Rhythm Magazine #297 - November 2020 Words: Chuck Parker |
Most everyone will experience a game changing event in their life. That moment in time
when you realise that
nothing will be the same.
This experience can occur through exposure to
new knowledge or altered insight on differing
opinions. In the case of musicians, this can be
hearing instrumentation used in a different
way or discovering a new artist for the first time.
For millions of drummers, especially those
that came of age in the ’70s, one of those
moments was when we first heard the band
Rush and their drummer and lyricist Neil Peart.
My moment occurred in the back seat of a
friend’s Datsun B210 in early January of 1977,
right after Christmas break.
We gathered in the usual desolate corner of
a cemetery for our morning ritual of listening
to music, talking and having a smoke before
school. My friend knew I had been gifted a
drum set that holiday and, after passing me a
smoke, handed me an 8-track tape, smiled and
said, “Check THIS drummer out!”
Just one look at the photo on the front
of the cartridge left me spellbound. It was
Rush’s first live album, All The World’s A Stage.
Peart’s chrome Slingerland kit glistened
under the spotlights like a jewel in a king’s
crown. I immediately had to hear what this
band sounded like. “Play it!” I urged. The
opening chords of ‘Bastille Day’ poured from
the speakers, and as soon as the drums
and bass kicked in, my body was covered in
goosebumps. I knew, in that moment, my life
was changed.
I’m sure I confused my school teachers in the
months and years that followed as I suddenly
became interested in the French Revolution,
Ayn Rand, English literature and Shakespeare.
This is the impact a “rock drummer” had on my
humble 16-year-old life. I bought that double
live LP the very next day. So began a love affair
with a band and a drummer that continues to
this day.
Just as I remember so sharply the first time
I heard Rush, so too will I always remember the
moment when I was informed of Peart’s death.
I was out hiking and snowshoeing (one of my
favourite pastimes, partially inspired by “Pratt”).
I received a text from a close friend that just
said “RIP Neil”.
Like so many others, I was unaware of his
battle with glioblastoma (a form of brain
cancer), and the news left me in complete
shock. In yet another testimony of the
admiration the man generated, all who knew
of his condition had kept their silence for more
than two years out of respect for his privacy.
Peart often wrote in his books about ending
a long day during his travels on his motorbike
with a smoke and a sip of The Macallan… In his
honour, then, prepare your favourite libation,
and join Rhythm as we take a very special
look at one of, if not the, most influential rock
drummers of the modern era...
A BRIEF HISTORY
Not much more can be told about Peart
and Rush’s history that hasn’t already been
written, but for the uninitiated, the band
entered the music scene storming out
of Toronto, Canada during the late ’60s
with a direct rock-and-roll approach as a
power trio. After getting noticed in the US,
thanks to radio disc jockey Donna Halper,
the band was on the verge of success
when original drummer John Rutsey was
advised not to tour due to health issues.
Enter Neil Peart.
After a disappointing foray to London
seeking his fame and fortune in the
music industry, Peart returned home
to St. Catharines, a suburb of Ontario,
Canada. It was while working at his father’s
International Harvester tractor parts
store and playing in local bands in the
St. Catharines area, that he received the
fateful call to audition for Rush.
Neil’s addition not only elevated the
band musically, but he became the
principal lyricist simply by default. A lover of
words and reading, Peart willfully accepted
the challenge. Although modest in his own
evaluation of his work, his lyrics grew and
progressed just like his drumming. Always
one to embrace music technology and
innovation, Peart adapted that aesthetic
to his lyrics as well, writing about topics far
removed from the typical banality of top
40 pop radio.
Rush eventually conquered the charts,
however, and achieved considerable
success in singles and album sales. This
culminated in their recent induction
into the Rock and Roll Hall of Fame after
many years of eligibility. Usually one to
shy away from public events or spotlights,
Peart commented in his acceptance
speech, “We’ve been saying a long time,
years, that this wasn’t a big deal. Turns
out, it kind of is”.
Indeed, it was a very big deal for the
millions of Rush fans around the world
who so loved to share the object of
their obsession with others. Rush being
“indicted” as Peart put it, was solely for
the fans. Neil also quoted Bob Dylan by
adding, “The highest purpose of art is to
inspire… What else can you do for anyone
but inspire them?” In my personal life
experience, Neil Peart is the truest
embodiment of this statement.
WORDSMITH
In addition to Peart’s immeasurable
impact in the music and drumming
world, his other artistic contribution
was his love of the written word. This
was apparent through his command of
language, whether writing or speaking
about an idea, be it in a song, interview or
book. Peart always seemed to use
the perfect word or phrase to convey
his thoughts.
Many music lovers had difficulty getting
past bassist and singer Geddy Lee’s unique
vocals. To some, he was a wailing banshee
while others thought his original sound
fit Rush perfectly. But even those who
couldn’t get past Lee’s singing had to
admit the proficiency of Peart's prose.
Peart had a way of making the most
complex topic simple and shined a light
on simple things that turned out to be
complex. I always think of the song ‘The
Trees’ off the Hemispheres release. In
prose that Peart himself has shrugged
off as simplistic, the song tells a story of
equal rights achieved by drastic measures,
wrapped in a progressive musical package.
It is just one example of Peart’s command
of lyrical metaphor and allegory.
In addition to his talent as lyricist for
the band, Peart also wrote several books.
Most relate to his experiences travelling,
either while touring or on his own. Neil was
famous for either motorcycling or bicycling
between gigs while on tour. One of his
most poignant books is Ghost Rider, which
chronicles his experience of suffering
not one, but two fatal tragedies. The first
involving the death of his daughter in an
automobile accident, and the second, the
death of his wife barely a year later. Neil
was famously private throughout his life,
but if you wish to know him, you merely
have to read his words.
INFLUENCES AND INSPIRATION
Listening to Peart's static fills, one can hear
Keith Moon's influence. Never one to just
play a roll and crash on the ‘1’, Peart was
constantly peppering his fills with off-beat
accents and unusual sound source choices.
Cowbells, China and splash cymbals,
wood blocks and timbales were just a few
of the colours that Peart chose to paint
with from his palette. Just as Moonie’s
choppy, seemingly chaotic, fills worked for
The Who, Peart’s personal style meshed
seamlessly with the musical direction the
other members of Rush were headed.
Another percussionist in a power trio
that preceded them and who Peart looked
up to was Ginger Baker. Just as Baker
brought his jazz sensibility to Cream’s rock
idiom, so Peart brought his progressive
leanings to Rush, pushing them to another
musical level.
On the other end of Neil's influences
were more disciplined drummers that
emerged from the British progressive rock
scene: Carl Palmer (Emerson, Lake and
Palmer), Bill Bruford (Yes, King Crimson)
and Michael Giles (original King Crimson
drummer) all had an effect on Peart. But
the influences didn't stop in his formative
years. Both Peart and Rush are famous
for continuing to be influenced by other
styles of music. A great example of this is
Peart’s respect for Stewart Copeland from
The Police.
At a time when there was a lot of peer
pressure in my personal music choices,
Peart validated my opinion of Copeland
and The Police by praising him publicly
in interviews. Rush’s Signals and Grace
Under Pressure both showed The Police’s
influence on their music.
Another example was his fascination
with Buddy Rich, big band and jazz music.
As drummers, most of us have heard the
name Buddy Rich and are familiar with
the musical legacy that goes along with
him. As I made my way along my own
musical path, Rich and his playing were
a constant reminder of how far you could
take drumming – and how far I had to
go. I understood why everyone praised
Buddy; he set a level of musicianship and
excellence that was inspiring and hard
to surpass.
Just as Rich inspired generations before
me, Rush became my inspiration and
Neil became my ‘Buddy’ – an interesting
anecdote because Peart himself fell under
Buddy’s spell. Peart never considered
Rich a big influence on his playing
until a chain of circumstances (as
The Professor liked to say) changed
all of that.
In 1992, Cathy Rich, Buddy’s
daughter, invited Neil to perform at
the Buddy Rich Memorial Concert.
Peart dove passionately into the deep
end, researching and rehearsing Rich's
material to perform with the big band
during the concert. Growing up, I was
constantly told that jazz drummers were
the “best” drummers and could play
anything. While there may be an
element of truth to this opinion, it
was inspiring to me that my favourite
drummer, who was considered a “rock”
musician, played masterfully with Rich’s
big band. In yet another example of
his influence on me personally, Neil’s
participation in the event inspired me to
dig deeper into drumming history, and
in so doing I gained a deeper appreciation
of Buddy Rich and those that came
before him.
Peart’s experience with the concert also
led to his involvement with two Burning
For Buddy album releases, featuring a
who’s who of the drumming world playing
arrangements of a variety of songs as well
as Rich’s big band tunes.
It’s impressive that Peart managed
to take all of those influences and
homogenise them into his own personal
sound. Even when he was years past
his impressionable influential stage,
Peart was still soaking up knowledge like
a sponge.
