Clockwork Angels Tour

 

CD Tracklist

Disc One

Subdivisions
The Big Money
Force Ten
Grand Designs
The Body Electric
Territories
The Analog Kid
Bravado
Where's My Thing?/Here It Is! (drum solo)
Far Cry

Disc Two

Caravan*
Clockwork Angels*
The Anarchist*
Carnies*
The Wreckers*
Headlong Flight*/ Drumbastica (drum solo)
Peke's Repose (guitar solo)/Halo Effect*
Seven Cities of Gold*
Wish Them Well*
The Garden*

Disc Three

Dreamline*
The Percussor (I) Binary Love Theme (II) Steambanger's Ball (drum solo)
Red Sector A*
YYZ*
The Spirit Of Radio
Encore:
Tom Sawyer
2112 (Overture, Temples of Syrinx, Grand Finale)
Bonus
Limelight (soundcheck recording)
Middletown Dreams
The Pass
Manhattan Project*

*With the Clockwork Angels String Ensemble


Video Linernotes

GEDDY LEE
VOCALS, BASS

ALEX LIFESON
GUITARS, VOCALS

NEIL PEART
DRUMS

Clockwork Angels String Ensemble
David Campbell - Conductor
Mario De Leon - Violin
Joel Derouin - Violin
Jonathan Dinklage - Violin
Gerry Hilera - Violin
Audrey Solomon - Violin
Adele Stein - Cello
Jacob Szekely - Cello
Hiroko Taguchi - Violin
Entcho Todorov - Violin

Director
Dale Heslip

Producer
Allan Weinrib

Executive Producers
Pegi Cecconi, Ray Danniels, John Virant

Director of Photography
Andre Pienaar

Editor
Aaron Dark & Mark Morton - School, Toronto

Lighting Director/Designer
Howard Ungerleider

Supervising Producer
Domenic Cotter

Production Manager
Dan Halperin

Technical Producer
John Hartmann

Production Coordinator
Molly Brewer

Audio Producer
Mixed By Mike Fraser- The Warehouse, Vancouver, BC
Digital Editing - Richard Chycki, Mixland

Audio Consultant
Brad Madix

Mastering
Adam Ayan/Gateway Mastering

Location Audio
Remote Audio Recording Provided By Music Mix Mobile
Recording Engineers - Richard Chycki, Joel Singer
Audio Engineer Operator - Chris Montefiore
Audio Assistants - Jimmy Goldsmith, Jason Macalik, Chris Newsom
Pro Tools Operator - Brian Flanzbaum

Venues
American Airlines Center/Dallas
US Airways Center/Phoenix
AT&T Center/San Antonio

Camera Operators
Rob Barnett, Jay Cooper, Gregory "Grit" Frederick, Paul Gore, Chuck Hatcher, Christian Hoagland, Robbie Knouse, Bob Larkin, Brian Littleton, Jojo Pennebaker, Albert Fozzettl, Kibru Senbetta, Steadicam Operators, Keith Greenwood, George Neidson

Steadicam Assistants
Beniamin Tubb, Peter Wagner, Dick Saunders

Jitacam Operator
Paul Manecky

Jitacam Tech
David K Reeder, Camera Assistants, Frank Shorlt, Jonathan Staav

Camera Grip
Tony Poston

House Video Engineer
Zavier Chavez

Utilities
Patrick Dwyer, Mark Webb

Digital Media Technician
Lauren Picbe

Make Up Artist
Martha Bereslord

Production Assistants
Seth Brewer, Jennifer Ford, David Glenn, Tony Ragle, George Seiesto, John William, Meagan Waggoner

Offline Editing Facility
School - Toronto, Canada
Executive Producer - Sarah Brooks

Assistant Editors
Drew MacLeod, Lauren Piche

Additional Editing
Kyle McNair, Lauren Piche

Colour Correction
Bill Fenrverda & Jason Zukowski/Notch, Toronto

Online Facilities
AXYZ

Sound Design
Mike Rowland/Saucer Studios, Toronto

Motion Graphics & Design
Pyramid Attack/Toronto

DVD Authoring
Juice Productions/Toronto

Camera Supplier
Bexel - Dallas, Phoenix
MP&E - Dallas
VER - Phoenix

Crew
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier- Production Manager
Karin Blazier- Production Assistant
Brad Madix - Concert Sound Engineer
Howard Ungerleider - Lighting Director
Tony Geranios - Keyboard Technician
Lorne Wheaton - Drum Technician
John Mcintosh - Bass Technician
Scott Appleton - Guitar Technician
George Steinert - Stage Manager
Bruce French - Nutritionist
Anthony Fedewa - Venue Security
Michael Mosbach - NP Road Manager, Security
Kevin Ripa - Artist Tour Liaison
Cliff Sharpling - Carpenter
Brent Carpenter " Monitor Mixer
Corey Harris - Monitor Systems Engineer
Anson Moore -Audio System Engineer
Martin Joos - Lighting Crew Chief
Curtis Anthony - Electrician
Matthew Tucker- Lighting Technician
Joshua Rahalski - Lighting Technician
Matt Leroux - Lighting Technician
Alberi Pozzetti - Head Rigger
Charles Anderson - Rigger
Sebastian Richard - Motion Contro;
David Davidian - Video Director
Bob Larkin - Video Engineer
Gregory 'Grit' Frederick- LED Engineer
Brian Littleton - Camera Operator
Jay Cooper - Camera Operator
John Arrowsmith - Pyrotechnician & Tour Photographer
Patrick McLoughlin, Showtech - Merchandiser
Keith Keller - Live Nation Global Tour Rep
Colin Womack- VIP Nation Rep

