single, "New World Man", while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk. The second single, "Subdivisions" reached No. 36 in Canada and No. 5 on the US Album Rock Tracks Chart. Both singles reached the Top 50 in the UK. Signals became the group's second No. 1 album in Canada, their third straight No. 3 album in the UK, and peaked at No. 10 in the US, while continuing their moderate success in the Netherlands, Sweden and Norway making the Top 30 in each country. Although the band members consciously decided to move in this overall direction, creative differences between the band and long-time producer Terry Brown began to emerge. The band felt dissatisfied with Brown's studio treatment of Signals, while Brown was becoming more uncomfortable with the increased use of synthesizers in the music. Ultimately, Rush and Brown parted ways in 1983, and the experimentation with new electronic instruments and varying musical styles would come into further play on their next studio album. The style and production of Signals were augmented and taken to new heights on Grace Under Pressure (1984). It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gained fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. He backed out at the last moment, however, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word ... after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off ... so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album instead. Henderson was nominated for a Grammy Award for his work on Supertramp's Breakfast in America. Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced, in response to the minimalist role he played on Signals. Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave