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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. -
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. -
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. -
Grokking Rush
SKYLAIRE ALFVEGREN GROKKING RUSH AMONG THEIR MANY UNHERALDED ACCOMPLISHMENTS, GEDDY LEE ET AL ARE THE ONLY ROCK BAND CITED IN THE JOURNAL OF AYN RAND STUDIES. Discussed: Trash Cans, The Stealth of True Cool, L-U-V, The Large Hadron Collider, Morse Code, The Exploited Lyrical Motif of Us v. Them, New Age Soccer Moms, Honeydew n 1968, bassist/vocalist Geddy cal percussionist this side of Keith Moon, Lee, guitarist Alex Lifeson, and and a poet to boot, thus helping to create a drummer John Rutsey began musical unit that would go on to polarize performing in the church base- rock aficionados like no other. ments and high-school audito- Largely snubbed by the mainstream Iriums of suburban Toronto. Heavily influ- rock press, Rush is a complete aural anom- enced by Cream, Led Zeppelin, and Deep Purple, they aly. Jurassic rock radio keeps them in light rotation along- released a self-titled debut in March 1974, marked as much side the corpses of AC/DC, the Who, and the Stones. by Lee’s four-string dexterity as by his vocals—which They received only a sputter of ’80s MTV attention, Rolling Stone would later refer to as a “dog-calling falsetto.” even with a collection of epic, high-concept videos.1 Two weeks before the group’s first U.S. tour, Rutsey fell ill. A soft-spoken farm-equipment salesman by the name 1 These include the eerie, Jan Švankmajer–esque “Mystic Rhythms,” the lavish, of Neil Peart auditioned for the spot, his drums trans- Monopoly-themed sets, and the (at the time) state-of-the-art computer graph- ported in trash cans. -
Label ATO Learns to Thrive As an Indie >P.24
I THE REAL DFA±. KEEPING TRACK PARTY ON SILENT ..1dUID1TY NASHVILLE'S EVALUATING EMI'S FRANK SINATRA, A BOOM CREDIT CRUNCH REALITY TV CRAZE MP3 STRATEGY BACK ON TOP FOR IBIZA? TWEAKS THE BIZ >P.10 >P7 >P.39 >P.20 >P29 From Gras -Roots Stalwarts To Growing Superstars PLUS: Label ATO Learns To Thrive As An Indie >P.24 ro-+..as MAY 31, 2008 'Ilboard.com illboard.biz sk; ,, .= CAN $8.99 UK È5.50 $6.99US $8.99CAN II IIII I II1111111111 I II 11111111 iNCTCC * * * * * * * * * * * * *SCH 3 -DIGIT 907 áíìL2408043#* MARIO REG * A04 000 /005 p IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII11II MONTY GREENLY 0027 3740 ELM AVE 4 A LONG BEACH CA 90807- 3402 001161 fri www.americanradiohistory.com ¡U.0. 1' `f r,f Year i Lps óf anlAngel" 1 Polow Da Don" , ., 1 1 ! _ r r 0 I i , i A I HaII áridlOatesi, 111 ,Pa CALL ME WHEN YOU'RE SOBER Amy Lee Dwight Frye Music, Inc. Professor Screweye Publishing CHASING CARS Nathan Connolly (PRS) Gary Lightbody (PRS) Jonny Quinn (PRS) Tom Simpson (PRS) Paul Wilson (PRS) BETTER THAN ME Songs of Windswept Pacific Blower Cody Hanson DON'T MATTER Brian Howes (SOCAN) Tony Love Mark King Lawsongs Michael Rodden Austin Winkler EVERYTIME WE TOUCH EMI -Blackwood Music, Inc. Maggie Reilly (PRS) Hinder Music Co. Stuart MacKillop (GEMA) Peter Risavy (GEMA) BREAK IT OFF Sony /ATV Songs LLC ANIMAL I HAVE BECOME Don Corleon Adam Gontier (SOCAN) Kirk "Koolface" Ford FACE DOWN Neil Sanderson (SOCAN) Rihanna Ronnie Winter, Jr. Barry Stock (SOCAN) Annarhi Music LLC Grim Goodbye Music Brad Waist (SOCAN) EMI -Blackwood Music, Inc. -
Textu(R)Al Undercoding and the Music of the Rock Band Rush: String Quartets, Death Metal, Trip-Hop, and Other Tributes Durrell Bowman
Textu(r)al Undercoding and the Music of the Rock Band Rush: String Quartets, Death Metal, Trip-Hop, and other Tributes Durrell Bowman Rush Pre-professional period (1968-69) Original members included: Alex Lifeson (b. 1953), John Rutsey (b. 1953) Other early member: Geddy Lee (b. 1953) Early professional period (1969-74: one single, one album) Lee, Lifeson, Rutsey; mainly original songs by 1971 (Led Zeppelin influence) Single: “Not Fade Away” (1973, cover version of original by Buddy Holly, 1957-58) Album: Rush (1974, recorded 1973), including “Working Man” (written in 1971) 1974 – 2004 period (28 albums; 22 U.S. gold, platinum, or multi-platinum, 142 songs) Geddy Lee’s virtuosic bass playing and countertenor (high, falsetto-related) singing Alex Lifeson’s precise-yet-tuneful guitar playing Neil Peart’s (b. 1952) elaborately constructed drumming and lyrics 1974-78 (after Rush, five more studio albums, one live album, one anthology) individualism & progressive (“art”) rock influences, with heavy metal & hard rock example: “2112” (title suite from 2112, 1976) examples: “Closer to the Heart,” “Xanadu,” “Cygnus X-1” (A Farewell to Kings, 1977) example: “The Trees” (from Hemispheres, 1978) 1980-89 (six studio albums, one live album) toning down the more extreme individualism and “prog” (progressive) features other influences (post-punk, jazz-rock, synth-rock, music technology) examples: Permanent Waves (1980, including “The Spirit of Radio,” “Freewill”) Moving Pictures (1981, incl. “Tom Sawyer,” “Red Barchetta,” “YYZ,” “Limelight”) Signals -
