"Right now I'm working on an extra Neil Peart kit from the original session that was never released. This will be part of a stereo kit library for Reason, SampleTank, Battery and some other formats we're going to be supporting. Sounds great! Some other cool unreleased things like a Queen style kick and snare from the British rock sessions. I've been going through the sessions to find things we missed the first time around."Stay tuned for more!
The Rush Limbaugh Show 1270 Avenue of the Americas New York, NY 10020 RushLimbaugh.com Premiere Radio Networks.
Ladies & Gentlemen:
I am the attorney for Rush, their management company, S.R.O. Management Inc., their music publishing company, Core Music Publishing and their record company, The Anthem Entertainment Group Inc.
According to media reports, Rush Limbaugh, Premiere Radio Networks and The Rush Limbaugh Show have been using Rush's recorded music as part of what is essentially a political broadcast.
The use of Rush's music in this way is an infringement of Rush's copyrights and trademarks. The public performance of Rush's music is not licensed for political purposes and any such use is in breach of public performance licenses and constitutes copyright infringement. There are civil and criminal remedies for copyright infringement, including statutory damages and fines.
(see sections 501-513 of Title 17 of the United States Code http://www.copyright.gov/title17/92chap5.html)
In addition, the use of Rush's music in this manner implies an endorsement of the views expressed and products advertised on the show, and is in breach of not only copyright and trademark rights, but also, of section 51 of the New York Civil Rights Law (excerpt attached).
Accordingly, we hereby demand that you immediately stop all use of Rush's music and confirm that you will do so.
Yours very truly,- Thanks to Ed Dobbins for the headsup!
Robert A. Farmer
Director of Legal Affairs
S.R.O. Management Inc.,
Core Music Publishing
The Anthem Entertainment Group Inc.
"Can you imagine a world where, instead of fossil fuels, modern machinery runs on the power of steam and everyone's favourite band is Rush? If so, you've glimpsed into the alternate reality that unfolds in the forthcoming steampunk novel from sci-fi author Kevin J. Anderson. The best-selling scribe of over 100 genre books, including titles for the 'Star Wars,' 'Dune,' and 'X-Files' franchises, is writing a companion novel to 'Clockwork Angels,' the upcoming studio album from Canadian prog-rock giants Rush.
"'I take my inspiration from many sources, but music has always been a key to my literary imagination, more than just a soundtrack but a trigger for images, scenes, and strange worlds,' Anderson tells Spinner. In fact, he dedicated his first novel, 'Resurrection, Inc,' to the Rush album 'Grace Under Pressure,' a nod that spawned a friendship with Rush drummer and lyricist Neil Peart which eventually led to the 'Clockwork Angels' collaboration. Spinner.com, March 2, 2012 (click here for the full story) - Thanks to RushFanForever for the headsup!
"Making the album, I was in a place where I was about to put music down: try something else, be normal, make some money, buy a house, whatever else I was supposed to do. That song made me think about choosing that other life." - Anita Athavale
"Easy call. 'Rush' is like Led Zeppelin and Cream jamming and eating back bacon together. It's fully capable and crammed with energy. But it's derivative. 'Fly by Night,' however, adds Neil Peart to the mix, widens the musical scope, and offers monumental songwriting efforts like 'Anthem' and 'By-Tor and the Snow Dog.' No contest here. 'Fly by Night' wins." - Jeff Wagner, Noisecreep.com, March 1, 2012 - Thanks to RushFanForever for the headsup!
Canada has ratified the first update to its Charter of Freedoms and Rights since its adoption in 1982. Based on the song “Limelight” by its most famous native sons, the prog-rock band Rush, it protects Canadians’ pursuit of “the universal dream”—provided that, as the song says, citizens “put aside the alienation, get on with the fascination, the real relation, the underlying theme.” Ratification was briefly in jeopardy due to a heated debate in Ottawa’s House of Commons over whether singer Geddy Lee in fact sings “theme” or “spleen,” but Prime Minister Stephen Harper saved the day; he cast the deciding vote after checking the correct lyrics on the Internet. Afterward Harper told a relatively (for Canada at least) anxious nation, “that’s why you get an iPhone.” - New Yorker.com, February 29, 2012
"VanDette explained how mastering varies depending on the age of the original recordings as well as the final output format. Many master recordings for Rush albums are from vinyl's heyday, he said. 'Back then we would try and hide as much top end as possible, knowing that the end users' styli would be crap. Most listeners today swear they love the bottom end on vinyl, but I remember in the heyday of vinyl, it was all about top end. If we could only have a clear top end without all those pops and clicks' we thought,' he said, noting the tendency of low-end record players to introduce unwanted noise. 'Back then, bottom was the enemy. It made the grooves [in the vinyl] too wide, and forced us to turn down the overall level of the disc.'"For the full article visit arstechnica.com. - Thanks to Ed at RushIsABand for the headsup!