FROM ANALOG KID TO DIGITAL MAN
As a result of his experience with the
Buddy Rich Memorial Concert and
subsequent Burning For Buddy CDs,
Peart reassessed his playing style and
began to study with drum guru Freddie
Gruber. After reaching the pinnacle of
peer acceptance, winning awards and
being voted top in many polls of various
drumming and music magazines, Peart
felt a need to reinvent himself. At a time
when many would rest on their laurels,
Peart was continuing to learn and
challenge himself.
This process is wonderfully documented
in the highly recommended video A
Work In Progress. In it, Peart describes
his journey of rediscovery as only he
so eloquently can. In addition, he
demonstrates the real-world application of
his studies by showing how they applied
to Rush’s release at the time, Test For Echo.
He altered his drum kit setup (always
guaranteed to awe and inspire gear geeks)
and went ergonomic like other Gruber
disciples (Steve Smith, Dave Weckl and
Peter Erskine).
Peart changed, but remained the
same. ‘Circumstances’, anyone? He started
to “dance” on the drums, as he often
described Gruber’s instruction. Peart’s
playing became more rounded and his
groove even more pronounced. When
I saw Rush and Peart on the Test for
Echo tour, I marvelled at the fluidity of his
playing. It showed me that by selfishly
pursuing his personal reinvention, the
fans’ reward was as satisfying to them as
listeners as it was to Peart’s sense of his
own musicianship.
An excellent example of Neil’s
willingness to change was his relationship
with electronic drums, triggers and
samples. Originally a sceptic and not
entirely trusting of the new technology,
Peart changed his opinion. Throughout
the ’80s he experimented with electronics
that included a secondary kit behind his
main acoustic one, blending both worlds.
Peart’s massive acoustic kit had
inspired countless drummers throughout
his career; now he was consolidating,
morphing and making the most efficient
use of the technology he had at his
disposal. Peart was able to pack most of
his percussion into his electronic setup by
sampling his personal instruments and
using the sounds with his Simmons pads
throughout the ’80s, and then with his
Roland electronic kit during their later
live years. True, in later years they used
some sequences live, but always tastefully
and musically.
Another testimony to Peart’s precision
was his ability to play with those sequences
or a click live, yet push and pull the band
to keep the live feel. While always serious
and precise, Peart’s playing never sounded
mechanical or cold. There was always a
human touch.
His physicality was also very apparent
in his visual style of playing. Musically
progressive, yet unflinchingly aggressive.
Stick spinning and twirling didn’t
overshadow the fact that every note had a
purpose. When Rush came roaring back
from their hiatus with Vapor Trails, Peart
once again caught our ear with his blazing
double bass intro with trademark two
surface ride pattern on ‘One Little Victory’.
It was unusual, as Peart never used his twin
kicks for rhythms, only fills, and yet was
one more example of Neil exploring his
own style and willingness to do something
different and outside the box.
THE LIVE ELEMENT
If you have ever experienced Rush and
Peart live, you know you could always
expect them to play their material exactly
like the record. However, there were times
where they would deviate from the script.
They were famous for their instrumentals,
medleys and the centrepiece: Peart’s drum
solo. If you did not get the opportunity to
see Rush live, fret not. There is a wealth of
live recordings that chronicle every phase
of Rush and Peart’s live evolution.
Neil elevated the drum solo from a
mere display of chops to an orchestrated
presentation, documented over the course
of their live releases. His personal approach
to soloing is captured in the Taking Center
Stage video. In it, Peart again succinctly
vocalises his thoughts towards his drum
solos – another highly recommended
treasure that gives insight into Neil’s
original approach to his craft.
In the March 2014 issue of Rhythm, Peart
wrote on soloing, “I believe most humans
can be stirred to their cores by rhythmic
drum patterns – it is surely the oldest
music. If a drummer can combine that
primal instinct with structure, conversation,
invention and a touch of theatre, the
audience will be reached, even moved”.
With a catalogue as vast as theirs, Peart
often remarked on how difficult it was
creating set lists for live shows. One creative
way of squeezing in a little more material
into a show was mashing up songs. Their
creative technique of doing this can be
found throughout Rush’s live history, going
all the way back to their first live album All
The World’s A Stage, with their combining
of ‘Fly By Night’ and ‘In The Mood’.
When I saw them on the Presto tour,
they segued out of ‘Freewill’ into ‘Distant
Early Warning’ with seamless precision.
Later, on the Counterparts tour, they
surprised everyone when they went from
a blazing performance of ‘Xanadu’ into
the fan-favourite instrumental ‘Cygnus X-1
Book II: Hemispheres Part I: Prelude’. This
was the kind of band Rush was, always
eager to please fans by playing as much
material as possible, but still satisfying their
own creative urges.
Rush and Peart set a standard for their
album-like perfection in concert in an era
when bands were notorious for going all
out in the studio, then having problems
replicating it live. After listening to Rush’s
first live album for so long, my young ears
were surprised when I dug back into their
catalogue and heard studio versions of the
songs that I had grown so familiar with
from that first live album. It was truly ear
opening to hear how Rush changed the
arrangements slightly on some song
kept others exact and left room in
others for improv and risk taking.
Here were three men pushing their
studio capability to the limits yet still
pulling it off live.
Rush and Peart’s ability to morph
and change yet still remain the same
is a definitive example of a "progressive"
band. They always used technology to their
advantage. They had no shortcomings
musically, so they didn’t need to hide
behind it. Every note laid down in the
studio was replicated live.
Rush toured relentlessly, playing
anywhere and everywhere with anybody
and everybody. One of the more unusual
times I saw Rush live was on their Farewell
To Kings tour. They had not yet reached
headline status and were opening for
American rocker Bob Seger and The Silver
Bullet Band. Most of the attendees were
there for Seger, but by the end of Rush’s
energetic 45-minute set, the trio from
Canada had won the crowd over.
Every time I saw Peart and Rush live,
they played with that same passion.
Rush was all about the music. No tales
of debauchery or excess. No egos or
infighting. The focus was entirely on the
songs and the performance of them. They
set a selfish artistic goal for themselves,
which the fans benefited from.
Rush and Peart were known for their
musical precision in concert. The closest
thing to a mistake that I ever witnessed
was on the Presto tour. They played 'The
Pass’, which has a very stark intro by Geddy
Lee on bass with Peart echoing his riffs
with a tribal tom-tom beat, and ethereal
chiming guitar work from Alex Lifeson. Lee
hit the note at the start of the song and
the note was out of tune. Lee immediately
looked to the side of the stage, stopped
playing and ran behind the curtain to
correct the problem. Peart continued
playing, Lifeson continued chiming
and Lee was back in on the beat within
seconds with a properly tuned instrument.
Watching them react and seeing
the smiles on all of their faces as they
transitioned out of what could have been
a train wreck, was an excellent glimpse
into the looser live attitude they adopted
during their latter career. Looser however
does not mean sloppier. After so many
years of being the staunch perfectionists
that they were, Rush was finding room for
fun. Their response to the above anecdote
is but one small example of that. Other
indicators were brilliant short films
played before shows, after intermissions
and sometimes after the concert had
ended (available on the plethora of live
videos the band has in their discography).
Their involvement with several movies
and television shows, most of a comedic
nature, are all examples of Rush seemingly
embracing the belief that sometimes
life is too serious to be taken seriously.
Being a staunch perfectionist all the time
is exhausting, but Peart and Rush were
finding room to relax.
FINAL THOUGHTS
I never had the opportunity to interview
or meet Mr. Peart. As a music journalist,
he was at the top of my short list as a
feature subject, and I would have leapt at
the chance to have had a conversation
with the man. Sadly, that was not to be.
However, I felt like I knew him through his
music, lyrics and books. He wrote his heart
on his sleeve, and if you want to know the
man, all you have to do is enjoy the vast
catalogue of material he has left behind.
If I had been given the gift of meeting
him in person, I always fantasised about
what I would say. I had decided on, “It’s
a pleasure to meet you, Mr. Peart. I really
admire your work, and your drumming’s
not too shabby either”. I have a feeling he
would have appreciated that.
Thank you, Neil, for everything and know
that your garden grows throughout the
world and continues to be fruitful and bear
inspired drummers and musicians in a
plentiful harvest.
TIM ‘HERB’ ALEXANDER
(Primus)
“I was walking to a friend’s house in
Riverview, Michigan when ‘The Spirit
of Radio’ came on the boom box
I was carrying. It shook my
world. Complex but listenable.
Powerful and interesting. It’s
got to be the best intro into a
song, ever... It made me
feel connected to something
that couldn’t be explained, and it
became my focus to learn how to play
like Neil. I would learn every note of every
album until I started to become my own player and not
imitate Neil so much – which was hard to do by the
way! He was a major influence on me.
