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Rupert Hine RIP


Lurkst
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I never understood his criticism of Geddy's singing because as far as I'm concerned, he stopped "screeching" around Permanent Waves/Moving Pictures. I can't name a single song on GUP/PW/HYF where he's singing really high the whole song
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Appreciated what he did to alter Ged’s vocal approach. Also, anyone who produced both The Pass and Bravado deserves a standing ovation.

 

RIP

 

Say what you want about the guy, but without him there's no Available Light.

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Always loved his work on Presto and RTB.Yes its all bright and shiny but I loved it just as much as the heavy stuff of days of yore.Still have Hines Immunity vinyl from when first released.
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I discovered this 80's Canadian new-wave band called Eight Seconds.

 

Rupert Hine produced their first full length album

(credits here).

 

All these years, I heard "Kiss You (When It's Dangerous)" on the radio, but didn't know who the music act was that performed the song until now.

 

http://www.youtube.com/watch?v=yUjxLO31K3E

 

"Kiss You (When It's Dangerous)" was a Top 30 hit in Canada.

Edited by RushFanForever
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Appreciated what he did to alter Ged’s vocal approach. Also, anyone who produced both The Pass and Bravado deserves a standing ovation.

 

RIP

 

Say what you want about the guy, but without him there's no Available Light.

 

"Available Light" is one of the greatest songs ever made!!!!! F YES!!!!!!

 

I really wanted that one live on the "Presto" Tour. Saw that tour four times. I was so sick of Mr. Big!! UGH!

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Another sad loss to the music industry of a very talented individual.

 

This tragic event prompted me to look up his Wiki profile and wow! ..

other than just the Rush production credits, his overall body of work in production was incredible!

 

Like Lurkst, i too remember the 1979 TOTP 'Lone Ranger' performance lol.

 

RIP Rupert Hine.

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Another sad loss to the music industry of a very talented individual.

 

This tragic event prompted me to look up his Wiki profile and wow! ..

other than just the Rush production credits, his overall body of work in production was incredible!

 

Indeed. I wasn't aware of the debt he owed to Roger Glover of Deep Purple...

 

https://www.rogerglover.com/writings/messages-from-roger-glover/rupert-hine-r-i-p/

 

 

And from Rupert's own website a year or two back...

 

" Roger Glover

 

Having spent much of the night hearing such touching stories re my involvement with, and encouragement for, artists, writers, engineers, musicians, collaborators… the end of the evening was to be my turn to thank the one person in my life to effect the same level of change to my own life-story.

 

 

Having started my creative life with a rare recording opportunity of a contract with Decca Records (The Rolling Stones label amongst many, many others) and a first single produced by the Decca equivalent to George Martin (at EMI) - Dick Rowe - things plummeted to nothingness over the succeeding months. I continued to write songs with my lyricist partner David MacIver for some four years, whilst working on what seemed like hundreds of two or three week temp jobs for the rent. This, not particularly promising way of life, was beginning to feel somewhat fruitless when a chance discovery that my old Episode 6 mate from the early Sound of Silence days, was now with a rather successful band called Deep Purple. Given their massive change of appearance from mid-sixties mop-tops / suits to late 60s waist-long hair / jeans, beards and moustaches, I needed to call the record label and see if he was indeed the same Roger Glover.

 

 

 

He was, and when I cheekily asked if a message could be passed on to him, it was - and we met again. I played him the intervening years worth of songwriting and he immediately loved them.

 

 

 

Deep Purple had already been given their own imprint and Roger suggested to the managers at the helm that they should sign both myself and David to Purple Records… and while he was at it - also suggesting that he produce us. Imagine our delight, five years after experiencing such an immediate high followed by a bleak and sustaining low - we should re-surface signed and produced by an old friend - to his own label! The entire experience was such a joy. Still to this day much of that sounds original and colourfully rich. Exquisite string arrangements and witty Hi-fidelitous production.

 

Which directly led to….

This opening chapter to the next creative phase started when David and I were asked to write and record a 2nd album for Purple and due to Deep Purple’s ever-expanding global domination of early ‘heavy’ rock bands, Roger was simply not available to produce.

 

 

His recommendation for a substitute producer was… well…. me! I told him I had no idea how to do all that! He calmly instructed me to do what I did at home with my bits of string and tin-can studio - only - bigger!

 

And that’s how I became a producer."

 

 

Edited by Lurkst
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Another sad loss to the music industry of a very talented individual.

 

This tragic event prompted me to look up his Wiki profile and wow! ..

other than just the Rush production credits, his overall body of work in production was incredible!

 

Indeed. I wasn't aware of the debt he owed to Roger Glover of Deep Purple...

