HDTenEightyP/NetNews huggingface dataset:
From: jtk@s1.gov (Jordin Kare)
Newsgroups: alt.music.filk
Subject: Re: The Wabbit Belongs to Me.
Summary: See "Cabaret"
Date: 22 Jul 92 18:17:11 GMT
Organization: LLNL

In article <1992Jul22.161257.21279@iscnvx.lmsc.lockheed.com> baylor@force.ssd.lmsc.lockheed.com writes:
>In article <n05a9t@ofa123.fidonet.org>, Scott.Fridenberg@f901.n170.z1.fidonet.org writes:
>>This is a bit of SCA Filk...
>>One of their songs is called
>>Tomorrow Belongs to Me and details the weaknesses of the various kingdoms and
>>why they will fall to the Horde.  The tune is it'self a filk but I don't know
>>what to.  
>
>For what it's worth, I've been told that the original song was a
>patriotic song from Nazi Germany (perhaps sung by one of the youth
>auxillaries). I have no proof of this, and the only supporting evidence
>is a comment by Asprin on his tape that they got an undeserved reputation 
>for being Nazis themselves.
>
The song is from the film (and presumably preceeding stage version of)
Cabaret, starring Liza Minelli.  Cabaret is set in Weimar (pre-WWII)
Germany, when the Nazi's are just starting their climb to power (and
when German high society dismissed them as politically impotent thugs).
The scene is a restaurant in the rural countryside, where Liza's character
(I no longer remember names) and her boyfriends are eating.  A blond
youth interrupts the general conversation and music of the restaurant
by standing up and beginning to sing.  One by one most of the other
patrons and staff join in, until by the end of the song there is a
table-pounding mob singing:

	Fatherland, Fatherland, give us a sign!
	Your children have waited to see.
	The day will come when the world is mine!
	Tomorrow belongs to me!

	It is a frightening picture, and I'm afraid I have mixed feelings
whenever I hear a version of the tune -- even a funny filk -- because
of the memory of that scene.  

	(Since the lyrics are in English, I doubt the original song
was actually sung in Germany :-)  However, it is quite possible that the
Cabaret song was based on an actual song of the period, though probably 
not (if only for reasons of copyright) a simple translation).

		Jordin Kare


-- 

	Jordin Kare	jtk@s1.gov	510-426-0363
From: Major.Matt.Mason@p11.f715.n273.z1.fidonet.org
Newsgroups: alt.music.filk
Subject: Tomorrow Belongs to Me
X-Sender: newtout 0.01 Jul 13 1992
Date: 29 Jul 92  07:02:55

On 7/26/92, Kay Shapero said to Joe Bethancourt concerning Tomorrow Belongs to 
Me: 

  KS> FYI - I know of two church hymns that use the same tune as Deutschland
  KS> Uber Alles.

Ohhhhh?  (he says in an interested tone)  Could you post the lyrics?  A filked 
version of one of those would be perfect for the First Furry Church Devival at 
Confurence 4... ;)

-MMM-

--- MacWoof Eval:24Jun92
Newsgroups: alt.music.rush
From: pw15@cunixb.cc.columbia.edu (Philip  Wang)
Subject: Re: Queenryche and Rush (was Re: Proposal for alt.music.queensryche)
Reply-To: pw15@cunixb.cc.columbia.edu (Philip  Wang)
Organization: Columbia University
Date: Mon, 27 Jul 1992 04:42:56 GMT

In article <91969@bu.edu> jaeger@buphy.bu.edu (Gregg Jaeger) writes:
>In article <1992Jul27.002301.1505@leland.Stanford.EDU> jchokey@leland.Stanford.EDU (James Alexander Chokey) writes:
>
>>	The "Rush sound" can't be pinned down?  If you were to drop the veil
>>of reverence in which you have enshrouded the band, you would notice that
>>there are plenty of continuities between one album and the next.  True,
>>_Fly by Night_ sounds a lot different from  _Roll the Bones_, but we're 
>>talking about a 15+ year difference.  What about the great "differences"
>>between _Fly by Night_ and _Caress of Steel_, or _A Farewell to Kings_ and
>>_Hemispheres_ or _Presto_ and _Roll the Bones_.  If you think that Rush
>>does something radically new on every album, you're just fooling yourself.
>
>Hmmm. Tough question, pinning down the "Rush sound" -- good thread
>material! I'd say that there isn't much that can be pinned down. The
>most identifiable thing (besides Neil's activity on drums, which has
>quite a wide range of expressions) is Alex's use of unusual chords
>(perhaps a guitarist could fill us in on the technical details?)
>which seem quite unique to him. But overall, I'd say that there is
>no single "Rush sound." I do think that there are HUGE changes between
>all of their albums. Between FbN and CoS there tremendous change in
>`atmosphere' that ``By-Tor'' only hints at, and and significant change
>in `orchestration' with Alex using an wider range of guitars and
>effects. Similar things can be said about any two Rush albums, as
>I see it...
>
>
While we're on this, can we say Rush is progressive metal? I tend to think of
Rush as a heavy metal band, although I guess many of you wouldn't think so.