Thanks to our Technical Suppliers

For Alex:
Lerxst Omega Amps, Gibson Guitars, Dean Markley Strings, Audio Technica

For Geddy:
Fender and The Fender Custom Shop, Rotosound Strings, Orange Amplifiers, Tech 21/Sansamp, James Hogg - Custom Pickguards, Tom Brantley - Custom Pickups and Rewinds, Rivera Amplification, Jim Burgess and Saved By Technology, Garth Hjelte, Chicken Systems, Inc., Ableton Live, Moog

For Neil:
DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads, Roland V-Drum

Bus Drivers
Dave Burnette, Lashawn Lundstrom, Marty Beeler, Joe C. Bush, John Morgan, Tony Hammonds

Truck Drivers
Arthur "Mac" McLear, Jon Cordes, Tom Hartmann. Henry McBride, Juli Mennnitti, Steve Mennitti, Bob Wright, Bruno Pelle

Merchandise Driver
Don Johnson

Flight Crew
Bill Bryant, Dan Droppo, Murray Clapp, Anastassia Tchernykh

Concert Lighting
Premiere Global Productions - Steven 'Creech' Anderson

Concert Sound
Clair Global - Jason Hellman, Ralph Mastrangelo

Pyrotechnics
Pyrotek - Lorenzo Cornacchia

Video Screens & Equipment
Screenworks NEP - Danny O'Bryen, Amy Segawa

Rigging
Five Points Rigging - John Fletcher

Buses
Hemphill Brothers Coach Co. - Mark Larson

Trucking
Ego Trips - Jim Bodenheimer

Aircraft Charter
Image Air Charter- Mike Irish, Liz Horbasz

Customs Brokers
B. Zee Brokerage Ltd. - Barry Zeagman, Neil Zeagman

Promoter
Live Nation Global Touring - Arthur Fogel, Gerry Barad, Susan Rosenberg, Carla Jespersen

Agent
International - The Agency Group - Neil Warnock, Samantha Henfrey
USA - Artist Group International - Adam Kornfeld, June Chaiyasit
Canada - Feldman & Associates - Vinny Cinquemani, Olivia Ootes

Rush/Anthem Entertainment Consigliere
Bob Farmer Esquire

Rear Screen Production Credits

Executive Producer
Allan Weinrib

Creative Director
Dale Heslip

5 Minutes To Showtime
Director - Dale Heslip
Producer - Allan Weinrib
Editor - Mark Morton/School
Flame Artist - Kaelem Cahill/Crush
Art Director & Graphic Designer - Yoho Hang Yue/Crush
CG Animator - Leo Silva/Crush

Big Money
Editor - Ryan Hunt/School

Grand Designs
Director - Christopher Mills

Body Electric
Design & Animation - Mike Spicer & Dave Desjardin/Loop

Territories
Design and Animation - Crankbunny

Where's My Thing?
Editor - Aaron Dark/School

Far Cry
Design and Animation - Steven Lewis/Spin Productions

The Appointment
Director - Dale Heslip
Producer - Allan Weinrib
Editor - Mark Morton/School
CG Design - Township & Company
Compositing - Township & Company/AXYZ

Caravan
Concept by Dale Heslip
Director - Pyramid Attack

Clockwork Angels
Director - Moment Factory

The Anarchist
Director - Christopher Mills

Carnies
Graphic Designer/VFX Artist - Julia Deakin/Crush

The Wreckers
Design and Animation - Pyramid Attack

Headlong Flight
Design and Animation - Josh Vermeulen & Chris Moberg/Double Plus

The Garden
Design and Animation - Crankbunny

Dreamline
Editor - Jackie Roda
Footage Provided By NASA
Special Thanks To Kenneth Fisher

The Percussor
(l) Binary Love Theme (ll) Steambangers Ball
Animation by Greg Russell and Brian Walters/Tandem Digital

Tom Sawyer
Art Director & Graphic Designer - Yoho Hang Yue/Crush
Graphic Designer - Jullian Ablaza/Crush

2112
Design And Animation - Tandem Digital

Office Of The Watchmaker
Director - Dale Heslip
Producer - Allan Weinrib
Editor - Mark Morton/School
CG Design - Township & Company
Compositing - Township & Company/AXYZ

Calliope Version of Tom Sawyer
Arranged and Produced By Lou Pomanti

Additional Steampunk Video Frames
Design - Bienvenido Cruz

Geddy's Backline Video
Design and Animation - Randy Knott

For all Crush projects previously listed:
Executive Producer - Patty Bradley
Producer - Kristen Van Fleet
Special thanks to Peter McAuley

Geddy and Alex's Back Line Amps
Design - Dale Heslip
Construction - Mood Inc.

Bonus Tracks
Limelight (Soundcheck Recording)
Middletown Dreams
The Pass
Manhattan Project
Director - Dale Heslip
Editor - Lauren Piche
Editor - Limelight - Kyle McNair

Special Features

Can't Stop Thinking Big
Director/Editor/DOP - Matthew Miller
Producer - Meg Symsyk
Image Processing & Titles - Penny Howle
Motorcycle Footage - Brutus

Behind The Scenes (Featuring Jay Baruchell)
Director/Editor/DOP - Matt Kelly

Outtakes
Editor - Lauren Piche

Interview With Dwush
Director/Editor/DOP - Matt Kelly

Family Goy
Animation Produced - Style5.tv
Director - Sam Chou
Animator - Noam Sussman
BG Designer- Brentton Barkman

Family Sawyer
Editor - Peter McAuIey/AXYZ
Lead Compositor - Joel Saunders/AXYZ
Compositors - Sean Douglas, Abid Jabber/AXYZ
Tom Sawyer/arranged and Produced by Lou Pomanti
Sound Design - Mike Rowland/Saucer Studios, Toronto

The Appointment
(intermission film) &
Office Of The Watchmaker (closing film)
Director - Dale Heslip
Producer - Allan Weinrib
Editor - Mark Morton/School
CG Design - Township & Company
Compositing - Joel Saunders/AXYZ

Art Direction, Design and Illustrations
Hugh Syme

Live Cover Photograph
Craig M. Renwick

Live Photography
John Arrowsmith, Patricia Seaton Homonylo, Craig M. Renwick, Richard Sibbald, Neil Zlozower

Photo Editor
Meg Symsyk

SRO Management lnc/Anthem Entertainment:
Ray Danniels, Pegi Cecconi, Meg Symsyk, Andy Curran, Sheila Posner, Bob Farmer, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Jeremy Biderman, Veronica Sinnaeve, Randy & Frances Rolfe

Anthem/Zoë Vision
All Songs Lee/Lifescn/Peart except:
"Tom Sawyer" (Lee/Lifeson/Peart/Dubois)
"Drumbastica", "Here It Is" and "The Percussor (I) Binary Love Theme / (II) Steambangers Ball" (Peart)
"Peke's Repose" (Lifeson)
"YYZ" (Lee/Peart)
All songs published by Core Music Publishing
© 2013 Anthem Entertainment/All Rights Reserved
℗ © 2013 Anthem Film & Television Production Inc. / All Rights Reserved

CD Linernotes

GEDDY LEE
VOCALS, BASS

ALEX LIFESON
GUITARS, VOCALS

NEIL PEART
DRUMS

Executive Producers
Pegi Cecconi, Ray Danniels, John Virant

Audio Producer
Mixed by Mike Fraser - The Warehouse, Vancouver, BC
Digital Editing - Richard Chycki, Mixland

Audio Consultant
Brad Madix

Mastering
Adam Ayan/Gateway Mastering

Location Audio
Remote Audio Recording provided by Music Mix Mobile
Recording Engineers - Richard Chycki, Joel Singer
Audio Engineer Operator - Chris Montefiore
Audio Assistants - Jimmy Goldsmith, Jason Macalik, Chris Newsom
Pro Tools Operator - Brian Flanzbaum

Sound Design
Mike Rowland/Saucer Studios, Toronto

Venues
American Airlines Center/Dallas
US Airways Center/Phoenix
AT&T Center/San Antonio

Clockwork Angels String Ensemble
David Campbell - Conductor
Mario De Leon - Violin
Joel Derouin - Violin
Jonathan Dinklage - Violin
Gerry Hilera - Violin
Audrey Solomon - Violin
Adele Stein - Cello
Jacob Szekely - Cello
Hiroko Taguchi - Violin
Entcho Todorov - Violin

Crew
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Karin Blazier - Production Assistant
Brad Madix - Concert Sound Engineer
Howard Ungerleider - Lighting Director
Tony Geranios - Keyboard Technician
Lome Wheaton - Drum Technician
John Mcintosh - Bass Technician
Scott Appleton - Guitar Technician
George Steinert - Stage Manager
Bruce French - Nutritionist
Anthony Fedewa - Venue Security
Michael Mosbach - NP Road Manager, Security
Kevin Ripa - Artist Tour Liaison
Cliff Sharpling - Carpenter
Brent Carpenter - Monitor Mixer
Corey Harris - Monitor Systems Engineer
Anson Moore - Audio System Engineer
Martin Joos - Lighting Crew Chief
Curtis Anthony - Electrician
Matthew Tucker - Lighting Technician
Joshua Rahalski - Lighting Technician
Matt Leroux - Lighting Technician
Albert Pozzetti - Head Rigger
Charles Anderson - Rigger
Sebastien Richard - Motion Control
David Davidian - Video Director
Bob Larkin - Video Engineer
Gregory 'Grit' Frederick - LED Engineer
Brian Littleton - Camera Operator
Jay Cooper - Camera Operator
John Arrowsmith - Pyrotechnician & Tour Photographer
Patrick McLoughlin, Showtech - Merchandiser
Keith Keller -live Nation Global Tour Rep
Colin Womack - VIP Nation Rep

Bus Drivers
Dave Burnette, Lashawn Lundstrom, Marty Beeler, Joe C. Bush, John Morgan, Tony Hammonds

Truck Drivers
Arthur "Mac" McLear, Jon Cordes, Tom Hartmann, Henry McBride, Juli Mennitti, Steve Mennitti, Bob Wright, Bruno Pelle

Merchandise Driver
Don Johnson

Flight Crew
Bill Bryant, Dan Droppo, Murray Clapp, Anastassia Tchernykh

Concert lighting
Premiere Global Productions - Steven 'Creech' Anderson

Concert Sound
Clair Global - Jason Heitman, Ralph Mastrangelo

Pyrotechnics
Pyrotek - Lorenzo Cornacchia

Video Screens & Equipment
Screenworks NEP - Danny O'Bryen, Amy Segawa

Rigging
Five Points Rigging - John Fletcher

Buses
Hemphill Brothers Coach Co. - Mark Larson

Trucking
Ego Trips - Jim Bodenheimer

Aircraft Charter
Image Air Charter - Mike Irish, Liz Horbasz

Customs Brokers
B. lee Brokerage Ltd. - Barry leagman, Neil leagman

Promoter
Live Nation Global Touring - Arthur Fogel, Gerry Barad, Susan Rosenberg, Carla Jespersen

Agent
International - The Agency Group - Neil WarnOCk, Samantha Henfrey
USA-Artist Group International -Adam Kornfeld, June Chaiyasit
Canada - Feldman & Associates - Vinny Cinquemani, Olivia Oates

Rush/Anthem Entertainment Consigliere
Bob Farmer Esquire

Thanks to our Technical Suppliers

For Alex:
Lerxst Omega Amps, Gibson Guitars, Dean Markley Strings, Audio Technica

For Geddy:
Fender and The Fender Custom Shop, Rotosound Strings, Orange Amplifiers, Tech 21/Sansamp, James Hogg - Custom Pickguards, Tom Brantley - Custom Pickups and Rewinds, Rivera Amplification, Jim Burgess and Saved By Technology, Garth Hjelte, Chicken Systems, Inc., Ableton Live, Moog

For Neil:
DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads, Roland V-Drum

Art Direction, Design and Illustrations
Hugh Syme

Live Cover Photograph
Craig M. Renwick

Live Photography
John Arrowsmith, Patricia Seaton Homonylo, Craig M. Renwick, Richard Sibbald, Neil Zlozower

Photo Editor
Meg Symsyk

SRO Management lnc/Anthem Entertainment:
Ray Danniels, Pegi Cecconi, Meg Symsyk, Andy Curran, Sheila Posner, Bob Farmer, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Jeremy Biderman, Veronica Sinnaeve, Randy & Frances Rolfe

All Songs Lee/Lifescn/Peart except:
"Tom Sawyer" (Lee/Lifeson/Peart/Dubois)
"Drumbastica", "Here It Is" and "The Percussor (I) Binary Love Theme / (II) Steambangers Ball" (Peart)
"Peke's Repose" (Lifeson)
"YYZ" (Lee/Peart)
All songs published by Core Music Publishing (SOCAN world excluding USA/SESAC USA). All Rights Reserved

Miscellaneous

    The Garden picture disk, click to enlarge
  • Highest Billboard Chart Position: 1 (video) - Video Certified Gold & Platinum by RIAA: May 14, 2014
  • Released November 19, 2013, the video premiered at #1 on Billboard's Video Chart, while the live album opened at #33 on Billboard's Top 200 Albums chart.
  • The film had a limited theatrical showing in U.S. theaters November 18, 2013.
  • Certified platinum (100,000 units sold) in the Video Longform category by the RIAA on May 14th, 2014.
  • A 10" picture disc single of "The Garden" was released as a Record Store Day exclusive on November 29th, 2013 (Black Friday). Side A is the studio release, and the B-side is the live album version. The artwork is designed by Crankbunny (Norma V. Toraya) from the animated screen projections for "The Garden".
  • To access the Easter Egg, simply arrow up on the main menu.
  • For most of the tour, "The Body Electric" alternated with "Middletown Dreams" or "Limelight", "Bravado" alternated with "The Pass", "Seven Cities Of Gold" alternated with "Wish Them Well", and "Manhattan Project" alternated with "Dreamline". For the video filming, both "Seven Cities Of Gold" and "Wish Them Well" were performed. The remaining alternates, while not performed in Dallas, are also included as bonus tracks on the video and cd but from other shows.
  • Click here for the 'Clockwork Angels Tour' Transcript Archive.

Promos

The Future as Seen From the Past
(Or: "Yesterday's Tomorrowland")

By Neil Peart

Clockwork Angels Tourbook, click to enlarge

Certainly at this point, after being together for almost thirty-eight years (and being around a decade or two before that), Alex, Geddy, and I have reached our "mature years." However, we have arrived there hot and sweaty, sliding into third, as a working, touring band. Like our well-tempered friendship, our dedication and inspiration remain strong, combined with hard-won experience and knowledge - acquired over twenty studio albums, and perhaps most of all by playing thousands of live shows.

In December, 2009, the three of us met to talk about the coming year. While eating and drinking and laughing a lot, as we do so well, we discussed all the possible projects we could launch in 2010. We could start working on a new album, or we could launch a major tour. Fools that we are, we ended up doing both.

Perhaps the wine can be blamed for that - and for our increasingly ambitious talk of creating some new music that was "a little more extended." In turn, the wine seemed to embolden me (In Vino Veritas) to tell the guys about my idea for a fictional world, a possible setting for a suite of songs that told a story. (The first song, "Caravan," contains a key line: "In a world where I feel so small, I can't stop thinking big.")

My friend Kevin J. Anderson was among the pioneers of a genre of science fiction that came to be called "steampunk" - a more romantic, idealistic reaction against the "cyberpunk" futurists, with their scenarios of dehumanized, alienated, dystopian societies. Our own previous excursions into the future, 2112 and "Red Barchetta," had been set in that darker kind of imagining, for dramatic and allegorical effect. This time I was thinking of steampunk's definition as "The future as it ought to have been," or "The future as seen from the past" - as imagined by Jules Verne and H. G. Wells in the late nineteenth century.

The guys seemed receptive to the idea, and I started working on a story and some lyrics set in "a world lit only by fire" (title of a history of medieval times by William Manchester). Influences were inevitable, but still unexpected to me - a lifetime of reading distilled into a dozen scenes, and a few hundred words. The plot draws from Voltaire's Candide, with nods to John Barth's The Sot-Weed Factor, Michael Ondaatje and Joseph Conrad for "The Anarchist," Robertson Davies and Herbert Gold for "Carnies," Daphne du Maurier for "The Wreckers," Cormac McCarthy and early Spanish explorers in the American Southwest for "Seven Cities of Gold."

