Geddy Lee - Bass guitar, synthesizers, bass pedals, vocals
Alex Lifeson - Electric and acoustic guitars
Neil Peart - Drums, percussion and electronic percussion
Music by Lee and Lifeson
Lyrics by Peart
Produced by Peter Collins and Rush
Engineered by Jimbo "James" Barton
Arrangements by Rush and Peter Collins
Pre-production engineering by Mr. Head
Recorded at The Manor, England, assisted by Steve Chase, at Air Studios, Montserrat, assisted by Matt Butler and at Sarm East, London, assisted by Dave Meegan, Heff Moraes, and Paul Wright
Mixed at Sarm East
Synthesizer programming by Andy Richards and Jim Burgess
Additional keyboards by Andy Richards
Strings arranged and conducted by Anne Dudley, recorded at Abbey Road Studios, London
Choir arranged and conducted by Andrew Jackman, recorded at Angel Studios, London
Management by Ray Danniels, SRO Management, Inc., Toronto
Executive Production by Moon Records, Val Azzoli and Liam Birt
Art direction, graphics, and cover painting by Hugh Syme
Photography by Dimo Safari
Tour manager and Lighting Director: Howard Ungerleider
President: Liam Birt
Production Manager: Nick Kotos
Concert Sound Engineer: Jon Erickson
Stage Left Technician: Skip Gildersleeve
Centre Stage Technician: Larry Allen
Guitar and Synthesizer Maintenance: Tony Geranios
Stage Right Technician: Jim Johnson
Monitor Engineer: Stve Byron
Concert Projectionist: Lee Tenner
Minister-Without-Portfolio: Kevin Flewitt
Concert Sound by See Factor: Jim Staniforth, Bill Fertig, Jason Macrie, Mike Sinclair
Concert Lighting by See Factor: Ed Hyatt, Jack Funk, Roy Niendorf, Frank Scilingo, J.T. MacDonald, Mike King
Concert Rigging by Southfire Rigging: Billy Collins and Tim Wendt
Laser Images by Craig Sprede(r)man, Glen Tonsor, Phil Valdivia
Busheads and Truckfaces: Tom Whittaker, Pat Lynes, Billy Barlow, Mac and Candy MacLear, Red McBrine, Mike Nervi, Larry Cole and Dennis Cricket.
In memory of Harry Smith
Big Thank You's go around the world: At Elora Sound: Bill, Linda, and Joanne.
At the Manor: Lynne, Mike, Barney, Patsy, (don't bring) Lulu, Jenny, Ian, Paul, Mark, Peter, Frank and Mrs. P., and Willie and Bowzer.
In Montserrat: Matt, Yvonne, Malcolm, Paul, George, Desmond, Franklin, Carlton, Leroy, Doreen, Felena, Razor Willie, Bosun, Veston, Fosforus, Scoozball, the King of Antilles Television, and HRH King Lerxst.
At Sarm East: Jo, Dave, Heff, Paul, and Rockin' Dave.
In Japan: Mr. Udo, Tommy, Yoshi, Nori, Tets, Kaz, and Tomo.
In England: Peter Mensch and Su Wathan, David Mallet, Nikita's, Bill Churchman, Debbie Collins, Simon Honnor, Mr. Big and the Royal Jamaicans, Zino Davidoff, the Launching Pad, Peter, Jenny, and Joe Flemming, Wimblestein, Rockit Cargo and Fireball XL-5.
On the road: Gary Moore band and crew, Red Rider band and crew, Seaship Brokers, Big Al, and the ubiquitous B-Man.
On the mound: Smitty, Gully, Bo, and El Animal.
At home plate: Ray, Val, Pegi, Sheila, and Bob.
Brought to you by the letter "M".
And to the technical assistance of: The Music Shoppe (Thornhill), the Percussion Centre (Fort Wayne), Jim Burgess, Wal Basses, Dean Markley, Tama Drums, Avedis Zildjian cymbals, and - the Omega Concern.
A special tribute to our magnetic poles
The firm support and surprising patience
Of our families
That's a wrap!
Mercury, October 29, 1985
© 1985 Mercury Records © 1985 Anthem Entertainment
"I produced a track for Gary Moore, who was opening up for Rush in 1984-85, and as a result of that I got a gig with Rush. I did the Power Windows album, and I've done three more since then...When I first worked with them, they wanted to be involved with the technological breakthroughs that were happening in England at the time, the Trevor Horn sound that he'd achieved with Yes and Frankie and those sort of bands. So I was able to help them move into that area, and be a foil, a sounding-board for Neil Peart on the drums and push him into different areas. When I first got involved, Alex Lifeson had this horrible mismatched guitar pedalboard, which needed a lot of work -- or, rather, lot of work had been done to it, and that was the problem. It was just a question of coming in fresh, and getting them to change some things they'd always done. If there's somebody to say to them 'Guys, I think that section could be better, it could be more exciting, or it could be more laid-back,' or whatever, they like that. They like to be challenged. In the case of Rush, they strive to be better with every record, they strive to progress with every record. AC/DC strive to sound exactly as they did on their first record on their 14th record, and that's their strength, but Rush want to be different on every record and to progress. As human beings, that's the way they are, they're very interesting people, and they need continual intellectual and musical stimulation." - Peter Collins, Sound On Sound, March 2002
"Our producer works in London all the time. He's become very jaded about the Simmons drum sound. He didn't really want to hear it, so we found other ways of getting around that. There were times when I vocalized a little single-stroke roll, and that's exactly what you hear-my voice doing a single stroke roll." Neil Peart, Modern Drummer, January 1986
"I chose the fictional town's name in a similar way - because there seemed to be a Middletown in every state (and I seemed to have bicycled through half of them). The other two guys wanted me to change the town's name at first, because it reminded them of a freaky teacher they'd had in high school, named Mr. Middleton - I was glad they got over it." - Neil Peart, Traveling Music
"Actually, I built the board for 'The Big Money' video, for Rush...I used to be in rock videos, building sets and stuff." - Les Stroud, The Late Show with Craig Ferguson, August 3, 2009