"The constraints of vinyl aren't a concern when mastering for a CD, so it's possible to boost overall levels as well as low frequencies without ruining the rest of the mix. 'While remastering the classic Rush albums, I added as much LF as I could, always aware not to cloud the classic 'ping' on Neil's snare, muddle Geddy's voice, or bury Alex's guitar,' he said. 'These are some finely balanced mixes, even 35 years later,' VanDette said. 'I wanted to make sure the listener still heard the classic album come through, without it being too loud, boomy, or modern sounding. Mastering for iTunes was a different challenge. You can't get around it-when you throw away 80 percent of the data, the sound changes. It was my quest to make the AAC files sound as close to the CD as possible; I did not want them to be any more loud, hyped, or boomy sounding than the CD.'"
"Because iTunes tracks are typically played back on decidedly average earbuds or computer speakers, there is a tendency for some producers to boost bass frequencies to make up for the tinny sound. However, VanDette said, doing so is not really the answer. For one thing, there's no guarantee that playback will always happen on sub-par equipment...Creating iTunes-specific masters for Rush's albums required a more nuanced approach than just boosting the bass. 'The delicate mix balances of a Rush album dictated that I could only 'nudge' the bottom, not really boost it. For iTunes mastering I focused on making up for the losses created by the iTunes AAC algorithm. Generally, I heard changes in level, bottom, top, punch, and imaging.' But not every album, or even every song, could be treated the same way. 'On a live album I found the center image was lower, making Geddy's vocal too low in the mix,' VanDette said. 'It was rare to be able to use one static setting for an entire album.'"
"...it’s only fitting that it’s a fan of the Canadian progressive rock heroes who’s bringing the film Rush: Beyond the Lighted Stage to Israel. 'I first started listening to Rush when I was in Israel on a Youth Aliya program in 1981,' says New York native Alex Gutman, who immigrated to Tel Aviv in 2009...Ever since he arrived in Israel, where he works as a 'technology evangelist' by day, Gutman has been in touch with promoters and with Rush’s management about bringing the band here to perform. But when he heard about the film, he decided to begin with a more modest venture and get the buzz going about the band."For more info visit jpost.com.
"There was something about the people at Roadrunner, they were so into rock, into what we're all about as opposed to some of the Atlantic guys...we were very unhappy with the way we were treated at Atlantic UK, I don't think they really got us, so it was good to go somewhere that did."Geddy also discusses his eagerness for the next tour:
"The last tour was so great...I can't wait to experience that again. People seem ta little less afraid to show that they're Rush fans. I think we all enjoyed it, I don't think I've ever seen Neil enjoy a tour so much."- Thanks Tony for the headsup!
"Moog visited Geddy Lee in his Toronto studio to get his take on the Taurus pedals, old and new. This is the first of a 3-part series relaying touching stories and musical innovations from the start of Rush's reigning fame to now. In this installment, Geddy talks about his first introduction to the Taurus sound and what he would like to see next from Moog...Minitaur." - Moog.com, January 5th, 2012 Thanks to Jim Pomeranz for the headsup!The small device near Geddy is the new Taurus Minitaur, which Moog announced at NAMM 2012.
"4Front is an instrumental progressive rock band that combines the classic sound of prog with many other stylistic elements to create cinematic soundscapes that will capture your imagination. Combining top-notch playing, intricate arrangements, odd time signatures, and symphonic themes, 4Front prides themselves on being accessible to the regular rock listener via a strong focus on songwriting, not just technical playing. Fans of Rush, Dream Theater, Kansas, Symphony X, The Dixie Dregs, and Genesis will feel like they have known this band forever. But 4Front’s pallette of influences is much deeper, ranging from Billy Joel and Joe Jackson to film composers like John Williams and Randy Newman." For more info visit www.joebergamini.com/ or www.facebook.com/4frontband.
"I was introduced to fine wine while touring in the late 1970s. Alex Lifeson (Rush's lead guitarist) had a big interest in wine so promoters would sometimes give us wine as gifts...Alex and I always reward ourselves after a show with a good bottle of wine. It's a kind of hobby of mine to find a good bottle in whatever city we're touring in and surprise Alex with that."
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