philip

"Inside the power cage, I can feel the music call my rage
It's paranoid, first degree. It's telling me that I'm not free.
I've got heavy metal music in my blood and I like to get it to you if I could"
-Holocaust, "Heavy Metal Mania" ||||||||| pw15@cunixa.cc.columbia.edu |||||||||
From: jaeger@buphy.bu.edu (Gregg Jaeger)
Newsgroups: alt.music.rush
Subject: Re: Moving Pictures Back (and a discovery! read this, please!)
Date: 23 Jul 92 21:43:50 GMT
Organization: Boston University Physics Department

In article <D40374W.92Jul23230118@kaira.hut.fi> d40374w@kaira.hut.fi (Tero Valkonen) writes:

>In article <91617@bu.edu> jaeger@buphy.bu.edu (Gregg Jaeger) writes:

>   >discovery. The other one was New world man/Vital signs (live). Now,
>   >this was something!
>   >I was just wondering if this is a rare beast. Does anyone else
>   >own this? 

>   I don't know if it's rare, but I have a copy. :)

>Someone else (whose name was subsequently lost in a short-term memory
>loss void) reported me on email that he also has one. He also told
>me that the single indeed _is_ rare; he bought his copy in 1982. 


I would entertain the prospect of selling it for the right price

(in case anyone is interested)

Gregg




-- 
Gregg Jaeger    (jaeger@buphy.bu.edu)     | Tristero?   ______/|/|  Treestero?
Dept(s). of Physics (and Philosophy)      ------------    (_) \|\|  Trystero?
Boston University, 590 Commonwealth Ave.,Boston MA 02215 ---------------------
From: rone@alcor.usc.edu (Ron Echeverri)
Newsgroups: alt.music.rush
Subject: Re: For Russ Soule
Date: 24 Jul 1992 00:01:50 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: alcor.usc.edu


For anyone else who wants to contact Russ, you should email him at

	ras@controls.ccd.harris.com

(Hey Russ, put a Reply-to: or something man! :)

5150
Van Halen fan, Rush fan: The dichotomy is driving me batty
From: decostem@IRO.UMontreal.CA (MAD Marc MAD Andre MAD Decoste MAD)
Newsgroups: alt.music.rush
Subject: Re: Time Signatures
Date: 27 Jul 92 13:58:38 GMT
Reply-To: decostem@IRO.UMontreal.CA (MAD Marc MAD Andre MAD Decoste MAD)
Organization: Universite de Montreal

In article <6079@gumby.Altos.COM> deaster@altos.Altos.COM (Le Chevalier Blanc) writes:

>Which Rush song has the most time signature changes in it?
>Which Rush song has the most unique time signatures in it?

>Examples of songs that change often are Limelight, Losin' It, and 
>The Camera Eye.  e.g. Losin' it starts in 5/4, moves to 4/4, back 
>to 5/4, 4/4, the solo is in 11/8 and the end of the solo slips into
>6/8.  Limelight hops between 4/4, 7/4, 6/8, etc...
>
>					-Dave Easter

And don't forget Subdivisions, it goes from 7/8 (or 7/4 ?) to 4/4 and back
in 7/4 and so on... And I think I heard that it was done this way to
enhence the ideas brought by the lyrics ???


