Make fun no more, Rush haters. More than 30 years after the release of Rush’s “Red Barchetta,” one of the more popular and thematically “out there” songs from the band, it’s all coming true. Peart appears to have correctly predicted the inevitable tech company-controlled future.Check out the full story at SFGate.com.
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| L-R: Robert Ott (Chairman & CEO of Ole), Geddy Lee and Alex Lifeson (Rush), Ray Danniels (Rush manager, SRO/ANTHEM and owner of Core) |
The Rush catalog was administered by Core Music, a division of Anthem Entertainment Group. Core has been the exclusive publisher and administrator for the band's entire career.
“With the changing times in the music business, the responsibilities of a publisher have become much more complex," said SRO/Anthem president Ray Daniels, who has been Rush's manager since the band's beginning back in the early-to-mid 1970's, said in a statement. "This deal will allow me to devote my time and energy to managing the live touring and recording aspects of Rush’s ongoing career."
As part of the ole-Core deal, Pegi Cecconi, who has overseen the administration of Core Music since inception, will continue to work at SRO/ANTHEM, but will also take on a consulting role to ole for the Rush catalogue.
Toronto artist Keram — who has an impressing acting resume — has been working on his new album for a whopping seven years, and now it's finally ready. Come to Life will be released on May 28 through Constant Change Music.For more info, including the full track "The Devil Knows Me Well" click here.
The collection was recorded in Toronto and Los Angeles, with Rush's Alex Lifeson serving as executive producer and playing guitar on three songs. Around 30 musicians played on the record in total, with some being involved in projects such as Coheed & Cambria, Zappa Plays Zappa, and Edward Sharpe and the Magnetic Zeros.
A press release describes the result as a "sprawling, otherworldly roots-rock adventure" that draws on a wide range of genres. There's apparently an emphasis on improvisation, something that's exemplified by the title cut, which is said to be a "20-minute improvisational ambient-jazz journey inspired by the Tibetan Book of the Dead.
This isn't the album's only lengthy tune, since an 11-minute track called "The Devil Knows Me Well" can be heard below. It begins as a bluesy rocker before giving way to extended periods of jamming and wailing guitar solos. The arrangement rises and falls a few times, with the last couple of minutes featuring atmospheric keyboard noodles and distant harmonica honking. This is one of the tracks that features Lifeson." - Exclaim.ca, May 9, 2014
"A baseball that might be unlike any other in the world is visiting Busch Stadium this week in hopes to add to more signatures to the elite group already on its hide. The owner of the ball has asked Cardinals equipment manager Rip Rowan to get the signatures of Derek Jeter and Ichiro Suzuki* -- two more members of the 3,000-hit club. That's the prerequisite for getting on the ball...The ball is owned by Rush's lead singer and bassist Geddy Lee. A renowned collected of memorabilia and a huge baseball fan, Lee is also a Cardinals fan. He has come around the ballpark and spent time with the club before, and he has had long friendships with a few around the club. Lee purchased the ball to add to his collection, and has added signatures to it so that it may be the only baseball held by both Cobb and Clemente and ... if all goes well this week ... Jeter." For more visit StlToday.com. - Thanks to RushIsABand for the headsup!
"The most successful band to emerge from the Canadian rock explosion of the early 1970s, Rush would go on to become one of that nation's biggest entertainment exports. A trio of musical polymaths who cut a fiercely independent, sometimes controversial path through various musical styles to forge a distinctive, evolving sound that was incomparable to that of any of their contemporaries, this hugely influential group have flourished across a forty-plus year career. This film traces the history of Rush from the bar rooms of Toronto in the late 1960s to the world's largest arenas in the late 70s and early 1980s, by which time they were amongst the biggest bands on the planet. Through a stunning combination of rare and classic footage, the testimony of friends, colleagues and those who worked with the group across the years, plus exclusive and archive interviews and a host of other features, this programme makes the very unique history of Rush come alive in a manner previously undocumented."- Thanks to Ed Stenger for the headsup!
"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"
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