Electric and acoustic guitars, backing vocals
Drums and cymbals
Bass guitar, vocals, synthesizers
Produced by Rupert Hine and Rush
Engineered by Stephen W. Tayler
Arrangements by Rush and Rupert Hine
Recorded February-May, 1991, at Le Studio, Morin Heights, assisted by Simon Pressey;
McClear Place, Toronto, assisted by Paul Seeley; and mixed at Nomis Studios, London, assisted by Ben Darlow
Additional keyboards and background vocals by Rupert Hine
Preproduction work at Chalet Studio, by Lerxst Sound, assisted by Everett Ravestein
Mastered by Bob Ludwig, Masterdisk NYC
Management by Ray Danniels, SRO Management Inc., Toronto
Executive Production by Anthem Records: Liam Birt
Art Direction and Design by Hugh Syme
Portraits by Andrew MacNaughtan
Photography by Scarpati
Digitals by Joe Berndt
Special thanks to those who keep us "rolling": At Shallow Studio--The Koopster, David, Röb, Caroline, Logger, the War Room, Chester Sight & Sound, CNN, The Psychedelic Shack, The Sugar Shack, Johnny Abdul, the birds. At Le Studio--Richard, Simon, Linda, Francine, Benoît d'Arleaux, Steve, Dave, Anne-Marie, New England Digital (Nick how-about-a-credit?), and a belated thank you to Pippa. At SRO--Ray, Pegi, Sheila, Kim, Evelyn, Laura. On the road--Tour manager and lighting director: Howard Ungerleider, President and stage manager: Liam Birt, Production manager: Nick Kotos, Concert sound engineer: Robert Scovill, Stage left tech: Skip Gildersleeve, Center stage tech: Larry Allen, Stage right tech: Jim Johnson, Keyboard Tech: Tony Geranios, Monitor engineer: Bill Chrysler, and also some of the other "old campaigners": Billy Collins, Matt Druzbik, , Jack Funk, Tom Hartman, Ted Leamy, Brad Madix, Mac MacLear, Mike McLoughlin, George Steinert, Mike Weiss, Tom Whittaker, and Mr. Big (band and crew). At home--perpetual thanks and appreciation to our families, who are always there to catch us when we stop rolling...
Brought to you buy the letter "B."
We appreciate continuing technical assistance from Saved By Technology, Wal basses, Paul Reed Smith guitars, Gallien-Kruger, Ludwig drums, Avedis Zildjian cymbals, and--The Omega Concern.
"Now it's dark."
Atlantic/Anthem, September 3, 1991
© 1991 Atlantic Records © 1991 Anthem Entertainment
"The opening verse of 'Dreamline' has an interesting history...I watched Nova, and there was a program on satellite imaging, and they were literally making a roadmap of Jupiter, and they were talking about the rivers that they've been able to map under the Sahara, which used to be a tropical rain forest..." - Neil Peart, "Rockline", December 2, 1991
"A friend of mine said 'Where's My Thing?' reminded him of a really perverted version of 'TelStar.' I really like it, but it almost didn't make it onto the record. Though it was a lot of fun, it was also very difficult to get together. Every time we started writing it, it turned into another song. I usually keep extra lyrics lying around while I'm writing the music. If I get into a great groove I'll look at the lyric sheet and realize, 'Hey, this lyric really fits with this music,' and poof, there goes the instrumental. But Neil finally said, 'You've been promising me an instrumental for two years. I'm not giving you any more lyrics until you cough it up.'" - Geddy Lee, Guitar World, December 1991
"Rush's new album, Roll The Bones, revolves around Peart's notion of chance. He recalls sitting in his cottage in the Laurentians with his notes from the past few years gathered around him when he suddenly realized how fate had couched the group 's enormous career. 'Chance is a very serious thing,' he says. 'I mean, we've accomplished a lot of this through discipline and hard work, yet at the same time our endurance has to be directly related to good luck -to successfully rolling the bones. That day in my cottage, I found myself asking very important questions: 'Why has there been this perfect chemistry among band members? Why has our success not jaded us? Why am I here?' I realized that there are no answers. The key, however, is in not asking what we can't do about it - fate and chance - but what we can do about it.'" - Network, February/March 1992
"'Bravado'. It's one of those songs where the writing of it came in an almost spontaneous manner. We found ourselves on the emotional side of things right away and those feelings just poured out of us. When things come out of you naturally, it's a very magical experience. But I think the emotions and music on 'Bravado' really do capture what Rush is about at this time." - Geddy Lee, Hit Parader, March 1992
"One hot night in a village in Togo called Assohoum, in November 1989, I laid out my sleeping bag on an adobe rooftop and lay looking up at the bright stars in the perfect silence of an African night - no traffic, no television, no radio, just scattered conversations or distant dogs. As I was dozing off, a drum rhythm echoed from across the valley, two hand-drummers playing an intrelocking pattern, and it stuck in my head, only to emerge months later as the basis for a rhythm I used in a Rush song called 'Heresy'." - Neil Peart, Traveling Music, pg. 297