All The World's A Stage

Bastille Day (4:59)
Anthem (4:57)
Fly By Night/
In The Mood (5:04)
Something For Nothing (4:04)
Lakeside Park (5:06)
2112 (16:51)
   I. Overture
   II. Temples of Syrinx
   III. Presentation
   IV. Soliloquy
   V. The Grand Finale

By-Tor and the Snowdog (12:01)
In The End (7:15)
Working Man/
Finding My Way (14:20)
What You're Doing (5:41)

Neil Peart - percussion
Alex Lifeson - guitars
Geddy Lee - bass and vocals

Recorded at Massey Hall, Toronto
June 11, 12, 13, 1976
Produced by Rush and Terry Brown
Engineered by Terry Brown
Recorded by the Fedco Mobile Unit
Mixed at Toronto Sound Studios, Toronto, Canada
Tape operator - Ken Morris

The Show
Roadmaster and stage lighting director
Howard (Herns) Ungerleider
Concert sound engineer and centre stage technician
Major Ian Grandy
Stage right technician - Liam (Leebee) Birt
Stage left technician - Skip (Slider) Gildersleeve
Concert sound by National Sound Inc.
Tom (Joe) Linthicum
Julian (Julio) Wilkes
Jim (Bozo) Swartz
Mike (Lurch) Hirsch
Concert lighting by Atlantis Systems
Tim Pace
Tom (Domenic) D'Ambrosia
Mark (Angelo) Cherry
Concert Presentation by CHUM FM and Martin Onrot
Booking Agency - ICM (International Creative Management)
Responsible agent - Greg McCutcheon
Canada - Music Shoppe International
Responsible agent - Doug Brown
Personal Management - Ray Danniels and Vic Wilson
Executive production - Moon Records

Graphics - Hugh Syme
Photography - David Street

A personal thank you to good times on the road, to the cities and people of Seattle, Portland, San Antonio, Cleveland, Detroit, and (of course) Toronto. Also to Larry Bailey, Rick Ringer, Shelley Grafman, Steve Sybesma and Sunshine, Windy City, Joe Anthony, Lou Roney, Mel Sharp, Charlie Applegate, Roger and Ginny Sayles, Jim and Julie Stritmatter, Uncle Cliff Burnstein, Mike Bone, Jim Taylor, Peter Talbot and the Vashon Islanders, Steve Shutt, Rod Serling, Rhonda Ross, The Sunset Marquis, June and Ward Cleaver, The Sleeping Broon, Miss Anne, The Bag, The Lizzies, Chivas Regal, Tennis, Dead Fly Cookies, and Becker's Chocolate Milk.

Also thanks to Walt Johnston and Gibson Guitars for musical instrument contributions.

This album consists of the show which we brought to you during our North American Tours of 1976. It is an anthology of what we feel to be the high points of our concerts and recordings up to this time.

It is not perfect, but it is faithful to us and to you. We have tried to strike a careful balance between perfection and authenticity, and to create a finished work that you may enjoy, and we may be proud of. This album to us, signifies the end of the beginning, a milestone to mark the close of chapter one, in the annals of Rush.

To all our friends everywhere, we we thank you for your friendship and support, and wish you success in all your aspirations.

© 1976 Mercury Records © 1976 Anthem Entertainment


  • Mercury/Polygram, September 29, 1976
  • Highest Billboard Chart Position: 40 - Certified Gold by RIAA: November 16, 1977 - Certified Platinum: March 4, 1981
  • The first double live Canadian album to be certified gold in Canada.
  • "What You're Doing" was originally dropped due to space limitations from the original CD release of All the World's A Stage, while "A Passage To Bangkok" was similarly dropped from Exit...Stage Left. Both tracks were brought back on the Rush Remasters and subsequent reissues which use newer CD technology with larger capacity. Those tracks first appeared on CD on the Chronicles compilation in 1990.
  • While introducing Rush during the "Canada For Asia" charity television telethon which aired January 13th, 2005, actor/comedian Mike Myers claimed that at 4:01 of "Bastille Day" on All The World's A Stage, the voice that screams out when the music abruptly stops is that of his brother who is yelling "Nighthawk!", the name of his then-current band.
  • The chrome Slingerland drumkit pictured on the cover was the first kit purchased by Neil Peart after joining Rush, and is heard on Fly By Night through 2112. The kit was retired by Neil at the close of the All The World's A Stage tour in June '77, replacing it with the black chrome kit first used on A Farewell To Kings. The kit was awarded to the winner of a Modern Drummer drum solo contest in July, 1987, which was judged by Neil. Main Drag Music in Brooklyn New York, auctioned off the chrome Slingerland drumkit on August 9th, 2009, for $25,100.
  • Reissued March 17, 2015 by Universal Music Enterprises on 200-gram, heavyweight vinyl with a download code for a 320kbps MP4 vinyl ripped Digital Audio album download as well as high resolution Digital Audio editions in DSD (2.8mHz), 192khz / 24-bit, 96kHz / 24-bit.
  • Click here for the 'All The World's A Stage' Transcript Archive.

In Their Own Words

"With 2112, we felt we had reached a first plateau. We had realized the goals we set for ourselves before the second album (when Peart replaced the band's former drummer, John Rutsey). Musically, it looked like a logical place to do a live album. We had four albums' worth of material honed down into a live show. And the record company was hot for a live album." - Neil Peart, Circus Magazine, November 25, 1976
"I personally was in favour of a single live album, not a two record set, but the argument was put forward, seeing as how our gigs last for one-and-a-half hours - 'If it's good enough to play live, why not put it on record?' There was no answer to that, so I acquiesced. In retrospect, I'm glad we did it, I don't find it oppressive being a double and I love the packaging. I would be very happy to own an album of that type if I was a man-on-the-street, and I guess that's what counts." - Neil Peart, Sounds, July 16, 1977
"My snare drum broke in the middle of '2112' and my playing got so intense because I was so mad. I was just so beside myself. And I learned a long time ago that anger is an excellent inspiration. I remember that the window of my car was broken, and I had to cover it with plastic - it was parked outside Massey Hall. I remember so much of the time and what it was like." - Neil Peart,, June 30, 2015
"Notoriously the live album had much better versions than the studio record [cites live albums by Peter Frampton, Thin Lizzy, UFO, KISS, Rush and Cheap Trick]. For people in our generation, they absolutely were career breakers...Rush broke England on All The World's A Stage, and for us growing up as kids in England, these albums started people's careers off, then you'd go back and get the studio albums, and you'd listen to them and go 'oh dear, they're not as good as the live albums'...I think it's what you hear first is what you get used to." - Def Leppard's Joe Elliot, Rockline, May 11, 2011


The 2112 Tour Book

by Geoff Barton

2112 Tourbook, sold at the UK tourdates of the All The World's A Stage Tour in June 1977

And the Priests of the Temples of Syrinx were worried. For long years had they ruled the world from within their massive, imposing, well nigh impenetrable grey-walled Temples; for long years had they encouraged a uniform, equal, 'contented' society, regulated and controlled the actions of their subjects; for long years had they presided over a neat, orderly planet, stressing the importance of the Brotherhood of Man while suppressing individual rights, individual flair. But now, in the year 2112, they were worried. In the dull, depressing conference hall in the biggest Temple in the biggest Federation city, head Priests from throughout the globe had gathered to discuss the problem that was preying on their minds. Around a plain stone table they sat, each garbed in crude, functional, roughly stitched robes, hoods covering their heads, shadowing their faces, their arms folded within vast, flowing sleeves. Father Brown was the first to speak: "So. The prophesy is coming true." His voice was a slow lifeless monotone, it echoed around the hall's bare, undecorated, solid granite walls. The others murmured in assent. "What can we do?" A hint of desperation underlying flat, expressionless phrasing this time around.

"Arm the guards. Order them to shoot the troublemakers," came a voice. "Too drastic," "Round up the ringleaders in the dead of night. Make them - well, uh - Mysteriously vanish." "It wouldn't work. Others would take their places. We'd still have a rebellion on our hands." "Then consult the computer."

Silence in the hall. The priests had an inborn distrust of machines, especially ones of such complexity as computers - they, after all, had brought about the downfall of the so-called Doomed Folk, a whole time cycle before. But reluctantly, Father Brown nodded. It was the only thing to do. He rose from his chair and started to walk unhurriedly to a corner of the huge hall, where a an old neglected hulk of machinery lay dormant. The other priests followed. Brushing off the dust of centuries with one sweep of his voluminous sleeve, Father Brown inclined his head to regard a deceptively simple control panel, a scattering of brightly coloured buttons and levers, colours that were offensive to his eyes, accustomed as they were to regarding only grey and yet more grey.

Cautiously, his gnarled, bony finger trembling almost imperceptively, Father Brown switched the machine 'on'. A brief - albeit, to the priests, unendurable - pause, a metallic click, an electronic hum, and the computer sputtered back to life. It came as no surprise to Father Brown - the machine had been serviced regularly for as long as he could remember, the eventuality of the priests using it once again had been forseen an age ago.

Deliberately, Father Brown tapped out a question.

Almost immediately - and in a voice even more characterless, undeviating and droning than Father Brown's - the computer spoke its reply.

"Rush. Formed in Toronto, late 20th Century. Alex Lifeson (guitar), Geddy Lee (bass,vocals), John Rutsey (drums)."

Father Brown cringed at the mention of the guitar. The discovery of such an instrument had started this whole distressing affair - an affair which had since snowballed into a major social crisis.