 

https://www.rogerglo...ert-hine-r-i-p/

 

 

And from Rupert's own website a year or two back...

 

" Roger Glover

 

Having spent much of the night hearing such touching stories re my involvement with, and encouragement for, artists, writers, engineers, musicians, collaborators… the end of the evening was to be my turn to thank the one person in my life to effect the same level of change to my own life-story.

 

 

Having started my creative life with a rare recording opportunity of a contract with Decca Records (The Rolling Stones label amongst many, many others) and a first single produced by the Decca equivalent to George Martin (at EMI) - Dick Rowe - things plummeted to nothingness over the succeeding months. I continued to write songs with my lyricist partner David MacIver for some four years, whilst working on what seemed like hundreds of two or three week temp jobs for the rent. This, not particularly promising way of life, was beginning to feel somewhat fruitless when a chance discovery that my old Episode 6 mate from the early Sound of Silence days, was now with a rather successful band called Deep Purple. Given their massive change of appearance from mid-sixties mop-tops / suits to late 60s waist-long hair / jeans, beards and moustaches, I needed to call the record label and see if he was indeed the same Roger Glover.

 

 

 

He was, and when I cheekily asked if a message could be passed on to him, it was - and we met again. I played him the intervening years worth of songwriting and he immediately loved them.

 

 

 

Deep Purple had already been given their own imprint and Roger suggested to the managers at the helm that they should sign both myself and David to Purple Records… and while he was at it - also suggesting that he produce us. Imagine our delight, five years after experiencing such an immediate high followed by a bleak and sustaining low - we should re-surface signed and produced by an old friend - to his own label! The entire experience was such a joy. Still to this day much of that sounds original and colourfully rich. Exquisite string arrangements and witty Hi-fidelitous production.

 

Which directly led to….

This opening chapter to the next creative phase started when David and I were asked to write and record a 2nd album for Purple and due to Deep Purple’s ever-expanding global domination of early ‘heavy’ rock bands, Roger was simply not available to produce.

 

 

His recommendation for a substitute producer was… well…. me! I told him I had no idea how to do all that! He calmly instructed me to do what I did at home with my bits of string and tin-can studio - only - bigger!

 

And that’s how I became a producer."

Looking at his list of subsequent production credits, that is one hell of a debt he owed Mr Glover!
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I was listening to this tribute podcast on Rupert Hine yesterday.

 

I discovered Hine produced a singer/songwriter/composer named Duncan Sheik, who had a huge hit song in the mid 90's titled 'Barely Breathing'.

 

http://www.youtube.com/watch?v=ml2Abds1EIU

 

The song was on the charts for 55 weeks and at the time, it was the fourth-longest-running single on the Hot 100.

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Bob Lefsetz posted an unfinished email from Rupert Hine - he passed away before emailing it to Bob:

 

From the Lefsetz Letter:

 

___________________________________________

 

From: Rupert Hine

Subject: Re: Neil Peart

 

This was in Roop’s draft box not signed so I guess he didn’t quite finish…thought you might like to have it.

Bests Fx

 

Fay Morgan Hine MCIPR

www.oneworldonevoice.co.uk

www.ruperthine.com

 

From: Rupert Hine

Subject: Re: Neil Peart

 

Having recorded many of the world’s great drummers (inc Steve Gadd, Manu Katché, Simon Phillips, Jerry Marotta, Steve Ferrone, et al) producing Neil (and Geddy @ Alex) on two of Rush’s finest mid-period albums - “Presto” & “Roll the Bones”, I can say from first hand experience that he has been the only drummer to have played something so distractingly impossible that I had to investigate.

This involved getting out of the studio control-room and standing In front of Neil in the studio just to listen & watch - with all my visual and aural ’antennae’ bristling. An illusionist of the highest order. But how does the illusion work?

 

Neil is legendary for his self-inflicted rule of never overdubbing on a Rush recording. That, in and of itself, is quite staggering when you focus in on his oeuvre over the last 40 years or more.

Steve Tayler and I had already solo’d the only channels on the desk that could have revealed any answers (or clues) to no avail.

Whilst he was too ‘technical’ for some, his expertise was breathtaking, shockingly accurate and fiendishly cunning in terms of the sub-divisions of a musical bar. Always mixing the technically challenging with dashes of humour just to keep you ‘connected’.

 

His interest in my potential role as producer of the band was as much based on my own albums “Immunity” and “Waving not Drowning” than any more obvious commercial success at the time. He loved the made-up and found-sounds I harnessed from everyday life and the dark mood of the album grenerally.

 

___________________________________________

 

 

Suffice to say this made me pretty sad.

