"During the late ’70s and early ’80s, while on tour, we would receive gifts from concert promoters of fine wine. Mostly Bordeaux, as our guitarist Alex Lifeson had a keen interest in wine and had a modest collection. I kept my share of the bottles in a wine fridge for years and then in the late ’80s I decided to do an inventory. I was amazed at what I was tasting and it quickly turned into an obsession."- Thanks to Ed at RushIsABand for the headsup!
"My mom is Geddy's older sister, so he would get stuck babysitting me. So for me, I was lucky! I was sitting in the corner of rehearsals. He'd have to look after me for the afternoon, so if he was going to rehearsal I was going to rehearsal. I would sit in the corner and watch the band for six hours without saying a word. I was always a quiet observer. They maybe thought I was tuned out, but I was absorbing every interaction, evert attempt at a song, every beat, every note. I was so enthralled with all of it.- Thanks to RushIsABand for the headsup!
"Growing up, he was my cool uncle. My mom would take me over there and we would have family visits. He was the uncle who always had the instruments in a sound proof room in the basement. My mom would visit with the family and I would spend the whole afternoon just bashing around on drums and guitars and basses. I can't ever really remember a time not playing music. I think since I was born I've had proximity to it. I guess I've got Geddy to thank for that. I don't think I would have had it otherwise."
When I was a teenager I was able to go to London with them, and I was living with them in a house while they were recording an album in England. I was fortunate enough to go on tour with them, live on a tour bus with them and spend time like that. I've always studied how they operate as a band, and it's certainly influenced the bands I've been involved with. They're all about work ethic but maintaining an incredible sense of humour."
In terms of the music it's always pushed me to push myself. I was afforded some opportunities to see them pushing themselves in the studio. There was one opportunity when I was 12, where I went and stayed with them in Quebec up in the mountains, this little studio called Le Studio just outside of Montreal. It was fascinating to just be in the studio for hours and have nothing to do, just to see their work ethic. Whether laying down a part on a song or figuring out an overdub or working with a producer to get the most out of a piece of music, it was fascinating to be a fly on the wall"
Gavin Harrison, best known as the drummer of Porcupine Tree, has announced the upcoming publication of his latest book Rhythmic Composition: Featuring The Music of Porcupine Tree. Co-written with Terry Branham, the book includes a 20 note-for-note transcriptions of Porcupine Tree songs, and it will also feature a foreword by Neil Peart."Coming soon....'Rhythmic Composition' (on Hudson Limited) - myself and Terry Branam have been hard at work transcribing and writing stories about 20 Porcupine Tree songs. More than 40 great photos too. Release date to be announced here. There will be a limited amount of signed copies for sale at burningshed.com in the near future." - Gavin Harrison, Facebook, February 20, 2014
"Some artists build careers around it. Some use it as another weapon in their arsenal. Some simply use it as a bridge between songs. But whatever the reason for employing it, the instrumental track has proven to be an essential element in a hard rock band’s legacy. Because even though lyrics can add a massive layer of emotion to a song, sometimes the story and message can be conveyed with absolutely no words at all. Just a combination of pummeling guitars and drums, heavy atmosphere and a big emphasis on texture and dynamics. And when there’s no concern about matching lyrics to music, the artist can feel free to stretch out, let loose and experiment purely with sound."Coming in at #1 is Rush with "La Villa Strangiato (An Exercise in Self-Indulgence)":
"The final track on the progressive rock band’s 1978 album Hemispheres clocks in at 9:34 and was the band’s first fully-instrumental release. Drummer Neil Peart has said that they spent more time recording this track than the entire Fly by Night album, but it was worth it – the complex track is considered by fans and critics to be a technical and creative masterpiece."- Thanks to RushFanForever for the headsup!
"7 years ago I was fortunate enough to meet and spend some time with one of my early guitar heroes, Alex Lifeson of RUSH. He's been a HUGE influence on my guitar playing throughout the years, and he's also one of the kindest human beings you'll ever meet. Now, 7 years later, he's performed a MIND-BLOWING guitar solo on my song, 'Once a Warrior.' I'm so happy to have Alex on my new album, 'Disconnect,' and I can't wait for you to hear it!" - John Wesley, February 6, 2014
ProgReport.com posted a video interview with John Wesley where he gave credit to Alex Lifeson as a large inspiration behind the "heavy guitar sound" emulated by Porcupine Tree, and also talked about how Alex came to record on his solo album. You can tune in here, he first discusses Lifeson and Rush at the 8:55 mark, and again at the 16:50 mark.
"The first version of our first record was really crappy, and that’s when we met the guy who really changed our lives, which was Terry Brown. And he became our producer for the next 10 years and taught us so much about making records. He saved that album, when I think of that album, I think of him, I think of that first session, when we took those poorly recorded versions of those songs, and he decided what was salvageable and what we should just re-record."Click here for the full story.
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