Rush (band)
Rush | |
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Background information | |
Also known as |
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Origin | Toronto, Ontario, Canada |
Genres | |
Discography | Rush discography |
Years active | 1968–2015 |
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Past members |
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Website | rush |
Rush was a Canadian rock band that primarily comprised Geddy Lee (bass guitar, keyboards, vocals), Alex Lifeson (guitar) and Neil Peart (drums, percussion, lyricist). The band formed in Toronto in 1968 with Lifeson, drummer John Rutsey, and bass guitarist/vocalist Jeff Jones, whom Lee immediately replaced. After Lee joined, the band went through several line-up changes before arriving at its classic power trio lineup with the addition of Peart in July 1974, who replaced Rutsey four months after the release of their self-titled debut album; this lineup remained intact for the remainder of the band's career.
Rush first achieved moderate success with their second album
Rush were known for their musicianship, complex compositions and eclectic lyrical motifs drawing heavily on science fiction, fantasy and philosophy. The band's style changed over the years, from a blues-inspired hard rock beginning, later moving into progressive rock, then a period in the 1980s marked by heavy use of synthesizers, before returning to guitar-driven hard rock at the end of the 1980s. Clockwork Angels marked a return to progressive rock. The members of Rush have been acknowledged as some of the most proficient players on their respective instruments, with each winning numerous awards in magazine readers' polls over the years.
As of 2022, Rush ranks 84th in the US with sales of 26 million albums
History
1968–1974: early years and debut album
The band was formed in the neighbourhood of Willowdale in Toronto, Ontario, by guitarist Alex Lifeson, bassist and frontman Jeff Jones, and drummer John Rutsey, in August 1968.[1] Lifeson and Rutsey had been friends since a young age and played together in a short-lived band, The Projection (formerly known as The Lost Cause).[24][25][26] Afterward the two stuck together and brought in Jones to form a new group; their first gig was in September at the Coff-Inn, a youth centre in the basement of St. Theodore of Canterbury Anglican Church in Willowdale; they were paid CA$25.[1][27] They had not named themselves at the time of the booking; Rutsey's brother Bill thought they needed a name that was short and to the point. He suggested Rush, and the group went with it.[28] Due to increasing difficulties in getting to Lifeson's house for practice, Jones suggested that Lifeson get his schoolmate Gary "Geddy" Weinrib to step in on lead vocals and bass.[29] Weinrib replaced Jones as Rush's frontman, adopting the stage name Geddy Lee. Rush rehearsed a set mainly formed of covers by various rock artists, including Cream, Jimi Hendrix, and John Mayall. The band underwent several line-up configurations that included Lindy Young on keyboards and various instruments, and Mitch Bossi on second guitar.[1] Shortly after becoming a four-piece band of Lee, Lifeson, Young, and Rutsey, Ray Danniels was hired to be their manager. As Lee recounted years later, "Ray came along. He had no real reputation yet as a manager or anything. He was just kind of an agent working in Toronto. So he started directing the band and he just thought I wasn't suitable, for whatever reasons he had. I don't know whether it was the way I looked, or my religious background – who the f--- knew? Anyway, he influenced them and they went along with it, Alex Lifeson and John Rutsey, and I was out."[30]
With Lee kicked out of the band, Rutsey recruited new bassist and vocalist Joe Perna. The group of Lifeson, Rutsey, and Perna named themselves Hadrian. After a disastrous gig with Perna, Rutsey invited Lee back and the group continued as Rush.[27] Lee stated, "I started a blues band and I was, frankly speaking, doing better than they were. Then I got a call from John and he said, 'Can we get together?' Basically, 'Can you come back? We're sorry.'"[30] In March 1972, the band stabilized as a trio of Lifeson, Rutsey, and Lee.[31] They kept Danniels, a promoter of Rush's early shows, as their manager, with his business partner and agent Vic Wilson sharing duties.[1]
Rush honed their skills with regular gigs, initially touring the Ontario high school circuit. In 1971, the legal drinking age was decreased from 21 to 18, allowing the band to play bars and clubs. Lee said it was at this point that Rush turned "from a basement garage band that played the occasional high school gig to a regular working band playing six days a week."[27][32] A demo tape was then shipped to various record labels, but Rush were unable to secure a deal, leading to the formation of their own label, Moon Records, with Danniels.[33] Rush entered the studio in 1973 to record their first single; their cover of "Not Fade Away" by Buddy Holly was chosen as it had become a crowd favourite. "You Can't Fight It", an original song, was put on the B-side. Released in September, it went to No. 88 on the Canadian RPM Top Singles chart. In late 1973, Rush performed their first major gig, opening for the New York Dolls in Toronto, and finished putting down tracks for their first album. The initial sessions produced undesirable results over the sound quality, so tracks were recut and remixed with a new engineer, Terry Brown.[34] Danniels sold his management company to help raise funds to make the record.[35] Rutsey wrote the lyrics, but tore them up on the day Lee was to record them and would not produce a new set. Lee quickly wrote a fresh set based on earlier versions, which was used on the final takes.[36]
The debut album,
Following a series of Canadian dates, Rutsey played his last gig with the band on July 25, 1974. His preference for more straightforward rock was incompatible with the more complex music that Lifeson and Lee had written, and Lee recalled that Rutsey had a general distaste for life as a touring musician.[32] His Type 1 diabetes caused further complications, as he required frequent hospital visits to have tests and receive insulin.[27][41] For several weeks prior to his departure, Rutsey's health was too critical for him to perform, leaving Rush to continue with a substitute drummer, Jerry Fielding.[28]
1974–1977: arrival of definitive lineup and foray into progressive rock
After auditioning five drummers, Lifeson and Lee picked Neil Peart, who joined on July 29, two weeks before the group's first US tour.[28][42] They performed their first concert together on August 14 at the Civic Arena in Pittsburgh, opening for Uriah Heep and Manfred Mann's Earth Band to more than 11,000 people.[32] Peart assumed the role of lyricist; Lifeson and Lee had little interest in the job and recognised Peart's wider vocabulary range from reading regularly.[40] Lifeson and Lee focused primarily on the music, with the new material displaying their influences from progressive rock bands Yes and Pink Floyd.[27] When the US tour finished in December 1974,[43] Rush had reached its peak of No. 105 on the US Billboard 200 chart.[44]
The band followed Fly by Night quickly with
In light of these events, Rush's record label tried to pressure the members into moulding their next album in a more commercially friendly and accessible fashion; the band ignored the requests and developed their next album 2112 (1976) with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of significant commercial success as it reached No. 5 in Canada,[46] becoming their first to reach double platinum certification.[47]
Rush toured 2112 between February 1976 and June 1977 with concerts in Canada, the US, and for the first time Europe, with dates in the UK, Sweden, Germany, and the Netherlands.[32][52] The three sold-out shows at Massey Hall in Toronto in June 1976 were recorded for Rush's debut live album, All the World's a Stage. Released in September of that year, the double LP reached No. 6 in Canada and became Rush's first to crack the US top 40.[53] Record World wrote: "Building its American reputation slowly but steadily Rush stands poised for breaking through all the way via this two record live set [...] All the highly charged electricity is here in an explosive setting."[35] The liner notes includes the statement: "This album to us, signifies the end of the beginning, a milestone to mark the close of chapter one, in the annals of Rush."[54]
1977–1981: peak progressive era
After the conclusion of the 2112 tour, Rush went to Wales to record
Permanent Waves (1980) shifted Rush's style of music with the introduction of reggae and new wave elements.[59] Although a hard rock style was still evident, more synthesizers were introduced. Because of the limited airplay Rush's previous extended-length songs received, Permanent Waves contained shorter, more radio-friendly songs, such as "The Spirit of Radio" and "Freewill", which helped the album become Rush's highest-charting album to date.[60][61] "The Spirit of Radio" became the group's biggest hit single to date, peaking at No. 22 in Canada, No. 51 on the US Billboard Hot 100,[61] and No. 13 on the UK Singles Chart.[57] Peart's lyrics on Permanent Waves shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical storytelling and more heavily on topics that explored humanistic, social, and emotional elements. Rush toured Permanent Waves for six months through 1980 to more than 650,000 people across 96 shows, becoming their first tour to make a profit.[62] After the tour, Rush joined fellow Toronto-based rock band Max Webster to record "Battle Scar" for their 1980 release, Universal Juveniles.[63] Max Webster's lyricist, Pye Dubois, offered the band the lyrics to a song he had written. The band accepted, and the song went on, after reworking by Peart, to become "Tom Sawyer".[63]
Rush's popularity reached its pinnacle with the release of
1981–1989: synthesizer-oriented era
The band underwent another stylistic change with the recording of
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's biggest hit single, "New World Man", while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[61][72][73] The second single, "Subdivisions" reached No. 36 in Canada and No. 5 on the US Album Rock Tracks Chart. Both singles reached the Top 50 in the UK.[57] Signals became the group's second No. 1 album in Canada, their third straight No. 3 album in the UK, and peaked at No. 10 in the US,[44] while continuing their moderate success in the Netherlands, Sweden and Norway, making the Top 30 in each country. Although the band members consciously decided to move in this overall direction, creative differences between the band and longtime producer Terry Brown began to emerge. The band felt dissatisfied with Brown's studio treatment of Signals, while Brown was becoming more uncomfortable with the increased use of synthesizers.[74] Ultimately, Rush and Brown parted ways in 1983, and the experimentation with new electronic instruments and varying musical styles would come into further play on their next studio album.[75]
