil.  Very sad.

Of course, as with all Rush and Hugh Syme imagery, there are surely several
meanings hidden in this design.  Another is clearly the three members of the
band (perhaps with Neil separated as a result of his tragedy?).  Yet another is
the three discs in the package (two being contemporary and one being quite
old).  And clearly, the very nature of the tinker toys represent the theme of
the album set: constructive-progression, learning, building, etc.

@@@@@@@@@

I wonder if the vociferous fan that can be heard during geddy's solo in Driven
is on this list?

More to the point, I wonder if he would admit it???  :)

@@@@@@@@@

Some early reports claimed that The Rhythm Method had been recorded at Great
Woods (Mansfield, MA). But, according to the album insert, it was recorded in
Chicago.  I'm inclined to believe the album insert but, can anyone confirm
this??

@@@@@@@@@

Lastly, I just want everyone here to know that, listening to a kick-ass version
of 2112 and knowing that YOU witnessed the performance yourself -- that your
own voice is mixed into the crowd somewhere -- is AWESOME, babae!!! :)

[ray]

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

From: Mmcxii <mmcxii@usa.net>
Date: Fri, 13 Nov 1998 05:01:53
Subject: Yet another DS comment...

Different Stages, 

I like it. 

I like a whole damn lot! 

Nuff said... 

Mmcxii 

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

From: "Todd & Bronwyn Rupright" <LANDLORD1@prodigy.net>
Date: Fri, 13 Nov 1998 10:48:53 -0600
Subject: Great live album!!

Greetings all!  Long time listener...first time caller (for all you Bob =
and Tom fans).  I've been reading TNMS for about two years, and I've =
really enjoyed the RUSH dialog.  Like many of you, I was waiting =
anxiously for the DS release and ran out on Tuesday to buy the album.  I =
think DS is an excellent album.  It captured the real sound of their =
concerts - of which I've I've only seen three ( 1 RTB (Binghamton, NY) =
and 2 T4E (St. Louis)).  Don't really like the packaging, but that's =
just fluff anyway.  2112 and Natural Science (one of my favs) sound =
great.  The rhythm method was amazing!  Well, I think that's good for a =
first time post!  Later!

Rup

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

From: Dave Dudik <dcd@po.cwru.edu>
Date: Fri, 13 Nov 1998 00:07:29 -0500
Subject: DS, of course

What does Ged say right before the outro of Cinderella Man?  Something like
"make it...?"  And what kind of beer does he take out in Working Man?

Anyways, DS is simply unbelieveable.  The AFTK CD is just unreal.  It all
sounds so damn good.  I peed my pants about 10 times.

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

From: Il Yum Kim <iyk100@psu.edu>
Date: Fri, 13 Nov 1998 00:19:26 -0500
Subject: the kid's shirt

i think his shirt says  Y2K, with the 2 in roman numerals....

 il

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

From: "James K. Moseley" <jkmoseley@jump.net>
Date: Thu, 12 Nov 1998 23:28:49 -0600 (CST)
Subject: The Trees

Just noticed that you can hear Neil shout out 1, 2, 3, 4, 5, 6 going into
the allegro 4/4 after the intro.

On ESL, you can hear Geddy shout a simple 1, 2 before going into the 4/4
verse.

>..........................................................................
James Moseley						jkmoseley@jump.net
Systems/Network Administrator			       http://www.jump.net
Jump Point Communications 			      	    (512) 257-4700	
>..........................................................................

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

From: brianmaybe@loop.com
Date: Thu, 12 Nov 1998 21:43:17 -0800
Subject: Re: One sided are we?

>   Let's print some negative reviews!!!  I am certain they're being sent
>to you, but your so biased you afraid to upset someone.  What ever
>happened to free speech?

There can be no negative reviews!  This album couldn't be any better if
Rush themselves were playing it live in my living room!  (But only 'cause
there wouldn't be room for all of Neil's drums...)

I'm convinced that anyone who SERIOUSLY complains about the songs, or the
packaging, or the sound, etc. on this album would not be happy with
whatever was released!  This album out-does all live albums that have ever
gone before it!

If you don't have it yet (and you live where you CAN get it!), do yourself
one major favor in life and GO BUY IT!  You won't be dissapointed...

Cheers!
Steve

PS  The opinions expressed in this message are actually facts. :-)

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

From: "xcal@execpc.com" <xcal@execpc.com>
Date: Thu, 12 Nov 1998 23:40:51 -0600
Subject: H.S. July 10, '98

BRAD  WEBB <Webbbr@IOMEGA.COM> wrote:

> equations?  Is there any meaning to this?  What does, "see attached data
> / K.S. July 10, '98" mean?

