Showing posts with label Rush. Show all posts
Showing posts with label Rush. Show all posts

Friday, April 13, 2007

Rush


Geddy Lee - Bass guitar, lead vocals, keyboards
Alex Lifeson - Six- and twelve-string acoustic and electric guitars, mandolin, mandola, backing vocals, bass and synthesizer pedals
Neil Peart - Drums, electronic and acoustic percussion (1974–present)
John Rutsey - Drums, backing vocals (1968–1974)

@ Wiki
Rush is a Canadian rock band comprising bassist, keyboardist, and vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. Rush was formed in the summer of 1968, in the neighborhood of Willowdale in Toronto, Ontario, by Lifeson, Lee, and John Rutsey. Peart replaced Rutsey on drums in July 1974, two weeks before the group's first U.S. tour, to complete the present lineup. Since the release of the band's self-titled debut album in 1974 Rush has become known for the instrumental virtuosity of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and individualist libertarian philosophy, as well as addressing humanitarian and environmental concerns.

Musically, Rush has changed its style dramatically over the years, beginning in the vein of blues-inspired heavy metal on their eponymous debut to styles encompassing hard rock, progressive rock, a period dominated by synthesizers and, more recently, modern rock. Rush's three decades of continued success under the lineup of Lee, Lifeson, and Peart have earned the band the respect of their musical peers. Rush has influenced various modern artists such as Metallica, The Smashing Pumpkins and Primus, as well as many notable progressive metal bands such as Dream Theater and Symphony X.

Rush has been awarded several Juno Awards and was inducted into the Canadian Music Hall of Fame in 1994. Over the course of their career, the individual members of Rush have been recognized as some of the most proficient players on their respective instruments with each member winning several awards in magazine readers' polls. As a whole, Rush boasts 23 gold records and 14 platinum (3 multi-platinum) records, making them one of the best-selling rock bands in history. These statistics place Rush fifth behind The Beatles, The Rolling Stones, KISS and Aerosmith for the most consecutive gold and platinum albums by a rock band. Rush ranks 78th in U.S. album sales according to the RIAA with sales of 24.5 million units.

The band is currently promoting their latest album, Snakes & Arrows. An intercontinental concert tour is scheduled to begin June 13, 2007.

Musical style
Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who and Led Zeppelin, but also became increasingly influenced by the British progressive rock movement. In the tradition of progressive rock, Rush wrote long songs with odd meters and fantasy-inspired lyrics, but they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their trademark sound with the trends of this period, experimenting with New Wave music, reggae, and pop rock. This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire. With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement. The new millennium has seen them return to a more rock-n-roll roots sound, albeit with modern production. =>>>>>>>>>>>

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Jason Ankeny @ Allmusic
Over the course of their decades-spanning career, the Canadian power trio Rush emerged as one of hard rock's most highly regarded bands; although typically brushed aside by critics and although rare recipients of mainstream pop radio airplay, the group nonetheless won an impressive and devoted fan following while their virtuoso performance skills solidified their standing as musicians' musicians.

Rush formed in Toronto, Ontario, in the autumn of 1968, and initially comprised guitarist Alex Lifeson (born Alexander Zivojinovich), vocalist/bassist Geddy Lee (born Gary Lee Weinrib), and drummer John Rutsey. In their primary incarnation, the trio drew a heavy influence from Cream, and honed their skills on the Toronto club circuit before issuing their debut single, a rendition of Buddy Holly's "Not Fade Away," in 1973. A self-titled LP followed in 1974, at which time Rutsey exited; he was replaced by drummer Neil Peart, who also assumed the role of the band's primary songwriter, composing the cerebral lyrics (influenced by works of science fiction and fantasy) that gradually became a hallmark of the group's aesthetic.

With Peart firmly ensconced, Rush returned in 1975 with a pair of LPs, Fly by Night and Caress of Steel. Their next effort, 1976's 2112, proved to be their breakthrough release: a futuristic concept album based on the writings of Ayn Rand, it fused the elements of the trio's sound -- Lee's high-pitched vocals, Peart's epic-length compositions, and Lifeson's complex guitar work -- into a unified whole. Fans loved it -- 2112 was the first in a long line of gold and platinum releases -- while critics dismissed it as overblown and pretentious: either way, it established a formula from which the band rarely deviated throughout the duration of their career.

A Farewell to Kings followed in 1977 and reached the Top 40 in both the U.S. and Britain. After 1978's Hemispheres, Rush achieved even greater popularity with 1980's Permanent Waves, a record marked by Peart's dramatic shift into shorter, less sprawling compositions; the single "The Spirit of Radio" even became a major hit. With 1981's Moving Pictures, the trio scored another hit of sorts with "Tom Sawyer," which garnered heavy exposure on album-oriented radio and became perhaps their best-known song. As the 1980s continued, Rush grew into a phenomenally popular live draw as albums like 1982's Signals (which generated the smash "New World Man"), 1984's Grace Under Pressure, and 1985's Power Windows continued to sell millions of copies.

As the decade drew to a close, the trio cut back on its touring schedule while hardcore followers complained of a sameness afflicting slicker, synth-driven efforts like 1987's Hold Your Fire and 1989's Presto. At the dawn of the 1990s, however, Rush returned to the heavier sound of their early records and placed a renewed emphasis on Lifeson's guitar heroics; consequently, both 1991's Roll the Bones and 1993's Counterparts reached the Top Three on the U.S. album charts. In 1996, the band issued Test for Echo and headed out on the road the following summer. Shortly thereafter, Peart lost his daughter in an automobile accident. Tragedy struck again in 1998 when Peart's wife succumbed to cancer. Dire times in the Rush camp did not cause the band to quit. Lee took time out for a solo stint with 2000's My Favorite Headache; however, rumors of the band playing in the studio began to circulate. It would be five years until anything surfaced from the band. Fans were reassured in early 2002 by news that Rush were recording new songs in Toronto. The fruit of those sessions led to the release of Rush's 17th studio album, Vapor Trails, later that spring. =>>>>>>>>>>>

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History of RUSH

PROLOGUE: by Steve Gett @ Erik and Anna
In August, 1968, top British session guitarist Jimmy Page was in something of a dilemma. For the past two years, he had been playing with the legendary Yardbirds, whose previous line-ups had boasted such worthy talents as Eric Clapton and Jeff Beck. However, after Beck quit to pursue a solo career at the end of 1968, Page had been left to carry the group through the next 18 months, until it finally crumbled under his feet.

While Jimmy was eager to start a new band, the Yardbirds were already booked on a 10-date Scandanavian tour the following month. Consequently, he began a desperate search for accompanying musicians, soon hooking up with John Paul Jones, John Bonham and Robert Plant. Over the ensuing months the group was to change its name to Led Zeppelin and go on to become Britain's most celebrated rock act.

Meanwhile, as Jimmy Page unveiled his New Yardbirds in Europe, on the other side of the Atlantic Ocean, in the suburbs of Toronto, a young Canadian guitar player, named Alex Lifeson, was busy forming Rush. Although Page was fortunate in enjoying immediate acceptance with his outfit, it necessitated years of hard graft and extreme patience before Lifeson and his band made their mark.

After battling fiercely to break out of Canada, Rush were forced to embark on endless US road outings before garnering major recognition and acclaim. For many years, radio stations ignored their music, and, in the pre-video age, touring was the only means of gaining exposure. Despite the long wait, Rush were to end up selling more records and playing to more people than Zeppelin ever did.

Attempting to parallel the histories of Rush and Led Zeppelin would prove an impossible, and extremely futile, exercise. Yet, it's interesting to observe that each band basically encountered success under its own terms. For both, the major forte was an essential high quality of musicianship, combined with a diverse range of musical styles. Never was there any compromise in their overall approach on the road to fame and fortune.

Led Zeppelin are, of course, sadly no more. However, Rush are still going strong and continue to warrant recognition as Canada's finest hard rock export. Throughout their illustrious history, the group has released a succession of highly innovative albums and delighted concert audiences around the world. Their work has been admired for its breadth of reach, technical elegance, and for the confidence with which it has combined great boldness with artistic poise.

THE MAIN STORY: by Matt Lupoli
Rush is the only band that has Geddy Lee's wail, Alex Lifeson's blazing guitar licks, and Neil Peart's furious drumbeats. It is one of the greatest rock bands of all time. It was started in Willowdale, Toronto, Canada in the Spring of 1968. This was the time of bands such as "The Yardbirds", "Cream", "Led Zeppelin", "Jimi Hendrix", and "The Who". They played the style of these bands. The band members were 15 at the time. It was started by Alex Zivojinovich and John Rutsey. Alex changed his name to Alex Lifeson because his real last name was too hard to say and spell. The name "Lifeson" is an English translation of "Zivojinovich." In August of '68, the formal lineup was Jeff Jones on bass and lead vocals, John Rutsey on drums and backing vocals, and Alex Lifeson on guitars and backing vocals. They first got a job to play at a coffee house called the "Coff-In." While they had dreamed of playing, they had neglected to come up with a name for their group. They all went to John Rutsey's basement and they didn't have much luck coming up with a name. Then John Rutsey's older brother yelled, " Why don't you call the band Rush?" So "Rush" was the title of the band. In September of '68, Jeff Jones (bassist/vocalist) was replaced by Gary Lee Weinrib. Gary's grandmother had a Yiddish accent, and when she called him Gary it sounded like she was calling him Geddy, so he changed his name to Geddy Lee. Then in January of '69, Lindy Young joined the band and he played keyboards and back-up guitars. Soon after, the band was changed to "Hadrian." In May of '69, Geddy Lee (bassist/vocalist) quit Hadrian and made his own band called "Ogilvie." He was replaced in Hadrian by Joe Perna. In June of '69, Geddy Lee changed his band's name from "Ogilvie" to "Judd." In July of '69 Lindy Young (keyboardist) left Hadrian to join Judd and then Hadrian split up. Then in September of '69, Judd split up also. Immediatly after, Geddy Lee, Alex Lifeson, and John Rutsey formed together again as Rush. In February of '71, Mitch Bossi joined Rush. He was a 2nd guitarist in the band (along with Alex Lifeson.) He quit in May of '71. Then there were only 3 members left.

In 1973, Rush decided to release their first single before they released an album. On side A, there was a song called "Not Fade Away." Not Fade Away was a cover of a Buddy Holly song. On side B, there was a Lee/Rutsey song called "You Can't Fight It." This single wasn't released world wide. Not a single record company in Canada would produce Rush's music. So Rush made their own record company which was called Moon Records. The single was only released in Toronto and other parts of Canada for $0.69. It was often given away for free. It is very rare, which makes this single worth a fortune today.

The single was not as successful as they thought it would be. In 1974, when the band members were 20, they started making their first album anyway. It was simply titled "Rush." The first album was soon released and the band went on tour in Canada. The album did not travel much outside of Toronto and the band was still not well known.

Alex Lifeson / John Rutsey / Geddy LeeA copy of the album made it's way down to WMMS in Cleveland. There it was listened to by a DJ that was named Donna Halper. The song "Working Man" sounded good, so she put it on the air. Emediatley, the radio station received calls from people asking when the new Led Zeppelin album was coming out. People thought that this band sounded very closely related to Led Zeppelin. They even thought that Geddy Lee sounded like a clone to Led Zeppelin's Robert Plant.

As the album was played on the air, it got more and more popular in Cleveland. Donna Halper sent for some more copies of the album so she could give them to some record stores. These copies were quickly sold. Soon, someone from Mercury Records heard the album on WMMS and liked it. Mercury then re-released the Moon Records album. Now that it was released world wide, Rush became more well-known. Click here to see Donna Halper's version of this story.

Rush became more popular in Canada and the U.S. Unfortunatly, John Rutsey (drummer) had different ideas about the band's future than Alex and Geddy did. His diabetes were a strong argument against extended tours and he just wasn't excited about playing in the band anymore. He quit the band at the end of the Canadian tour and before they could even go on tour in the United States.

If the band was going to go on tour in the United States, they were going to need a new drummer. That month the band held auditions for a new drummer and they met up with 22-year-old Neil Peart. Neil was from St. Catharines, which was a town just south of Toronto and across Lake Ontario. He had been playing the drums since he was 13. He played in a few high school bands and then he moved to London in the early 70's. He worked at a shop called "The Great Fog", but he then became disillusioned by the British music scene. He later returned back to Canada. Geddy and Alex liked Neil's drumming because he had a British drumming style that was similiar to the style of Keith Moon. Neil joined the band on July 29, 1974. The new drummer Neil Peart first played during the U.S. tour of the first album. The band learned that Neil thought up very good lyrics that had to do with science fiction themes, and his drumming was much better than John Rutsey's. This new formal lineup was their permanent lineup.

In 1975, they released their second album which was titled "Fly By Night." In this album, they started to move away from the Led Zeppelin style so they could make a style of their own. This was also the album when Neil became an integral member of the band. The album was an even greater success than the first album. The best song on the album was "By-Tor & the Snow Dog" which was an imaginative science fantasy tale that was set to music. Geddy played the part of By-Tor and Alex played the part of the Snow Dog. Later that same year, they came out with their third album which was titled "Caress of Steel."

In 1976, they came out with their fourth album. It was titled "2112." After it was released, the world began to take notice of Rush. Often called "Rush's break-through album", it was a huge success. It probably featured Rush's best song ever which was called "2112". It was an epic song about the galaxy in the year 2112 A.D. It takes place at the "Temples of Syrinx." A bunch of priests live there and they have a strong belief that they are all equal and they do not believe in individualism. All of the people who live there are banded together under the Red Star of the Solar Federation. One of the people who lives in the temples finds a guitar. Guitars had been banished for decades and he had never seen one before. He learns how to play it and he shows it to the priests. The high priest knows what it is and he thinks it is evil and that it destroyed the elder race of man. He becomes enraged with anger so he rejects it and destroys it.

During this time, Rush came up with their logo. It first appeared on their "2112" album. It looks like a red pentagram with a nakid man on it. This red pentagram is the evil red star of the Federation in the "2112" song. The nakid man is the hero of the story. Neil said that all it means is the abstract man against the mass [sic]. The red star symbolizes any collectivist mentality.

Later that year, the band decided to make a 5th album. Geddy, Alex, and Neil thought that they had finished the first chapter so they decided to come out with a live album. They came out with the album "All The World's A Stage" which was recorded live in Toronto. It included all of their best songs from their first four albums. From then on, for every 4 studio albums they made, they would come out with a live album.

In 1977, Rush came out with their 6th album which was titled "A Farewell To Kings." This album reached the Top 40 in the U.S. and Great Britain. One of the songs on this album was titled "Closer To The Heart." The fans loved this song and Rush even included it on their 2nd and 3rd live albums. Some people think that "Closer To The Heart" could be the ultimate Rush song. It is the song that describes the band. For example, "Closer To The Heart" is to Rush as "Stairway To Heaven" is to Led Zeppelin.

They later made a sequel to "A Farewell To Kings" called "Hemispheres." After 1978's Hemispheres, Rush achieved even greater popularity with 1980's "Permanent Waves". Neil Peart was no longer writing epic songs. He was writing shorter, less sprawling compositions. The single "The Spirit of Radio" even became a major hit.

In 1981 they released "Moving Pictures". It was probably their greatest album ever. Rush scored another hit of sorts with "Tom Sawyer," which probably became their most well-known song. Moving Pictures became their best-selling album ever. As the 1980s continued, Rush grew into a phenomenally popular live draw. This can be seen in 1982's "Signals", 1984's "Grace Under Pressure", and 1985's "Power Windows", which continued to sell millions of copies.

