a tribute to rush
A Tribute To Rush
The progressive rock trio RUSH released their first album in 1974. Shortly thereafter, Alex Lifeson (guitars) and Geddy Lee (bass, vocals and keyboards) were joined by Neil Peart (percussion, lyricist). After over 40 years together the band has released a total of 20 studio albums, 11 live albums as well as numerous compilation albums, of which 24 have gone gold, and 14 platinum.
Here you will find current news, a complete discography with lyrics, a videography, listings of RUSH members' solo projects and guest appearances, as well as the most extensive RUSH tour archive to be found online or in print. Other resources include a wide-ranging listing of RUSH related literature, cover songs and albums, tributes, a pop culture section and more. Along with the information archive, this site includes a slew of RUSH offerings including album art wallpaper for your PC and Smartphone, and Windows users can utilize Themes inspired by the album art and music of RUSH.
Suggestions, comments, questions? "Put your message in a modem, and throw it in the Cyber Sea".
|"The Body Electric" single|
Rush – "The Body Electric"- Thanks to RushFanForever for the headsup!
No strangers to exploring the world of science fiction in song, Rush's "The Body Electric" tells the story of "an android on the run" in search of freedom from its electronic existence. In linking the world of robotics to the human race with the song's protagonist's individualist aspirations, the song's chorus features bassist/vocalist Geddy Lee singing the binary code '1001001,' which translates to a capital I.
And here's some irony: "The Body Electric" comes from the band's 1984 record Grace Under Pressure, on which machines — namely, Lee's synthesizers and Neil Peart's electric drums — played a prominent role in their songwriting.
Lee, 63, is a native of Toronto and he's a lifelong baseball fan, as well as a collector. The Rush front man was on a mission to get a couple of autographs, and he secured the signatures of Ichiro Suzuki and hitting coach Barry Bonds.
The significance is Lee has a number of autographs from players in MLB's 3,000-hit club, and 500-home run fraternity. He now adds Ichiro and Bonds.
Ichiro reached the 3,000-hit milestone last Sunday, and Bonds holds the MLB home run mark with 762. Through the years, Lee also has obtained Ty Cobb and Tris Speaker autographs, as well as a Mickey Mantle bat.
"I'm off the road now, and I'm hanging around, digging the summer," Lee said.
A friend of the singer asked why not travel to South Florida to take in a few baseball games? Plus, Lee also has a Marlins' contact, having long known, John Silverman, the team's equipment manager. Like Lee, Silverman is Canadian.
"He said, why don't we meet in Florida?" Lee said. "We can get Barry to sign a ball, and meet Ichiro, and just hang out for a few days. So it's a fun trip."
Before the Marlins faced the White Sox, Lee visited the clubhouse, meeting a number of players.
The Marlins responded by blaring on their song system, a number of Rush songs, including "Tom Sawyer" and "Limelight."
"You get a little embarrassed, but at the same time it's a little cool that there are fans in the clubhouse," Lee said. "It's a great feeling. I've been a lucky guy in my life. I've had a long career, and I've crossed a few generations now, and I'm able to exploit from my own career to meet guys I respect. It's a great kind of holiday for me."
For the full story check out MLB.com.
"The Negro Leagues Baseball Museum in Kansas City has an unlikely Canadian connection by way of Rush, Toronto’s most famous progressive-rock exports. Geddy Lee, the band’s frontman, who is also a diehard Blue Jays fan and noted collector of baseball memorabilia, donated a collection of more than 200 baseballs signed by Negro Leagues players to the museum. It’s the largest collection of its kind in the world and one of the most popular exhibits at the museum.Click here for the complete story.
"'And it’s all due to the benevolence of one Geddy Lee, a white, Canadian rocker,' museum president Bob Kendrick says, laughing. 'It just goes to show this story has no boundaries, it has no limitations, it touches virtually every one who experiences it.'
"Lee, who won the collection at auction, never disclosed what he paid, Kendrick said.
'... I tell people all the time: I can’t say I was a big Rush fan before, but I’m a big Rush fan now.'"
As the long-time right hand for [SRO/Anthem President) Ray Danniels, Cecconi has had a pivotal role in the rise of Rush to the title of ‘world’s biggest cult band.’ For instance, she executive produced the longform DVDs that have become a major revenue stream for the band (and SRO/Anthem).Click here for more.
The fiercely loyal and feisty Cecconi is exactly the kind of business person any artist would love in their corner. She notes that “Rush are as big as they are because of Ray Danniels’ total loyalty. I was brought under that wing. When I fight for fuckin Rush, as far as I’m concerned they’re the Beatles, there’s nothing else. You sit there with people having big stars, and we’d be the pain in the ass- ‘you’re not getting this or that.’ That part was fun. Ray’s thing was I want more so you’d figure out what more you could give them.”
As we lured the reluctant interviewee down memory lane, we got a chuckle out of her anecdote about her first dealings with Ray Danniels and Rush. “I met Ray when I was booking bands at my high school, Roland Michener Secondary School in South Porcupine, Ontario. He was my agent and he used to try to sell me Rush. I'd say’ no way. I can get a four-piece band for the same price as a trio. If Rush had ever played my high school the shit would have been beaten out of them!’
“I started with Ray but he wouldn’t give me a job. My first job was as an agent with Tommy and Vic Wilson, who had the Concept 376 agency. At the time it was on 57 Spadina in Toronto. I had a job working with Cliff Hunt there. I made 60$ a week but I was on commission and I was suddenly making $400. That was good money for 1972.”
"The first time you listen to one of their records it kind of sneaks up on you,” Lee says. “It sounds simpler than it is. There is a particular way the power of those guitars work together.… [They] always sound sinewy and muscular. Then you put Gord's voice and his lyrics on top of that, and after repeated listening, you really start to love it. It just gets inside you. I think that's a trademark of the Hip."Click here for more. - Thanks to Ed @ RushIsABand for the headsup!
"On June 10th, 2016, Jeff woke up and was getting ready to head to work. He was excited because the next day he was flying to AZ to be reunited with Stephanie and the kids, and bring them back to Montana. As he was doing his laundry, a huge explosion occurred, and then a fire destroyed the home.
"Stephanie is with him, and other family members are arriving as well. While he has medical insurance, it doesn't cover the costs that his family will be incurring as they deal with this devastating tragedy. There will be travel costs and many expenses in the future weeks and months. Please help this young family out as they face an uncertain future. Your gift is truly appreciated." If you would like to donate, click here.- Thanks to Trip Kinzie for the headsup!
“I was a big Who fan. I still am. Like a lot of people, it started with My Generation for me. I used to go up to Sam The Record Man in town to get my music. That’s where I got Live At Leeds one Saturday morning. And the bass in My Generation, I mean, John Entwistle, my god, he was such an absolute influence on me and his playing on Leeds is unsurpassable. I’m a big fan of 'Summertime Blues' on that album, which we covered, to a large degree because of their version.
“I got to see The Who in Winnipeg, Manitoba of all places. They were incredible, but Moon was already gone by then. I never saw them with him, I’m very sad to say. No matter what they do, Pete Townshend’s writing has always been at the very top of his craft, the quintessential combination of heavy and melodic. Even today, Live At Leeds sounds so alive, it’s a real piece of that period of rock. It’s like a bootleg, the artwork, the tone; that was their attitude I think. It was raw: ‘Here it is’.”