Edited by chemistry1973
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I have to wonder if Neil was inspired by Jeannette Obstoj, who was Rupert Hine's former lyricist from his solo work.

 

In the song 'Working Them Angels', there's the following lyric.

 

"Filling my spirit with the wildest wish to fly"

 

Hine had a song titled 'Wildest Wish to Fly', from his 1983 solo album of the same name.

 

http://www.youtube.com/watch?v=Ai3z7HMJ5fs

 

In 'Grand Designs' there's the following lyric.

 

"We break the surface tension"

 

Hine's 1981 solo album Immunity has a song titled 'Surface Tension'.

 

In 'Roll The Bones', there's the following lyric.

 

"For the want of immunity"

 

Hine's 1981 solo album Immunity has a song titled 'Immunity'.

 

These scenarios might seem like random occurrences, but you wonder where inspiration comes from?

 

I'd say there is no question!

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The song 'Lone Ranger' from Hine's 70's group Quantum Jump.

 

http://www.youtube.com/watch?v=CfqnyEoZJI4

 

This features the following lyric:

 

"Taumata-whaka-tangi-hanga-kuayuwo-tamate-aturi-pukaku-piki-maunga-horonuku-pokaiawhen-uaka-tana-tahu-mataku-atanganu-akawa-miki-tora."

 

This references a town on St. John's Island, which is just off New Zealand (see here and here), along with being noted in the Guinness Book of World Records as the longest word in the world.

Edited by RushFanForever
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Bob Lefsetz posted an unfinished email from Rupert Hine - he passed away before emailing it to Bob:

 

From the Lefsetz Letter:

 

___________________________________________

 

From: Rupert Hine

Subject: Re: Neil Peart

 

This was in Roop’s draft box not signed so I guess he didn’t quite finish…thought you might like to have it.

Bests Fx

 

Fay Morgan Hine MCIPR

www.oneworldonevoice.co.uk

www.ruperthine.com

 

From: Rupert Hine

Subject: Re: Neil Peart

 

Having recorded many of the world’s great drummers (inc Steve Gadd, Manu Katché, Simon Phillips, Jerry Marotta, Steve Ferrone, et al) producing Neil (and Geddy @ Alex) on two of Rush’s finest mid-period albums - “Presto” & “Roll the Bones”, I can say from first hand experience that he has been the only drummer to have played something so distractingly impossible that I had to investigate.

This involved getting out of the studio control-room and standing In front of Neil in the studio just to listen & watch - with all my visual and aural ’antennae’ bristling. An illusionist of the highest order. But how does the illusion work?

 

Neil is legendary for his self-inflicted rule of never overdubbing on a Rush recording. That, in and of itself, is quite staggering when you focus in on his oeuvre over the last 40 years or more.

Steve Tayler and I had already solo’d the only channels on the desk that could have revealed any answers (or clues) to no avail.

Whilst he was too ‘technical’ for some, his expertise was breathtaking, shockingly accurate and fiendishly cunning in terms of the sub-divisions of a musical bar. Always mixing the technically challenging with dashes of humour just to keep you ‘connected’.

 

His interest in my potential role as producer of the band was as much based on my own albums “Immunity” and “Waving not Drowning” than any more obvious commercial success at the time. He loved the made-up and found-sounds I harnessed from everyday life and the dark mood of the album grenerally.

 

___________________________________________

 

 

Suffice to say this made me pretty sad.

 

awesome

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Without Rupert Hine we wouldn't get S Tier songs like

 

Show Don't Tell

Chain Lightning

The Pass

Presto

Dreamline

Bravado

Roll The Bones

Where's My Thing?

The Big Wheel

Ghost Of A Chance

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Appreciated what he did to alter Ged’s vocal approach. Also, anyone who produced both The Pass and Bravado deserves a standing ovation.

 

RIP

 

Say what you want about the guy, but without him there's no Available Light.

 

"Available Light" is one of the greatest songs ever made!!!!! F YES!!!!!!

 

I really wanted that one live on the "Presto" Tour. Saw that tour four times. I was so sick of Mr. Big!! UGH!

I disagree with Available Light being one of the best songs ever though... I can name at least 1000 other rock songs before I get there

 

oh hello there, other person reading my comment. You love "Available Light" don't ya? :outtahere:

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Listening to Dreamline now....great song and poignant lyrics...We are immortal for only a limited time :( :rose:
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Neil Peart and Rupert Hine... two members of Rush dead in the same year. Who's next? Al- F*** I NEED TO KEEP MY MOUTH SHUT

 

Oddly enough Van Halen also lost 2 members of their camp in 2020 - Mark Stone and EVH. Within weeks of each other.

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