The style and production of Signals were augmented and taken to new heights on Grace Under Pressure (1984). It was Peart who named the album, as he borrowed the words of Ernest Hemingway ("Courage is grace under pressure"[76]) to describe what the band had to go through after making the decision to leave Brown. Producer Steve Lillywhite, who gained fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. He backed out at the last moment, however, much to the ire of Lee, Lifeson and Peart. Lee said, "Steve Lillywhite is really not a man of his word ... after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off ... so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album instead. Henderson was nominated for a Grammy Award for his work on Supertramp's Breakfast in America.[77]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of
With new producer
A third live album and video,
1989–2000: return to guitar-oriented sound and hiatus
Rush started to deviate from its 1980s style with the albums
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with Counterparts (1993)[88] and its follow-up, Test for Echo (1996), both produced in collaboration with Peter Collins. Up to this point, Counterparts[88] and Test for Echo were two of Rush's most guitar-driven albums. The latter album also includes elements of jazz- and swing-style drumming by Peart, which he had learned from drum coach Freddie Gruber during the interim between Counterparts and Test for Echo.[89] "Stick It Out" from Counterparts reached the summit of the US Mainstream Rock Tracks Chart, with the album peaking at No. 2 in the US and No. 6 in Canada. Test for Echo reached the Top 5 in both countries, with the title track again topping the US Mainstream Rock Tracks Chart. In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken into two segments, spanning October through December 1996 and May through July 1997.[90]
After the conclusion of the Test for Echo tour in 1997, the band entered a five-year hiatus primarily due to personal tragedies in Peart's life. Peart's daughter Selena died in a car crash in August 1997, and his wife Jacqueline died of cancer in June 1998. Peart took a hiatus to mourn and reflect. During this time, he travelled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 mi). In his book
2001–2009: comeback, Vapor Trails and Snakes & Arrows
In January 2001, Lee, Lifeson, and Peart came together to see if they could reassemble the band. According to Peart, "We laid out no parameters, no goals, no limitations, only that we would take a relaxed, civilized approach to the project." With the help of producer Paul Northfield, the band produced seventy-four minutes of music for their new album Vapor Trails, which was written and recorded in Toronto.[93] Vapor Trails marked the first Rush studio recording to not include any keyboards or synthesizers since Caress of Steel. According to the band, the album's developmental process was extremely taxing and took approximately 14 months to finish, the longest they had ever spent writing and recording a studio album.[94] Vapor Trails was released on May 14, 2002; to herald the band's comeback, the single and lead track from the album, "One Little Victory", was designed to grab the attention of listeners with its rapid guitar and drum tempos.[94] The album was supported by the band's first tour in six years, including first-ever concerts in Brazil and Mexico City, where they played to some of the largest crowds of their career. The largest was a capacity of 60,000 in São Paulo.[95] Vapor Trails peaked at No. 3 in Canada and No. 6 in the US, while selling disappointingly in the UK, where it peaked at No. 38.
A live album and DVD, Rush in Rio, was released in October 2003, featuring the last performance of the band's Vapor Trails Tour on November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate the band's 30th anniversary, June 2004 saw the release of Feedback, an extended play work recorded in suburban Toronto that featured eight covers of artists such as Cream, The Who and The Yardbirds, bands the members of Rush cite as inspiration around the time of their inception.[96] To help support Feedback and continue celebrating their 30th anniversary as a band, Rush launched the 30th Anniversary Tour in the summer of 2004, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004, the concert at The Festhalle in Frankfurt, Germany was filmed for a DVD titled R30: 30th Anniversary World Tour, which was released on November 22, 2005. This release omitted eight songs also included on Rush in Rio; the complete concert was released on Blu-ray on December 8, 2009.[97]
During promotional interviews for the R30 DVD, the band members revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart assumed his role of lyric writing while residing in Southern California. The following September, Rush hired American producer
The Rush website, newly redesigned on March 12, 2007, to support the new album, also announced that the band would embark on a tour to begin in the summer.
