Rush Vinyl Collection...the Normal and the Abnormal

[Cygnus 2112]

I love Roll The Bones Counterparts and Test For Echo. And I have a Where's My Thing single CD. It was never released as a single.

[Kingdirk]

I love Roll The Bones Counterparts and Test For Echo. And I have a Where's My Thing single CD. It was never released as a single.

So many people criticize this era of Rush's history - and we are all entitled to our opinions - but I really enjoy listening to those three albums. They are always on constant rotation on my turntable.

[andyclegg]

Some of those rarities are really interesting - I never realised there was so much else. Thanks for posting. It even prompted me to go find the box with all my vinyl in which hasn't seen the light of day for many years (shame on me - well I don't have a deck anymore) - they are so much nicer to handle than CDs. Nothing unusual in my collection, well it was just from my paper round money, just the usual black vinyl and a few picture discs - space shuttle shaped Countdown single seems to be the pick, though having a quick look on discogs website my Hemipsheres pic disc is labelled Anthem rather than Mecury on the cover. Maybe a UK thing.

[Kingdirk]

Some of those rarities are really interesting - I never realised there was so much else. Thanks for posting. It even prompted me to go find the box with all my vinyl in which hasn't seen the light of day for many years (shame on me - well I don't have a deck anymore) - they are so much nicer to handle than CDs. Nothing unusual in my collection, well it was just from my paper round money, just the usual black vinyl and a few picture discs - space shuttle shaped Countdown single seems to be the pick, though having a quick look on discogs website my Hemipsheres pic disc is labelled Anthem rather than Mecury on the cover. Maybe a UK thing.

Welcome to the forum...and thanks for the kind words re: the pics. I love vinyl and I love my Rush collection. Some of it was far easier than others to track down and my hope was to show other collectors what was available on the market. I'll likely be starting to the post the US 12" maxi-singles tomorrow, followed by some of the Canadian ones.

 

As for the Hemispheres pic disc, Discogs only lists the US version from Mercury (my copy is the US version as well). Anthem did produce it as PANR-1-1017. The Canadian issue is a bit harder to find than the US, so well done!

[andyclegg]

Thanks. Sounds like an good explanation re the Hemispeheres ... Cheers.

[Kingdirk]

Thanks. Sounds like an good explanation re the Hemispeheres ... Cheers.

I've found that Discogs is a GREAT resource to research what's out there and to store your record collection. HOWEVER, it is user-fed so its only as accurate as the people who enter the information. I have a stack of records that aren't featured in Discogs that I have to make time to upload them...long process, but worth it.

[ytserush]

I love Roll The Bones Counterparts and Test For Echo. And I have a Where's My Thing single CD. It was never released as a single.

 

Not commercially released, but it was released along with the Dreamline promo CD single about 6 weeks before Roll The Bones came out.

 

As far as I can tell, this was never released anywhere but in the US. Supposedly only 200-to 300 copies exist. I still remain baffled as to the rationale behind it though it is a favorite of mine.

 

Those Counterparts promo 12 inches are the last vinyl Rush singles until Caravan/BU2B and are fairly difficult to find.

[The Analog Grownup]

Hey Kingdirk

 

Hope you don't mind that I "interrupt" this thread. I bought a Permanent Waves LP today that looks like this:

 

 

http://farm8.staticflickr.com/7446/9019302402_161b4411b5_c.jpg

 

http://farm8.staticflickr.com/7328/9018115777_1e328b82a8_c.jpg

 

http://farm6.staticflickr.com/5348/9018117795_de3e527bdd_c.jpg

 

 

and found it on discogs too (http://www.discogs.c...release/1758835)

 

I wonder if you, or anyone else, would know how many of these were made? I know it's probably not a vinyl that's worth a whole lot, but I thought it would be nice to know.

 

Thanks :)

Edited June 11, 2013 by The Analog Grownup

[Kingdirk]

Hey Kingdirk

 

Hope you don't mind that I "interrupt" this thread. I bought a Permanent Waves LP today that looks like this:

 

 

http://farm8.staticflickr.com/7446/9019302402_161b4411b5_c.jpg

 

http://farm8.staticflickr.com/7328/9018115777_1e328b82a8_c.jpg

 

http://farm6.staticflickr.com/5348/9018117795_de3e527bdd_c.jpg

 

 

and found it on discogs too (http://www.discogs.c...release/1758835)

 

I wonder if you, or anyone else, would know how many of these were made? I know it's probably not a vinyl that's worth a whole lot, but I thought it would be nice to know.

 

Thanks :)

Welcome...and no, its not an interruption at all. This is where vinyl is, and vinyl's where its at! (I sound like Johnny Fever there, don't I?)

That's a great disc you have there...both for audibility and because the album rocks on its own merit.

The remastering of this album by MFSL is very well known in the VC (vinyl community) and amongst Rush fans. While I don't personally have a copy of it (on my Christmas wish list, sort of), it regularly makes its rounds on eBay and other vinyl trading/selling sites. I've also seen it at a couple of record shows that I've been to.

 

So, while that doesn't sound rare at all, anything that is numbered is considered as such...limited. I've seen this disc fetch well up to $100 because of the limited pressings and the sheer quality of the remaster. As for the number of copies made, I can't be sure. I can't imagine that it would be more than 5,000 copies (typically numbered editions of anything don't go higher than that)...possibly even less. The MFSL site doesn't feature the vinyl version of this anymore which adds to its alure. One resource I would use to get a better idea of what that disc might be worth (and it also gives you an idea of whether you got a bargain, or paid a wee bit too much) is collectorsfrenzy.com. The site tracks metrics from eBay, discogs, MusicStack, etc. and aggregates the transactions so you can see when the album was sold, and for how much.

 

And once again...nice find and WELCOME!

[The Analog Grownup]

Welcome...and no, its not an interruption at all. This is where vinyl is, and vinyl's where its at! (I sound like Johnny Fever there, don't I?)

That's a great disc you have there...both for audibility and because the album rocks on its own merit.

The remastering of this album by MFSL is very well known in the VC (vinyl community) and amongst Rush fans. While I don't personally have a copy of it (on my Christmas wish list, sort of), it regularly makes its rounds on eBay and other vinyl trading/selling sites. I've also seen it at a couple of record shows that I've been to.

 

So, while that doesn't sound rare at all, anything that is numbered is considered as such...limited. I've seen this disc fetch well up to $100 because of the limited pressings and the sheer quality of the remaster. As for the number of copies made, I can't be sure. I can't imagine that it would be more than 5,000 copies (typically numbered editions of anything don't go higher than that)...possibly even less. The MFSL site doesn't feature the vinyl version of this anymore which adds to its alure. One resource I would use to get a better idea of what that disc might be worth (and it also gives you an idea of whether you got a bargain, or paid a wee bit too much) is collectorsfrenzy.com. The site tracks metrics from eBay, discogs, MusicStack, etc. and aggregates the transactions so you can see when the album was sold, and for how much.

 

And once again...nice find and WELCOME!

 

Thank you very much. I feel much at home here.

Yesterday I couldn't resist unpacking it and giving it a spin on my turntable. I haven't heard the original Permanent Waves record, but compared to my other records there is a whole lot going on. I was listening with my headphones on, and the sound was just so alive, so powerful yet in a relaxed space. It really hit it solid why I've fallen in love with vinyl.

I got it from my local "record pusher" who is a great guy, and sometimes I usually spend a few hours in his shop just talking music and everyday stuff. Once he sets his price it's not likely to fluctuate because of prices on eBay. I paid 260 DKK for it which today amounts to 46,28 US dollar. I compared it on the site you linked me (great site btw), and it went really, really cheap two to four years ago, but then gradually the prices went up. You can definitely see that its value is increasing over the years, so I'm thinking to myself that I might have a little gem here.

 

If only 5000 were made, number 796 is a pretty good score I think.

[Kingdirk]

Welcome...and no, its not an interruption at all. This is where vinyl is, and vinyl's where its at! (I sound like Johnny Fever there, don't I?)

That's a great disc you have there...both for audibility and because the album rocks on its own merit.

The remastering of this album by MFSL is very well known in the VC (vinyl community) and amongst Rush fans. While I don't personally have a copy of it (on my Christmas wish list, sort of), it regularly makes its rounds on eBay and other vinyl trading/selling sites. I've also seen it at a couple of record shows that I've been to.

 

So, while that doesn't sound rare at all, anything that is numbered is considered as such...limited. I've seen this disc fetch well up to $100 because of the limited pressings and the sheer quality of the remaster. As for the number of copies made, I can't be sure. I can't imagine that it would be more than 5,000 copies (typically numbered editions of anything don't go higher than that)...possibly even less. The MFSL site doesn't feature the vinyl version of this anymore which adds to its alure. One resource I would use to get a better idea of what that disc might be worth (and it also gives you an idea of whether you got a bargain, or paid a wee bit too much) is collectorsfrenzy.com. The site tracks metrics from eBay, discogs, MusicStack, etc. and aggregates the transactions so you can see when the album was sold, and for how much.

 

And once again...nice find and WELCOME!

 

Thank you very much. I feel much at home here.

Yesterday I couldn't resist unpacking it and giving it a spin on my turntable. I haven't heard the original Permanent Waves record, but compared to my other records there is a whole lot going on. I was listening with my headphones on, and the sound was just so alive, so powerful yet in a relaxed space. It really hit it solid why I've fallen in love with vinyl.

I got it from my local "record pusher" who is a great guy, and sometimes I usually spend a few hours in his shop just talking music and everyday stuff. Once he sets his price it's not likely to fluctuate because of prices on eBay. I paid 260 DKK for it which today amounts to 46,28 US dollar. I compared it on the site you linked me (great site btw), and it went really, really cheap two to four years ago, but then gradually the prices went up. You can definitely see that its value is increasing over the years, so I'm thinking to myself that I might have a little gem here.

 

If only 5000 were made, number 796 is a pretty good score I think.

You certainly do! That site I recommended has really helped me on a number of occasions determine whether the bidding on a particular item is getting out of control.

There is something fluid about playing vinyl. Crack open the plastic, open the gatefold or pull out the inner sleeve (all the while the 12 x 12 artwork in your hand just "pops"), slide the disc out and admire the glistening shine before laying it down as a sonic sacrifice. Lowering the needle and waiting eagerly for the crackle to turn to pure music. There is effort. There is reward. That's what vinyl is.

 

Keep posting your Rush finds here...I'd love to see what you can come up with over in Europe. I want to get my US 12" singles up, but unfortuntately, life just gets in the way. Hoping to get back to posting in the next couple of days...

[robertrobyn]

I bought the Rush n Roulette today!! Analog rules!!

[Cygnus 2112]

Rush N' Roulette is truly a gem.

[The Analog Grownup]

Welcome...and no, its not an interruption at all. This is where vinyl is, and vinyl's where its at! (I sound like Johnny Fever there, don't I?)

That's a great disc you have there...both for audibility and because the album rocks on its own merit.

The remastering of this album by MFSL is very well known in the VC (vinyl community) and amongst Rush fans. While I don't personally have a copy of it (on my Christmas wish list, sort of), it regularly makes its rounds on eBay and other vinyl trading/selling sites. I've also seen it at a couple of record shows that I've been to.

 

So, while that doesn't sound rare at all, anything that is numbered is considered as such...limited. I've seen this disc fetch well up to $100 because of the limited pressings and the sheer quality of the remaster. As for the number of copies made, I can't be sure. I can't imagine that it would be more than 5,000 copies (typically numbered editions of anything don't go higher than that)...possibly even less. The MFSL site doesn't feature the vinyl version of this anymore which adds to its alure. One resource I would use to get a better idea of what that disc might be worth (and it also gives you an idea of whether you got a bargain, or paid a wee bit too much) is collectorsfrenzy.com. The site tracks metrics from eBay, discogs, MusicStack, etc. and aggregates the transactions so you can see when the album was sold, and for how much.

 

And once again...nice find and WELCOME!

 

Thank you very much. I feel much at home here.

Yesterday I couldn't resist unpacking it and giving it a spin on my turntable. I haven't heard the original Permanent Waves record, but compared to my other records there is a whole lot going on. I was listening with my headphones on, and the sound was just so alive, so powerful yet in a relaxed space. It really hit it solid why I've fallen in love with vinyl.

I got it from my local "record pusher" who is a great guy, and sometimes I usually spend a few hours in his shop just talking music and everyday stuff. Once he sets his price it's not likely to fluctuate because of prices on eBay. I paid 260 DKK for it which today amounts to 46,28 US dollar. I compared it on the site you linked me (great site btw), and it went really, really cheap two to four years ago, but then gradually the prices went up. You can definitely see that its value is increasing over the years, so I'm thinking to myself that I might have a little gem here.

 

If only 5000 were made, number 796 is a pretty good score I think.

You certainly do! That site I recommended has really helped me on a number of occasions determine whether the bidding on a particular item is getting out of control.

There is something fluid about playing vinyl. Crack open the plastic, open the gatefold or pull out the inner sleeve (all the while the 12 x 12 artwork in your hand just "pops"), slide the disc out and admire the glistening shine before laying it down as a sonic sacrifice. Lowering the needle and waiting eagerly for the crackle to turn to pure music. There is effort. There is reward. That's what vinyl is.

 

Keep posting your Rush finds here...I'd love to see what you can come up with over in Europe. I want to get my US 12" singles up, but unfortuntately, life just gets in the way. Hoping to get back to posting in the next couple of days...

 

Loved your description of putting a record on the turntable. I think that bands and their record companies need to release more on vinyl. Digital downloads and the likes of Spotify (although they have their merits too) seems to lack that connection you have when holding a record, and thinking 'these guys have labored so many years to get to this, and I'm holding it in my hands right now'.

 

When I'm on Spotify I find myself skipping through songs without listening to them completely, and with vinyl I take my time to listen to it all.

 

I will look forward to your postings, and if I stumple upon some new Rush vinyl, or if some of what I already have turns out to be special, I will post it here :)

[The Analog Grownup]

Just a quick question: Is it special or any good if the word 'MASTERDISK' and 'MASTERDISK BK' is inscribed in the matrix/runout of the record? I have a GUP record that's made in the US, and the label on the vinyl has number 53 on it.

 

 

http://farm4.staticflickr.com/3730/9030495085_6e301aeb9d_c.jpg

 

 

http://farm6.staticflickr.com/5527/9032722406_8237e5f119_c.jpg

 

The closest I could come on discogs is this http://www.discogs.com/Rush-Grace-Under-Pressure/release/783035 only that the matrix/runout is different on mine. I have posted a comment on that page with the same username as here.

 

Thanks again :)

[Kingdirk]

Just a quick question: Is it special or any good if the word 'MASTERDISK' and 'MASTERDISK BK' is inscribed in the matrix/runout of the record? I have a GUP record that's made in the US, and the label on the vinyl has number 53 on it.

 

 

http://farm4.staticflickr.com/3730/9030495085_6e301aeb9d_c.jpg

 

 

http://farm6.staticflickr.com/5527/9032722406_8237e5f119_c.jpg

 

The closest I could come on discogs is this http://www.discogs.c.../release/783035 only that the matrix/runout is different on mine. I have posted a comment on that page with the same username as here.

 

Thanks again :)

The etching in the deadwax on your GuP album means that the disk was mastered by Bill Kipper at Masterdisk. I'm not suite quite sure what the number means. There's a really good, extensive forum (http://forums.stevehoffman.tv/threads/the-rush-vinyl-pressings-thread.157684/) that talks about the deadwax on Rush vinyl. Prior to reading what others were saying, I was literally clueless as to the meanings behind the markings. Some people are truly audiophiles, searching for albums that were mastered by the legendary Gilbert Kong (GK) or Bob Ludwig (RL). While I love my Rush vinyl and the many variations, I know that I will never truly get down to the level of only buying from one sound engineer. My ears simply aren't that finite. I can tell the difference between good vinyl and bad vinyl, but in terms of the actual mastering by engineer, I'm afraid that I can't tell the real difference.

[Kingdirk]

Welcome...and no, its not an interruption at all. This is where vinyl is, and vinyl's where its at! (I sound like Johnny Fever there, don't I?)

That's a great disc you have there...both for audibility and because the album rocks on its own merit.

The remastering of this album by MFSL is very well known in the VC (vinyl community) and amongst Rush fans. While I don't personally have a copy of it (on my Christmas wish list, sort of), it regularly makes its rounds on eBay and other vinyl trading/selling sites. I've also seen it at a couple of record shows that I've been to.

 

So, while that doesn't sound rare at all, anything that is numbered is considered as such...limited. I've seen this disc fetch well up to $100 because of the limited pressings and the sheer quality of the remaster. As for the number of copies made, I can't be sure. I can't imagine that it would be more than 5,000 copies (typically numbered editions of anything don't go higher than that)...possibly even less. The MFSL site doesn't feature the vinyl version of this anymore which adds to its alure. One resource I would use to get a better idea of what that disc might be worth (and it also gives you an idea of whether you got a bargain, or paid a wee bit too much) is collectorsfrenzy.com. The site tracks metrics from eBay, discogs, MusicStack, etc. and aggregates the transactions so you can see when the album was sold, and for how much.

 

And once again...nice find and WELCOME!

 

Thank you very much. I feel much at home here.

Yesterday I couldn't resist unpacking it and giving it a spin on my turntable. I haven't heard the original Permanent Waves record, but compared to my other records there is a whole lot going on. I was listening with my headphones on, and the sound was just so alive, so powerful yet in a relaxed space. It really hit it solid why I've fallen in love with vinyl.

I got it from my local "record pusher" who is a great guy, and sometimes I usually spend a few hours in his shop just talking music and everyday stuff. Once he sets his price it's not likely to fluctuate because of prices on eBay. I paid 260 DKK for it which today amounts to 46,28 US dollar. I compared it on the site you linked me (great site btw), and it went really, really cheap two to four years ago, but then gradually the prices went up. You can definitely see that its value is increasing over the years, so I'm thinking to myself that I might have a little gem here.

 

If only 5000 were made, number 796 is a pretty good score I think.

You certainly do! That site I recommended has really helped me on a number of occasions determine whether the bidding on a particular item is getting out of control.

