DOCSLIB.ORG

A Canadian Chart Rush

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Canadian Chart Rush A Canadian Chart Rush By Jon Sutherland n ush is a Canadian three piece that to do something else. There comes a point thinking along the same musical lines it "has travelled many a long tour and when you find yourselffalling into a certain makes the number tliree a nice number of endured the harrassment of commercial pattern and it becomes time to shake your people to work with. success. Their individual talents are head loose and do something else. As far as What kind of music do you listen to? I unquestioned. Each member is a the 'conceptual album' we've done that. can't remember Rush ever speaking of any magnificent musician in the progressive We've taken it to its logical limit and it's influences. hard rock sense. Neil "the immaculate" time for us to do something else. We may We've had a lot of influences during Peart is as timely and. interesting a return to it again if the time is right. stages of our career. Very early on it was drummer now playing. He is a part of a Quite freqQently conceptual albums, obviously Led Zeppelin, Jeff Beck, Eric triangle that includes Alex Lifeson on all especially a series of them, tend to become Clapton, that was definitely our beginning imaginable guitar creations and Geddy Lee compared to themselves. It adds some influences. Then as British music ' on bass, lead vocals, synthesizers and many pressure. progresseq like Yes and Genesis, people of effects. Through eight albums their sound The pressure is not the important thing. that ilk were more in the forefront. To pin has grown and matured to the pinnacle of The important thing is to keep improving. down any influences I would say basically their profession. Permanent Waves is by We've tried a few long pieces and once we'd progressive British rock music. far the band's most successful album to done it properly 'we thought what's the Rush has never ever done covers. Every date. Arguably it is their best but many a sense of doing another one right now. It's song on every album has been original. Rush fan can tell you how good 2112, A like walking on a treadmill. Yes. Farewell To Kings ,and Hemispheres are. One thing I have noticed in the evolution You would never consider doing that Geddy Lee spoke openly to Record Review of Rush is the tremendous improvement would you. about the principles of Rush'sfoundation, and range developed by all three players. I don't know if we would. We've never their recording history, and future plans. Our first priority has always ' been as even talked about it. I imagine if a How's the tour going? musicians and we've tried to get better songwriter came up with an interesting Fine. every year and with each album. That's the song that we felt very, very strongly about A lot of one nighters? whole reason for a band. The better a then maybe we'd do it. Yeah. musician you become the more you can It's never ocuffed to the band? In the past few albums Rush has used a apply that to your songwriting. Those are No because we enjoy writing ourselves. particular story line or the familiar concept pretty simple goals. Sometimes that can make it a problem to album technique. Why switch in I have thought it would be a tremendous establish yourself commercially. It takes Permanent Waves? advantage for you and Alex to have a time to develop an identity in a crowded You can only go so long before you have drummer that writes, does a lot of lyrics, arena such as hard rock. Rush came up the and it is such a brilliant player like Neil hard way, touring, maintaining originality, Rush (from left): Alex Lifeson, Peart. and sticking to the goals it made for itself. Neil Peart Gedd Lee Yes it is. When you have three people I don't know that that is the hard way. 18 RECORD REVIEW JUNE 1980 , /' It's not necessarily a bad way to do it Permanent Waves there is one curious little Yeah. The studio is a really strange though. You don't have to compromise. endeavor. The reggae flash. animal. You can go in so and the studio will And the longer it takes and the slower it The song it's from represents the radio dictate what it's going to sound like. In takes the .more you learn on the way. It's and we wanted to do several different Farewell To Kings it was the first time we . the trip that you're into not the getting styles. The reggae part is a part of music had gone away to record. It was a real nice there. , now and the little riff is something we have setting, outdoors for some of it. We had the What's up for Rush in the future? You'll been trying to figure out how to sneak in opportunity to say 'this is the kind of finish the tour, , , for a long time. (laughs) The tune seemed sound we want to get.' That was the first It's a long tour. We'll do the U.S. and to be the right opportunity for that. album where the production was in the' Canada up until about June then we're Permanent Waves is another Rush ballpark as to the way we wanted to sQund going to Europe again. statement where long instrumental like. Back to the three-piece questions. Do passages can wander but the melody will It made sense looking back now that you ever find being a three-piece a still remain coherent. A lot of bands when hanging out that long without limitation? All of the embellishments and they play hard and fast can really lose it. compromising you would eventually win'. sp«;.cial arrangements; does that ever make Well the key to a successful piece of Yeah (laughs). That's what everyone you 'want to add musicians for the tour? music is its melodic line. That is something likes to think. No. We've managed so far. It's a lot of we've been on. I don't There was more exploring on running around and I've got a complicated Hemispheres, more keyboards,additional set-up. I have a couple of synthesizers that instruments. .. I trigger with my feet. It's a crazy set-up It was al very ambitious album actually. and it keeps it interesting and on your toes. We wrote that whole album in the studio. It Have you added much to the show took us about eleven weeks to finish it and visually? it was a monumental effort on our part. It's basically the same presentation but Because of the complexity. it was something every year it expands with more visual we learned a hell of a lot from but it took.a effects. lot out of us too. By the' time we finished that album we felt that a part of our brain Is there a special formula that the band and heart was on the cover of the album. uses in songwriting? Do you all write (laughs) together? How does a Rush album get put We did lea'rn an incredible amount about together? sound and what we could do like using the There is no real normal way. They've all studio to achieve the sound you really been different. want. Some of the things on our albums How about Permanent Waves? that end up being songs started out as Permanent Waves was put together in experiments. the most traditional Boy Scout way. There The fact that we wrote it in the studio was a lot of preparation involved. It was meant we had to write it, rehearse it and the first time that we were this prepared. 'The studio is a really record it in a very short period oftime. We Everything except "Natural Science" was had to sound like we'd been playing it for written before we went into the studio. We strange animal' three months where in actuality we'd only wrote that while we were recording. Lee been playing it for a few days. Permanent We went out to this farm during the Waves was a reaction to that, We took time summer after we'd had a month's holiday think it's something you perfect, I think it is off before we wrote, we did everything and we wrote all of the tunes together. something you keep getting better at that's slowly and carefully and it's a much more Then we did a short tour of about three honing down a sense of melody. It's just a pleasant way to record, weeks and we went into the studio. matter of how complex you allow a piece of Are you going to take Permanent Waves Did you have' a chance to do anything music to get. There has to 'be a strong mel­ to Japan? I think the climate would really from Permanent Waves on the tour in ody to tie it together like a thread running be ripe for Rush to tour there. getting ready for the studio? through a piece of music to keep the interest There's talk about going at the end of the We played a couple ofthem. We did the there. year. I would like to go. tour with the specific idea of doing the Let's trace Rush's history a little if we What happens after the tour? songs and working the bugs out of them , could.
Load more

Recommended publications
  • Apr-May 1980
    MODERN DRUMMER VOL. 4 NO. 2 FEATURES: NEIL PEART As one of rock's most popular drummers, Neil Peart of Rush seriously reflects on his art in this exclusive interview. With a refreshing, no-nonsense attitude. Peart speaks of the experi- ences that led him to Rush and how a respect formed between the band members that is rarely achieved. Peart also affirms his belief that music must not be compromised for financial gain, and has followed that path throughout his career. 12 PAUL MOTIAN Jazz modernist Paul Motian has had a varied career, from his days with the Bill Evans Trio to Arlo Guthrie. Motian asserts that to fully appreciate the art of drumming, one must study the great masters of the past and learn from them. 16 FRED BEGUN Another facet of drumming is explored in this interview with Fred Begun, timpanist with the National Symphony Orchestra of Washington, D.C. Begun discusses his approach to classical music and the influences of his mentor, Saul Goodman. 20 INSIDE REMO 24 RESULTS OF SLINGERLAND/LOUIE BELLSON CONTEST 28 COLUMNS: EDITOR'S OVERVIEW 3 TEACHERS FORUM READERS PLATFORM 4 Teaching Jazz Drumming by Charley Perry 42 ASK A PRO 6 IT'S QUESTIONABLE 8 THE CLUB SCENE The Art of Entertainment ROCK PERSPECTIVES by Rick Van Horn 48 Odd Rock by David Garibaldi 32 STRICTLY TECHNIQUE The Technically Proficient Player JAZZ DRUMMERS WORKSHOP Double Time Coordination by Paul Meyer 50 by Ed Soph 34 CONCEPTS ELECTRONIC INSIGHTS Drums and Drummers: An Impression Simple Percussion Modifications by Rich Baccaro 52 by David Ernst 38 DRUM MARKET 54 SHOW AND STUDIO INDUSTRY HAPPENINGS 70 A New Approach Towards Improving Your Reading by Danny Pucillo 40 JUST DRUMS 71 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake The feature section of this issue represents a wide spectrum of modern percussion with our three lead interview subjects: Rush's Neil Peart; PRODUCTION MANAGER: Roger Elliston jazz drummer Paul Motian and timpanist Fred Begun.
