RUSH (BAND)

'Rush' is a Canadian rock band comprising bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. Rush was formed in the summer of 1968, in the neighbourhood of Willowdale in Toronto, Ontario, by Alex Lifeson, Jeff Jones, and John Rutsey. Geddy Lee replaced Jeff Jones in September 1968. After various ephemeral lineup fluctuations, Neil Peart replaced Rutsey on drums in July 1974, two weeks before the group's first U.S. tour, to complete the present line-up. Since the release of the band's self-titled debut album in 1974 Rush has become known for the instrumental virtuosity of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and individualist libertarian philosophy, as well as addressing humanitarian and environmental concerns.
Musically, Rush has changed its style dramatically over the years, beginning in the vein of blues-inspired heavy metal on their eponymous debut to styles encompassing hard rock, progressive rock, a period dominated by synthesizers and, more recently, modern rock. Rush has influenced various modern artists such as Metallica,Austin Chronicle Music Rush's 30th Anniversary Tour, Accessed 16 August 2006^[1] The Smashing PumpkinsCNN.com Rush profile Accessed 17 August 2006 and Primus, as well as many notable progressive metal bands such as Dream Theater and Symphony X.Symphony X Official website FAQ Accessed 16 August 2006
Rush has been awarded several Juno Awards^[2] and was inducted into the Canadian Music Hall of Fame in 1994.^[3] Over the course of their career, the individual members of Rush have been recognized as some of the most proficient players on their respective instruments with each member winning several awards in magazine readers' polls.^[4] As a whole, Rush boasts 23 gold records and 14 platinum (3 multi-platinum) records, making them one of the best-selling rock bands in history. These statistics place Rush fifth behind The Beatles, The Rolling Stones, Kiss and Aerosmith for the most consecutive gold and platinum albums by a rock band.^[5] Rush ranks 76th in U.S. album sales according to the RIAA with sales of 25 million units.^[6] Although total worldwide album sales are not calculated by any single entity, as of 2004 several industry sources estimated Rush's total worldwide album sales at over 35 million units.^[7]^[8]
The band is currently promoting their latest album, ''Snakes & Arrows''. An intercontinental concert tour began June 13, 2007 in Atlanta, Georgia.^[9]

Band members

★ Geddy Lee – bass guitar, lead vocals, keyboards, mellotron, bass pedals (September 1968-present)

★ Alex Lifeson – six- and twelve-string acoustic and electric guitars, mandolin, mandola, Bouzouki, backing vocals, bass and synthesizer pedals (summer 1968-present)

★ Neil Peart – drums, electronic and acoustic percussion (July 1974–present)

Former members

★ John Rutsey – drums, percussion, backing vocals (summer 1968–July 1974)

★ Jeff Jones - bass, lead vocals (summer 1968-September 1968)

Musical style and influences

Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who^[10] and Led Zeppelin,^[11] but also became increasingly influenced by the British progressive rock movement.^[12] In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae, and pop rock.^[13] This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of ''Hold Your Fire''.^[14] With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement.^[15] The new millennium has seen them return to a more rock-n-roll roots sound, albeit with modern production.

History

The early years (1968–1976)

The "starman" logo (by artist Hugh Syme) first appeared on the back cover of the 1976 album ''2112''. Neil Peart explained in 1982, "All it means is the abstract man against the masses. The red star symbolizes any collectivist mentality."