This "one of many possible worlds" is driven by steam, intricate clockworks, and alchemy. That last element occurred to me because I was intrigued by Diane Ackerman's use of a few alchemical symbols as chapter heads in An Alchemy of Mind. They seemed elegant, mysterious, and powerful. Soon I learned about an entire set of runic hieroglyphs for elements and processes, and as with the tarot cards for Vapor Trails, and the Hindu game of Leela for Snakes and Arrows, I became fascinated with an ancient tradition. As the lyrical "chapters" came together, I chose one symbol to represent each of them, for the character or mood. Those would end up arrayed on the cover clockface, as first used on the "Caravan"/"BU2B" single in early 2010. Since then they have shifted a little, as the story has grown, but you can find brimstone at one o'clock for the faith-bashing "BU2B," gold at six o'clock for "Seven Cities of Gold," earth at eleven o'clock for "The Garden," and so on. (The "U" in Rush stands for "amalgamation.") Early in January, 2010, I was able to send a bunch of lyrics to Alex and Geddy in Toronto. They got together in Geddy's home studio, just "messing around," jamming and seeing what came out.

Improvisation was a major theme for the band leading up to this album. In live performance, during the Time Machine tour in 2010-11, we were each aiming to be more spontaneous in our "spotlight moments," and it thus became a shared ambition, and a spirit that carried into every element of this recording.

For the first time, I started the lyrics with the proverbial clean sheet, rather than my usual routine of riffling (and riffing) through the file of lines and titles I have collected over the years. (I call that "The Scrapyard.") Likewise, the music was composed in that elemental way - Alex and Geddy in a basement studio with guitar and bass, riffing and strumming away, and recording everything they played. Alex had put together one collection of ideas that turned out to be most of the song "Clockwork Angels," and as soon as I heard its rhythmic feel, which was so different for us, my response was "I want to play to that!"

In early 2011, before the second half of the Time Machine tour, they got together to try to get going on the writing again. Having a bit of a struggle, they seemed to spend more time drinking coffee and making stupid jokes - except for a couple of furious jams that, when reviewed later, turned out to be the foundations of "Carnies" and "Headlong Flight."

Clockwork Angels Tourbook, click to enlarge

As a general thing, Geddy would listen back to their jams and note the most compelling bits, then assemble them into a random arrangement. Only then did he turn to the pile of lyrics I had sent, to see if anything wanted to go with that music. Sometimes, as with "Seven Cities of Gold," there was an immediate spark of connection. As Alex relates, "We talked about having a raucous beginning that related to the middle 'solo' section, all feedback and crazy, and as the song evolved it took on the appropriate character; entering the city with all the wild, dangerous sensory experience it offers."

Other marriages of music and words were more laborious, and launched a flurry of emails between Geddy and me. Rapid-fire exchanges discussed adjustments to lines and phrases, passages deleted and new ones added, all on the fly, so that even the final shape of the lyrics was more-or-less improvised. Later I would try to stitch the remains together in a way that still expressed what I had intended - and that part wasn't easy. I had a complicated story to tell, with, like, characters and ideas and stuff.

Some of Alex's finest solos also date from the demo stage: offhand "place-holders" that turned out to be unbeatable. "Clockwork Angels" is one example like that, as is "The Garden" - a few takes recorded casually and assembled into an improvised performance that remains his personal favorite.

As the songs were gradually assembled from spontaneous moments, we worked out the arrangements together. Then Alex (our musical scientist) would give me a demo with two versions of the song: one with the drum-machine patterns he had programmed for their writing and arranging purposes, to give me a sense of how they perceived the drum part dynamically (plus Alex often has some good non-drummer ideas that inspire me in alternative directions), and one with just a click track.

The first two songs, "Caravan" and "BU2B," were recorded before the Time Machine tour, in April, 2010, and several of the other songs had been written by then. After taking a break to rehearse for that tour, and play eighty-one shows in North America, South America, and Europe (some break), we got together again in October, 2011, at Revolution Recording in Toronto. Alex and Geddy worked in the small studio there, continuing the songwriting and arranging.

To keep the writing fresh, one day they even tried switching instruments - Geddy on guitar and Alex on bass - and they turned out a richly melodic song called "The Wreckers." They joked that playing the "wrong" instruments had turned them into the Barenaked Ladies. (I happened to run into Ed Robertson around that time, and he had a good laugh about that.) But once we switched to recording mode, it was back to the "same old us."

In the big studio, my drums were set up and ready for me to start learning new songs. Around the drums, master engineer Rich Chycki had prepared the recording environment, so we were "ready to fly." Taking off my lyric-writing cowboy hat (I have pointed out before that I find it hard to take myself too seriously when I am wearing a cowboy hat), I would put on my drumming hat (an African prayer cap - which has equally perfect resonance).

My drum parts were created in a completely different fashion than ever before. For the past few years I have been working deliberately to become more improvisational on the drums, especially in my warmups and solos, and these sessions were an opportunity to attempt that approach in the studio. It began with "Caravan" and "BU2B," which were fairly well organized before recording, but featured a number of spontaneous moments. In these more recent sessions, I played through each song just a few times on my own, checking out patterns and fills that might work, then called in our coproducer, Nick Raskulinecz -"The Mighty Booujzhe."

(A reminder about that nickname: Nick likes to suggest outrageous fills for me to play, and he will mime them with wild physical gestures and sound effects: "Bloppida-bloppida-batubatu-whirrrrr-blop - booujzhe!" That last being the downbeat, with crash cymbal and bass drum.)

click to enlarge

So . . . Booujzhe stood out there in the room with me, facing my drums, with a music stand and a single drumstick. He was my conductor, and I was his orchestra. (I later replaced that stick with a real baton.)

The enthusiastic "Booujzhe-ness" before me energized and inspired me, and he also offered many good suggestions between takes. We quickly hammered out (well, I did the hammering!) the basic architecture of the part, and demonstrated the key element of collaboration - together we elevated it.

