1 00:00:01,928 --> 00:00:04,598 (ambient music) 2 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.BZ 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.BZ 4 00:00:28,688 --> 00:00:30,958 (Geddy): Have a seat, Ernst. 5 00:00:31,058 --> 00:00:32,958 (Alex): I will. A great idea. 6 00:00:33,058 --> 00:00:34,858 (Geddy): I brought something you love. 7 00:00:34,958 --> 00:00:36,798 (sighing and chuckling) 8 00:00:36,898 --> 00:00:38,498 - I think I should pour this. - Yes. 9 00:00:38,598 --> 00:00:41,068 - Oh. - Sip-sip at will. 10 00:00:41,168 --> 00:00:42,808 - Oh, I quit drinking... 11 00:00:43,968 --> 00:00:44,938 In my mind. 12 00:00:45,038 --> 00:00:46,308 - Okay, well I can drink it all. 13 00:00:46,408 --> 00:00:47,748 - No, it’s okay, I started again. 14 00:00:47,838 --> 00:00:49,508 - And I think we should-- - Let’s pour... 15 00:00:49,608 --> 00:00:51,308 - Yeah. You wanna do these honours? 16 00:00:51,408 --> 00:00:52,978 - Oh, thank you. 17 00:00:53,078 --> 00:00:54,008 (cork squeaks) 18 00:00:54,108 --> 00:00:55,778 - Pour... - Let’s see, two-right? 19 00:00:55,878 --> 00:00:57,848 - Two fingers, right? - Two fat fingers. 20 00:00:57,948 --> 00:00:59,188 - My fingers aren’t fat enough. 21 00:00:59,288 --> 00:01:00,858 - That was his favourite-- 22 00:01:00,948 --> 00:01:02,588 - Have to use your fingers. Wah wah. 23 00:01:02,688 --> 00:01:04,158 (quacking) 24 00:01:05,328 --> 00:01:06,968 - Yeah. 25 00:01:07,058 --> 00:01:08,758 - Cheers. - Cheers. 26 00:01:08,858 --> 00:01:10,828 - And, cheers, bro. 27 00:01:10,928 --> 00:01:12,528 - Cheers, brat. 28 00:01:12,628 --> 00:01:13,868 - Bingo. 29 00:01:16,168 --> 00:01:19,468 Every day at 5:00 we’re in the studio, mixing. 30 00:01:19,568 --> 00:01:20,538 5:00 came... 31 00:01:20,638 --> 00:01:21,708 (Alex): 5:00 on the button. 32 00:01:21,808 --> 00:01:23,648 (Geddy): And he would have two fat fingers. 33 00:01:23,738 --> 00:01:28,408 And every time we came to see Neil over 40 years, 34 00:01:28,518 --> 00:01:31,558 the first thing he did was go to the fridge, 35 00:01:31,648 --> 00:01:34,248 ask us if want an ice cube, 36 00:01:34,348 --> 00:01:37,148 and he’d pour the three of us 37 00:01:37,258 --> 00:01:38,998 two fat fingers of Macallan’s. 38 00:01:39,088 --> 00:01:40,728 - And his fingers got fatter over the years. 39 00:01:40,828 --> 00:01:42,598 (laughing) - That’s right. 40 00:01:42,698 --> 00:01:44,538 Aw... 41 00:01:44,628 --> 00:01:46,128 So that’s for him. 42 00:01:47,628 --> 00:01:48,868 - Yeah. 43 00:01:48,968 --> 00:01:50,838 The missing wingman. 44 00:01:52,008 --> 00:01:53,978 - The chair that’s not here. 45 00:01:57,608 --> 00:02:00,208 (soft music) 46 00:02:04,948 --> 00:02:08,118 (loud cheering and applause) 47 00:02:08,218 --> 00:02:11,058 - Our next guest is one of the greatest drummers 48 00:02:11,158 --> 00:02:12,458 in all of rock ’n roll. 49 00:02:12,558 --> 00:02:16,828 Please welcome for the finale of Drum Solo Week, Neil Peart. 50 00:02:16,928 --> 00:02:19,828 (drumming) 51 00:02:30,478 --> 00:02:32,978 (audience cheering) 52 00:02:33,078 --> 00:02:35,118 - Okay, for you, Rush, 2112, 53 00:02:35,218 --> 00:02:36,818 Neil Peart, one of the great drummers 54 00:02:36,918 --> 00:02:38,258 of all time, study up. 55 00:02:38,348 --> 00:02:40,048 - Are you ready to get your mind blown? 56 00:02:40,148 --> 00:02:41,148 - Do it! 57 00:02:41,248 --> 00:02:43,648 - You wanna get some Neil Peart all up in ya? 58 00:02:43,758 --> 00:02:44,558 - I don’t know. 59 00:02:44,658 --> 00:02:46,658 (drumming) 60 00:02:49,198 --> 00:02:50,568 (Stewart): Neil gets a good ride. 61 00:02:50,658 --> 00:02:52,628 Oh my god, you’re the best drummer on the planet! 62 00:02:52,728 --> 00:02:54,768 Other drummers on the planet, all the rest of us, 63 00:02:54,868 --> 00:02:57,768 there’s one deeper indignity that we must face, 64 00:02:57,868 --> 00:02:59,438 which is that people come up to us 65 00:02:59,538 --> 00:03:02,008 and say, my god, it’s you, you’re my... 66 00:03:02,108 --> 00:03:03,848 second favourite drummer! 67 00:03:03,938 --> 00:03:05,208 Fucking Neil! 68 00:03:05,308 --> 00:03:06,878 (Gavin): Ranking drummers... 69 00:03:06,978 --> 00:03:09,148 God knows how many times Neil must’ve won that. 70 00:03:09,248 --> 00:03:11,388 That’s how it came onto my radar, 71 00:03:11,488 --> 00:03:13,828 it’s like, who’s this guy who keep winning everything? 72 00:03:13,918 --> 00:03:15,858 I’d better check him out! 73 00:03:15,958 --> 00:03:18,328 (drumming) 74 00:03:20,788 --> 00:03:23,988 (cheering and applause) 75 00:03:26,528 --> 00:03:30,028 (Chad): The drum parts are so iconic and technical 76 00:03:30,138 --> 00:03:31,938 hard, fast shit! 77 00:03:32,038 --> 00:03:34,138 And straight-faced! 78 00:03:34,238 --> 00:03:37,938 He was a fucking stone-cold assassin! 79 00:03:38,048 --> 00:03:40,718 (playing rock music) 80 00:03:52,228 --> 00:03:55,028 (Matt): Neil was more than just a drummer. 81 00:03:55,128 --> 00:03:57,398 He was fascinated with all kinds of things. 82 00:03:57,498 --> 00:04:02,168 He did want each moment to be pure and valuable. 83 00:04:02,268 --> 00:04:04,538 He wanted to find the value in each person, 84 00:04:04,638 --> 00:04:06,778 each song, each lyric, each word. 85 00:04:06,868 --> 00:04:09,368 (Doane): How do you summarize a man 86 00:04:09,478 --> 00:04:14,248 who is had this epic life on so many levels? 87 00:04:14,348 --> 00:04:18,218 Some great successes and a lot of loss. 88 00:04:18,318 --> 00:04:21,458 To sum up somebody like Neil... 89 00:04:21,558 --> 00:04:24,058 ...it’s a daunting, daunting task. 90 00:04:24,158 --> 00:04:27,658 (loud cheering) 91 00:04:46,008 --> 00:04:49,808 (loud cheering) 92 00:04:51,348 --> 00:04:53,788 (bass playing) 93 00:05:00,528 --> 00:05:03,798 (distorted guitar) 94 00:05:05,728 --> 00:05:07,568 (Geddy): Check, check. 95 00:05:07,668 --> 00:05:09,308 (Alex): Is that better with the vocal, Geddy? 96 00:05:09,398 --> 00:05:11,238 - Little bit, yeah. 97 00:05:11,338 --> 00:05:13,408 Tiny bit more level on the voice. 98 00:05:13,508 --> 00:05:15,678 Something that’s always bothered me 99 00:05:15,778 --> 00:05:17,948 is after Neil passed away, 100 00:05:18,038 --> 00:05:22,378 we never really were able to pay tribute to him 101 00:05:22,478 --> 00:05:24,248 in any gathering way. 102 00:05:24,348 --> 00:05:26,318 (Alex): We had a plan. 103 00:05:26,418 --> 00:05:27,988 - We had a plan to do something here. 104 00:05:28,088 --> 00:05:30,028 - Pandemic came crashing in. 105 00:05:30,118 --> 00:05:32,418 - And everything was locked down and... 106 00:05:32,528 --> 00:05:34,568 And that weighed on me quite a lot. 107 00:05:34,658 --> 00:05:36,498 - Yeah. 108 00:05:38,728 --> 00:05:40,698 More keyboards please, for Alex. 109 00:05:43,368 --> 00:05:45,638 (Geddy): For me, Neil’s legacy, 110 00:05:45,738 --> 00:05:48,178 his importance as a rock drummer... 111 00:05:48,278 --> 00:05:50,418 The way he blurred the lines 112 00:05:50,508 --> 00:05:53,778 between progressive rock, jazz, pop, heavy metal, 113 00:05:53,878 --> 00:05:56,648 all those styles that exist within our music. 114 00:05:56,748 --> 00:05:59,488 And the dogged drive that he had, 115 00:05:59,588 --> 00:06:01,328 his unwillingness to compromise, 116 00:06:01,418 --> 00:06:03,058 made him a drummer 117 00:06:03,158 --> 00:06:05,928 that really inspired other drummers. 118 00:06:06,028 --> 00:06:07,368 Well! 119 00:06:08,458 --> 00:06:09,958 Look who’s here! 120 00:06:10,058 --> 00:06:11,928 (laughing) 121 00:06:12,028 --> 00:06:14,698 Neil loved his drumming community. 122 00:06:14,798 --> 00:06:16,668 He loved drum brothers. 123 00:06:16,768 --> 00:06:19,008 Hey, man, how are you? - Good, man. 124 00:06:19,108 --> 00:06:20,908 (Geddy): Drummers, they’re like catchers, 125 00:06:21,008 --> 00:06:22,178 they’re like goalies. 126 00:06:22,278 --> 00:06:24,948 They see a kinship in each other. 127 00:06:25,048 --> 00:06:28,018 So when we were thinking of how to pay tribute to him, 128 00:06:28,108 --> 00:06:30,008 it made sense to bring together 129 00:06:30,118 --> 00:06:31,888 his drummer friends for a jam. 130 00:06:31,988 --> 00:06:34,558 I mean, we’re talking about guys 131 00:06:34,648 --> 00:06:36,948 that are monster drummers in their own right. 132 00:06:37,058 --> 00:06:40,758 Bringing them together to talk about drumming, 133 00:06:40,858 --> 00:06:43,098 about music, to talk about Neil 134 00:06:43,198 --> 00:06:46,838 and what made him unique as a musician. 135 00:06:46,928 --> 00:06:49,668 Feels like the right way to honour his legacy. 136 00:06:49,768 --> 00:06:52,608 (drumming) 137 00:07:03,078 --> 00:07:04,418 (rock music playing) 138 00:07:12,758 --> 00:07:15,458 {\an8} (Geddy): Okay, this is a louder drummer... 139 00:07:15,558 --> 00:07:16,928 - I’m loud. 140 00:07:17,028 --> 00:07:19,328 - It’s an honour to have you here, 141 00:07:19,428 --> 00:07:21,398 to help us pay tribute to the dude, 142 00:07:21,498 --> 00:07:23,468 wherever he may be. 143 00:07:23,568 --> 00:07:25,368 - Wherever he may be, with his... 144 00:07:25,468 --> 00:07:27,738 - Wherever he may roam! - Apples in his Macallan’s! 145 00:07:27,838 --> 00:07:28,908 - Yeah. 146 00:07:29,008 --> 00:07:30,348 (Chad): Riding motorcycles, I hope. 147 00:07:30,438 --> 00:07:32,008 - Two fat fingers. 148 00:07:32,108 --> 00:07:34,178 (Chad): We were on tour in Toronto, 149 00:07:34,278 --> 00:07:35,518 and I was having lunch with Al, 150 00:07:35,618 --> 00:07:37,688 and he was like, yeah, for this thing, 151 00:07:37,778 --> 00:07:39,418 we’re gonna do 2112 and Working Man, 152 00:07:39,518 --> 00:07:41,788 and I said, oh, do you think it’d be okay 153 00:07:41,888 --> 00:07:45,728 if could I play Working Man with you guys? 154 00:07:45,828 --> 00:07:48,528 And he’s like, yeah! I mean, I would love it! 155 00:07:48,628 --> 00:07:49,558 That would be great. 156 00:07:49,658 --> 00:07:51,658 (drumming) 157 00:07:51,768 --> 00:07:55,108 I’m just so honoured to be able to play with these guys 158 00:07:55,198 --> 00:07:58,198 and this music is so close to my heart, and then of course, 159 00:07:58,308 --> 00:08:02,008 to honour my friend Neil is just, like, on top of it 160 00:08:02,108 --> 00:08:03,548 is amazing. 161 00:08:03,638 --> 00:08:05,478 Maestro. 162 00:08:06,208 --> 00:08:07,278 Maestro. 163 00:08:07,378 --> 00:08:08,848 - Oh, yes sir. Ah. 164 00:08:09,578 --> 00:08:10,548 Ready? 165 00:08:10,648 --> 00:08:12,248 - Whenever you’re ready. 166 00:08:12,348 --> 00:08:14,448 (playing guitar) 167 00:08:14,548 --> 00:08:16,988 - Woo hoo hoo! 168 00:08:17,758 --> 00:08:19,458 (Geddy): We’re not ready. 169 00:08:19,558 --> 00:08:21,198 - That’s it, that’s the take. 170 00:08:21,288 --> 00:08:22,218 (chuckling) 171 00:08:22,328 --> 00:08:24,668 - Get out of the parking lot! 172 00:08:25,628 --> 00:08:29,335 {\an8}(playing ♪ Working Man ♪ by Rush) 173 00:08:40,445 --> 00:08:45,715 ♪ I get up at seven, yeah, and I go to work at nine ♪ 174 00:08:45,815 --> 00:08:49,785 ♪ I got no time for livin’ ♪ 175 00:08:49,885 --> 00:08:53,185 ♪ Yes, I’m workin’ all the time ♪ 176 00:08:53,295 --> 00:08:57,595 ♪ It seems to me I could live my life ♪ 177 00:08:57,695 --> 00:09:00,565 ♪ Better than I think I am ♪ 178 00:09:00,665 --> 00:09:04,465 ♪ I guess that’s why they call me ♪ 179 00:09:06,505 --> 00:09:08,875 ♪ Call me the working man ♪ 180 00:09:12,375 --> 00:09:15,375 ♪ They call me the working man ♪ 181 00:09:16,385 --> 00:09:18,625 ♪ I guess that’s what I am ♪ 182 00:09:31,495 --> 00:09:34,235 ♪ When I get home at five o’clock ♪ 183 00:09:34,335 --> 00:09:38,875 ♪ I take myself out a nice, cold beer ♪ 184 00:09:38,975 --> 00:09:41,515 ♪ Always seem to be wonderin’ ♪ 185 00:09:41,605 --> 00:09:44,505 ♪ Why there’s nothin’ goin’ down here ♪ 186 00:09:44,605 --> 00:09:48,745 ♪ It seems to me I could live my life ♪ 187 00:09:48,845 --> 00:09:51,515 ♪ Better than I think I am ♪ 188 00:09:51,615 --> 00:09:55,485 ♪ I guess that’s why they call me ♪ 189 00:09:55,585 --> 00:09:59,125 ♪ Call me the workin’ man ♪ 190 00:09:59,225 --> 00:10:02,095 (cheering) 191 00:10:02,195 --> 00:10:05,935 ♪ They call me the working man ♪ 192 00:10:06,035 --> 00:10:09,405 ♪ I guess that’s what I am ♪ 193 00:10:12,535 --> 00:10:15,035 (cheering) 194 00:10:17,175 --> 00:10:19,845 (Neil): When I started to get around 11 or 12 years old, 195 00:10:19,945 --> 00:10:21,715 I was banging around the house with chopsticks 196 00:10:21,815 --> 00:10:23,855 on my little sister’s playpen and smashing up 197 00:10:23,945 --> 00:10:25,815 pots and pans and my parents got the idea 198 00:10:25,915 --> 00:10:28,015 that I liked to hit things with sticks. 199 00:10:28,115 --> 00:10:30,185 So, my 13th birthday, they got me drum lessons. 200 00:10:30,285 --> 00:10:33,255 I practiced all the time and continued to get better. 201 00:10:33,355 --> 00:10:36,195 And so once I got interested in rock bands and all that 202 00:10:36,295 --> 00:10:38,295 and I was old enough to quit high school... 203 00:10:38,395 --> 00:10:39,695 I wanted to be a full-time musician, 204 00:10:39,795 --> 00:10:41,365 that’s all I thought about. 205 00:10:41,465 --> 00:10:44,235 Fortunately, I was in a very serious band at the time. 206 00:10:44,335 --> 00:10:46,035 We did practice every day, you know, 207 00:10:46,135 --> 00:10:47,735 we didn’t drop out of school to be bums. 208 00:10:47,835 --> 00:10:50,175 We made some demos for record companies in Toronto, 209 00:10:50,275 --> 00:10:52,045 but they gave us the classic of those days, 210 00:10:52,145 --> 00:10:53,915 we don’t hear a single. 211 00:10:54,015 --> 00:10:56,215 So, you know, we were up against this wall. 212 00:10:56,315 --> 00:10:59,355 (rock music) 213 00:11:01,685 --> 00:11:04,225 So as the band was running into frustrations, 214 00:11:04,325 --> 00:11:06,925 I conceive this notion that I would move to London 215 00:11:07,025 --> 00:11:08,765 and take my drums and my records. 216 00:11:08,865 --> 00:11:10,905 The world view that I took with me 217 00:11:10,995 --> 00:11:12,635 was that all I had to do was get good 218 00:11:12,735 --> 00:11:14,275 and I would be successful. 219 00:11:14,365 --> 00:11:15,635 It was as simple as that. 220 00:11:15,735 --> 00:11:17,405 And I really believed that’s how the world worked. 221 00:11:17,505 --> 00:11:19,205 That if I got good, I would be successful. 222 00:11:19,305 --> 00:11:22,345 - I got an airmail letter from Neil, 223 00:11:22,445 --> 00:11:24,115 and it was, I understand you’re living in England, 224 00:11:24,205 --> 00:11:26,875 and I wanna come over and further my musical career 225 00:11:26,975 --> 00:11:28,215 and can I come and stay with you? 226 00:11:28,315 --> 00:11:29,985 {\an8}This was a big thing 227 00:11:30,085 --> 00:11:31,825 {\an8} for a, you know, a St. Catharine’s boy, like, 228 00:11:31,915 --> 00:11:33,115 {\an8}as it was for myself, 229 00:11:33,215 --> 00:11:35,315 but here we are in London, you know? 230 00:11:35,425 --> 00:11:37,895 And he’s gonna give this a shot. 231 00:11:37,985 --> 00:11:40,525 (rock music) 232 00:11:45,595 --> 00:11:48,365 - I’d copied down a list of record companies, 233 00:11:48,465 --> 00:11:49,935 booking agencies, management companies, 234 00:11:50,035 --> 00:11:52,005 and so on from record jackets out of my collection, 235 00:11:52,105 --> 00:11:54,705 and traipsed around to all these offices in rainy London. 236 00:11:54,805 --> 00:11:56,875 (Doane): He told me a funny story. 237 00:11:56,975 --> 00:12:00,315 {\an8}Somehow he had found out where the Jethro Tull offices were 238 00:12:00,415 --> 00:12:03,455 {\an8}and he went into the office 239 00:12:03,545 --> 00:12:06,045 and asked if they were looking for a drummer. 240 00:12:06,155 --> 00:12:08,995 This was the year when they were between drummers. 241 00:12:09,085 --> 00:12:11,555 And it was kind of unlike Neil to do something 242 00:12:11,655 --> 00:12:14,425 as forthright as that, but he marched right in there, 243 00:12:14,525 --> 00:12:16,965 said I’m ready to go, and the lady said, 244 00:12:17,065 --> 00:12:19,335 well, that’s not quite how it’s done here, 245 00:12:19,435 --> 00:12:21,375 and thank you very much. 246 00:12:21,465 --> 00:12:23,465 - I always remember one kind-hearted receptionist 247 00:12:23,565 --> 00:12:25,465 telling me, Well, you’re very brave. 248 00:12:25,575 --> 00:12:27,545 In other words, you’re a fool! 249 00:12:27,635 --> 00:12:29,375 But I proceeded with that 250 00:12:29,475 --> 00:12:31,515 and eventually found another job to keep me alive, 251 00:12:31,605 --> 00:12:33,045 which was working in souvenir shops 252 00:12:33,145 --> 00:12:34,585 and poster shops in Carnaby Street 253 00:12:34,675 --> 00:12:36,545 in Piccadilly Circus. 254 00:12:36,645 --> 00:12:38,885 Through that souvenir shop, ironically, I met musicians 255 00:12:38,985 --> 00:12:40,885 that I got started with in a band over there, 256 00:12:40,985 --> 00:12:43,555 and was able to do quite a variety of different work, 257 00:12:43,655 --> 00:12:45,195 playing in pop cover groups 258 00:12:45,285 --> 00:12:46,625 and a little bit of casual session work 259 00:12:46,725 --> 00:12:47,995 and doing auditions. 260 00:12:48,095 --> 00:12:51,295 (playing rock music) 261 00:12:51,395 --> 00:12:53,165 He got in a couple of bands, 262 00:12:53,265 --> 00:12:54,835 and they got touring around. 263 00:12:54,935 --> 00:12:56,705 They played The Marquee. 264 00:12:56,805 --> 00:12:58,705 It’s the most amazing club in London, 265 00:12:58,805 --> 00:13:00,905 the Rolling Stones, Rory Gallagher, everybody. 266 00:13:01,005 --> 00:13:04,305 But bar bands, cover bands, you don’t make any money. 267 00:13:04,405 --> 00:13:06,175 And we had to pay bills, right? 268 00:13:06,275 --> 00:13:09,275 We had to live. 269 00:13:09,385 --> 00:13:10,585 (Neil): The gigs lasted about two weeks, 270 00:13:10,685 --> 00:13:11,755 and then suddenly, 271 00:13:11,845 --> 00:13:13,245 there was no more work and, you know, 272 00:13:13,355 --> 00:13:14,955 I was sharing a bed-sitting room 273 00:13:15,055 --> 00:13:16,695 on the farthest extreme of London 274 00:13:16,785 --> 00:13:17,985 with my friend Brad. 275 00:13:18,085 --> 00:13:19,825 Like, you know, not able to pay rent, 276 00:13:19,925 --> 00:13:21,055 not able to buy food, 277 00:13:21,155 --> 00:13:23,125 and then really facing poverty. 278 00:13:23,225 --> 00:13:24,925 - I could see he was discouraged. 279 00:13:25,025 --> 00:13:26,865 And so, one day, he said, 280 00:13:26,965 --> 00:13:29,505 do you think we could do acid on Saturday night? 281 00:13:29,605 --> 00:13:31,405 Which was... I said, sure! 282 00:13:31,505 --> 00:13:33,445 I don’t know... Get some. 283 00:13:33,535 --> 00:13:35,775 Back then, the acid was so strong, 284 00:13:35,875 --> 00:13:38,575 you would sort out the entire universe, 285 00:13:38,675 --> 00:13:40,575 but the next day you’d forget. 286 00:13:40,675 --> 00:13:42,175 We didn’t forget this time. 287 00:13:42,285 --> 00:13:45,155 We figured out the meaning of life right there. 288 00:13:45,245 --> 00:13:47,615 And the meaning of life is, 289 00:13:47,715 --> 00:13:49,685 you get up in the morning and you go to work. 290 00:13:49,785 --> 00:13:51,855 You have to have a sense of purpose, 291 00:13:51,955 --> 00:13:53,655 or you’re not going anywhere. 292 00:13:53,755 --> 00:13:57,725 ♪ They call me the working man ♪ 293 00:13:57,825 --> 00:14:00,865 ♪ I guess that’s what I am ♪ 294 00:15:12,891 --> 00:15:14,431 (Neil): When I was in the ferment of London 295 00:15:14,521 --> 00:15:16,061 in the professional music business, 296 00:15:16,161 --> 00:15:17,961 it was very obvious that things didn’t work out 297 00:15:18,061 --> 00:15:20,231 the way I thought they did back in St. Catharine’s. 298 00:15:20,331 --> 00:15:22,401 Um, so that was a huge lesson. 299 00:15:22,501 --> 00:15:23,771 But it also forced me 300 00:15:23,861 --> 00:15:25,931 into another life-changing decision... 301 00:15:26,031 --> 00:15:28,431 was that while I’d rather do something else for a living 302 00:15:28,531 --> 00:15:31,071 and play the music I love, you know, that was clear. 303 00:15:31,171 --> 00:15:32,441 I’d rather play down in the basement, 304 00:15:32,541 --> 00:15:34,411 and play the music I like, especially if I can get 305 00:15:34,511 --> 00:15:35,811 likeminded musicians to do that. 306 00:15:35,911 --> 00:15:38,151 And I came back to St. Catharine’s then 307 00:15:38,241 --> 00:15:39,811 and went to work for my dad full-time 308 00:15:39,911 --> 00:15:41,951 at the farm equipment dealers and played in bands at night. 309 00:15:42,051 --> 00:15:43,751 - I came home from England 310 00:15:43,851 --> 00:15:46,521 and we used to go for lunch at this greasy spoon. 311 00:15:46,621 --> 00:15:47,991 You know, I pulled in and he came out, 312 00:15:48,091 --> 00:15:49,591 and there was this white Corvette, 313 00:15:49,691 --> 00:15:51,131 and it pulled in the parking lot 314 00:15:51,221 --> 00:15:52,821 of the farm equipment dealership. 315 00:15:52,931 --> 00:15:55,101 And I said, okay, well, who is that? 316 00:15:55,191 --> 00:15:57,291 He said, did you ever hear of a band called Rush? 317 00:15:57,401 --> 00:15:58,501 I said, nope. 318 00:15:58,601 --> 00:16:00,101 No, I’ve never heard of them, sorry. 319 00:16:00,201 --> 00:16:01,671 Well, they’re going on tour 320 00:16:01,771 --> 00:16:03,711 and they’re looking for a drummer. 321 00:16:03,801 --> 00:16:04,901 But... 322 00:16:05,001 --> 00:16:06,201 He knew. 323 00:16:06,311 --> 00:16:07,611 He knew this was the one. 324 00:16:07,711 --> 00:16:09,311 He knew this was... 325 00:16:09,411 --> 00:16:10,851 the chance. 326 00:16:10,941 --> 00:16:14,311 (Geddy): When he first pulled up in his Pinto, 327 00:16:14,411 --> 00:16:16,251 and he bounded out of the car 328 00:16:16,351 --> 00:16:18,521 with his drums and garbage bags... 329 00:16:18,621 --> 00:16:20,961 My first thought was, wow, what a goof. 330 00:16:21,051 --> 00:16:22,351 (chuckling) 331 00:16:22,461 --> 00:16:24,301 - Yeah, right. - ’Cause he was tall and... 332 00:16:24,391 --> 00:16:25,831 And we were groovy. 333 00:16:25,931 --> 00:16:27,031 (Alex): And we were totally groovy, 334 00:16:27,131 --> 00:16:29,531 we had belts with big buckles and-- 335 00:16:29,631 --> 00:16:30,871 - Bell-bottoms. - Things like that. 336 00:16:30,961 --> 00:16:32,461 And I remember thinking, 337 00:16:32,571 --> 00:16:34,671 there’s no way this guy’s cool enough to be in our band. 338 00:16:34,771 --> 00:16:36,711 Because he was a tall, gangly... 339 00:16:36,801 --> 00:16:37,971 - Oh, yeah. 340 00:16:38,071 --> 00:16:40,241 - ...guy that looked like so nerdy and... 341 00:16:40,341 --> 00:16:41,781 - But when he started playing triplets... 342 00:16:41,871 --> 00:16:43,311 - That changed everything. - He got really cool. 343 00:16:43,411 --> 00:16:44,511 - Yeah. - Really fast. 344 00:16:44,611 --> 00:16:45,711 - So fast. 345 00:16:45,811 --> 00:16:47,581 - I met the guys and we got talking, 346 00:16:47,681 --> 00:16:49,321 and the immediate things, interestingly, 347 00:16:49,421 --> 00:16:51,461 were books and humour that we started talking about. 348 00:16:51,551 --> 00:16:53,191 I remember talking about, you know, 349 00:16:53,291 --> 00:16:54,291 we were 22 years old, 350 00:16:54,391 --> 00:16:56,391 1974, talking about the Lord of the Rings 351 00:16:56,491 --> 00:16:57,861 and Monty Python. 352 00:16:57,961 --> 00:16:59,931 Actually, those were probably the first two touchstones 353 00:17:00,031 --> 00:17:01,101 of the books we read 354 00:17:01,191 --> 00:17:02,661 and the things that made us laugh. 355 00:17:02,761 --> 00:17:04,161 In retrospect, that is so beautiful, 356 00:17:04,261 --> 00:17:05,561 the fact that we played well together 357 00:17:05,671 --> 00:17:07,041 and we laughed well together. 358 00:17:07,131 --> 00:17:09,371 That’s the kind of thing that might last 34 years. 359 00:17:09,471 --> 00:17:11,441 (laughing) 360 00:17:11,541 --> 00:17:14,411 (♪ Working Man ♪ by Rush continuing) 361 00:17:23,321 --> 00:17:25,461 (yelling) 362 00:17:37,861 --> 00:17:41,061 ♪ Well it seems to me I could live my life ♪ 363 00:17:41,171 --> 00:17:44,211 ♪ Better than I think I am ♪ 364 00:17:44,301 --> 00:17:47,701 ♪ I guess that’s why they call me ♪ 365 00:17:48,871 --> 00:17:52,911 ♪ Why they call me The workin’ man ♪ 366 00:17:55,981 --> 00:17:59,281 ♪ They call me the workin’ man ♪ 367 00:17:59,391 --> 00:18:02,261 ♪ I guess that’s what I am ♪ 368 00:18:06,991 --> 00:18:10,861 ♪ Well they call me the workin’ man ♪ 369 00:18:12,731 --> 00:18:15,531 (vocalizing) 370 00:18:31,521 --> 00:18:34,461 (laughing) 371 00:18:34,551 --> 00:18:36,251 - Oh, sorry! 372 00:18:37,791 --> 00:18:39,091 (yelling) 373 00:18:39,191 --> 00:18:40,321 (Geddy): Throw it away! 374 00:18:40,431 --> 00:18:41,801 - Oh, awesome. 375 00:18:41,891 --> 00:18:43,961 (Geddy): Throw it away. I quit! 376 00:18:44,061 --> 00:18:46,031 (chuckling) 377 00:18:46,131 --> 00:18:48,671 - You are the best. - Thank you, guys. 378 00:18:48,771 --> 00:18:51,271 - I love you guys. Bubba! 379 00:18:51,371 --> 00:18:53,841 (Geddy): Just love that interaction... 380 00:18:53,941 --> 00:18:55,281 - Oh... 381 00:18:55,371 --> 00:18:57,541 - This is kind of song is just like... 382 00:18:57,641 --> 00:18:59,781 It’s your fucking happy zone. - Yes. 383 00:18:59,881 --> 00:19:01,951 - You can just feel it. - Yeah. 384 00:19:02,051 --> 00:19:03,521 - This one, this one... - Contagious. 385 00:19:03,621 --> 00:19:05,721 (Alex): Yeah, you can really let loose. 386 00:19:05,821 --> 00:19:07,991 - I can... I see why you guys have played it every night. 387 00:19:08,091 --> 00:19:10,291 I just love that it’s from the beginning 388 00:19:10,391 --> 00:19:11,761 of what you guys did, and... 389 00:19:11,861 --> 00:19:13,161 - At first, when we were talking about 390 00:19:13,261 --> 00:19:14,631 what songs to play, 391 00:19:14,731 --> 00:19:17,201 Working Man didn’t come to mind because it’s pre-Neil, 392 00:19:17,301 --> 00:19:19,241 but he made it his own-- 393 00:19:19,331 --> 00:19:20,831 - Yes, exactly. 394 00:19:20,931 --> 00:19:23,131 - And this version that we’re playing really is his version. 395 00:19:23,241 --> 00:19:25,881 It’s his inspiration. (Chad): Yes. 396 00:19:25,971 --> 00:19:28,571 - Because, how many years did we play it, 40 years? 397 00:19:28,671 --> 00:19:29,971 - Yeah. - With him? 398 00:19:30,081 --> 00:19:31,981 (Chad): Yeah, he owned it. 399 00:19:32,081 --> 00:19:33,751 - He owned it, yeah, fucking right. 400 00:19:33,851 --> 00:19:36,221 - Do we have a version of him singing it by any chance? 401 00:19:36,321 --> 00:19:37,661 (laughing) 402 00:19:37,751 --> 00:19:38,991 - Who? - Neil singing it? 403 00:19:39,091 --> 00:19:40,461 I get up at 9 o’clock. 404 00:19:40,551 --> 00:19:41,991 (laughing) 405 00:19:42,091 --> 00:19:43,891 I do not like beer, I will not drink the beer. 406 00:19:43,991 --> 00:19:45,461 And then I go to work. 407 00:19:46,591 --> 00:19:49,791 And that’s why they call me the working man. 408 00:19:49,901 --> 00:19:52,001 - That’s why they call me one of the guys at work. 409 00:19:52,101 --> 00:19:53,701 - Yeah, one of the guys at work. 410 00:19:53,801 --> 00:19:55,341 - That was his favourite expression. 411 00:19:55,431 --> 00:19:58,001 - Gotta go! Going to meet the guys at work. 412 00:19:58,101 --> 00:20:01,001 Before we met Neil, we were a bar band, 413 00:20:01,111 --> 00:20:02,581 and we wrote songs 414 00:20:02,681 --> 00:20:04,851 that made people jump up and down in bars. 415 00:20:04,941 --> 00:20:07,581 I wanted to be the greatest bass player 416 00:20:07,681 --> 00:20:09,081 I could possibly be, 417 00:20:09,181 --> 00:20:12,251 and lyrics were just a hassle, man. 418 00:20:12,351 --> 00:20:15,791 So, when we noticed how much Neil read 419 00:20:15,891 --> 00:20:17,531 and his verbosity, 420 00:20:17,621 --> 00:20:19,361 Al and I talked. 421 00:20:19,461 --> 00:20:21,431 (Alex): We approached him and said, you know, we can see 422 00:20:21,531 --> 00:20:23,101 that you’re reading five or six books a day. 423 00:20:23,201 --> 00:20:25,871 Maybe you should be the guy who writes lyrics, 424 00:20:25,971 --> 00:20:28,571 you know, you have sort of a background in literature 425 00:20:28,671 --> 00:20:29,911 and an interest... 426 00:20:30,001 --> 00:20:31,941 And I don’t know if he was really keen 427 00:20:32,041 --> 00:20:33,781 on having that added pressure, 428 00:20:33,871 --> 00:20:36,371 but he agreed that he would try it, and he started, 429 00:20:36,481 --> 00:20:38,251 and thank god he did. 430 00:20:38,341 --> 00:20:40,581 - The power of words has been big for me 431 00:20:40,681 --> 00:20:42,121 since I was a little kid, really, 432 00:20:42,211 --> 00:20:44,211 in grade one and grade two, I was writing poems in school 433 00:20:44,321 --> 00:20:45,591 and reading voraciously. 434 00:20:45,681 --> 00:20:49,321 And lyric writing just started as a little side bar for me. 435 00:20:49,421 --> 00:20:51,291 And coming into this band, neither of the other two 436 00:20:51,391 --> 00:20:52,831 were much interested in it, so I went, okay, 437 00:20:52,931 --> 00:20:53,901 I’ll have a go. 438 00:20:53,991 --> 00:20:56,061 Well, then, having committed to it, 439 00:20:56,161 --> 00:20:58,361 then my father’s values of if it’s worth doing, 440 00:20:58,461 --> 00:21:00,461 it’s worth doing well, 441 00:21:00,571 --> 00:21:02,171 and I got into the craft of it, of course. 442 00:21:03,241 --> 00:21:08,223 (Geddy Lee singing) 443 00:21:10,953 --> 00:21:13,193 ♪ Anthem of the heart and mind ♪ 444 00:21:13,293 --> 00:21:16,663 A funeral dirge for eyes gone blind ♪ 445 00:21:16,763 --> 00:21:19,463 Whatever he wrote, I just tried to sing. 446 00:21:19,563 --> 00:21:21,403 I remember when he gave me 447 00:21:21,493 --> 00:21:23,063 Beneath, Between, and Behind, 448 00:21:23,163 --> 00:21:24,603 which was the first lyric he wrote... 449 00:21:24,703 --> 00:21:26,703 I was thinking, my god, how can I get all these words 450 00:21:26,803 --> 00:21:29,143 in one line, I mean, it was just like rapid fire, 451 00:21:29,243 --> 00:21:31,813 and you wrote that guitar riff, that... 452 00:21:31,903 --> 00:21:33,743 (humming) 453 00:21:33,843 --> 00:21:36,013 And it melded, it was like, okay, this can work. 454 00:21:36,113 --> 00:21:37,713 I just have to sing really fast. 455 00:21:37,813 --> 00:21:39,253 (laughing) 456 00:21:39,353 --> 00:21:41,853 (Neil): Coming into this band at the tender age of 22, 457 00:21:41,953 --> 00:21:44,353 of course I still had a lot of post-adolescent things 458 00:21:44,453 --> 00:21:46,793 and fantasy and science fiction books, for sure. 459 00:21:46,893 --> 00:21:48,893 And Tolkien weaves into the early stuff. 460 00:21:48,993 --> 00:21:51,133 A lot of metaphor and those kind of flights of fancy 461 00:21:51,223 --> 00:21:53,663 that were, I think the natural pre-occupations 462 00:21:53,763 --> 00:21:55,103 of a geeky young man. 463 00:21:55,193 --> 00:21:57,133 (Geddy): Starting with Caress of Steel, 464 00:21:57,233 --> 00:22:00,703 a huge evolution had taken place in Neil. 465 00:22:00,803 --> 00:22:02,903 And the things he wanted to express. 466 00:22:03,003 --> 00:22:05,573 He started talking about concepts. 467 00:22:05,673 --> 00:22:08,243 - And he would bring lyrics in, 468 00:22:08,343 --> 00:22:09,583 and he wouldn’t just bring a couple songs, 469 00:22:09,683 --> 00:22:11,523 he’d bring like 20 songs of lyrics. 470 00:22:11,613 --> 00:22:14,183 These-all great ideas, all connected in some way. 471 00:22:14,283 --> 00:22:18,223 (Geddy): If it was going to be a big C concept album 472 00:22:18,323 --> 00:22:20,593 like 2112, Neil would say, 473 00:22:20,693 --> 00:22:22,763 I have this idea to do this kind of thing, 474 00:22:22,863 --> 00:22:25,403 and what do you think of an idea like that? 475 00:22:29,803 --> 00:22:31,473 (synth whirring) 476 00:22:31,563 --> 00:22:33,203 - Oh, cool. 477 00:22:37,403 --> 00:22:39,103 (inhales) 478 00:22:42,913 --> 00:22:45,983 (Alex): The year is 2112. 479 00:22:46,083 --> 00:22:49,353 It’s a better year than 2111. 480 00:22:49,453 --> 00:22:51,423 (laughing) 481 00:22:51,523 --> 00:22:55,063 It was a cold winter. Followed by a decent summer. 482 00:22:55,153 --> 00:22:59,353 Then the plague hit. Most everybody died. 483 00:22:59,463 --> 00:23:02,003 They couldn’t wait for 2113. 484 00:23:03,333 --> 00:23:06,873 But who knows what that’ll bring. 485 00:23:08,803 --> 00:23:10,543 - Two, three, four. 486 00:23:12,673 --> 00:23:15,743 (♪ 2112 Overture ♪ by Rush) 487 00:23:18,243 --> 00:23:19,943 - Ah. 488 00:23:25,553 --> 00:23:27,653 - It’s jumping in one beat early. 489 00:23:27,753 --> 00:23:29,153 They’re all different spaces. 490 00:23:29,253 --> 00:23:32,893 - As long as we’re tapping our feet at the right tempo... 491 00:23:32,993 --> 00:23:34,863 (all talking at once) 492 00:23:34,963 --> 00:23:36,403 - Yeah. 493 00:23:36,503 --> 00:23:38,743 - One, two, three, four-- 494 00:23:38,833 --> 00:23:40,733 (Danny): You know the beginning of the song, 495 00:23:40,833 --> 00:23:42,533 but then when you gotta play it, 496 00:23:42,633 --> 00:23:44,133 you gotta know how many counts, 497 00:23:44,243 --> 00:23:46,513 how many repetitions of this, and... 498 00:23:46,613 --> 00:23:48,253 I thought maybe they just looked at each other 499 00:23:48,343 --> 00:23:49,583 and hit the beats, you know? 500 00:23:49,683 --> 00:23:51,083 I didn’t know it was in time! 501 00:23:51,183 --> 00:23:52,853 It makes it a challenge. 502 00:23:52,953 --> 00:23:54,293 You think you know it, but you don’t 503 00:23:54,383 --> 00:23:55,953 until you actually play it. 504 00:23:56,053 --> 00:23:57,553 Let’s do it from the top again-- 505 00:23:57,653 --> 00:23:59,193 - It’s idiosyncratic... - Yeah. 506 00:23:59,283 --> 00:24:01,823 - It’s done to make it difficult to remember. 507 00:24:01,923 --> 00:24:03,523 (laughing) 508 00:24:03,623 --> 00:24:04,923 So we succeeded! 509 00:24:05,023 --> 00:24:06,263 (laughing) 510 00:24:06,363 --> 00:24:08,703 - 2112, I can remember right where I was 511 00:24:08,793 --> 00:24:11,793 that first time I heard it, you know? So it’s... 512 00:24:11,903 --> 00:24:13,573 Good music does that, you know, 513 00:24:13,673 --> 00:24:15,943 it can bring you back to that point every time. 514 00:24:16,043 --> 00:24:17,343 When I was a little kid, 515 00:24:17,443 --> 00:24:19,083 camping out to go and see them, 516 00:24:19,173 --> 00:24:21,443 this seems so far away, you know? 517 00:24:21,543 --> 00:24:23,883 It’s a whole ’nother world. What a thrill, you know? 518 00:24:23,983 --> 00:24:26,023 I’m still, like, pinching myself, going, wow, 519 00:24:26,113 --> 00:24:27,353 did I get to do that? (laughing) 520 00:24:30,423 --> 00:24:34,093 (♪ 2112 Overture ♪ continues) 521 00:24:34,993 --> 00:24:36,993 - Was that right? Was I wrong? 522 00:24:38,463 --> 00:24:41,003 - Uh... I-I don’t know. 523 00:24:41,093 --> 00:24:42,763 I played it right, I know that. 524 00:24:42,863 --> 00:24:44,103 (laughing) 525 00:24:44,203 --> 00:24:46,603 (♪ 2112 Overture ♪ continues) 526 00:24:52,913 --> 00:24:54,483 (Geddy): Ah, that was great! 527 00:24:54,573 --> 00:24:56,043 - Yeah, that was pretty good that time. 528 00:24:56,143 --> 00:24:58,183 - Yeah, you got it. - I think so. 529 00:24:58,283 --> 00:24:59,723 - Alright, let’s have lunch. 530 00:24:59,813 --> 00:25:01,913 (laughing) 531 00:25:02,013 --> 00:25:04,113 - One, two, three... 532 00:25:05,583 --> 00:25:08,653 {\an8}(♪ 2112 Overture ♪ by Rush) 533 00:25:46,093 --> 00:25:48,263 - One, two, three, four! 534 00:26:31,061 --> 00:26:35,531 (Neil): 2112 was inspired by The Fountainhead by Ayn Rand. 535 00:26:35,631 --> 00:26:37,031 It really spoke to me. 536 00:26:37,141 --> 00:26:38,611 There was this great validation 537 00:26:38,701 --> 00:26:41,871 of doing things honestly, idealistically, romantically 538 00:26:41,971 --> 00:26:44,511 that was absolutely the fundamental essence 539 00:26:44,611 --> 00:26:45,851 of 2112. 540 00:26:45,941 --> 00:26:47,811 ’Cause we had been coming under tremendous pressure 541 00:26:47,911 --> 00:26:50,211 by the record company to be more commercial 542 00:26:50,321 --> 00:26:51,421 and to compromise our music 543 00:26:51,521 --> 00:26:53,061 and to repeat the chorus more times 544 00:26:53,151 --> 00:26:54,491 and to write some singles. 545 00:26:54,591 --> 00:26:57,031 But nothing was going to change what we wanted. 546 00:26:57,121 --> 00:27:02,461 Nobody could say to me, oh, you should play more simply. 547 00:27:02,561 --> 00:27:06,001 (Geddy): 2112 was the first album 548 00:27:06,101 --> 00:27:10,241 we really shaped all of the music to the story. 549 00:27:10,341 --> 00:27:13,241 And, of course, the very last thing we wrote for that album 550 00:27:13,341 --> 00:27:15,281 was the Overture, 551 00:27:15,371 --> 00:27:18,041 which is how an overture is created. 552 00:27:18,141 --> 00:27:20,881 It takes all the themes that exist in the opera, 553 00:27:20,981 --> 00:27:22,651 and you combine them and make an overture 554 00:27:22,751 --> 00:27:25,321 that introduce you to those musical themes. 555 00:27:25,421 --> 00:27:28,261 And it was Neil’s idea to do an overture. 556 00:27:28,351 --> 00:27:30,051 Let’s take all these pieces 557 00:27:30,161 --> 00:27:32,361 and put it together in one really cool opening. 558 00:27:32,461 --> 00:27:34,531 (♪ 2112 Overture ♪ continues) 559 00:28:07,591 --> 00:28:09,731 (laughing) 560 00:28:13,771 --> 00:28:16,611 - Great. That fucking rocked. 561 00:28:16,701 --> 00:28:18,771 That was fun. - Pretty good, yeah. 562 00:28:18,871 --> 00:28:20,371 - That was fucking fun. - Awesome. 563 00:28:20,471 --> 00:28:22,541 - That’s called throwing you into the deep end. 564 00:28:22,641 --> 00:28:24,241 (laughing) 565 00:28:24,341 --> 00:28:27,411 - Yeah, that beginning was tricky, man. 566 00:28:27,511 --> 00:28:28,851 God, sorry it took so long to-- 567 00:28:28,951 --> 00:28:30,821 - It’s, you know, it’s the nature of our music. 568 00:28:30,921 --> 00:28:33,621 - Yeah, it’s amazing when I started analyzing this stuff, 569 00:28:33,721 --> 00:28:36,961 God, just how genius, you know, Neil’s parts were. 570 00:28:37,061 --> 00:28:39,631 It’s like, it always builds in some clever way-- 571 00:28:39,731 --> 00:28:40,901 - Yes. 572 00:28:40,991 --> 00:28:42,331 - When it comes back around again, 573 00:28:42,431 --> 00:28:44,131 he adds this here or there, or you know... 574 00:28:44,231 --> 00:28:46,171 It was always a little more complicated. 575 00:28:46,271 --> 00:28:48,441 It’s always moving forward in the coolest way. 576 00:28:48,531 --> 00:28:50,901 Of all the drummers we know, 577 00:28:51,001 --> 00:28:53,001 we think you are more closely aligned 578 00:28:53,111 --> 00:28:55,711 with his sort of musical spirit. 579 00:28:55,811 --> 00:28:58,511 - In the compositional way for sure, like I said, 580 00:28:58,611 --> 00:29:00,611 when you’re just making things build and... 581 00:29:00,711 --> 00:29:02,311 And the arrangement part of it too, you know, 582 00:29:02,411 --> 00:29:04,281 we’re using toms in this part or that part 583 00:29:04,381 --> 00:29:06,121 to make it grow in the proper way... 584 00:29:06,221 --> 00:29:08,921 (Chad): To me, Neil approached the music 585 00:29:09,021 --> 00:29:10,921 like a classical piece of music. 586 00:29:11,021 --> 00:29:15,361 The precision, the musicality, the power. 587 00:29:15,461 --> 00:29:18,531 His drum parts were so integral to the arrangement, 588 00:29:18,631 --> 00:29:21,031 and they were musical hooks. 589 00:29:21,131 --> 00:29:23,101 Which, for drumming, a rhythmic instrument, 590 00:29:23,201 --> 00:29:26,201 is not very, you know... doesn’t happen all the time. 591 00:29:26,311 --> 00:29:28,051 - I always explain it in terms of timing. 592 00:29:28,141 --> 00:29:30,381 I started playing drums in 1965. 593 00:29:30,481 --> 00:29:33,481 When all you had to do was go boom-bop-bop-boom-bop. 594 00:29:33,581 --> 00:29:35,021 And you were a drummer. 595 00:29:35,111 --> 00:29:36,711 And then suddenly, in the late 60s, 596 00:29:36,821 --> 00:29:38,591 Keith Moon opened my eyes to a whole new style 597 00:29:38,681 --> 00:29:40,351 of flamboyant drumming. 598 00:29:40,451 --> 00:29:42,191 And then, King Crimson I remember getting aware of 599 00:29:42,291 --> 00:29:43,791 very early on. 600 00:29:43,891 --> 00:29:45,261 Michael Giles’ drumming is so active 601 00:29:45,361 --> 00:29:46,861 5yet so musical on there. 602 00:29:46,961 --> 00:29:49,261 The combination of fills, never mind the frequency, 603 00:29:49,361 --> 00:29:50,561 never repeated himself, 604 00:29:50,661 --> 00:29:52,061 here are permanent lessons for me. 605 00:29:52,161 --> 00:29:53,561 Never play the same fill twice, 606 00:29:53,671 --> 00:29:55,841 which I try, you know, devotedly to do. 607 00:29:55,931 --> 00:29:57,631 And the makeup of those fills, 608 00:29:57,741 --> 00:29:59,981 the composition and placement of those fills. 609 00:30:00,071 --> 00:30:02,711 - The lasting influence for me with Neil 610 00:30:02,811 --> 00:30:05,011 is how good a designer... 611 00:30:05,111 --> 00:30:08,011 ...a rhythmic designer he was. 612 00:30:08,111 --> 00:30:10,911 I’ve very carefully studied the songs 613 00:30:11,021 --> 00:30:12,821 that I’m gonna play with Alex and Geddy. 614 00:30:12,921 --> 00:30:15,791 And I wrote out a very detailed chart 615 00:30:15,891 --> 00:30:17,091 of the whole thing. 616 00:30:17,191 --> 00:30:19,191 Then, as I started to play along with it, 617 00:30:19,291 --> 00:30:20,591 I can clearly see, 618 00:30:20,691 --> 00:30:23,431 there’s an extra layer in this verse 619 00:30:23,531 --> 00:30:25,101 that wasn’t in the first verse. 620 00:30:25,201 --> 00:30:27,901 And it’s really when you get into the details of it 621 00:30:28,001 --> 00:30:30,171 that you realize how much thought 622 00:30:30,271 --> 00:30:32,141 went into every drum part. 623 00:30:32,241 --> 00:30:35,941 There’s no extra fat lying around, it’s all very lean. 624 00:30:36,041 --> 00:30:39,241 (♪ Dreamline ♪ by Rush) 625 00:30:41,751 --> 00:30:43,591 ♪ He’s got a road map of Jupiter ♪ 626 00:30:43,681 --> 00:30:46,021 ♪ A radar fix on the stars ♪ 627 00:30:46,121 --> 00:30:48,091 ♪ All along the highway ♪ 628 00:30:48,191 --> 00:30:50,631 ♪ She’s got a liquid-crystal compass ♪ 629 00:30:50,721 --> 00:30:54,491 ♪ A picture book of the rivers Under the Sahara ♪ 630 00:30:59,461 --> 00:31:01,831 ♪ They travel in the time of the prophets ♪ 631 00:31:01,931 --> 00:31:06,331 ♪ On a desert highway straight to the heart of the sun ♪ 632 00:31:09,280 --> 00:31:11,920 ♪ Like lovers and heroes ♪ 633 00:31:12,020 --> 00:31:15,690 ♪ And the restless part of everyone ♪ 634 00:31:15,790 --> 00:31:19,290 ♪ We’re only at home when we’re on the run ♪ 635 00:31:21,130 --> 00:31:23,070 ♪ On the run ♪ 636 00:31:27,800 --> 00:31:29,800 ♪ He’s got a star map of Hollywood ♪ 637 00:31:29,900 --> 00:31:32,300 ♪ A list of cheap motels ♪ 638 00:31:32,410 --> 00:31:34,510 ♪ All along the freeway ♪ 639 00:31:34,610 --> 00:31:36,680 ♪ She’s got a sister out in Vegas ♪ 640 00:31:36,780 --> 00:31:38,880 ♪ The promise of a decent job ♪ 641 00:31:38,980 --> 00:31:42,120 ♪ Far away from her hometown ♪ 642 00:31:45,350 --> 00:31:48,250 ♪ They travel on the road to redemption ♪ 643 00:31:48,360 --> 00:31:51,900 ♪ A highway out of yesterday ♪ 644 00:31:51,990 --> 00:31:53,960 ♪ That tomorrow will bring ♪ 645 00:31:54,060 --> 00:31:58,100 ♪ Like lovers and heroes ♪ 646 00:31:58,200 --> 00:32:00,740 ♪ Birds in the last days of spring ♪ 647 00:32:00,840 --> 00:32:05,450 ♪ We’re only at home When we’re on the wing ♪ 648 00:32:06,570 --> 00:32:08,710 ♪ On the wing ♪ 649 00:32:08,810 --> 00:32:11,680 (Gavin): The first time I heard Dreamline, I thought, 650 00:32:11,780 --> 00:32:13,550 I’ll just write out where the bass drum notes are. 651 00:32:13,650 --> 00:32:15,350 Well, it doesn’t repeat. 652 00:32:15,450 --> 00:32:19,750 These are all individually written to follow the vocals. 653 00:32:19,850 --> 00:32:22,690 - When we would present him with a piece of music, 654 00:32:22,790 --> 00:32:25,730 if he loved the melody, he was a slave to that melody. 655 00:32:25,830 --> 00:32:28,370 That’s why it’s hard to explain to a drummer, 656 00:32:28,460 --> 00:32:30,430 when they’re trying to learn a Rush song. 657 00:32:30,530 --> 00:32:32,400 Why is he playing what he’s playing? 658 00:32:32,500 --> 00:32:33,670 Well, listen to the vocal. 659 00:32:33,770 --> 00:32:36,310 He’s trying to stay out of the way of the vocal, 660 00:32:36,400 --> 00:32:39,540 at the same help express the emotion of the vocal 661 00:32:39,640 --> 00:32:40,980 through his drums. 662 00:32:41,080 --> 00:32:43,150 (Neil): Another thing I love about the relationship 663 00:32:43,240 --> 00:32:44,680 between drumming and lyric writing 664 00:32:44,780 --> 00:32:46,620 is when we start to write a song 665 00:32:46,720 --> 00:32:47,850 and I’m working out a drum part, 666 00:32:47,950 --> 00:32:49,290 I know the lyrics. 667 00:32:49,380 --> 00:32:51,420 You know, I’ve heard of ridiculous stories of bands 668 00:32:51,520 --> 00:32:53,490 recording a whole song and then having to redo it 669 00:32:53,590 --> 00:32:55,290 because when the lyrics were finally written 670 00:32:55,390 --> 00:32:57,390 as the last possible thing as the vocals 671 00:32:57,490 --> 00:32:59,130 are being recorded, they didn’t fit. 672 00:32:59,230 --> 00:33:02,130 And the drummer’s having to be so simplistic 673 00:33:02,230 --> 00:33:03,870 because who knows where the lyrics are gonna fall, 674 00:33:03,970 --> 00:33:05,470 they don’t wanna be in the way of them. 675 00:33:05,570 --> 00:33:06,810 Then all you can do is keep time, 676 00:33:06,900 --> 00:33:08,600 and you wouldn’t dare put a fill somewhere, 677 00:33:08,700 --> 00:33:10,070 because there might be words there. 678 00:33:10,170 --> 00:33:12,010 I loved the fact I know when the vocals are gonna end 679 00:33:12,110 --> 00:33:13,780 so I can make some noise there! 680 00:33:15,680 --> 00:33:18,080 ♪ We travel on the road to adventure ♪ 681 00:33:18,180 --> 00:33:20,950 ♪ On a desert highway ♪ 682 00:33:21,050 --> 00:33:22,950 ♪ Straight to the heart of the sun ♪ 683 00:33:25,320 --> 00:33:27,260 ♪ Like lovers and heroes ♪ 684 00:33:27,360 --> 00:33:29,100 ♪ And the restless part of everyone ♪ 685 00:33:31,590 --> 00:33:35,030 ♪ We’re only at home when we’re on the run ♪ 686 00:33:36,660 --> 00:33:38,160 ♪ On the run ♪ 687 00:33:44,370 --> 00:33:45,840 (laughing) 688 00:33:45,940 --> 00:33:47,480 (drumming) 689 00:33:47,580 --> 00:33:49,580 - Awesome. - Whew! 690 00:33:49,680 --> 00:33:52,250 - I don’t think I made too many mistakes. 691 00:33:52,350 --> 00:33:53,250 - No, you were spot on. 692 00:33:53,350 --> 00:33:54,850 - I thought it was really good. 693 00:33:54,950 --> 00:33:57,450 - Robert Fripp always used to say, there will be mistakes. 694 00:33:57,550 --> 00:33:59,490 Let’s try to make a better quality mistake. 695 00:33:59,590 --> 00:34:01,060 - Oh, I like that. 696 00:34:01,160 --> 00:34:03,660 - That is good. - Yeah. And there were. 697 00:34:03,760 --> 00:34:05,660 - Yeah. - There always will be. 698 00:34:05,760 --> 00:34:08,200 - They were the best mistakes. - Of course. 699 00:34:08,300 --> 00:34:11,440 - The most memorable things that happen on the stage, 700 00:34:11,530 --> 00:34:14,470 as you know, is when you have that train wreck for a moment, 701 00:34:14,570 --> 00:34:17,640 and everyone’s looking around going, who do I follow? 702 00:34:17,740 --> 00:34:18,980 (chuckling) 703 00:34:19,070 --> 00:34:21,110 - But then it suddenly comes back. 704 00:34:21,210 --> 00:34:24,010 - It’s usually the bass player that sorts it out. 705 00:34:24,110 --> 00:34:25,480 But nobody’s listening to the bass player, 706 00:34:25,580 --> 00:34:27,380 that’s the problem. 707 00:34:28,480 --> 00:34:31,350 (♪ Dreamline ♪ continues) 708 00:34:49,800 --> 00:34:51,900 (Alex): Neil seldom made a mistake, really. 709 00:34:52,010 --> 00:34:53,980 If there was a little blooper, something minor, 710 00:34:54,080 --> 00:34:55,920 we wouldn’t really notice it. 711 00:34:56,010 --> 00:34:58,710 That put pressure on me to make sure I played right. 712 00:34:58,810 --> 00:35:02,480 I always felt better if I knew I had a good night 713 00:35:02,580 --> 00:35:04,720 ’cause I kept up to his standard. 714 00:35:04,820 --> 00:35:06,290 Some so much with Ged. 715 00:35:06,390 --> 00:35:08,460 There’s something that’s a little more. 716 00:35:08,560 --> 00:35:10,200 - Shitty? - No, no, no. 717 00:35:10,290 --> 00:35:12,360 There’s something that’s a little more live and looser 718 00:35:12,460 --> 00:35:14,099 but the way we were responded. 719 00:35:14,100 --> 00:35:16,099 Cause I’ll come over to Ged’s side of stage 720 00:35:16,100 --> 00:35:18,640 and we’ll goof around and, you know, 721 00:35:18,730 --> 00:35:20,400 he might make a clunker while you’re doing that. 722 00:35:20,500 --> 00:35:21,770 It’s no big deal, you don’t care. 723 00:35:21,870 --> 00:35:23,610 But you look over at Neil, you’re like... 724 00:35:23,710 --> 00:35:25,080 You played that note wrong. 725 00:35:25,170 --> 00:35:29,010 Yeah, but I was kissing him when I played that note wrong. 726 00:35:29,110 --> 00:35:31,110 You know, take it easy. 727 00:35:31,210 --> 00:35:32,580 (laughter) 728 00:35:32,680 --> 00:35:34,650 But there would be a sense of living up to his standard 729 00:35:34,750 --> 00:35:36,190 which was good. 730 00:35:36,280 --> 00:35:38,380 (Stewart): One time I had to talk him down, 731 00:35:38,490 --> 00:35:40,260 he was distraught, he was destroyed. 732 00:35:40,360 --> 00:35:42,530 He was doing the Letterman Drum Solo Week 733 00:35:42,620 --> 00:35:45,090 and on national TV and he dropped a drumstick-- 734 00:35:45,190 --> 00:35:47,130 (gasps) Oh my god. My god. My-- 735 00:35:47,230 --> 00:35:48,570 Dude, dude, dude. 736 00:35:48,660 --> 00:35:51,100 I drop drumsticks almost every song, 737 00:35:52,100 --> 00:35:53,340 it’s part of my act. 738 00:35:53,430 --> 00:35:54,970 Drop a drumstick, pick up another one, 739 00:35:55,070 --> 00:35:56,440 chuck it, you know. 740 00:35:56,540 --> 00:35:58,480 - We would talk about mistakes sometimes 741 00:35:58,570 --> 00:36:01,640 and I had the steel trap memory for a lot of things 742 00:36:01,740 --> 00:36:04,810 and I could remember a mistake I made in a song, 743 00:36:04,910 --> 00:36:07,510 what venue it was, what tour 744 00:36:07,620 --> 00:36:10,460 and Neil said, oh, yeah, I remember that, 745 00:36:10,550 --> 00:36:12,420 we were in Frankfurt or something. 746 00:36:12,520 --> 00:36:16,290 And I realized, oh, yeah, he has his catalog too. 747 00:36:16,390 --> 00:36:18,890 I mean, that’s the flipside of having a really good memory 748 00:36:18,990 --> 00:36:21,130 because you go, well, I won’t do that again. 749 00:36:21,230 --> 00:36:23,730 It will be something that you learn from. 750 00:36:31,548 --> 00:36:33,018 (Neil): It matters 751 00:36:33,118 --> 00:36:34,958 for me to try to play better all the time 752 00:36:35,048 --> 00:36:36,518 and to play my best all the time, 753 00:36:36,618 --> 00:36:38,318 to keep it fresh and changing. 754 00:36:38,418 --> 00:36:40,958 It’s kind of responsibility, I see it as a drummer. 755 00:36:41,058 --> 00:36:44,258 A perfect example was around 1994, 756 00:36:44,358 --> 00:36:47,198 I had developed really good precision of time 757 00:36:47,298 --> 00:36:50,498 but I felt a stiffness because of that metronomic need. 758 00:36:50,598 --> 00:36:52,498 And so, I studied with Freddy Groover, 759 00:36:52,598 --> 00:36:54,198 an old jazz guy from the Bronx 760 00:36:54,308 --> 00:36:55,908 who lived through the jazz times 761 00:36:56,008 --> 00:36:58,378 of the ’40s and ’50s and gravitated into teaching. 762 00:36:58,478 --> 00:37:00,118 And Freddy is all about the motion. 763 00:37:00,208 --> 00:37:01,878 And it was all about the motion 764 00:37:01,978 --> 00:37:03,108 of the hands and feet 765 00:37:03,208 --> 00:37:04,808 that contributed to a dance. 766 00:37:04,918 --> 00:37:08,158 Through Freddy’s ideas of round orbital motion, 767 00:37:08,248 --> 00:37:09,748 a beat being a point in a circle 768 00:37:09,848 --> 00:37:11,588 rather than a dot on a line, 769 00:37:11,688 --> 00:37:14,188 he got me into the idea of making things flow, 770 00:37:14,288 --> 00:37:16,628 the space between the beats is what counts. 771 00:37:16,728 --> 00:37:18,368 I used to play straight through the drum 772 00:37:18,458 --> 00:37:20,728 aiming for the floor so all beats were just going 773 00:37:20,828 --> 00:37:22,198 through the surface of the drum head, 774 00:37:22,298 --> 00:37:23,638 with Freddy’s approach, 775 00:37:23,738 --> 00:37:25,138 the drum head is the end of the motion, 776 00:37:25,238 --> 00:37:26,638 everything happens in the air. 777 00:37:26,738 --> 00:37:29,778 - Unfortunately, a lot of pop music is played like that. 778 00:37:29,868 --> 00:37:31,668 It’s extremely vertical. 779 00:37:31,778 --> 00:37:34,118 {\an8}It’s like people slapping water when they swim. 780 00:37:34,208 --> 00:37:35,808 {\an8}(Neil): Mm, yeah. 781 00:37:35,908 --> 00:37:37,308 {\an8}- It doesn’t-- 782 00:37:37,418 --> 00:37:39,218 {\an8}(Neil): Inefficient motion. - Breathe. 783 00:37:39,318 --> 00:37:40,988 - Hand me those lumps of wood for a second, 784 00:37:41,088 --> 00:37:42,428 I got a demonstration. 785 00:37:42,518 --> 00:37:44,018 - If you were playing... 786 00:37:45,358 --> 00:37:46,958 I just wanted to make his skin crawl there 787 00:37:47,058 --> 00:37:49,098 but that’s metronomically fine time, 788 00:37:49,188 --> 00:37:50,318 but when you learn... 