I think it's not K.S., but H.S. -- as in Hugh Syme.  I'm assuming the
"attached data" is the recorded music itself.

Gary

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

From: "JK74" <JK74@prodigy.net>
Date: Fri, 13 Nov 1998 01:13:11 -0800
Subject: "The" Analog Kid

Anyone else out there notice that on DS The Analog Kid is listed as =
Analog Kid without the THE?  I wonder why.  Hum....

P.S. Love the release, hate the flimsy packaging.

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

From: brianmaybe@loop.com
Date: Thu, 12 Nov 1998 22:36:08 -0800
Subject: Re: setlist bitches

>From: Fred Pinto <FPinto@mzad.com>
>...and i maintain that this album would be a great
>deal better if the track listing included songs that have yet to appear
>on a live album that were played over the last four tours such as the
>pass, vital signs, prelude, double agent, war paint, scars, limbo,
>virtuality, time and motion, half the world, where's my thing, ghost of a
>chance, cold fire, show don't tell, analog kid, or
>super-fuckin'-conductor, instead of songs that have already appeared on a
>live album (or two) like tom sawyer, spirit of radio, freewill, the
>trees, or closer to the heart.  wait a second, i forgot that because of...

Uh, you listed 14 songs that you think should have been in place of 5...
Are you honestly complaining that your 33 song, triple live Rush CD has a
whopping 5 songs that you'd prefer were not on there?  Or that it should
have been FOUR CD's?  Please...

Would you really rather have a jumbled collection of live versions of
whatever song there hasn't yet been a live version of, or something that is
at least mostly representative of a real Rush concert?  (or even TWO Rush
concerts!)  To me, that's exactly what I hated about ESL, and that I'm so
glad they didn't do on this one!  Even though there are a few songs
missing, and a few added in from the Counterparts Tour, at least you can
listen to these discs and feel like you've just listened to a real concert.
Anyone who saw the TfE Tour (and probably most on this list did) should
absolutely love DS! (and from most of the NMS posts, most of us do!)  Every
time I've heard it since Tuesday, it brings me back to being at that show,
in a way that very few live albums have!  And considering it cost me LESS
than many new single CD's cost, it's amazing that you get a 'free' 3rd CD!
I'd have paid $20 and been very happy if I'd found a bootleg of that
Hammersmith show alone that sounded that good!

There's just no pleasin' some people...

Peace!
Steve

PS And don't get me started on the "packaging" whiners!

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

From: Carl Adams <syrinx@mwci.net>
Date: Fri, 13 Nov 1998 01:13:46 -0600
Subject: enhanced cd

To Rushaholics:
I got the impression that the Clusterworks program is supposed to be able
to be used along with the cd.  All I can ever get to work is the little
built in music and sounds.  Anyone know how to get it to play along to
Different Stages?  I'm puzzled, and I think a lot of us are.  thanks
					Carl Adams

P.S. I've found it much more productive to send posts to tnms.com, not
tmns.com.  Damn typos.

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

From: catch-22@juno.com (song youson)
Date: Fri, 13 Nov 1998 02:33:33 -0500
Subject: Thank you Al and Bill...and Aaron

I was highly disappointed initially when WMMR nor WYSP did not air DS
Premiere on the original date. But thanks to couple of TNMS'ers who
informed me of later re-release date, I have them in the tape. 

Guys.....Thank You very much! I do lots of driving and one of the most
soothing voices to hear is the members of the RUSH being interviewed. No
matter how long the journey, I can always keep these tapes as my company.
Thanks Al. Thanks Bill B.

Also, thank you Aaron [you know who you are]!........from T4E tour.

Song	
"The Modern Day Tom Sawyer"

Barb--millionth chance?

ps. I do agree  that JR's q's were bit weak and I think she could have
chosen a better words or phrases to ask Ged and Al. How could the word
'suck' and Neil be in a same sentance? Not even in a joke! Come on! 

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

From: Joe Lynch <joelynch@inreach.com>
Date: Fri, 13 Nov 1998 00:04:07 -0800
Subject: DS Review

>From the San Francisco Chronicle (11/8/98), a good review:

CANADA'S RUSH GOES LIVE AGAIN

3 stars (out of 5)

RUSH

Different Stages Atlantic, $24.95

Although Rush hasn't yet approached the
prodigious live output of the Grateful Dead or the
dependable regularity of the Rolling Stones, this
long-running band certainly puts some weight into
chronicling its performing career. Hence we have
the three-volume ``Different Stages,'' the Canadian
trio's fourth live album and, it's pleasing to note, the
best of the bunch.