The 2008 portion of the Snakes & Arrows tour began on April 11, 2008, in San Juan, Puerto Rico, at José Miguel Agrelot Coliseum, and concluded on July 24, 2008, in Noblesville, Indiana at the Verizon Wireless Music Center.[102] On April 15, 2008, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour, recorded at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17, 2007.[103] A DVD and Blu-ray recording of the same concerts was released on November 24, 2008.[104][105][106] As Rush neared the conclusion of the Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. They appeared on The Colbert Report on July 16, 2008, where they were interviewed by Stephen Colbert and performed "Tom Sawyer".[107] Continuing to ride what film critic Manohla Dargis called a "pop cultural wave", the band appeared as themselves in the 2009 comedy film I Love You, Man, starring Paul Rudd and Jason Segel.[108]
2009–2013: Time Machine Tour and Clockwork Angels
On February 16, 2009, Lifeson remarked that the band might begin working on a new album in the fall of 2009, with
In April 2010, Rush entered Blackbird Studios in
Clockwork Angels was released in the United States and Canada on June 12, 2012,[118] reaching No. 1 in Canada, No. 2 in the US, No. 21 in the UK and entering the Top 10 in most of Rush's traditional northern European markets. The supporting Clockwork Angels Tour began on September 7, 2012, with performances on November 25 in Phoenix, Arizona and November 28 in Dallas, Texas, recorded to make a live CD/DVD/Blu-ray that was released on November 19, 2013.[119] During Rush's European leg of the Clockwork Angels Tour, the June 8, 2013, show at the Sweden Rock Festival was the group's first festival appearance in 30 years.[120] On August 31, 2011, Rush switched their American distribution from Atlantic Records to the Warner Brothers majority-owned metal label Roadrunner Records. Roadrunner handled American distribution of Time Machine 2011: Live in Cleveland and Clockwork Angels. Anthem/Universal Music would continue to release their music in Canada.[121] On April 18, 2013, Rush were inducted into the Rock and Roll Hall of Fame.[122]
2013–2020: R40 Tour, disbandment and Peart's death
On November 18, 2013, Lifeson said the band would take a year off, following the completion of the world tour in support of Clockwork Angels. "We've committed to taking about a year off", Lifeson said. "We all agreed when we finished this [Clockwork Angels] tour [in early August], we were going to take this time off and we weren't going to talk about band stuff or make any plans. We committed to a year, so that's going to take us through to the end of next summer, for sure. That's the minimum. We haven't stopped or quit. Right now we're just relaxing. We're taking it easy and just enjoying our current employment."[123]
In September 2014, the Rush R40 box set was announced to commemorate the 40th anniversary of the release of the band's self-titled debut album. It included five previously released live video albums, and various previously unreleased footage from across the band's career.[124] On January 22, 2015, the band announced the Rush R40 Tour, celebrating the 40th anniversary of Peart's membership in the band. The tour started on May 8 in Tulsa, Oklahoma,[125] and wrapped up on August 1 in Los Angeles.[126]
On April 29, 2015, Lifeson said in an interview that R40 might be the final large-scale Rush tour due to his
On January 16, 2018, Lifeson told The Globe and Mail that it was unlikely that Rush would play any more shows or record new material. He said, "We have no plans to tour or record anymore. We're basically done. After 41 years, we felt it was enough."[10][9] In October 2018, Rolling Stone published an interview with Lee, who said, "I'd say I can't really tell you much other than that there are zero plans to tour again. As I said earlier, we're very close and talk all the time, but we don't talk about work. We're friends, and we talk about life as friends. I can't really tell you more than that, I'm afraid. I would say there's no chance of seeing Rush on tour again as Alex, Geddy, Neil. But would you see one of us or two of us or three of us? That's possible."[133]
On January 7, 2020, Peart died at the age of 67 following a 3½-year battle with
2021–present: aftermath and possible reunion
In a January 2021 interview with Make Weird Music, Lifeson revealed that he and Lee were talking of working together on new music: "We're both eager to get back together and kind of get back into that thing that we've done since we were 14 years old that we love to do. And we work really, really well together. So we'll see what happens with that."[137][138] Lifeson reiterated the status of Rush and the possibility of continuing to work with Lee in a June 2021 interview with Eddie Trunk: "There's no way Rush will ever exist again because Neil's not here to be a part of it. And that's not to say that we can't do other things and we can't do things that benefit our communities and all of that. I have lots of plans for that sort of thing that don't necessarily include Geddy. I get asked this all the time — are we gonna do this, or are we gonna do that? Who knows? All I know is we still love each other and we're still very, very good friends, and we always will be."[139]