UDLS: Friday, Sept 23, 2011 Murray Patterson What You See
UDLS: Friday, Sept 23, 2011 Murray Patterson What you see... I typical 70's band (formed in 1968 actually) I solid, timeless rock band { one of their initial inspirations: Led Zeppelin (example: What You're Doing) I well-known songs include: Limelight, Tom Sawyer, (maybe 2112, Subdivisions) What you see... I typical 70's band (formed in 1968 actually) I solid, timeless rock band { one of their initial inspirations: Led Zeppelin (example: What You're Doing) I well-known songs include: Limelight, Tom Sawyer, (maybe 2112, Subdivisions) In Pop Culture I some pretty weird dudes: sort of nerdy, outcast I lyrics: Subdivisions, The Body Electric I tour with Kiss (interview with Gene Simmons) I not mainstream, but has a huge cult following: quoted as \the most successful cult band next to Kiss" I featured in: Family Guy, South Park, Futurama, an episode of Trailer Park Boys, and in the movie \I Love you Man" I great documentary on the band { Rush: Beyond the Lighted Stage Wikipedia Sez: Rush is a Canadian rock band formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario. The band is composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their current form when Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first United States tour. Since the release of the band's self-titled debut album in March 1974, Rush has become known for its musicianship, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns. -
Rush: Power from Thepeople Ignored by Critu:R Andnuji4 Fbi, Batyj-Roclc Trio' Wentstraigbt to The/Anr
__ l!i """"_ 1100 ..~..._.., _ • \ ( \ ,~".'~-. .. ~ -~" .....".,..... Rush: power from thepeople Ignored by critU:r andnUJi4 fbi, batYJ-roclc trio' wentstraigbt to the/anr ByDtlPW Fri£ke album, the cheering and applause seem to shake the Forum to its foundation. And by the end of the MONTREAL lengthy encore, "La Villa Strangia here are two schools of to," the audience looks almost as thought on the Canadian exhausted as the musicians. power trio Rush-for and But one fan's meat is another against. Tonight, at the man's poison. In the next morn massive Montreal For ing'S' Montreal Gazette, reviewer um,Rush are playing toyet another John Griffin roasted the group sold-out house and the lines are mercilessly: singer Geddy Lee clearly drawn. whose banshee wail could pass the Taking the affirmative position Memorex test - "sounds like a are 14,000 French-Canadian fans, guinea pig with an amphetamine many of them wearing Rush T habit"; axeman Alex Lifeson, a shirts and scruffy denim jackets master of high-volume licks, "is with the band's logo stitched ordinary at best"; and Neil Peart's across the back. They are vig heady philosophical lyrics are orously pumping the sweaty, summarily dismissed as "cosmic." smoky air with their fists and yell Griffm signs offwith one last slap, ing themselves hoarse as guitarist describing Rush as "one of the Alex Lifeson, drummer Neil Peart, most tedious rock bands working and bassist-singer Geddy Lee roar the arena circuit today." The fans through a two-hour set packed at that concert must have found it high-school buddy Lifeson racing across the Quebec-Ontario Two out0/ three: RuJbJAlex with tracks from nine of the hard to believe this guy was at the whose blond, angelic features border on the way to that night's Li/e.ron (left), GWiJy Lee group's ten Mercury albums-in same show. -
Rush, Musicians' Rock, and the Progressive Post-Counterculture
UNIVERSITY OF CALIFORNIA Los Angeles 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 © Copyright by Durrell Scott Bowman 2003 The dissertation of Durrell Scott Bowman is approved. ____________________________________ _ Susan McClary ____________________________________ Mitchell Morris ____________________________________ Christopher Waterman ____________________________________ Robert Walser, Committee Chair University of California, Los Angeles 2003 ii TABLE OF CONTENTS Figures and Tables (lists of) ......................................................................................... iv Musical Examples (lists of).............................................................................................v Acknowledgements ....................................................................................................... vi Vita ............................................................................................................................... viii Publications and Presentations.................................................................................... ix Abstract of the Dissertation ......................................................................................... xi Introduction ....................................................................................................................1 Chapter 1 Cast in This Unlikely -