The original line-up formed in summer 1968, consisting of Jeff Jones on bass and lead vocals, Alex Lifeson on guitars, and John Rutsey on drums. In September 1968 (and before they had even played their first gig), Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows. ^[16]^[17]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Rutsey and Lee. The single generated little reaction and, due to record company indifference, the band formed their own independent record label, ''Moon Records''. With the aid of Danniels and the newly enlisted Terry Brown working in an unofficial capacity, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.¹¹ ''Rush'' had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records^[18]^[19] in the U.S.
Immediately after the release of the debut album, Rutsey resigned in July 1974 due to his affliction with diabetes and a distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement in July 1974. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a handful of song lyrics over the rest of the band's career. Instead, they focused primarily on the musical aspects of Rush. ''Fly by Night'' (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first mini-epic tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart due to his love for fantasy and science-fiction literature. However, despite these many differences most of the music still closely mirrored the style found on Rush's debut.^[20]
Following quickly on the heels of ''Fly By Night'', the band released ''Caress of Steel'' (1975) a five track hard art rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." ''Caress of Steel'' was considered an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from ''Fly by Night''. Intended to be the band's first "break-through" album, ''Caress of Steel'' sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour."^[21] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, in spite of such urges, the band ignored the requests and developed their next album, ''2112''. It was the band's first taste of commercial success and their first platinum album in Canada.^[22] After the breakthrough of ''2112'', the band released their first U.S. Top 40 album, a double live album titled ''All the World's a Stage'' in 1976 which has been surmised by some to demarcate the boundary between the band's early years and the next era of music.^[23]

The progressive rock era (1977–1981)

Rush
(A Farewell to Kings tour photo 1977)

After ''2112'', Rush followed up and delivered 1977's ''A Farewell to Kings'' (which became the band's first U.S. gold-selling album) and 1978's ''Hemispheres''. These albums saw the band members pushing the prog rock envelope for Rush even further than before by expanding their use of progressive elements. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, progressive palette of sound, Alex Lifeson began to experiment with twelve- and six-string classical guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favour of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from ''Fly By Night'' and a specifically acknowledged derivation in 1976's ''2112''.^[24]
''Permanent Waves'' (1980) shifted Rush's style of music dramatically via the introduction of reggae and new wave.^[25] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, ''Permanent Waves'' included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped ''Permanent Waves'' become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day. Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanitarian, social, emotional and metaphysical elements.
Rush's popularity reached its pinnacle with the release of ''Moving Pictures'' in 1981. ''Moving Pictures'' essentially continued where ''Permanent Waves'' left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song, and "Limelight" also received satisfactory responses from listeners and radio stations. ''Moving Pictures'' was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. ''Moving Pictures'' reached #3 on the ''Billboard 200'' album chart and has been certified quadruple platinum by the Recording Industry Association of America (RIAA).^[26]
Following the success of ''Moving Pictures'' (and the completion of another four studio albums) Rush released their second live recording, ''Exit...Stage Left'', in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's ''Permanent Waves'' and ''Moving Pictures'' tours. As with their first live release, ''Exit...Stage Left'' identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of ''Signals'' in 1982.

The synthesizer period (1982–1989)

The OBX synthesizer used by Geddy Lee on the album Signals (1982)

While Geddy Lee's synthesizers had been featured instruments ever since the late 70s, 1982's ''Signals'' arguably represented Rush's most drastic stylistic transformation up to that point. Keyboards were suddenly shifted from a contrapuntal background to the melodic frontlines.^[27]^[28] Traditional guitar solos also became less of a focal point as seen in "Countdown" and the lead-off track "Subdivisions", the latter track featuring a short solo using natural harmonic accents for minimalism.
''Signals'' contained Rush's only U.S. top-40 pop hit, "New World Man",^[29] while, musically, other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.^[30] More specifically, Alex Lifeson's guitar tone and playing style on ''Signals'' were very reminiscent of contemporary acts of the time who were well known for incorporating such rhythms into their music. Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of ''Signals'' and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.

Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's ''Grace Under Pressure''

The style and production of ''Signals'' were patently augmented and taken to new heights on 1984's ''Grace Under Pressure''. Although Geddy Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Neil Peart's adaptation of electronic drums and percussion.
Alex Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on ''Signals''.^[31] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Red Lenses", "Red Sector A" and "The Enemy Within" serving as prime examples. ''Grace Under Pressure'' also featured a popular MTV music video for the anti-nuclear anthem "Distant Early Warning."
1985's ''Power Windows'' was followed by ''Hold Your Fire'' in 1987, both of which were produced by Peter Collins. The music on these two albums gives far more emphasis and prominence to Geddy Lee's multi-layered synthesizer work. However, ''Power Windows'' still builds somewhat on the momentum from ''Grace Under Pressure'', even as it involves more sophisticated usage of sequencers and guitar minimalism. Alex Lifeson's presence is still palpable on "The Big Money", (the album's modest-charting single) with spotlights on "Grand Designs", "Middletown Dreams" and "Marathon." Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord colourings and razor-thin leads. ''Hold Your Fire'' represents both a modest extension of the guitar stylings found on ''Power Windows'', and the culmination of this era of Rush. Whereas the previous five Rush albums sold platinum or better, ''Hold Your Fire'' only went gold in 1987.
A third live album and video, ''A Show of Hands'' (1989), was also released by Mercury following the ''Power Windows '' and ''Hold Your Fire'' tours, demonstrating the aspects of Rush in the 80s. ''A Show of Hands'' met with strong fan approval, but ''Rolling Stone'' critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".^[32] Nevertheless, ''A Show of Hands'' managed to surpass the gold album mark. At this point, the group changed record labels from Mercury to Atlantic. After Rush's departure in 1989, PolyGram also released a gold-selling two-volume compilation of their Rush catalogue, ''Chronicles'' (1990).

Returning to their roots (1989–1997)

Rush started to deviate from their 1980s style with the albums ''Presto'' and ''Roll the Bones''. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's ''Presto'', the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centrepiece of Rush's compositions. Continuing this trend, 1991's ''Roll the Bones'' extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush stuck to their creative approach of incorporating traces of more exotic musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" (the band's first instrumental piece in a decade) features several jazz components.^[33] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album ''Counterparts''^[34] and its follow-up, 1996's ''Test for Echo'', again both produced in collaboration with Peter Collins. Musically, ''Counterparts''³⁴ and ''Test For Echo'' are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band.^[35] For instance, "Time and Motion" possesses multiple time signature changes and heavy organ, while the instrumental track "Limbo", consists of several distinct and relatively complex musical passages repeated throughout the duration. Musically, ''Test For Echo'' still retained much of the hard rock/alternative stylings already charted on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training under the tutelage of jazz drummer Freddie Gruber during the interim between ''Counterparts'' and ''Test For Echo''.^[36] In October 1996, in support of ''Test For Echo'', the band embarked on an extensive and successful North American tour, the band's first without an opening act and dubbed "An Evening with Rush." The tour was broken up into two segments spanning October through December, 1996 and May through July, 1997 with the band taking a respite between legs.

Hiatus and comeback (1997–2006)

After wrapping up the tour promoting ''Test for Echo'' in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in a car accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart embarked on a self-described "healing journey" by motorcycle in which he travelled extensively across North America. He subsequently wrote about his travels in his book ''Ghost Rider: Travels on the Healing Road''. Rush later stated that they had nearly broken up during this period due to Peart's situation. In 1998, a triple CD live album entitled ''Different Stages'' was released. It contained three discs packed with recorded performances from the band's ''Counterparts'', ''Test for Echo'', and earlier tours, marking the fourth officially released live album by the band.
After sufficient time to grieve and reassemble the pieces of his life, Peart married photographer Carrie Nuttall in September 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with ''Vapor Trails'', written and recorded in Toronto. 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 due to its rapid guitar and drum tempos.^[37] ''Vapor Trails'' marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Alex Lifeson during the writing process. According to the band, the entire developmental process for ''Vapor Trails'' was extremely taxing and took approximately 14 months to complete, by far the longest the band had ever spent writing and recording a studio album. The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual DVD, ''Rush in Rio'', was released in late October 2003. It features an entire concert performance recorded on the last night of their ''Vapor Trails'' tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of ''Feedback'', a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands which the members of Rush cite as inspiration around the time of their inception.^[38]. That same summer of 2004, Rush again hit the road for the very successful , playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded for DVD (titled ''R30: Live in Frankfurt''), which was released November 22, 2005.
A new DVD box set, called Rush Replay X 3, was released on June 13 2006. It consists of the three original home videos (''Exit...Stage Left'', ''Grace Under Pressure'' and ''A Show of Hands'') completely remastered in 5.1 surround sound by Lifeson on DVD. Also included is a previously unreleased soundtrack CD to the ''Grace Under Pressure'' disc.^[39] All three DVDs were released individually in 2007, although the soundtrack for the ''Grace Under Pressure'' video is still only available as part of the box set. Rush Replay x 3 debuted at #1 on the Billboard Music Video charts, marking the third consecutive time a Rush DVD has topped the music video charts.