BYE
MAD


--
Marc-Andre Decoste                 e-mail: decostem@IRO.umontreal.ca
D.I.R.O., Universite de Montreal        Tel: (514) 343-6111 ext 3513
C.P. 6128, Succ. "A", Montreal,                  FAX: (514) 343-5834
(Quebec), Canada, H3C 3J7,... He bedi, bede, bedoo, that's all folks
From: jaeger@buphy.bu.edu (Gregg Jaeger)
Newsgroups: alt.music.rush
Subject: Re: One Liners
Date: 28 Jul 92 15:58:10 GMT
Organization: Boston University Physics Department

In article <1992Jul28.061342.10240@ultb.isc.rit.edu> geordie@nick.csh.rit.edu (Geordie 'Gweeb' Klueber) writes:

>"Image just an eyeless game" - Anagram (for Mongo)

>	This is poetry!  Multiple puns on multiple levels (in form,
>	meaning, etc...), along with a theme (that of "image" being
>	*perceived* by someone rather than being *seen* (visually),
>	and how a person/thing's "image" is nothing really more than a game-
>	it's the *content* that counts, not the image) all rolled
>	into one!  Damn, I love that line...  :-)


Yes, and "Image" is just an `I' (when) less (i.e. missing) "game" (`m'
`a' `g' `e')


Gregg
From: decostem@IRO.UMontreal.CA (MAD Marc MAD Andre MAD Decoste MAD)
Newsgroups: alt.music.rush
Subject: Re: FOUR PART TRILOGIES
Date: 21 Jul 92 13:25:20 GMT
Reply-To: decostem@IRO.UMontreal.CA (MAD Marc MAD Andre MAD Decoste MAD)
Organization: Universite de Montreal


   As a triology, one can't forget Cygnus X-1, the marvelous introduction
to the Hemisphere concept... 

   Anybody has more info on: 

      Does Neil and the gang knew that Hemisphere was coming when 
   they wrote Cygnus X-1 ??? 

BYE
MAD

Marc-Andre Decoste                 e-mail: decostem@IRO.umontreal.ca
D.I.R.O., Universite de Montreal        Tel: (514) 343-6111 ext 3513
C.P. 6128, Succ. "A", Montreal,                  FAX: (514) 343-5834
(Quebec), Canada, H3C 3J7,... He bedi, bede, bedoo, that's all folks

 





--
/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-\
| Marc-Andre Decoste                 Bureau: V-120                       |
| Dept. Informatique et R.O.           Labo: Vision (S-160-6)            |
| Universite de Montreal                Tel: (514) 343-6111 ext 3513     |
Newsgroups: alt.music.rush
From: richichi@lamar.ColoState.EDU (Mike Richichi)
Subject: Re: Other than Rush Favorites
Date: Thu, 30 Jul 1992 00:39:58 GMT
Organization: Colorado State University, Fort Collins, CO  80523

Alright, I'll throw my two cents into the fray:

1) Joe Jackson (heck, if you're into Rush for great bass lines, check
out Graham Maby's work on JJ's "Look Sharp!" for instance, and in fact
all the JJ albums)

2) Marillion (big surprise)
3) Yes (another big surprise)
4) Traffic  
5) All kinds of folky, melodic, occasionally hard alternative acts (XTC,
Tori Amos, Sarah McLachlan, Enya, blah blah blah...)


------------
Mike Richichi, Dept. of Physics, Colorado State Univ.
richichi@lamar.colostate.edu  mrichich@drunivac.bitnet 
"You think you know everything... you don't even know Thelonius Monk's
social security number"  --Happy Flowers


Newsgroups: alt.music.rush
From: pw15@cunixa.cc.columbia.edu (Philip  Wang)
Subject: Re: Queenryche and Rush (was Re: Proposal for alt.music.queensryche)
Reply-To: pw15@cunixa.cc.columbia.edu (Philip  Wang)
Organization: Columbia University
Date: Mon, 27 Jul 1992 12:59:54 GMT

>>>>
>>>	Queensryche = speed metal???  That's one I've not heard before! I
>>
>>Well, if you stretch it, their EP before THE WARNING was very thrashy, 
>>particularly "Queen Of The Reich," "Nightrider," and "Blinded."
>
>I don't know how long you have been listening to Hardrock/HM, but in 1983
>(I thought "Queen of the Reich" Maxi-EP came out earlier) they were pretty
>'progressive' compared to the rest of the music round that time. Besides
>the word THRASH (speed, etc.) wasn't even used at that time, there was just
>the difference between Hardrock (which referred to the older loud music)
>and Heavy Metal. (Jeeh, things have definitely changed :) Ok, those three
>songs were pretty heavy, but thrashy?? No, I don't think so!