In the late 80's, Rush started to cut down on their tour dates and release albums with less hard rock and more synthesizers. This can be seen in 1987's "Hold Your Fire", 1989's live album "A Show Of Hands", and 1989's "Presto." At the dawn of the 1990s, Rush returned to the style of the heavier rock from their first albums. They released 1991's "Roll the Bones" and 1993's "Counterparts." Both albums reached the Top Three on the U.S. album charts.

Over the years, the band members found time to raise families. Geddy Lee got married and had a son and a daughter and he had formerly expressed interest in running a minor league baseball team when he wasn't touring. Neil Peart got married and he had a daughter. Alex Lifeson got married and had 2 sons. He also spent time as a licensed pilot when he wasn't on tour.

They also won a lot of awards. Their awards are:

THE BAND'S AWARDS:
Juno Awards:
Most promising group of the year: 1974
Group of the year: 1977,1978
Best Heavy Metal Album: 1991
Best album cover: 1991,1992
Best Hard Rock Album: 1992
Hall of Fame: 1993

Grammy awards:
Runner up in Best Rock Instrumental: 1982, 1992

Hall of Fames:
Rush was inducted into the Canadian Music Hall of Fame in 1994 for being influential.

In 1996, Alex Lifeson got together with some guys from bands like "I Mother Earth" and "Primus" so he could release his own solo album. The name of the band and the name of the album was "Victor". His son Adrian played in the album also. Later that year, Rush came out with their 19th album. It was titled "Test For Echo." It was a success. They had made it after their 18-month vacation. That was the longest vacation for them. Even 6 months is a long time for the band members.

In August of 1997, Neil Peart's daughter and only child died in a car accident. He had to take a break for a while and so did the rest of the band. Then, they started mixing up their 20th album, which was also their 4th live album. It was titled "Different Stages". During the mix, Neil Peart's wife died of cancer in July. This was a terrible event for the band and the fans. The album came out on November 10, 1998. The album was a 3 disc set with 2 discs from the their last 2 tours and the 3rd disc from the "A Farewell To Kings" tour in 1978. The fans loved the album. But the fans also wanted to know if there was going to be a Different Stages Tour or possibly a new studio album coming out in the near future.

There was no tour for Different Stages. Many fans were without any official news for many months as Rush's hiatus raged on. Nobody knew what was going on with the band.

Then in the spring of 2000, official news was released saying that Neil had gotten back together with Rush. They planned to get back into the studio in October of 2000, after Geddy Lee would complete his first solo album.

But, In September of 2000, Neil got remarried in a small private ceremony. This was great news to the fans. Of course this pushed back the date of when Rush would get back into the studio. Meanwhile, Geddy was still working on his solo album. Geddy had united with old friend Ben Mink to write some songs with him. This resulted in Geddy's first solo album entitled "My Favorite Headache" which was released in the fall of 2000. After a short mall tour in support of the album, Geddy announced that he would later get back with the band in the winter to start work on a new Rush album.

The band got back together and in May of 2002 they made their triumphant return with "Vapor Trails". A highly anticipated and successful tour kicked off in June and lasted until November. In the fall of 2003, Rush released "Rush In Rio", a live album and DVD recorded at the last date of the Vapor Trails tour in Rio de Janeiro, Brazil. The set (the DVD in particular) was highly successful.

In 2004, following the huge success of their return to touring, Rush embarked on their 30th anniversary tour. Released during the tour was an 8-song EP featuring covers of songs by bands such as Cream, The Who, The Buffalo Springfield, and The Yardbirds. The EP was named "Feedback" and it was a tribute to the bands that Geddy, Alex, and Neil covered in their first bands when they were 13 and 14 years old. At the same time, Rush was featured on the live concert DVD "Toronto Rocks", which was filmed at SARSfest, July 30, 2003. The festival was put on to raise money for the Toronto SARS scare and featured other popular bands such as The Guess Who, AC/DC, and The Rolling Stones.

EPILOGUE: by Matt Lupoli
2005 marked the release of a brand new DVD set entitled "R30 - 30th Anniversary World Tour." The first disc featured a concert video from their sold out show in Frankfurt, Germany during the 30th Anniversary World Tour. The second disc was a treasure chest collection of old music videos, interviews, and various other tid bits. The deluxe edition of the DVD set also had an audio version of the Frankfurt concert (not sold seperately) as well as signature guitar picks and a souvenir backstage pass. The DVD release was very successful. Their next release (scheduled for June 2006) is a new DVD box set featuring the concert videos "Exit... Stage Left", "Grace Under Pressure Tour", and "A Show Of Hands" which have been discontinued on VHS for several years. The new set is entitled "Replay X3." =>>>>>>>>>>>

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@ The Canadian Music Hall of Fame
In 1974, Rush released its first (self-titled) album. It became the biggest selling debut from any Canadian band and brought with it the first of countless Juno nominations. Since then, Rush has shown a phenomenal propensity, for both national and international success, recognition, awards, sellout shows, and silver, gold and platinum certifications. After breaking in the US in 1976 with 2112, and then internationally in 1980 with the release of Permanent Waves, Rush went on to sell more than 30 million records worldwide. Among the band's many awards are a Group of The Decade - 1990, Harold Moon Award (SOCAN) - 1992, two Grammy nominations - 1982 and 1992, and a Toronto Arts Award in 1993. The band has received 33 Juno nominations up to and including 1993.

As well, Rush has influenced innumerable bands (Primus, Dream Theatre, Queensryche, Fates Warning) and musicians. Individually, the members are perennial winners of reader's polls in magazines such as Modern Drummer. Guitar Player and Playboy, among others. Perhaps the most intriguing accolade that has been bestowed upon this trio was the declaration in 1993 by Harvard Lampoon, the world's oldest humour magazine, that the players in Rush were the Musician's of the Millennium.

Despite all of the acclaim, the members of Rush have displayed a remarkable ability to keep their lives private and to completely avoid the usual entertainment scandals, rumours and innuendo that almost inevitably follow most celebrities. In fact, close examination points to the distinct possibility that, while the members of Rush take their music very seriously, they don't really perceive themselves as "rock stars". Even when their personal lives are revealed, it is not the fast land of jet setting and posh parties that is exposed, but tales of drummer Neil Peart's bicycle tours, guitarist Alex Lifeson's scuba-diving sojourns with former PM Pierre Trudeau and bassist Geddy Lee's wife co-owning a Toronto based clothing design company called Zapata.

Musically, Rush has always been an enigma. In a world of three-chord heavy rock, the group's only peers are in the arena of fusion jazz, although its roots are early-to-mid 70's Led Zeppelin and post-psychedelic "prog-rock". For Rush to comfortably share a place in the Juno Hall of Fame alongside such diverse legends as Anne Murray, Leonard Cohen, Maureen Forrester, The Band, Glenn Gould, Neil Young, and Oscar Peterson also speaks volumes about the multi-hued landscape of Canadian music. Rush has a unique ability to age not just gracefully but imperceptibly. There is nothing that Rush has done in 1974 or 1984 or today in 1994 that is conceivable for the band to continue doing in 2004 and beyond. =>>>>>>>>>>>




Rush - Tom Sawyer @ You Tube



Geddy Lee

@ Wiki
Geddy Lee OC (born Gary Lee Weinrib on July 29, 1953 in Toronto, Ontario) is a Canadian musician. He is the vocalist, bassist, and keyboardist for the Canadian rock group Rush. Lee joined Rush in 1968 at the request of his childhood friend, Alex Lifeson.

An award-winning musician, Lee's style, technique, and skill on the bass guitar have proven very influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden, John Myung of Dream Theater , Les Claypool of Primus, and Cliff Burton of Metallica.

In addition to his composing, arranging, and performing duties for Rush, Lee has produced albums for various other bands, including Rocket Science. Lee's first solo effort, My Favourite Headache, was released in 2000.

Along with his Rush bandmates -- Lifeson and drummer Neil Peart -- Lee was made an Officer of the Order of Canada on May 9, 1996. The trio were the first rock music group so honoured.