    [Show full text]
  • Orpe=Civ= V=Kfdeq Italic Flybynightitalic.Ttf
    Examples Rush Font Name Rush File Name Album Element Notes Working Man WorkingMan.ttf Rush Logo, Album/Song RUSH Working Man Titles Fly By Night, regular and FlyByNightregular.ttf. orpe=civ=_v=kfdeq italic FlyByNightitalic.ttf Caress Of Steel CaressOfSteel.ttf Rush Logo, Album Title Need to Photoshop to get the correct style RUSH CARESS OF STEEL Syrinx Syrinx.ttf Rush Logo, Album/Song RUSH 2112 Titles ALL THE WORLD'S A STAGE (core font: Arial/Helvetica) Cover text Arial or Helvetica are core fonts for both Windows and Mac Farewell To Kings FarewellToKings.ttf Rush Logo, Album/Song Rush A Farewell To Kings Titles Strangiato Strangiato.ttf Rush Logo Similar to illustrated "Rush" Rush Hemispheres Hemispheres.ttf Album Title Custom font by Dave Ward. Includes special character for "Rush". Hemispheres | RUSH THROUGH TIME RushThroughTime RushThroughTime.ttf Album Title RUSH Jacob's Ladder JacobsLadder.ttf Rush Logo Hybrid font PermanentWaves PermanentWaves.ttf Album Title permanent waves Moving Pictures MovingPictures.ttf Rush Logo, Album Title Same font used for Archives, Permanent Waves general text, RUSH MOVING PICTURES Moving Pictures and Different Stages Exit...Stage Left Bold ExitStageLeftBold.ttf Rush Logo RUSH Exit...Stage Left ExitStageLeft.ttf Album Title Exit...Stage Left SIGNALS (core font: Garamond) Album Title Garamond, a core font in Windows and Mac Grace Under Pressure GraceUnderPressure.ttf Rush Logo, Album Title, Upper Case character set only RUSH GRACE UNDER PRESSURE Song Titles RUSH Grand Designs GrandDesigns.ttf Rush Logo RUSH Grand Designs Lined GrandDesignsLined.ttf Alternate version Best used at 24pt or larger Power Windows PowerWindows.ttf Album Title, Song Titles POWER WINDOWS Hold Your Fire Black HoldYourFireBlack.ttf Rush Logo Need to Photoshop to get the correct style RUSH Hold Your Fire HoldYourFire.ttf Album Title, Song Titles HOLD YOUR FIRE A Show Of Hands AShowofHands.ttf Song Titles Same font as Power Windows.
    [Show full text]
  • With the End in Sight, We Detail the Pros and Cons of Our Cascade Audio Install by JAMES MILES • PHOTOGRAPHY by PATRICK HILL and the AUTHOR
    PART SALE 3 With the end in sight, we detail the pros and cons of our Cascade Audio install BY JAMES MILES • PHOTOGRAPHY BY PATRICK HILL AND THE AUTHOR 2 1 L In our last L This month we got rolling report on this sub- with a spray-in sound deaden- ject, we had just er called VB-1X. Using the finished spraying SG-1 gun (available from Cascade Audio’s Cascade Audio, see photo ThermaGuard into above) the installation was the interior of our as easy—and as simple to C4 project car, The clean up—as last month’s Son of Zombie. For ThermaGuard application. more on this job, see the July issue. We sprayed the rear hatch area first, followed by the floor, transmission tunnel, and firewall. L 3 60 VETTE MAGAZINE • AUGUST 2006 www.vetteweb.com the July issue, we lined the inside of our project ’87 with Cascade Audio’s ThermaGuard to help keep the heat out of Inthe cockpit. This month, we took the install to the next level, with Cascade’s VB-1X, a spray-on sound deadener that’s similar to a truck-bed coat- ing. The volume differences were instantly notice- able, and thanks to a Radio Shack-issue decibel meter and the Neil Peart drum solo “Der Trommler,” we know the extent of the changes. Following the final coat of VB-1X, we went a step further and added some of Cascade’s V-Max material to the trouble areas inside the C4— namely, the transmission tunnel, rear hatch, and B-pillar.
    [Show full text]
  • No Permanent Waves Bbbbbbbbbbbbbbbbbbbbbbb
    No Permanent Waves bbbbbbbbbbbbbbbbbbbbbbb No Permanent Waves Recasting Histories of U.S. Feminism EDITED BY NANCY A. HEWITT bbbbbbbbbbbbbbbbbbbbbbb RUTGERS UNIVERSITY PRESS NEW BRUNSWICK, NEW JERSEY, AND LONDON LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA No permanent waves : recasting histories of U.S. feminism / edited by Nancy A. Hewitt. p. cm. Includes bibliographical references and index. ISBN 978‒0‒8135‒4724‒4 (hbk. : alk. paper)— ISBN 978‒0‒8135‒4725‒1 (pbk. : alk. paper) 1. Feminism—United States—History. 2. First-wave feminism—United States. 3. Second-wave feminism—United States. 4. Third-wave feminism—United States. I. Hewitt, Nancy A., 1951‒ HQ1410.N57 2010 305.420973—dc22 2009020401 A British Cataloging-in-Publication record for this book is available from the British Library. This collection copyright © 2010 by Rutgers, The State University For copyrights to previously published pieces please see first note of each essay. Pieces first published in this book copyright © 2010 in the names of their authors. All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854‒8099. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. Visit our Web site: http://rutgerspress.rutgers.edu Manufactured in the United States of America To my feminist friends CONTENTS Acknowledgments xi Introduction 1 NANCY A. HEWITT PART ONE Reframing Narratives/Reclaiming Histories 1 From Seneca Falls to Suffrage? Reimagining a “Master” Narrative in U.S.
    [Show full text]
  • Far and Away a Prize Every Time
    NEW FROM BESTSELLING AUTHOR AND RUSH DRUMMER NEIL PEART Far and Away A Prize Every Time Neil Peart ISBN: 978-1-77041-058-9 8 x 10'', 260 pages, cloth 4-colour throughout, 150 photos $32.95 CDN, $29.95 U.S. May 2011 Memoir / Travel / Music Peart’s writing is lyrical and his tale poignant, fully capturing an extraordinary journey, both as a travel adventure and as memoir. — Library Journal on Ghost Rider Following in the tradition of Ghost Rider and Traveling Music, Rush drummer Neil Peart lets us ride along on his numerous road trips in North America, Europe, and South America, sharing his experiences in personal reflections and full-colour photos. Spanning almost four years, these twenty-two stories are open letters that recount adventures both personal and universal — from the challenges and accomplishments in the professional life of an artist to the birth of a child. Fans will discover a more intimate side to Neil’s very private personal life, and will enjoy his observations of natural phenomena. At one point, Neil anxiously describes the birth of two hummingbirds in his backyard; at Also by Neil Peart the same time, his wife is preparing for the birth of their daughter — a Ghost Rider: Travels on the striking synchronicity tenderly related to readers. Healing Road A love of drumming and the open road threads through the narrative, as 978-1-55022-548-8 paper Neil explores new horizons, both physical and spiritual. This is the $22.95 CDN, $19.95 U.S. personal, introspective travelogue of rock’s foremost drummer, 978-1-55022-546-4 cloth $34.95 CDN, $28.95 U.S.
    [Show full text]
  • The Spirit of May '97
    the spirit of May '97 Issue 38 . • • ..• ..• • ..• Editor/ill Hello and welcome to yet once again agreed to supply us now and it improves with every another action packed issue of with a selection of items, for use listen (check out how to order a The Spirit of Rush. We have in the raffle/auction part of the copy direct on the inside back tried to get this issue to you as event. Some ofthe confirmed cover)-any news of a UK! soon as we could after no.37 in items are as follow ... Roll the European release Chris? From case any of you were planning Bones - Award Plaque. the opening fusion sounding Editorial Address: a trip to North America to catch Complete sets of the re­ "Patterns" through the epic nd the band on the 2 leg of the mastered albums, Tour closing number 23 Garden Close, t4e tour. You should have Merchandise & some other "Checkerboards" Tiles cover all ChinbrookRoad, picked this issue up in mid-May surprises. As you can see the the bases, why this band are Grove Park,· from your doormat (if all went band and their management not signed to a major label is London, SE12 9TG. well between here and the have been very generous once beyond belief. Personal England printers). As you read this only again. Many, many thanks to favourites include "Anothers a couple of weeks of the 2nd leg them. Hand" and It's marvellous mid­ would have taken place and section extended instrumental North America with the tour running until the We have included a page or two passage.
