i THE ot $3.00 USA TOR ALL PERFORMERS AND PORTRAYERS Lf \Creating The Drum Part by Neil Peart ground zero, you have a blank | When you first begin to slate-a new song-and a drum dabble in odd times, or even learn to flow well in 4/4 or part to create for it. So you 6/8, counting will teach you the | Play detective, look for “program.” As you become more clues, put two and two fluent in different together-and come up with rhythmic foundations, you will seven. (Always a good answer!) be able to recall these But the clues. Perhaps the “hardwired programs," you set songwriter will play you a into the right "cadence," or to | rough tape. On it, there will lot you pick up the "odd" beats |,be Some indication of the at different times. I've written | tempo’, whether it's from a about this before, so | won't drum machine or in the inherit five you much emphasis now, but lilt" to the music as it's you learn to subdivide the time | Played. Then there will be signatures Into their even- dynamic’ hints: how the song and-odd components. or to bullds, where you might want mult3pty them, to-wake oe. genie to make the strongest state ot odd bars add up to one long, | ment, where you can be subtle a trick I have | and supportive, and where you ven one. This is used many times, playing 4/4 might add some rhythmic inter over 7/8, 5/4, or 6/8, and just |eSt- What does the song ne the holding tho rhythm chugging Where are the vocal parts along until all bar lines add up | instrumental parts, tho agian, ahd Gan take vot choruses, the bridges? These eGacwienereloc! are all the building blocks, ‘There is another thing. too-a |0t only of the song, but also wordless mental "language" that | Of “your” part in it. Tu to understand and remember So your mind starts to sift parts. Certain phrases even have | POSSibilities: perhaps a big a kind of ‘picture’ symbol; not | ackbeat on the 3 for the notation, of the physical move, ver maybe a quarter note tit -ans1ahers image or the bass drum with 16ths on the diythwieervietst go-tnathet hi-hat for the chorus. And sense, I don't hear the upcoming | those bridges: Let's try a phrase in my mind so much as see | 4tiving 2 and 4 on snare, with it. This, by its very nature, is | auarter-note ride, to build unfortunately not communicable to others. | guess that's why we have written music! but let's get into the really deep waters of this question. All of the above will set you up for comfortable improvising, but what if you want to arrange a drum part, one that you will stand forever as a definite way ot playing a song? (1 know, | know..-dream on!) Starting fromthe chorus, and then plane out under the vocals. And I think we could do some clever stuff in that intro to the instrumental: Bring it down and play ‘across’ the time, with lots of those "ghost notes" Rod Morgenstein is always talking about. “into that Listen to the song another couple of mentally going over your of the musical terrain and trying to cement the arrangement details in your head. Again. people use different ways to accomplish th and ‘all’ are good. It doesn't matter If you write out some notation (or use some kind of "shorthand" that many drummers do), or if you're able to rough it out in your head just from memory. In this casey if it works, it's right! Is the song dark and introverted, or is it light and airy? Do you want to be able to dance to it, or is it "just for ears"? Does your band’s common stylistic ground run to samba, ska, swing, or speed metal? What sorts of fills are appropriate, and where are they appropriate? And if your playing speed metal, can you induce some ideas from the ska, samba, or swing that might make it more interesting? This is where the fun starts. Inevitably, it's going to be rough the first few times, especially if you and the rest of the band are all trying to learn the song at once. If you an do some experimenting with it at home, even if it's just: on magazines to your Walkman, more to the good.But if your diving right into it, again there are two approaches. Some people start as simply as possible. Then if they feel compelled to ad to that minimalistic