“As a kid I couldn’t describe what it was that had
such a big impact – it just was! The thing that made
the biggest impression on me was how Neil would
have different parts within a song; it wasn’t just a beat
that continued throughout. He would make changes
from verses to chorus and create introductions to
songs – even ‘Tom Sawyer’, where the main groove
during the verses has a part that is evolving as the
verse moves on. And his solos were unique, because
they were a song in themselves – and he kept those
themes throughout his career as if it was an ongoing
composition. His composition really affected how I
think musically as a drummer, and I always try to have
that approach in my playing.
“My favourite memories of Neil are watching him
play every night on tour when we opened for them,
especially when he would come to my dressing room
to hang out and jam on my practice kit, or bang on
an ice chest – whatever was there… Man, I’m still
so sad.”
RYAN VAN POEDEROOYEN
(Devin Townsend Band/Imonolith)
“I was 14 years old when a buddy
introduced me to Rush, and I
remember hearing ‘YYZ’ and
thinking, ‘What the hell? This
s incredible – listen to the
drumming!’ Neil was pushing
boundaries, doing something
completely different, and he
made me feel that there was a
ole new level to drumming.
he biggest impact he had on me
was how musical his playing was. He wasn’t
just keeping the beat and pulling off crazy drum fills;
he thought out his cymbal parts to match the notes, or
tones, of the music. It’s why I have so many cymbals,
and when people compliment me on my cymbal work,
the reason is Neil Peart – you hear him come out in
my playing. It’s fine to borrow from your influences,
but don’t try to be them. They will always be the best
versions of themselves. Be a first-rate version of
yourself, not a second-rate version of someone else.
“Whenever Neil placed a fill, even in Rush’s most
progressive songs, it was perfect; and whether it was
simple, or difficult, he was playing for the song. I have
so many Rush tracks that are favourites for different
reasons, but I always come back to ‘YYZ’. You have
your crazy fills and the ‘proggy-ness’, but there’s this
groove – almost like Neil’s playing four on the floor.
That song, encompasses everything that I think a
drummer should know. It doesn’t matter
what you’re going to be playing, you should have
a knowledge of time signatures. Then there’s the
flashiness, the progressiveness, the drum fills, the
cymbal work – that’s all in there, too, and he’s laying it
down with that fat groove.
“I went to see Rush on their Roll The Bones tour.
We hadn’t bought tickets but we managed to get some
and ended up in the front row! Rush came on, and I
was just blown away. There were a few times where
Neil and I made eye contact, and he gave me a nod. I
remember walking away from that show feeling totally
inspired. I’m doing what I do today because of it. The
biggest thing was making that eye contact. There was
an energy that was very influential.”
JON THEODORE
(Queens Of The Stone Age)
“I can still remember being in the car
on the way to school when ‘Tom
Sawyer’ came on the radio. I
was probably 10 years old, and
I didn’t know s**t, but when
that monstrous groove came
in over that deadly synth bass,
it instantly resonated with
me in a way I’d never known
before. I knew in that moment that I
was hearing something very special,
and different, from all the other music I
already knew. It was dangerous and heavy, like some
kind of wild, sleek jungle cat on the prowl. By the
time the ‘A modern-day warrior’ line hit, my mind was
fully blown! It was one of those exhilarating moments
when you experience a life-changing revelation.
“At that point, I wasn’t even playing drums yet,
but I knew that Neil was a different kind of drummer.
I had already begun to focus on the drumming when
I was listening to music – but when I listened to
Rush, I couldn’t stop the involuntary urge to air drum
along with the beats and fills. Neil’s playing was
magic – compositional with the fearless creativity and
thoughtful considerations of high art, but with the
fierce heat and irreverent passion of rock ’n’ roll. Such
an elusive and rare blend.
“There are so many different Rush tracks that are
essential for so many different reasons, but if had
to pick one, it would be ‘La Villa Strangiato’. It’s long,
with so many moves – the whisper to roar dynamics
of the intro, the quintessential Peart ride cymbal beat,
the odd time groovy space dub, the chunky tom hits,
the spotlight solo, the ‘Cab Calloway’ demented disco
tom groove and the rest of the inimitable aspects of
his playing. It’s perfect.
“Rush’s final show at The Forum in LA was a
night to remember. Literally everyone I know who
plays drums in LA was there, and it was an evening
of the highest revelry and praise for our hero, Neil,
and his band. There were more toasts, high fives,
belly laughs, huge smiles, synchronised unison air
drumming and slack-jawed stares of disbelief than
you could imagine! The band was inspired, and Neil
put on a three-hour clinic for his adopted hometown
crowd, who responded with roars of appreciation. His
solo that night was unforgettable; it had all the depth,
precision and calculated wisdom we’ve come to love
and expect from The Professor, but it also flowed and
blossomed with organic improvisations. There was a
beautiful snare scene in the beginning that resonated
like Buddy Rich or Tony Williams, where he’d change
patterns and sticking to make the accents
pop, or float – like the sound of a waterfall – that
was so loose, free, inspired and musical that it took
my breath away. From there, he took us on a journey
through all the different aspects of his playing. It was
a beautiful sight, and sound, and he was holding court
and laying out for all to see the treasures collected
from a lifetime of tireless crusading for inspiration
and the relentless pushing of himself to evolve and
keep learning. It was magnificent, and the fact that it
was rumoured to be Rush’s last show made it even
more poignant.
“Having Neil acknowledge what I said about his
playing that night is one of the proudest moments
in my life, and to know that it meant something to
him because I had ‘got it’ is something I will always
treasure. As a fellow human and drummer dedicating
my life to the pursuit of people ‘getting it’, I can’t think
of any more meaningful a validation than to have the
blessing of The Professor. Forever one of my first and
biggest inspirations, a trailblazing maverick who lit the
path and showed us all what is up and how high the
bar can be set. Long live Neil, and long live Rush.”
MARCO MINNEMANN
“The first time I heard Rush was when
I was about 16 years old, and a
bandmate had the idea to cover
‘Tom Sawyer’. I immediately
thought it was very cool, and
I transcribed the drum part. It
made me instantly recognise
how organised Neil’s playing
was. He had these great, very
musical ideas; his drum parts
were composed and his fills became
trademarks It’s mind blowing and beautiful
to see so many people in the audience at a Rush
show air drumming to his fills. You don’t get that
often, right?
“Neil was a very thoughtful writer and player, and
both reflected his personality. I think what drummers
can take from that is to be more of a composer on
the drums than an improviser. Both sides have their
values and places, but Neil showed the world that
drum parts matter and can become a hook. And let’s
not forget about how great a lyricist he was.
“When I listened to Neil’s playing, the discipline and
obeying the grooves and structure in such a powerful
way was something that definitely opened my eyes.
When I met him, we discussed how both of us had
moved to California at the same time from different
countries. It was a very nice talk about life, friends
and experience.
“For me, ‘Tom Sawyer’ still shows all the
trademarks of Neil’s playing: the force, the focus, the
structure, the composition and the style.”
CHERISSE OSEI
(Simple Minds)
“I first heard Rush when I was a teenager,
and I remember being immediately
excited and intrigued by what I
was listening to – and thinking
how appropriate their band
name was. Their music
definitely gave me an adrenaline
rush and has done ever since!
“I was fascinated by Peart’s
playing. I loved how complex it was,
but at the same time so musical. I loved
the parts he came up with – you could
feel he was always pushing boundaries – and
he made me want to explore more complex fills and
work on my own technique and groove. He was one
of the first drummers to play such difficult drum
parts in mainstream rock music, and I also wanted
to emulate his energy and precision.
“My favourite memory would have to be watching
the live Exit… Stage Left DVD for the first time and
being blown away by Peart’s drumming. I was just
mesmerised, and when the DVD finished, I felt so
inspired that I went and played on my drums for four
hours solid!
“For me, the must Rush track has to be ‘Limelight’.
It’s a classic rock masterpiece, and I love the guitar
riffs and the lyrics, which highlight Peart’s feelings
about being in the limelight and the difficulty he had
with coming to grips with fame. I love the way Geddy
Lee’s voice sounds and the way Peart’s powerful
drumming drives the track forward.”
CRAIG BLUNDELL
(Steven Wilson, Steve Hackett)
“I was a spotty kid in a record store
when I first heard Neil play on
‘The Spirit Of Radio’, and
I remember it like it was
yesterday – the moment
that Neil starts that ride
pattern, just as it all
kicks in… I have had many
eureka moments in my life,
but that was one of the most
important. I didn’t know what he was doing, but I loved it, and even
though I didn’t read music, I wore that tape out
learning to play it, going backward and forwards
trying to work out what the hell was going on! To
this day, it’s still my favourite sticking pattern, and it
doesn’t just belong in the prog genre. It’s forward-thinking
drumming at its very best and works across
so many platforms.
“And that’s the thing with Neil, he was such a
pioneer in going forward... Everything was, and still
is, ahead of its time, and it’s stood the test of time.