Lee is currently working with Rush in preparation for the May 1, 2007 release of their latest album, Snakes & Arrows, and a concert tour to follow.

Biography
Lee's parents were Jewish refugees from Poland who had been survivors of Nazi concentration camps Dachau and Bergen-Belsen during World War II. In 2004, Canadian Jewish News featured Lee's reflections on his mother's experiences as a refugee, and of his own Jewish heritage. Lee's stage name, Geddy, was inspired by his mother's heavily-accented pronunciation of his given first name, Gary.

Lee married Nancy Young in 1976. They have a son named Julian and a daughter named Kyla Avril.

Equipment used
Lee has varied his equipment list continually throughout his career:

Bass guitars
For his first local gigs in the early 1970s, Lee used a Fender Precision Bass. From Rush's eponymous debut album onward, Lee favored Rickenbacker basses, particularly the 4001 model, and the Fender Jazz Bass which is heard extensively on Permanent Waves and Moving Pictures. In 1984, Lee switched to the compact, headless Steinberger bass. From 1985 to 1992, Lee used British Wal basses. He switched back to Fender Jazz Basses for the recording of Counterparts in 1993, and has been using them exclusively since then. In 1998, Fender released the Geddy Lee Jazz Bass. This "signature" model is a recreation of Lee's favorite bass, a mid-seventies model Fender Jazz that he bought in a pawn shop in Kalamazoo, Michigan. On all of his basses, Lee uses Rotosound Funkmaster round-wound strings.

Bass guitar amplification
Lee's amps in the early days were arena-ready Sunn and/or Ampeg models. By the late seventies, his backline had evolved into a unique configuration of Ashly preamps and BGW power amps, which were run in stereo with his 4001 bass. The neck pickup was sent to one amp and set for a clean, bass-heavy tone, while the bridge pickup was sent to the other amp which was set with an exaggerated treble boost, and extra gain in the preamp. This defined Lee's bass sound from 1977 to 1982. Though he would change basses, the amplifier setup remained constant through 1991. For the Roll the Bones tour (1991-1992), Lee switched to Gallien-Krueger amps, and later to Trace Elliots.

Beginning in 2002, Lee dispensed with traditional bass amplifiers in favor of DI units (also known as direct boxes), which allow the bass guitar to be connected directly to the audio engineer's main mixer. At the same time, Lee began using in-ear monitors.

Keyboards and synthesizers
Over the years, Lee's keyboards have featured synthesizers from Oberheim (Eight-voice, OB-1, OB-X, OB-Xa), PPG (Wave 2.2 and 2.3), Roland (Jupiter 8, D-50, XV-5080), Moog (Minimoog, Taurus bass pedals), and Yamaha (DX7). Lee used sequencers early in their development and has continued to use similar innovations as they have developed over the years. Lee has also made use of digital samplers. Combined, these electronic devices have supplied many memorable keyboard sounds, such as the "growl" in "Tom Sawyer" and the syncopated melody featured in the chorus of "The Spirit of Radio".

With 1993's Counterparts, Rush reduced most keyboard- and synthesizer-derived sounds from their compositions, and they continued to do so with each successive album. By 2002, the band succeeded in producing an album -- Vapor Trails -- that was completely free of keyboards/synthesizers, and featured only voice, guitar, bass guitar, drums and percussion. The band members have stated in interviews that they were proud that they had produced an album that was rich in sound and used only those basic instruments. =>>>>>>>>>>>

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Greg Prato @ All Music
Few hard rock bassists have been as influential as Rush's Geddy Lee. Born Gary Weinrib on July 29, 1953, in Toronto, his parents migrated from Europe to Canada and got his nickname "Geddy" from when his mother would try to pronounce "Gary" in her accent. Taking up bass as a teenager and influenced by the likes of the Who's John Entwistle, Cream's Jack Bruce, and Led Zeppelin's John Paul Jones, Lee hooked up with guitarist Alex Lifeson and drummer John Rutsey to form the hard rocking trio Rush (Lee would also serve as the band's lead vocalist). Although the band would eventually find success and fortune as a progressive hard rock band, early on they were highly derivative of blues rock/Led Zeppelin, as their self-titled 1973 debut proved.

But when Neal Peart replaced Rutsey one year later, the band's sound and musical direction immediately changed. Gone were the long Zep-jams and in came technically demanding and challenging hard rock, complete with thought-provoking lyrics (courtesy of Peart) -- although Lee's high-pitched, Robert Plant-esque wail remained. After honing their sound on a few albums, the trio hit pay dirt with relentless touring and their 1976 sci-fi concept album, 2112. Each successive release outsold it's predecessor (such prog metal classics as A Farewell to Kings, Hemispheres, Permanent Waves), and by 1981's Moving Pictures, Rush had become one of the biggest rock bands on the planet. Throughout the '80s, Rush explored more modern (almost new wave-ish) sounds, yet their massive fan base remained in tact -- with Lee's vocals becoming more restrained.

Rush cruised along throughout the '90s (returning to their earlier, organic hard rock sound with such releases as 1993's Counterparts), issuing successful albums and playing sold-out arena tours worldwide, until the band went on indefinite hiatus in 1997. To combat the downtime, Lee issued his first ever solo album in 2000, My Favorite Headache (who was joined by ex-Soundgarden drummer Matt Cameron and ex-FM guitarist/violinist Ben Mink). Lee's influence on rock bass can be heard in the playing of such wide-ranging disciples as Primus' Les Claypool, Dream Theater's John Myung, and Metallica's Cliff Burton. =>>>>>>>>>>>

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Transcript: Geddy Lee of Rush

@ CNN
June 3, 2002 Posted: 9:38 PM EDT (0138 GMT)

(CNN) -- After an extended hiatus, Rush is back with a new album and outlook on the future.

CNN's Geneen Pipher caught up with Geddy Lee, the band's soft-spoken singer and bassist, as the trio prepared to release "Vapor Trails," its first studio album in nearly six years.

CNN: How does it feel to be out there with a new album?
GEDDY LEE: Oh well, it's, you know, it's a little surprising. I have been kind of had my head down working for the last two years, so it's kind of a strange experience to suddenly stop working and put your head up and see all these people kind of gathered around looking at ya. That's a little bit how I feel right now.
CNN: Alex was telling me that you're getting a lot more press on the album. Why do you think that might be?
LEE: I think it's a lot of reasons. Obviously we've got some people out there that were really rooting for us through the period that we've just gone through and hoping that maybe we would get through it and make another record. And I also think you have to face also the reality that we live in a 500-channel universe now and there's a whole plethora of online magazines and all these places need something to write about, so we're it right now, I think.

CNN: My impression of "Vapor Trails" was of three old friends getting together and just jamming ... there's a real sense of joy to it that's incredibly appealing. Can you talk about that for a minute?
LEE: Well, I think that's very insightful because you just really described our experience making this record. I mean it wasn't all easy and there was a lot of crafting that went in after the initial period of inspiration or spontaneous jamming. But a lot of these songs were born out of, I think, a desire to almost state to each other proof that we still have a great feeling and intensity for what we do. In a way, it is kind of a celebration of a return of spirit, which of course was a huge question mark for quite a while.

CNN: I've listened to the album extensively and there's something different, something new, and yet it's unmistakably Rush.
LEE: I am glad that is coming through. I appreciate hearing that. I mean we've worked really hard on it and sometimes when you finish it you can really see it for the ... you can't see the forest for the trees, you know? And with this one in particular it was so difficult toward the end to get all the technical things right that I had a hard time separating it from my nervous system. So it took me a long time to be able to hear it as music, you know? I just heard it as an extension of my nerves.