There is something fluid about playing vinyl. Crack open the plastic, open the gatefold or pull out the inner sleeve (all the while the 12 x 12 artwork in your hand just "pops"), slide the disc out and admire the glistening shine before laying it down as a sonic sacrifice. Lowering the needle and waiting eagerly for the crackle to turn to pure music. There is effort. There is reward. That's what vinyl is.

 

Keep posting your Rush finds here...I'd love to see what you can come up with over in Europe. I want to get my US 12" singles up, but unfortuntately, life just gets in the way. Hoping to get back to posting in the next couple of days...

 

Loved your description of putting a record on the turntable. I think that bands and their record companies need to release more on vinyl. Digital downloads and the likes of Spotify (although they have their merits too) seems to lack that connection you have when holding a record, and thinking 'these guys have labored so many years to get to this, and I'm holding it in my hands right now'.

 

When I'm on Spotify I find myself skipping through songs without listening to them completely, and with vinyl I take my time to listen to it all.

 

I will look forward to your postings, and if I stumple upon some new Rush vinyl, or if some of what I already have turns out to be special, I will post it here :)

Listening to a record is a lost art form. It's no different than pulling the canvas and easel out to paint a picture. There is a process involved and if you love it that much, you will take the time to endure that process. Vinyl isn't for everyone. Many today love the ease of use of the mp3 and the CD. With a collection of over 25,000 mp3s, I can testify to the accessibility and portability that that medium provides. I have 5,000 songs on my iPhone and I can't tell you how many times I simply run it on random. With one click, I can move to the next song. With vinyl, its different. You are forced (yes, you can lift the tonearm and move it to the next track if you want...but that's a process as well) to hear the full production. That's why great albums are truly great. You can listen to Dark Side of the Moon, or in the case of this forum, Moving Pictures, front to back without ever having to "fast-forward". Its all great stuff. No filler. With great albums, you are eager to go through the process of flipping the disk because you know that what you just heard will continue on the other side.

 

Vinyl is the true physical product of an artist's hard work and I appreciate them more for it.

[Kingdirk]

Hi Everyone...please accept my apologies for the lack of postings recently. Life just gets in the way sometimes. And while I promised to start to showcase the US 12" singles, I received a disc the other day that I simply had to share now. I was thrilled to find this in such complete and high quality condition. While it wasn't an official release (although acknowledgement is given to SRO - Rush's management team), I think this was one of the coolest promo releases ever by the band.

 

Released in 1977 exclusively in Sweden, the Rock On! album of Rush (Side A) and Max Webster (Side B) has rarely made its way out onto the marketplace and when it has, the prices are at a premium. I'm guessing this is due to the fact that in a country like Sweden, the smaller population likely led to minimal copies being pressed. Also, the packaging that accompanied this release was truly fan-driven. Produced on the Philips label, Rock On! featured not only the bands I've mentioned, but a sticker sheet, a bio sheet (can anyone read Swedish?), and an interesting contest entry form (I think!). Finally, for those Rush purists, Bacchus Plateau makes an appearance! Enjoy the photos...

 

http://i.imgur.com/DUwATVh.jpg?2

http://i.imgur.com/Yrfs46z.jpg?2

http://i.imgur.com/J28yKzR.jpg?1

http://i.imgur.com/7uuaYeA.jpg?2

http://i.imgur.com/YSjEAjc.jpg?2

http://i.imgur.com/Pvf8Hvp.jpg?2

[The Analog Grownup]

That is absolutely fantastic! Swedish is not to foreign to me, so I might be able to translate most of it for your later. Swedish sounds like a very drunken Danish ;)

[Kingdirk]

That is absolutely fantastic! Swedish is not to foreign to me, so I might be able to translate most of it for your later. Swedish sounds like a very drunken Danish ;)

Sure...if you have the time and you'd like to translate some of it, I'd love to know what it says.

[The Analog Grownup]

Okay I'm done translating. First I'd like to point out that there may be some errors here and there, but I have tried to the best of my abilities :).

 

 

The Blue Contest Paper:

 

410 gadgets to win!

Take a chance. All you need to do is write down which of the ten groups you like the most and why. Prioritize [not sure but closest I can get] by putting 1,2,3 at what you want to win the most of the stuff below. Submit the counterfoil to Phonogram (don't forget the stamp), before January 15, 1978. Event ticket stubs is only available in the records included in the ROCK-ON-SERIES.

The Long Text About Rush Paper:

In January 1971 a lot in the Canadian record industry were rubbing their hands, and getting that fiery look in their eyes that only dollar bills can ignite.