He was never content to sit still; he was always
pushing forward to make the next thing better than
the last, and that work ethic of not resting on your
laurels has been a tremendous inspiration to me
over the years.
“Neil chose when to blaze, but, equally, when
he put less notes in it would be just as beautiful.
He was the king of that, and it’s an important
lesson for young drummers who think they will
find the answers in more notes. He always played
for the song and was tremendously musical and
intricate. There are few drummers who are instantly
recognisable when you put on a record, but Neil is
one of them, and I always go back to him when I
need a burst of inspiration. For me, he is the epitome
of musicality and determination.
“Sadly, I never did get to see Rush live, or meet
Neil in person – two of my biggest regrets – but
I am so proud to have played on the band’s 40th
anniversary album 2112 – 40th with Steven Wilson.
We covered ‘The Twilight Zone’, and I was so
nervous. We rearranged it completely, because I
thought I would be assassinated if I tried to do the
same as Neil! It’s an experience that I will cherish
forever, and simply to know that he listened to my
drums puts a smile on my face.”
RYAN BROWN
(DWEEZIL ZAPPA)
“The first time I heard Rush was on
June 22, 1990 on the Presto tour, at
Fiddler’s Green Amphitheatre in
Greenwood Village, Colorado. I
was 14 years old, and it was a
truly magical experience. I was
mesmerised from the first note
to the last, and I bought a T-shirt,
poster and tour book! Everything
about the show – the performances,
the songs, the lights – it was the
greatest thing I had ever seen or heard...
“It took me a while to figure it out, but the song
that was stuck in my head for the walk home was
‘Red Barchetta’. I was blown away by how creative
and intricate Neil’s parts were. His drumming was
unlike anything I had heard, and Rush became the new
benchmark for me. I thought if I could learn how to
play along with those albums, I could probably play
anything! It was like unlocking the ultimate challenge
for our craft. I didn’t realise at first that some of the
songs were in odd time signatures, or that they were
changing time signatures. I didn’t know that was
possible yet, I just learned the songs. Then, my drum
teacher, Dave Robnett, taught me how to count them
out. Looking back now, I feel like it was the perfect
way to get into odd time music.
“Neil’s influence made me want to make my drum
parts more interesting, for myself and for the listener.
I wanted to be as consistent as possible, and I wanted
to hit hard!
“I was lucky enough to see Rush live 24 times, and
while each show was absolutely incredible, there
was something extra special about the show on the
Snakes And Arrows tour on July 25, 2007 at Irvine
Meadows, California. Neil, Alex and Geddy were all
especially on fire that night, and I remember thinking
during the show that it was the best performance
I had ever witnessed. I tried extra hard just to soak
it all up...
“For me, ‘YYZ’ has many of the classic Rush
elements all in one song. There’s the famous morse
code intro. The main riff is in 5/4, but it changes time
signatures and has the classic Neil ride cymbal groove
along with trading bass and drum solos.”
PETER ERSKINE
(Weather Report, Steps Ahead, Solo Artist)
“The first time I experienced Rush was
after Neil had given me one of their
CDs. Prior to our meeting, I had
only heard about the band.
As much as I tried to listen to
everything when I was younger,
my taste became more focused
as I grew older. Needless to say,
I was impressed.
“Neil put an extraordinary amount
of thought and work into his drumming.
The intricate complexities of that band’s
music, combined with his powerful execution of the
drum parts, made as deep an impression upon the
minds and spirits of music fans everywhere as Gene
Krupa’s drumming had done decades earlier. My
takeaway was that Neil was the Krupa of our time.
I can have great admiration for a set of skills
without wanting to add those same skills to my
toolbox. I’m not a stadium rocker and never will be.
That said, Neil’s drive to look fearlessly into an abyss
will continue to be an inspiration. His curiosity and
thirst for knowledge made him such a wonderful role
model for all of us. The man had it all, but he continued
to read and study. His was a life well lived. A good
lesson for us all.
“My favourite memory is of seeing that smile of his
in the missives he emailed to me. That, and the sheer
pleasure that drumming brought him. He delighted in
it, he celebrated it, he exuded and enthused it.”
DANNY CAREY
(TOOL)
“In 1976, I was well immersed into the
rock world. I was literally
earing out Yes, King Crimson,
Genesis and ELP records
monthly. It would take a
lot for anything on the radio
to spark my attention, so
my snobby group of friends
and I relied upon word of
mouth from each other and
der brothers to discover.
“I will never forget walking into my younger
brother Dale’s bedroom, where he was playing 2112.
It made a really big impact from the first moment.
There was great clarity in [Rush producer] Terry
Brown’s recording. All the ‘proggy’ elements that
I loved were there, but it also had more of an
aggressive quality to it. I really liked Geddy’s voice
also – it kind of scared me.
“Neil’s drumming has always sounded very thought
out and composed to me, which is rare in my world
of rock. There is always a high level of articulation
and sympathy to the other parts happening around
him and excellent choices to help lead them through
the journey. This is where his playing had its biggest
impact on me. It was very good timing for me to hear
Rush when I did, as I had just gotten my first Ludwig
Stainless Steel Octa-Plus. At this stage of my playing,
it was very inspiring to have this giant kit – but also
somewhat intimidating.
“Listening to Neil’s use of all the concert toms and
percussion toys really helped me get a feel for how
to use all of these new possibilities and apply them
in a musical way. The thing I wanted to emulate most
from Neil’s playing, along with the aforementioned
compositional choices, was his sound – specifically
from the Moving Pictures album. The concert toms
and kick sounds on that record are some of the best
I’ve ever heard to this day.
“My favourite memory has to be the first time we
met. It was about 10 or 15 years ago backstage at one
of his shows in LA. They always say you never want
to meet your heroes, so I was quite nervous about
being there. Luckily, I had met Alex [Lifeson] before,
and he introduced us. Neil’s smile and hospitality
were so welcoming, that all of my fears vanished
instantly. The funny thing was, I don’t think we
talked about drums once. It was strictly about the
important things like Scotch, BBQ sauce, motorcycles
and family! I think that’s the biggest reason we
became friends.
“‘Limelight’ is a great example of playing the right
thing at the right time and leading a song where it’s
supposed to go. A must for anyone who wants to
learn from the best.”
When I discovered Neil Peart and Rush in the early ’80s, it was very much
a case of the right band and the right drummer at the right time. It was
exactly the type of challenging music I was looking for to help me grow
and develop as a musician in my mid-teens. Neil became my number
one hero. Nobody was applying themselves to a big kit in the same way that he was, and
I was fascinated by his setup, his incredible time signatures and the feel of his patterns.
He constructed his drum parts in such a musical way, and everything he played was so
meticulously thought out and crafted.
"I'll never forget my first Rush concert: December 1982 on the Signals tour. It was so
surreal to be in the same building as those guys, and I have never felt such respect when
it was time for the drum solo – everyone was air drumming!
"My first personal meeting with Neil came through Rhythm, and I still get a
tremendously fond feeling when I think about that day. I got to be the fan boy – it was my
job to ask him about drums! – but after that we struck up a great friendship that lasted
until he passed. I have so many great memories, but one that’s very poignant is from our
last meeting on the band's final tour. Neil invited me down to the show and soundchecks as
he always did – he was so welcoming and gracious – and I got to take my son, Max. Max
played his kit at soundcheck, and it was very special to share that last Rush show with him.
“Neil was always so modest; he never acted like the drum hero and legend that he was.
In fact, he always talked about how he could be better! From the golden era of Rush, here
are my personal highlights from Neil’s incredible drumming legacy, and it’s these tracks
and albums that helped make me the drummer I am today…”
Fly By Night (1975)
"The band's second album, but Neil's first with them. There is so much great drumming on here, but for me, the standout track is the epic 'By-Tor And The Snow Dog'. It's one of the first Rush songs that I learned to play, and the drumming is so challenging... I particularly love the middle section with the mini drum solos and the really cool, progressive pattern, where every bar takes away one beat. That creative, and very clever, nature of playing with numbers and patterns really appealed to me."
Caress Of Steel (1975)
"Probably one of the most underrated albums in their catalogue, but it features Neil's first recorded drum solo in the sub-section of 'The Fountain Of Lamneth: II. Didacts And Narpets'. It includes so many of the styles that would become staples of his live solos and was an incredibly important moment for him as a drummer."
2112 (1976)
"The breakthrough album for the band and a masterclass in Neil's drumming - especially the first two passages, 'Overture' and 'The Temples Of Syrinx'. You are not considered worthy if you can't air drum 'Overture'! Right to the end it was a key part of their live show, and that big opening tom fill at the start of 'The Temples Of Syrinx' is typical, and classic, Neil. 'A Passage To Bangkok' is also great. This was the start of their true prog era, and the next five albums that followed are my absolute favourites.."