In August 2022, Lee and Lifeson returned to the stage at the South Park 25th anniversary concert in Colorado, with South Park's co-creator Matt Stone on drums to perform "Closer to the Heart" alongside the members of Primus, their first performance since the death of Peart.[12]
In September 2022, Lee and Lifeson performed at the London Taylor Hawkins tribute concert with Dave Grohl and Omar Hakim on drums. They performed "2112: Overture", "Working Man", and "YYZ", the latter of which was Hawkins' favourite Rush song.[140] Later that month, Lee and Lifeson played the same set at the second Taylor Hawkins Tribute show in Los Angeles. Grohl once again drummed on "2112", Chad Smith of the Red Hot Chili Peppers joined them for "Working Man", and Danny Carey from Tool drummed for "YYZ".[13] Those appearances fueled speculation over a possible Rush reunion, with Paul McCartney (who attended the Hawkins tribute shows) urging Lee and Lifeson to tour again,[141] and Smith commenting, "Those guys are so happy to be playing again... They were part of the show. They loved it and enjoyed the hell out of it. Those guys miss playing. They couldn't play anymore, Neil couldn't do it anymore, but they still want to play."[142]
Lee told The Washington Post in November 2023 that he would not rule out performing with Lifeson again as Rush, saying, "It was nice to know that if we decide to go out, Alex and I, whether we went out as part of a new thing, or whether we just wanted to go out and play Rush as Rush, we could do that now."[141] When asked in the following month by CBS News Sunday Morning if he and Lifeson have talked about continuing as Rush with a new drummer, Lee said, "Have we talked about it? Yeah. It's not impossible, but at this point, I can't guarantee it." Lifeson then expressed optimism about the band's future, stating that, "It's just not in our DNA to stop."[14] Lifeson would later backtrack in a January 2024 interview that he was no longer interested in touring, citing arthritis and expressed doubt that he could perform as he did years ago.[143]
Musical style and influences
Rush's musical style changed substantially over the years. Its debut album was strongly influenced by British blues-based hard rock: an amalgam of sounds and styles from such rock bands as The Beatles, Black Sabbath, The Who, Cream, and Led Zeppelin.[144][38][145][146] Rush became increasingly influenced by bands of the British progressive rock movement of the mid-1970s, especially Pink Floyd, Genesis, Yes, and Jethro Tull.[147][148] In the tradition of progressive rock, Rush wrote extended songs with irregular and shifting mood, timbre, and metre, combined with lyrics influenced by Ayn Rand.[149] In the 1980s, Rush merged their sound with the trends of this period, experimenting with new wave, reggae, and pop rock.[150] This period included the band's most extensive use of instruments such as synthesizers, sequencers, and electronic percussion. In the early 1990s, the band transformed their style once again to return to a more grounded hard rock style and simultaneously harmonize with the alternative rock movement.[151]
Reputation and legacy
More than 40 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, changes have inevitably resulted in dissent among critics and fans. The bulk of the band's music has always included synthetic instruments, and this has been a source of contention among fans and critics, especially the band's heavy usage of synthesizers and keyboards during the 1980s, particularly on albums Grace Under Pressure, Power Windows, and Hold Your Fire.[152][153]
The members of Rush have noted that people "either love Rush or hate Rush",
Rush were eligible for nomination into the Rock and Roll Hall of Fame beginning in 1998. The band were nominated for entry in 2012,[179] and their induction was announced on December 11, 2012.[19] A reason for their previous exclusion may have been their genre. USA Today writer Edna Gundersen criticized the Hall of Fame for excluding some genres, including progressive rock.[180] Supporters cited the band's accomplishments, including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications.[181] In the years before induction, Lifeson expressed his indifference toward the perceived slight, saying, "I couldn't care less. Look who's up for induction; it's a joke".[182]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage, directed by
On June 25, 2010, Rush received a star on the
In 2013, the Canadian government honoured Rush with a first class "permanent" postage stamp, the equivalent of a "Forever" stamp in the US, featuring the iconic "Starman" Rush logo.[189]
The band members were made Officers of the