Snakes & Arrows (2007–present)

During promotional interviews for the ''R30 Live In Frankfurt'' DVD, the band 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 simultaneously assumed his role of lyric writing while residing in Southern California. That following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. On February 14, 2007, an announcement was made on the the official Rush web site that the title of the new album would be ''Snakes & Arrows''. It was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week^[40]. The first single, entitled "Far Cry," was released to North American radio stations on March 12, 2007^[41].
The Rush website, newly redesigned on March 12, 2007 to support the new album, also announced that the band will embark on a tour to begin in the summer. The website now has North American and European tour dates listed. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 30 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.^[42]The planned intercontinental tour in support of ''Snakes & Arrows'' began on June 13, 2007 in Atlanta, Georgia and is set to run through October.

Reputation

More than 30 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, such changes have inevitably resulted in strong dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this is a great source of contention in the Rush camp, especially the band's heavy reliance on synthesizers and keyboards during the 1980s, particularly on albums ''Grace Under Pressure'', ''Power Windows'', and ''Hold your Fire''.^[43]^[44] Still, many saw this as nothing less than artistic growth and support for the band remained unwavering through each transitional phase.
The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. ''Rolling Stone'' has often been blamed for their inability to enter the Rock and Roll Hall of Fame.^[45] The Hall's refusal to induct Rush may also be a consequence of the band's insistence on remaining outside the mainstream of rock when it comes to self-promotion, in favor of maintaining a high degree of independence.^[46] To this day fans earnestly clamor for the band's inclusion into the Hall by citing noteworthy accomplishments including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications.^[47] Rush has gained a degree of recognition in popular culture despite any official recognition from the Hall.^[48]

Geddy Lee

Main articles: Geddy Lee

Geddy Lee, 2004.

Geddy Lee's high-register vocal style has always been a main signature of the band — and often a focal point for criticism, especially during the early years of Rush's career when Lee's vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin. In fact, his voice is often described as a "wail".^[49]^[50] Nevertheless, Lee's voice has softened significantly over the years and still remains distinctive. His instrumental abilities, on the other hand, are rarely criticized. An award-winning musician, Lee's style, technique, and virtuosity on the bass guitar have proven very influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden,^[51] John Myung of Dream Theater,^[52] Les Claypool of Primus^[53] and Cliff Burton of Metallica^[54] among others. He is notable for his ability to competently operate various pieces of instrumentation simultaneously. This was mostly evident during live shows when it was necessary for Lee, as the frontman, to play bass, supply lead vocals, manipulate keyboards, and trigger foot pedals during the course of a performance, as in "Tom Sawyer". Because of this he was required to remain in one place during songs which contained complex instrumentation. Lifeson and Peart were, to a lesser extent, responsible for similar actions during live shows.

Alex Lifeson

Main articles: Alex Lifeson

Alex Lifeson in concert, 2007.