"First album titled simply Rush," the machine continued, delving deeply into its memory banks. "Contained straight forward, straight ahead heavy rock numbers. No evidence of the group's later musical leanings. First released on Rush's own label, Moon records. Later it was picked up by Mercury and made available worldwide."

Many of the terms used by the computer were unfamiliar to the priests, but they listened intently nonetheless.

"Release of second album Fly By Night saw arrival of new drummer, Neil Peart, perpetrator of current crisis."

Collectively, the Priests drew in their breaths.

"Peart's lyrical leanings well exemplified on second album on number By-Tor And The Snow Dog. An imaginative science fantasy tale set to music, Lee played the part of By-Tor, Lifeson the part of the Snow Dog. Battles would often ensue. Music on Fly By Night impressive in its depth and commitment.

"Third LP, Caress Of Steel, took ideas further, contained song by name of The Necromancer, sword and sorcery oriented. Also contained magnum opus The Fountain Of Lamneth, song built around story about quest for fountain of youth. Both acted as tasters for next album, next tour-de-force, next piece de resistance- "

The Priests knew the relevance of this particular term.

" - 2112."

"Stop there," commanded Father Brown. He turned to his fellow Priests, his face - or what was visible of it within his dark cowl - etched with lines of despair. "2112," he repeated, "how could they have had the foresight to predict...?" His voice trailed off.

"If you please, Father Brown," proffered another Priest, "can I respectfully suggest that we cease to worry about how and, more importantly, deal with more urgent matters, matters closer to hand? After all, the mob outside..."

Yes, I can hear them too," interjected Father Brown impatiently. And then, in calmer tones: "But you're right of course. Continue computer."

"2112. Astonishingly accurate prophecy of present-day society. Details rule of Priests of Temples of Syrinx in unsympathetic terms, claims that Federation 'crushed' the spirit of man, asserts need for individualism, mentions desertion of elite of Doomed Folk from Earth to other planets, predicts the discovery of the guitar and subsequent rejection of..."

Father Brown's mind drifted, back to those events of scant months before. Oh, how he rued the day that he destroyed that instrument, ground it to pieces beneath his feet, at the same time commanding its holder to 'think about the average' in no uncertain terms.

Father Brown had thought the man's spirit broken. The last he had heard, he had retired to the caves beneath the Federation city, retired to while his days away alone while the society that the Priests had created carried on, inexorably, interminably, above him, functioning perfectly, delightful in its complete uniformity.

But no. Somehow, word of the instrument - how it had been able to create long-forgotten, long stifled, long quenched melodious sounds - had reached the teaming populace of the outside world. Father Brown could see it now, with the advantage of hindsight. He could see how that tiny, immaterial event of the smashing of the guitar had acted as a lever that had uprooted the carefully-laid foundations of the Priests' cheerless, dreary world.

People had re-awakened, had suddenly realised that there was more to life than work and sleep - and chaos had ensued. Around their ears, the Priests' world had begun to crumble.

Unaware of Father Brown's thoughts, oblivious to the seriousness of the situation, the computer droned on.

"...Priests of Temple of Syrinx have been aware of existence of 2112 for some time. Have, until recently, been blind to its implications however -- "

"Stop, computer."

Father Brown turned to regard the other Priests grouped around him. All were silent. There was little more that could be said. They realised that the collapse of their carefully-structured society was mere moments away. They knew that the destruction of centuries-worth of hard work was imminent. And all because of one moment of folly, the breaking into pieces of a guitar, 'a toy that helped destroy the elder race of man'.

Turning the computer off, Father Brown and the rest of the Priests returned to their seats at the stone table to meditate. By now, they had resigned themselves to the fact that nothing-but nothing-could be done.

When the mob finally broke into the conference hall proper, the Priests were still in meditation. The mindless rioters tore into their one-time rulers mercilessly, relentlessly tearing them apart by hand, rending them limb from limb, blood lusting in their new-found freedom. The Priests did not struggle. They had accepted their fate.

Father Brown was the last to die, clubbed lifeless while murmuring his final words:

"Rush. They must have been one hell of a band."


Fly By Night
Caress of Steel
All The World's a Stage

all on Mercury

Alex Lifeson
Neil Peart
Geddy Lee

Words: Geoff Barton
Typesetting: Radio Alice

Tour co-ordination: Neil Warnock for Bron Agency Limited
Tour manager: Howard Ungerleider
Stage manager: Mike "Lurch" Hirsch
Sound company: TFA Electrosound Limited
Sound engineer: Ian Grandy
Lighting company: See Factor Inc
Management direction: Ray Daniels/Vic Wilson
SRO Productions Limited
Toronto Canada

Smartphone Wallpaper

Our RUSH smartphone wallpapers have been modified for an 18:9 aspect ratio to fit "most" Smartphones.