789 00:37:54,668 --> 00:37:56,808 - Let’s put it this way, if you’re not breathing, 790 00:37:59,798 --> 00:38:01,338 it’s not alive. 791 00:38:03,308 --> 00:38:04,548 You know? 792 00:38:04,638 --> 00:38:06,838 So you gotta at least put the breath in there, huh? 793 00:38:06,948 --> 00:38:09,788 (Neil): I had three separate six month sessions with Freddy 794 00:38:09,878 --> 00:38:12,348 and practicing every day, completely reinventing the way 795 00:38:12,448 --> 00:38:14,348 I sat at the drums, the way I hit the drums, 796 00:38:14,448 --> 00:38:15,818 the way I held the sticks, 797 00:38:15,918 --> 00:38:17,618 the way I set up everything around me 798 00:38:17,718 --> 00:38:19,218 was a complete transformation. 799 00:38:19,318 --> 00:38:22,418 - Here’s one of the greatest 800 00:38:22,528 --> 00:38:24,628 rock ’n’ roll drummers ever, 801 00:38:24,728 --> 00:38:27,798 decides to start from scratch. 802 00:38:27,898 --> 00:38:31,038 He cared so much about getting better 803 00:38:31,138 --> 00:38:33,078 and thinking about other ways 804 00:38:33,168 --> 00:38:35,668 that I can be a student of the instrument. 805 00:38:35,768 --> 00:38:39,038 (upbeat jazz music) 806 00:38:43,748 --> 00:38:47,318 - He did the Buddy Rich thing and it’s very big band. 807 00:38:47,418 --> 00:38:48,958 (humming drum tune) 808 00:38:49,048 --> 00:38:51,148 He’s like, I been rehearsing with Pete Erskine. 809 00:38:51,258 --> 00:38:53,258 This is after the Freddy Groover stuff. 810 00:38:53,358 --> 00:38:55,298 So I was like, oh, and he goes, 811 00:38:55,388 --> 00:38:57,488 well, I’ve been taking lessons every week 812 00:38:57,598 --> 00:38:59,098 and we’re still on the high hat. 813 00:38:59,198 --> 00:39:01,138 (laughter) 814 00:39:01,228 --> 00:39:03,598 He goes, because I have that Canadian swing. 815 00:39:03,698 --> 00:39:04,968 (laughing) 816 00:39:05,068 --> 00:39:08,008 - The white Canadian swing. - Right. 817 00:39:08,108 --> 00:39:10,608 (Chad): Neil putting that much time and energy 818 00:39:10,708 --> 00:39:13,948 into recreating his whole technique, 819 00:39:14,048 --> 00:39:18,318 to me it shows how obsessed he was maybe. 820 00:39:18,418 --> 00:39:19,918 I don’t know if there’s a better word. 821 00:39:20,018 --> 00:39:21,688 But this is a guy who would go 822 00:39:21,788 --> 00:39:24,528 and rehearse for months by himself 823 00:39:24,618 --> 00:39:28,518 before the band would rehearse for months for a tour. 824 00:39:28,628 --> 00:39:31,128 {\an8}- We called it rehearsing for rehearsing. 825 00:39:31,228 --> 00:39:33,098 {\an8}(laughter) 826 00:39:33,198 --> 00:39:35,368 {\an8}So, and it was a full month 827 00:39:35,468 --> 00:39:37,838 and it was somewhat business hours, Monday to Friday. 828 00:39:37,938 --> 00:39:40,408 In a studio, I would be programming 829 00:39:40,508 --> 00:39:43,748 the electronic drums for him while he basically 830 00:39:43,838 --> 00:39:46,508 put himself through torture getting his hands in shape. 831 00:39:46,608 --> 00:39:48,278 By the end of the first week 832 00:39:48,378 --> 00:39:50,418 his hands would be all blistered up. 833 00:39:50,518 --> 00:39:52,888 It was a painful experience for him for awhile. 834 00:39:59,788 --> 00:40:01,728 (Geddy): That sounds fun. 835 00:40:01,828 --> 00:40:03,128 (Stewart): It is fun. 836 00:40:03,228 --> 00:40:06,068 - I just got to remember how to play the fucking song. 837 00:40:06,158 --> 00:40:07,328 - Oh, yeah. 838 00:40:07,428 --> 00:40:09,198 Must’ve been one of your staples. 839 00:40:09,298 --> 00:40:12,268 - You know, we haven’t played this one live in... 840 00:40:12,368 --> 00:40:14,068 (Stewart): Actually, they did send me Bravado 841 00:40:14,168 --> 00:40:15,568 and New World Man 842 00:40:15,668 --> 00:40:18,068 and I’m listening to New World Man and... 843 00:40:18,178 --> 00:40:20,278 No, that sounds like a lot of work, I’ll do the easy one 844 00:40:20,378 --> 00:40:22,518 and then I listen to it again and then I tried playing it 845 00:40:22,608 --> 00:40:23,608 and said, no, wait a minute, 846 00:40:23,718 --> 00:40:25,158 this is right in my comfort zone. 847 00:40:25,248 --> 00:40:27,688 It’s energetic but it’s, uh, I like that. Let’s play this. 848 00:40:27,788 --> 00:40:30,288 - So, the ending we were doing... 849 00:40:33,388 --> 00:40:36,188 (Stewart): The drum fills are not challenging to play, 850 00:40:36,288 --> 00:40:37,458 they’re challenging to remember 851 00:40:37,558 --> 00:40:39,798 and that was the hardest part is, you know-- 852 00:40:39,898 --> 00:40:41,938 Oh, shit! It’s coming up now! It’s coming up now! 853 00:40:42,028 --> 00:40:44,698 That’s just contrary to my instincts 854 00:40:44,798 --> 00:40:46,338 as banging drums, 855 00:40:46,438 --> 00:40:48,208 you know, is not a thinking person 856 00:40:48,308 --> 00:40:50,908 but it goes entirely against the grain. 857 00:40:51,008 --> 00:40:52,948 But if this is for Neil, I’m going to play them 858 00:40:53,038 --> 00:40:54,938 just the way the professor did. 859 00:40:56,278 --> 00:40:59,218 - Bah! Bah! Bah! 860 00:41:00,418 --> 00:41:02,488 (rhythmic rock music) 861 00:41:02,588 --> 00:41:04,328 - I like that. Yeah. 862 00:41:04,418 --> 00:41:06,058 One, doodle, doodle, two doodle, doodle, 863 00:41:06,158 --> 00:41:08,828 three, doodle, doodle, four... 864 00:41:09,958 --> 00:41:12,228 - Now we can do a big bam-boom if you want 865 00:41:12,328 --> 00:41:13,698 or let it ring out. 866 00:41:13,798 --> 00:41:16,168 - Wow. Washing out. Folks love washing out. 867 00:41:22,108 --> 00:41:25,308 (♪ New World Man ♪ by Rush) 868 00:41:44,998 --> 00:41:46,938 ♪ He’s a rebel and a runner ♪ 869 00:41:48,128 --> 00:41:50,068 ♪ He’s a signal turning green ♪ 870 00:41:50,168 --> 00:41:52,708 ♪ He’s a restless young romantic ♪ 871 00:41:52,798 --> 00:41:54,298 ♪ Wants to run the big machine ♪ 872 00:41:56,308 --> 00:41:58,578 ♪ He’s got a problem with his poisons ♪ 873 00:41:58,678 --> 00:42:01,118 ♪ But you know he’ll find a cure ♪ 874 00:42:03,008 --> 00:42:05,348 ♪ He’s cleaning up the systems ♪ 875 00:42:05,448 --> 00:42:08,818 ♪ To keep his nature pure ♪ 876 00:42:15,058 --> 00:42:19,258 ♪ Learning to match the beat of the old-world man ♪ 877 00:42:21,068 --> 00:42:25,338 ♪ Learning to catch the heat of the third-world man ♪ 878 00:42:33,178 --> 00:42:35,578 ♪ He’s got to make his own mistakes ♪ 879 00:42:35,678 --> 00:42:38,418 ♪ And learn to mend the mess he makes ♪ 880 00:42:38,518 --> 00:42:41,388 ♪ He’s old enough to know what’s right ♪ 881 00:42:41,488 --> 00:42:43,888 ♪ And young enough not to choose it ♪ 882 00:42:43,988 --> 00:42:47,158 ♪ He’s noble enough to win the world ♪ 883 00:42:47,258 --> 00:42:50,198 ♪ But weak enough to lose it ♪ 884 00:42:50,288 --> 00:42:54,328 ♪ He’s a new world man ♪ 885 00:42:58,398 --> 00:43:00,468 (Neil): Coming through the ’70s, of course, 886 00:43:00,568 --> 00:43:02,138 there was a huge revolution in popular music 887 00:43:02,238 --> 00:43:03,978 with punk and new wave coming in. 888 00:43:04,078 --> 00:43:06,418 And those who ignored it were made irrelevant. 889 00:43:06,508 --> 00:43:09,108 But we young enough and adaptable enough 890 00:43:09,208 --> 00:43:10,408 to embrace that. 891 00:43:10,518 --> 00:43:12,988 And I was a huge fan of music in the late ’70s, 892 00:43:13,078 --> 00:43:16,078 early ’80s and the tendency toward tighter songs 893 00:43:16,188 --> 00:43:17,888 and wanted it in my drumming, 894 00:43:17,988 --> 00:43:19,828 wanted it in our band’s sound. 895 00:43:19,918 --> 00:43:22,088 We were listening to Elvis Costello, 896 00:43:22,188 --> 00:43:23,928 Talking Heads and The Police, 897 00:43:24,028 --> 00:43:26,468 all of them became hugely influential on us. 898 00:43:26,558 --> 00:43:28,558 (♪ Roxanne ♪ by The Police) 899 00:43:29,898 --> 00:43:32,338 ♪ Roxanne ♪ 900 00:43:32,938 --> 00:43:34,278 ♪ Roxanne ♪ 901 00:43:35,208 --> 00:43:36,548 (Geddy): How did you meet Pratt? 902 00:43:36,638 --> 00:43:38,808 Like I know we played together at the Pink Pot. 903 00:43:38,908 --> 00:43:41,508 (Stewart): Yeah. Which I remember very well. 904 00:43:41,608 --> 00:43:42,738 - 1979. 905 00:43:42,848 --> 00:43:44,388 - And we were on like early afternoon. 906 00:43:44,478 --> 00:43:46,078 You guys weren’t even in the building when we-- 907 00:43:46,178 --> 00:43:48,178 - No, I-- We watched you from the back, side stage. 908 00:43:48,288 --> 00:43:49,558 - Oh, really? - Yeah. 909 00:43:49,648 --> 00:43:51,018 - I remember you guys came off stage 910 00:43:51,118 --> 00:43:52,718 and you jumped right in the pool. 911 00:43:52,818 --> 00:43:54,588 And that’s only backstage I’ve ever been 912 00:43:54,688 --> 00:43:56,128 in that had a swimming pool. 913 00:43:56,228 --> 00:43:57,568 (Stewart): Yeah, that’s pretty cool. 914 00:43:57,658 --> 00:44:00,228 (audience cheering) 915 00:44:00,328 --> 00:44:01,768 - Thank you! 916 00:44:04,098 --> 00:44:05,938 (Stewart): We played at the Pink Pot Festival 917 00:44:06,038 --> 00:44:09,078 in Holland and we played kind of early in the afternoon. 918 00:44:09,168 --> 00:44:10,198 Rush was headlining 919 00:44:10,308 --> 00:44:12,408 and so they were kind of a big deal. 920 00:44:12,508 --> 00:44:16,978 They had their stage with this huge enormous drum set. 921 00:44:17,078 --> 00:44:20,636 (rock music) 922 00:44:22,776 --> 00:44:26,346 Rush were kind of the epitome of what went before. 923 00:44:26,446 --> 00:44:28,586 And without knowing music at all 924 00:44:28,686 --> 00:44:30,526 we took umbrage at them 925 00:44:30,616 --> 00:44:32,156 because they were still long haired 926 00:44:32,256 --> 00:44:34,326 and this was an era of a whole different hairdo 927 00:44:34,426 --> 00:44:37,266 and they were diligently non-up-to-date. 928 00:44:37,356 --> 00:44:40,056 And I’m ashamed to say that The Police, The Used, 929 00:44:40,156 --> 00:44:41,526 Rush, Foreigner 930 00:44:41,626 --> 00:44:44,196 and Fleetwood Mac to do battle with 931 00:44:44,296 --> 00:44:46,636 as if they could give a shit about us. 932 00:44:46,736 --> 00:44:49,036 You’ll probably know that back in the day The Police 933 00:44:49,136 --> 00:44:51,236 were sort of against the establishment! 934 00:44:51,336 --> 00:44:53,136 - We were establishment? 935 00:44:53,236 --> 00:44:54,976 - Oh, really? 936 00:44:55,076 --> 00:44:57,816 - And there might’ve been some not unkind words 937 00:44:59,046 --> 00:45:01,646 which I soon was educated out of such a position. 938 00:45:01,746 --> 00:45:03,216 - No offence taken. 939 00:45:03,316 --> 00:45:06,116 (rock music) 940 00:45:10,496 --> 00:45:13,396 (Neil): Around the late ’70s, I make all the tapes 941 00:45:13,496 --> 00:45:14,866 that they play before our concerts 942 00:45:14,966 --> 00:45:16,306 and I happened to put some Police on 943 00:45:16,396 --> 00:45:17,636 from their first album. 944 00:45:17,736 --> 00:45:19,336 And they would play over the PA before the show 945 00:45:19,436 --> 00:45:20,836 and the audience would boo because somehow 946 00:45:20,936 --> 00:45:22,236 if they were Rush fans 947 00:45:22,336 --> 00:45:23,836 they were supposed to hate the Police and vice versa 948 00:45:23,936 --> 00:45:26,606 which to me being in the band and I made the tape, you know? 949 00:45:26,706 --> 00:45:28,306 And I like all these bands 950 00:45:28,406 --> 00:45:30,406 and all these different kinds of music and enjoy them. 951 00:45:30,516 --> 00:45:31,956 It’s incomprehensible to me 952 00:45:32,046 --> 00:45:33,586 but there are these factions, you know? 953 00:45:33,676 --> 00:45:35,216 And they get so narrowly focused on things 954 00:45:35,316 --> 00:45:36,886 and I think music happens that way too. 955 00:45:36,986 --> 00:45:39,326 I think you just get dismissed and shunted off as, well, 956 00:45:39,416 --> 00:45:40,816 they’re not hip, so. 957 00:45:40,926 --> 00:45:42,266 We’ve gotta be hip 958 00:45:42,356 --> 00:45:43,826 so we can’t talk about people who aren’t hip. 959 00:45:43,926 --> 00:45:45,396 (Stewart): I was not a Rush fan 960 00:45:45,496 --> 00:45:49,266 and so it wasn’t until I met Neil years later, 961 00:45:49,366 --> 00:45:50,606 hey, let’s do lunch. 962 00:45:50,696 --> 00:45:53,136 I got to know him and then got to know the band. 963 00:45:53,236 --> 00:45:55,136 And getting into it, going to see them. 964 00:45:55,236 --> 00:45:57,076 I get it, I understand why 965 00:45:57,176 --> 00:45:59,476 people get all reverent about Rush. 966 00:45:59,576 --> 00:46:01,946 (♪ New World Man ♪ continues) 967 00:46:08,516 --> 00:46:11,816 ♪ Learning to match the beat of the old-world ♪ 968 00:46:13,926 --> 00:46:16,296 ♪ Well he’s learning to catch the heat ♪ 969 00:46:16,386 --> 00:46:18,756 ♪ Of the third-world man ♪ 970 00:46:18,856 --> 00:46:24,766 ♪ He’s a new world man ♪ 971 00:46:24,866 --> 00:46:29,066 ♪ He’s a new world man ♪ 972 00:46:29,166 --> 00:46:31,706 ♪ Oh yeah ♪ 973 00:47:01,066 --> 00:47:03,266 (laughter) 974 00:47:03,366 --> 00:47:04,706 (Geddy): Take that! 975 00:47:04,806 --> 00:47:06,706 - Fuck, that is hard work, though. 976 00:47:06,806 --> 00:47:08,276 I thought I was fit. 977 00:47:08,376 --> 00:47:09,746 (laughter) 978 00:47:09,846 --> 00:47:11,386 - Well, you know, it’s a Rush song, 979 00:47:11,476 --> 00:47:13,116 it’s gonna be goofy. 980 00:47:13,216 --> 00:47:15,286 - It’s gonna be hard fucking work. 981 00:47:15,386 --> 00:47:18,286 And I heard that from guy that used to play with Rush. 982 00:47:19,316 --> 00:47:21,356 (laughter) 983 00:47:21,456 --> 00:47:22,696 (Geddy): I’m glad you’re here. 984 00:47:22,786 --> 00:47:24,526 I appreciate you coming to do this. 985 00:47:24,626 --> 00:47:26,496 - Ah, it’s an honour. It really is an honour. 986 00:47:26,596 --> 00:47:27,726 (Alex): It’s really interesting 987 00:47:27,826 --> 00:47:30,066 how Stewart and Neil became great friends 988 00:47:30,166 --> 00:47:32,336 because they were so similar in so many ways. 989 00:47:32,436 --> 00:47:34,376 I went out to dinner one night with the two of them 990 00:47:34,466 --> 00:47:37,036 and the two of them just like, do, do, do, do! 991 00:47:37,136 --> 00:47:38,936 Throughout the dinner while I was just eating. 992 00:47:39,036 --> 00:47:40,066 (laughter) 993 00:47:40,176 --> 00:47:42,016 There’s an understanding amongst drummers, 994 00:47:42,106 --> 00:47:43,446 they speak their own language 995 00:47:43,546 --> 00:47:45,216 and it’s a dialect that I’ve come to realize 996 00:47:45,316 --> 00:47:46,586 I don’t really understand. 997 00:47:46,676 --> 00:47:47,946 (chuckles) 998 00:47:48,046 --> 00:47:50,216 After the dinner, we went over to Stewart’s place 999 00:47:50,316 --> 00:47:52,216 and Stewart this studio 1000 00:47:52,316 --> 00:47:54,086 and he has every instrument in the world 1001 00:47:54,186 --> 00:47:57,286 and it was pure musical fun. 1002 00:47:57,396 --> 00:48:00,566 (rock music) 1003 00:48:00,666 --> 00:48:03,136 (Geddy): He loved those jams you did at the Grove. 1004 00:48:03,226 --> 00:48:04,796 (Stewart): Oh, man. 1005 00:48:05,896 --> 00:48:07,536 Those were a lot of fun. 1006 00:48:07,636 --> 00:48:10,376 He would get on the drums, plan, okay Neil’s on drums. 1007 00:48:10,466 --> 00:48:12,866 Had them set up facing each other. 1008 00:48:12,976 --> 00:48:15,516 Hey, Danny, Neil’s coming over. 1009 00:48:15,606 --> 00:48:16,946 (laughter) 1010 00:48:17,046 --> 00:48:20,016 So, I had Neil and Danny which means I get to play guitar. 1011 00:48:20,116 --> 00:48:21,916 (Danny): It was fun jamming with them, you know. 1012 00:48:22,016 --> 00:48:24,486 You can just hear Neil go off too, man. 1013 00:48:24,586 --> 00:48:26,156 It was a great sense of improv. 1014 00:48:26,256 --> 00:48:27,926 Those would go on for hours 1015 00:48:28,026 --> 00:48:29,366 and a couple of bottles of Macallan 1016 00:48:29,456 --> 00:48:30,696 would help, you know? 1017 00:48:30,796 --> 00:48:32,536 You get to know someone that way. 1018 00:48:32,626 --> 00:48:34,226 It was good times. 1019 00:48:35,396 --> 00:48:37,066 - One, two, three, four. 1020 00:48:37,166 --> 00:48:40,206 (rock music) 1021 00:48:45,036 --> 00:48:47,006 (Matt): I remember meeting this guy 1022 00:48:47,106 --> 00:48:49,876 who’s work I’ve loved and admired for so long. 1023 00:48:49,976 --> 00:48:52,946 I’m trying to think of what to say, right? 1024 00:48:53,046 --> 00:48:55,486 {\an8}Like, what do I say to this guy 1025 00:48:55,586 --> 00:48:58,056 {\an8}who’s my favorite lyricist, 1026 00:48:58,156 --> 00:48:59,656 {\an8} you know, my favourite drummer 1027 00:48:59,756 --> 00:49:01,126 in my favourite band. 1028 00:49:01,226 --> 00:49:03,026 And I know that Neil’s a private guy 1029 00:49:03,126 --> 00:49:05,026 and I don’t want to get it wrong. 1030 00:49:05,126 --> 00:49:07,366 So, he answers the door and he’s walking towards me 1031 00:49:07,466 --> 00:49:10,306 and he’s this big, big guy and he looks down at me 1032 00:49:10,396 --> 00:49:13,296 and extends his hand and he says, 1033 00:49:13,396 --> 00:49:15,166 I’m a huge fan of your work. 1034 00:49:17,036 --> 00:49:20,836 So, all the like steam was of the kettle. 1035 00:49:20,946 --> 00:49:22,386 Instantly. 1036 00:49:22,476 --> 00:49:24,646 We were by some metric, 1037 00:49:24,746 --> 00:49:26,846 if not equals, we were at least speaking 1038 00:49:26,946 --> 00:49:29,346 a language that we were both maybe fluent in. 1039 00:49:30,616 --> 00:49:32,316 And it changed everything. 1040 00:49:32,416 --> 00:49:34,786 (Chad): They were playing Universal Amphitheatre 1041 00:49:34,886 --> 00:49:36,856 in Los Angeles and Al invited me down 1042 00:49:36,956 --> 00:49:38,426 and he’s like, are you here yet? 1043 00:49:38,526 --> 00:49:40,126 He says, Neil wants to see you. 1044 00:49:40,226 --> 00:49:41,796 And I was like, oh, okay. 1045 00:49:41,896 --> 00:49:44,366 You know, it’s like being summoned by-- 1046 00:49:44,466 --> 00:49:46,966 The king will see you now. 1047 00:49:47,066 --> 00:49:48,266 I was like, oh, shit! 1048 00:49:48,366 --> 00:49:50,466 So, he had his dressing room 1049 00:49:50,566 --> 00:49:52,706 far away from everybody else, of course. 