A Farewell To Kings (1977)
"One of the all-time Rush greats, and an album that took drumming to a whole new level. 'Xanadu' and 'Cygnus X-1: Book One: The Voyage' are pure perfection and true prog classics. 'Xanadu' is quite possibly one of their best songs, and 'Cygnus X-1' gives a real sign of what was to come, as this track pretty much expands to an entire sequel on the band's next album."
Hemispheres (1978)
"Rush's progressive peak, and my personal benchmark in terms of virtuosity, musicianship and how far you can take it... I spoke in depth about 'La Villa Strangiato' in Rhythm last year (Tracks That Inspired A Generation, Issue 293), but the whole album is an exercise in pure indulgence (as they called it). 'The Trees' - my goodness, the drumming on that is just ridiculous. Masterful and musical, and the odd time signatures in Ss and 7s are an education in phrasing. There is so much there..."
Permanent Waves (1980)
"Just when you thought that they had peaked, along comes Permanent Waves to usher in a new decade for the band, and it's the perfect mesh of prog and sensibility. If I had to pick a favourite Rush album, this would be it. There are only six songs, and I look at them as three different animals. The Spirit Of Radio' and 'Freewill' are the radio tracks, and they got lots of airplay, but that didn't mean that the musicality was turned down. Rush did as much in five minutes on each of those songs as most bands would do in 20! They are drumming masterworks, but are also easily digestible. "The understated 'Entre Nous' and Different Strings', are equally great, and then you have the two heavy-hitters that close each side of the record -'Jacob's Ladder' and 'Natural Science'. The composition of these is epic and showcases some of the greatest drumming of Neil's career. I have covered dozens of Rush tracks over the years, but 'Jacob's Ladder' was one of the hardest. That middle section that alternates between 6 and 7 is so masterfully crafted, and the way that Neil develops the part and jams within it is just incredible. To craft every nuance of those grooves, beats and development shows such discipline; he really did have the mind of a professor."
Moving Pictures (1981)
"Their most popular album, an undeniable masterpiece from start to finish, and the record that changed everything and turned Rush into a fully-fledged arena band. Side one is complete perfection, and somehow it also translated to the mainstream, because Tom Sawyer', 'Limelight' and 'Red Barchetta' all became radio staples, while 'YYZ' became the band's most famous instrumental. "On side two, 'The Camera Eye' is one of my favourites of their more epic songs, 'Witch Hunt' is so dark and 'Vital Signs' is incredibly forward thinking-with the reggae influence that The Police were introducing around that time. It was to go on and become something bigger on the next album, but here it was ushering in a new era..."
Signals (1982)
"The height of my fan-boy fanaticism, the first tour that I saw them on and that red Tama drum kit that I reproduced for my Rush tribute years later! Here, they brought in more keyboards, and the songs became shorter and a bit more traditional in their arrangement. Neil's playing in 'Subdivisions' and the way he is grooving and phrasing in 7 is mind blowing. The highlights for me are The Analog Kid' and 'Digital Man'. Even though I went in different musical directions after Signals, there are moments on every subsequent album that I love, right up to Clockwork Angels. "As a band, and as individual musicians, Neil, Geddy and Alex were always developing, growing and embracing new influences and challenges. And, as a drummer, Neil was never content to stay in the same place - introducing electronics, new setups and sounds, scaling down to a single kit, relearning his whole approach with Freddie Gruber, playing swing and big band .. He was, and always will be, a constant source of inspiration. "RIP, Professor."
Rob Wallis (Founder, Hudson Music)
“What was it like to work with Neil Peart? Well, the best
answer I can give is that 1 + 1 = 3! Neil referred to us as
‘collaborators’, and every project we worked on always
morphed into so much more than we could ever have
imagined at the start. A great example is the final one we did
together - Taking Center Stage: A Lifetime of Performance –
where we ended up with a three-part DVD, over eight hours
in length!
“Our first adventure together, after getting to know
Neil when we filmed a Buddy Rich tribute concert in NYC –
Neil’s first live foray outside of Rush – was the Burning For
Buddy sessions that Neil produced for Atlantic Records.
For 14 days straight we filmed the world’s top drummers,
and that brought us much closer with him. Eventually,
we wore him down, and he said yes to doing his first
instructional video – A Work in Progress – filmed in beautiful
Woodstock, New York. We soon learned that an enticement
for Neil was the locations we chose for filming, so we’d
always allow him to make the final decision on any
location. Neil would then match it up with travel plans that
he would look forward to, either by car – he once had
his limited-edition Z8 BMW shipped to my house outside
NYC from the West Coast – or by motorcycle, driving from
Woodstock to his home in Canada on his trusted red BMW.
Just like the planning of a Rush tour, it all worked around Neil
and his wish to see the most scenic parts of the country.
“I learned early on that Neil liked to have a hand in every
aspect of a project. And he was always right – a perfect
partner. He treated each production with the same care he
treated his writing and his drum parts for Rush; everything
had a place and a sound reason. Seeing our products on
display at the merchandise stands at Rush concerts was
something I’ll never forget.
“Of course, all of his speaking on camera was equally
perfect; I can barely remember a second take for any
speaking and, for that matter, any drumming – of which we
recorded hours! Everything he said was thought out and
clear, all the way down to the detailed orchestrations on the
drums on songs like ‘Subdivisions’, ‘Caravan’, ‘YYZ’ and
many others.
“During the course of working with Neil for over 30 years,
very little was off limits – except his private life. Neil was
immensely private, and I feel very privileged to have been
allowed into a small corner of his world.”
Rhythm subscriber, Giles Henshaw
“For me, like thousands of other drummers around the world, Neil was a huge
influence. His intelligence, technique and musicality continue to inspire and he
is very sadly missed.
“As a spotty, young drummer in the ’80s, I wrote to Neil -
via Modern Drummer magazine - asking him about the Rus
track ‘La Villa Strangiato’ and how to play it. Not expecting
reply from my drumming hero, I resigned myself to practice
the track without guidance, getting it wrong every time!
“Fast forward six months and, totally unexpectedly,
one cold October morning what should drop through
the post box than a handwritten postcard from The
Professor himself!
“It was one of the many personalised cards that he use
to send out to fans during the early ’80s, until it took up to
much of his time and he had to stop.
“Needless to say, I was thrilled, stunned and amazed
that he would take the time to write a response to a kid
fan in the UK.
“It remains to this day my most-prized drumming
possession - it sits in a frame in my drum room - and is
a lovely example of the humility of a truly inspirational
drumming figure.”
Beyond the Engine Room (Doane Perry, Jethro Tull)
“Neil and I may have first met because we both had the same ‘day job’ description – playing
challenging music with our respective bands – but we connected in a way that went
considerably beyond the wood and metal.
“Both of us loved the subtle and powerful art of language, and we would often write each
other long, tall tales from the road. There was a mutual understanding about the challenges
of touring and the cerebral, athletic and musical requirements of our respective gigs. When
we got off the road, we would have these long, luxurious lunches, talking broadly across
multiple topics and everything time would allow: literature, science, history, philosophy,
astronomy, nature, exotic cars, obscure musical influences, the state of the world and
the state of us in it. Generally, we would bypass the small talk and jump straight into these
wonderfully labyrinthian conversations, sometimes finishing each other’s sentences as we
went along. Perhaps one of the reasons we connected in such a profound way was due to
our shared interests outside of music, which informed what we both did inside music, even
if they were only tangentially connected. Oddly enough, the common ground that originally
brought us together rarely drifted into technical talk about drums. Never deliberate... it just
didn’t come up that much. There were always big notions to explore!
“Whether it was through music, lyric or prose writing, Neil was an exceptional, imaginative
and exacting architect of language and rhythm. However, I don’t think that artistic part of his
being would have unfolded in quite the same way if it hadn’t been for the deep humanitarian
instincts that were always alive in him. That empathy and sensitivity was clearly present in
his writing and, of course, in his playing with Rush, as well as every other artist with whom
he worked. Those personal and artistic identities were inextricably linked, and I believe it’s
why he was able to connect with people so powerfully and directly. His natural gift of being
able to put himself out there, without pretence, in such a revealing way, allowed people to
really feel like they knew him. It was an honest reflection of who he was... and he never
sidestepped the painful moments in his life, as he could so easily have done.
“People sometimes made the mistake of thinking that because Neil had such an
extroverted personality on stage, that he was the same way off stage. He wasn’t... he was
actually somewhat shy, but underneath that stoic shyness (which was a mixture of modesty,
humility, self-effacement, unapologetic honesty and near-military punctuality), was his
constant desire to get better and to communicate more clearly. Even though there was much
he kept in reserve, I feel it was also important to him that he felt clearly understood. Later,
when he wasn’t talking as much, he still remained deeply engaged with his family and friends.
It wasn’t always verbal, and even in those rare and hard to imagine quiet but comfortable
moments between us, there was much that was communicated... and I know that was the
same for others in his life.
