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The collection originally rose to #62 on the chart before dropping out of the Top 200 after 8 weeks when it was first released in 2003.
For more on this release, click here.
- Thanks to John at Cygnus-X1.net for the headsup!
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LANDMARK CROSSOVER PROJECT:NEW RUSH ALBUM CLOCKWORK ANGELS TO FEATURE ACCOMPANYING NOVEL BY BESTSELLING AUTHOR
The new Rush studio album, Clockwork Angels, is accompanied by a full-length “steampunk” novel written by bestselling SF author Kevin J. Anderson and Rush drummer and lyricist Neil Peart.
In an innovative combination of music and literature, the new album Clockwork Angels by legendary rock band Rush has been converted into a full-length “steampunk” science fiction novel by international bestselling SF author Kevin J. Anderson and Rush drummer and lyricist Neil Peart.
"I didn't actually listen to Rush albums, and I couldn't tell you one from the other – although Neil is a good buddy. [laughs] We agreed to disagree on certain things, and it is a measure of his greatness as a human being that he is completely over whatever my feelings might be about Rush.For the full interview click here.
"This truly is the case: He's never heard me say a wonderful thing about his band. He's read a few comments that I wish he hadn't read. In unguarded moments, things tend to slip out. Musicians tend to be snippy about one another, and I'm generally not. I generally love all music and all players.
"There was a time when bands like Rush were the epitome of what The Police were theoretically against, which was an overemphasis on musicality. Our ethos in the early days was about the primal scream and that musical technique was a distraction from that mission. There may have been a few comments that I might have made regarding Rush's position on that debate, and it is really, really to Neil's credit that he's over that debate. And we get along great."
“We wanted something that was bold and stripped down. The goal was to make it real in your face and very much the sound of a three piece – a hard rock record in the classic sense. I’m happy to say that it really did come out the way we anticipated and hoped for.”Click here for more.
“It is a concept record...I think the songs stand on their own, though. I can listen to them independently of the story, but when I hear everything from front to back, it really makes sense to me. So it works on lot of levels.”
“I tried to pull myself back from yielding to the temptation of layering so many guitars and things that are kind of inconsequential. It’s really about the basic rockiness of the songs, so it was a lot of double-tracking and beefing things up. No six tracks of guitars, no rhythm guitar and solos – simple little changes that made the sound more impactful.”
"[remixing Vapor Trails and including it in a deluxe edition of Clockwork Angels] was an idea but it's now been shifted down. Rather than remix the entire album we might now take a bunch of different songs from albums and get different people to remix them for fun, rather than just do Vapor Trails. It's an idea in flux."- Thanks to Tony Riviere for the headsup!
"I wanted the songs to be a collection that could stand on their own, outside of context of the whole story. When you look at a collection of songs like those on the Who's Tommy, you could pull "I'm Free" out of that and it still stands on its own. But in connection to the story, it takes on another interpretation. So there was a lot of discussion about that. I think at one point, Neil was a little frustrated with my determination to keep the story-line minimal in a sense...The three times we attempted side-long concept pieces in the past, the music was really like one song broken up into many parts. The thread connecting the music on Clockwork Angels is the story-line. That's the key difference."and the lack of overdubs on this record:
"this time we wanted to restrict the way we used overdubs. We wanted it to be very much a three-piece record."and in regards to the upcoming tour:
we're gonna expand upon the whole steampunk element that we brought on the "Time Machine Tour." We're gonna have fun with that whole kinda machinery and we're designing rear-screen things and have a fun little movies. Hopefully it can all tie together in some ludicrous way."
"We just re-mixed them. We wanted them to have the same character mix wise as the rest of the record. Now they are much more attached to the whole album rather than being standalone tracks."He also talks about the guitar solos on the title track and "The Garden":
"the solo in “Clockwork Angels” and also the solo in “The Garden” which are two of my favourite solos that I`ve ever done, were throwaway solos. After we`d written those songs and worked on the arrangements, Geddy went away for a few days, so I continued working and filling things in a little bit and I threw down a couple of solos in just a few takes and that was it."And regarding the Classic Rock Fan Pack, he confirms it is to help sell physical product versus downloading:
"Yeah, and the great thing about it is that it gives you something to look at when you`re listening to the record. It`s like back in those days where you`d have a beautiful album jacket in your hands. That whole tactile experience has gone from music and at least with the Fan Pack it gives you a little bit of an opportunity to have that again."Click here for the full interview. - Thanks to Ed at RushIsABand for the headsup!
