November 21, 2015
November 17, 2015
November 9, 2015
November 1, 2015
October 25, 2015
Rush | Closer to the Heart – R40 LIVE
Published on 23 Oct 2015
Pre-order “R40 LIVE” today!
September 28, 2015
Rush | Roll The Bones – R40 Live in Toronto (OFFICIAL AUDIO)
Published on 25 Sep 2015
Jack, relax. Get busy with the facts…
Rush revealed their first offering from the forthcoming R40 Live concert film – “Roll The Bones”, a song from their fourteenth studio album Roll the Bones, that was originally released in 1991.
This R40 Live version of “Roll The Bones” was recorded in the band’s hometown of Toronto on June 17 & 19th during the sold out shows at the Air Canada Centre on the R40 Live tour and was mixed by David Botrill (Tool, Muse).
“Roll The Bones (R40 Live)” features an array of special guests in the rap part of the song: Jay Baruchel (She’s Out Of My League), Les Claypool (Primus), Peter Dinklage (Game of Thrones), Tom Morello (Rage Against The Machine, Audioslave), Chad Smith (Red Hot Chili Peppers), The Trailer Park Boys, and Jason Segel & Paul Rudd (I Love You, Man).
It is the first time the band put the RTB song back in the setlist since the Snakes & Arrows tour in 2007/2008. During the R40 Live tour, “Roll The Bones” gained new life and became a fan-favourite with an arena sing-along to the chorus “Why are we here? Because we’re here – Roll The Bones”.
The Rush R40 Live concert film will be released on November 20th. More details to be revealed soon.
September 3, 2015
Neil Peart recants his early Ayn Rand infatuation
Last month, Reason‘s Brian Doherty found four prominent Ayn Rand fans who’ve eventually thrown off the yoke of Objectivism (or Objectivism-fellow-traveller-ism) and now don’t want to be in any way associated with their former guru, including Neil Peart:
Peart, drummer and lyricist for rock band Rush, would clearly rather not be asked about his early-career loud enthusiasm for Rand and her ideas. The well-reviewed 2010 documentary on the band, Beyond the Lighted Stage, mentions her barely at all. (I recall not at all but am using less certain language as I don’t have a full transcript to consult.) Rand’s importance is ignored by the film, though she was central to one of the core conundrums of Rush history: why did rock intellectuals and tastemakers hate on this excellent band so much and for so long?
After years of Peart’s lyrics dissing metaphorical arboreal labor unions, declaring his mind is not for rent to any God or government (Rand’s top two villains), and hat-tipping explicitly in the liner notes to the concept LP 2112 to the “genius of Ayn Rand,” he felt the albatross of 18-minute prog suites and silly ’70s stage garbs was enough for one poor percussionist to bear, and decided to drop the burden of Rand.
Peart most recently tried to distance himself from Randian libertarianism in a Rolling Stone profile of the band, as discussed here by Matt Welch, who quoted the core of Peart’s apostasy:
Rush’s earlier musical take on Rand, 1975’s unimaginatively titled “Anthem,” is more problematic [than 2112], railing against the kind of generosity that Peart now routinely practices: “Begging hands and bleeding hearts will/Only cry out for more.” And “The Trees,” an allegorical power ballad about maples dooming a forest by agitating for “equal rights” with lofty oaks, was strident enough to convince a young Rand Paul that he had finally found a right-wing rock band.
Peart outgrew his Ayn Rand phase years ago, and now describes himself as a “bleeding-heart libertarian,” citing his trips to Africa as transformative. He claims to stand by the message of “The Trees,” but other than that, his bleeding-heart side seems dominant. Peart just became a U.S. citizen, and he is unlikely to vote for Rand Paul, or any Republican. Peart says that it’s “very obvious” that Paul “hates women and brown people” — and Rush sent a cease-and-desist order to get Paul to stop quoting “The Trees” in his speeches.
“For a person of my sensibility, you’re only left with the Democratic party,” says Peart, who also calls George W. Bush “an instrument of evil.” “If you’re a compassionate person at all. The whole health-care thing — denying mercy to suffering people? What? This is Christian?”
“Outgrew” is the closest thing to an explanation, and there is no explanation at all for his reasoning that libertarianoid Rand Paul (whose name is no relation to Ms. Rand’s) is anti-woman and anti-brown people, or what about his “sensibility” matches the Democrats.
Peart clearly vibed with a general anti-authoritarianism he saw in Rand, and with her objection to enforced equality. But a more nuanced attempt to distance himself from Randian libertarianism in an interview Peart did for a feature in the libertarian magazine Liberty in 1997 (by the Institute for Justice’s Scott Bullock) made it clear that Peart’s attraction to Rand was more about her underlying sense of individualism and the nobility of the artist and his intentions than it was about all the complicated policy implications that Rand, and her libertarian fans, drew from her philosophy.
Bullock skillfully teases out the fact that Rand’s morality implied a belief in free markets as well as a general individualist sense of “freedom” seemed to have never quite been embedded in Peart’s DNA. And indeed Fountainhead‘s individualist message is largely that the creative artist can and ought to follow his own whims and spirit no matter what markets do (while never suggesting anyone should be forced to support a great artist, or prevented by force from supporting mediocre ones).
July 5, 2015
Geddy Lee and Alex Lifeson
From the recent Rolling Stone profile of Rush:
Lee has been friends with Alex Lifeson since they were nerdy teens in the Sixties; the guitarist set Lee up with Young, whom he married in 1976. Clearly, Lee has no issues with commitment, though touring strained his relationship with his family until Rush cut out European dates in the Eighties. “The worst thing you can do in marriage is to look at your partner as your wife or your husband,” says Lee. “We decided to treat each other as if we were still boyfriend and girlfriend. That subtle bit of semantics helps a lot, I think.”
Lee, born Gary Lee Weinrib, is the child of Holocaust survivors, and he traces some of his drive to his parents’ legacy. They met in a Nazi work camp in occupied Poland in around 1941, and had fallen in love by the time they were both imprisoned in Auschwitz. “They were, like, 13 years old,” Lee says over a late-night beer in a sleepy Tulsa bar, “so it was kind of surreal preteen shit. He would bribe guards to bring shoes to my mom.” As the war went on, his mother was transferred to Bergen-Belsen, and his father to Dachau.
When the Allies liberated the camps, his father set out in search of his mom. He found her at Bergen-Belsen, which had become a displaced-persons camp. They married there, and immigrated to Canada. But years of forced labor had damaged Lee’s father’s heart, and he died at age 45, when Lee was 12. Lee’s mother had to go to work, leaving her three kids in the care of their overwhelmed, elderly grandmother. “Had my dad survived,” says Lee, “I might not be sitting here talking to you — because he was a tough guy, and if he didn’t want me to do something, I may not have done it. It was a terrible blow that I lost him, but the course of my life changed because my mother couldn’t control us.”
[…]
Close to midnight, with Rush’s tour kickoff less than 24 hours away, Alex Lifeson is kneeling on a relocated couch pillow by the open window of his hotel room, exhaling pungent weed smoke into the humid Tulsa air. (If you’re in Rush and you want to get high, you do so considerately.) He breaks into a violent coughing fit. “Well, that’s the thing with this pot these days,” he says, passing the joint. “It’s so expansive in your lungs.” The streets below us are post-apocalyptically empty. “It’s busy in town tonight,” Lifeson says.
Earlier that night, over a pleasantly boozy dinner, I ask Lifeson if weed has helped him write Rush’s music. “Maybe just 80 percent of the time,” he says, roaring. “I find that smoking pot can be a really great creative agent.” (Lee quit pot in the early Eighties; Peart says, “I like marijuana, but I’m not going to be the poster child for it.”) “But when you’re in the studio and you’re playing, it’s sloppy,” Lifeson continues. “And cocaine is the worst, for everything. If you want to feel your heart pounding on your mattress at 7:00 in the morning when the birds are chirping, it’s perfect. It’s awesome. What do kids do now for drugs?”
Lifeson was a fan of Ecstasy in the early Nineties, and hadn’t heard that it’s called Molly now. “I’m glad you told me, just in case,” he jokes. “My wife is a totally nondrug person, but for some reason I talked her into it. We cranked the music and we were dancing, and then we talked for hours about deep personal stuff for what seemed like the first time, even though we’d been married for years. We were going through a bit of a difficult time in our relationship, and that opened up a lot of doors.”
November 8, 2014
Rush – “I’ve Been Runnin'” – St. Catharines 1974
From the early days of Rush, with their original drummer (John Rutsey):
July 17, 2014
Geddy Lee, wine fan
I don’t recall a lot of wine references in Rush songs, but perhaps I’m not listening hard enough: Geddy Lee is a huge wine fan and has a recent interview in Terroni Magazine (transcribed by Power Windows).
How long have you been collecting wine?
I was trying to think about that this morning actually, because I knew you’d ask me. I started collecting wine probably in the mid ’80s but not in a serious way. It wasn’t until the late ’80S that I got more serious about it.
I read that you built a modest cellar in your home but your collection quickly outgrew that one so you had to construct a second. Has your collection outgrown your cellar space or is it still hovering at around 5,000 bottles?
I don’t like to talk about how much wine I have [laughing] but I have surpassed that. I also spend a lot of time out of the country so I have wine in those places, too.
Was it love at first sip or was a taste for wine something that you acquired over time?
Well, what happened with me was when I was touring in the late ’70s, we were starting to get a little successful in America and promoters would always ask our manager, “What can I buy the guys and leave in their dressing room?” So Alex, my guitar player/partner, he was always into wine before I was so he would always say, “Great wine. Great Bordeaux.” So we would get these great bottles left for us. He would drink his and I would take all mine home because I wasn’t really fanatical About wine yet and I had a little wine fridge and I kept them safe and sound. At first I acquired a taste for Bordeaux but after many years of trying different wines, I discovered Burgundy and it changed my life, my palate and I completely crossed over to the other side-the pinot side.
[…]
I’ve read that you’re an avid traveler. Is sampling locally produced wine, if the country you’re in indeed produces it, import ant to you?
Yes it is. I’ll give you an example: last year my wife and I spent a month in New Zealand. And I’m not a big New World wine fan but seeing as we were going to be there for a month 1 thought, well you know, I should try. So every night I made it a project to try a different pinot noir. I came away from the country with about four or five New Zealand pinots that I absolutely love. It was good for me, helping to lose that French wine snobbishness that I happen to have. New Zealand makes, in my view, the best pinot noir outside of France.
Now bear with me here, but Louis Pasteur once said, “A bottle of wine contains more philosophy than all the books in the world.” And Rush lyrics are famously philosophical. Any chance that you imbibe in wine to help fuel the writing process?
Absolutely not! [Laughing] I imbibe in wine to forget the writing process! I drink coffee to inspire the writing.
March 23, 2014
Rush to do 41st anniversary tour in 2015
I refuse to believe that they’ve been around this long …
Rush wrapped up their worldwide Clockwork Angels tour just seven months ago, but they’re already planning a lengthy “41st anniversary” tour for 2015, according to guitarist Alex Lifeson. “The three of us just had a meeting,” Lifeson tells Rolling Stone. “We said, ‘Let’s not talk about anything band-wise for the next year. Let’s separate ourselves and come back rejuvenated.’ Unfortunately, the other people at that meeting didn’t hear what we were talking about, so there are already plans being made for spring of 2015. It’s going to be a 41st anniversary tour, or whatever they’re going to call it.”
The specifics of the tour are still in flux. “We haven’t really talked seriously about what we want to do,” says Lifeson. “But I think we’re probably going to lean towards making it a real sort of fan event, and really try to put something together that’s very pleasing for the fans across the board. That’s always been difficult, for us to sort of balance things.”