Geddy Lee
Geddy Lee's high-register vocal style has always been a signature of the band – and sometimes a focal point for criticism, especially during the early years of Rush's career when his vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin.[155][195] A review in The New York Times opined that Lee's voice "suggests a munchkin giving a sermon".[196] Although his voice has softened, it is often described as a "wail".[195][197] His instrumental abilities, on the other hand, are rarely criticized. He has cited Jeff Berlin, Jack Casady, John Entwistle, Jack Bruce and Chris Squire as the bassists who had the biggest impact on his playing style.[198] Lee's style, technique, and ability on the bass guitar have been influential to rock and heavy metal musicians, inspiring players including Steve Harris,[199] John Myung,[200] Les Claypool,[201] and Cliff Burton.[202] Lee is able to operate various pieces of instrumentation simultaneously during concerts, most evidently when he plays bass and keyboards, sings, and triggers foot pedals as in the song "Tom Sawyer".[148]
Alex Lifeson
Lifeson as a guitarist is best known for his signature riffing, electronic effects and processing, unorthodox chord structures, and a copious arsenal of equipment used over the years.[203][204]
During his adolescent years, he was influenced by
Neil Peart
Peart has been voted the greatest rock drummer by music fans, critics and fellow musicians, according to
Peart also served as Rush's primary lyricist, attracting attention over the years for his eclectic style. During the band's early years, Peart's lyrics were largely fantasy/science fiction-focused,[216] though after 1980 he focused more on social, emotional, and humanitarian issues. In 2007, he was placed second on Blender magazine's list of the "40 Worst Lyricists In Rock".[217] In contrast, AllMusic has called Peart "one of rock's most accomplished lyricists", Gibson.com describes Rush's lyrics as "great", and others have called the lyrics "brilliant".[218][219][220]
Sales
Rush has released 24 gold records and 14 platinum records (including three multi-platinum), placing them fifth behind The Beatles, The Rolling Stones, Kiss and Aerosmith for the most consecutive gold or platinum studio albums by a rock band in the United States.[221] As of 2005, Rush had sold about 25 million copies of their albums in the US (ranked 88th among recording acts[222]) and 40 million worldwide.[223][224][225][226] As of April 2021, Moving Pictures was the band's highest-selling album at over 5 million units, having been certified 5× platinum by the RIAA.[227]
Despite dropping out of the public eye for five years after the gold-selling Test for Echo (which peaked at No. 5 on the Billboard 200 chart)[44] and the band being relegated almost solely to classic rock stations in the US, Vapor Trails reached No. 6 on the Billboard 200[44] in its first week of release in 2002, with 108,000 copies sold. It has sold about 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show: 60,000 fans in São Paulo, Brazil.
Rush's triple-CD live album, Rush in Rio (2003), was certified gold, marking the fourth decade in which a Rush album had been released and certified at least gold. In 2004, Feedback cracked the top 20 on the Billboard 200 and received radio airplay. The band's 2007 album, Snakes & Arrows, debuted at No. 3 (just one position shy of Rush's highest-peaking albums, Counterparts (1993) and Clockwork Angels (2012), which both debuted at No. 2) on the Billboard 200, selling about 93,000 in its first week of release.[228] This marks the 13th Rush studio album to appear in the Top 20 and the band's 27th album to appear on the chart. The album also debuted at No. 1 on the Billboard's Top Rock Albums chart, and, when the album was released on the MVI format a month later, peaked at No. 1 on the Top Internet Albums chart.[229]
The tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million respectively, earning Rush the No. 6 and 8 spots among the summers' rock concerts.[230][231]
Live performances
The members of Rush shared a strong work ethic, desiring to accurately recreate songs from their albums when playing live performances. To achieve this goal, beginning in the late 1980s, Rush included a capacious rack of
A staple of Rush's concerts was Neil Peart's drum solos, which included a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour saw his solos become more advanced, with some routines dropped in favour of newer, more complex ones. Since the mid-1980s, Peart used
One prominent feature of Rush's concerts were props on stage, at one point called "diversions". These props have included washing machines, vintage popcorn poppers, animations, and inflatable rabbits emerging from giant hats behind the band.[234] Starting in the mid-'90s, the props often took up Lee's side of the stage (stage left) as a way to balance out the amp stacks on Lifeson's side (stage right) when Lee opted to use a venue's house system instead of amps.