Instrumentally, Lifeson is regarded as a skilled guitarist, whose strengths and notability relied primarily on signature riffing, electronic effects, unorthodox chord structures, chorusing/phrasing and a copious arsenal of equipment used over the years.^[55] ^[56] ^[57] Despite his high esteem, however, Lifeson is often regarded as being overshadowed by his bandmates due to Lee's on-stage multi-instrumental dexterity and Peart's iconic status.^[58]
During his adolescent years, he was influenced primarily by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton and Jimmy Page.^[59] For versatility, Lifeson was known to incorporate touches of Spanish and classical music into Rush's guitar-driven sound of the 1970s. Taking a backseat to Lee's keyboards in the 1980s, Lifeson's guitar returned to the forefront in the 1990s and has remained there ever since, along with his occasional duties of cuing various guitar effects and the use of bass-pedal synthesizers, as well as backing vocals.

Neil Peart

Main articles: Neil Peart

Peart is widely regarded by music fans, drummers, and fellow musicians as one of the greatest drummers in the history of rock, this high esteem continuing today as it has throughout his playing career.^[60] He is also regarded as one of the finest practitioners of the in-concert drum solo.^[61] Initially inspired by Keith Moon, Peart absorbed the influence of other rock drummers from the 1960s and 1970s such as Ginger Baker, Carmine Appice, and John Bonham.^[62] Incorporation of unusual instruments (for rock drummers of the time) such as cowbells, glockenspiel, and tubular bells, along with several standard kit elements, helped create a highly varied setup. Continually modified to this day, Peart's drumkit offers an enormous array of percussion instruments for sonic diversity. For two decades Peart honed his technique; each new Rush album introduced an expanded percussive vocabulary. In the 1990s, he surprised many fans by reinventing his style, with the help of drum coach Freddie Gruber. At this time, Peart began emulating jazz drummer Buddy Rich.

Neil Peart in concert

Due to his esteem as a multi-percussionist, a staple of Rush's concerts is a Peart drum solo. Peart's drum solos include a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour sees the solo more advanced, with some routines dropped in favour of newer, more complex ones. Since the mid-1980s, Peart has used MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, and vibra-slap as well as other, more esoteric percussion.
Peart also serves as Rush's primary lyricist, attracting much attention over the years due to his eclectic style. Known for penning concept suites and songs inspired by literature, music fan opinions of his writing have varied greatly, running the gamut from cerebral and insightful to overly pretentious and preachy. During the band's early years, Peart's lyrics were largely fantasy/science fiction focused and did not appeal to all listeners.^[63]

Album sales overview

Despite having completely dropped out of the public eye for five years after the gold-selling ''Test for Echo'' (which managed to peak at number 5 on the ''billboard 200'') and the band being relegated almost solely to classic rock stations in the U.S., ''Vapor Trails'' reached #6 on the ''Billboard'' 200 chart in its first week of release in 2002 bowing with 108,000 albums sold, ultimately going on to sell approximately 342,000 units. 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. Nevertheless, ''Vapor Trails'' remains the band's poorest-selling album to date, their first not to achieve Gold status.
However, Rush's triple CD live album, 2003's ''Rush in Rio'', was certified gold by the RIAA, marking the fourth decade in which a Rush album had been released and certified at least gold. Moreover, in 2004 ''Feedback'' cracked the top 20 on the ''Billboard'' 200 chart and received radio airplay. The band's most recent album, ''Snakes & Arrows'', debuted at #3 (just one position shy of Rush's highest peaking album ''Counterparts'' which debuted at #2) on the ''billboard 200'' selling approximately 93,000 copies in its first week of release.^[64] This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart regardless of position over the course of their career. The album also debuted at #1 on the Billboard's Top Rock Albums chart, as well as peaking at #1 on the Top Internet Albums chart.^[64] Even still, ''Snakes & Arrows'' has yet to accumulate sales that approach or eclipse ''Vapor Trails'' or ''Rush in Rio''.