“By default, he lived in the deep end of the pool. One afternoon, a small remark he made
provided an illustrative insight to the rich interior landscape that he inhabited. I had given
him a thick book by brilliant naturalist author Allan Schoenherr entitled A Natural History of
California. He turned to me and said, “You know, Doane, this is where I live”. It remained a
permanent fixture on his coffee table. Although he never subscribed to any organised religion
and had difficulty aligning with such a concept, he clearly belonged to the church of the
natural world. I believe it was here, quietly communing in nature, where he was spiritually
most alive and at ease.
“There are many valid perspectives here, as Neil knew and deeply touched countless
people, some in overlapping circles and others in circles that barely crossed. Nonetheless,
all of us who knew him could honestly say that we were extraordinarily fortunate to have
shared the same time and space with him. And in that sense, I think he also belonged in
part to everyone who loved and admired him, from up close or at a distance. I know he was
deeply appreciative of the love and respect that was so deservingly accorded to him, and he
never took that for granted.
“A consummate gentleman and genius musician, he was powerfully driven by a work
ethic guided by integrity and excellence and worked harder than just about anyone I’ve ever
known. Part of the reward for that hard work was that he lived a dynamic and BIG life...
Not always easy, sometimes agonisingly difficult, but colourful, eventful, rich... and epic.
“During his last years, I recall him telling me that he felt he had said pretty much
everything that he had wanted to say artistically. However, knowing him, I think there
would always have been more – but the comforting thought of having left a meaningful
and substantial body of work behind, made him feel he had lived his life well and with
clear purpose.
Without question, Neil was a “one-off” who possessed an extraordinary heart and mind,
combined with a singular, original talent, an incredibly dry sense of humour and a lovingly
generous, loyal spirit. Dedicated and passionate about everything to which he applied that
exceptional brain – grace, success, eloquence and excellence would have followed him in
whatever path he had pursued in life.
“Over our 30-year friendship, he became like a brother to me – and although our ‘day
jobs’ brought us together, our friendship went considerably beyond that. I miss that, and
I miss him.”
Lorne ‘Gump’ Wheaton (Neil’s drum tech)
“It was in 2000 that I got a call from Rush’s then-tour
manager, Liam [Birt], to see if I’d be able to help them
make a record. Neil was coming back after the tragic
loss of his wife and daughter, and because I could
cover everything in the studio, I was going to be the
only tech for the whole session. For me, it was like
going back to family... I’d known Geddy [Lee] and
Alex [Lifeson] since high school in Toronto, and, after
Neil joined, had toured with them while I was working
with Max Webster. I actually have Geddy to thank for
my nickname, ‘Gump’!
“I’m so proud to have helped them singlehandedly
with Vapor Trails – it was an incredible process to be
part of – and working for Neil was wonderful from
the off. He trusted me to be his ears in the control
room when it came to drum sounds on that record,
and it was great to see him starting to enjoy the
whole process again. Alex and Geddy were so happy
to see Neil comfortable in his ‘office’ doing what he
did best: experimenting, creating and writing lyrics.
His brain worked like no other drummer I have ever
known, and the parts he came up over the course of
his career are just incredible.
“While we were in the studio for that year, I did a
lot of work with Neil in updating his gear. There was
the new Red Sparkle kit and hardware from Drum
Workshop, and he started using Roland V-Drums
and in-ear monitoring for the first time. It made his
whole configuration more friendly for the both of us,
and we ended up using that setup on the Vapor Trails
tour. When it came to building kits with DW, John
[Good] and Don [Lombardi] didn’t have ‘no’ in their
vocabulary, and the results were truly mind-blowing!
“I was taught how to tune drums by Steve Smith
– one of the very best – and the timbre matching
that John Good does with all his drums before they
leave DW made Neil’s kits easy to tune and bring up
sonically. We tended to tune to the note stamped
inside the shell at the factory, but I’d always crank
the smaller toms up higher, to get that early Rush
concert tom tone on the closed 8", 10" and 12".
“You’d think because Neil hit so hard that we’d
go through drumheads quickly, but surprisingly we
didn’t… That was thanks to Freddie [Gruber] and
what he taught Neil. After those lessons, Neil’s whole
setup changed: he sat slightly higher on the throne,
his snare drum moved up to navel height and the tom
configuration opened up around him. Rather than
punching through the drums, he played into them
– almost like the sticks were dancing. He liked the
sound of old heads, so, during soundchecks, I would
rotate two or three on the drums that he hit most to
wear them in. Even though the band were playing
nearly three hours, I’d only change the snare head
every three shows, which was unbelievable, really.
“When Neil was on the road, it was all about
routine, and prior to every show he would warm up
for exactly 20 minutes – always practising a little bit
of his solo. I liked at least a couple of hours to put his
main kit together, and then I would drive myself crazy
checking everything. My ‘station’ was eight feet away
from the kit, and I saw everything from my vantage
point – it was the best place on earth to be.
“Neil and I bounced along very happily together
for all those years – I knew how he liked things,
and he knew that I had his back if anything went
wrong. Because everything was locked down on
the rotating drum platform, there was only one slim
entrance to get inside the drum set if we did have a
problem. Once, when we had a failure on the main
R30 kit pedal, I remember Geddy turning around to
be greeted by my arse as I tried to get in through the
front of the kit! Some drummers would completely
loose it when something like that happened, but Neil
– even though he wasn’t happy – kept it together.
“Neil gave his all, all of the time – never more
so than on that final tour, which was hard for him
physically. It’s almost like he wanted to torture
himself with a final workout by using those two
different drum sets. He went from playing the
modern kit that he’d had for 15 years to the retro kit
that required him to go back to his old style of playing
pre-Freddie, because everything was in different
places. It was quite amazing how he got his brain
around that, but he was such an intelligent man. So
many of his buddies came down to The Forum to see
that final show, and it was a pretty perfect night.”
Chris Stankee (Global Artist Relations Director, Sabian)
“Neil was a creature of habit, and
change for him was always calculated
and deliberate, but when we developed
the Paragon line, he finally had the chance to
get the exact blend of modern and vintage that he
wanted. Months of development went into those cymbals,
and we started with the ride – such an important sound for
any drummer, and an integral part of the equation when
it came to Neil and Rush. He ended up using that ride for
everything, and I still have it. I’ll cherish it forever, and I’m
delighted to be able to share it with other drummers when
they come and visit Sabian.
“Neil always had two 16" crashes up front and used
the one directly in front of him the most. When that would
eventually break, he’d take the 16" to his left and move it
down – he liked the ‘broken in’ tone. Eventually, though,
I managed to persuade him to let us make him cymbals
with a brilliant finish, that sound and feel that way right
out of the box. He never changed that ride though, but
because Lorne [Wheaton] cleaned it with cream every day,
it ended up with the same sheen as the brilliant cymbals
and fitted into the setup perfectly. Neil’s 20" Paragon
Diamondback Chinese – with the jingles on top – was really
fun to develop, and I’ll also always remember when Peter
Erskine inspired him to move from his regular 13" hi-hats to
14s. The combination, and difference in tonality, of those
14" Paragons, and the 14" Artisans on the X-hat worked
great, and you can hear them all over Snakes And Arrows
and Clockwork Angels. To hear those sounds we developed
together on a Rush record, so masterfully engineered by
Nick Raskulinecz, and to have played a part in what Neil
was using as his voice, was such an honour.
“Watching Neil at work in the studio was amazing.
Knowing how composed his parts were on those early
records, it was interesting to see him change his approach
gradually in those later years and be open to improvisation
and other people’s suggestions. I’d watch him do multiple
takes – where he’d completely change his sentence,
colours and meaning – and then have the choice of what
suited the song best. It was almost like he was drawing
from his experience as a writer and lyricist – the expression
of those ideas on paper – and doing the same thing with his
drumming. It was especially noticeable with his solo, and
when I would see several shows in a row, I could hear those
nuances and the changes. His phrasing was impeccable,
and over a scotch one night, I complimented him about how
his phrasing had developed and how I felt he was turning
sentences into paragraphs. He toasted me and thanked me
for ‘getting it’. It was exactly what he was trying to do…
“I had to tech for him once, and it was nerve racking
to say the least. I had set him up in the studio before, so I
kind of knew how things went, but all his stands travelled
together in one giant case and nothing was marked. Gump
knew it by heart, but I certainly didn’t! Even though the
snare head broke in the second song, it was an amazing
experience. When you stood next to him and heard him
play it was so powerful, because he hit so hard, but those
massive strokes were so precise. He was able to draw
the sound out of the drum kit in a way I’d never heard
before, and his rim shots, on the toms in particular, were
just incredible. One of the things that impressed me most
about him was that as someone who was so respected, so
entrenched in our psyche, he was always looking to develop
and move forward.
