The Big Money (5:52)
Turn The Page (4:40)
Manhattan Project (5:00)
Distant Early Warning (5:18)
Mystic Rhythms (5:32)
Witch Hunt (Part III Of Fear) (3:55)
The Rhythm Method (Drum Solo) (4:34)
Force Ten (4:50)
Time Stand Still (5:10)
Red Sector A (5:12)
Closer To The Heart (4:53)
Geddy Lee-bass guitar, synthesizers, vocals
Alex Lifeson-guitars, synthesizers, backing vocals
Neil Peart-acoustic and electronic percussion
Produced by Rush
Engineered by Paul Northfield
Recorded during the Hold Your Firetour '88: Birmingham UK, New Orleans, Phoenix, and San Diego; and the Power Windowstour '86: Meadowlands, New Jersey.
Live recording by Le Mobile, assisted by Dave Roberts; and Advision Mobile, assisted by Gary Stewart and Peter Craigie. Engineered by Guy Charbonneau.
Executive Production by Val Azzoli.
Mixed at McClear Place Studios, Toronto, assisted by Rick Anderson
Mastered by Bob Ludwig and Brian Lee at Gateway Mastering Studios, Portland, Maine
Art Direction and Design by Hugh Syme
Photography by Fin Costello and Dimo Safari
The Rockin' Constructivists created by John Halfpenny
The voice of Aimee Mann appears courtesy of Epic Records.
Management by Ray Danniels, SRO Management Inc., Toronto
Tour Manager and Lighting Director: Howard Ungerleider
President and Stage Manager: Liam Birt
Production Manager: Nick Kotos
Concert Sound Engineer: Jon Erickson
Stage Left Technician: Skip Gildersleeve
Centre Stage Technician: Larry Allen
Stage Right Technician: Jim Johnson
Synthesizer Care and Feeding: Tony Geranios
Stage Monitor Engineer: Steve Byron
Concert Projectionist: Lee Tenner
Personal Shreve: Kevin Flewitt
Carpenter (and Stage Right Assistant): George Steinert
Concert Sound by Audio Analysts; Michael Caron, Paul Parker, Dan Schriber and Mike Mule
Lighting and See Factor Inc; Frank Sciling, Jack Funk, Conrad Coriz, Roy Niendorf, Ethan Weber, Russell Sladek
Varilites: Matthew Druzbik, Daniel Koniar, Bill Snawder
Rear Screen Projections created by Keen Pitures, Norman Stangl
Concert Rigging by Myriad/One: Billy Collins, Don Collins, Tim Wendt, Bill Spoon
Lasers by Laser Media: Craig Spredeman; and Laserlite FX: Stev Magyar
Drivers: Tom Whittaker, Mac MacLear, John Davis, Daniel Harmer, Tom Hartman, Leonard Southwick, Bill Barlow, Rande Wolters, and Russell Fleming
Booking Agencies: International Creative Management, NYC, The Agency Group, London; The Agency, Toronto
For valuable and continuing technical assistance we would like to thank Jim Burgess and Saved By Technology, Wal basses, Signature guitars, Ludwig drums, Avedis Zildjian cymbals, Russ Heinl, and The Percussion Center, Fort Wayne.
And at SRO/Anthem: Wayner, Stu Gaatz, Pegi, Sheila, Kim, Evelyn, Bob, Cindy, Wall-Tor, Linda and Pat.
Dedicated to the memory of Sam Charters (Screvato)
Mercury, January 10, 1989
© 1989 Mercury Records © 1989 Anthem Entertainment
"The genesis for A Show Of Handswas the trio's desire to close off a chapter in their discography and also fulfill a record company obligation. 'It either had to be a "greatest hits" or a live album,' Lifeson explains, 'and since we had been taping dates during the Grace Under Pressure, Power Windowsand Hold Your Firetours, we had a good cross-section of different shows and different stages of playing to choose from.'" - Music Express #132, 1989
"Choosing the material was difficult. We didn't want to use anything that had appeared on previous albums, with the exception of 'Closer to the Heart', as it had that snappy 'improv' bit at the end that we liked, so we decided to put it on. Other than that, all the material is from Signalson, except for 'Witch Hunt', which hadn't been recorded for a live album previously...While the growing popularity of CDs and cassettes allowed us to make Hold Your Firea little longer than a record likes to be, this time we were in the quandary of making a double-record set that we wanted to fit on one CD, so you, the hard-pressed consumer, wouldn't be obliged to shell out for two CDs. So we had to keep the time down to around 74 minutes, and had to be fairly selective about the songs we included. There are some we had to leave off which we would like to have included, and no doubt some of you will be disappointed not to find one or two you would have liked too, but we had to be ruthless. (And now we have no more ruths.) The approach to sound was a difficult balance too. In retrospect we always felt that All The World's A Stagewas a little too raw, and that Exit Stage Leftwas a little too refined, so we were trying to find the right balance somewhere in between. We're pleased with what we've got, and hope you will be too. We wanted it to sound good, but we wanted it to sound live too, and it's difficult to find the right meeting point sometimes." Neil Peart, "Rush Backstage Club Newsletter", 1988
"Rush insisted that A Show of Handsbe released as a single CD even though it had to be a double vinyl album. 'Everybody was freakin' out about that,' said Val Azolli, working at SRO at the time. 'They [Mercury Records] wanted two CDs so they could charge $40 instead of $20. They were just being greedy. That would have been pure profit for the record company and the retailers, profit which we wouldn't have seen, but we won that battle.'" - Chemistry
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