Now . . . Rush songs tend to have complicated arrangements, with odd numbers of beats, bars, and measures all over the place. These latest songs are no different (maybe worse - or better, depending), but the baton of Booujzhe would conduct me into choruses, half-time bridges, and double-time outros and so on - so I didn't have to worry about their durations. No counting, and no endless repetition of each song just to learn those things - that was a big part of what allowed me to be so spontaneous.

In past years I might have spent several days developing and refining a drum part, but this time it was just a matter of hours "from zero to hero." I like to think a listener can sense that difference - will share the tension and release of a guy going way out there, playing something he has never attempted before, and only just making it back to "one." Chances are that moment only happened once - but that was enough. In turn, Geddy's bass parts and Alex's guitars were added without too much time spent learning, but getting straight to the playing. Booujzhe was their conductor, too, coaching and inspiring Geddy, Alex, then Geddy again (vocals) with suggestions and encouragement, to ever higher levels of absurdity.

(After all these years together, we have learned to be comfortable recording separately - it allows everybody to focus on one part at a time, and experience has taught us that we play the same - to each other - regardless.)

Typically, there was one "trouble child." Out of all the seemingly more complicated songs, the music for "Wish Them Well" was written and scrapped twice, and the song was almost abandoned. But Geddy liked the lyrics enough to keep trying (thank you!), and the third version pleased everyone.

That song also put Booujzhe and me to a lot of trouble over the drum part, much more than any other song except "Headlong Flight" - that one for its perverse complexity, rather than the exacting simplicity of "Wish Them Well." Booujzhe and I spent many hours trying out different basic patterns, and juggling their arrangement.

(The guys always laugh when I come out of the studio grumbling, "I hate that stupid ignorant song!" [Add expletives to taste.] They laugh because they are the ones who made it that way.)

"Wish Them Well" was equally elusive vocally - or at least lyrically. The day Geddy and Booujzhe recorded that vocal in Toronto, I happened to be at home in California, and all day we exchanged texts and emails over the tiniest of alterations, line by line, sometimes word by word. Ultimately it turned out very well, but I admit I still have a bit of a grudge against that song.

On the bright side - even the brilliant side - one very special aspect of this project is the lush and exotic string arrangements, by David Campbell. One January afternoon at Ocean Way Studios in Hollywood, I stood in the control room listening while the strings were being recorded. It occurred to me that all songwriters should experience the sensual delight of hearing their songs performed by an accomplished string section. For example, when these virtuoso artists on violin, viola, cello, and double-bass executed David's plangent orchestration for "The Garden," there was not a dry eye in the studio.

Finally Booujzhe took over the mixing chair, and entertained us by miming each of our parts note-for-note, with appropriate gestures and facial expressions. When he had his fist up to his mouth as a microphone, emulating every phrase and nuance of Geddy's vocal, sometimes he raised his little finger. "My wireless mic," he explained. He had switched to "live performance" mode.

Another long-time goal took root in August, 2010, on a day off between shows at Colorado's Red Rocks amphitheater. For about twenty years, I have been friends with the previously-mentioned author and pioneer of steampunk, Kevin J. Anderson, and all that time we have discussed doing a project together to combine lyrics and prose. Kevin lived nearby, and led me on a hike up Colorado's Mount Evans (14,265 feet), during which we started workshopping a prose version of the Clockwork Angels story. A year and a half later, Kevin would do the "heavy lifting" on its novelization.

One more oblique connection: During the filming of my most recent instructional DVD, Taking Center Stage: A Lifetime Of Live Performance, I found myself talking about playing our older songs in concert year after year, and something occurred to me about Rush songs that I had never realized in all our thirty-eight years.

See, for the most part, Rush songs weren't made with the intention of being listened to on the radio, or in the car, or with earbuds. They were made to be played - by us! (Good title, "Made 2 B Played.")

Thinking of even a few older examples - "The Spirit of Radio," "Limelight," or "Subdivisions" - the arrangements are detailed and dynamic, intricate and challenging, and build toward a rock-concert climax. None of that was ever discussed among us, but all instinctively, our songs, arrangements, and playing exemplified a live-performance piece. It is certainly those qualities of challenging technique and in-the-moment excitement that keep those songs fresh for us all these years later. Like Booujzhe, we raise our little fingers and we are in performance mode.

That built-to-be-performed quality is clearly evident on all of the songs on Clockwork Angels, too. Like the nineteen albums that have come before, these songs are "Made 2 B Played," again and again for years.

And, if the fates allow, they will be . . .


Alex Lifeson

Clockwork Angels Tourbook, click to enlarge

To learn more about my equipment, plus view Special Bonus Content, try going to this link on the World Wide Interweb of Life.
You will find Everything in the World here.
Please Like it and Friend it!

http://www.stoopidrush.com/alexgear@4lespaulaxcess//^3lespauls#1es355td//telecaster*/alvarez/yairi2xneck!marshalljubilee%mesa-boogie_mark5/h&kcoreblade//main_stage[[fractalmagicboxofsound.//audio_technicataew-da6600wirless//axcesslectronics-fx1_switcher*&%!?..tcelectronics1210//deanmarkley@strings//dunlopcrybabydcr-lsr+picks//scott_appleton^//@Oer*&%!?..tcelectronics1210//deanmarkley@strings//dunlopcrybabydcr-lsr+picks//scott_ appleton+//@Ω



Neil Peart

Clockwork Angels Tourbook, click to enlarge

Breaking with long tradition, I am using the same drumset as our previous tour, Time Machine. The main reason is because that tour, and these drums, were actually designed around the Clockwork Angels theme from the beginning. And because they still sound and look so great. That considered, I can hardly do better than quote from my previous description of them at the time of their building, in 2010:

Drum Workshop really outdid themselves this time, spearheaded by Don Lombardi, John Good, Shon Smith, Garrison (like Madonna and Cher, he "dares to be known by one name alone"), hardware specialist Rich Sikra, and master painter Louie Garcia.

