Buy CD
| iTunes | Vinyl
Counterparts promo photo, click to enlarge Counterparts promo photo, click to enlarge Counterparts ad, click to enlarge Counterparts ad, click to enlarge Counterparts ad, click to enlarge


Animate (6:03)
Stick It Out (4:30)
Cut To The Chase (4:48)
Nobody's Hero (4:54)
Between Sun & Moon (4:37)
Alien Shore (5:45)
Speed Of Love (5:02)
Double Agent (4:51)
Leave That Thing Alone! (4:05)
Cold Fire (4:26)
Everyday Glory (5:11)


Bass guitar, vocals, synthesizers

Electric and acoustic guitars

Drums, cymbals, electronic percussion

Produced By Peter Collins and RUSH
Recorded by Kevin (Caveman) Shirley
April - June, 1993, at Studio Morin Heights, assisted by Simon Pressey
McClear Pathé, Toronto, assisted by Bill Hermans
Mixed by Micheal Letho
Assisted by Simon Pressey and Brett Zilahi
Arrangements by RUSH and Peter Collins

Additional keyboards by John Webster
Orchestration on "Nobody's Hero" arranged and conducted by Michael Kamen
Preproduction at Chalet Studio by Lerxst Sound, assisted by Everett Ravestein
Mastered by Bob Ludwig, Gateway Studios, Portland, Maine
Management by Ray Danniels, SRO Management Inc., Toronto
Executive Production by Anthem Entertainment: Liam Birt and Pegi Cecconi

Art Direction and Design by Hugh Syme
Photography by Andrew MacNaughtan
The Three Stooges? & © 1993 Norman Maurer Productions, Inc., L.A., CA
Primate provided by Monkey Business, Niagara Falls, N.Y.

Tour Manager and President: Liam Birt
Production Manager: Nick Kotos
Stage Manager: Skip Gildersleeve
Concert Sound Engineer: Robert Scovill
Lighting Director: Shawn Richardson
Stage Left Tech: Jimmy Joe Rhodes
Center Stage Tech: Larry Allen

Stage Right Tech: Jim Johnson
Keyboard Tech: Tony Geranios
Monitor Engineer: Bill Chrysler
Personal Assistant and Tour Photographer: Andrew MacNaughtan
Concert Sound by Electrotec: Ted Leamy, Larry (Kahuna) Vodopivec, Marc Tooch, David (H.B.) Stogner
Lighting by See Factor: Larry Hovick, Mike Frantz, Donny Lodico, JIm Floyd, Marty Capiraso, Mario Corsi, Simon Honner, Jack Funk, designed by Howard Ungerleider and Shawn Richardson
Vari-lites: Steve Owens, Stewart Felix, Kevin (Stick) Bye
Projectionist: Bob Montgomery
Concert Rigging by IMC: Billy Collins, Mike McDonald, Marc Renault, Simmaryin (Speed) Love
Laser by Laserlite FX: Charles Passarelli, John Popowycz
Carpenters: Elmer (Moe) Haggadone, George Steinert, Sal Marinello
Drivers: Tom (Witey) Whittaker, Arthur (Mac) MacLear, Tom Hartman, Stan Whittaker, Ron Sagnip, Danny Shelnut, Jim Dezwarte, Dave Cook, Red McBrine
Tour Merchandise: Mike McLoughlin, Shannon McLoughlin, Pat McLoughlin
Tour Accountants: Liam Birt and John Whitehead (Drysdale and Drysdale)
Booking Agencies: International Creative Management, NYC, The Agency Group, London, The Agency, Toronto

Assistance, inspiration, comic relief, and / or just plain friendly service provided by D.I.Y. Studios, Pooey's Roadhouse, Chucklehead's Comedy Café, Harvard Lampoon, BZ Brokers, Primus-Mr. Big-Eric Johnson (bands and crews), MST-3K, John K., Gamera (is turtle meat), Lesley & Harris, TJB, The Larry Sanders Show, Bryn Smith, Peter Zezel & THE LEAFS!!, Mark Langston & The Angels, 417th TAC Squadron, Ian Duff, midi-Scoozeball, Eat To The Beat caterers, John Forbes, Peter Brockbank, Neal Dibiase, the Claremont Triangle: Koodster, David, Caroline, Pooey--Studio Morin Heights: Judy, Simon, Peter, Francine, Ruth Sylvain--McClear Pathé: Bob, Bill, Jane, Tony, Pam, Suzanne, Nick & M.J., Cavedr?k & Josh--SRO: Ray, Pegi, Sheila, Kim, Kari, Anna, Bob--and our counterweights and counterparts: our families.

We appreciate technical assistance from Jim Burgess and Saved By Technology (or was it Destroyed by?), Wal basses, Paul Reed Smith guitars, Gallien-Krueger, Ludwig drums, Avedis Zildjian cymbals, and - Ω?

Brought to you buy the letter "?"

In Memory of Pat Lynes and Lee Tenner

Atlantic/Anthem, October 19, 1993
© 1993 Atlantic Records © 1993 Anthem Entertainment


In Their Own Words

" Piccadilly Circus, I suddenly recognized a familiar face - Sheldon Atos, from St. Catharines...working for a chain of tourist shops in Carnaby Street and Piccadilly. And he thought he might be able to get me a job. Sheldon's boss, Bud...employed about twenty young people, from a wide variety of nationalities (his only prejudice was against English workers; he thought they were lazy)...we also had two English kids, Ellis and Mary, but they were both gay, which perhaps made them more 'acceptable' to Bud than ordinary English people. In any case, Ellis and Mary soon became two of my closest friends - the first (openly) gay people I'd ever known, and a pattern of not just tolerance, but appreciation, was thereby set for life...Ellis (the hero I wrote about in 'Nobody's Hero,' in 1993 who died of AIDS in the late '80s)" - Neil Peart, Traveling Music
"[When working on Roll The Bones] Alex would be working the console and we were doing the demos...he'd be looking for something you know, 'Where's my thing?'"...[When working on Counterparts] "We all grew goatees, or at least interesting facial hair, during the recording and writing process...When you have a goatee of hair, you tend to play with it all the time, so we were constantly saying to each other, 'Leave That Thing Alone!'". - Neil Peart, AP News, January 20, 1994
"When I was in the depths of my despair and poverty I got a gig with Rush doing the Counterparts album. I had run out of work and money, and I was a single parent raising a kid. We were living in New York at the time, I was living in a residential hotel, and I hadn't paid rent for a year. I went up to see the guys in Rush, in Toronto, about doing the Counterparts album, and it was a good meeting. It was only going to be a lunch meeting, and on the way back they wouldn't let me into the United States. I had a son with a nanny in Manhattan, and they wouldn't let me back in. I didn't have any money or anything, and I was like 'What am I gonna do?' So I called the guys from Rush and I said 'Hi, I know I've just been to see you, I've just been to the interview, and I know the album's not starting for two months or so, but I need to know, do you want to employee me?' And they go 'We'll let you know' and I said 'Well here's the deal, I need to know and I need to know today. I need to know now. I'm stuck at the airport, and I'm either going to go back to Australia or else I'll stick around if you want me to do the job.' They said 'We'll talk about it, call us back in thirty minutes.' I called back, and they said 'Alright, we've decided that we are going to hire you to do the album'. Then I said 'Well, if you want me to stay, I'm gonna need a couple thousand dollars cash in the morning, 'cause I need a place to stay'. And the next morning, Pegi [Cecconi] came over and brought me a bundle of cash. I rented a place and we were there for a month in the snow, and they didn't even have studios yet." - Kevin "Caveman" Shirley,, March 7, 2011

Counterparts' "counterparts"

Here is a listing of some of the sources of the text phrase "counterparts" found in the Counterparts linernotes, listed in the order that they appear: