BILL.B: Its the first album where you~ve used someone other than TerryBrown. What was it like working with Peter Henderson and how did itcome about?GEDDY.L: Just to give you a brief summary of events leading up to usingPeter Henderson, I think in this last spring, we decided that wewanted to try using somebody else just because we~d done ten albumswith Terry and we just figured it was time, that we found out whatits like to work with somebody else. We talked to a lot of peopleand what we would do was, we~d be rehearsing and different peoplewould see us, you know, a couple of times a week and we would spenda couple of days with each of them and talk. We met a lot of nicepeople and we learned a lot about music, and, I think, in thoseconversations with producers, I think we learned more about makingrecords than we have in all the time we~ve been making records,just by listening to other people~s technique~s and their attitudesto making records. It was a fascinating time in a lot of ways.C.K: 4.pm. Soundcheck for the Touscon show. Let~sstage with Geddy Lee, at the keyboards.join the B-Man onGEDDY.L: ... Theirs a lot of overlapping textures, you know, you can do a lotof the same things on the same instruments, but they all have aspecific purpose _for me. The Opperheim, which I use to use quite alot and I~m not using quite so much anyrrore, but I still use it forcertain sounds like, it has a particular character, that I use onsounds like Witch Hunt and Body Electric, it has a little more of amajestic orchestral sound, which I really like a lot, and I canalso control that with my foot pedals, which are situated under mykeyboards and also in front of my front mics~. There~s sometimeswhen you looked up on stage, and, you hear the sound, but you can~tsee where its coming from, thats because I have this keyboard pedalright in front of my front mic~ and I can control my Opperheim withthat. Just like this,(plays an example), which is very handy. Itsan inventlon that we sort of put together and its worked out forquite a couple of years now.BILL.B: And that allows you to play the bass as well as the keyboards atthe same time.GEDDY.L: I can play my bass patterns and supplement that with a keyboardtexture. I use it for all kinds of songs, TOm Sawyer, you know, allthe way down the line. They also double as bass pedals and theyhave an incredible bottom sound.And over here we have an instrument I started using on the lasttour, and am using a lot more , which is a Roland JP8 synthesizer,(plays a few chords from Between The Wheels). You can see it hasquite an angry sound and, I like that.BILL.B: Alex, the guitar on Grace Under Pressure sounds incredible. Couldyou tell me how the guitar sound evolved?ALEX.L: you know, you~re always looking for something better, soundwise,I think right now, I~m pretty happy with where I~ve gotten with mysounds. I don~t think I would change it much from here, I thinknow, I play more ~chordal~ things, especially in solo~s. Evidenceof that is in the solo on say, Red Sector A or Kid Gloves, there~sa lot of strumming in the solo~s, and when you have that clarity inyour guitar sound its easier to make that happen, and thats, Ithink, the sort of direction I~d like to take.32
BILL.B: Neil, Rush as a band, have been together over fifteen years, you'vebeen a member over ten yourself. What is the longetivity of Rush?NEIL.P: Its an impossible thing to predict, really. you can only measureit by each album., and the fact that at this point we can stil l saythat were changing and growing and improving, in all of theimportant ways, so that the future remains inscrutible and shouldbe. But, certainly we ' re looking forward to the next album, and itwill be another test of the same values that we try to work by .Rush . .. Banshees encased in an electroniccocoon . .. the pipers at the gates of da wn ...controlled hysteria and visions of fantasy. 33
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