CNN: It's your first release in six years. Was there any point at which you thought, "we might not get back together"? And, if there was, were you OK with that?
LEE: Yes there was, of course. That thought always crosses your mind. After the terrible events of '97 and '98 ... of course it was impossible, really, to think about the future in terms of the band. [Ed. Note: In 1997, Rush's drummer, Neil Peart, lost his only child, Selena, in an auto accident. Less than a year later, his wife, Jackie, died of cancer.] Of course we were just hurting so badly that instinct takes over and it's like a primal need and desire to protect the people around you, so I think that's what took over in a way. We just circled our wagons around Neil and hoped that there was something we could do for him -- anything. Of course everything you do seems inadequate in some way because there is no way you can fill the gigantic void that suddenly appeared. So you just turn away from the future. I always, sort of, deep in my heart believed that there would at least be an attempt to resurrect some sort of musical reunion at some point, perhaps. But it was a very small feeling I had and, really, I didn't trust it very much. (laughs)

So it was quite likely that Rush would never be around again, and that was fine as long as Neil could find some reason to carry on in some capacity.

CNN: Between albums, did you see much of each other?
LEE: Well yeah. Of course, whenever we could see Neil, whenever he was in town or whenever there was an opportunity to go visit him we did, and as time progressed, they were kind of fewer and farther in between. He did a lot of roaming in that period and he was kind of elusive and hard to track down, but I would get the occasional postcard from someplace along the road, you know, just him checking in with me, letting me know that he's OK. And Alex and I, of course, we're very close and we see each other a lot socially, so our lives just carried on as the two goofy friends we've always been to each other all these years.

CNN: When you first got back in the studio was it tough to kind of get rolling again?
LEE: Yeah, it was hard. Alex and I had come out of very different projects and we had been working on our own, and when you work on your own you start to become very fond of your own opinion, and you're not sure that you can compromise that opinion. So we needed to talk a lot and try to set the boundaries and discuss the terms of what the relationship was going to be ... you know, the writing relationship. How should we work? What kind of musical vision did we share? What kind of record do you want to make? So we had to talk and argue some of these things out. (laughs) I don't mean arguing in a nasty way, just discussing ... having a pointed discussion about what the hell are we going to do? And then we started playing and some of the playing was uninspired in my view. I think we had a fear that we would just fall into a trap of writing something that was similar to what we had done in the past. I mean that has always been the fear that we live with is ... is repeating ourselves too blatantly.

So we just had to struggle through that period and I think that's where our friendship and our desire held us in good stead. We got through that initial period and we wrote a bunch of songs, even though we were kind of half-hearted in our belief that they were good or not. And we took a break in June of that year. I went away with my family for a month, and when we came back in July and we got together and we listened through the material it seemed very clear ... the haze had lifted and it was very clear what was right about the record and what was wrong about the record. Immediately some of the songs were thrown out and immediately we celebrated that we had a number of songs that were as good as we thought they were. After that, we carried on jamming in a much more inspired way and a much more focused way, and five or six more songs came out in a very short period of time after that. They are some of the best and strongest work we've done in a long time, I think.

CNN: One thing I noticed about your vocals on this record is that they really seem to convey the intense emotion of the lyrics. Were you making a conscious decision to try new things this time around?
LEE: This is the first record that I produced, recorded and sang all my parts on my own without the benefit of a producer, engineer, or peanut gallery. And it was a really satisfying experience because it's just me sitting in a chair with my computer and my microphone and totally focusing on what is the melody that serves the lyric best, and serves the song best. Of course, it caused me to get very passionate about which lyrics worked and which lyrics didn't work and drive Neil nuts going back and forth asking for re-writes of this and re-writes of that and, poor guy, I was pulling his songs apart and sometimes just ripping out the heart of a chorus or using two lines from a verse and asking him to write the song again about this, you know. He was incredibly professional and cooperative about all that stuff and I think he appreciated just the fact that I was getting off so much on certain aspects of those songs.

There were a good number of songs that I didn't touch lyrically. They were just delivered to me and I believed them to be very, very strong and was just happy to sing them. So I think all of that contributed and I think a lot of that came from the experience I'd had doing my own record and having to write lyrics myself for that. It gave me an insight into the way of shaping melodies that was maybe more finely tuned than in the past.

CNN: Let's talk about your bass playing. "Ceiling Unlimited" stands out to me. It seems you were just, to use your words, "getting off" and having a great time ...
LEE: Yeah. I was. (laughs)

There's a certain looseness about a lot of the stuff because it was recorded in a jam environment. A lot of the bass parts ... I took a lot of liberties with bass. A lot of those songs like "Ceiling Unlimited" (have) three bass parts playing at the same time, now, there's no other band on earth that would allow me to do that. (laughs) You know, there's no producer in the world that would let a bass player run rampant like that over all the tracks. (laughs)

So, there's quite a lot of bass on this record and Alex was very supportive of all that. In fact, a lot of the style that I write bass in now is writing songs while I am playing bass chords. It takes up a lot of room, but he liked that because it made him not have to be a rhythm guitarist. It let him come in at the song from a different angle. It freed us up to create something that was maybe a little bit fresher.

CNN: Was there a particular reason that you chose to bookend the album (with) "One Little Victory" and ... "Out of the Cradle"?
LEE: Well we went back and forth on the running order quite a few times and the one thing that we never questioned was the opening of the album with "One Little Victory." It always seemed natural to me to start the album off with the most positive spirit on the album. And, especially, starting off with the drums, which featured him playing in such a furious way. It's just too tempting to ... some things are just so obvious you have to just recognize them and go with it.

But, we went back and forth on ending the records with quite a few different songs and we went back to "Out of the Cradle" at the very, very last minute. And, I think it is just because the sentiment of the way that song ends seems to sum up our feelings about music and kind of our feelings about life, really, that you just have to keep being out there and doing it.

CNN: Besides the tour, what do you see in Rush's future? Have you discussed the future of the band at all?
LEE: No. It's ... I think from here on in it's going to be one step at a time for us. You know, we did this record and we made a commitment to it and we're really happy with it. And our happiness from this process made it easy to go into a live tour decision and then we'll sit back after that tour is over and see how we feel about continuing and then make that decision.

CNN: On the topic of touring. The last time around I remember the radio promos about how you'd be playing "'2112' in its entirety." What surprises do you have in store for your fans this time out?
LEE: Well I don't feel I am in a proper position to answer that question until I've got some rehearsal under my belt. We've got a few ideas of some songs we'd like to bring back ... that we haven't played in a while ... some of them have been requested by our fans, and we're going to see what works and what doesn't work for us. You know, some fan requests are possible and some are probably not possible for a couple of reasons. You know, some of those songs just don't feel right to play anymore. And sometimes you can have the best intentions to accommodate your fans but if you're not playing the song with any kind of feeling for it, then you're not really doing the song a service. So we'll try a few things and we'll see what works and what doesn't work and construct a couple of sets that I think people will be happy with. Our goal is to try to make the set quite different than the set of last tour. Even if it means dropping a few songs that people have been hearing for the last three or four tours. Some of them must be given a break.

CNN: Do you get tired of playing certain songs?
LEE: Oh yeah. You do intellectually. But on the night, of course, you just go for it anyway, and usually it pays you back.

CNN: In April, a website posted an illegal copy of "Vapor Trails." Can you give me your reaction to that? And your feelings on the Internet's place in the music business?
LEE: Well I think the Internet will eventually play an increasingly important part in how music is delivered to people. I think that is inevitable. But I am not happy about the condition of the sound of downloaded music -- at least when it is pirated anyway -- there's a certain amount of pride that every producer or engineer or musician takes in working hard on the details of a record to make it sounds as good as you think it should sound for people to appreciate it. And when that's disregarded in a very cavalier manner, and thrown up on a website that who knows how many copies have been made of it ... I think that makes you feel that a lot of your work has gone in vain, and that's not a good feeling. So I resent that. I don't like that.