Back then it was decided by the Canadian government that radio stations every night between six o'clock to midnight, would have to play at least 30 percent Canadian music. Canadian music merchandise were guaranteed valuable, almost priceless, advertising in the very best media platform when it comes to music.

It may have been a cultural-political charity center in biting wind from the big, big country of the south, but it was not quite the positive economic impact that some had hoped for.

Fact is that the Canadian market, when it comes to rock music, is too small. Too keep the complete complicated machinery of a rock group today running, one must almost think globally. Or at least capture a piece of the American market.

But after the government orders it turned out that American radio stations, and the rest of the music industry, looked with suspicion on the Canadian music. [some expression that I can't translate] "was driven by the government" and without such support measures "would collapse like a house of cards" …

In economic plaintext meant the delusion of e.g. April Wine, which is Canada's without a doubt the most popular group, was very difficult to convince any American record label to distribute their records in the U.S.. It had become a little more difficult for Canadian groups to walk in Guess Who's and Bachman-Turner Overdrives footsteps into the U.S. market.

Still, nobody could prevent Rush from doing it. But you must know the boys had to work hard.

- The newspapers won't write about us and radio stations refuse to play our records, says bassist Geddy Lee with no trace of bitterness in his voice.

- But there are other ways to get to the top than sucking up to the mass medias. Instead we played every single venue in USA and Canada humanly possible.

- We started as a support act for bands like Aerosmith and Kiss, and worked our way slowly to the point were it is our name, that stands with the largest letters on the concert posters!

- In every God forsaken hole on the continent we have played, and we have barely stopped to compose new material. We do that in our down time …

[This next paragraph doesn't make that much sense to me, so maybe they got their facts wrong]

The guys in the group - except Geddy drummer Neil Peart and guitarist Alex Lifeson - have been playing together for eight years, the first half of the time in bars and school dances at home in Toronto.

- But in Canada there is only three radio stations - compared to almost 200 in USA - and the only ice hockey rinks to play in. Not a favorable environment for the development of rock music …

Frustrated by the somewhat sluggish rock life in Canada gave the group the 1974 debut album "Rush" on their own record label Moon Records. Large company Mercury thought it sounded more that promising and picked over the group and the record to his label, and since then there has been a further four LP records, the ambitious "2112" from 1976.

The suite "2112", which fills the whole first side of the record, is inspired by the writer and philosopher Ayn Rands science fiction novel "Anthem" (which by the way gave the title "Fly by night"). Lyrics by Neil Peart paints a horror vision where the individual is crushed by a ruthless and inhuman regime, and the music paints an image of fantasy with subtle strokes. Especially Alex Lifesons guitar convincing.

If nothing else, "2112" shows that Rush really quite wrong and routinely has been compared to "regular" hard rock groups of the Black Sabbath and Uriah Heep type, when instead comparison with, for example, Jimmy Hendrix, Cream and Thin Lizzy should be much closer at hand.

- Of course, we took a risk with "2112", says Geddy Lee. - These kinds of thoughts about morality and individualism is not exactly what is selling these days, when everyone is just out to make as much money as possible in as short a time as possible …

- These days it's perfectly OK for artists to stand up and admit that they make music just to make money. That mindset is at least not for us!

Quite logically the "2112" were followed up with a live recording - "All the world's a stage", a double album that was recorded at home in Toronto's legendary Massey Hall a year ago. And as of this writing summer of 1977, it is a most busy group recording the second album in Wales, which has the working title "A farewell to kings".

Prior to the recording there were thoughts for a while of expanding the group with an additional member, but it was decided at the last moment to abstain.

- We've been playing together for so long now that it would be a shame to break the cohesion we have built up, so instead of bringing in a new member, we have instead learned to play more instruments ...

 

Here you go :)

[Kingdirk]

Okay I'm done translating. First I'd like to point out that there may be some errors here and there, but I have tried to the best of my abilities :).

 

 

The Blue Contest Paper:

 

410 gadgets to win!

 

Take a chance. All you need to do is write down which of the ten groups you like the most and why. Prioritize [not sure but closest I can get] by putting 1,2,3 at what you want to win the most of the stuff below. Submit the counterfoil to Phonogram (don't forget the stamp), before January 15, 1978. Event ticket stubs is only available in the records included in the ROCK-ON-SERIES.

 

The Long Text About Rush Paper:

 

In January 1971 a lot in the Canadian record industry were rubbing their hands, and getting that fiery look in their eyes that only dollar bills can ignite.

Back then it was decided by the Canadian government that radio stations every night between six o'clock to midnight, would have to play at least 30 percent Canadian music. Canadian music merchandise were guaranteed valuable, almost priceless, advertising in the very best media platform when it comes to music.