Published on 23 Oct 2013
Recorded in Dallas during the Clockwork Angels Tour 2012 with the Clockwork Angels String Ensemble
October 8, 2013
Geddy Lee on old Rush videos
Rolling Stone digs deep into the video archives to come up with some particularly interesting (for certain values of “interesting”) Rush videos:
Geddy Lee is the first to admit that Rush do not have a great track record when it comes to making music videos, and their track record of picking stylish haircuts and outfits also leaves a bit to be desired. A few weeks ago, he sat down with Rolling Stone to discuss Rush’s new live DVD and their future plans. Towards the end, we took out an iPad and showed him 10 Rush videos on YouTube. Sometimes, he looked a little horrified at his videos and haircuts, but he had a lot to say about all of them. Click through to see the videos and hear Geddy’s memories. At the end, we also showed him a couple of Rush tribute videos by some super-fans.
The first video is a performance of “Working Man” in St. Catharines from 1974 … with their original drummer (John Rutsey) who was replaced by Neil Peart shortly afterwards:
“I haven’t seen this, ever. It’s not a bad recording, either. John was very much a mod, very much in the Paul Weller school of dressing. Alex and I were just long-hairs pretending that we were groovy.”
And commenting on a later video:
You can see the time period in everyone’s haircuts. . . Véronique Béliveau, the French singer, was awesome. . . This was bad, but it wasn’t my worst hairdo. My worst one was the coonskin hat period. That’s when I had my hair in a ponytail and this big poufy thing on the top. That was late 1980s/ early 1990s.
June 15, 2013
Prog rock fans, unite!
In Maclean’s, Stephen Skratt talks about a new book on prog rock:
Let the hating begin. ELP are often cited as the reason punk had to happen. After the Beatles and before the Sex Pistols, they, along with Genesis, Yes, King Crimson and Pink Floyd, sold millions of records, topped critics’ polls and ushered in a golden era of prog rock. There were capes, songs about supernatural anaesthetists, a trilogy of albums about a “radio gnome,” and King Arthur on ice — literally, with skating pantomime horses (courtesy of a Rick Wakeman show). Prog virtuosos fused rock, classical, folk, jazz and Renaissance music, and took little from blues. The music couldn’t get more white — or more unfashionable. Twenty-minute songs performed by earnest young men trying to sound like an orchestra, hopping from one instrument to another, or playing several at once: this was large-scale, ambitious music meant to accompany grand lyrics and stage spectacles. Gone was sex, drugs and rock ’n’ roll, replaced by Kubrickian space-outs, Eastern philosophy and walls of synthesizers — or guitars trying to sound like synthesizers.
[. . .]
Now the music is crawling out from under its toadstool in Yes Is The Answer, edited by Tyson Cornell and Marc Weingarten. Cornell, founder of L.A.-based Rare Bird Books and a musician himself, admits the idea of having respectable writers challenge the accepted gospel about prog was far-fetched. “When Marc and I started doing this,” he says, “everybody we talked about it with was just laughing at us. But then people started to tell their stories, and it just unfolded.”
[. . .]
The book — a tribute to what Weingarten identifies in the introduction as “prog rock’s grandeur, its mushy mysticism, its blissed-out mystery” — is a high point in a renaissance that’s been building: a reverential 2009 BBC documentary (Prog Britannia), a magazine (Classic Prog), and a growing number of festivals, including Prog Angeles, organized by Cornell and featuring members of Weezer and others. Tastemaking online music journal Pitchfork drops the P-word on an almost weekly basis in describing some impossibly cool band’s music, from metal monsters Mastodon to French electronic duo Justice — an admission, finally, that someone was listening. And there is the full-on revival of the band responsible for a concept album about hemispheres of the brain: Rush. As Nirvana’s Dave Grohl said in his speech inducting Rush into the Rock and Roll Hall of Fame, “There’s one mystery that eclipses them all: when the f–k did Rush become cool?”
For all this, it’s unlikely prog will get the reappraisal its supporters feel it’s due. The biggest strike against the genre has long been that it’s bloated, corporate, the antithesis of punk — even though in spirit prog may not have been all that far off from punk. They shared a broad political ideology. Henry Cow and the other bands make up “rock in opposition,” a popular subgenre of prog, which, aside from influencing avant-garde jazz musicians over the years, make the Clash look like weekend protesters. King Crimson’s 21st Century Schizoid Man opens with the snarl of, “Nothing he’s got he really needs.” Prog explored dystopian worlds of environmental apocalypse and corporate greed, occasionally with more subtlety and whimsy than punk. And prog rockers were as committed to their outlandish musical vision as punk was to its three chords; far from all being pampered middle-class kids, they too struggled for an audience and money during their formative years. The average punk band just imploded within a few years of forming — they never stuck around long enough to be derided as “dinosaurs.”