Well, they kind of were. If you're thinking thrashy like Exodus or Metallica
then I guess not, but I was more oriented towards thrashy as in Maiden, Grim
Reaper, and Angel Witch (yes, I know Maiden and Angel Witch aren't thrash, but
they have done thrashy music before).
>
>>Queensryche only had a Pink Floyd sound on "Silent Lucidity." The rest of 
>>EMPIRE sounds really different. For some reason I find them very original on
>>this album, but yet the songs just have this irritating thing about it that
>>makes this originality seem commonplace and blase, but that is my opinion. It
>>has a strong melody, but maybe it's because it's no longer very guitar
>>oriented and more focused on Geoff Tate even more than in the past.
>
>IMHO I found the sounds on "Rage for Order" more original than the ones on
>"Empire". I think in general it's difficult to compare between the Queens-
>ryche albums (except maybe "Queensryche 12-inch" and "The Warning"), cos'
>they are all so different in (allthough all in Queensryche-) style (and 
>concept?).

True.

philip

"Inside the power cage, I can feel the music call my rage
It's paranoid, first degree. It's telling me that I'm not free.
I've got heavy metal music in my blood and I like to get it to you if I could"
-Holocaust, "Heavy Metal Mania" ||||||||| pw15@cunixa.cc.columbia.edu |||||||||
Newsgroups: alt.music.rush
From: jpm56290@uxa.cso.uiuc.edu (Duner)
Subject: Re: Rush Firsts
Organization: University of Illinois at Urbana
Date: Thu, 23 Jul 1992 06:05:13 GMT

  Well, in Junior High I knew about Rush but didn't care too much.  I only heard
  Tom Sawyer and Spirit Of Radio from the radio.  I didn't get hooked actually
  until Presto came out.  I saw the video for Show Don't Tell and really liked
  it.  Being a drummer I wanted to hear the rest of the album.  I really liked
  the drums on Show Don't Tell.  I loved the album and then bought Moving
  Pictures (because of Tom Sawyer), Exit Stage Left, and A Show Of Hands (heard
  the drum solo from a friend's tape).  It was the live albums that made me
  want to get all the rest, and so about a year after buying Presto, I got every
  single CD except Chronicles (no point in buying it).  I've never gotten bored
  of listening to these guys.

  Well that's my story.


-- 
=====================================================
= John Meseke      email-jpm56290@uxa.cso.uiuc.edu  =
= "Some gals like to kiss my face.  Is it luck?"    =
==============================-Les Claypool==========
Newsgroups: alt.music.rush
From: krm3611@sigma.tamu.edu (KEN MCWATTERS)
Subject: Re: Time Signatures
News-Software: VAX/VMS VNEWS 1.41    
Organization: Texas A&M University, Academic Computing Services
Date: Fri, 24 Jul 1992 17:04:00 GMT

In article <BrwAwC.21G@news.cso.uiuc.edu>, cs50665@uxa.cso.uiuc.edu (Enter Scogman) writes...
>In article <6079@gumby.Altos.COM> deaster@altos.Altos.COM (Le Chevalier Blanc) writes:
>>
>>Which Rush song has the most unique time signatures in it?
> 
>My personal favorite Rush time signatures is in Cygnus X-1
>I believe at the end it is 11/8
>  
>Chris
>
   Chris, you beat me to it!  That's my favorite "unique" time signature.  
11/8 is used in Losing It also, but it has a somewhat logical "feel" to it,
being able to be subdivided into a 6/8, 5/8 repeating pattern.  In Cygnus X-1,
though, it could only be divided into a 4/8, 7/8 pattern.  It emphasizes the
maddening pace of the song, because switching from 4 to 7 repetitively is 
totally unnatural!  This is a brilliant use of time signature;  it literally
conveys the mood of someone at the helm of the Rocinante as it begins the 
plunge into oblivion! 

Ken

"  Remembering when first I held the wheel in my own hands
   I took the helm so eagerly and sailed for distant lands
   But now the sea's too heavy, and I just don't understand
   Why must my crew desert me when I need a guiding hand?" 