Barrel-stave redwood, copper leaf and silver alchemy symbols, and the innovation of copper hardware create the main visual statement, but the small, unique details of stand fittings and the little sculpted gears behind the lugs demonstrate DW's imaginative willingness to consider every possibility-and make it real.

Sonically, drum tech Lome "Gump" Wheaton and I agree that these drums surpass all previous kits, in the richness of their tonality, and in the perfect blend of the individual drums with each other.

The custom stand fittings, drum hardware, and riser panels were designed by Greg Russell and Brian Walters of Tandem Digital. Their elaborate CG renderings of the kit and hardware helped to visualize the final outcome.

For their part, the Sabian cymbal company also got onboard with my wild ideas right away. Chris Stankee and Mark Love directed the development of a special steampunk design on the new "Brilliant" Paragons I've been using. (It took some experimenting with inks to find one that didn't affect the sound.)

Among other noisemakers, Gump and I include Pro-Mark sticks, DW and Remo heads, Roland V-Drums (with custom DW shells), MalletKAT, KAT trigger pedals, and a Dauz pad, all running through a Roland XV5080 sampler and Project X Glyph hard drives.



The Gedison™

Clockwork Angels Tourbook, click to enlarge

At GEDISON™, we not only make surpassingly brainy bass amplifiers and keyboards ... we make popcorn, too!

FUN FACTS ABOUT OUR COMPONENTS:

A
1. It is longer than an electric guitar.
2. It has four strings.
3. Its strings are thick to produce a low sound.
4. It came to prominence in the 1950s.
5. It is part of a band's rhythm section.
6. Many players prefer to pluck the strings with their fingers, rather than using a plectrum.

B
1. In Germany, the French horn, originating from the bugles or hunting horns, was developed into all fields of music, especially light or popular music.
2. The tuba has a bell that is directed upwards; thus it is a "flügelhorn." It was refined in the nineteenth century into different sizes up to 2.4 meters.
3. The English expression for the trombone is "Sackbut," which actually means "pull" and "push," referring to the sliding device of the instrument.
4. The saxophone was invented by the Belgian instrument maker Adolphe Sax in about 1840. It was first used in symphony orchestras in 1844.
5. Around 1700, the clarinet was created and developed by Johann Christoph Denner. In the middle of the 18th century the clarinet became an indispensable instrument for every orchestra.

C
1. The weight of the human brain is about three pounds.
2. It is 60 percent white matter and 40 percent gray matter.
3. It is about 75 percent water.
4. There are no pain receptors in the brain, so the brain can feel no pain.
5. While an elephant's brain is physically larger than a human brain, the human brain is 2 percent of total body weight, compared to .15 percent of an elephant's brain - meaning humans have the largest brain to body size ratio.

D
1. Americans consume some 16 billion quarts of this whole-grain treat annually. That's 51 quarts per capita.
2. Of the six types of maize/corn - pod, sweet, flour, dent, flint, and popcorn - only popcorn pops.
3. Exploding popcorn kernels can shoot three feet in the air.
4. The world's largest popcorn ball was created by volunteers in Sac City, Iowa, in February, 2009. It weighed 5,000 pounds, stood over eight feet tall, and measured 28.8 feet in circumference.
5. To make a trail of popcorn from New York City to Los Angeles would require something like 352,028,160 popped kernels!

FOR GEDDY'S ACTUAL GEAR INFORMATION PLEASE VISIT:
http://www.rush.com/rush/index.php


Remembering Andrew Macnaughtan As A Photographer

By Neil Peart

A choice memory about working creatively with Andrew dates from 1992, when Rush was preparing for our Roll the Bones tour. My bandmates and I decided to have a little fun with the usual tourbook portraits - beginning a tradition that continued right up to the book for the Time Machine tour, in 2010-11.

All of us lived in Toronto in those days, so it was easy for us to get together with Andrew and plan our "surprises" (sometimes kept secret even from each other). We aimed for something that would show some humor, and also, perhaps, a little ... inner essence.

That first set of three portraits does not disappoint on those levels, I hope, but it is also noteworthy that even these "joke" settings were lighted and framed with artful care. They are light-hearted and silly, but photographed with a professional's craft and an artist's vision.

I once defined the highest possible plane of communication to be "art with jokes." That is a rarefied summit even to attempt, but once in a while, with Andrew, we made it.


TOUR STAFF
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Karin Blazier - Production Assistant
Brad Madix - Concert Sound Engineer
Howard Ungerleider - Lighting Director
Tony Geranios - Keyboard Technician
Jim Burgess of Saved By Technology - Programming
Lorne Wheaton - Drum Technician
John McIntosh - Bass Technician
Scott Appleton - Guitar Technician
George Steinert - Stage Manager
Bruce French - Nutritionist
Anthony Fedewa - Venue Security
Michael Mosbach - NP Road Manager, Security
Kevin Ripa - Artist Tour Liaison
Cliff Sharpling - Carpenter

STRINGS
David Campbell - Conductor
Joel Derouin - Violin
Gerry Hilera - Violin
Jonathan Dinklage - Violin
Entcho Tudorov - Violin
Mario De Leon - Violin
Audrey Solomon - Violin
Jacob Szekely - Cello
Adele Stein - Cello

AUDIO
Clair Global
Ralph Mastrangelo, Jason Heitman
Anson Moore - Audio System Engineer
Brent Carpenter - Monitor Mixer
Corey Harris - Monitor Systems Engineer

LIGHTING
Premier Global Productions
Steven 'Creech' Anderson
Martin Joos - Lighting Crew Chief
Curtis Anthony - Electrician
Matthew Tucker - Lighting Technician
Joshua Rahalski - Lighting Technician
Matt Leroux - Lighting Technician