Philanthropy
Rush actively participated in philanthropic causes. The band were one of several hometown favourites to play Molson Canadian Rocks for Toronto, also dubbed SARStock, at Downsview Park in Toronto on July 30, 2003, with an attendance of over half a million people. The concert benefited the Toronto economy after the SARS outbreaks earlier in the year.[235] The band has also sustained an interest in promoting human rights. They donated $100,000 to the Canadian Museum for Human Rights after a concert they held in Winnipeg, Manitoba, on May 24, 2008.[236][237]
On July 24, 2013, Rush performed a benefit concert in Red Deer, Alberta, at the
The individual members of Rush have also been a part of philanthropic causes.
The band is featured on the album
Rush have also been big supporters of
Band members
Final line-up
- Alex Lifeson – guitars, backing vocals, synthesizers, additional keyboards[246][247][248] (1968–2015)
- Geddy Lee – lead and backing vocals, bass guitar, keyboards, synthesizers, guitar (September 1968 – May 1969, September 1969–2015),[249][250] lyrics (1973–1974)
- Neil Peart – drums, percussion, lyrics (1974–2015; died 2020)
Early members
- John Rutsey – drums, percussion, backing vocals (1968–1974), lyrics (1968–1973; died 2008)
- Jeff Jones – bass guitar, lead vocals (August–September 1968)
- Lindy Young – keyboards, backing and lead vocals, guitars, percussion, harmonica (January–June 1969)
- Joe Perna – bass guitar, lead and backing vocals (May–July 1969)
- Bob Vopni – guitars, backing vocals (June–July 1969)[25][251]
- Mitch Bossi – guitars, backing vocals (1971–1972)[31][252][253]
Discography
Studio albums
- Rush (1974)
- Fly by Night (1975)
- Caress of Steel (1975)
- 2112 (1976)
- A Farewell to Kings (1977)
- Hemispheres (1978)
- Permanent Waves (1980)
- Moving Pictures (1981)
- Signals (1982)
- Grace Under Pressure (1984)
- Power Windows (1985)
- Hold Your Fire (1987)
- Presto (1989)
- Roll the Bones (1991)
- Counterparts (1993)
- Test for Echo (1996)
- Vapor Trails (2002)
- Snakes & Arrows (2007)
- Clockwork Angels (2012)
Concert tours
Sources: Rush.com[254] and Rush: Wandering the Face of the Earth[255]
- Rush Tour (1974–1975)
- Fly By Night Tour (1975)
- Caress of Steel Tour (1975–1976)
- 2112 Tour (1976)
- All The World's A Stage Tour (1976–1977)
- A Farewell To Kings Tour (1977–1978)
- Archives Tour (1978)
- Hemispheres Tour (1978–1979)
- Permanent Waves Tour (1979–1980)
- Moving Pictures Tour (1980–1981)
- Exit ... Stage Left Tour (1981)
- Signals Tour (1982–1983)
- Grace Under Pressure Tour (1983–1984)
- Power Windows Tour (1985–1986)
- Hold Your Fire Tour (1987–1988)
- Presto Tour (1990)
- Roll the Bones Tour (1991–1992)
- Counterparts Tour (1994)
- Test for Echo Tour (1996–1997)
- Vapor Trails Tour (2002)
- R30: 30th Anniversary Tour (2004)
- Snakes & Arrows Tour (2007–2008)
- Time Machine Tour (2010–2011)
- Clockwork Angels Tour (2012–2013)
- R40 Live Tour (2015)
See also
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Sources
- Daly, Skip; Hansen, Eric (2019). Rush: Wandering the Face of the Earth – The Official Touring History. Insight Editions. ISBN 978-1-68383-450-2.
- Popoff, Martin (2004). Contents Under Pressure: 30 Years of Rush at Home and Away. ISBN 978-1-550-22678-2.
- Marsh, Dave (1979). ISBN 0-394-41096-3.
Further reading
Books
Analysis and appreciation
- Birzer, Bradley J. Cultural Repercussions: An In-Depth Examination of the Words, Ideas and Professional Life of Neil Peart, Man of Letters. ISBN 1614753547.
- Bowman, Durrell and Berti, Jim. Rush and Philosophy: The Heart and Mind United. Open Court Press, 2011. ISBN 978-0812697162.
- Bowman, Durrell. Experiencing Rush: A Listener's Companion. ISBN 1442231300.
- Freedman, Robert. Rush: Life, Liberty, and the Pursuit of Excellence. Algora Pub, 2014. ISBN 1628940840.
- McDonald, Chris. Rush, Rock Music, and the Middle Class: Dreaming in Middletown. ISBN 0-253-22149-8.
- Mobley, Max. Rush FAQ: All That's Left to Know About Rock's Greatest Power Trio. ISBN 1617134511.
- ISBN 978-0760352205.
- Price, Carol S. and Robert M. Price. Mystic Rhythms: The Philosophical Vision of Rush. ISBN 1-58715-102-2.
- Roberto, Leonard. A Simple Kind Mirror: The Lyrical Vision of Rush. ISBN 0595213626.
- Telleria, Robert. Rush Tribute: Merely Players. Quarry Press, 2002. ISBN 1-55082-271-3.
Biographies
- Banasiewicz, Bill. Rush: Visions: The Official Biography. ISBN 0-7119-1162-2.
- Collins, Jon. Rush: Chemistry: The Definitive Biography. ISBN 1-900924-85-4(hardcover).
- Gett, Steve. Rush: Success Under Pressure. Cherry Lane Books, 1984. ISBN 0-89524-230-3.
- Harrigan, Brian. Rush. Omnibus Press, 1982. ISBN 0-86001-934-9.
- Popoff, Martin. Rush: The Illustrated History. Voyageur Press, 2013. ISBN 978-0760349953.
- Popoff, Martin. Anthem: Rush in the '70s. ECW Press, 2020. ISBN 9781770415201.
- Popoff, Martin. Limelight: Rush in the '80s. ECW Press, 2020. ISBN 9781770415362.
- Popoff, Martin. Driven: Rush in the '90s and "In the End". ECW Press, 2021. ISBN 9781770415379.
Memoirs
- Peart, Neil. Far and Wide: Bring that Horizon to Me! ECW Press, 2016. ISBN 978-1770413481.
- Peart, Neil. ISBN 1-55022-548-0(paperback).
- Peart, Neil. The Masked Rider: Cycling in West Africa. Pottersfield Press, 1996. ISBN 1-895900-02-6.
- Peart, Neil. Roadshow: Landscape With Drums – A Concert Tour By Motorcycle. ISBN 1-57940-142-2.
- Peart, Neil. Traveling Music: Playing Back the Soundtrack to My Life and Times. ECW Press, 2004. ISBN 1-55022-664-9.
- Lee, Geddy. Geddy Lee's Big Beautiful Book of Bass. ISBN 9780062747839.
- Lee, Geddy. My Effin' Life. HarperCollins Publishers, 2023. ISBN 9780063159426
Scholarly articles
- Barron, Lee. "Pulling Down Barriers: Neil Peart, Autobiographical Confession and Negotiated Rock Celebrity", Celebrity Studies, Vol. 7 No. 3, 2016, pp. 323–338.
- Bowman, Durrell S. "Let Them All Make Their Own Music: Individualism, Rush and the Progressive / Hard Rock Alloy", in Progressive Rock Reconsidered, Kevin Holm-Hudson (ed), Routledge, 2002.
- Connolly, T. "Mean, Mean Pride: Rush's Critique of American Cool", in T. Connolly and T. Iino (eds), Canadian Music and American Culture. Palgrave MacMillan, 2017.
- Friedman, Jonathan C. "Performing Grief: The Music of Three Children of Holocaust Survivors: Geddy Lee, Yehuda Poliker, and Mike Brant", Journal of Modern Jewish Studies, Vol. 16 No. 1, 2017, pp. 153–167.
- Horwitz, Steve. "Rand, Rush, and De-totalizing the Utopianism of Progressive Rock", Journal of Ayn Rand Studies, Vol. 5 No. 1, Fall 2003, pp. 161–172.
- McDonald, Chris. "Grand Designs: A Musical, Social and Ethnographic Study of Rush", PhD dissertation in ethnomusicology, York University, 2002.
- McDonald, Chris. "'Making Arrows Out of Pointed Words': Critical Reception, Taste Publics and Rush", Journal of American and Comparative Cultures, Volume 25 No. 3-4, September 2002, pp. 249–259.
- McDonald, Chris. "'Open Secrets': Individualism and Middle-Class Identity in the songs of Rush", Popular Music and Society Volume 31 No. 3, July 2008, pp. 313–328.
- Sciabarra, Chris. "Rush, Rand and Rock", Journal of Ayn Rand Studies, Vol. 4 No. 1, Fall 2002, pp. 161–185.
- Walsh, Brian. "Structure, Function and Process in the Early Song Cycles and Extended Songs of the Canadian Rock Group Rush", PhD dissertation in music theory, Ohio State University, 2002.
External links
- Official website
- Rush at Curlie
- Rush at AllMusic
- Article at thecanadianencyclopedia.ca
- Article at canadianbands.com
- Rush at IMDb