Live performances

The members of Rush share a strong work ethic, desiring to accurately depict songs from their albums when playing live performances. Toward this goal, beginning in the late 1980s, Rush has included in their concert equipment a capacious rack of digital samplers which the band members use, in real-time, to recreate the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" that are familiarly heard on the studio versions of the songs.
In live performances, the band members share duties throughout most songs, with each member triggering certain sounds with his available limbs, while playing his primary instrument(s). Each band member has one or more MIDI controllers that enables him to use his free hands or feet to trigger sounds that have been loaded into the samplers for a particular song.^[66] It is with this technology that the group is able to present their arrangements in a live setting with the level of complexity and fidelity that fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member.^[67]
The band members' coordinated use of foot-pedal keyboards and other electronic triggers to "play" sampled instruments and audio events is subtly visible in their live performances, especially so on , their 2005 concert DVD.^[68]

Discography

Certifications For U.S.A. Sales Only

Studio albums

'Date of release'	'Title'	'Label'	'U.S. ''Billboard'' peak '	'U.S. sales'
March 1974	''Rush''	Mercury	105	G
February 1975	''Fly by Night''	Mercury	148	P
September 1975	''Caress of Steel''	Mercury	113	G
April 1976	''2112''	Mercury	61	M (3)
September 1977	''A Farewell to Kings''	Mercury	33	P
October 1978	''Hemispheres''	Mercury	47	P
January 1980	''Permanent Waves''	Mercury	4	P
January 1981	''Moving Pictures''	Mercury	3	M (4)
September 1982	''Signals''	Mercury	10	P
April 1984	''Grace Under Pressure''	Mercury	10	P
October 1985	''Power Windows''	Mercury	10	P
September 1987	''Hold Your Fire''	Mercury	13	G
November 1989	''Presto''	Atlantic	16	G
September 1991	''Roll the Bones''	Atlantic	3	P
October 1993	''Counterparts''	Atlantic	2	G
September 1996	''Test for Echo''	Atlantic	5	G
May 2002	''Vapor Trails''	Atlantic	6	342,000
June 2004	''Feedback'' (EP)	Atlantic	19	160,000
May 2007	''Snakes & Arrows''	Atlantic	3	236,273 (Source Billboard.com)

Live albums

'Date of release'	'Title'	'Label'	'U.S. ''Billboard'' peak '	'U.S. sales'
September 1976	''All the World's a Stage''	Mercury	40	P
October 1981	''Exit...Stage Left''	Mercury	10	P
January 1989	''A Show of Hands''	Mercury	21	G
November 1998	''Different Stages''	Atlantic	35	G
October 2003	''Rush in Rio''	Atlantic	33	G
November 2005	''	Atlantic

Compilations

'Date of release'	'Title'	'Label'	'U.S. ''Billboard'' peak '	'U.S. sales'
April 1978	''Archives''	Mercury	121	P
1981	''Rush Through Time''	Polygram	?	?
September 1990	''Chronicles''	Mercury	51	M (2)
May 1997	''Retrospective I''	Mercury	Did not chart	179,304
June 1997	''Retrospective II''	Mercury	Did not chart	208,440
February 2003	''	Mercury	62	G
April 2006	''Gold''	Mercury	Did not chart	131,520

Singles

:'US Top 5 Mainstream Rock'^[69]

'Year'	'Position'	'Song'	'Album'
1981	4	Limelight	Moving Pictures
1982	1	New World Man	Signals
1985	4	The Big Money	Power Windows
1987	3	Force Ten	Hold Your Fire
1987	3	Time Stands Still	Hold Your Fire
1989	1	2112: Overture/The Temples of Syrinx	2112
1991	1	Dreamline	Roll the Bones
1991	2	Ghost of a Chance	Roll the Bones
1993	1	Stick It Out	Counterparts
1993	2	Cold Fire	Counterparts
1996	1	Test for Echo	Test for Echo