"The plot draws from Voltaire's Candide, with nods to John Barth's The Sot-Weed Factor, Michael Ondaatje and Joseph Conrad for 'The Anarchist,' Robertson Davies and Herbert Gold for 'Carnies,' Daphne du Maurier for 'The Wreckers,' Cormac McCarthy and early Spanish explorers in the American Southwest for 'Seven Cities of Gold.'Thanks Stew for the headsup!
"Diane Ackerman's use of a few alchemical symbols as chapter heads in An Alchemy of Mind. ...you can find brimstone at one o'clock for the faith-bashing "BU2B," gold at six o'clock for "Seven Cities of Gold," earth at eleven o'clock for "The Garden," and so on. (The "U" in Rush stands for "amalgamation.")"
"MIDIpedals.com interview with longtime Rush keyboard tech, Tony Geranios (aka Jack Secret) from March 2012. He talks about the early days with Rush, connecting the non-MIDI Taurus Pedals to Geddy’s Oberheim synths, and about the redundant MIDI and sampling setup when they are touring. Tony has also worked with Blue Oyster Cult and Bob Seeger in the past as well. Part 2 is coming soon, which will include info on what role he has played in setting up the gear when Rush is in the studio, as well as tour rehearsals." Click here for the interview, March 10, 2012Update (April 25): MIDIPedals.com has posted an update:
"A couple of weeks after posting Part 1, Tony called me and hoped to finish up the interview. When he called I was not prepared to record the call, and let him know I would need to call him back. I am assuming Rush has started tour rehearsals, so he has been busy and we haven’t been able to do Part 2 because we haven’t been able to schedule a second interview. Here are a few questions I emailed to him and his answers. I call it Part 1.5 in hopes we can do Part 2 soon." Click here for the interview, April 25, 2012Update (May 16): MIDIPedals.com has posted Part 2 of the video interview, you can hear it here.
May 22, MEN Arena, ManchesterTickets will go on sale at 9am this Friday, May 18th. Stay tuned for purchase links.
May 24, O2 Arena, London
May 26, LG Arena, Birmingham
May 28, Motorpoint Arena, Sheffield
May 30. SECC, Glasgow
"It’s hard to imagine that my generation has not been significantly influenced by the libertarian lyrics of Neil Peart of Rush. I write this with absolute certainty regarding myself, and with only a little trepidation do I speak for many when making this huge claim. “From a better, vanished time . . . ” Peart understood. As I watched Rush play “Tom Sawyer” on The Colbert Report a few years ago, none of the song’s power or intensity seemed diminished to me. In ridiculous public-school detention in 1981, as a lonely and confused 13-year-old, I could relate to Peart’s “his mind is not for rent to any god or government.” While I’ve certainly and happily rented my mind (for what it’s worth) to JPII and B16, I’ve never given a moment — even in charity — to the government. A year later, when Peart wrote, “Some will sell their dreams for small desires,” I assured myself I would fight for integrity and human dignity. Do I give the NRO reader the mind of a 14-year-old raised in a dysfunctional family in otherwise idyllic Kansas? Yes, I do."He also gives an interesting view of why prog bands have been virtually ignored by the mainstream North American press, and by relation, the Rock and Roll Hall of Fame:
"...progressive rock generally is very European in its structure and in the atmosphere it creates. Because progressive rock has always tended to sidestep or ignore blues-based rock, mainstream periodicals such as Rolling Stone and journals of opinion such as the New York Times have assumed progressive rock is a betrayal of progressive culture rather than an embracing or enhancing of it. After a very short flirtation with prog, music critics rejected the genre as pretentious and over-the-top."- Thanks to Tim Weiss for the headsup!
"The Alex Lifeson thing, that happened by absolute fluke," he says of the Rush guitarist's work on the track Losin'. "We started going through the songs and wondering which iconic Canadian guitarist could make an appearance on the record. . . . I thought, 'Well, Alex Lifeson, that would be really amazing. If we could get (him) that would be a real coup.' And he actually just happened to walk into the control room some days later." - Calgary Herald, May 9, 2012The new album by Jason Plumb and the Willing, All Is More Than Both, is now available via iTunes. The album contains the song "Losin'" featuring Alex Lifeson which you can download here or hear here.
"An inspired take by Alex Lifeson at Revolution Recordings. We just got the sounds up and this was his first pass. We did many more but this early one was filmed. A guest guitar solo for Jason Plumb’s upcoming album." - Michael Phillip Wojewoda, mpwmusic.comAnother video on Wojewoda's YouTube channel has the caption "guest guitar overdub on Jason Plumb's record".
"There a certain responsibility you have no matter what record you're producing," he says. "You want to help the band make the best record they possibly can, and with Rush, that can be a very tall order. Rush fans hold the band very dear to their hearts. You want to honor that, but you also want to push the band forward and allow them to be the best they can be right now." He pauses slightly, then adds with a laugh, "Of course, that stops when we're done for the night. That's when I sit down with the guys and go, 'All right, let's talk about 1977!'