approach they will. Other people start the opposite way~-trying everything they can possibly think of in the first few run then gradually the ideas that There's much to be throughs, eliminating don’t work, said for this approach. In the first case, you'll have problems with the rest if the band less, and you may come up with a good, conservative piece and for the second instance, however, you may be iikely to stumbie into something different and unexpected and if you have the luxury of working by yourself, it's someone else's expense. But there are still many options open to you. Much will depend upon your own temperament as a player- sort of situation makes you most comfortable? Do you like to have your part worked out as much as possible, so your only concern when you play or record is getting it right? Some wise editor once advised an agonizing writer: "Don't get it right, get it down!" There's something in that for musicians as well, though perhaps not what the literary advisor If you find you fly by the seat of your What again if it works it's right. Go wild. I have told the story be- fore | was a big Keith Moon fan as a beginning drummer. All | wanted to do was get in a band that would play some Who songs so | could wail like he did. But when | finally found a band that actually wanted to play songs, 1 discovered to my chagrin that I didn't Like playing like Keith Moon. It was. too chaotic, and things just weren't placed rationally. 1 wanice to play an a more cate ful, deliberate way--to think about what | played where, and not just let it happen. 1 am driven by a strong organiza tional, perfectionist demon. Again, that's a personal thing, and 1 sure don't think I'mright. It's FLL cont for sarily way 1 am. So along in that vein that's what comes urally--and talk about organizing a song. My personal approach i just inue fairiy linear. ["il often start simply at tho beginning of the song and gradually build it--if not dynamically, then in torms of activity. A simple roll around the toms in chorus might double up in chorus two, and then by chorus three become a triplet notes. © Latin in verso a double rideout accent. choke: shifts, downbe of th downbe NEILPEART one feel two bar, 64th r a gentle backbeat rip-roaring, feel flurry of in can develop through a the ride cymbal two, and be echoed by time full-throttle the finish" during Thon there are pushes, high-hat sudden pauses, feel stacco punctuations on the toms inste e, leaving the the Os ers) ry 3 c D> E a (3 4 1 F ry L M iY ) P C R SPM i Ce er tard Sei) eee 16" Medium Thin Crash Cee deed Dee aa uC sth) Cee aud acs E Pods Se UTE Cgc Deaton eee) Ree ene ne Edthe ride pattern. so something I hear doing with Peter Robble Robertson: upbeats on There's a Manu Katche Gabriel and insinuating the rhythm all around the beat without actually playing it, but it's there. This gets complicated, but also more and is very satisfying when pull it off (not only for yourself, but for the song, other musicians, and hopefully the audience) + People so often seem to that an audience doesn't understand the music toe! absolutely fun have Joy How many of millions of loved Pink Floyd's song nd bought the "Dark The Moon" album knew red--that it was in 7/4 Peter Gabriel's "Solsbury HILL again was in + and is one of the cloverost maskings of odd time--and just happened to be a big hit for him. The time signature just didn't matter the musicians used skill and musicality to make it feel good, and that's what the audience responded to. That’ what “accessibility” is really all about: communicating tho thing properly. That's your ultimate responsibility, and your ultimate blame. Sure, there are no black-and-white ab in music, (or almost none). it sometimes doesn’ it. who "Money" Side OF of Lutes but playing more you the forget click" with people because iL Just wasn't put together right. The listeners might not be able articulate flaw. and neither may the But it doesn't rea to people you would have expec to Like it, the song just doesn't connect. So us to make all the connec Lions. t~~~ UNDER + GQ rhis album represents the time whon Rush became a little