Signals

Subdivisions (5:33)
The Analog Kid (4:46)
Chemistry (4:56)
Digital Man (6:20)
The Weapon (Part II of Fear) (6:22)
New World Man (3:41)
Losing It (4:51)
Countdown (5:49)

Geddy Lee:
Bass guitar, synthesizers, vocals, Pitcher

Alex Lifeson:
Electric and acoustic guitars, Taurus pedals, First Base

Neil Peart:
Drums and percussion, Third Base

Produced by Rush and Terry Brown, Left Field
Arrangements by Rush and Terry Brown
Recorded and mixed at Le Studio, April, May, June, and July 1982
Engineered by Paul Northfield, Centre Field (a regular Albert One-Stone)
Assisted by Robbie Whelan Right Field
Digitally mastered by JVC
Special guest performance by Ben Mink, electric violins on Losing It, appears courtesy of FM

Art direction, graphics, and cover concept by Hugh Syme
Photography by Deborah Samuel
Compact disc redesigned by Stve Kleinberg
Hydrant courtesy of the Department of Public Works, TORONTO

Management by Ray Danniels, SRO Productions, TORONTO
Executive Production by Moon Records

Road Manager and Lighting Director: Howard Ungerleider
Concert Sound Engineer: Jon Erickson
Stage Managers: Nick Kotos and Liam Birt, Shortstop
Stage Right Technician and Crew Chief: William B. Birt
Stage Left Technician: Skip Gildersleeve
Centre Stage Technician: Larry Allen, Coach and Catcher
Guitar and Synthesizer Maintenance: Tony Geranios Second Base
Stage Monitor Mixer: Steve Byron
Concert Security: Ian Grandy
Concert Projectionist: Lee Tenner
Personal Shreve-of-all Trades: Kevin Flewitt

Concert Sound by National Sound: Tom Linthicum, Fuzzy Frazer, and Dave Berman
Concert Lighting by See Factor International: Nick Kotos, Mike Weiss, Jeffrey Thomas McDonald, Mark Shane
Busheads and Truckfaces: Tom Whittaker, Billy Barlow, Lance Vaughn, PatLynes, Arthur MacLear, Red McBrine, Bob Hoeschel

Most Valuable Persons: At Le Studio; André, Yaël, Paul Robbie, Richard, Solange, Nancy, Lina, Awesome André Moreau and Michel; Al, Pat, Jill, and Maria at The Baldwins; The Embers at Settlers Bay; Warren Cromartie and the Montreal Expos'; Intellivision Baseball; The Ziv Orchestra; Trevor and the Commons Hotel; Trevors Tramps (34-15); the Griffin family and the people of NASA; Mr. O. Scar for pre-production work; Bill Churchman; all the Oak Manoroids at SRO

Special Awards for Technical Assistance: John Kaes and See Factor, Ted Veneman, Richard Ealey, Ron Shaughnessy, the Music Shoppe TORONTO, the inflationary Ted McDonald, the Percussion Centre FORT WAYNE, Tama drums, Avedis Zildjian cymbals

A fond farewell and best wishes to Michael Hirsh and Greg Connolly

Mercury/Polygram, September 9, 1982
© 1982 Mercury Records © 1982 Anthem Entertainment

Notes:

Certified Gold by RIAA: November 10, 1982 - Certified Platinum: November 10, 1982 - Highest Billboard Chart Position: 10
"New World Man", Rush's highest charting single to date, was written one day and recorded the next: "writing it in one day and recording it the next! We wanted to capture a spontaneous, relaxed feel for this one, not even spending much time getting the sounds together. Thus, it could stand in contrast to the rest of the album, being much more raw and 'live' in its affect. Two days is very close to a record for us to write and record a song." - Neil Peart, "Stories From Signals", Signals Tourbook
The word "Subdivisions" is likely spoken by Toronto television reporter Mark Dailey.
"The summer before I turned fifteen, my family camped outside Montreal to visit the World's Fair, Expo '67, and at the campground, I met a girl from Ohio. Her father was extremely watchful (warning her that Canadian boys had 'Roman hands and Russian fingers'), and we never even kissed, but I fell hopelessly in fourteen-year-old love...I always remembered her ('the fawn-eyed girl with sun-browned legs' in the song 'The Analog Kid')". - Neil Peart, Roadshow
The Mobile Fidelity Sound Labs Ultradisc II™ 24 KT Gold CD, released October 11, 1994, is missing a set of lyrics. This version of "The Weapon" is missing the lyrics "and the things that he fears, are a weapon to be held against him...." from the second chorus at 3:13. As quoted in the Rush FAQ, Mobile Fidelity Sound Lab (who remastered the Ultradisc series) stated "The master tapes, which were provided to us directly from the Rush offices in Canada, did not include these vocals. Apparently, these vocals were edited in at a later time."