"Two weeks or so into it, as Geddy and Alex were writing more music, we all kind of looked at one another and said, 'Hey, this is really turning into something. It's tying together.' Then one day, Neil walked in the room and said, 'It's done. I finished it.' For the next 20 minutes, Neil talked about this vision he had for the concept of the record, and it was one of those moments I'll never forget. Listening to him, watching him speak – it was amazing! I wish we were filming him so we could put it on YouTube. And right there, the whole record just clicked. Once Geddy and Al heard where Neil was going, they churned out some amazing music. I think Headlong Flight came the next day."Click here for more.
Inner Rush celebrates the career of legendary rock trio Rush and members Geddy Lee, Alex Lifeson and Neil Peart. Recipients of the Lifetime Artistic Achievement Award, Rush have had the most consecutive gold or platinum studio albums in rock history after the Beatles and the Rolling Stones. Inner Rush is directed by Toronto-based filmmaker and cinematographer Chris Romeike and produced by Gerry Flahive.
"Rush member Alex Lifeson said he was thrilled at his reception on Parliament Hill on Thursday.
“It’s really quite an honour. We’ve been a band for a very long time and musicians since we were 15 years old and to come all the way here after so many years is really exceptional for us and we’re very, very proud of it,” he told CBC News.
"South Park’s Matt Stone will pay tribute to Rush’s Alex Lifeson, Neil Peart and Geddy Lee at a gala at the National Arts Centre on Saturday. Stone is a friend of Rush member Neil Peart and appears in a documentary about the power trio – Rush Beyond the Lighted Stage." - CBC.ca, May 4, 2012In advance of tomorrow's Governor's Award presentation, all three members of Rush dropped by Canada's House of Commons today for a little bit of hand shaking:
OTTAWA - Lots of visitors stop by the public galleries of the House of Commons to watch question period, but few are closer to the heart of politicians than a visiting rock star.
The prog-rock puns were flying faster than Neil Peart's drumsticks as MPs and ministers paid tribute to the members of Rush and other Canadian artists in the Commons.
"Mr. Speaker, there they go, another rush to excuses when they get caught," NDP MP Charlie Angus said as he posed a question to the government on the government's use of limousines.
The iconic Canadian band are in Ottawa along with seven other recipients of the Governor General's Performing Arts Awards, the country's highest artistic honour.
Geddy Lee and Alex Lifeson originally worked on the music together in a basement studio, sometimes with Lifeson giving Peart two demos of a tune - one with a drum machine illustrating rhythmic ideas, the other a click-track. "Alex had put together one collection of ideas that turned out to be most of the song Clockwork Angels,' says Peart. "As soon as I heard its rhythmic feel, which was so different for us, my response was 'I want to play that!'"Click here for the full transcript. Thanks Reed Lover for the original article!
Carnies and Headlong Flight were of 'furious jams', and there was an 'immediate spark of connection' with Seven Cities Of Gold, Alex Lifeson says, "We talked about having a raucous beginning that related to the middle 'solo' section, and as the song evolved it took on the appropriate character; entering the city with all the wild, dangerous sensory experience it offers." Peart asserts that Lifeson's solo on The Garden was, "A few takes recorded casually and assembled into an improvised performance that remains his personal favourite." Audiences throughout the Time Machine tour will have already heard the opening tracks, first single Caravan and its B-side BU2B, which were written early in the process. The Wreckers was the result of Lee and Lifeson swapping instruments during writing sessions but, "Once we switched into recording mode," says Peart, "it was back to the same old us."
"When I wrote my first novel it was inspired by the Rush album Grace Under Pressure. I remember signing a few copies and sending them to the offices of their label Mercury Records. A few months later I got a letter from Neil Peart and we've been corresponding and good friends ever since. I dedicated the novel The Edge Of The World, which we based the Roswell Six record on, to Neil and we've written short stories together and he wrote the foreword to my short story collection [Landscapes]. I guess Rush are probably my favourite band. Over the decades they have consistently sought to improve and their work is amazing. Their new record, Snakes And Arrows, is just jaw-dropping" - for more visit ProgRockMag.com, April 5, 2012 - Thanks to RushFanForever for the headsup!For more on Kevin J. Anderson, visit his entry on this website's "Rush Inspired Literature, Film, And Pop Culture References" page here. You might also be interested in Neil's introduction to Landscapes, Anderson's short story collection. Lastly, check out Anderson's blog post from 2010 telling of his spending time with Neil during Rush's visit to Colorado on the Time Machine Tour. - Thanks to Ed at RushIsABand for the headsup!