It may have been a cultural-political charity center in biting wind from the big, big country of the south, but it was not quite the positive economic impact that some had hoped for.

Fact is that the Canadian market, when it comes to rock music, is too small. Too keep the complete complicated machinery of a rock group today running, one must almost think globally. Or at least capture a piece of the American market.

But after the government orders it turned out that American radio stations, and the rest of the music industry, looked with suspicion on the Canadian music. [some expression that I can't translate] "was driven by the government" and without such support measures "would collapse like a house of cards" …

 

In economic plaintext meant the delusion of e.g. April Wine, which is Canada's without a doubt the most popular group, was very difficult to convince any American record label to distribute their records in the U.S.. It had become a little more difficult for Canadian groups to walk in Guess Who's and Bachman-Turner Overdrives footsteps into the U.S. market.

Still, nobody could prevent Rush from doing it. But you must know the boys had to work hard.

- The newspapers won't write about us and radio stations refuse to play our records, says bassist Geddy Lee with no trace of bitterness in his voice.

- But there are other ways to get to the top than sucking up to the mass medias. Instead we played every single venue in USA and Canada humanly possible.

- We started as a support act for bands like Aerosmith and Kiss, and worked our way slowly to the point were it is our name, that stands with the largest letters on the concert posters!

- In every God forsaken hole on the continent we have played, and we have barely stopped to compose new material. We do that in our down time …

[This next paragraph doesn't make that much sense to me, so maybe they got their facts wrong]

The guys in the group - except Geddy drummer Neil Peart and guitarist Alex Lifeson - have been playing together for eight years, the first half of the time in bars and school dances at home in Toronto.

- But in Canada there is only three radio stations - compared to almost 200 in USA - and the only ice hockey rinks to play in. Not a favorable environment for the development of rock music …

Frustrated by the somewhat sluggish rock life in Canada gave the group the 1974 debut album "Rush" on their own record label Moon Records. Large company Mercury thought it sounded more that promising and picked over the group and the record to his label, and since then there has been a further four LP records, the ambitious "2112" from 1976.

 

The suite "2112", which fills the whole first side of the record, is inspired by the writer and philosopher Ayn Rands science fiction novel "Anthem" (which by the way gave the title "Fly by night"). Lyrics by Neil Peart paints a horror vision where the individual is crushed by a ruthless and inhuman regime, and the music paints an image of fantasy with subtle strokes. Especially Alex Lifesons guitar convincing.

If nothing else, "2112" shows that Rush really quite wrong and routinely has been compared to "regular" hard rock groups of the Black Sabbath and Uriah Heep type, when instead comparison with, for example, Jimmy Hendrix, Cream and Thin Lizzy should be much closer at hand.

- Of course, we took a risk with "2112", says Geddy Lee. - These kinds of thoughts about morality and individualism is not exactly what is selling these days, when everyone is just out to make as much money as possible in as short a time as possible …

- These days it's perfectly OK for artists to stand up and admit that they make music just to make money. That mindset is at least not for us!

Quite logically the "2112" were followed up with a live recording - "All the world's a stage", a double album that was recorded at home in Toronto's legendary Massey Hall a year ago. And as of this writing summer of 1977, it is a most busy group recording the second album in Wales, which has the working title "A farewell to kings".

Prior to the recording there were thoughts for a while of expanding the group with an additional member, but it was decided at the last moment to abstain.

- We've been playing together for so long now that it would be a shame to break the cohesion we have built up, so instead of bringing in a new member, we have instead learned to play more instruments ...

 

Here you go :)

That's CRAZY! Thank you for doing that! I'd send you an extra copy of Rock On! if I had it as a way to say thanks, but alas I only have one! :drool:

[The Analog Grownup]

Okay I'm done translating. First I'd like to point out that there may be some errors here and there, but I have tried to the best of my abilities :).

 

 

The Blue Contest Paper:

 

410 gadgets to win!

 

Take a chance. All you need to do is write down which of the ten groups you like the most and why. Prioritize [not sure but closest I can get] by putting 1,2,3 at what you want to win the most of the stuff below. Submit the counterfoil to Phonogram (don't forget the stamp), before January 15, 1978. Event ticket stubs is only available in the records included in the ROCK-ON-SERIES.

 

The Long Text About Rush Paper:

 

In January 1971 a lot in the Canadian record industry were rubbing their hands, and getting that fiery look in their eyes that only dollar bills can ignite.

Back then it was decided by the Canadian government that radio stations every night between six o'clock to midnight, would have to play at least 30 percent Canadian music. Canadian music merchandise were guaranteed valuable, almost priceless, advertising in the very best media platform when it comes to music.