As far as the free downloading of music, that's an issue that we're all wrestling with. I don't feel good about it. I work hard to do what I do. I spend time, energy, and money making great music ... or at least attempting to make great music. (laughs) And I don't think it's fair for someone to try to justify the stealing of that music or the downloading of that music just because it happens to be convenient to do so. I understand that it is very hard to resist and I understand that a lot of fans make copies of records after they've bought them and I have no quarrel with that. That's a time-honored tradition. You buy a record, you've earned the right to compile it with your other favorite records or take it in your car and listen to it. Nobody's bitching about that. But I don't feel very good about a lot of that happening. I mean I don't think, in a way, it hurts me as much as it does the next generation of young bands. It is basically setting up a dangerous precedent ... I don't know how a lot of these bands can exist on that level.

CNN: Your music has served as the soundtrack for many people's lives. Can you tell me some of the songs or artists that would be on the soundtrack of your life?
LEE: There are so many, going way back ... Certainly the Who played an important part in my early life. Joni Mitchell, in a way, I used to love her music when I was young. Neil Young ... so many artists. I was such a huge music lover when I was a kid, and I had an enormous record collection. I don't know if one message or one person's music helped me psychologically, but I know the music of many, many bands and many individual artists always moved me and made me want to be a musician, so in that sense, they affected my life very directly.

CNN: What kinds of things are you listening to now?
LEE: Well right now I am trying to catch up because I have been in a bubble for two years and I am a little out of touch. So I can't really say that I feel very current. I look on the charts here at the record company and I don't recognize half the bands. I am probably a bit embarrassed to admit that I am not very current, but I picked up some records the other day that had some very interesting music ... Laurie Anderson's latest record, I've been listening to this artist Duncan Sheik a little bit and I think is doing some pretty good stuff. And I never get sick of listening to Bjork's voice. She could sing to me all day long. (laughs) So, those kind of things, I listen to at home.

CNN: Alex said that you were going through some old albums ... "Fly By Night," I think he mentioned by name. Do you get a kick out of listening to your old stuff?
LEE: I don't generally, but this time I did and there were some things that I thought were shockingly interesting from both points of view -- some were better than I had expected them to be and some were weirder than I expected them to be. (laughs)

CNN: What are some of the weirder ones?
LEE: Well, you know, certain things like the sound of the "Presto" album. I really like a lot of the songs on that record. I never realized that it has kind of a strange tone to the record ... it's quite a mature sound, it's kind of a subtly keyboard-driven sound. So anyway, I was just shocked at how little toughness was on that record.

And, I don't know, things surprised me like "Hemispheres," how strong it sounded still to my ears and how it has really aged pretty gracefully.

CNN: Going back to what you're into now, some of the reviews I have read have actually compared the sound of the new album to bands like Tool and Staind. Was it a conscious decision for you to go in a totally different direction? I notice there are no keyboards this time around.
LEE: Yeah, we avoided keyboards. I think that was conscious, aside from that, we wanted it to be kind of a three-piece record. But aside from those generalities, there was no real discussion of how it should sound. I wanted it to be a very big sounding record, I think that was clear. That we wanted it to be bold. We wanted it to be ... to have a nice big fat bottom end to it. And we wanted it to be a rock record.

As far as those other bands you mentioned, I wouldn't know most of their records. I've never heard a Staind record in my life. I wouldn't know it if I tripped over it.

CNN: One last question about fans. You have an incredibly dedicated fan base, why do you think your fans are so loyal to the band? And do you enjoy reading the fan sites?
LEE: I have a Web site of my own that I started when I released "My Favorite Headache." And, I do enjoy going on that site and reading fan postings and, in some cases, communicating with them directly. I have found that to be a really great benefit of technology.

I can't really explain the fan devotion. But I can tell you that I really appreciate it and it is not lost on me. And I can only say that I think a lot of our fans are musicians, and a lot of our fans, obviously, feel some sort of comfort or questions that they may have ... they may find some, I don't want to say answers, but at least some sympathy or simpatico feeling in some of our music and that, I think, makes some sort of connection with us.

CNN: Well, it's been an incredible honor and pleasure talking to you, Geddy.
LEE: It's been nice talking to you too.

CNN: I appreciate your taking the time out to talk with me and share your thoughts.
LEE: Oh, it was my pleasure. It was a very nice conversation. Thank you so much for your kind thoughts. =>>>>>>>>>>>

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Geddy Lee @ You Tube

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Neil Peart

Greg Prato @ All Music
Ask just about any rock drummer who their influences are and chances are Rush's Neil Peart will be high on the list. With his technically demanding and precise rhythmic style, few rock drummers have scaled the heights that Peart has over the years on both record and on stage as part of the renowned Canadian prog rock trio. Born in Canada on September 12, 1952, Peart began taking drums lessons at the age of 13 and by the late '60s/early '70s, immersed himself in the challenging sounds of such rock drummers as the Who's Keith Moon, ELP's Carl Palmer, Yes' Bill Bruford, and legendary big-band drummer Buddy Rich. After a brief stint living in England (where he discovered the writings of Ayn Rand), Peart returned to Canada in the early '70s and found out that the up-and-coming band Rush, who had just wrapped up touring behind their debut album, was looking for a new drummer. Peart was granted a tryout and was immediately given the nod to join, as the trio (which also included singer/bassist Geddy Lee and guitarist Alex Lifeson) sought to expand on their musical direction, which then consisted of extended blues jams à la Led Zeppelin/Cream.

Peart's entrance into the band signaled that Rush would focus on more challenging material, while the drummer also took over the reigns as the group's lyricist. While it would take a few releases for Rush's new musical direction to gel (1974's Fly by Night and 1975's Caress of Steel), the band hit pay dirt with the 1976 concept album 2112. The album told the story of a young man's fight against a future world where rock music is outlawed, with Peart applying Ayn Rand's writing style and philosophies to the plot's story line. Rush's commercial success continued, as the band scored up more heavy metal-tinged prog rock classics: 1977's A Farewell to Kings, 1978's Hemispheres, 1980's Permanent Waves, and Rush's finest hour, 1981's Moving Pictures. The group continued to rack up hit albums and sold-out arena tours (with all three members consistently winning magazine polls for being the best at their respective instrument), as Peart's influence on rock drummers had become immense, as evidenced in the styles of Dream Theater's Mike Portnoy, King's X's Jerry Gaskill, and Primus' Tim "Herb" Alexander.

In addition to his Rush duties, Peart has also found the time to become a writer himself, penning the books Radiance Over the Rockies and The Masked Rider, travel the world/sight-see between tours (Peart is an avid bicyclist), as well as organizing a Buddy Rich tribute concert in the early '90s. The future of Rush was thrust into doubt by the late '90s, however, when Peart was dealt two devastating blows in his personal life -- the tragic deaths of both his teenaged daughter and wife a year apart from each other. But by the dawn of the 21st century, it appeared as Peart was back on his feet -- he remarried and rejoined his longtime Rush mates in preparing their first new studio recording since 1996's Test for Echo. =>>>>>>>>>>>

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Rush Drummer Finalist for Literary Award
Last Updated: Tuesday, February 11, 2003 | 12:00 AM ET
CBC Arts

TORONTO - Rush drummer Neil Peart was nominated for a Canadian literary award Tuesday for his book on his emotional recovery after the deaths of his wife and daughter.

Peart's book Ghost Rider: Travels on the Healing Road is one of the nominees in the biography prize category of the second annual Great Literary Awards sponsored by the Writers' Trust of Canada.

The Canadian rock band musician wrote the book after his teenage daughter was killed in a car accident and his wife died of cancer less than a year later.

Finalists for the $15,000 fiction prize are Terry Griggs for Rogues' Wedding ; Ann Ireland for Exile ; Paulette Jiles for Enemy Women ; Lori Lansens for Rush Home Road ; and Nino Ricci for Testament .

For the $15,000 non-fiction prize: Katherine Ashenburg for The Mourner's Dance: What We Do When People Die ; Andrew Clark for A Keen Soldier: The Execution of Private Harold Joseph Pringle ; Marni Jackson for Pain: The Fifth Vital Sign ; Jake MacDonald for The Houseboat Chronicles ; and Lorie Miseck for A Promise of Salt .