1050 00:49:52,806 --> 00:49:54,176 And I go in and he’s like, 1051 00:49:54,276 --> 00:49:55,776 (deep voice): So nice to meet you. 1052 00:49:55,876 --> 00:49:59,046 That’s his voice! And he’s a big guy. Big dude. 1053 00:49:59,146 --> 00:50:00,686 I was like, whoa! 1054 00:50:00,786 --> 00:50:03,026 And we shook hands and immediately he’s like, 1055 00:50:03,116 --> 00:50:05,316 you know, I’m a big fan 1056 00:50:05,416 --> 00:50:07,016 of your playing, the Chili Peppers. 1057 00:50:07,116 --> 00:50:09,856 And he was asking me about parts on some of our songs 1058 00:50:09,956 --> 00:50:11,756 that he knew and I was like, oh my god! 1059 00:50:11,856 --> 00:50:14,496 I was like, couldn’t believe, it was so cool. 1060 00:50:14,596 --> 00:50:16,796 And it was immediately we were peers. 1061 00:50:16,896 --> 00:50:19,296 - When you met Neil, who reached out to who? 1062 00:50:19,396 --> 00:50:21,596 - Neil wrote to me. - Yeah. 1063 00:50:21,706 --> 00:50:24,676 - And I was very surprised, you know? 1064 00:50:24,776 --> 00:50:27,046 And the email was written like a book, 1065 00:50:27,136 --> 00:50:29,636 like, all the indents at the start of the line. 1066 00:50:29,746 --> 00:50:33,646 Immaculate, no mistakes, no grammar mistakes. 1067 00:50:33,746 --> 00:50:35,646 - He was all about that. 1068 00:50:35,746 --> 00:50:37,746 That brotherhood of drummers. 1069 00:50:37,856 --> 00:50:39,956 If he reached out to you, your playing moved him, 1070 00:50:40,056 --> 00:50:41,356 a hundred percent. Yeah. 1071 00:50:41,456 --> 00:50:43,456 - God. I mean, I wouldn’t dream 1072 00:50:43,556 --> 00:50:45,196 of writing to a guy like that. 1073 00:50:45,296 --> 00:50:46,796 Hey, how you doing? 1074 00:50:46,896 --> 00:50:48,736 You know? I wouldn’t expect a reply. 1075 00:50:48,826 --> 00:50:51,266 I get message from Neil 1076 00:50:51,366 --> 00:50:53,306 and he said that I can see you’re playing 1077 00:50:53,396 --> 00:50:56,136 with Porcupine Tree in Los Angeles next month, 1078 00:50:56,236 --> 00:50:58,406 I was wondering if I could take you to lunch. 1079 00:50:58,506 --> 00:51:00,146 He said, let’s meet at 12:30. 1080 00:51:00,236 --> 00:51:03,676 I got in a taxi, I got down there about a quarter to 12. 1081 00:51:03,776 --> 00:51:05,916 And as I’m walking down the block, 1082 00:51:06,016 --> 00:51:08,956 I look and I think there’s a guy sitting outside 1083 00:51:09,046 --> 00:51:10,546 looks like Neil Peart. 1084 00:51:10,646 --> 00:51:13,816 So, he was actually earlier than I was. 1085 00:51:13,916 --> 00:51:16,956 He was so unstarry and without ego, 1086 00:51:17,056 --> 00:51:20,756 it was just like two drummers just talking drums. 1087 00:51:20,866 --> 00:51:23,536 Afterwards he said, I can take you back. 1088 00:51:23,626 --> 00:51:25,726 So, I thought, please, I just hope the band 1089 00:51:25,836 --> 00:51:27,406 are standing outside the venue 1090 00:51:27,506 --> 00:51:29,476 when I pull up in an Ashton Martin 1091 00:51:29,566 --> 00:51:31,336 chauffeur driven by Neil Peart, 1092 00:51:31,436 --> 00:51:33,536 this will be, this will be so good. 1093 00:51:33,636 --> 00:51:35,006 And, of course, they weren’t. 1094 00:51:35,106 --> 00:51:38,388 (laughter) 1095 00:51:38,488 --> 00:51:40,488 (Doane): Neil and I corresponded 1096 00:51:40,588 --> 00:51:44,128 but it was a few years until we finally met in person. 1097 00:51:44,228 --> 00:51:46,798 By that point it felt like two old friends, 1098 00:51:46,898 --> 00:51:48,538 we would talk about drumming 1099 00:51:48,628 --> 00:51:52,498 but he would also talk about literature, philosophy, 1100 00:51:52,598 --> 00:51:55,098 art, science, nature, 1101 00:51:55,208 --> 00:51:58,878 the cosmos, astronomy, consciousness, philosophy. 1102 00:51:58,978 --> 00:52:00,618 He was a polymath. 1103 00:52:00,708 --> 00:52:02,178 And I loved the fact 1104 00:52:02,278 --> 00:52:03,718 that I could have these conversations 1105 00:52:03,808 --> 00:52:07,648 across a wide variety of topics 1106 00:52:07,748 --> 00:52:10,488 that interested me and it interested him too. 1107 00:52:10,588 --> 00:52:13,758 Not a lot of people that I could really do that with 1108 00:52:13,858 --> 00:52:17,558 and we would meet sometimes at The Cave, you know. 1109 00:52:17,658 --> 00:52:19,428 (Geddy): The Cave was him, 1110 00:52:19,528 --> 00:52:21,498 was his fortress of solitude 1111 00:52:21,598 --> 00:52:23,398 and he had his little office area 1112 00:52:23,498 --> 00:52:26,238 where he sat at the desk and typed and worked. 1113 00:52:26,338 --> 00:52:28,338 When you went to visit Neil 1114 00:52:28,438 --> 00:52:30,578 you would hang out and you would be goofy 1115 00:52:30,668 --> 00:52:32,268 and you would tell your stories 1116 00:52:32,378 --> 00:52:35,178 and you would do your real connecting at The Cave. 1117 00:52:35,278 --> 00:52:37,218 (Matt): He had the most beautiful cars and 1118 00:52:37,308 --> 00:52:39,108 they were all kind of just right there, 1119 00:52:39,218 --> 00:52:40,588 the silver surfers. 1120 00:52:40,678 --> 00:52:43,218 And a dangerously comfy couch. 1121 00:52:43,318 --> 00:52:45,388 We’d get together on Fridays at The Cave 1122 00:52:45,488 --> 00:52:47,228 and just talk about life. 1123 00:52:47,318 --> 00:52:49,588 I didn’t have a big brother growing up 1124 00:52:49,688 --> 00:52:54,598 and I really feel like Neil became my big brother. 1125 00:52:54,698 --> 00:52:57,598 And a lot of that happened at The Cave 1126 00:52:57,698 --> 00:53:02,038 where I could kind of ask him for his advice on things 1127 00:53:02,138 --> 00:53:04,508 that maybe I was going through. 1128 00:53:04,608 --> 00:53:07,248 And so I just remember many times 1129 00:53:07,338 --> 00:53:10,678 feeling a certain way walking into The Cave 1130 00:53:10,778 --> 00:53:14,248 and feeling completely different on the way out, 1131 00:53:14,348 --> 00:53:17,048 like, it’s probably going to be okay. 1132 00:53:17,148 --> 00:53:21,188 ♪ Living on a lighted stage ♪ 1133 00:53:22,188 --> 00:53:25,358 ♪ Approaches the unreal ♪ 1134 00:53:28,298 --> 00:53:31,138 - Want to start banging with us, dude? 1135 00:53:31,238 --> 00:53:33,678 (Chad): I will bang. - You’ll banga! 1136 00:53:33,768 --> 00:53:36,168 - Ladies and gentlemen, Mr. Chad Smith will join us 1137 00:53:36,268 --> 00:53:38,468 for the performance of Limelight. 1138 00:53:41,778 --> 00:53:44,218 - I watched you guys in your video 1139 00:53:44,308 --> 00:53:46,178 at La Studio where you did it. 1140 00:53:46,278 --> 00:53:48,218 First of all, it was really beautiful 1141 00:53:48,318 --> 00:53:50,488 ’cause you were just fresh faced young men. 1142 00:53:50,588 --> 00:53:52,058 Was that-- - 35 years ago. 1143 00:53:52,158 --> 00:53:53,898 (Chad): ’80? - ’80. 1144 00:53:53,988 --> 00:53:56,358 (Chad): Neil is fucking banging in that video. 1145 00:53:56,458 --> 00:53:57,428 He’s just-- 1146 00:53:58,898 --> 00:54:00,568 Killing them! I was like... 1147 00:54:00,658 --> 00:54:02,698 (laughter) 1148 00:54:02,798 --> 00:54:04,238 It’s a video! 1149 00:54:04,328 --> 00:54:06,098 He wasn’t phoning in. 1150 00:54:07,098 --> 00:54:08,268 None of that shit. 1151 00:54:08,368 --> 00:54:10,108 (Geddy): Every video we did, 1152 00:54:10,208 --> 00:54:12,578 he’s not going to pretend to play the song, 1153 00:54:12,678 --> 00:54:14,548 he has to play the song. 1154 00:54:14,648 --> 00:54:15,988 He played it full out. 1155 00:54:20,148 --> 00:54:24,188 {\an8} (♪ Limelight ♪ by Rush playing) 1156 00:54:40,298 --> 00:54:45,338 ♪ Living on a lighted stage approaches the unreal ♪ 1157 00:54:45,438 --> 00:54:48,938 ♪ For those who think and feel ♪ 1158 00:54:49,048 --> 00:54:51,618 ♪ In touch with some reality ♪ 1159 00:54:51,718 --> 00:54:54,018 ♪ Beyond the gilded cage ♪ 1160 00:54:59,488 --> 00:55:04,498 ♪ Cast in this unlikely role ill-equipped to act ♪ 1161 00:55:04,598 --> 00:55:07,368 ♪ With insufficient tact ♪ 1162 00:55:07,458 --> 00:55:12,668 ♪ One must put up barriers to keep oneself intact ♪ 1163 00:55:15,608 --> 00:55:20,478 ♪ Living in the limelight the universal dream ♪ 1164 00:55:20,578 --> 00:55:24,478 ♪ For those who wish to seem ♪ 1165 00:55:26,118 --> 00:55:29,218 ♪ Those who wish to be ♪ 1166 00:55:29,318 --> 00:55:33,058 ♪ Must put aside the alienation ♪ 1167 00:55:33,158 --> 00:55:36,128 ♪ Get on with the fascination ♪ 1168 00:55:36,228 --> 00:55:40,798 ♪ The real relation the underlying theme ♪ 1169 00:55:50,608 --> 00:55:55,718 ♪ Living in a fisheye lens caught in the camera eye ♪ 1170 00:55:55,808 --> 00:55:58,808 ♪ I have no heart to lie ♪ 1171 00:55:58,918 --> 00:56:03,658 ♪ I can’t pretend a stranger is a long-awaited friend ♪ 1172 00:56:03,748 --> 00:56:06,018 (crowd cheering) 1173 00:56:07,858 --> 00:56:10,898 (Stewart): Neil liked to hang out with other musicians 1174 00:56:10,988 --> 00:56:13,588 but the attention from his fans 1175 00:56:13,698 --> 00:56:15,198 made him deeply uncomfortable 1176 00:56:15,298 --> 00:56:18,438 because they were expecting godhead from him. 1177 00:56:18,538 --> 00:56:20,608 (Geddy): When someone came into his sphere 1178 00:56:20,698 --> 00:56:23,668 who approached him as Neil Peart the famous guy 1179 00:56:23,768 --> 00:56:26,238 he was suspicious and leery. 1180 00:56:26,338 --> 00:56:28,108 (Alex): No, it was very uncomfortable for him. 1181 00:56:28,208 --> 00:56:30,348 - He was very hard to approach. 1182 00:56:30,448 --> 00:56:32,888 (Alex): Yeah, to the point of being angry about it. 1183 00:56:32,978 --> 00:56:34,418 Limelight. 1184 00:56:34,518 --> 00:56:36,188 - Hmm. Yeah. 1185 00:56:36,288 --> 00:56:38,828 (woman): Can you name a thing that you think 1186 00:56:38,918 --> 00:56:40,588 that your fans don’t know about you 1187 00:56:40,688 --> 00:56:42,358 that you wish they did? 1188 00:56:43,658 --> 00:56:45,828 (exhales) 1189 00:56:46,758 --> 00:56:48,128 - Uh... 1190 00:56:48,228 --> 00:56:49,728 Yeah, I’m always bad at that, sorry. 1191 00:56:49,828 --> 00:56:51,328 (woman chuckles) 1192 00:56:51,438 --> 00:56:53,278 Probably not, um... 1193 00:56:55,638 --> 00:56:57,078 Jeez, that’s a lousy one. 1194 00:56:57,168 --> 00:56:58,638 (both laughing) 1195 00:56:58,738 --> 00:57:00,938 (audience cheering) 1196 00:57:01,038 --> 00:57:03,338 The way the music industry works, 1197 00:57:03,448 --> 00:57:04,548 you know, they want the private life 1198 00:57:04,648 --> 00:57:07,288 and they want all of that but it’s not easy. 1199 00:57:07,378 --> 00:57:09,778 It really isn’t because you’re expected to play this role 1200 00:57:09,888 --> 00:57:11,958 and you’re expected to be some kind of idol by everyone, 1201 00:57:12,058 --> 00:57:13,328 by your fans. 1202 00:57:13,418 --> 00:57:15,018 So you find ways to defend against that 1203 00:57:15,128 --> 00:57:16,898 and the only way is to draw a firm line 1204 00:57:16,988 --> 00:57:18,728 between public life and professional life. 1205 00:57:18,828 --> 00:57:20,668 That’s the way I look at it, really. 1206 00:57:20,758 --> 00:57:22,698 If I go off to do my job then I’m a professional, 1207 00:57:22,798 --> 00:57:25,268 if I’m not doing my job, then I’m a person, you know? 1208 00:57:25,368 --> 00:57:27,268 So, don’t get them mixed up. 1209 00:57:29,238 --> 00:57:31,478 ♪ All the world’s indeed a stage ♪ 1210 00:57:31,578 --> 00:57:34,218 ♪ And we are merely players ♪ 1211 00:57:34,308 --> 00:57:36,678 ♪ Performers and portrayers ♪ 1212 00:57:36,778 --> 00:57:42,218 ♪ Each another’s audience Outside the gilded cage ♪ 1213 00:57:45,618 --> 00:57:48,158 (Matt): There was a line for him 1214 00:57:48,258 --> 00:57:50,198 going from respect for his work 1215 00:57:50,288 --> 00:57:52,158 and appreciation for his work 1216 00:57:52,258 --> 00:57:54,958 going past that into adulation 1217 00:57:55,068 --> 00:57:56,868 or too much fan-boying out. 1218 00:57:56,968 --> 00:57:59,638 But I know he wanted people to feel at ease 1219 00:57:59,738 --> 00:58:01,208 for a couple reasons. 1220 00:58:01,308 --> 00:58:03,508 Both because he was a polite and kind human being 1221 00:58:03,608 --> 00:58:05,748 but also because the awkwardness 1222 00:58:05,838 --> 00:58:07,878 made him feel awkward. 1223 00:58:07,978 --> 00:58:09,748 - Well, Rita and I, my wife and I 1224 00:58:09,848 --> 00:58:12,088 went to a show and it was the end of tour or something 1225 00:58:12,178 --> 00:58:14,178 and it was at Four Seasons in Toronto and he 1226 00:58:14,278 --> 00:58:16,348 said, we’ll meet for breakfast. 1227 00:58:16,448 --> 00:58:17,888 And, so, we’re there having breakfast 1228 00:58:17,988 --> 00:58:20,258 and all of the sudden he started getting nervous 1229 00:58:20,358 --> 00:58:21,828 and I said, what’s your problem? 1230 00:58:21,928 --> 00:58:23,598 Look out in the hallway. 1231 00:58:23,688 --> 00:58:25,158 And, of course, there was someone. 1232 00:58:25,258 --> 00:58:27,228 So, I said, okay, I’ll go out. 1233 00:58:27,328 --> 00:58:30,298 So, I went to the guy and I said, so you’ve noticed Neil. 1234 00:58:30,398 --> 00:58:31,968 Yeah, man, wow. You know, I just-- 1235 00:58:32,068 --> 00:58:34,538 I just want to say hi, I just-- 1236 00:58:34,638 --> 00:58:36,308 I said, so, you know anything about him? 1237 00:58:36,408 --> 00:58:37,908 Oh, I know everything about him. 1238 00:58:38,008 --> 00:58:39,778 I said, well, if you know everything about him, 1239 00:58:39,878 --> 00:58:41,878 you’ll know that he does not like this. 1240 00:58:41,978 --> 00:58:44,618 Just we’ll all walk by 1241 00:58:44,718 --> 00:58:46,788 and if-- the best thing you can do, 1242 00:58:46,878 --> 00:58:50,848 which I would appreciate and he will, is nothing. 1243 00:58:50,948 --> 00:58:52,918 (Geddy): I remember one time we were in Brazil 1244 00:58:53,018 --> 00:58:55,258 and we were having dinner in Rio, 1245 00:58:55,358 --> 00:58:56,998 some fans came in the restaurant 1246 00:58:57,088 --> 00:58:58,588 and wanted his autograph. 1247 00:58:58,698 --> 00:59:01,338 And he immediately used to tighten up as you know, 1248 00:59:01,428 --> 00:59:04,328 so I just got the papers or whatever it was 1249 00:59:04,428 --> 00:59:05,998 and I said, just sign that. 1250 00:59:06,098 --> 00:59:08,938 And he signed and I signed it and I gave it back to them 1251 00:59:09,038 --> 00:59:10,408 and it was fine, it was all over. 1252 00:59:10,508 --> 00:59:12,008 So, it’s funny. 1253 00:59:12,108 --> 00:59:13,848 He had all kinds of time for people 1254 00:59:13,938 --> 00:59:15,108 when they didn’t know who he was. 1255 00:59:15,208 --> 00:59:17,278 - That’s true, he was happiest in those times I think. 1256 00:59:17,378 --> 00:59:19,218 - But you know, that’s a flaw 1257 00:59:19,318 --> 00:59:21,958 because you can’t have it both ways. 1258 00:59:22,048 --> 00:59:26,318 You live on the stage and you pay the price. 1259 00:59:26,418 --> 00:59:29,258 - Actually, it is a flaw. 1260 00:59:29,358 --> 00:59:30,798 You were a genius, 1261 00:59:30,888 --> 00:59:33,328 one of the finest rock drummers to ever live, 1262 00:59:33,428 --> 00:59:34,698 best selling author, 1263 00:59:34,798 --> 00:59:36,538 you’re going to have to let people 1264 00:59:36,628 --> 00:59:37,798 tell you they appreciate that. 1265 00:59:37,898 --> 00:59:39,938 You’ve attained this 1266 00:59:40,038 --> 00:59:41,908 but you can’t forget why 1267 00:59:42,708 --> 00:59:44,678 because without them 1268 00:59:44,778 --> 00:59:46,478 you wouldn’t have attained it. 1269 00:59:49,231 --> 00:59:52,931 (♪ Limelight ♪ by Rush) 1270 01:00:28,531 --> 01:00:32,931 ♪ Living in the limelight the universal dream ♪ 1271 01:00:33,041 --> 01:00:36,111 ♪ For those who wish to seem ♪ 1272 01:00:37,841 --> 01:00:39,811 ♪ Those who wish to be ♪ 1273 01:00:39,911 --> 01:00:44,451 ♪ Must put aside the alienation ♪ 1274 01:00:44,551 --> 01:00:47,951 ♪ Get on with the fascination ♪ 1275 01:00:48,051 --> 01:00:52,321 ♪ The real relation the underlying theme ♪ 1276 01:00:52,421 --> 01:00:54,921 ♪ The real relation ♪ 1277 01:00:55,031 --> 01:00:57,701 ♪ The underlying theme ♪ 1278 01:00:57,791 --> 01:00:59,591 ♪ Oh yeah ♪ 1279 01:01:26,761 --> 01:01:28,061 (laughter) 1280 01:01:28,161 --> 01:01:30,161 - Fuck yeah! - That didn’t suck! 1281 01:01:30,261 --> 01:01:31,461 Okay! 1282 01:01:31,561 --> 01:01:33,061 - I can’t play without looking at you 1283 01:01:33,161 --> 01:01:35,231 and I can’t look at you without smiling. 1284 01:01:35,331 --> 01:01:36,461 (laughter) 1285 01:01:36,571 --> 01:01:38,811 That is just the best feeling. 1286 01:01:38,901 --> 01:01:40,171 (Chad): I don’t want to break to formula. 1287 01:01:40,271 --> 01:01:42,341 - So, you clearly know this song. 1288 01:01:42,441 --> 01:01:45,011 - Obviously, I know the song but when you actually dig in 1289 01:01:45,111 --> 01:01:47,981 and Neil’s parts are such integral parts of, of-- 1290 01:01:48,081 --> 01:01:49,211 - It’s so arranged. 1291 01:01:49,311 --> 01:01:50,981 - Yeah, you can’t jam your way through it. 1292 01:01:51,081 --> 01:01:52,751 You can but that’s not the way to do it. 1293 01:01:52,851 --> 01:01:54,591 So, I’m like, shit! 1294 01:01:54,681 --> 01:01:57,081 Even the beginning-- (scatting) 1295 01:01:57,191 --> 01:01:59,361 Wha-- What!? What the fuck is that? 1296 01:01:59,461 --> 01:02:02,301 I just want it to feel right. - Yeah, of course. 1297 01:02:02,391 --> 01:02:05,091 - So... I’m trying to be musical. 1298 01:02:06,561 --> 01:02:08,961 Right? It’s like-- it’s really something. 1299 01:02:10,031 --> 01:02:12,771 It’s really something. Really something. 1300 01:02:12,871 --> 01:02:16,071 - Limelight remains such a joy to play after all the years. 1301 01:02:16,171 --> 01:02:17,911 So you know you got it right, you know, 1302 01:02:18,011 --> 01:02:19,751 if you can still play a song 30 years later 1303 01:02:19,841 --> 01:02:22,511 and still get the same charge from it. 1304 01:02:22,611 --> 01:02:25,751 So, I think Moving Pictures represents so much 1305 01:02:25,851 --> 01:02:27,951 that we learned up to that point about song writing, 1306 01:02:28,051 --> 01:02:30,221 about arrangement and what we could do with the song 1307 01:02:30,321 --> 01:02:31,961 and structure and the dynamics. 1308 01:02:32,061 --> 01:02:34,501 And really the same values that I applied in my drumming 1309 01:02:34,591 --> 01:02:35,961 came to be in the lyrics 1310 01:02:36,061 --> 01:02:37,901 by getting better at the craft of it. 1311 01:02:37,991 --> 01:02:39,791 I was experimenting so much. 1312 01:02:39,901 --> 01:02:42,271 I remember reading some old poetry 1313 01:02:42,371 --> 01:02:43,911 and poetry didn’t used to rhyme, 1314 01:02:44,001 --> 01:02:45,441 it used alliteration. 1315 01:02:45,541 --> 01:02:48,641 A poem would begin like, when the siege and assault 1316 01:02:48,741 --> 01:02:50,541 had ceased at Troy, 1317 01:02:50,641 --> 01:02:51,711 was the opening line 1318 01:02:51,811 --> 01:02:53,081 to Sir Gawain and the Green Knight, 1319 01:02:53,181 --> 01:02:54,451 I somehow remember but it fascinated me 1320 01:02:54,541 --> 01:02:56,481 that poetry once had nothing to do with rhyme. 1321 01:02:56,581 --> 01:02:58,151 It was about rhythm and sound. 1322 01:02:58,251 --> 01:03:00,121 It was about the assonance of sound. 1323 01:03:00,221 --> 01:03:01,761 And, of course, there’s a relationship 1324 01:03:01,851 --> 01:03:09,391 with drumming there in subdividing the beats. 1325 01:03:09,491 --> 01:03:12,061 We are at the former site, 1326 01:03:12,161 --> 01:03:14,861 the ruins of the studio in Quebec, Canada 1327 01:03:14,961 --> 01:03:18,701 where I first came in fall of 1979 with the band 1328 01:03:18,801 --> 01:03:21,601 to record Permeant Waves 1329 01:03:21,711 --> 01:03:25,051 and work here for the next 20 years off and on 1330 01:03:25,141 --> 01:03:26,841 but especially for that first ten years. 1331 01:03:26,941 --> 01:03:29,581 Recording, mixing, writing songs. 1332 01:03:30,951 --> 01:03:32,251 Yeah. 1333 01:03:32,351 --> 01:03:34,551 So, this was the main recording room. 1334 01:03:34,651 --> 01:03:36,721 My drums would be set up either right here 1335 01:03:36,821 --> 01:03:40,091 or at the other end and the piano’s still there. 1336 01:03:40,191 --> 01:03:42,891 (playing ♪ Tom Sawyer ♪ by Rush) 1337 01:04:05,551 --> 01:04:08,321 (Alex): Danny, he’s an amazing drummer 1338 01:04:08,421 --> 01:04:11,161 and is so many ways, similar stylistically to Neil 1339 01:04:11,251 --> 01:04:14,051 and so he got stuck with two of the toughest tunes. 1340 01:04:14,161 --> 01:04:16,861 First, we handed him Overture From 2112. 1341 01:04:16,961 --> 01:04:19,061 Now he has tackle Tom Sawyer, 1342 01:04:19,161 --> 01:04:21,161 which really is a showcase for the drums. 1343 01:04:21,261 --> 01:04:22,601 And even Neil always said 1344 01:04:22,701 --> 01:04:24,541 it was one of the hardest songs for him to play. 1345 01:04:24,631 --> 01:04:27,901 So, yeah, I guess we threw Danny right into the deep end. 1346 01:04:28,001 --> 01:04:30,071 - Okay, want to try it from the top? 1347 01:04:30,171 --> 01:04:31,771 Shall we bluster through? 1348 01:04:31,881 --> 01:04:33,251 - I guess so. (chuckles) 1349 01:04:33,341 --> 01:04:35,881 (Geddy): From the topping, no stopping. 1350 01:04:35,981 --> 01:04:37,921 (Danny): Okay. 1351 01:04:38,011 --> 01:04:40,051 Two, three, four. 1352 01:04:40,151 --> 01:04:43,451 {\an8} (♪ Tom Sawyer ♪ by Rush playing) 1353 01:04:45,691 --> 01:04:48,661 ♪ A modern-day warrior A mean, mean stride ♪ 1354 01:04:48,761 --> 01:04:51,301 ♪ Today’s Tom Sawyer Mean, mean pride ♪ 1355 01:05:02,974 --> 01:05:05,244 ♪ Though his mind is not for rent ♪ 1356 01:05:05,344 --> 01:05:07,914 ♪ Don’t put him down as arrogant ♪ 1357 01:05:08,014 --> 01:05:11,254 ♪ His reserve, a quiet defense ♪ 1358 01:05:11,344 --> 01:05:14,084 ♪ Riding out the day’s events ♪ 1359 01:05:14,184 --> 01:05:16,524 ♪ The river ♪ 1360 01:05:32,574 --> 01:05:34,914 ♪ What you say about his company ♪ 1361 01:05:35,004 --> 01:05:37,404 ♪ Is what you say about society ♪ 1362 01:05:37,504 --> 01:05:40,474 ♪ Catch the mist, catch the myth ♪ 1363 01:05:40,574 --> 01:05:43,144 ♪ Catch the mystery, catch the drift ♪ 1364 01:05:51,354 --> 01:05:53,924 ♪ The world is, the world is ♪ 1365 01:05:54,024 --> 01:05:57,964 ♪ Love and life are deep ♪ 1366 01:05:58,064 --> 01:06:03,334 ♪ Maybe as his skies are wide ♪ 1367 01:06:08,104 --> 01:06:10,944 ♪ Today’s Tom Sawyer, he gets high on you ♪ 1368 01:06:11,044 --> 01:06:14,844 ♪ And the space he invades, he gets by on you ♪ 1369 01:06:36,904 --> 01:06:40,574 (♪ Tom Sawyer ♪ continues) 1370 01:06:51,784 --> 01:06:53,554 - So, this is the main recording room 1371 01:06:53,654 --> 01:06:55,494 which has changed configuration 1372 01:06:55,584 --> 01:06:58,384 and size over the years. 1373 01:06:58,494 --> 01:07:01,034 In those days we all recorded together in the room. 1374 01:07:01,124 --> 01:07:02,724 So, all of us were learning the song 1375 01:07:02,824 --> 01:07:04,464 and interacting to each other’s parts. 1376 01:07:04,564 --> 01:07:06,204 So, a lot of stuff was hammered out, 1377 01:07:06,294 --> 01:07:08,694 is the best way to put it, here. 1378 01:07:08,804 --> 01:07:10,574 You know, by playing it over and over again. 1379 01:07:10,664 --> 01:07:12,434 And that’s the way we worked in those days 1380 01:07:12,534 --> 01:07:14,074 and that’s when I look at a drum part 1381 01:07:14,174 --> 01:07:15,444 like Tom Sawyer for example, 1382 01:07:15,544 --> 01:07:18,844 infinitely detailed because I paid it 5,000 times. 1383 01:07:18,944 --> 01:07:21,244 And as we played it away in here, you know, 1384 01:07:21,344 --> 01:07:23,514 I’d be set up over and I’d be going into that again 1385 01:07:23,614 --> 01:07:25,714 and the next time I’d add one detail, add a detail. 1386 01:07:25,814 --> 01:07:29,584 (Nick): Most bands, the drums are usually in the back 1387 01:07:29,684 --> 01:07:31,184 but with Rush there’s so much space 1388 01:07:31,284 --> 01:07:33,054 because they’re just a three piece, 1389 01:07:33,154 --> 01:07:35,754 {\an8} that Neil just had this giant wide space 1390 01:07:35,864 --> 01:07:37,164 {\an8}that he could fill up 1391 01:07:37,264 --> 01:07:40,134 {\an8} and would fill it up with the big long fills 1392 01:07:40,234 --> 01:07:42,274 and all the things that we air drum all the time. 1393 01:07:42,364 --> 01:07:44,364 You know, like the middle part of Tom Sawyer 1394 01:07:44,464 --> 01:07:46,964 is every air drummer’s fantasy section. 1395 01:07:47,074 --> 01:07:49,274 - I’ve never gone to other concerts 1396 01:07:49,374 --> 01:07:50,544 where people air drum. 1397 01:07:50,644 --> 01:07:51,774 And they’re not-- 1398 01:07:51,874 --> 01:07:53,914 there’s not 20,000 drummers out there. 1399 01:07:54,014 --> 01:07:55,684 Yeah, the drummer can do it, 1400 01:07:55,784 --> 01:07:59,354 but like random fan guys, if you hear Tom Sawyer... 1401 01:07:59,454 --> 01:08:01,524 (humming Tom Sawyer) 1402 01:08:01,614 --> 01:08:04,284 They’re all air drumming, he’s going, brap, brap, brap! 1403 01:08:04,384 --> 01:08:06,024 They’d be like, what? 1404 01:08:06,124 --> 01:08:08,964 - I asked him one time, how do you get the air drummers? 1405 01:08:09,064 --> 01:08:10,234 I want that. 1406 01:08:10,324 --> 01:08:12,464 How do you get the goddamn air drummers, 1407 01:08:12,564 --> 01:08:14,964 it’s amazing at a Rush show to see them. 1408 01:08:15,064 --> 01:08:16,834 He goes-- and they’re all doing it with him! 1409 01:08:16,934 --> 01:08:17,804 I want that! 1410 01:08:17,904 --> 01:08:21,004 (♪ Tom Sawyer ♪ by Rush) 1411 01:08:28,914 --> 01:08:30,784 ♪ No, his mind is not for rent ♪ 1412 01:08:30,884 --> 01:08:33,584 ♪ To any God or government ♪ 1413 01:08:33,684 --> 01:08:36,524 ♪ Always hopeful, yet discontent ♪ 1414 01:08:36,624 --> 01:08:40,164 ♪ He knows changes aren’t permanent ♪ 1415 01:08:40,254 --> 01:08:43,294 ♪ But change is ♪ 1416 01:08:58,204 --> 01:09:00,804 ♪ And what you say about his company ♪ 1417 01:09:00,914 --> 01:09:03,654 ♪ Is what you say about society ♪ 1418 01:09:03,744 --> 01:09:06,844 ♪ Catch the witness, catch the wit ♪ 1419 01:09:06,954 --> 01:09:10,354 ♪ Catch the spirit, catch the spit ♪ 1420 01:09:17,364 --> 01:09:20,764 ♪ The world is, the world is ♪ 1421 01:09:20,864 --> 01:09:24,064 ♪ Love and life are deep ♪ 1422 01:09:25,304 --> 01:09:30,014 ♪ Maybe as his eyes are wide ♪ 1423 01:09:35,244 --> 01:09:37,844 ♪ Exit the warrior, today’s Tom Sawyer ♪ 1424 01:09:37,944 --> 01:09:40,884 ♪ He gets high on you and the energy you trade ♪ 1425 01:09:40,984 --> 01:09:45,454 ♪ Right on to the friction of the day ♪ 1426 01:10:34,874 --> 01:10:36,574 (laughing) 1427 01:10:37,674 --> 01:10:40,874 - I about dropped my stick on the big fill. 1428 01:10:40,974 --> 01:10:42,544 - Oh, of course. 1429 01:10:42,644 --> 01:10:44,244 - For Neil, it was the toughest song 1430 01:10:44,344 --> 01:10:45,784 of the night for him. 1431 01:10:45,884 --> 01:10:47,324 - Really? Wow. - Yeah. 1432 01:10:47,414 --> 01:10:49,214 - Yeah, that hi-hat is pretty brutal, man. 1433 01:10:49,324 --> 01:10:51,294 - Thank you so much for being here. 1434 01:10:51,384 --> 01:10:52,954 - Thank you for having me. 1435 01:10:53,054 --> 01:10:54,624 - Coming to play these crazy songs, 1436 01:10:54,724 --> 01:10:56,564 but I like to think he would be 1437 01:10:56,664 --> 01:10:58,234 just fucking enjoying the hell out of this. 1438 01:10:58,324 --> 01:10:59,994 (laughing) 1439 01:11:00,094 --> 01:11:02,294 - He might be. - Yeah, I hope so. 1440 01:11:02,404 --> 01:11:04,144 - Or laughing his head off. 1441 01:11:04,234 --> 01:11:06,774 - Yeah, I can hear him now, not so easy, is it? 1442 01:11:06,874 --> 01:11:08,444 - That’s for sure. 1443 01:11:08,534 --> 01:11:10,604 - He would be saying, haven’t you guys retired yet? 1444 01:11:10,704 --> 01:11:12,444 We tried, we failed. 1445 01:11:12,544 --> 01:11:14,684 - It happens. 1446 01:11:14,774 --> 01:11:17,114 - To be back playing music 1447 01:11:17,214 --> 01:11:19,614 that he had a part in constructing is... 1448 01:11:19,714 --> 01:11:21,554 Is a way to do him honour. 1449 01:11:21,654 --> 01:11:24,094 - Yeah, yeah, that’s the least I can do, 1450 01:11:24,184 --> 01:11:26,284 with all the inspiration I’ve gotten from him, 1451 01:11:26,394 --> 01:11:27,634 you know, that’s for sure. 1452 01:11:27,724 --> 01:11:30,324 I wish I could’ve gotten out and ridden some bikes with him 1453 01:11:30,424 --> 01:11:31,864 at the moor, you know... 1454 01:11:31,964 --> 01:11:34,264 - That’s a long ride. He liked to ride... 1455 01:11:34,364 --> 01:11:37,104 - Yeah, I don’t know if I can do that, what he did. 1456 01:11:37,204 --> 01:11:38,674 - 300 on a show day? 1457 01:11:38,774 --> 01:11:41,574 - Yeah, but before his motorcycle period, 1458 01:11:41,674 --> 01:11:43,914 he would be riding his bicycle. 1459 01:11:44,004 --> 01:11:45,844 And I remember one time on a day off, 1460 01:11:45,944 --> 01:11:48,144 we played Milwaukee and were going to Chicago, 1461 01:11:48,244 --> 01:11:50,944 he rode from Milwaukee to Chicago on his day off. 1462 01:11:51,044 --> 01:11:52,784 - To Chicago? On a bicycle. - On a bicycle. 1463 01:11:52,884 --> 01:11:54,884 And then he goes and does a three-hour show. 1464 01:11:54,984 --> 01:11:56,524 Not normal. - Yeah. 1465 01:11:56,624 --> 01:12:00,694 - I had started bicycling on the Grace Under Pressure Tour, 1466 01:12:00,794 --> 01:12:02,234 so 1984, 1467 01:12:02,324 --> 01:12:04,394 and I just kept the bicycle in the luggage bay of the bus 1468 01:12:04,494 --> 01:12:06,364 and pretty soon started riding from city to city 1469 01:12:06,464 --> 01:12:08,734 and going for distance, on the back roads, of course. 1470 01:12:08,834 --> 01:12:12,474 But I always knew that someday I would ride a motorcycle. 1471 01:12:12,574 --> 01:12:14,914 In the ’90s, I got into it big time. 1472 01:12:15,004 --> 01:12:16,544 And the last couple of tours, 1473 01:12:16,644 --> 01:12:18,084 I’ve travelled completely independently, 1474 01:12:18,174 --> 01:12:20,114 set my own itinerary, travelled the back roads 1475 01:12:20,214 --> 01:12:21,384 of America and the small towns. 1476 01:12:21,474 --> 01:12:24,144 Takes enormous concentration and mental discipline 1477 01:12:24,244 --> 01:12:25,684 on the motorcycle. 1478 01:12:25,784 --> 01:12:27,224 But there’s a whole other kind of input 1479 01:12:27,314 --> 01:12:29,454 and a whole other kind of mental activity created. 1480 01:12:29,554 --> 01:12:31,494 I have a lot of good reflections and ideas 1481 01:12:31,584 --> 01:12:33,484 on work and possibilities, 1482 01:12:33,594 --> 01:12:35,564 because your mind is at such a high pitch. 1483 01:12:35,664 --> 01:12:37,364 And there are many times I stop, 1484 01:12:37,464 --> 01:12:39,034 and I always have a little notebook with me, 1485 01:12:39,134 --> 01:12:40,874 if there was some reflection that you want to get down 1486 01:12:40,964 --> 01:12:42,304 in ink before you forget it 1487 01:12:42,404 --> 01:12:43,874 and something else fills your mind. 1488 01:12:43,964 --> 01:12:45,364 So all of that is part of my writing, 1489 01:12:45,474 --> 01:12:49,565 and all of my even creative thinking. 1490 01:12:49,655 --> 01:12:51,155 (Matt): Neil had an effortless, 1491 01:12:51,255 --> 01:12:54,325 conversational voice as an author. 1492 01:12:54,425 --> 01:12:58,125 Lyric writing is largely, if not all about economy. 1493 01:12:59,205 --> 01:13:01,275 Trimming it down, making it function 1494 01:13:01,365 --> 01:13:03,735 for a singer and a melody. 1495 01:13:03,835 --> 01:13:06,275 But his voice as a prose author 1496 01:13:06,375 --> 01:13:08,215 was far more casual. 1497 01:13:08,305 --> 01:13:10,475 Much more about how he feels 1498 01:13:10,575 --> 01:13:13,015 in certain moments and certain places. 1499 01:13:13,115 --> 01:13:16,285 You know, for someone who was so intensely private, 1500 01:13:16,385 --> 01:13:18,855 it was fascinating to me 1501 01:13:18,955 --> 01:13:22,325 how revealing he was in his prose. 1502 01:13:22,425 --> 01:13:25,895 Again, like, kind of a contradiction. 1503 01:13:33,865 --> 01:13:35,535 (engine revs) 1504 01:13:35,635 --> 01:13:37,035 (Geddy): When you’re writing, 1505 01:13:37,135 --> 01:13:39,405 you’re having a conversation with yourself. 1506 01:13:39,505 --> 01:13:42,045 And that’s a great audience for him. 1507 01:13:42,145 --> 01:13:44,245 So he could bare his soul, 1508 01:13:44,345 --> 01:13:46,385 he could share all these thoughts 1509 01:13:46,485 --> 01:13:47,885 about a million things, 1510 01:13:47,985 --> 01:13:50,855 in that form much more easily. 1511 01:13:50,955 --> 01:13:54,625 And you establish a conversation with yourself, 1512 01:13:54,725 --> 01:13:56,895 to help you sort your heart out, 1513 01:13:56,995 --> 01:13:58,795 help you sort your emotions out. 1514 01:13:58,895 --> 01:14:00,765 It’s really therapeutic. 1515 01:14:00,865 --> 01:14:03,435 And artful, at the same time. 1516 01:14:03,535 --> 01:14:06,475 So all those things are very appealing. 1517 01:14:06,565 --> 01:14:08,435 And so it’s... 1518 01:14:08,535 --> 01:14:12,505 That’s what his book, Ghost Rider, was for him. 1519 01:14:38,935 --> 01:14:40,775 (Alex): He got on his bike 1520 01:14:40,865 --> 01:14:43,465 and did all those epic journeys 1521 01:14:43,575 --> 01:14:45,775 across Canada and up into Alaska, 1522 01:14:45,875 --> 01:14:48,915 down through America, into South America, and back. 1523 01:14:49,005 --> 01:14:51,845 To be one step ahead of the ghosts 1524 01:14:51,945 --> 01:14:54,685 that were chasing him all the time. 1525 01:14:54,785 --> 01:14:56,785 And he lived with... 1526 01:14:58,615 --> 01:15:00,885 With what he’d gone through, you know, 1527 01:15:00,985 --> 01:15:04,325 every second of the day, as I would imagine 1528 01:15:04,425 --> 01:15:06,395 every person that’s lost a child. 1529 01:15:06,495 --> 01:15:09,495 Never mind, and a wife, goes through. 1530 01:15:09,595 --> 01:15:12,195 It never ends. 1531 01:15:12,295 --> 01:15:15,365 And just to survive, he needed to be a step ahead. 1532 01:15:15,465 --> 01:15:18,205 - He was running from himself, I think, in some ways. 1533 01:15:20,075 --> 01:15:23,975 But what a horror he had to run from, 1534 01:15:24,075 --> 01:15:26,745 losing his family as he did. 1535 01:15:26,845 --> 01:15:30,945 And so, being the natural writer he is, 1536 01:15:31,055 --> 01:15:32,555 I think for his own sanity 1537 01:15:32,655 --> 01:15:34,855 he needed to write that stuff down. 1538 01:15:34,955 --> 01:15:38,025 And of course, it’s an incredible piece of writing. 1539 01:15:38,125 --> 01:15:42,325 And he doesn’t whitewash anything. 1540 01:15:48,605 --> 01:15:52,805 Everything I ever believed has been blown out of the water, 1541 01:15:52,905 --> 01:15:55,475 even my simple karmic morality of, 1542 01:15:55,575 --> 01:15:58,145 you do good and you get good. 1543 01:15:58,245 --> 01:16:02,045 Sadly, very sadly, it ain’t so. 1544 01:16:03,185 --> 01:16:05,785 Earlier today, while riding, I was thinking 1545 01:16:05,885 --> 01:16:07,525 of how missing my girls 1546 01:16:07,625 --> 01:16:09,765 was so often like a physical ache. 1547 01:16:09,855 --> 01:16:13,855 And just now, that connected with the ghost rider, 1548 01:16:13,965 --> 01:16:15,965 phantom pain. 1549 01:16:16,065 --> 01:16:19,935 Hurting for a piece of you that’s been torn away. 1550 01:16:23,905 --> 01:16:26,945 (Matt): I read Ghost Rider before I met him. 1551 01:16:27,045 --> 01:16:30,315 And the fact that he released that book... 1552 01:16:31,445 --> 01:16:35,285 I still can’t believe that that’s out there, 1553 01:16:35,385 --> 01:16:38,955 because of how brutal that time 1554 01:16:39,055 --> 01:16:41,025 must have been for him. 1555 01:16:42,255 --> 01:16:44,595 Travels on the healing road, that’s the subtitle. 