It may have been a cultural-political charity center in biting wind from the big, big country of the south, but it was not quite the positive economic impact that some had hoped for.

Fact is that the Canadian market, when it comes to rock music, is too small. Too keep the complete complicated machinery of a rock group today running, one must almost think globally. Or at least capture a piece of the American market.

But after the government orders it turned out that American radio stations, and the rest of the music industry, looked with suspicion on the Canadian music. [some exp<b></b>ression that I can't translate] "was driven by the government" and without such support measures "would collapse like a house of cards" …

 

In economic plaintext meant the delusion of e.g. April Wine, which is Canada's without a doubt the most popular group, was very difficult to convince any American record label to distribute their records in the U.S.. It had become a little more difficult for Canadian groups to walk in Guess Who's and Bachman-Turner Overdrives footsteps into the U.S. market.

Still, nobody could prevent Rush from doing it. But you must know the boys had to work hard.

- The newspapers won't write about us and radio stations refuse to play our records, says bassist Geddy Lee with no trace of bitterness in his voice.

- But there are other ways to get to the top than sucking up to the mass medias. Instead we played every single venue in USA and Canada humanly possible.

- We started as a support act for bands like Aerosmith and Kiss, and worked our way slowly to the point were it is our name, that stands with the largest letters on the concert posters!

- In every God forsaken hole on the continent we have played, and we have barely stopped to compose new material. We do that in our down time …

[This next paragraph doesn't make that much sense to me, so maybe they got their facts wrong]

The guys in the group - except Geddy drummer Neil Peart and guitarist Alex Lifeson - have been playing together for eight years, the first half of the time in bars and school dances at home in Toronto.

- But in Canada there is only three radio stations - compared to almost 200 in USA - and the only ice hockey rinks to play in. Not a favorable environment for the development of rock music …

Frustrated by the somewhat sluggish rock life in Canada gave the group the 1974 debut album "Rush" on their own record label Moon Records. Large company Mercury thought it sounded more that promising and picked over the group and the record to his label, and since then there has been a further four LP records, the ambitious "2112" from 1976.

 

The suite "2112", which fills the whole first side of the record, is inspired by the writer and philosopher Ayn Rands science fiction novel "Anthem" (which by the way gave the title "Fly by night"). Lyrics by Neil Peart paints a horror vision where the individual is crushed by a ruthless and inhuman regime, and the music paints an image of fantasy with subtle strokes. Especially Alex Lifesons guitar convincing.

If nothing else, "2112" shows that Rush really quite wrong and routinely has been compared to "regular" hard rock groups of the Black Sabbath and Uriah Heep type, when instead comparison with, for example, Jimmy Hendrix, Cream and Thin Lizzy should be much closer at hand.

- Of course, we took a risk with "2112", says Geddy Lee. - These kinds of thoughts about morality and individualism is not exactly what is selling these days, when everyone is just out to make as much money as possible in as short a time as possible …

- These days it's perfectly OK for artists to stand up and admit that they make music just to make money. That mindset is at least not for us!

Quite logically the "2112" were followed up with a live recording - "All the world's a stage", a double album that was recorded at home in Toronto's legendary Massey Hall a year ago. And as of this writing summer of 1977, it is a most busy group recording the second album in Wales, which has the working title "A farewell to kings".

Prior to the recording there were thoughts for a while of expanding the group with an additional member, but it was decided at the last moment to abstain.

- We've been playing together for so long now that it would be a shame to break the cohesion we have built up, so instead of bringing in a new member, we have instead learned to play more instruments ...

 

Here you go :)

That's CRAZY! Thank you for doing that! I'd send you an extra copy of Rock On! if I had it as a way to say thanks, but alas I only have one! :drool:

 

Well, if you ever obtain a second copy I might hold you up to that ;)

 

No seriously, it was quite fun and I felt like I did something good :)

[Kingdirk]

Time to get back to the 12" singles. This time, from the good ol' US of A. Rush released its singles in the US on the Mercury label. Unless I am wrong, there were 10 (maybe 11) releases from the boys from Willowdale. Here is the first:

 

MK-75 (1979): Side A - The Trees; Side B - Prelude/Circumstances

 

I love the covers of the first couple of Mercury US releases. It should also be known the earlier releases are generally quite rare to find in good condition and at reasonable prices.

 

http://i.imgur.com/CaCBOUi.jpg?1

http://i.imgur.com/klSPqUy.jpg

[The Analog Grownup]

This thread made me pull out all my Rush vinyl "collection" for a family snapshot ;)

 

 

http://farm4.staticflickr.com/3719/9092674130_858fcfa34e_c.jpg