“Unless he was on tour, or getting ready to go into the
studio, Neil didn’t play drums. To watch him regain his voice,
power, joy and passion every time he and Lorne headed off
to Drum Workshop to rehearse was just magical. That smile
got bigger and bigger as the dust blew away…
“I’ll never forget standing at the top of The Forum in LA
with him after Rush’s final show, watching the stage come
down for the last time. He had an impish smile on his face,
and he was happy. He realised that it was over – no words
were necessary – and to share that moment with him in the
empty arena, as the after-show party raged inside behind
us, was very special. His development was done, and I think
it’s important for his fans to know that he did allow himself
to enjoy everything that he achieved before he left us…”
John Good (Senior Executive Vice President, Drum Workshop)
“Neil was quintessentially the epitome of family to Drum
Workshop, and he felt so at home here. Every new tour
was a new adventure for the two of us, and all the drum
sets we built together were complemented by his style,
his playing, his absolute attention to detail and his love of
making a visual, and a sonic, statement of what he did.
And he always pulled it off.
“I still smile when I remember the first time he came
to visit... We’d never really met, but I knew that he was
a very private person, and I had asked our production
crew to give him space when we took our tour. Neil was
fascinated by the factory – it turned out to be a very
long tour! – and he was intrigued by all of the intricate
details that make my heart pump when it comes to
building drums. When we got back to my office, though,
he asked if people here disliked him, because he hadn’t
been able to catch anyone’s eye and nobody had really
spoken to him! When I explained what I had done, we
both laughed out loud, which broke the ice completely,
and from that point on he became a regular visitor. So
much so, that he started using our studios to rehearse in
before each Rush tour. His gear would turn up, and then
Neil and his tech, Lorne, would lock themselves away for
weeks before he met with the rest of the band. He was
always super prepared and would practice for hours. We
even gave him his own parking space for his bike, or his
silver-grey Aston Martin – the cutest little car for such
a big man!
“Neil and I would talk constantly about the next
project, and he always wanted to blow the previous kit
away! I remember after the Vapor Trails tour, he sent
the kit to my showroom so I could study and play it and
see how it was tuned. Neil hit so hard, but because he
hit ‘right’, he was pulling the sound out of the drums
rather than wrecking drumheads. His drums were tuned
not to the shell, but to the notes that he liked to hear,
so what I got into doing was creating a shell that would
deliver that note without torture. You don’t have to tune
something way up or way down – where it doesn’t want
to be – to get the right note. So, year after year we
continued to plan and build new kits for him – works of
art, really – that he loved, and I became known as the
‘Wood Whisperer’!
“One day we happened to have a conversation about
bass drums, and Neil told me how he liked the sound of a
24", but that he couldn’t get the articulation he was after
when he played one. That’s when I developed the 23" for
him – something I had always wanted to build – and Lorne
and I managed to slip it into his kit at rehearsals without
him knowing. He was over the moon, and that’s what he
played from then on.
“I visited Neil when he was ill and no longer able to
drive himself, and he told me how he enjoyed a ride
with his driver every day and that they would listen to
three songs on the way out and three on the way back
to the house. I asked him what music he was listening
to and he said, ‘Rush, of course! You watched me prepare
for tours, for recordings – I was always prepared – but
what I failed to do was actually listen to the music as
a whole. I was so buried in my parts, wanting to make
them the very best that they could be, that I never really
listened to the band. And do you know what, John, we
were pretty good!’.
A major part of our fascination
with Neil Peart concerns his
drum kits, which rank among
the most talked about, ever.
So, in this corner of our tribute we highlight
some of the major stages that led to his
ultimate setup. We aim to present a flavour
of the relentless endeavour behind a
lifetime quest.
It would be impractical here to detail
all his kits - they would more than fill
the magazine. Luckily, since his fans are
so devoted, you can find forensic details
online. For a mind-blowingly full account,
visit: https://bit.ly/3oZBnEq
INSPIRATIONS
Peart himself name-checked umpteen
drummer influences over the years. But as
a youngster, his imagination was sparked
and shaped by Gene Krupa in jazz and
Keith Moon in rock, both of these rascals
making a huge impression with their
unrivalled showmanship.
Although serious and studious where
Moon and Krupa were outrageous and
outgoing, Peart nevertheless determined
to put the drummer centre stage in his
own way. He would develop an elaborate
style, necessitating a hugely extended kit.
Thus, he inspired thousands of drummers
via the spectacle of his mega setups,
through which he determined to muster
every bit of tonal colour, especially in his
solo pieces.
BEGINNINGS
Neil signalled a lifelong intention to take
his instrument seriously when he spent his
first year labouring over a single drum pad.
As a reward, aged 14, he got his first kit, a
budget Stewart three piece – a so-called
MIJ (Made In Japan) “stencil” kit, badged by
Pearl (see this month’s ‘Vintage View’).
It was in red sparkle and presaged his
enduring taste for red drums. Having said
which, his first pro kit, a couple of years
later, was a mid-sixties Steel-Grey Ripple
American Rogers, in small 20", 12" and 14"
sizes. He had a penchant for small sizes
early on, although he quickly found his
liking for slamming the drums hard.
He soon added a second bass drum, an
essential part of the post-Ginger Baker and
Keith Moon look. Ginger was the inspiration
for every drummer to take the rock drum
solo to a new level. Neil told Rhythm in
March 2014: “Ginger Baker certainly opened
the floodgates with 'Toad', the vehicle for
my own first solos”.
But since Rush became an unashamedly
’70s prog rock band, their musical
antecedents were the British originators:
King Crimson, Yes, Jethro Tull, Genesis
and ELP (Emerson, Lake and Palmer), all
of whom had drummers whose styles
and qualities would bend Neil’s ears.
Michael Giles’s pinpoint snare drumwork
on Crimson’s ‘21st Century Schizoid Man’;
Bruford’s pioneering use of electronics and
odd times; Phil Collins’s crowd-friendly
multi-tom solo features – incorporating
elements of all these (and numerous
others) meant that Neil inevitably had to
formulate bigger and bigger kits.
Historically, however, it is the bombast
and bravura of Carl Palmer that is closest
to the Peart model. Palmer’s tuned
percussion, classical side drum technique,
his mammoth solos on a revolving stage
incorporating acoustic and electronic
elements – all found their way into Neil’s
armoury. And ELP was a trio, like Rush.
Carl led the trend for fabulous custom
kit in the first prog era, but Peart fans
should know that his antecedents can be
traced all the way back to Sonny Greer
in the 1930’s Duke Ellington orchestra.
To do justice to Ellington’s sumptuously
orchestrated pieces, Sonny assembled
a custom-graphics finished drum set
alongside chimes, timps, vibraphone and
gong on a riser that rivals even that of Neil.
Sonny surely would have loved Neil’s sets.
And in his first Rhythm interview back in
March 1987, Peart himself had this to say
regarding his then-Tama setup: “I look on
it was my own personal orchestra that I can
orchestrate and conduct”.
NO RUSH - THE SLINGERLAND ERA
(1974 to 1979)
In 1974, Neil joined Rush and began his
association with Slingerland. American
companies were still riding high –
Slingerland claimed to have the world’s
biggest state-of-the-art, custom-built
factory, and Buddy Rich and Gene Krupa
were the company’s star endorsers.
Slingerland’s full-colour catalogues around
this time were drop-dead gorgeous.
Chrome and copper-clad drums were the
stars, and the cover of the 1973 catalogue is
emblazoned with a show-stopping doublekick
copper clad Concord kit.
Accordingly, Peart bought a chrome-over-
wood kit in larger sizes: two 22"x14"
kicks, two 13"x9" mounted toms, plus a
14"x10" and 16"x16" floor tom. Keith Moon
had previously played a chrome kit, so it
was a cool, modern look. Cymbals were
Avedis Zildjians: 13" New Beat hi-hats, 16",
18" and 20" crashes and a 22" Ping ride, a
favourite for the next three decades.
OLD FAITHFUL ‘NUMBER ONE’
Shortly after, Neil found a copper-over-wood
Slingerland snare – acquired
secondhand for $60! The previous owner
had filed down the snare beds, resulting
in improved response at all dynamics. This
thin (three-ply, eight-lug) wood-shelled
Artist model snare became his go-to,
especially live, right up till his DW years
in 1994. He even repainted the copper
covering to match some later kits.
CONCERT TOMS
For the Caress Of Steel tour in 1975, Neil
expanded his palette with four single headed
concert toms, plus the inclusion of
various items of percussion: temple blocks,
tubular bells, timbales, wind chimes, bell
tree, triangles and a glockenspiel.
The concert toms were mounted high
up to his left and tuned high to give a
broad sweep of pitches all the way down
to the floor tom - a feature that quickly
became synonymous with the drummer.
More and more drummers were intrigued
by this, and he garnered many more fans.
The evolution continued as the bass
end was bolstered with twin 24" diameter
kicks while applying a fibreglass coating
the insides of the drums – a bit like Pearl’s
famous WoodFibre series of the era. This
process of "VibraFibing" was undertaken by
Percussion Centre of Fort Wayne, Indiana.