    [Show full text]
  • Rush's Lyrical Rhetoric of Oppression and Liberation
    Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America,
    [Show full text]
  • Turn on with Rush
    WITH TURN ON WITH ==RUSH== N[)( I1.oChOI Young AdulTN _OIio Rush Profile Invisible Airwaves Crackle with life Bright antennae bristle With the enerqy Emotional feedback On a timeless wavelength Bearing a gift beyond price .•. (~Spirit of Radio· from Permanent Waves) In 1974, there was an album called Rush, and a fresh, youthful threesome from Canada pounding out heavy rock rhythms. Six years and another six discs later, the airwaves are crackling and bristling all over the country with the sound of Permanent Waves, Rush'a latest album. As of ~rch 1st, weeks after its release, it is Number Five on the charts, and the single, ~Spirit of Radio· is making its own waves. The first taste of what was to come occurred shortly before the release of Rush ' s second album in 1974, Fly By Night, when drummer John Rutsey left the group and Neil Peart arrived. With the full consent of founding members Alex Lifeson (guitar) and Geddy Lee (bass, vocals), Peart soon became chief lyricist, and the music be- gan t<) take on a less straight-forward, more mystical form. That year, the band received a Juno Award (Canadian Grammy) as The Most Promising New Group of the Year. A third platter, Caress of Steel, saw this development taking further shape, with a whole side being -,- devoted to the t ~le of the quest for the "Fountain of Lamneth." But it wasn't until their fourth album in '76 that Rush r eally de­ fined their role as storytellers of sci-fi. Entitl ed 2112, an entire side of the album was once again taken up with the musical relating of an epic tale.
    [Show full text]
  • A Tribute to Rush's Incomparable Drum Icon
    A TRIBUTE TO RUSH’S INCOMPARABLE DRUM ICON THE WORLD’S #1 DRUM RESOURCE MAY 2020 ©2020 Drum Workshop, Inc. All Rights Reserved. From each and every one of us at DW, we’d simply like to say thank you. Thank you for the artistry. Thank you for the boundless inspiration. And most of all, thank you for the friendship. You will forever be in our hearts. Volume 44 • Number 5 CONTENTS Cover photo by Sayre Berman ON THE COVER 34 NEIL PEART MD pays tribute to the man who gave us inspiration, joy, pride, direction, and so very much more. 36 NEIL ON RECORD 70 STYLE AND ANALYSIS: 44 THE EVOLUTION OF A LIVE RIG THE DEEP CUTS 48 NEIL PEART, WRITER 74 FIRST PERSON: 52 REMEMBERING NEIL NEIL ON “MALIGNANT NARCISSISM” 26 UP AND COMING: JOSHUA HUMLIE OF WE THREE 28 WHAT DO YOU KNOW ABOUT…CERRONE? The drummer’s musical skills are outweighed only by his ambitions, Since the 1970s he’s sold more than 30 million records, and his playing which include exploring a real-time multi-instrumental approach. and recording techniques infl uenced numerous dance and electronic by Mike Haid music artists. by Martin Patmos LESSONS DEPARTMENTS 76 BASICS 4 AN EDITOR’S OVERVIEW “Rhythm Basics” Expanded, Part 3 by Andy Shoniker In His Image by Adam Budofsky 78 ROCK ’N’ JAZZ CLINIC 6 READERS’ PLATFORM Percussion Playing for Drummers, Part 2 by Damon Grant and Marcos Torres A Life Changed Forever 8 OUT NOW EQUIPMENT Patrick Hallahan on Vanessa Carlton’s Love Is an Art 12 PRODUCT CLOSE-UP 10 ON TOUR WFLIII Three-Piece Drumset and 20 IN THE STUDIO Peter Anderson with the Ocean Blue Matching Snare Drummer/Producer Elton Charles Doc Sweeney Classic Collection 84 CRITIQUE Snares 80 NEW AND NOTABLE Sabian AAX Brilliant Thin Crashes 88 BACK THROUGH THE STACK and Ride and 14" Medium Hi-Hats Billy Cobham, August–September 1979 Gibraltar GSSVR Stealth Side V Rack AN EDITOR’S OVERVIEW In His Image Founder Ronald Spagnardi 1943–2003 ole models are a tricky thing.