Rush isn't necessarily an improvisational monster,
but its appeal does lie in the prog-rock/heavy-metal
interplay of guitarist Alex Lifeson,
bassist-keyboardist Geddy Lee and tentacle-armed
drummer Neil Peart. A repertoire that combines
tight, punchy rockers (``Limelight,'' ``Closer to the
Heart,'' ``Freewill'') with more expansive pieces
such as ``YYZ'' and ``Leave That Thing Alone''
ensures that the group's indulgences never get the
best of it.

For longtime fans, the treat of ``Different Stages'' is

the disc recorded during a 1978 theater gig in
London, which captures Rush in a more raw state,
when the band was just beginning to integrate
keyboards into its sound. Taken alongside the
synchronized, polished performances from 1997,
the set offers valuable perspective, making
``Different Stages'' more than just another concert
souvenir in Rush's 25-year catalog.  -- Gary Graff

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

From: Nei Wyatt <lminwt@eei.ericsson.se>
Date: Fri, 13 Nov 1998 08:17:36 +0000
Subject: DS Art Questions

Q1.  What does the DYU 502V on the truck symbolize?

It is just a number plate ... repeat ... it is just a number plate!
(license plate for all you US readers).

For god sake - does everything have to mean something!
And while I'm on my soap box, we still haven't got the fecking album in
the UK, so listen and enjoy and stop analyzing everything!

PS. The V in the plate refers to the year - and V = 1980 which as we all
know was not AFTK! Was this a deliberate mistake? Is it a sign?

WHO CARES.

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

From: Edgar <Edgar@tomatoweb.com>
Date: Fri, 13 Nov 1998 03:50:23 -0800
Subject: Headphones

OK, first-off, I LOVE DS. Gave it a first listen to LOUD in my living
room while the wife was at work, knowing that full appreciation would
come later that night when I slipped-on the headphones. I once heard
Neil describe the "ideal fan" as someone who scrutinizes the lyrics and
album liner and listens closely with headphones to every new album. That
would be me.

Which brings me to a new thread: what are the best Rush tunes thru
headphones? I know I personally have partial hearing loss from
late-night sessions. Songs that stand-out are, "Natural Science", "Vital
Signs", "The Weapon" and "Middletown Dreams" (need headphones to fully
appreciate the guitar on that one..)

 Edgar

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

From: stvlaw@pipeline.com (The Speedster)
Date: Wed, 11 Nov 1998 18:31:11 -0400
Subject: Geddy Lee Interview

        Please find below an interview of Geddy Lee published by Liner
Notes Magazine. This is a free music magazine given out at CD World, a NJ
CD Store Chain. All typos and errors are mine.

By Thomas Greco

        The ultimate progressive power trio, Canada's Rush has been pumping
out album after ablbum of quality music for their obsessively-dedicated
fans for close to three decades.
        Geddy lee (bass/lead vocals), Alex Lifeson (guitar) and Neil Peart
(drums) are unique in that through their 25 years together, and seeing
dozens of their contemporaries come and go, they have managed to stay
together and evolve while maintaing one of the most dedicated fan bases in
rock and roll history.
        This month Rush will release Different Stages (Atlantic), a two
disc live album recorded during the Test For Echo Tour. This set also
includes a thrid CD of a vintage Rush performance at England's famed
Hammersmith Odeon from 1978.
        Liner Notes caught up with the incredibly-friendly bassist to
discuss everything from the incredible history of the band to soundtracks,
sampling and being officially honered by their homeland.

LN: How does Different Stages compare to your earlier live albums?

GL: How does it compare? For me there's a more natural flow to things
because of the way we recorded the album. I think we captured performances
that were more relaxed. I had the luxuryof choosing from so many different
shows, that I could be very specific and look for performances that were
special and not just correct. In past live albums we had a limited amount
of shows to choose from so you'd take the best of what was there. The
criteria was different this time. The best of what's there wasn't good
enough. Each song, to me, had to have something special in order to be put
on here. It can't just be a decent rendition, it had to be a great
rendition.

LN: Were you planning the live album prior to the tour?

GL: Yeah. We've done this for two tours and a lot of the stuff was compiled
over these tours. But you don't record everynight-most nights. Sometimes
there are technical reasons for not recording, somtimes you and something
breaks down. Other nights you have union problems or whatever so ther are
various reasons why you just cant record every night.

LN: When you put together a live album and have to listen to several shows,
does it get tedious?

