30 May 1976 - Nelson Center, Springfield, Illinois [Audio - Soundboard]

By-Tor X-1

Staff member


Track Listing:

01 - Bastille Day
02 - Anthem
03 - Lakeside Park
04 - 2112
05 - Fly By Night
06 - In The Mood
07 - Something For Nothing
08 - By-Tor And The Snow Dog
09 - In The End
10 - Working Man
11 - Finding My Way
12 - Working Man (Reprise)
13 - Drum Solo
14 - What You're Doing
15 - Post-Show Interview *

This is one of only two known shows recorded from the 2112 tour (three counting the official ATWAS live album, which was recorded on June 11, 12, and 13 of the 2112 tour).
Despite that, the succeeding ATWAS tour could also be considered the second leg of the 2112 tour.
Some old bootleg releases incorrectly state the performance location as Washington, D.C.
Once you get past the slight muffle at the beginning of Bastille Day, this remaster blows all the older bootleg releases away. Remastered from the source tape itself.
The vocals are clear and unmuffled, and the recording is not buried in tape hiss, pops/clicks, distortion, or radio frequency interference like the others.
It features much more of the 'Nights, Winters, Years' intro theme, and the entire setlist (some old releases are missing Something For Nothing).
*The person who recorded this show conducted an interview with the band following the performance, however there is a lot of static and muffle that makes most of it hard to hear.
You can read my current attempt at transcribing the interview in the post below, which is by no means complete.

On YouTube there is an alleged 22 Sept 1976 recording ("Bastille Nights") from Henrietta (Rochester), New York, but it is actually just a lesser quality version of this soundboard with a few segments between songs cut out.

Bootleg Titles:
One Hot Night, Tuning Man, We Are The Priests



By-Tor X-1

Staff member
Notes from Original Taper:

The recording was made on a white mono Scotch portable recorder with attached microphone and cord. From 1974-1977 I used this rig almost exclusively. I would go for soundboard patches, carrying an accessory cord with micro plug jacks at the ends and a 1/4" phono jack for the patches. I would normally plug into the soundboard using the aux jack of the unit.

I wrote for a Springfield, IL newspaper while going to college there. Earlier that year (April 11, 1976) Rush played with Starcastle in the Waukegan ice rink, my home town. I taped Starcastle from the board (which their road manager later stole) but I was not able to record Rush that night. As for this Springfield Nelson Center show, I don't remember if the local production company (Hawkins) was there but Rush's team was at FOH for their set. I was not familiar with the band or their music. I actually pursued taping them just because of the missed chance in Waukegan.

When Rush was ready to go on stage I asked for permission to plug in and was told "yes." Somehow they had the idea that I had driven all the way from Waukegan to see them...what a fan. On some versions of my recording, what is sometimes described as "CB chatter". This is actually the sound of a crew member saying "Yeah it's the guy from Waukegan". It was recorded over but could still be heard in a previous transfer of this tape. It is less pronounced now but it’s still there.

The show wasn't very interesting to me except the song By-Tor and The Snow Dog. I thought that was outside their normal boundaries and sounded great. I eyed the deck for the tape during that song and found that it had run out so I flipped it as quick as I could. During that song Alex and Geddy sat on the risers playing with the building's acoustics. Working Man was also a surprise as everything seemed to catch fire and perk up during that song.

As for transfers, only two copies were ever made. This Rush tape has only been played a few times and then stored. As for storage, I take care of all my media and give it a good room in every house I've lived in (i.e. the recording has survived two floods). This transfer was done on a media lab deck. The tech turned off NR, Dolby, and chrome settings. It was run at 96000 Hz in Audacity. The tape broke with 3 min left on side 1. Upon opening the case there was an old splice from 19 years ago in the same spot. Once repaired it played to the end and then all of side 2 was transferred without a problem.

After the show, I went into the bowels of the arena, to the dressing rooms to conduct the interview. Unfortunately, there were mic problems which produced a lot of static and made this part of the recording difficult to hear clearly. Still, I should say that the Rush guys were very gracious and nice gentlemen, all three of them.

Regarding this remaster, I think it is superb and I thank the individual(s) responsible for it. There is detail in the sound that I have never noticed before, especially the foot pedal work on the drums. Peart was an interesting timekeeper, and also very kind when we spoke that evening. Funny, how you meet somebody once and…He can be heard at the end of the interview…articulate as always. Thank You to him, the rest of the band and the team that has brought this recording back for many to now enjoy.


Post-Show Interview Transcription:

*Current work in progress, I'm still trying my best to transcribe as much as I can through the static and muffle*