1556 01:16:44,695 --> 01:16:46,895 And I think maybe, on some level, 1557 01:16:46,995 --> 01:16:49,695 he was hoping that his experiences 1558 01:16:49,795 --> 01:16:51,935 could be helpful to someone else 1559 01:16:52,035 --> 01:16:54,675 who might be experiencing something similar. 1560 01:17:01,005 --> 01:17:03,575 (Neil): It was a long and very desperate trip, 1561 01:17:03,675 --> 01:17:05,675 especially when you’re trying to claw your way back to life. 1562 01:17:05,775 --> 01:17:07,315 Basically, I travelled non-stop. 1563 01:17:07,415 --> 01:17:08,755 And certainly, it was ruthless, 1564 01:17:08,845 --> 01:17:10,245 travelling all that time. 1565 01:17:10,355 --> 01:17:12,825 It was when I came to rest and I came out to California 1566 01:17:12,925 --> 01:17:16,025 and met my wife to be and moved out here, 1567 01:17:16,125 --> 01:17:18,365 I had a suitcase, 1568 01:17:18,455 --> 01:17:20,155 a ghetto-blaster and a bicycle, 1569 01:17:20,265 --> 01:17:21,635 those were my possessions. 1570 01:17:21,725 --> 01:17:23,695 And I used to write a lot of letters at that time, too. 1571 01:17:23,795 --> 01:17:25,595 And I’d write to friends saying, 1572 01:17:25,695 --> 01:17:27,135 I’m freer than any man ought to be 1573 01:17:27,235 --> 01:17:29,505 and ever wants to be, you know? 1574 01:17:29,605 --> 01:17:33,675 I had nothing to hold on to and nothing to be attached to. 1575 01:17:33,775 --> 01:17:35,815 And it was a wonderful place to start from. 1576 01:17:35,905 --> 01:17:37,805 So then I got some stability there, 1577 01:17:37,915 --> 01:17:41,415 with Carrie’s help, then realized that I was... 1578 01:17:41,515 --> 01:17:43,685 I was wanting to work again. 1579 01:17:43,785 --> 01:17:46,325 So that’s basically what it took, 1580 01:17:46,425 --> 01:17:48,365 I had to stop moving first. 1581 01:17:57,565 --> 01:17:59,235 (laughing) 1582 01:17:59,335 --> 01:18:00,835 - Oh, that’s a nice sound. 1583 01:18:02,675 --> 01:18:03,945 Beautiful. 1584 01:18:04,035 --> 01:18:06,135 (plays drums) 1585 01:18:06,245 --> 01:18:07,715 You ready? 1586 01:18:07,805 --> 01:18:09,245 - Yes, sir. 1587 01:18:09,345 --> 01:18:12,485 - One... Two... One, two, three, four. 1588 01:18:12,575 --> 01:18:15,078 (♪ Far Cry ♪ by Rush playing) 1589 01:19:02,828 --> 01:19:07,068 ♪ Pariah dogs and wandering madmen ♪ 1590 01:19:07,168 --> 01:19:10,838 ♪ Barking at strangers and speaking in tongues ♪ 1591 01:19:10,938 --> 01:19:14,008 ♪ The ebb and flow of tidal fortune ♪ 1592 01:19:14,108 --> 01:19:18,878 ♪ Electrical changes are charging up the young ♪ 1593 01:19:22,818 --> 01:19:25,318 ♪ It’s a far cry from the world ♪ 1594 01:19:25,418 --> 01:19:28,118 ♪ We thought we’d inherit ♪ 1595 01:19:30,228 --> 01:19:35,168 ♪ It’s a far cry from the way we thought we’d share it ♪ 1596 01:19:37,968 --> 01:19:42,008 ♪ You can almost feel the current flowing ♪ 1597 01:19:42,098 --> 01:19:46,198 ♪ You can almost see the circuits blowing ♪ 1598 01:19:46,308 --> 01:19:49,578 ♪ One day I feel I’m on top of the world ♪ 1599 01:19:49,678 --> 01:19:52,818 ♪ It’s falling in on me ♪ 1600 01:19:52,918 --> 01:19:55,158 ♪ I can get back on ♪ 1601 01:19:55,248 --> 01:19:57,448 ♪ I can get back on ♪ 1602 01:19:57,548 --> 01:20:01,118 ♪ One day I feel I’m ahead of the wheel ♪ 1603 01:20:01,218 --> 01:20:05,018 ♪ Next it’s rolling over me ♪ 1604 01:20:05,128 --> 01:20:06,968 ♪ I can get back on ♪ 1605 01:20:07,058 --> 01:20:09,228 ♪ I can get back on ♪ 1606 01:20:12,128 --> 01:20:13,968 (Nick): Some songs, like Far Cry, 1607 01:20:14,068 --> 01:20:16,508 I just loved to listen to Neil play the drums. 1608 01:20:16,608 --> 01:20:18,308 Nobody plays drums like that, you know? 1609 01:20:18,408 --> 01:20:20,378 ’Cause he’s got such a bag of tricks, I mean, 1610 01:20:20,478 --> 01:20:21,778 he can literally do anything. 1611 01:20:21,878 --> 01:20:25,348 Any rhythm, any pattern, any anything, he can do it. 1612 01:20:25,448 --> 01:20:27,588 There’s nothing I could throw at him that he couldn’t do. 1613 01:20:27,678 --> 01:20:30,718 So when it came time to make the Clockwork Angels record, 1614 01:20:30,818 --> 01:20:34,458 we really pushed hard, maximum Neil. 1615 01:20:34,558 --> 01:20:36,358 There’s some songs on there that I think are some 1616 01:20:36,458 --> 01:20:37,858 of the most challenging drum parts 1617 01:20:37,958 --> 01:20:40,058 he’s done on any of the songs, ever. 1618 01:20:42,928 --> 01:20:44,528 - Hey, you know what else would kick ass 1619 01:20:44,628 --> 01:20:46,528 that you just did, that you hadn’t done yet? 1620 01:20:46,638 --> 01:20:48,838 When you went into the verse, you took the hi-hat out... 1621 01:20:48,938 --> 01:20:50,478 Doo-doo, grah. - Yeah. 1622 01:20:50,568 --> 01:20:51,968 - That was awesome. 1623 01:20:52,068 --> 01:20:53,968 That was really great, that space right there. 1624 01:20:54,078 --> 01:20:55,718 - I jumped it, I jumped the crash. 1625 01:20:55,808 --> 01:20:57,378 - Yeah, that was awesome. 1626 01:20:57,478 --> 01:20:58,878 - What would you like to do now? 1627 01:20:58,978 --> 01:21:00,718 - Let’s do it one more time. - From where? 1628 01:21:00,818 --> 01:21:02,118 - From the top. - Oh. 1629 01:21:02,218 --> 01:21:03,688 - One more time from the top. - Fucker. 1630 01:21:03,788 --> 01:21:05,358 - Just like we just did. - Okay. 1631 01:21:05,448 --> 01:21:07,318 (laughing) 1632 01:21:07,418 --> 01:21:08,888 You know I’m perspiring. 1633 01:21:08,988 --> 01:21:10,828 (Nick): Towards the end of the sessions, 1634 01:21:10,928 --> 01:21:12,528 I remember he came in one day 1635 01:21:12,628 --> 01:21:14,068 and I remember he said 1636 01:21:14,158 --> 01:21:15,558 his shoulder started to hurt him a little bit. 1637 01:21:15,658 --> 01:21:17,098 Didn’t really think much of it 1638 01:21:17,198 --> 01:21:18,738 and then we finished the record. 1639 01:21:18,828 --> 01:21:20,398 (groaning) 1640 01:21:20,498 --> 01:21:22,268 I remember going out and seeing them 1641 01:21:22,368 --> 01:21:24,338 on the Clockwork tour and hanging out with him 1642 01:21:24,438 --> 01:21:26,878 and I remember him saying, you know, Bouge, I’m tired. 1643 01:21:26,978 --> 01:21:28,578 My feet hurt, I’m sore. 1644 01:21:28,678 --> 01:21:30,178 That was the first time I remember him 1645 01:21:30,278 --> 01:21:31,978 kinda saying anything. 1646 01:21:32,078 --> 01:21:34,718 (crowd cheering) 1647 01:21:38,818 --> 01:21:41,218 (Danny): When you play like Neil, it’s very physical, 1648 01:21:41,318 --> 01:21:42,488 double kick and two bass drums. 1649 01:21:42,588 --> 01:21:44,828 Just the dynamic quality of it all 1650 01:21:44,928 --> 01:21:47,098 and when you go to do something like that 1651 01:21:47,198 --> 01:21:48,538 and then your body just can’t do it, 1652 01:21:48,628 --> 01:21:49,658 it can get frustrating. 1653 01:21:49,768 --> 01:21:51,338 Especially when you go back and play, 1654 01:21:51,428 --> 01:21:53,698 like, your earlier songs, I’m starting to feel that now, 1655 01:21:53,798 --> 01:21:55,838 even, like I’m 64 so 1656 01:21:55,938 --> 01:21:58,838 the stuff I did when I was 33, man... 1657 01:21:58,938 --> 01:22:00,838 I was hitting harder, you know? 1658 01:22:00,938 --> 01:22:02,678 It was just a whole different vibe. 1659 01:22:02,778 --> 01:22:04,548 - I’m 64 fucking years old. 1660 01:22:04,648 --> 01:22:06,788 I can’t believe it! It’s crazy to me! 1661 01:22:06,878 --> 01:22:09,878 ’Cause I’m still a kid that just plays the drums 1662 01:22:09,988 --> 01:22:11,788 and I’m the luckiest person in the world, 1663 01:22:11,888 --> 01:22:13,758 to do what I love to do, but like, 1664 01:22:13,858 --> 01:22:15,598 when you get done playing, I mean, 1665 01:22:15,688 --> 01:22:17,458 our backstage looks like a fucking infirmary, 1666 01:22:17,558 --> 01:22:19,398 it’s like, this guy’s in the ice bath, 1667 01:22:19,498 --> 01:22:21,168 and this guy got the thing on his knee. 1668 01:22:21,258 --> 01:22:24,758 And I’ve got a shoulder thing, like a pitcher. 1669 01:22:26,068 --> 01:22:27,868 (spectator whistles) 1670 01:22:31,008 --> 01:22:32,748 (Geddy): Neil used to describe drumming 1671 01:22:32,838 --> 01:22:34,738 as running a marathon while doing math equations. 1672 01:22:34,838 --> 01:22:38,838 So when he says at the end of a tour, I’m exhausted. 1673 01:22:38,948 --> 01:22:41,918 He’s not just saying he’s physically spent, 1674 01:22:42,018 --> 01:22:43,988 he’s exhausted. 1675 01:22:44,088 --> 01:22:46,988 He was playing in great discomfort 1676 01:22:47,088 --> 01:22:50,058 and I think that makes you more aware 1677 01:22:50,158 --> 01:22:51,728 of losing your powers, 1678 01:22:51,828 --> 01:22:53,968 knowing how hard it is 1679 01:22:54,058 --> 01:22:56,998 to maintain your level of excellence. 1680 01:22:57,098 --> 01:22:58,668 And how painful it would be 1681 01:22:58,768 --> 01:23:01,338 not to be able to maintain that. 1682 01:23:01,438 --> 01:23:03,738 We’d like to play a song for you tonight 1683 01:23:03,838 --> 01:23:05,908 that we’ve never played live. 1684 01:23:06,008 --> 01:23:08,078 The song is called Losing It. 1685 01:23:08,178 --> 01:23:10,748 (crowd cheers) 1686 01:23:10,848 --> 01:23:13,688 (♪ Losing It ♪ by Rush) 1687 01:23:16,159 --> 01:23:18,729 (Neil): A song like Losing It was written about a movie, 1688 01:23:18,829 --> 01:23:20,499 The Turning Point, where they had a dancer, 1689 01:23:20,599 --> 01:23:22,239 and she reached that point where suddenly, 1690 01:23:22,329 --> 01:23:23,729 her ambitions and her desires 1691 01:23:23,829 --> 01:23:25,699 were being betrayed by her body. 1692 01:23:25,799 --> 01:23:27,939 And another input into that same song 1693 01:23:28,039 --> 01:23:29,609 was the tragedy of Ernest Hemingway 1694 01:23:29,709 --> 01:23:31,209 when he got toward the end of his life 1695 01:23:31,309 --> 01:23:32,879 and he just simply couldn’t write anymore. 1696 01:23:32,979 --> 01:23:35,219 Is it worse to have had that gift and to have used it 1697 01:23:35,309 --> 01:23:37,379 and to have lived it, and then to have to lose it, 1698 01:23:37,479 --> 01:23:38,849 and say goodbye to it. 1699 01:23:38,949 --> 01:23:40,549 I would hate to face the day when I’m betrayed 1700 01:23:40,649 --> 01:23:42,389 by my own body, you know, where suddenly, 1701 01:23:42,479 --> 01:23:44,619 the things that I want to do in life, I’m unable to. 1702 01:23:44,719 --> 01:23:46,389 I think it would be such a deep tragedy, 1703 01:23:46,489 --> 01:23:48,559 that it would lead to the kind of feelings of despair 1704 01:23:48,659 --> 01:23:51,229 that Ernest Hemingway was driven to kill himself for. 1705 01:23:51,329 --> 01:23:54,669 ♪ The writer stares with glassy eyes ♪ 1706 01:23:54,759 --> 01:23:56,659 ♪ Defies the empty page ♪ 1707 01:23:56,769 --> 01:23:58,769 ♪ His beard is white, his face is lined ♪ 1708 01:23:58,869 --> 01:24:02,769 ♪ And streaked with tears of rage ♪ 1709 01:24:02,869 --> 01:24:06,169 ♪ Thirty years ago, how the words would flow ♪ 1710 01:24:06,279 --> 01:24:08,349 ♪ With passion and precision ♪ 1711 01:24:08,439 --> 01:24:11,109 ♪ But now his mind is dark and dulled ♪ 1712 01:24:11,209 --> 01:24:14,309 ♪ By sickness and indecision ♪ 1713 01:24:14,419 --> 01:24:16,889 (Neil): To go out on the top and not face the diminishing 1714 01:24:16,989 --> 01:24:19,489 of your ability, that’s what I couldn’t face. 1715 01:24:19,589 --> 01:24:23,459 Having to face losing it as my body evolves, 1716 01:24:23,559 --> 01:24:27,159 playing those same songs, the drain of that performance. 1717 01:24:27,259 --> 01:24:29,299 Every second night, every second night, 1718 01:24:29,399 --> 01:24:31,799 every second night, you know, I’m 63 years old! 1719 01:24:31,899 --> 01:24:34,669 And in eight years, I’ll be 71! You know? 1720 01:24:34,769 --> 01:24:37,109 I can play Charlie Watts’ drum parts when I’m 71, 1721 01:24:37,209 --> 01:24:39,609 I can’t play Neil Peart drum parts when I’m 71. 1722 01:24:40,779 --> 01:24:43,649 {\an8}♪ For you, the blind who once could see ♪ 1723 01:24:43,749 --> 01:24:47,819 {\an8}♪ The bell tolls for thee ♪ 1724 01:24:49,219 --> 01:24:52,389 - Sadder still to watch it die than never to have known it. 1725 01:24:52,489 --> 01:24:54,659 For you, the blind who once could see. 1726 01:24:54,759 --> 01:24:56,899 The bell tolls for thee. 1727 01:24:56,989 --> 01:24:59,829 This is all about his deepest fears. 1728 01:24:59,929 --> 01:25:02,969 I mean, he was playing incredibly well 1729 01:25:03,069 --> 01:25:06,309 on that last tour, and yet, it was fear like this 1730 01:25:06,399 --> 01:25:09,999 that made him say to himself, 1731 01:25:10,109 --> 01:25:12,449 I am not going to go out on stage 1732 01:25:12,539 --> 01:25:14,439 and embarrass myself, ever. 1733 01:25:22,249 --> 01:25:25,489 - In 2014, I thought, hmm, so we have to talk. 1734 01:25:25,589 --> 01:25:28,629 Those fateful words, guys, we have to talk. 1735 01:25:28,719 --> 01:25:31,019 So in November of that year, 1736 01:25:31,129 --> 01:25:32,869 we all got together in Toronto 1737 01:25:32,959 --> 01:25:35,129 and I was quite prepared to say, guys, you know, sorry, 1738 01:25:35,229 --> 01:25:38,399 but I’m done. 1739 01:25:38,499 --> 01:25:41,799 - I had surgery before the last tour 1740 01:25:41,899 --> 01:25:43,699 and I just wanted to do one more tour 1741 01:25:43,809 --> 01:25:45,609 and he came to Toronto and... 1742 01:25:45,709 --> 01:25:47,849 - He didn’t want to do it. - He didn’t want to do it. 1743 01:25:47,939 --> 01:25:49,779 He came to tell us that he’s done. He’s finished. 1744 01:25:49,879 --> 01:25:52,479 And there’s nothing wrong with that, you know? 1745 01:25:52,579 --> 01:25:54,749 38 years of touring, 1746 01:25:54,849 --> 01:25:57,419 he’s got the toughest job by far. 1747 01:25:57,519 --> 01:25:59,389 - Wait a sec. (chuckling) 1748 01:25:59,489 --> 01:26:01,429 - I know I do normally, but... 1749 01:26:01,519 --> 01:26:04,919 But because I said that I hadn’t felt well 1750 01:26:05,029 --> 01:26:07,099 on the previous tours, and now I had a chance to feel good 1751 01:26:07,199 --> 01:26:10,099 on one last tour, and I would love to go back on the road. 1752 01:26:10,199 --> 01:26:13,369 - I’d left one little window open in my mind, really, 1753 01:26:13,469 --> 01:26:16,239 that if anybody said they wanted to do it one more time, 1754 01:26:16,339 --> 01:26:18,309 and didn’t know if they’d be able to... 1755 01:26:18,409 --> 01:26:19,949 It was like, okay, so, 1756 01:26:20,039 --> 01:26:23,039 the bastard pulled that exact card. 1757 01:26:23,149 --> 01:26:25,819 Alex, said, well, he’s got the arthritis and that, said, 1758 01:26:25,909 --> 01:26:27,779 I’d really like to do it one more time. 1759 01:26:27,879 --> 01:26:31,019 (Alex): Despite breaking him into a million pieces, 1760 01:26:31,119 --> 01:26:34,489 he agreed to it, and would do that for me. 1761 01:26:34,589 --> 01:26:36,589 (Geddy): Yeah, he did it for you. 1762 01:26:36,689 --> 01:26:38,189 He did it for you. - Yeah. 1763 01:26:38,289 --> 01:26:40,259 - And he said afterwards, he said, 1764 01:26:40,359 --> 01:26:45,299 I was prepared to end unless Alex said that. 1765 01:26:45,399 --> 01:26:47,999 And that fuckin’ guy went and said that. 1766 01:26:48,099 --> 01:26:49,499 (laughing) 1767 01:26:49,599 --> 01:26:52,969 But, you know, he moaned, he said he spent the night 1768 01:26:53,079 --> 01:26:56,249 storming around his hotel room saying fuck a million times. 1769 01:26:56,339 --> 01:26:58,339 But he woke up the next day and that was it. 1770 01:26:58,449 --> 01:27:00,419 He was getting ready for the tour. 1771 01:27:00,519 --> 01:27:02,219 He made a decision, he’ll stick by it. 1772 01:27:02,319 --> 01:27:05,659 ♪ One day I feel I’m on top of the world ♪ 1773 01:27:05,749 --> 01:27:09,419 ♪ The next it’s falling in on me ♪ 1774 01:27:09,519 --> 01:27:11,019 ♪ I can get back on ♪ 1775 01:27:11,129 --> 01:27:12,999 ♪ I can get back on ♪ 1776 01:27:14,229 --> 01:27:16,969 ♪ One day I feel I’m ahead of the wheel ♪ 1777 01:27:17,069 --> 01:27:21,169 ♪ Next it’s rolling over me ♪ 1778 01:27:21,269 --> 01:27:23,309 ♪ I can get back on ♪ 1779 01:27:23,409 --> 01:27:25,509 ♪ I can get back on ♪ 1780 01:27:25,609 --> 01:27:28,879 ♪ One day I fly through a crack in the sky ♪ 1781 01:27:28,979 --> 01:27:32,349 ♪ And the next it’s falling in on me ♪ 1782 01:27:32,449 --> 01:27:34,589 ♪ I can get back on ♪ 1783 01:27:34,679 --> 01:27:36,849 ♪ I can get back on ♪ 1784 01:27:42,789 --> 01:27:47,259 ♪ Oh, I can get back on, I can get back on ♪ 1785 01:28:03,979 --> 01:28:07,079 (crowd cheering) 1786 01:28:11,089 --> 01:28:13,159 (Alex): I hope that there’s some way 1787 01:28:13,259 --> 01:28:15,599 of showing a human side to Neil, 1788 01:28:15,689 --> 01:28:19,059 it’s not just all this serious drummer thing. 1789 01:28:19,159 --> 01:28:20,829 The guy that was funny, 1790 01:28:20,929 --> 01:28:23,499 the guy that was very considerate and sweet. 1791 01:28:23,599 --> 01:28:26,399 Who cared about his friends a lot. 1792 01:28:26,499 --> 01:28:30,299 He felt he had a debt to repay, I think, 1793 01:28:30,409 --> 01:28:31,979 to both of us for the support, 1794 01:28:32,069 --> 01:28:33,909 not that we’d ever expected anything, 1795 01:28:34,009 --> 01:28:35,649 you just do what you do, it’s your brother 1796 01:28:35,739 --> 01:28:37,539 going through a nightmare 1797 01:28:37,649 --> 01:28:39,249 when he was going through the death of his daughter 1798 01:28:39,349 --> 01:28:41,489 and wife and all of that. 1799 01:28:41,579 --> 01:28:42,709 And we stood behind him 1800 01:28:42,819 --> 01:28:45,119 and helped him through as best we could. 