Newsgroups: alt.music.rush
From: daphne@casbah.acns.nwu.edu (Amy Kruse)
Subject: Re: Is this it?
Organization: Northwestern University, Evanston Illinois.
Date: Thu, 23 Jul 1992 18:37:10 GMT

In article <1992Jul23.174604.2816@news.stolaf.edu> kdlayon@mari.acc.stolaf.edu (Kristofer D Layon) writes:
>Hey!  I believe I am now typing message 2112!  What an honor!
>
>Not much else to say besides this: Rush is awesome.  This
>message is dedicated to you.
>
I know someone said a while back that this would happen.  It's different on
eery network. Anyway, my machine completely skipped over message 2112 it just
didn't exist.  Do you think it was a sign?  ;)  Anyway, I'm happy atleast one
person got to see it. amy
Newsgroups: alt.music.rush
From: PRAETHE@YaleVM.YCC.Yale.Edu (Ethan Evan Prater)
Subject: Re: Time Signatures
Organization: Yale University
Date: Mon, 27 Jul 92 15:23:47 EDT

In article <1992Jul27.140053.4051@usenet.ins.cwru.edu>
eam3@po.CWRU.Edu (Eric A. Meyer) writes:
 
>
>
>In a previous article, PRAETHE@YaleVM.YCC.Yale.Edu (Ethan Evan Prater) says:
>
>>In article <1992Jul24.133720.7478@usenet.ins.cwru.edu>
>>eam3@po.CWRU.Edu (Eric A. Meyer) writes:
>>
>>>   How about "Jacob's Ladder"?  It starts out switching between 5/4 and
>>>6/4 EVERY MEASURE.
>>
>>I've never seen the chart, but isn't it actually just in 11/4? Each 11 beat
>>section feels like a coherent unit, and the very fact that it "switches" every
>>measure would seem to me like it's a single 11 beat repeating unit. What do you
>>think?
>
>   Actually, the music is written 6/4, 5/4, 6/4, 5/4... on the sheet music.
>You could argue that this would constitute an 11/4, except I know some music
>majors who would jump up and down and scream if you suggested any such time
>signature could actually exist (something about traditions, or ettiquette,
>or maybe technicalities--hey, I'm only an English grad student, so how should
>I know?).
>
>		-EMeyer
 
What about later in the song, when there are three sets of 5 beats, then a six
beat set? The drummer in my high school band always thought that it was in
21/4. What does the chart say? I'm only an undergrad majoring in English, but
people like Stravinsky, Berg, Berlioz, etc. were never constrained by standard
time signatures--there's lot's of 11/4 in Rite of Spring, for example. It
obviously was written the way the sheet music says, but if musical geniuses
like Stravinsky can get away with odd time signatures, why not musical
geniuses like Rush?
 
Ethan
From: lindgren@kuhub.cc.ukans.edu
Newsgroups: alt.music.rush
Subject: Re: Other than Rush Favorites
Date: 29 Jul 92 17:35:50 CDT
Organization: University of Kansas Academic Computing Services

	I is my list of musical favorites.

	1) Rush
	2) Miles Davis
	3) Mozart
	4) Count Basie

I'm kinda suprised that there aren't more Miles fans out there.

Jay
Newsgroups: alt.music.rush
From: joev@hopi.eel.ufl.edu (Joseph Versagg)
Subject: Re: One Liners
Organization: UF EE Department
Date: Tue, 21 Jul 92 17:40:02 GMT

Two of my favorites are not because of thier poetry but for what they represent:

	"with the eyes of the world we stare"
and
	"nowhere is the misfit or the dreamer so alone"

Joe
Newsgroups: alt.music.rush
From: herrage@crchh451.bnr.ca (Robert Herrage)
Subject: Re: Time Signatures
Reply-To: herrage@bnr.ca
Organization: BNR
Date: Fri, 24 Jul 1992 12:43:18 GMT

There's a lot of time signature changes in "Freewill" and "Natural Science".
If memory serves me correctly, "Freewill" has several places where it goes
from 6/8 to 7/8 back to 6/8 and then to 8/8.  As an example, there is one
measure each of this order of time signatures just prior to "A planet of
play things, we dance on the strings...".  I think if you listen real hard
you'll find quite a few time signature changes throughout the song.

"Natural Science" could almost have been subtitled in movements:

  I. <water portion at the beginning>
 II. Portion beginning with "Wheels within wheels in a spiral array" (or 
     something like that; &$#(@, now I've got to go back and listen to
     it or it will bug me the rest of the day!)
III. Portion that includes "Science, like nature, must also be tamed".
 IV. Portion that includes "Tide after tide, will flow and recede...".

If I was to go back and listen to it, I'd probably come up with a few more.
Even divided up as these four movements, each movement contains its own time
signature changes.