Interviewer: "Okay, now first I'll just get a bunch of *inaudible*."
Geddy: "Uh, we're from Toronto, Canada. We've been together as Rush for about seven, almost eight years now."
"Uh, Neil's been with us, Neil's the drummer, he's been with us about two, two years."
Geddy: "Alex and I went to junior high school together."
Neil: "None of us ever got in the polished door."
Geddy: "We've been on the road now for *inaudible*."
Neil: "We do (our thing there). We uh... *inaudible*. We get to come here and bring our own show, bring our own sound and lights, and it's a real pleasure to put on a show like that *inaudible."
Geddy: "that-(that's/there's) no technical (tradeoff/*inaudible*)."
Geddy: "Uh it's a, three-way, uh, collaboration. *inaudible*. Neil wrote the majority of the lyrics while Alex and I *inaudible*.
Neil: "... when we did 'Don Kirshner's Rock Concert'... *inaudible* ...and uh, I imagine next time we do television is when we're able to do it on our terms, and somebody says to us 'come be on our show', and then when we have a little bit of control... *inaudible*
Neil: "(Yeah) *inaudible* did that too, (one day in concert?) (they chopped us?)..."
Geddy: "'In Concert' butchered us."
Neil: "Yeah."
Geddy: "They took, w-we did a, we had a 20 minute spot, and cut it to 10 minutes. (We/they didn't care where (we/they) cut it."
Neil: "Pieces of songs even, I mean not cutting songs out, cutting pieces of songs." *laughs* "That's ridiculous."
(Interviewer/Alex?): " *inaudible* ...Don Kirshner... *inaudible*."
Neil: "Well it could be done so much better too, that's the pathetic thing."
Neil: "Yeah. it's not like it's a limited medium, it certainly isn't. With television you can do, it's almost limitless, and uh, you've seen (what?) and some people have been able to do it on their terms, and seen that people have done great presentations on television. Not very many, only people like *name* or somebody like that, that does their own special under their auspices *inaudible*."
Interviewer: "Now (what about this uh?), like what are the ways can you *inaudible*, like you know, (presented on?) *inaudible*. *inaudible* (communicational?)..."
*pause of silence*
Interviewer: "Like how are you gonna..."
Neil: "Okay... th-the way we're doing it, is the way we're doing it now, just being on the road constantly playing as many places as we can, because that's really the safest route to get to a lot of people without having to give up anything."
Interviewer: " *inaudible* progressive rock *inaudible*, where do you see yourselves at *inaudible*."
Geddy: "Uh actually, I've seen quite the opposite (trending?)... rock-n-roll (most of the while?) has been pretty regressive, so were trying..."
Neil: " *inaudible* is our best." *laughs*
Geddy: *inaudible*
Interviewer: " *inaudible*, um... sort of like an (ominous?) *inaudible*."
Geddy: "We're not using, we're not using much (*inaudible*/harmony?)."
Geddy: "We did it on a couple earlier tunes, but it was always uh... *inaudible* (singing with me?). *laughs* You know, we'd like to work on more vocals but uh..."
Neil: "You haven't got the raw materials." *laughs*
Geddy: *inaudible*
*pause of silence*
*inaudible* *laughs*
Neil: "Oh, don't push yourself, we're not in any hurry. *inaudible*."
Interviewer: *inaudible*
Neil: *inaudible*
Neil: "Pardon?"
Interviewer: *inaudible*
Geddy: "No *inaudible*."
Interviewer: *inaudible*
Neil: "Is it? Pretty (night/nice)."
Interviewer: *inaudible*
Neil: "Certainly the tallest building *inaudible* you can see."
Geddy: "Hello?"
Random Woman: "Hello! *inaudible*."
Geddy: "Yes I do. *inaudible*."
Random Woman: "Huh?"
Geddy: *repeats inaudible*
Random Woman: "(Okay/*inaudible*) *inaudible*."
(Alex?): *inaudible*
Interviewer: " *inaudible*. Alright, now here's another one (I wanna get?) is *inaudible* crowds that are coming to your shows."
Neil: "Okay."
Interviewer: "Do you find more or less, like in rural areas, like 13, 14, *inaudible* that age?"
Geddy: "Actually, in the rural areas, I think you're getting all kinds, all ages. Everybody who just wants to go to the event. You know? Not so much to see the band, but just to go to a concert and uh, get a little loose."
Interviewer: *inaudible*
Neil: "Oh, definitely between a place like this and say, we played Chicago a couple days ago, and we had about the same amount of people, but... the, thing in Chicago when you drive down there the people they're all there to see you. Whereas in a place like this, they're going to a concert. You know, to a certain extent. A lot of people of course are coming that know the band, but there's uh, certainly a large percentage that it is coming, (*inaudible*/to go from there)."
Interviewer: "Do you guys play *inaudible*?"
Neil: "No. *inaudible*."
Geddy: *inaudible*
Interviewer: "What do you think of that (state/stage)?"
Neil: "A lot nice *inaudible*." *laughs*
Geddy: "Nicer sound-wise, *inaudible*."
Neil: "It was pretty funky."
Interviewer: " *inaudible*. Then the other thing is acoustics. What could you do more of if, you know, if you were playing off of the... all of the *inaudible* for every hall you go on to?"
Geddy: "Yeah, i-it's hard, you know? I mean, so many halls are so bad. You just gotta, sorta persevere and do what you can. We do it, we try to do as long *inaudible* as we can. *inaudible*, *name* said that, as soon as the crowd blows up the place, it changes the whole acoustics, you know?"
Neil: "This (happened in the stage?) sound here was terrible, it was so depressing, and then tonight, (for me then anyway?), the stage sound was really good."
Geddy: "Yeah."
Interviewer: "(Do you suppose/You were supposed?) *inaudible* the vocal..."
Geddy: *inaudible* (Sorry/It's alright?)
Interviewer: *inaudible* (You sing pretty good?)
*pause of silence*
Interviewer: " *inaudible* (When you give an interview in another city, what would you say?)"
Geddy: *laughs*
Interviewer: *inaudible*
Geddy: *inaudible*
Neil: "Use your imagination." *laughs*
Interviewer: *inaudible*
Geddy: "Um, we listen to (so?), so many different kinds of music, and so many different people, that uh, we couldn't really pin down *inaudible*. Anybody who's good."
Interviewer: *inaudible*
Geddy: *inaudible*
Interviewer: *inaudible*
Neil: "Okay!" *laughs*
Interviewer: *inaudible*
Geddy: "Alright."
Interviewer: "I appreciate it."
Interviewer: "Thank you."
Neil: "Thank you!"