1801 01:28:45,219 --> 01:28:46,759 And he never forgot that. 1802 01:28:46,859 --> 01:28:49,229 And I think, frankly, he ended up touring longer 1803 01:28:49,319 --> 01:28:51,089 than he would’ve preferred to 1804 01:28:51,189 --> 01:28:53,589 because he felt that he owed that debt. 1805 01:28:53,699 --> 01:28:55,739 (Lorne): It was like any other tour, 1806 01:28:55,829 --> 01:28:57,899 you weren’t really thinking about the end coming 1807 01:28:57,999 --> 01:29:01,069 until it actually hit you in the face on that day, 1808 01:29:01,169 --> 01:29:03,039 August 1st, 2015. 1809 01:29:03,139 --> 01:29:05,639 And once you do, he gets up at the last song 1810 01:29:05,739 --> 01:29:07,979 and goes down to the front of the stage. 1811 01:29:08,079 --> 01:29:10,119 He never did that, ever. 1812 01:29:10,209 --> 01:29:11,709 And burst into tears. 1813 01:29:12,949 --> 01:29:16,819 That’s when you knew that, God, this is the end. 1814 01:29:17,989 --> 01:29:20,629 - On behalf of our whole organization, thank you! 1815 01:29:23,229 --> 01:29:25,199 For 40 awesome years. 1816 01:29:25,289 --> 01:29:28,059 And I do hope we’ll meet again sometime. 1817 01:29:28,159 --> 01:29:29,629 Bye-bye! 1818 01:29:29,729 --> 01:29:32,869 Of course, he wouldn’t add more shows, 1819 01:29:32,969 --> 01:29:34,509 and he wouldn’t budge. 1820 01:29:34,599 --> 01:29:37,639 He agreed to do 30 shows and 30 shows he did, 1821 01:29:37,739 --> 01:29:39,679 he fulfilled his obligation. 1822 01:29:39,769 --> 01:29:41,339 And, um... 1823 01:29:41,439 --> 01:29:43,839 The cruelest twist of all, 1824 01:29:43,949 --> 01:29:45,489 it was the fact that he got ill. 1825 01:29:45,579 --> 01:29:47,319 - Mm-hmm. 1826 01:29:50,219 --> 01:29:52,389 (producer): Can you tell me when you found out 1827 01:29:52,489 --> 01:29:54,429 that Neil was sick? 1828 01:29:55,919 --> 01:29:58,359 - Rita and I went to Quebec, 1829 01:29:58,459 --> 01:30:02,329 the last time that we went to Quebec together 1830 01:30:02,429 --> 01:30:05,329 and he asked the strangest questions, 1831 01:30:05,429 --> 01:30:07,669 and Rita was like, is there something wrong with him? 1832 01:30:07,769 --> 01:30:09,539 I said, I don’t know. 1833 01:30:09,639 --> 01:30:11,839 And then at one point, he said to me, he said, 1834 01:30:11,939 --> 01:30:15,039 and he was an avid crossword doer, as am I, 1835 01:30:15,139 --> 01:30:17,039 and he said, have they changed the way 1836 01:30:17,149 --> 01:30:18,689 they format crosswords? 1837 01:30:19,749 --> 01:30:22,649 I said, no. No, I don’t think so. 1838 01:30:22,749 --> 01:30:25,289 - He mentioned to me that he had been doing 1839 01:30:25,389 --> 01:30:28,659 the New York Times crossword puzzle up in Quebec 1840 01:30:28,759 --> 01:30:31,559 and that it was seeming harder to him. 1841 01:30:31,659 --> 01:30:35,129 Which, for anybody else, you know... 1842 01:30:36,499 --> 01:30:38,269 You’re not doing the New York Times 1843 01:30:38,369 --> 01:30:40,839 crossword puzzle in an hour, or whatever, in a morning, 1844 01:30:40,939 --> 01:30:43,109 it’s just not happening, so. 1845 01:30:43,199 --> 01:30:45,669 I think maybe even when he told me, I just thought, 1846 01:30:45,769 --> 01:30:47,739 well, buddy. 1847 01:30:47,839 --> 01:30:49,439 Welcome to humanity. 1848 01:30:49,539 --> 01:30:52,779 Like, you’re having a human moment, you know. 1849 01:30:54,179 --> 01:30:57,519 But, you know, eventually it became clear 1850 01:30:57,619 --> 01:31:00,359 that there was something else going on. 1851 01:31:00,459 --> 01:31:04,129 - I heard from him and he said, 1852 01:31:04,229 --> 01:31:09,769 something’s wrong, I have a tumour in my brain 1853 01:31:11,269 --> 01:31:12,939 and I just had surgery. 1854 01:31:13,029 --> 01:31:14,699 Or something like that. 1855 01:31:14,799 --> 01:31:17,739 It was a short paragraph. 1856 01:31:17,839 --> 01:31:21,479 And I read that over and over again... 1857 01:31:23,449 --> 01:31:27,189 in disbelief, I don’t even think I answered for a day, 1858 01:31:27,279 --> 01:31:29,449 I was so shocked. 1859 01:31:29,549 --> 01:31:31,919 I didn’t tell anyone. 1860 01:31:32,019 --> 01:31:33,589 No one. 1861 01:31:33,689 --> 01:31:35,959 I could only imagine what Geddy and Alex 1862 01:31:36,059 --> 01:31:38,059 and their families and, you know, 1863 01:31:38,159 --> 01:31:39,959 Carrie and Olivia 1864 01:31:40,059 --> 01:31:44,329 and the rest of the Pearts were experiencing. 1865 01:31:44,429 --> 01:31:46,599 - The news was not good 1866 01:31:46,699 --> 01:31:51,609 and he surpassed everybody’s 1867 01:31:51,709 --> 01:31:53,779 estimations for how long 1868 01:31:53,879 --> 01:31:55,419 he was gonna be able to fight this battle, 1869 01:31:55,509 --> 01:31:57,549 by orders of magnitude. 1870 01:31:59,009 --> 01:32:00,309 Um... 1871 01:32:02,379 --> 01:32:05,719 So, the Friday lunches became... 1872 01:32:08,089 --> 01:32:10,289 Maybe just that much more important. 1873 01:32:10,389 --> 01:32:15,659 You know, he was still going to the Cave and still working. 1874 01:32:15,759 --> 01:32:19,199 But you could see that his... 1875 01:32:19,299 --> 01:32:22,499 body was failing and he... 1876 01:32:22,599 --> 01:32:26,339 It was, just everything was getting harder. 1877 01:32:27,239 --> 01:32:31,479 - I went to the Man Cave. 1878 01:32:33,349 --> 01:32:34,819 And... 1879 01:32:37,119 --> 01:32:38,919 It was obvious. 1880 01:32:40,789 --> 01:32:42,829 And um... At the end... 1881 01:32:47,059 --> 01:32:48,329 we said goodbye. 1882 01:32:51,399 --> 01:32:53,499 I knew I was never going to see him again. 1883 01:32:55,799 --> 01:32:58,639 - As Neil was getting closer, 1884 01:32:58,739 --> 01:33:01,709 he invited me over to the house one afternoon 1885 01:33:01,809 --> 01:33:04,849 and we sat on his balcony and he said, you know, 1886 01:33:04,949 --> 01:33:09,219 I wanted to ask you if you would lead the memorial. 1887 01:33:09,319 --> 01:33:11,859 And I said, I’m honoured to. 1888 01:33:11,949 --> 01:33:14,389 I have two questions. 1889 01:33:14,489 --> 01:33:15,489 One... 1890 01:33:18,459 --> 01:33:20,799 anything you want me to say in particular? 1891 01:33:20,899 --> 01:33:23,439 He said, no, say exactly what you want. 1892 01:33:23,529 --> 01:33:26,229 And then I said, my other question is... 1893 01:33:26,329 --> 01:33:28,369 I don’t know why I asked him this. 1894 01:33:28,469 --> 01:33:30,539 I said, how long should I speak? 1895 01:33:30,639 --> 01:33:32,909 (laughing) 1896 01:33:33,009 --> 01:33:35,509 - My last conversation with him... 1897 01:33:35,609 --> 01:33:39,049 was about music. 1898 01:33:39,149 --> 01:33:41,619 Of course, neither of us knew 1899 01:33:41,719 --> 01:33:43,689 it would be our last conversation, 1900 01:33:43,789 --> 01:33:46,929 but, he started that conversation 1901 01:33:47,019 --> 01:33:49,889 by wanting to share with me how... 1902 01:33:51,829 --> 01:33:55,599 proud he was of the work we had done together. 1903 01:33:56,729 --> 01:34:01,639 And so, he knew his days were numbered, so... 1904 01:34:01,739 --> 01:34:05,079 There are things he wanted to say to his friends. 1905 01:34:06,309 --> 01:34:09,249 (Matt): We were over at the Cave one day and... 1906 01:34:10,679 --> 01:34:14,949 And he had retired from riding motorcycles 1907 01:34:15,049 --> 01:34:19,919 and so he had mounted his motorcycle up on the wall, 1908 01:34:20,019 --> 01:34:22,389 ’cause it was no longer going to be ridden. 1909 01:34:22,489 --> 01:34:25,059 And he pointed up at the motorcycle 1910 01:34:25,159 --> 01:34:26,629 and he said, I made it, I did it. 1911 01:34:26,729 --> 01:34:27,999 That didn’t get me. 1912 01:34:28,099 --> 01:34:31,469 And he had this smile on his face when he said it, 1913 01:34:32,629 --> 01:34:34,529 right, you know? 1914 01:34:34,639 --> 01:34:36,609 And... 1915 01:34:36,699 --> 01:34:37,969 So... 1916 01:34:39,409 --> 01:34:42,379 I want to just celebrate that we had him 1917 01:34:42,479 --> 01:34:45,049 for as long as we had him and that... 1918 01:34:47,879 --> 01:34:49,279 It’s hard. 1919 01:34:53,419 --> 01:34:55,889 To find somebody who’s... 1920 01:34:57,459 --> 01:35:00,899 that special and then lose him. 1921 01:35:02,859 --> 01:35:04,799 But the bike didn’t get him. 1922 01:35:04,899 --> 01:35:06,739 So there’s something. 1923 01:35:13,409 --> 01:35:17,049 {\an8}(soft music) 1924 01:35:25,449 --> 01:35:27,119 (Geddy): We always had a connection 1925 01:35:27,219 --> 01:35:29,019 rooted in goofiness. 1926 01:35:29,119 --> 01:35:30,619 And when we first met him, 1927 01:35:30,729 --> 01:35:33,029 he seemed like such a strange character 1928 01:35:33,129 --> 01:35:35,799 thrown into this little duo. 1929 01:35:37,099 --> 01:35:39,039 But we were so lucky. 1930 01:35:39,129 --> 01:35:42,169 First of all, we were lucky we found each other as kids 1931 01:35:42,269 --> 01:35:44,969 and were able to grow up together 1932 01:35:45,069 --> 01:35:48,209 and be stupid for the rest of our lives together. 1933 01:35:48,309 --> 01:35:52,049 And we’re lucky he walked into that rehearsal space 1934 01:35:52,149 --> 01:35:55,019 that day, I mean, that big goof, 1935 01:35:55,119 --> 01:35:56,719 bounding out of the car. 1936 01:35:58,949 --> 01:36:01,749 So much of what he wrote about, we lived. 1937 01:36:01,859 --> 01:36:03,859 - Yeah. Yeah. 1938 01:36:07,129 --> 01:36:08,969 - Thank goodness for it. 1939 01:36:11,329 --> 01:36:12,599 - Yeah. 1940 01:36:19,839 --> 01:36:23,539 Dude, thank you so much. Thank you so much. 1941 01:36:23,649 --> 01:36:26,049 - Sincerely. - It means a hell of a lot. 1942 01:36:26,149 --> 01:36:28,589 - To me too. - I gotta come here for a hug. 1943 01:36:28,679 --> 01:36:30,619 (laughing) Thank you. 1944 01:36:31,919 --> 01:36:33,519 That was so awesome. 1945 01:36:33,619 --> 01:36:35,319 - Thank you. - It was great. 1946 01:36:35,419 --> 01:36:39,089 - Well, I hope it did tribute to our buddy. 1947 01:36:39,189 --> 01:36:40,859 - Oh, I’m sure it did. 1948 01:36:40,959 --> 01:36:43,229 - Fuckin’ did, man, thank you so much. 1949 01:36:43,329 --> 01:36:46,229 (soft music) 1950 01:37:23,241 --> 01:37:25,781 It felt special, it felt like an honour, 1951 01:37:25,881 --> 01:37:27,781 playing with those drummers. 1952 01:37:27,881 --> 01:37:31,681 Alex and I have been afraid of our own music. 1953 01:37:31,791 --> 01:37:34,091 We had put our music in a box 1954 01:37:34,191 --> 01:37:38,831 and left it as a relic of the past. 1955 01:37:38,931 --> 01:37:40,871 And by playing them, 1956 01:37:40,961 --> 01:37:45,231 we realized that we have 50 years 1957 01:37:45,331 --> 01:37:48,471 and a body of music that is still alive. 1958 01:37:48,571 --> 01:37:50,671 (Alex): I was so inspired. 1959 01:37:50,771 --> 01:37:52,511 Geddy was very excited, and he said, Al, 1960 01:37:52,611 --> 01:37:54,581 do you think there’s a chance that we could 1961 01:37:54,681 --> 01:37:56,881 maybe do something together, 1962 01:37:56,981 --> 01:38:00,481 as Rush, you know, what do you think? 1963 01:38:01,951 --> 01:38:04,621 - We knew that it’s going to be an impossible job, 1964 01:38:04,721 --> 01:38:06,891 to replace Neil. 1965 01:38:06,991 --> 01:38:08,391 And we talked about it, 1966 01:38:08,491 --> 01:38:10,361 but it took a long time to get to that point, 1967 01:38:10,461 --> 01:38:11,801 to go back out. 1968 01:38:11,891 --> 01:38:13,561 And a big part of the motivation 1969 01:38:13,661 --> 01:38:16,431 was celebrating the music, 1970 01:38:16,531 --> 01:38:19,131 celebrating Neil. 1971 01:38:19,231 --> 01:38:21,801 And it would’ve been much easier for us 1972 01:38:21,901 --> 01:38:24,401 to take someone who grew up with our music, 1973 01:38:24,511 --> 01:38:26,051 knew all the songs, 1974 01:38:26,141 --> 01:38:30,581 but that would have opened an endless conversation 1975 01:38:30,681 --> 01:38:32,681 about comparisons 1976 01:38:32,781 --> 01:38:35,751 between their former bands, 1977 01:38:35,851 --> 01:38:38,551 our band, Neil would’ve played it different. 1978 01:38:38,651 --> 01:38:42,051 And so it was about finding someone 1979 01:38:42,161 --> 01:38:44,761 that was out of context. 1980 01:38:51,401 --> 01:38:53,301 (Alex): We had heard of Anika 1981 01:38:53,401 --> 01:38:55,671 when she was on tour with Jeff Beck. 1982 01:38:55,771 --> 01:38:57,441 She’s very, very skilled. 1983 01:38:57,541 --> 01:38:59,741 You know, she’s been a drummer since she was a toddler. 1984 01:38:59,841 --> 01:39:02,581 Her father’s a musician. It’s in her DNA. 1985 01:39:02,681 --> 01:39:05,251 But Anika is coming into this alien world. 1986 01:39:06,511 --> 01:39:09,851 She wasn’t really a fan of our music, so you know, 1987 01:39:09,951 --> 01:39:12,221 there was a lot of spooling up she needed to do. 1988 01:39:14,561 --> 01:39:17,031 (Geddy): She comes from a different genre of music 1989 01:39:17,121 --> 01:39:19,691 that’s a lot swishier and jazzier. 1990 01:39:19,791 --> 01:39:21,861 But she’s a quick study, man. 1991 01:39:21,961 --> 01:39:24,201 (Alex): By the last day of the audition, 1992 01:39:24,301 --> 01:39:25,871 she just nailed everything. 1993 01:39:25,971 --> 01:39:27,101 She got it. 1994 01:39:35,711 --> 01:39:38,281 (Anika): After the last day of the session, 1995 01:39:38,381 --> 01:39:40,081 we actually sat together 1996 01:39:40,181 --> 01:39:41,581 and we talked 1997 01:39:41,681 --> 01:39:44,681 and Nick asked me if I want to continue. 1998 01:39:44,791 --> 01:39:47,461 {\an8}And it was just like, wow, 1999 01:39:48,521 --> 01:39:50,691 {\an8}this... I got this gig. 2000 01:39:50,791 --> 01:39:52,291 It’s unbelievable. 2001 01:39:52,391 --> 01:39:53,831 It’s really happening. 2002 01:39:53,931 --> 01:39:55,701 (laughing) 2003 01:39:55,801 --> 01:39:59,401 It was clear really quick that I have to learn 40 songs. 2004 01:39:59,501 --> 01:40:01,841 It’s just the amount of complex songs, 2005 01:40:01,941 --> 01:40:04,811 my brain was full and I felt, oof, 2006 01:40:04,911 --> 01:40:07,181 I cannot put more in it. 2007 01:40:07,281 --> 01:40:09,081 Your brain is doing all the maths. 2008 01:40:09,181 --> 01:40:11,521 Five, seven, now three, okay, let’s go. 2009 01:40:11,611 --> 01:40:14,181 Okay, here, seven again, five again, okay. 2010 01:40:14,281 --> 01:40:16,081 And you’re running. (chuckling) 2011 01:40:16,181 --> 01:40:20,691 I mean, I never met Neil in person but he was big. 2012 01:40:20,791 --> 01:40:22,831 Strong, always played powerful, 2013 01:40:22,921 --> 01:40:24,691 so I immediately hit the gym. 2014 01:40:24,791 --> 01:40:26,591 (laughing) 2015 01:40:26,691 --> 01:40:29,461 (♪ Animate ♪ by Rush) 2016 01:40:39,541 --> 01:40:42,681 I do feel responsible for carrying Neil’s legacy. 2017 01:40:42,781 --> 01:40:45,751 And I wish I had the chance to meet him 2018 01:40:45,851 --> 01:40:47,851 and I wish I had the chance 2019 01:40:47,951 --> 01:40:51,951 to have nerdy drum talk with him, you know? 2020 01:40:54,591 --> 01:40:57,191 My biggest task is to get the feeling right. 2021 01:40:57,291 --> 01:40:59,791 Besides all this technical stuff and the play, 2022 01:40:59,891 --> 01:41:03,531 his feel was unique and this is also a big part 2023 01:41:03,631 --> 01:41:05,131 of remembering him. 2024 01:41:05,231 --> 01:41:08,071 The more I play the songs, the more I think, 2025 01:41:08,171 --> 01:41:09,671 gosh, this is genius. 2026 01:41:09,771 --> 01:41:13,871 It has to be played like this because it’s so clever built. 2027 01:41:13,981 --> 01:41:17,021 Even if it’s driving me crazy sometimes 2028 01:41:17,111 --> 01:41:19,851 to remember all of those details, 2029 01:41:19,951 --> 01:41:22,751 I think it’s brilliant. 2030 01:41:28,091 --> 01:41:32,331 ♪ Complicate me, elevate me ♪ 2031 01:41:36,501 --> 01:41:41,141 ♪ Complicate me, elevate me ♪ 2032 01:41:44,841 --> 01:41:46,681 (producer): Rush is a band with a fanbase 2033 01:41:46,771 --> 01:41:48,211 that literally know every note. 2034 01:41:48,311 --> 01:41:50,011 - I know. (producer): They’re crazy. 2035 01:41:50,111 --> 01:41:52,611 - They know it better than me! (laughing) 2036 01:41:52,711 --> 01:41:56,481 I really try to not think about that too much, 2037 01:41:56,581 --> 01:41:59,481 but of course, as the first show comes close, 2038 01:41:59,591 --> 01:42:01,161 I get a bit more nervous. 2039 01:42:01,261 --> 01:42:05,361 I was good at putting the pressure aside until now. 2040 01:42:05,461 --> 01:42:06,961 (laughing) 2041 01:42:07,061 --> 01:42:09,961 (crowd cheering) 2042 01:42:13,201 --> 01:42:14,771 - Thank you so much. 2043 01:42:14,871 --> 01:42:16,571 Thank you so much for coming, 2044 01:42:16,671 --> 01:42:20,011 thank you so much for still being here. 2045 01:42:20,111 --> 01:42:22,411 (cheering) 2046 01:42:22,511 --> 01:42:25,481 We’d like to celebrate 50 years of music 2047 01:42:25,581 --> 01:42:29,481 that was created by that schmendrick over there, 2048 01:42:29,581 --> 01:42:31,381 me, and, of course, the great Neil Peart. 2049 01:42:31,491 --> 01:42:34,991 (cheering) 2050 01:42:35,091 --> 01:42:36,731 We’d like to pay tribute to Neil tonight, 2051 01:42:36,821 --> 01:42:40,261 for so many reasons, long overdue. 2052 01:42:40,361 --> 01:42:43,101 I’d love to introduce you to some people 2053 01:42:43,201 --> 01:42:46,241 that are going to help us pay tribute. 2054 01:42:46,331 --> 01:42:49,871 The highly gorgeous Loren Gold. 2055 01:42:49,971 --> 01:42:53,641 And the marvellous Anika Nilles, please. 2056 01:42:53,741 --> 01:42:56,611 (crowd cheering) 2057 01:42:56,711 --> 01:42:58,651 Okay, let’s get with it. 2058 01:42:58,751 --> 01:43:02,691 (♪ The Spirit of the Radio ♪ by Rush) 2059 01:43:39,891 --> 01:43:43,361 ♪ Begin the day with a friendly voice ♪ 2060 01:43:43,461 --> 01:43:46,761 ♪ A companion, unobtrusive ♪ 2061 01:43:46,861 --> 01:43:50,661 ♪ Plays the song that’s so elusive ♪ 2062 01:43:50,771 --> 01:43:54,041 ♪ And the magic music makes your morning mood ♪ 2063 01:43:54,141 --> 01:43:56,611 (♪) 2064 01:43:59,411 --> 01:44:02,111 Subtitling: difuze