Editing Signals (Rush album) (section)

==Songs==
===Side one===
"Subdivisions" was one of the first songs Rush had arranged for ''Signals''.<ref name=tourbook/> After Peart devised a set of lyrics, Lifeson and Lee wrote a collection of musical ideas to fit Peart's words. Peart recalled that his bandmates interrupted him as he was cleaning his car and set up a portable cassette player on the driveway outside the studio, and played him what they had come up with. Peart added: "I listened closely, picking up the variations on 7/8 and 3/4, the way the guitar adopts the role of rhythm section while the keyboards take the melody, returning to bass with guitar leading in the chorus, then the Mini-moog taking over again for the instrumental bridge", and told Lifeson and Lee that he liked it.<ref name=tourbook/>

"The Analog Kid" originated during the group's stay at [[Virgin Gorda]] in the [[British Virgin Islands]] in January 1982, travelling on a yacht named Orianda.<ref name=tourbook/> Peart had written the words to the song initially as a companion piece to "Digital Man", which Rush had started working on in late 1981, and presented it to Lee. The two discussed what could be done with the lyrics in a musical sense, deciding on the opposite on what the words may suggest, with Peart describing the track as "a very up-tempo rocker, with some kind of a dynamic contrast for the choruses".<ref name=tourbook/>

"Chemistry" was developed during soundchecks on the ''Moving Pictures'' tour in 1981. It was during one particular session during the United States leg whereby, after each member checking each of their instruments separately, "a little spontaneous creation" came about which produced a song without the group realising it. Each member played a different part; Lee played what became the keyboard section for the bridge, Lifeson the guitar riffs heard in the verses, and Peart the drum pattern for the chorus.<ref name=tourbook/> Upon listening to the soundcheck tapes, Lifeson and Lee took each section and arranged it into a complete track before they produced a demo which almost matched the version recorded for the album.<ref name=tourbook/> "Chemistry" marked the first time that each member collaborated on the lyrics to a song, with Lifeson and Lee devising its title, concept, and several phrases that they wished for it to include. Peart then took their ideas and developed a set of complete lyrics. He named "Chemistry" as the easiest song to write for ''Signals''.<ref name=tourbook/>

"Digital Man" was one of the songs worked on during the late 1981 writing sessions at Le Studio, during which the music and lyrics for its verses, plus the [[ska]]-influenced bridge, was worked out.<ref name=tourbook/> The song was also heavily influenced by funk, with Lee's bass line described as "so funky and fluid its almost laughable".<ref>{{Cite web |url=https://ultimateclassicrock.com/rush-signals-album-turns-30/ |title=How Rush Tried to Keep Their Momentum Going With 'Signals' |first=Ryan |last=Reed |website=Ultimate Classic Rock |date=September 9, 2015 |access-date=May 30, 2020 |archive-date=June 18, 2020 |archive-url=https://web.archive.org/web/20200618092503/https://ultimateclassicrock.com/rush-signals-album-turns-30/ |url-status=live }}</ref> Its instrumental break has been compared with "[[Walking on the Moon]]" by [[The Police]].<ref name="ClassicRock">{{cite journal |title=Rush: Progressive To The Core |author=Geoff Barton |date=September 2006 |journal=[[Classic Rock (magazine)|Classic Rock]] |volume=97}}</ref> The song developed further in March 1982 during the band's one month stay at The Grange in [[Muskoka Lakes]], Ontario.<ref name=tourbook/> Peart wrote the remaining lyrics by an open fire in his chalet while Lifeson and Lee worked on the music in the adjacent barn. After numerous attempts they devised a combination of suitable words and music for the chorus, and Peart wrote: "We were all very pleased with the dynamic and unusual nature of the part, it was so different for us".<ref name=tourbook/> However, Brown expressed a lack of enthusiasm to record the song and remained so until the group had continually talked about why it worked "until he got tired of hearing about it".<ref name=tourbook/> "The Analog Kid" and "Digital Man" served as the inspiration for comic book writer [[Troy Hickman]] to create heroes of the same names in his 2004 comic ''[[Common Grounds]]''.<ref>{{cite web |url=http://www.sequentialtart.com/archive/apr04/thickman.shtml |title=Troy Hickman — Holey Crullers! (vol VII/iss 4/April 2004) |publisher=Sequential Tart |access-date=September 17, 2012 |archive-date=November 6, 2015 |archive-url=https://web.archive.org/web/20151106195237/http://www.sequentialtart.com/archive/apr04/thickman.shtml |url-status=live }}</ref>

===Side two===
"The Weapon" is the second part of Rush's "Fear" song series. During a writing session at a northern Ontario manor home in 1981, Lee and his friend Oscar devised what Peart described as the foundation of "a highly mysterious and bizarre drum pattern" with his [[drum machine]].<ref name=tourbook/> At a subsequent rehearsal, Peart learned to play the part on his own drum kit which required him to alter his usual technique, but took the experience as an enjoyable challenge.<ref name=tourbook/>

"New World Man" was put together in May 1982 when the backing tracks for the album's other seven tracks were completed, and there was enough space on the vinyl for a song under four minutes.<ref name=tourbook/> Had the track become too long, the band would have put it down and used it for a subsequent release. "New World Man" began with Peart writing lyrics that tied in themes from other songs on the album, "and came up with a straightforward, concise set of lyrics consisting of the two verses and the two choruses".<ref name=tourbook/> The group adopted a "fast and loose" approach for its corresponding music and worked swiftly, with the song fully arranged in one day and recorded in the course of the next.<ref name=tourbook/>

"Losing It" originated from a theme Lifeson had come up with which was used in subsequent rehearsal sessions to produce a demo with keyboards and drums.<ref name=tourbook/> In June 1982, when the band revisited the song in the studio, they discussed the possibility of [[Ben Mink]] of the band [[FM (Canadian band)|FM]] playing the [[electric violin]] somewhere on ''Signals'', and decided that "Losing It" was the best track for his contribution.<ref name=tourbook/> To cater for the part, Rush put down the basic track for a jazz-oriented solo section and invited Mink to the studio which included him multi-tracking various notes to resemble a complete [[string section]].<ref name=tourbook/> The lyrics include references to the latter years of writer [[Ernest Hemingway]]–"For you the blind who once could see, the bell tolls for thee". It was not played live until 2015 when Rush performed it at five concerts on their [[R40 Live Tour]].

"Countdown" was inspired by the band attending the launch of the [[STS-1]] ''Columbia'' space shuttle in April 1981, the first of NASA's [[Space Shuttle program]]. They had been invited to the launch and observed it from a VIP area at an air base in [[Cape Kennedy]], Florida.<ref name=tourbook/> The song features samples of radio communications recorded before and during the flight.