GL: Yeah, it does get tedious (laughs). Why do you think the other guys
bailed on the project (laughs)? It's not a fun, fun job. It requires a lot
of focus and with the volumes of tapes that we had, it requires incredible
organization. I won't say it all went smoothly, there were alot of errors
and a live-and-learn kind of thing. The end result is we were able to get
what I consider to be some of the best examples of us playing live and we
had enough devices at our fingertips to make it sound as good as possible
live.

LN: When you say you're looking for something special are you looking for
something special in regard to the inspiration in the way you played the
tune or specifically the way it sounded coming across to the audience?

GL: It's a combination of all those things. The ideal thing you're looking
for is a great-sounding venue with a great audience and you just happen to
kick it in that night and you are playing over your head almost. It doesn't
feel forced. It just feels real natural. You're looking for all those
things. That's the bar you're trying to reach. You don't always get there
but you get as close to it as possible.

LN: Do these types of shows usually come early on when it's still new or do
they get better as the tour goes on?

GL: It's kind of unpredictable. We had a big problem with Test For Echo
because we recorded half the tour and we realized during a break between
the two halves of the tour-we went into the studio to listen to what we had
been getting-I was'nt happy with the quality of some of the recordings, so
in essence, I disregarded the whole first half. Which was a shame because
there was some terrific performances on there. But it was'nt just
performances I was looking for. It was both. I wanted the sound quality and
the performances.

LN: Is there the same excitement as there is with a new studio album?

GL: It's quite different. You don't have the joy of seeing something
created out of nothing. The best way to describe it is you're polishing a
scuffed pair of shoes. You do the best you can. You're proud of the work,
but it's not like you created something new. It's not quite as exciting.

LN: Disc three features a long-lost set from 1978. Is there a story about
find the tape?

GL: We did a radio show in England back in 1978 and at the time i was a
little under the weather. After the show, we checked it back and we didn't
feel it was up to standard. I don't know where my standards were at that
time (laughs)! So, I took it home with me and it basically got forgotten in
my house. We pulled it out last summer and Alex put it up in the studio and
we were just amazed in the energy and the tightness of the performance. You
can tell on some of the vocals that I had a cold and I guess that was the
original reason why we scrapped it. But 20 years later, it doesn't seem
like that big of a deal. Even though I wouldn't say the vocals are 100
percent, it certainly still represents that period. The feel was there. So,
we thought it was kind of cool and we wanted to somehow let our fans get
hold of it.

LN: What difference do you hear in the band's performance 20 years later?

GL: It sounds very different to me. Some ways better! (laughs) The
simplicity of the arrangements and how easy it is to get bass, drums and
guitar to sound good, as opposed to the complexity of our sound now and how
diffuclt it isto make all that sit with synthhesizers and technology and
all that stuff that we use. There's something quite pleasant about knowing
you only have three instruments to deal with and a singer as opposed to
filling 72 tracks of tape every single night of the Test for echo tour.
There's a lot of crap going on stage.

LN: And just one glitch throws it all off.

GL: That's true for a lot of great shows, one channel was gone on one of
those tapes and we lost the show. You can't really salvage it.

LN: With so many albums and a 25-year history, how difficult is it to come
up with a set list?

GL: Excruciatingly diffucult. Probably the single most difficult thing
about the tour. Rehearsal is rehearsal and that wears you down, but trying
to get the set just right is very tough.

LN: Are there songs you have to do?

GL: Pretty much. Can't get away without playing "Tom Sawyer." "The Spirit
of Radio." "Dreamline." Those are probably the only real essentials. The
rest of them are different degrees of that. We always like to throw in a
different one. What was exciting about the Test For Echo tour was doing the
entire "2112 Suite" which we never ever played in its entirety. Bringing
back songs like "Natural Science" was a real highlight for me visually and
performance-wise. It's one of our most successful long pieces. And I think
some of our live tracks on this album have superseded their original
recordings, sonically and feel wise. We tinkered with the arrangements on
some of them and I think they have better arrangements now too.

LN: Of all the tours you've done, which one holds the fondest memoris?

GL: I think the last one. It was just a great pleasure to do the Test For
Echo tour. It was nice and relaxed with having no opening act and being
able to play two sets, there was a less panicked atmosphere backstage. We
had more time to ourselves during the day to arrive in better shape abd to
get out into the world and not feel so cooped up. And I think a lot of that
played a part in creating a really nice rapport with the audience. I think
we had more fun with the audience. And I think that's reflective in our
performance on this record. For me, it was really a great tour and I don't
think there was a single night that I didn't want to be exactly where I
was.

LN: Do you feel more comfortable playing at home?

GL: No, at home is one of the worst places to play (laughs). Imagine having
a party and you have to work at it. You're always of two minds. Part of you
is worried about the show and the the other part is worried about taking
care of your friends and family. I'm sure if you ask a ballplayer-when he
plays his hometown and he has 400 of his family and friends there-if he's
having a good time, he'll tell you he's not. It's a tough one.

LN: Outside of your own, do you have a favorite live album?

GL: The Who Live at Leeds.

LN: Early in your career, you opened for acts like Kiss and Aerosmith.
These days, do you guys ever run into each other on the road and swap war
stories?

GL: Very rarely. It's strange. Once in a while I'll run into Gene Simmons
or Paul Stanley. Surprisingly rare. I remember running into Ace Frehley at
the Museum of Modern Art here in NY. Of all places. Joe Perry and Steven
Tyler, I bump into them once in a while but very rarely. It's always
pleasant when you do, but it's surprisingly rare.

LN: Have you had any opening bands that you knew would make it big?

GL: We were always fond of Primus and they seem to be garnering some
success. Not that many come to mind.

LN: The three of you have been a unit for almost 25 years now. How has the
band changed?

GL: Well we're very close. Close, but not always physically close. we're in
each other's lives without always having to be there. It's like having a
twin out there in the world. Even when we don;t see each other for six
months, we think about each other whether it be the written word or by
phone. There's a very special bond between us.

LN: Most bands don't have that kind of relationship after a long period of
time. Is there a secret to that?

GL: I don't know. It's just life. We appreciate each other.

LN: Does the band's writing process always begin with Neil writing the lyrics?

GL: Not necessarily. A lot of times it's fitted together like a puzzle.
He'll have things he's written up or we'll all have things written and we
try to marry them to each other and see what musically suits the
atmosphere. I can write any way. I think the most successful marriage is
when you have the lyrics first. I occasionally write some. I'm a little
lazy when it comes to that. I'm trying to write some more.

LN: Any thoughts of a solo album?

GL: I do from time to time. I don't have a fire-burning in me to do that,
although I have been writing in the last year with various other
people-writing some interesting music that may surface in one form or
another. I'm really not sure about the "Geddy Lee Solo Album" or whether
the world really needs one (laughs). But I might change my mind. I reserve
the right to change my mind.

LN: Which Rush album would you point to as a turning point? Why?

GL: 2112. I think it's the first album we found ourselves. We created
something with that record that was definitively, distinctively our sound.
And we continue to wreck it this day (laughs).

LN: What does it mean to you to be given the Order of Canada?

GL: Oh yeah. That was amazing. That was cool. I really loved it. Going to
Ottawa with the guys to be presented with the medal with all the pomp and
circumstance. It was great.

LN: Where's your medal?

GL: In my office. Beside my baseballs.

LN: Whcich bass players does Geddy Lee admire?

GL: I like Les Claypool's work a lot.I was always a fan of John Entwistle
in the early days. Jack Bruce.

LN: What factors play into the decision to let one of your songs be used in
a movie?

GL: I don't know. Were pretty easy with that stuff. If it seems like it's a
legitimately decent project and they want to use our music, that'a fine.

LN: This year, "Tom Sawyer" has been used in three movies alone.

GL: Yeah! I don't know why people all of a sudden discovered "Tom Sawyer."
They did this wild remix for Small Soldiers, which I never saw. But they
sent me the remix andI thought it was a lot of fun. I thought the guy did a
really cool job.

LN: What's your feeling on remixes and samples?

GL: It's fine. It all depends on the end result and what it's for.

LN: Has Rush been sampled?

GL: I think so. Yeah. Lots. I get versions of weird songs. "Tom Sawyer" has
been sampled twice. A song by a group called the Young Black Teenagers
sampled it in a song I think was called "Time To Make The Donuts." That was
kind of fun. It's interesting to me to see what someone else will do with
those tapes. I'm not offenced by it in the least. For the most part,
they're pretty creative.

LN: I've read that you're a big baseball fan. I assume you're a Toronto
Blue Jay man.

GL: Of course.

LN: Can you compare Joe Carter's World Series home run to playing for
50,000 fans?

GL: Oh man. That was way more important. Absolutely. That was one of the
greatest moments for me. I was there.

LN: Surfing the web, last night, I found over 100 sites dedicated to Rush.
That must be daunting for you.

GL: Oh yeah. It's a huge compliment. but I do think these people need to
get outdoors more (laughs).

LN: After this album, does the band have any future plans?

GL: Nothing definitive at the moment.

LN: Your music collections on fire, which one do you save?

GL Relayer by Yes.

END....

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

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(Rush Fans Mailing List)
*********************************************
End of The National Midnight Star Number 2137
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