too confident with the acceptance of their music and basically cut an SS Caress of Stee HE ZR on SHADOW oy huh.) Anyway before I get into any more details i'd like to get something straight. We, the staff. Ree FA Besa Sine sana" apace” un tino otto mn comants akane / was mildly off the wall so to why we named our magazine peak. I'm not saying th album after a diabolical, almost was not a good one, but the dementedly satanic tite general record buying demographic Well, if you look cayefully \ based class didn't accept thi at the lyrics of the song, it album as oasily as the first is clearly an analogous. story two LP's. Rush has grown™t@ learn of Rush as a band Gomparad to that the public's opinion is a fairy tale sitiation. We completely irrelevant and that wanted a title that pretty Rush would never adapt to their ~\ much summed‘up the essence of Themselves in hope that some than a song that descr ibes people will enjoy their work. the entire procession of the \ CARESS OF STEEL sfarts alone band into the music world line of original stylistic "The Necromancer" is one of albus that’are not based of tho ay favorite Rush sones Feorle. but on the most ImpAytant. probably because of tho way Grities of all: the band. the song soars. In so. man Rising talent becomes very diroetiona in twelve and a vigible even on the promiere half minutos. It sooms as if track, “Bastille Day.” Rush is starting to mold their own style into a mountain of talented, moving music. Caress of Steel is also the first album for the most part based on fantasy oriented epic songs. Most critics saw Rush committing music business suicide because the album wasn't under the ordinary format as other LP's during that time. Rush, ailed into 1981 witn "Ihe Cai “on Moving Pictures. song entitled mera * The second Think I'm Going Bald" is what I think a satirical look at becoming responsible, wiser, adults. It shows the lighter side of Rush in 1975. The first extremely long song however proved the critics wrong s thelr marathon-length tunes tye a rightfully entitled "The 5 ene (sounds familiar, kk \ fe wee "the three men of Willowdale” (Willowdale, Ontario) went a little too far, and as a result the ensuing tour in, 1975 was referred to as,the "Down the Tubes Tour "Lakeside Park” ‘fs a trip down memory lane for Neil as he reminesces of his long and almost forgotten child-hood. ‘The amusement park must have been a place that Neil held in high regard as a child. "The Fountain of Lamnet is probably the most moody piece on this album and it also the longest (19:59). Neil was obviously revolution izing the band as a whole with this song. Neil’ presence is awesomeion this song especially with\the short bul t "Didapts andand Warpets". ‘dhs starts a major trans~ ition in the flow of the song. Why this album in simplest term: "flopped" 1 really cannot comprehend. Thif album shows growing mat urity as a ally and lyrically. Don't Listen to the itics is what 1 get i from ; ‘ thett ‘ / reviews ae / of this album Back then 1 guess overy up Zeppelin saga. Oh by the way, Ru more re Led Zeppelin ev did. Not that { don't Like th I love them, but yo have to agree; Rush is still driving hard and going strong. --Brian SiskindELECTRIC LADYLAND At the timo this set was Most contained about 25 recorded, Neil had peen a part | People, really enjoys the of Rush for close to six months. | Show as it seques into It doesn't show at all and Neil | “In The Mood". Little did plays every soag twice as weil | Rush know that this song as the long lost John Rutsey. would soon be a concert. Obviously Neil has made an anthem in years to come adjustment into Rush an easy one | Anthem is next, which and ne has never turned back. brings out the political side This recording was a radio As the show cont= broadcast trying to gain a Rush makes an excellent little awareness for the band. | show out of "Need Some Love” Geddy as usual delivers piercing | "Fly By Night", and the vocals and gives an outstanding | Zeppelin-inspired "tere Again". performance. A song off of Beatles Six To start off. "Finding My Way" | called "Bad Boy" then follow: fades in. "Best I Can", Mr. Alex Lifeson on the introduced as "a song to be electric guitar" ends off released in February", thon this song with a climactic two follows. [his song really puts |minuie guitar solo. Then, as Neil in the spotlight. The Ll, the show is topped off pportive audience, who at the |with "Working Man". continuedThore is unrest in the Forest Thre is trouble with the tre For the Maples want more sunlight And the Oaks ignore their pleas ‘The trouble with the Maples (And they're quite convinced they're right) y the Oaks are just too lofty And they grab up all the Light But the Oaks can't help their Feelings If they like the way They're made And they wonder why the Maples "tbe happy in their shade? ‘They There is trouble in the Forest And the creatures all have fled As the Maples scream ‘Oppression! And the Oaks just shake their heads So the Maples formed a Union and demanded equal rights "The Oaks are just too greedy We will make them give us light’ Now there's no more Oak oppression For they passed a noble law And the trees are all kept equal hy hatchet, Axe. And saw, Lyrics by Neil Peart his month's "Excursions" concentrat 1978 rele Trees". This son, written by Neil, is a song about ey, and the degree of its inequality. First of all, the ‘trees’ represent different people of all persuasions. The Maples are the equivalent of the middle and lower cla of society and the Oaks signify the upper class of today's world. The Oaks are a higher class of society. The Oak = are satisfied with the way they are and they can't understand why the Maples don't like being the way they are and having their position in society. The Maples are oppressed and object to having their light taken away simply because their tatus. The Maplos form a union in order to obtain the things that they deserve. They claimed that the Oaks (or higher class) were too greedy. The Oak oppression was ended by making all the trees equal by simply reducing the Oaks to equality It certainly is true that the people in our society that the working class are taken advantage of by the rich owners of the corporations of modern industry. The protest off this song is that peopl have to have dif ferences. If everyone equal than it thoir personal indiv iduality. One of the big issues being discussed in the Democratic and Republican conventions is the every-day working‘ American and the plight of the working man and the inequal ities in our society. Jesse Jackson discussed how the rich people are the only getting a respectable education and it is getting harder and harder for the middie class American to afford and achieve an educa more and block the sun from tho Maples? Why can't the Maples be happy in their shade? Whatever question applies to you must be answered within yourself. OT —, — ’Did you know. - - Geddy is not his real name...his his real name is Gary. Geddy came trom his mother---when his. mother said Gary she pronounced it Geddy because she had a heavy Yiddish accent Oracle: The Dream - has never been performed Live. In 1968 Lindy Young joined Rush as a fourth member and a keyboard player. His sister, Nancy would later become Geddy" wife and still is today. Trey Daughtry Richmond, "Natural Science" from Rush" Pormanont Waves album was \, originally entitled "Sir Gawain And The Green Knight". After a good deal of dotiberation the band considered the topic to be somewhat out of context with the rest of the material and finally ettled on "Natural Science". Closer To The Heart! twice made the Billboard charts. The first time was 1977, where it peaked at number 76; the second was the live version from the 1981 release Exit...Stage Left. It peaked at number 69 in 198. There is a high possibility that Polygram/Mercury records are going to drop Rush. There has been no definite decision as of yet. We think they are going to walt and see how well the new Live album sells before they make any decisions. All we can do Is wait.