    [Show full text]
  • Rush", Nine Years Old and European Address: Struggling On
    Spirit of SEPTEMBER '96 ISSUE 35 EDITORIAL Hi. and welcome to the latest The "Test for Echo" tour begins in North America on October the 19th (see "Spirit of Rush", nine years old and European Address: struggling on. elsewhere in this issue for the first set of A very big thank you to all who confirmed dates). Last issue Stewart 23 Garden Close, turned up for the convention in Leicester, offered to organise ajoint trip out to the Chinbrook Road, as you can read for yourself in this States to see the first show or two, well to Grove Park, special, NEW album and convention issue Stewart's surprise he's had over 50 people London, contact him about the trip already, be­ everybody who attended had a whale of a SE129TG. time. Stewart and I had not anticipated the cause of this he has decided he cannot amount of hard work involved in putting organise a complete trip for that many England. something like this together, we made a lot people in the remaining 8 weeks. He will of mistakes (a little too many) but we will however supply you with any details you North American Address: learn from then and next years event (oh require so you can make the trip your­ 4029 N Francisco yes, there will be one) should benefit from selves. If you need any information then 2nd Floor North pleasephonehimon01235 812501 during this. Chicago, IL 60618 Another very big thank you must the evening. Stewart will be heading over USA. go out to ALL at SRO/Anthem in Canada for the first few shows.
    [Show full text]
  • Foreword 5 Introduction 6 About This Book 8 the Making of Taking Center Stage 14 Drum Key 30
    TAKING CENTER STAGE a lifetime of live performance NEIL PEART by Joe Bergamini © 2012 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com ConTenTsConTenTsConTenTs Foreword 5 Introduction 6 About This Book 8 The Making of Taking Center Stage 14 Drum Key 30 CHAPTER 1: 2112 and All the World’s a Stage Tours (1976-77) 33 Drum Setup 35 CHAPTER 2: A Farewell to Kings Tour (1977) 36 Drum Setup 39 CHAPTER 3: Hemispheres Tour (1978-79) 40 Drum Setup 42 ”The Trees” 43 Analysis 43 Drum Transcription 45 “La Villa Strangiato” 49 Analysis 49 Drum Transcription 51 CHAPTER 4: Permanent Waves Tour (1979-80) 58 Drum Setup 60 ”The Spirit of Radio” 61 Analysis 61 Drum Transcription 62 ”Free Will” 66 Analysis 66 Drum Transcription 68 ”Natural Science” 73 Analysis 73 Drum Transcription 75 CHAPTER 5: Moving Pictures Tour (1980-81) 81 Drum Setup 84 ”Tom Sawyer” 85 Analysis 85 Drum Transcription 87 ”YYZ” 91 Analysis 91 Drum Transcription 93 CHAPTER 6: Signals Tour (1982-83) 97 Drum Setup 101 ”Subdivisions” 102 Analysis 102 Drum Transcription 104 CHAPTER 7: Grace Under Pressure and Power Windows Tours (1984-86) 108 Drum Setup 113 ”Marathon” 114 Analysis 115 Drum Transcription 116 2 CHAPTER 8: Hold Your Fire Tour (1987-88) 122 Drum Setup 126 ”Time Stand Still” 128 Analysis 128 Drum Transcription 129 CHAPTER 9: Presto Tour (1990) 134 Drum Setup 136 ”Presto” 138 Analysis 138 Drum Transcription 140 CHAPTER
    [Show full text]
  • Rush Release: Canada's Power Trio Is Switched on Live
    Rush Release Canada's Power lfio Is Switched On Live ooah-yeah!" It's Rush on the rampage, a scream­ drummer, John Rutsey]. Musically, it looked like a logical ing hard rock band from Canada. Drummer Neil place to do a live album. We had four albums' wor-th of Peart is in back, flailing away in the heavy, or­ material honed do-wn into a liv.e show. And the record O namental style required of drummers in power company was hot for a live album." trios. Golden-haired Alex Lifeson's guitar whines, and Peart feels that the live album will help present a more up front, bassist Geddy Lee gives forth with the shrill, accurate picture of where the band is currently at. screeching vocals that have given Rush its reputation as "When we playa piece live, we add all our little quirks HLed Zeppelin Junior," to it. It grows; our older material shows a remarkahle That's a first impression, but have you looked and lis­ progression. Some of the old songs have developed until tened lately? Neil Peart, who's the band's lyricist and is they're superior to the originals. This gives us a chance full of articulate, well-conceived explanations for every to bring them up to date. We always felt there was some­ aspect of Rush's existence, suggests optimistically, leThe thing happening live that didn't come flcross on record. connection wi th Led Zeppelin doesn't come so quickly Now we have the opportunity to capture that essence of anymore.
    [Show full text]