For the $10,000 biography prize: Warren Cariou for Lake of the Prairies: A Story of Belonging ; Andrew Clark for A Keen Soldier: The Execution of Private Harold Joseph Pringle ; Charlotte Gray for Flint & Feather: The Life and Times of E. Pauline Johnson, Tekahionwake ; Jerry Kobalenko for The Horizontal Everest: Extreme Journey on Ellesmere Island

Nominees for the $10,000 Journey Prize - awarded to a new writer for a short story or fiction work in progress published in a Canadian literary journal - are Geoffrey Brown for Listen ; Jocelyn Brown for Miss Canada ; and Neil Smith for Green Fluorescent Protein .

The awards will be presented March 6 at Toronto's Arts and Letters Club.

For more arts news, listen to The Arts Report weekdays at 7:12 a.m., 8:12 a.m. and 5:55 p.m. on CBC Radio Two. =>>>>>>>>>>>

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Guitar Center Introduces Neil Peart Commemorative Kit

Westlake Village, CA, October 18, 2006 — Following last year’s nationwide tour of Neil Peart’s actual drum kit, accompanied by long-time drum technician Lorne Wheaton, musical instrument retailer Guitar Center, Inc. (Nasdaq:GTRC) has teamed up with Drum Workshop (DW)and SABIAN cymbals to recreate the legendary drummer’s “R30” drum kit in honor of 30 years of the enduring legacy of RUSH. The DW Neil Peart Commemorative R30 Drum Kit delivers unmatched sound and is replicated right down to the minutest detail.

Each drum is made from hand-selected maple wood with an inner ply of curly maple, while the finish is an extreme custom lacquer process that involves hologram appliqués of icons (inspired by Keith Moon’s "Pictures of Lily" kit) representing many of RUSH's most famous recordings and tours. Each Black Mirra Flake panel is lined with red pin striping and the entire kit including hardware and pedals are custom plated in rich 24-carat gold. The R30 kit also includes a full complement of Neil’s SABIAN Paragon cymbals, which he worked closely with SABIAN to develop. The kit comes complete with 30 pairs of Pro-Mark Neil Peart Commemorative Drum Sticks, an exclusive DVD titled The Making of the R30 Drumkit, as well as a Certificate of Authenticity personally signed by Neil Peart.

Guitar Center is making this once-in-a-lifetime, limited production (only 30 are being produced) DW Neil Peart Commemorative R30 Drum Kit available on October 30th at $30,000.00. For more information, please visit guitarcenter.com



Rush on the Media

Rush Rolls Again
Jon Wiederhorn @ Onstage Magazine (Sep 1, 2002)

In their heyday, the idea that Rush might go five years between tours would have been unthinkable. For more than two decades the Canadian progrockers held the reputation of being the ultimate untiring road act. Proof lies in the band's four multidisc concert albums, which showcase their virtuosity perhaps more accurately and articulately than their well-wrought studio discs.

In 1997, however, the Rush touring machine ground to a screeching halt when drummer Neil Peart's daughter Selena Taylor was killed in an automobile accident on a highway between Toronto and Montreal. As if that weren't horrible enough, Peart's wife Jackie Taylor died of cancer about a year later.

Peart was devastated and unable to even pick up his sticks. He left Toronto, his home for many years, and lived as a nomad, traveling by motorcycle from town to town in a desperate attempt to bring meaning back into his life. Eventually he settled in rural California, where a ring of close friends helped him cope with his terrible loss.

For the next four years, Rush was eerily inactive. Bassist Geddy Lee released a solo album and guitarist Alex Lifeson produced a disc by nu-metal group Lifer, but fans of Rush had to settle for memories and the 1998 live album Different Stages, which featured two discs from the group's 1997 tour and a third disc of a 1978 performance at London's Hammersmith Odeon.

For a while it appeared that Rush was through. But last year, after falling in love and getting remarried, Peart decided that he was ready to start playing music once again.

“I remember we had a meeting where Neil said he'd like to try to do another record,” Lee says. “But he was still very tentative and not feeling very confident. So we said, ‘Look, we'll create an atmosphere that's loose and as intimate as we can get it. And at some point, if you feel you can't handle this or it's freaking you out or it's not working, fine. That's cool. So let's throw the schedule and deadline out and see if we can get back to work.’ And he was a real pro. Once he got in a position of working, he realized how much he enjoyed it.”

After Peart brushed up his chops and wrote lyrics for the band's new disc, Vapor Trails, he decided that it was time to fully resume his life as a musician. That meant touring.

Rush's 2002 show promises to be one of their most inspiring and exciting ever. According to Lifeson, the band will play almost three hours of material, including much of Vapor Trails and a handful of songs they haven't performed in over a decade. The music will be accompanied by a new high-tech light and video show.

Lee and Lifeson talked to Onstage just prior to the group's tour about a boatload of issues facing a band on the road: tour preparation, road survival, technology, show pacing, improvisation, onstage snafus … and snatching victory from the jaws of defeat.

More than five years have passed since you last toured. Are you looking forward to getting back on the road?

Geddy Lee: Until we get out there and play the first show it'll all be [both] strangely familiar and strangely foreign. There was quite an unusual atmosphere through rehearsals. I'm looking forward to it feeling different and fresh, but until we play one flawless show it'll be a little nerve-wracking.

Alex Lifeson: We're doing a lot of planning and changing a lot of things for the tour, and that's making things pretty exciting. I changed all my equipment, so I have all new gear this year just because I want the challenge of something fresh and new.

Did you miss touring?

Lee: I didn't, to be frank. One of the benefits of the difficulties of the last couple of years is I've become a true member of my family and my community. For someone who's spent his life since he was 19 on the road, that's a great benefit. So it's a little bit difficult for me to unplug myself from that and get back into the headspace to go back on the road. =>>>>>>>>>>>

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Books on Rush


Permanent Change:
Rush, Musicians’ Rock, and the Progressive Post-Counterculture
A dissertation submitted in partial satisfaction of the
requirements for the degree Doctor of Philosophy
in Musicology

by
Durrell Scott Bowman
2003

==============================

ABSTRACT OF THE DISSERTATION
Permanent Change: Rush, Musicians’ Rock, and the Progressive Post-Counterculture
by Durrell Scott Bowman

Doctor of Philosophy in Musicology
University of California, Los Angeles, 2003
Professor Robert Walser, Chair

This dissertation investigates music by the Toronto-based rock band Rush. The
band features Geddy Lee’s virtuosic bass playing and countertenor singing, Alex
Lifeson’s precise-yet-tuneful guitar playing, and Neil Peart’s elaborately constructed
drumming and lyrics. Rush’s music, from the 1970s through the early 2000s, mainly
combined hard rock’s emotive riffs and solos, heavy metal’s power and intensity, and
progressive rock’s structural and metrical complexities. However, it often also employed
stylistic fragments from a wide variety of additional types of music, including the blues,
jazz-rock fusion, reggae, funk, classical, new wave, synth-pop, and alternative rock. I
argue that the band’s “musicianly” music appealed to an audience of several million
people within a broader post-countercultural context involving technique,
professionalism, technology, and entrepreneurialism. Although most rock critics
preferred reactive/revolutionary music and consistent aesthetics, musician-fans and others
from the post-industrial working and lower-middle classes often preferred
adaptive/evolutionary music and unpredictable aesthetics.

Chapter 1 synthesizes the study’s interpretive material, partly by summarizing
various changes that took place in Rush’s style over several decades. Chapter 2
establishes the context for Rush’s music within an ideology and aesthetic that conflicted
with other value systems. It also examines an early-1970s’ Rush song in order to
introduce the study’s selective use of style discussions, musical notation, and/or lyrics
within song interpretations also involving institutions, reception, genre, literature, and
various additional issues. Chapter 3 considers mid- to late-1970s’ Rush songs—
including extended/individualist works—that laid the groundwork for the band’s
progressive/hard style. Chapter 4 explores Rush songs from much of the 1980s, the
period when the band often incorporated music technology and/or secondary stylistic
attributes within consistently concise songs. Chapter 5 studies Rush songs from 1989 to
2002, during which time the band tapered off its interest in music technology and
increasingly engaged in updated variants of its earlier “power trio” style.