Videos

'Date of release'	'Title'	'Label'	'U.S. ''Billboard'' peak'	'U.S. sales'
1981	''Exit...Stage Left''	Polygram		G
1984	''Grace Under Pressure Tour''	Polygram
1985	''Through the Camera Eye''	Polygram
1989	''A Show of Hands''	Polygram		P
1990	''Chronicles''	Polygram		P
October 1997	''Neil Peart - A Work in Progress''	Warner Bros.
October 2003	''Rush in Rio''	Rounder	2	M (5)
November 2005	''	Rounder	1	M (3)
December 2005	''Neil Peart - Anatomy of a Drum Solo''	Hudson Music
June 2006	''Rush Replay X 3''	Mercury	1	M (2)

Solo efforts

'Date of release'	'Title'	'Label'	'Type'	'U.S. ''Billboard'' peak '	'U.S. sales'
January 1996	''Victor'' (Alex Lifeson)	Atlantic	Studio	99	232,000
November 2000	''My Favourite Headache'' (Geddy Lee)	Atlantic	Studio	52	257,000

:''US Certification Criteria - Albums: G = 500,000 , P = 1 million, M=Multiplatinum. For example, M(2) = 2 million''
:: ''Other formats have different criteria, see Certification Criteria''

Awards List

The Canadian rock band Rush has received several awards and nominations throughout their three decade career. ^[70]

Juno awards

Rush has been awarded the following Juno awards:

★ 1974 Most promising group of the year

★ 1977 Group of the year

★ 1978 Group of the year

★ 1990 Artist of the Decade (80's)

★ 1991 Best Heavy Metal Album

★ 1991 Best album cover - ''Presto''

★ 1992 Best Hard Rock Album

★ 1992 Best album cover - ''Roll the Bones''

★ 2004 Music DVD of the year - "Rush in Rio"

Grammy nominations

★ 1982 nomination for Best Rock Instrumental Performance

★
★ "YYZ" — lost to The Police's "Behind My Camel"

★ 1992 nomination for Best Rock Instrumental Performance

★
★ "Where's My Thing?" — lost to Eric Johnson's "Cliffs of Dover"

★ 1995 nomination for Best Rock Instrumental Performance

★
★ "Leave That Thing Alone" — lost to Pink Floyd's "Marooned"

★ 2004 nomination for Best Rock Instrumental Performance

★
★ "O Baterista" from ''Rush In Rio'' — lost to Brian Wilson's "Mrs. O'Leary's Cow"

Miscellaneous awards

★ December 1990 - Rush wins ''Mayor's Award'' at the Toronto Music Awards.

★ October 1992 - Recipients of the ''Harold Moon Award'' by the Society of Composers, Authors, and Music Publishers of Canada (SOCAN). It is the most prestigious songwriter’s award in Canada.

★ May 1993 - Rush is inducted into the ''Harvard National Lampoon'' and named “Group Of The Millennium”.

★ October 1993 - Recipients of the ''Toronto Arts Award''.

★ March 1994 - Rush inducted into the Canadian Music Hall of Fame

★ May 1996 - Lee, Lifeson, and Peart are made Officers of the Order of Canada, the first rock musicians so honored.

★ December 1996 - Performance magazine, a publication for the touring industry, nominated Rush as "Rock Act of the Year" for their 1996 Performance Readers Poll Awards.

★ May 1997 - The Foundation Forum and F Musicfest have announced Rush this year's recipient of the ''"Concrete/Foundations Outstanding Contribution to Music Award''. Rush joins a distinguished list of receipts including Van Halen, Kiss, Ozzy Osbourne and Alice Cooper.

★ May 1999 - Rush was inducted into Canada's ''Walk Of Fame'' in Toronto.

★ January 2000 - Rush has topped JAM! Music's online poll, which determines them "Best Canadian Musicians of All Time".

Magazine awards