The Guardian, Week of July 13, 2020
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 7-13-2020 The Guardian, Week of July 13, 2020 Wright State Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State Student Body (2020). The Guardian, Week of July 13, 2020. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Review: “Mythic Quest: Raven’s Banquet” Maxwell Patton July 13, 2020 “Mythic Quest: Raven’s Banquet,” a new television series, debuted on the AppleTV+ streaming service on Feb. 7, 2020. Created by Rob McElhenney, Charlie Day and Megan Ganz, who are all well-known for their work on “It’s Always Sunny in Philadelphia,” the series focuses on a video game company behind the fictional MMO game “Mythic Quest.” I binge-watched the entire series in about a week, and I believe that it’s a well-executed workplace comedy that doesn’t take itself too seriously and boasts stellar comedic performances from a quirky cast of characters mostly centered around the company. “Mythic Quest”’s main two characters are the company’s founder, an egomaniac named Ian Grimm (played to perfection by McElhenney), and the game’s lead engineer, Poppy Li (portrayed by Charlotte Nicdao), a graduate of MIT who constantly has to put up with the shenanigans that the company’s staff engage in. -
Alex Lifeson: Rush's Kinetic Lead Guitarist
BLEil LIFESOn Rush's Kinetic Lead Guitarist I By Jim Schwartz ENTION THE words "power trio," and most people think back M to the late '60s and early '70s when gargantuan walls of gray Marshall stacks formed an imposingly loud backdrop for a single guitar, bass, and drums. It was the age of psychedelia-of mind-expanding experi ments both synthetic and organic. Bands such as Cream and the Jim Hendrix Experi ence left listeners' ears ringin.g and musicians' heads swimming with soulful, mysterious melodies. • With the advance of ll\fulical technology in the '70s, and with the desires of many groups to elaborate further upon their roots, new equipment (and often more personnel) was added to the power trio's basic format: a second guitar, a vocalist, horns, keyboards, and a myriad of special effects. For some bands the '70s became the age oftechno-rock as the simple power trio was, at best, rele gated to a backwater status. There are a few three-piece groups, however, which retained their attraction for simplicity in numbers while also integrating into their music some ofthe most progressive components of modern instrument technol ogy. Rush is such a band. When three young Canadians-guitar ist Alex Lifeson, bassist Geddy Lee, and drummer John Rutsey-first decided to join musician experimented with new instru or its love of playing music. Shunned by musical forces as Rush in 1968, they couldn't ments. Lifeson incorporated guitar synthe most radio stations in the past because of help but be captivated by their British and sizer and Moog Taurus bass pedals into long songs and often shrill vocals, the group American contemporaries who, at that time, Rush's tunes; Lee's bass shared time with built its following through almost constant were forging the foundations of power rock. -
Rush" and a Fresh-Faced, Youthful Threesome from Toronto, Canada Pounding out Heavy Rock Rhythms in Zeppelin-Type Style
In the beginning, in 1974, there was an album called "Rush" and a fresh-faced, youthful threesome from Toronto, Canada pounding out heavy rock rhythms in Zeppelin-type style. I- Four years and another five discs later, in '78, there is an album called "Hemispheres" and a more mature, more experienced band creating music of a personal, highly developed and inarguably .e unique nature. First taste of what was to come occurred shortly before the release of Rush's second album, "Fly By Night," when original ra drummer John Rutsey left the band and new skinsbeater Neil Peart arrived. Immediately Peart took a hold of the lyric writing reins and Rush's music, with the full consent of the two remain ing founder mempers Alex Lifeson (guitar) and Geddy Lee (bass, vocals), began to take on a less straight-ahead, more mystical flavour. A third platter, "Caress Of Steel," saw this develop ment taking further shape, with a whole side being devoted to the tale of a soul-searing quest for "The Fountain Of Lamneth." But it wasn't until their fourth album that Rush truly defined their role as epic music storytellers, scions of sci-fi and sword and sorcery as well as a rock band. Entitled "2112," once again an entire side of the album was taken up with the musical relating of a titanic tale. This time around it was a case of future shock, a story of a society in the 22nd century living under the so-called "Temples Of Syrinx" ... a race of priests who regarded music as a corrupt force and who reckoned that a guitar was 'a toy that helped destroy the elder race of man! ~ When such an instrument was played in one of their temples, and its joyous music filled its barren halls, the priests reacted with predictable venom.