Signals


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Tracklist

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)


Linernotes

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:

In Their Own Words:

"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
"Well the song sort of came out of a sort of a little bit of personal comedy. We had the title way before we had a concept. There was a guy who we hired, I think it was on Moving Pictures, to bring all this digital equipment so that we could master the album digitally, and he was a sort of a 'strange' example of modern man, without going into too much detail. We were sitting around talking, and Le Studio had gotten their own digital equipment, so there was really no need to hire our digital man this time. And we were trying to figure out beds, you know, bed assignments, how many guys in the crew we could take to the house near Le Studio, because the situation is you live right on the premises. So somebody came out with the phrase 'Well I guess we won't need a bed for the digital man' and everybody went (snaps his fingers) 'Fantastic!' So we wrote it down and Neil developed a whole concept about modern man and the sort of transience of modern man in the sort of society that we're living in. That sort of spurred the tune and the feel for the tune but it sort of represents technology getting to a certain point, the ease that one can float from one part of society to another, and one part of the world to another." - Geddy Lee, Innerview with Jim Ladd, 1983
"'New World Man' was the very last thing we recorded for the album. We were determined to get as much music as we could on each side of the record, and after we had finished working on everything, we discovered that the record ran about four minutes short. So we sat down in the studio and began playing around with ideas to fill up the four extra minutes. We figured if worse comes to worse we could always save ideas for the next album. Geddy said, 'Hey, how do you like this?' And he laid down the bass lick that's the foundation of the song. We had no idea it would be a hit. But we're sure not gonna complain." - Alex Lifeson, Hit Parader, March 1983
"[Chemistry: 'two to one, reflections on the water'] it's a reference to two lovers...it's about love, and the second part of it's about the three of us. It's very simple." - Neil Peart, Feedback! Rock Interviews, July 1983
"With 'The Analog Kid' I'm looking at a period of life that all people go through. The youthful restlessness, that adolescent discontent, and the different ways that people handle it. It looks at a person that's in the throes of choice. What happens after that choice you see so much...again looking at people I know, and people I grew up with, some of them forget that (restless feeling), and other people say 'I feel like I gotta leave, and they go', which is the way I did it. I just said 'I feel restless, I feel like I wanna do something', and I went and did it. Everybody experiences that as an adolescent. It's a very painful and difficult time of life. Everyone experiences the discontent. Some people choose to take the safe way, and say 'no, never mind, I'll just go to college and be an accountant', or 'I'll just go get a job in a factory', take the safe way, the easy way, get married when they're sixteen, and start paying for a car or whatever. It looks at the period before the choice is made. It looks at, to me, what are the important feelings of that time, the sensitivity too of that time; what moves you; I remember myself in that particular time and how sensitive I was to nature and to cities and to people, the whole thing, and that's basically what that was trying to capture." - Neil Peart, Feedback! Rock Interviews, July 1983
"While we were making that record we formed a softball team and those were the positions we played." - Geddy Lee regarding the positions listed in the linernotes, "Rockline", May 21, 1984