April 19, 2013
“Recklessly normal” band inducted into Rock and Roll Hall of Fame
Jessica Allen on Rush:
The first time Maclean’s wrote about Rush was in our July 12, 1976, issue. Back then, Geddy Lee was 22 and the band’s music sent “teen-age fans into paroxysms of ecstasy.” But offstage, the three members were described as “recklessly normal.”
Not much has changed.
Rush’s fans are, well, unique. It was their ardour, after all, that persuaded the Rock and Roll Hall of Fame to include Rush among its 2013 inductees. Tonight, Dave Grohl and Taylor Hawkins of the Foo Fighters will present Rush at the Hall of Fame ceremony in Los Angeles 10:30 p.m.
[. . .]
In 1997, Rush was the first rock band to be appointed officers of the Order of Canada since the national honor system, which recognizes “significant achievement in important fields of human endeavor” was created in 1967.
When asked about why it took so long for the band that produced 19 records in a row to reach gold or platinum certification in Canada to be inducted into the Hall of Fame, joining the ranks of bands like Abba, Aerosmith, The Talking Heads and Madonna, Lee suggested that it might have to do with the style of music they play: “Progressive rock is not accepted by this group of people who make this decision. Yes are not in the Hall. That’s an error. Deep Purple are not in the Hall. That’s an error. Moody Blues are not in the Hall. So prog-rock is viewed as a kind of lesser art form by the powers that be.”
October 9, 2012
Geddy Lee and Alex Lifeson interviewed by Premier Guitar
Shawn Hammond talks to two-thirds of Rush in the November issue of Premier Guitar magazine:
If there’s one band on the planet that’s made it cool for musicians to be … well, uncool, it’s Rush. Because let’s face it — the intelligent, chops-heavy prog rock that Geddy Lee (vocals/bass/keyboards), Alex Lifeson (guitars), and Neil Peart (drums/lyrics) have become synonymous with over the last 30-plus years will never completely escape the stigma of being considered overwrought, stodgy, and even nerdy.
But with 1980’s “The Spirit of Radio” — a tune that the Rock and Roll Hall of Fame ranked as one of the top 500 most genre-defining — the dudes raked in fame and glory with brainy, multisyllabic bashing of the very industry and medium that made their careers possible, and they did it over a backdrop of swirling pull-off licks, distorted bass, and tour de force drumming that was somehow still catchy. Their encore? The next year they pilloried modern society at large with “Tom Sawyer” — a chops-laden, darkly futuristic anthem that even hardcore deriders of prog can’t help but dig.
Today, Rush is arguably the longest running, most original, and most influential progressive rock band ever. Their influence can be heard in major bands ranging from Pantera to Smashing Pumpkins, Primus, Death Cab for Cutie, the Mars Volta, Coheed and Cambria, and countless others. And yet, through innumerable musical fads they’ve remained staunchly committed to big ideas, grand arrangements, and stellar, instantly identifiable musicianship — rich, unorthodox chording, odd-meter riffing, and ethereal solos from Lifeson, and a finger-busting mix of Jack Bruce’s beef, Jaco Pastorius’ finesse, and a funk master’s groove from Lee. But they’ve also been flexible and open-minded enough to not come across as stagnant and stubborn. In the process, they’ve managed to get more radio play than just about any of their peers, scoring bona fide hits with songs like “Fly by Night,” “Closer to the Heart,” “Freewill,” “Limelight,” and the aforementioned classics. But even when their collective open-mindedness led to sonic evolutions that didn’t sit well with some longtime fans — specifically, the synth-heavy output from 1982–1989 that seemed to push Lifeson into a more atmospheric and textural approach — the band has remained unapologetically forward-looking.