The theory was that it evened out and
sharpened the tonality. Peart later admitted
that he was not sure if it did much, but it
certainly didn’t do any harm.
THE TAMA YEARS
(1979 to 1987)
As the ’70s came to a close, the American
drum companies were sinking fast and
the Japanese coming on strong. None
more so than Tama, with the input of the
revelatory Billy Cobham. Tama’s toughened
hardware made the outmoded American
staples look tired and transformed the
modern kit, while Cobham’s rediscovery of
the mounted gong bass drum also caught
Peart’s eye.
With Tama willing and able, Neil made
the inevitable switch. His first kit was
stained “a dark rosewood effect”, apparently
inspired by his own household Chinese
furniture. This was the first of his custom
finishes - and also the first with brass-
plated hardware.
Tama’s birch shells were quite thick, and,
following a chance 1981 studio encounter
with the thin shells of a vintage English
Hayman kit (belonging to Corky Laing of
the band Mountain), Neil suggested Tama
try something different.
Accordingly, for the 1982 Signals album
and tour, his new Candy Apple red finish
kit, again with brass hardware, had thinner
shells – prototypes of what became the
top-line Tama Artstar.
NEW ERA ELECTRONICS
The early ’80s saw the arrival of drum
machines and electronic kits as the
computer/digital technology upheaval
gathered pace. Accordingly, Peart was
able to start swapping his fiddly real
percussion instruments for handy
electronic substitutes.
However, this was early days, so the
Simmons SDS-V brain/pads and Shark
trigger pedals shared space with a mini
acoustic kit. This latter incorporated an
18"x14" Tama acoustic bass drum and a
full set of Zildjians in a rear-facing ‘satellite’
kit. For 1984's Grace Under Pressure
tour, Peart played ‘Red Sector A’ on this
satellite kit with his back to the audience,
hastening the necessity for a revolving riser.
Henceforth, both acoustic and electronic
setups would revolve to face the audience:
the ultimate Peart setup that would thrill
audiences for decades. Also, as digital
sampling technology proceeded, Peart
was quick to start making his own unique
samples, which he would continue to
expand on for the rest of his career.
Incidentally, the erection of the later two-sided
kits was an event in itself. All stands
were made to screw into special receivers
precisely located in the 9'-by-9' octagonal
riser platform boards. There’s fascinating
footage of this here in a video showing
the setting up of his kits at Red Rocks
Amphitheatre in Colorado :
https://bit.ly/3eucEDb
ALL CHANGE AGAIN
However good the Tama kits, it is clear
Peart was always looking for the next
challenge – both in his playing and his
search for the ultimate sounds. I’m old
enough to remember when he announced
in Modern Drummer in May 1987 that he
had tested out six alternative makes of
kit. And it was a pleasant surprise when
he concluded that the then-somewhat unfashionable
Ludwig was the chosen outfit for his next phase.
This boosted Ludwig’s prestige at a
time when the company was somewhat
languishing, no doubt hastening its return
to favour. The resulting Super Classic kit is
my personal favourite of the entire pre-DW
era. The pearly white opalescent finish
and the brass-plated Ludwig Classic lugs,
combined with classy bass drum graphics,
made this kit the shiniest of his career – a
surprising contrast with his mostly darker
red kits.
He stuck with his Old Faithful Slingerland
snare also, getting it painted to match the
rest of the kit.
DON’T LOOK BACK
By this time, Peart had acquired a large
number of big drum kits, and it seems
he was not overly sentimental in disposing
of some of them. He’d already given away
his first Tama in 1982 via an essay writing
competition in Modern Drummer, and
now (this time via a drumming
competition in 1987) he would give away
two Slingerland chrome-clad kits and
his Candy Apple Tama. Plus, the satellite
Simmons e-kit was thrown in. So out there
are some lucky owners!
He was practical, too, not just ordering
new kits simply because he could. He
occasionally got a kit repainted when
presumably he could as easily have got a
new set. If the drums still sounded good, he
would stick with them and refurbish them.
INTO THE NINETIES – DOUBLE TO SINGLE KICK
With another new decade and 1991’s
Roll The Bones came a major new
development. Kick pedal construction
had improved to the point where many
drummers decided that just the one bass
drum fitted with a double pedal was the
smart way forward. Peart had been waiting
for this to happen, and he now changed his
twin 24" Ludwig kicks for a single 22"x16".
For years, Neil’s double-kick setup had
been the epitome of the post-Ginger
Baker/Billy Cobham/Keith Moon model.
But after he rationalised his setup to a
single kick, it took on a distinctive sculpted
shape with that dramatic sweep from
elevated top left to bottom right, which
became synonymous with the drummer
and part of his persona.
After seven years, Neil's third and final
Ludwig kit had a Black Cherry finish and
was seen on the band’s 1994 Counterparts
album and tour.
TRAIL-BLAZING WITH DW
The final chapter in Neil's pursuit came
with the move to Drum Workshop in 1995.
There was an element of inevitability in
this, what with Neil’s restless searching and
DW’s willingness to experiment. It felt like
he had found his home, and indeed, his
first Test For Echo and Vapor Trails DW kit
was in red sparkle, like his first Stewart kit all
those years before.
In the YouTube age, DW’s John Good
has done much to demystify ply shell
construction. It’s not that others working
with wood do not know this stuff, but Good
clearly relishes laying it out for all to see.
There’s a video of Peart playing the ‘straight
guy’ to Good’s ‘salesman’ demonstrating
the dramatic effects on shell tonality
of bending veneers in different planes:
vertical, horizontal and diagonal:
https://bit.ly/32gEYUQ
Peart delights in witnessing this demo,
and it's another small but not insignificant
nugget of education that Peart, as the
eternal drum student, was keen to share.
The upshot was that Good and Peart
could together go on testing out ply
combinations in the quest for the ideal
shell layups to maximise the potential of
each individual drum in their successive
kits. Perhaps the biggest compliment Neil
paid DW was in being able at last to retire
his Old Faithful Slingerland snare and play
exclusively DW snares at live shows.
COMING HOME
After the mid-2000s, Peart's final decade of
DW kits took drum art to a stunning peak.
For Rush’s 30th anniversary in 2004, he was
honoured with a signature Edge (wood
shell with brass edges) snare drum and R30
"S.S. Professor" kit, finished in custom black
with gold flakes, Rush logos and 24-carat-gold hardware. This was followed in 2006 by
a Tobacco Sunburst kit permanently stored
at DW for practice/recording and dubbed
the West Coast Recording Kit.
Then the following year came the
spectacular Snakes And Arrows tour kit,
finished in Aztec Red and featuring motifs
in gold leaf and metallic grey satin. The
ancient snaking shapes also symbolised
the winding road beloved by Peart, the
motorbike fanatic.
The radical feature of this kit was a 23"
diameter bass drum. It came about when
Peart recalled how he had always enjoyed
the punch that a 24" kick delivers in live
venues, but found the feel of playing a 22"
preferable. Good took his cue and came
back with a 23", the perfect compromise.
As for shell construction, this followed
the VLT (vertical low timbre) pattern, i.e.,
with outer and inner veneers laid vertically
for a deeper fundamental. When applied
to the snare drums, Peart felt this was the
best snare he had ever played “for both
response and sound”.
CLOCKWORK ANGELS
The pinnacle of all this experimentation
came with the Time Machine and
Clockwork Angels kit seen between
2010 and 2013. The kit was made from
Collector’s Series Maple SSC (specialised
shell construction) drums with a mixture of
VLT, X (diagonal) and VLX shells. Overlaying
these was a single ply of walnut with
unforgettable “barrel-stave redwood,
copper leaf and silver alchemy symbols”
created by DW’s artist Louie Garcia. The
whole caboodle was set off with copper
lugs and steampunk-detailed hardware.
Truly a sight to behold.
Steampunk designs were also applied
to the Sabian Paragon cymbals. And even
the octagonal drum riser was given the
steampunk treatment by Xite Labs, who
created visuals to play within the riser’s
video ‘portholes’ – for an in-depth look, see
Rhythm, August 2011.
R40 LIVE
(2015)
In the end, celebrating four decades of
Rush, Neil came almost full circle with ‘El
Darko’, a stylistic replica of the doublekick
Slingerland he had played in the ’70s,
complete with single-headed concert toms
and real orchestral chimes.
He played this alongside his up-to-date
setup with the single 23" kick. The shells of
both kits were extra special, being crafted
from an ancient bog oak log which had
been preserved for 1,500 years in the silt of
the River Olt in Romania.
El Darko had a black chrome finish
(recalling the ’70s Slingerland), while
the contemporary kit was finished in
Dyed Black Pear and topped off with
gold hardware.
It's fitting that with this kit Neil also
completed another full circle, referencing
his adolescent hero Keith Moon. The use of
oblong shell panels was inspired by Moon’s
1967 ‘Pictures Of Lily’ kit – achieved with
meticulously inlaid hardwoods.
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