The dissertation contributes cultural musicology and song interpretations to a
relatively new discourse involving a technique-oriented post-counterculture. =>>>>>>>>>>>

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Rush: Chemistry
by Jon Collins

Book Description
Acclaimed Marillion biographer Jon Collins draws on hundreds of hours of new interviews to tell the full in-depth story of the enduring Canadian trio who refused to compromise their music and avoided the typical rock and roll lifestyle. From early days in Canada to platinum albums, stadium shows, and the world's stage, taking in tragedy, triumphs, and a wealth of great music, this is the meticulous and definitive study of one of rock's great enigmas. From early triumphs such as the classic concept album 2112, on to their first hit single "Spirit of Radio" and beyond to Moving Pictures, "Tom Sawyer," and more pop-oriented 1990s material, Rush have continued to make groundbreaking and original music that has sold in the millions.

About the Author
Jon Collins is the acclaimed writer of the Marillion biography 'Separated Out'.

Hardcover: 254 pages
Publisher: Helter Skelter Publishing (January 15, 2006)
Language: English
ISBN-10: 1900924854
ISBN-13: 978-1900924856
Product Dimensions: 9.1 x 6.1 x 0.9 inches

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Contents Under Pressure: 30 Years of Rush at Home and Away
by Martin Popoff

Paperback: 200 pages
Publisher: Ecw Press (June 28, 2004)
Language: English
ISBN-10: 1550226789
ISBN-13: 978-1550226782
Product Dimensions: 9.7 x 6.8 x 0.6 inches

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Books by Neil Peart


Neil Peart - Anatomy of a Drum Solo
Starring: Neil Peart
Director: Matthew Wachsman

Actors: Neil Peart, See more
Directors: Matthew Wachsman
Format: Color, DVD-Video, Special Edition, NTSC
Language: English
Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
Aspect Ratio: 1.77:1
Number of discs: 2
Studio: Hudson Music / Rounder Records
DVD Release Date: December 12, 2005
Run Time: 200 minutes =>>>>>>>>>>>

Neil Peart - O Baterista (Anatomy of a Drum Solo) @ You Tube


Neil Peart @ You Tube

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Ghost Rider: Travels on the Healing Road
by Neil Peart

Mike Fink, CNN Headline News
"Peart’s story reminded me of Theodore Roosevelt’s travel West to overcome the sorrow of losing his wife and mother..."

Book Description
In less than a year, Neil Peart lost both his 19-year-old daughter, Selena, and his wife, Jackie. Faced with overwhelming sadness and isolated from the world in his home on the lake, Peart was left without direction. This memoir tells of the sense of loss and directionlessness that led him on a 55,000-mile journey by motorcycle across much of North America, down through Mexico to Belize, and back again. He had needed to get away, but had not really needed a destination. His travel adventures chronicle his personal odyssey and include stories of reuniting with friends and family, grieving, thinking, and reminiscing as he rode until he encountered the miracle that allowed him to find peace.

Paperback: 400 pages
Publisher: Ecw Press (September 2002)
Language: English
ISBN-10: 1550225480
ISBN-13: 978-1550225488
Product Dimensions: 9 x 6.1 x 1.1 inches

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The Masked Rider: Cycling in West Africa
by Neil Peart

Neil Peart cycles his way through West Africa and brings us along with him, dysentery and all. The Masked Rider details his physical and spiritual journey, through photographs, journal entries, and tales of adventure. Peart's "masks" are the masks that we wear--culture, psychology, labels, expectations--and his book reveals how traveling in a very foreign land allows us to peer behind them. --This text refers to an out of print or unavailable edition of this title.

Book Description
Dysentery, drunken soldiers, and corrupt officials provide the background for Neil Peart's physical and spiritual cycling journey through West Africa. The prolific drummer for the rock band Rush travels through African villages, both large and small, and relates his story through photographs, journal entries, and tales of adventure, while simultaneously addressing issues such as differences in culture, psychology, and labels. Literary and artistic sidekicks such as Aristotle, Dante, and Van Gogh join Peart and his cycling companions, reminding the reader that this is not just another travel book—it is a story of both external and introspective discovery and adventure.

Paperback: 260 pages
Publisher: ECW Press (September 28, 2004)
Language: English
ISBN-10: 1550226657
ISBN-13: 978-1550226652
Product Dimensions: 8.9 x 6 x 0.8 inches

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Traveling Music : The Soundtrack to My Life and Times
by Neil Peart

Metro, Toronto
"Part biography, part travelogue, part music history, Peart makes you aware that a full life should be answering...'Now, what?'"

Book Description
The music of Frank Sinatra, Limp Bizkit, Linkin Park, and many other artists provides the score to the reflections of a musician on the road in this memoir of Neil Peart's travels from Los Angeles to Big Bend National Park. The emotional associations and stories behind each album Peart plays guide his recollections of his childhood on Lake Ontario, the first bands that he performed with, and his travels with the band Rush. The evocative and resonant writing vividly captures the meanderings of a musical mind, leading rock enthusiasts to discover inside information about Rush and the musical inspirations of a rock legend.

Hardcover: 440 pages
Publisher: ECW Press (September 28, 2004)
Language: English
ISBN-10: 1550226649
ISBN-13: 978-1550226645
Product Dimensions: 9 x 6.1 x 1.4 inches

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Bass Anthology Rush (Bass Anthology)

Book Description
Titles are: Closer to the Heart * Cold Fire * Distant Early Warning * Dreamline * Free Will * La Villa Stangiato * Limelight * New World Man * Presto * Red Barchetta * Roll the Bones * Tom Sawyer * Show Don't Tell * The Spirit of Radio * Test for Echo * The Trees * 2112: Overture/Tales of Syrinx * Working Man * YYZ * Xanadu.

Product Description
Titles are: Closer to the Heart * Cold Fire * Distant Early Warning * Dreamline * Free Will * La Villa Stangiato * Limelight * New World Man * Presto * Red Barchetta * Roll the Bones * Tom Sawyer * Show Don't Tell * The Spirit of Radio * Test for Echo * The Trees * 2112: Overture/Tales of Syrinx * Working Man * YYZ * Xanadu.

Product Details
Paperback: 142 pages
Publisher: Warner Bros Pubns (July 1999)
Language: English
ISBN-10: 0769200710
ISBN-13: 978-0769200712
Product Dimensions: 11.8 x 8.7 x 0.5 inches

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Rush - Guitar Anthology Series
by Rush (Author)

Book Description
Note-for-note transcriptions of all of Alex Lifeson's licks on 20 songs from 11 albums by this superstar Toronto trio. Includes: Closer to the Heart * Cold Fire * Distant Early Warning * Dreamline * Free Will * La Villa Stangiato * New World Man * A Passage to Bangkok * Red Barchetta * Red Sector A * Roll the Bones * Show Don't Tell * The Spirit of the Radio * Stick It Out * Tom Sawyer * The Trees * Working Man * YYZ * Xanadu.

Product Description
Twenty titles from 11 albums. Includes: A Passage to Bangkok * Closer to the Heart * Cold Fire * Distant Early Warning * Dreamline * Freewill * New World Man * Red Barchetta * Red Sector A * Roll the Bones * The Spirit of the Radio * The Trees * Tom Sawyer * Working Man * YYZ * Xanadu. ?

Product Details
Paperback: 224 pages
Publisher: Warner Bros Pubns; Tablature Edition edition (November 1, 1999)
Language: English
ISBN-10: 0897249356
ISBN-13: 978-0897249355
Product Dimensions: 11.9 x 9 x 0.6 inches

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