--until OctoberSlectr continued © Lady Lana~- Again Neil makes his presence clearly hea he made are undoubtedly for the be important time for Rush as a band; the acceptance of the legendary Neil Peart on the drumkit instead of John Rutsey- Lf you would like a copy of this show for yours $6.00 to: Rush On Stage, 314 Acadia Ave., Winston 27127. Make checks payable to Eric Merola. a, and 3 1 the changes er. This set displays a very f please send alom, NC RUSH BOO K's \VUINE- Biography by Bill (B-Man) Succ Under P Rush by Brian Power Windows Buttons $25.00 sure by Stove Gett $10 artigan $10.00 00 Star with sticker All prices include shipp THE NECROMANCER 314 Acadia Ave Winston-Salem, NC 27127 | actualae ON STAGE Electric Ladyland Studios "1012" Includes live "Vital 12/5/74 (includes a few tracks igns" and"Red Sector A". Also from Fly By Night) EX+ 4oan includes interviews with band $6.00. 4omn - EXr+ ~ $7.00. Farewell To Things" Montreal | Alex Lifeson interview — 1988 1977 ~ 4omn = vG+ - $6.00 35mn ~ $0.00. Excellent! ermanent Waves nights from undboard EX+* 90m, 9Omn, Live in Meadowlands, NJ 1984 13omn - $6.00 (90mn), $8.00 135mn Ex $8.00. (135mn). 1980. ee VIDEO Moving Pictures - Chicago Promos - Tom Sawyer, Vital Ampitheatre, IL - 135mn - Exe - | Signs, The Enemy Within, Distant $8.00. 1981 Early Warning, Afterimage, The OO Bory Electrics Subdivision "Rush ‘n Roulette” 4th night | Countdown, The Big Money. at Chicago Ampitheatre bomn total - $20.00. includes never before heard = acoustic jam by Alex - Exit...Stage Loft soundboard ~ 135mn ~ $12.00. Concert ay 60un 1981. $20.00. Ast gs yee 0h ath a se gf New World Tour - Charlotte, NC eae 3/26/83 ~ 90mn a ceet® EX* - $6.00. ac) a ro oe Ahoy, Rotterdam- 1982 ~ 45mn EX! ~ $6.00. AS ugh Power Wind~ y ‘oronto, Ontario izomn ows’ Greens~ s boro, NC 4/22/85 eer ekcelient eee ua ~ EX+ POSTERS ¥ - “Hold Your Fire" % balls, 60mn Ex++~$6.00.-1 "Hold Your Fire” 3 live shots 1979 $8.00. “Hold Your Fire" Charlotte, NC E ; ALL recordings are first 21/81 90 200. pee “a Seen eae generation and are recorded on jhold your spiro? UA: Forual Porgetunieto wupaatedtesratoe a/i7ue 2 exes eet bO ee to ed on 2044) = mE write to Rush On Stage, 314 Neil Poart Interview Acadia Ave., Winston Salem, NC "Off The Record” 27121. 60mn-$5.00 checks tot Eric MerolaNi GROMANCGCER — 7 Ihe Necromancer offers clas shirts, posters and more! Kor sitieds to all fellow Rush fans | free catalog write to MUSICADE, froe of charge in an ad that 11199 Sorrento Valley Rd. refrains from solling items. 1f | Suite J-F, San Diego. CA 92121. you wish to place an ad that Or call: (619)452-1525. involves selling an item(s) the feo is as follows: 0-20 words Wanted: Rush bootlegs (video/ $1.00 every word thereafter audio), T-shirts, posters, ete will bo Vb¢ extra. For correspondence and/or trade, please write to: Brian Wanted: Rush promos "Lock And | B., 4800 Cayuga Dr., St. Louis, Key", “Time Stand Still", and Mo 63123. "Mystic Rhythms” on high quality }———__ tapes. Complete promo only. Will | ZEPPELIN FANS! ZOSO:The Lod trade for Rush, Zeppelin, Floyd, | Zeppelin gathering place. Send and Hendrix recordings. Brian $3.00 for this month's issue Siskind, 990 Macon Dr-, Winston- | to: Zoso Mag-, 1390 Market St. Salom, NC 27106 Suite 2623, Francisco, 94102 - USA Help! Fellow Rush fan wants everyones help locating Rush material. 1 have a considerable amount of Zep, Firm, and Rush Send your 4 "88. Send your List to Joel fieds Pritt, 938 E. Vale, Ontario California, 91764. The RUSH, Zeppelin, Floyd, Doors for Necromancer trade. Audio/Video. Send your classifieds (6 A) list to Cliff Pryor, 1603 314 Acadia Avo Waycreek, Houston, Texas 77068 Winston-Salem, NC aero 27127 RUSH, U2 wanted. WLLL trade for Zeppelin recordings. Your List for mine. Amar Setty 217 Slatfordshire Rd., Winston Tom, NC 2/106 "Traffic Manag The music collector's newsletter. Send $2.00 to: "Traffic Manager", P.O. Box 1333, Lombard, IL 6u148ogo ocr NEGROMANG \(__ the Necromancor 1 publ is every month of Lhe year, and Next month: \ as follows: \ dian Guitar Summit Iysy Can) the ratos are Beyond Borders 3-00 $22-50 A look into the past Bina: or future? "Rush 'n Rout and more! written ana iG headta Ave: / FSS Stora. ais anawitt checks to: HWuneycutt Eric Merola bons TH Product A division of Analo © 198m analog Produetio