RIGGING
Five Points Rigging - John Fletcher
Albert Pozzetti - Head Rigger
Charles Anderson - Rigger
Sebastien Richard - Motion Control

VIDEO SCREENS
Screenworks NEP
Danny O'Bryen, Amy Segawa
David Davidian - Video Director
Bob Larkin - Video Engineer
Gregory 'Grit' Frederick - LED Engineer
Brian Littleton - Camera Operator
Jay Cooper - Camera Operator

REAR SCREEN FILMMAKERS
Allan Weinrib - Executive Producer
Dale Heslip - Creative Director

Gearing Up
Dale Heslip -Director
Allan Weinrib - Producer
Mark Morton/School - Editor
Kaelem Cahill - Flame Artist/Crush
Yoho Hang Yue - Art Direction & Graphic Design/Crush
Leo Silva - CG Animator/Crush

That's My Shmegegee
Animation produced by Style5.TV
Sam Chou - Director
Noam Sussman - Animator
Brentton Barkman - BG Designer

Big Money
Ryan Hunt/School - Editor
Body Electric
Mike Spicer & Dave Desjardin/Loop - Animation & Design
Dreamline
Jackie Roda - Editor
Footage supplied by NASA.
Special thanks to Kenneth Fisher
The Pass
Matt Mahurin - Director
Editor - Lauren Piche
Where's My Thing?
Aaron Dark/School - Editor
Territories
Crankbunny - Design and animation
Far Cry
Steven Lewis/Spin Productions - Design and Animation

The Appointment & Office of the Watchmaker
Featuring Jay Baruchel
Dale Heslip - Director
Allan Weinrib - Producer
Mark Morton/School - Editor
Township & Company - CG Design
Township & Company/ AXYZ - Compositing
Calliope version of Tom Sawyer arranged and produced by Lou Pomanti

Caravan
Concept by Dale Heslip
Pyramid Attack - Director
Clockwork Angels
Moment Factory - Director
The Anarchist
Christopher Mills - Director
Carnies
Julia Deakin/Crush - Graphic Designer/VFX Artist
Seven Cities of Gold
Christopher Mills - Director
The Wreckers
Pyramid Attack - Design and animation
Headlong Flight
Josh Venneulen & Chris Moberg/Double Plus - Design and Animation
The Percussor
Greg Russell and Brian Walters/Tandem Digital - Animation
Wish Them Well
Loki Visual Effects Inc. - Design and animation
The Garden
Crankbunny - Design and animation
Tom Sawyer contraption
Yoho Hang Yue/Crush - Art Director & Graphic Designer
Jullian Ablaza/Crush - Graphic Designer
2112
Tandem Digital - Design and Animation

Additional Steampunk Video frames
Designed by Bienvenido Cruz

Geddy's Backline video
Design and animation by Randy Knott

All Crush projects previously listed:
Patty Bradley - Executive Producer
Kristen Van Fleet - Producer
Special thanks to Peter McAuley

Geddy and Alex's Backline Amps:
Designed by Dale Heslip
Construction by Mood Inc.

PYROTECHNICS
Pyrotek, Lorenzo Cornacchia
John Arrowsmith - Pyrotechnician

TOUR PROMOTER
Live Nation Global Touring
Gerry Barad, Susan Rosenberg, Carla Jespersen
Keith Keller - Live Nation Global Tour Rep
Colin Womack - VIP Nation Rep

MANAGEMENT
SRO Management Inc.
Ray Danniels, Pegi Cecconi, Meg Symsyk, Andy Curran, Sheila Posner, Bob Farmer, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Randy Rolfe

BUSES
Hemphill Brothers Coach Company
Mark Larson
Dave Burnette - Driver
Lashawn Lundstrom - Driver
Marty Beeler - Driver
Joe C. Bush - Driver
John Morgan - Driver
Tony Hammonds - Driver

TRUCKING
Ego Trips - Jim Bodenheimer
Arthur McLear - Lead Truck Driver
Jon Cordes - Driver
Tom Hartmann - Driver
Henry McBride - Driver
Juli Mennitti - Driver
Steve Mennitti - Driver
Bob Wright - Driver
Bruno Pelle - Driver

BY-TOUR, INC
Provident Financial MGT.
Amy Cetron

BOOKING AGENCY
USA - Artist Group International
Adam Kornfeld, June Chaiyasit

CANADA - Feldman & Associates
Vinny Cinquemani, Olivia Ootes

TRAVEL AGENCY
Frosch Travel
Marla Wax-Fergusson, Joe Mauceri

AIRCRAFT CHARTER
Image Air Charter
Mike Irish, Liz Horbasz
Dan Droppo - Pilot
Bill Bryant - Pilot
Murray Clapp - Pilot
Flight Attendant - Anastassia Tchernykh

CUSTOMS BROKER
B. Zee Brokerage Ltd.
Barry Zeagman, Neil Zeagman

MERCHANDISING
Showtech
Patrick McLoughlin
Don Johnson

PASSES
Otto Entertainment
Mark Alger

RADIOS
Point To Point Communications
Ken Micks

ITINERARIES
Smart Art
Donna Hair, Lon Porter

TOUR BOOK
Hugh Syme - Art Direction, Design and Illustration
Andrew MacNaughtan - Photography
Todd Fraser, Richard Sibbald and Meg Symsyk - Photo Editing
Additional Photography - Craig Renwick, Randy Johnson, John Arrowsmith and Donovan Lundstrom
Motorcycling - Michael Mosbach

Smartphone Wallpaper

Our RUSH smartphone wallpapers have been modified for a size of 640 x 960 pixels to fit "most" Smartphones.