"Permanent Waves" is kinda contradictory when I think of time signatures;
they weren't very "permanent" ;)

Rob
Newsgroups: alt.music.rush
From: lakhanp@ecf.toronto.edu (LAKHANPAL Sanjiv Kumar)
Subject: Re: One Liners
Organization: University of Toronto, Engineering Computing Facility
Date: Mon, 27 Jul 1992 04:23:50 GMT

In article <em8eoB1w164w@eebbs.isis.org> rob@eebbs.isis.org (Rob Mayer) writes:
>jsbh+@andrew.cmu.edu (John Michael Santore) writes:
>
>> Hmmm...
>> 
>> "The point of the journey is not to arrive" -HYF, Prime Mover
>> 
>> "Live for yourself, there's no one else more worth living for"
>> 					   -FBN, Anthem
>> 
>> "Science, like nature, must also be tamed, with a view towards its
>> preservation"
>> 					-PeW, Nat'l Science
>> 
>> and of course my .sig quote!
>> 
>> ===============================================================
>> "We break the surface tension with our wild kinetic dreams" 
>> 			-Rush, Grand Designs
>> 
>> Rush--Yes--Marillion--King Crimson--Emerson, Lake and Palmer
>> John Santore (jsbh@andrew.cmu.edu)
>> ===============================================================
>
>I would have to say my favorite one liners would be:
>
>"If you choose not to decide, you still have made a choice" Freewill
>"Blame is better to give than to receive" Freewill
>"Reasoning is partly insane" Anagram (For Mongo)
> And one other that they did not write but did perform with Max Webster
>on the album Universal Juveniles would be from Battle Scar; 
>"Bust the Busters, Screw the Feeders, Make the Healers feel the way I 
>feel"
>
>I would recomend getting this album if you can find it. The entire album m
>is great and Rush plays on Battle Scar which is the best song on the 
>album.
>
>Rob
>save
>/?
>/a

just had to respond to the "Battle Scar" is the best song on the Webster
album.  No it ain't.  I get the feeling your only saying that because
Rush is on the tune.  I hear the same response from Rush fans all the time.
I get almost as irritated as Kim Mitchell gets when he's asked if he's going
to ever work with Rush again.  

It's a cool tune for a one take - no overdub song, but I just have to say
Webster has a lot of great songs and albums.  I don't know if you can get
any of the albums, but Webster put out the following albums:
	Max Webster (better know as Block Heads)
	High Class in Borrowed Shoes
	Mutiny Up My Sleeve
	A Million Vacations
	Universal Juveniles
	Live Magnetic Air

in addition Kim Mitchell's been putting out solo stuff since '83.  Anyway, I
know this group is about Rush, but I thought I'd respond and put in a 
discography of Webster since it generates some interests amoung Rush fanatics.
From: rone@alcor.usc.edu (Ron Echeverri)
Newsgroups: alt.music.rush
Subject: Re: Time Signatures
Date: 24 Jul 1992 00:34:52 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: alcor.usc.edu

In article <6079@gumby.Altos.COM> deaster@altos.Altos.COM (Le Chevalier Blanc) writes:
>Which Rush song has the most time signature changes in it?
>Which Rush song has the most unique time signatures in it?
>Examples of songs that change often are Limelight, Losin' It, and 
>The Camera Eye.  e.g. Losin' it starts in 5/4, moves to 4/4, back 
>to 5/4, 4/4, the solo is in 11/8 and the end of the solo slips into
>6/8.  Limelight hops between 4/4, 7/4, 6/8, etc...

La Villa Strangiato comes to mind.... especially in the middle (i don't know
which particular part it is) when it's on 7/4 and it's on a guitar riff and
after the set, Alex adds a note to the riff and it becomes 4/4... i love that

5150
hasn't taken any music classes since high school. ick.
From: crywalt@vaxc.stevens-tech.edu (Christopher Rywalt, maladjusted cartoonist)
Newsgroups: alt.music.rush
Subject: Re: Re: Rush Firsts
Date: 29 Jul 92 18:50:02 GMT
Organization: Fairleigh Dickinson University

In article <134470003@hpfcso.FC.HP.COM>, dougs@hpfcso.FC.HP.COM (Doug Steele) writes:

> Doug Steele  (Am I really getting that old!!)

	Why yes, Doug, I believe you are.

-- Chris

%SYSTEM-F-ACCVIO, access violation, reason mask=00, virtual address=00000000, PC
=0000BFEF, PSL=03C00009
%TRACE-F-TRACEBACK, symbolic stack dump follows
module name     routine name                     line       rel PC    abs PC
                                                                                
SIGNATURE	main				 2226      00000107  0000BFEF
Newsgroups: alt.music.rush