Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990). 1989–2000: Return to guitar-oriented sound and hiatus Rush started to deviate from its 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of its keyboard-saturated sound. Beginning with Presto (1989), the band opted for arrangements notably more guitar-centric than the previous two studio albums. Although synthesizers were still used, the instrument was no longer featured as the centrepiece of Rush's compositions. Continuing this trend, Roll the Bones (1991) extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated other musical styles such as funk and hip hop in "Roll the Bones" and jazz in the instrumental track "Where's My Thing?". "Show Don't Tell" from Presto was a No. 1 hit on the US Mainstream Rock Tracks Chart, and while the album reached the Top 10 in Canada, it was less successful in the US (No. 16) and the UK (No. 27). From Roll the Bones, "Dreamline (No. 1) and "Ghost of a Chance" (No. 2) were successful on US Mainstream Rock Radio stations marking a resurgence of Rush's album sales in the US (No. 3 and platinum), the UK (No. 10) and some other parts of northern Europe. The transition from synthesizers to more guitar-oriented and organic instrumentation continued with Counterparts (1993) and its follow-up, Test for Echo (1996), both produced in collaboration with Peter Collins. Up to this point, Counterparts and Test for Echo were two of Rush's most guitar-driven albums. The latter album also includes elements of jazz- and swing-style drumming by Peart, that he had learned from drum coach Freddie Gruber during the interim between Counterparts and Test for Echo. "Stick It Out" from Counterparts reached the summit of the US Mainstream Rock Tracks Chart with the album peaking at No. 2 in the US and No. 6 in Canada. Test for Echo reached the Top 5 in both countries, with the title track again topping the US Mainstream Rock Tracks Chart. In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken