Clockwork Angels Tour

Video Tracklist

Video Bonus Tracks
Limelight (soundcheck recording)
Middletown Dreams
The Pass
Manhattan Project*

*With the Clockwork Angels String Ensemble

Special Features

  • Can't Stop Thinking Big (25 min tour documentary)
  • Behind The Scenes (featuring Jay Baruchel)
  • Outtakes
  • Interview With Dwush
  • Family Goy
  • Family Sawyer
  • The Watchmaker (intermission tour film)
  • Office Of The Watchmaker (closing tour film)

Easter Egg


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


Linernotes Essay, Vinyl Edition

by Ray Wawrzyniak

In hundreds of interviews throughout Rush's incredible 40-year career, the question posed most often to bassist Geddy Lee, guitarist Alex Lifeson, and drummer Neil Peart is something along the lines of, "How have you stayed together so long?" All three agree on one - perhaps the key personal factor that's kept the trio intact: their friendship. As musicians and songwriters, Lee, Lifeson, and Peart are equally unified in their desire to grow and challenge themselves, which sets the stage, so to speak, for this highly anticipated vinyl release of Clockwork Angels Tour.

It was evident early on that Rush would never be complacent. They were a band that needed to grow, evolve, and continually push both themselves and their fans. After releasing their eponymous debut album, drummer John Rutsey departed, leaving Lee and Lifeson to find a replacement. The band’s third album - and second with drummer Neil Peart - Caress Of Steel, established their sound, direction, and out-of-the-box thinking with its entire side-long suite.

Unfortunately, a tour in support of the album was less than successful, and the bandmates knew their backs were against the wall. They knew they had to deliver, and boy, did they respond! Their next album, 2112, Rush's first to crack the American Top 100, took off and earned them an ever-increasing legion of fans, along with greater trust from their record label. Time to rest on their newfound laurels now, right?

Absolutely not. Quite the opposite, in fact. In the years and tours to follow, Lee, Lifeson, and Peart continued to venture even further. They added a greater variety of instruments to the band's collective arsenal. The songs themselves began integrating different styles of music and became infinitely more challenging, both for the band and the listener. They also decided to try their hand at writing shorter songs - songs that were as effective as their epics but more concise. Neil Peart himself decided to relearn the drums from scratch under the tutelage of jazz drummer and teacher Freddie Gruber.

By the late 1980s, the band had practically evolved into a small symphony orchestra with lush productions. Beginning in 1996, the band decided to up the ante onstage with longer, hours-long performances under the banner of "An Evening With Rush," which not only gave the fans what they wanted - more Rush! - but also pushed the band to its physical limits. All of which, inevitably, leads us to the Clockwork Angels tour.

Almost 40 years in, recording an album of new material is challenge enough for any established band. Recording an entire concept album, though . . . well, not even the most ardent Rush fan would have expected such an ambitious endeavor. Nevertheless, in June 2012, Rush released its musically diverse 20th studio album, the sprawling suite Clockwork Angels. Three of Rush's 70s studio albums feature side-long pieces, but, prior to Clockwork Angels, the band had never recorded an entire album dedicated to one consistent storyline. To take such an adventurous, new body of work out on the road was demanding enough. To do so with the nine gifted string musicians who joined Rush onstage during the Clockwork Angels tour is another story still.

As you'll hear on Clockwork Angels Tour, the first half of the show features only Lee, Lifeson, and Peart: the band you know and love. From opener "Subdivisions" through first-half closer "Far Cry,” the crowd is treated to quintessential, unmistakable Rush. Songs the band had not performed in years - “Grand Designs," "The Body Electric,” and "Territories" - are featured here. Dusting off those long-unheard gems alone certainly would have created its own unique set of obstacles.

The majority of the second set - from “Caravan" through "YYZ" features the nine string players, dubbed the "Clockwork Angels String Ensemble" by Geddy Lee, as Rush once again raises the live-performance bar. And did they succeed? In the words of the inimitable Dr Seuss, "Yes, they did - indeed!” Whether playing along to parts straight off of Clockwork Angels, or adding texture to Rush classics such as "Dreamline,” “Red Sector A” and “YYZ,” the Clockwork Angels String Ensemble's performance reinforces their place onstage alongside the legendary Rush. The reward is great for all involved: for the band, for the ensemble, for those in attendance in Dallas on November 28, 2012, and, just as importantly for you the listener, here and now.

You, in the comfort and luxury of your own home, are now the beneficiary of Rush's career-long commitment to constant evolution. You can sit and listen to the majesty of "The Wreckers" performed with the drama that surrounded its live presentation. You can experience the grandeur of "The Analog Kid," the rediscovery of "The Body Electric," the self-influenced, bombastic performance of "Headlong Flight," and the emotional end to the Clockwork Angels suite, "The Garden."

It has been said that the ultimate measure of a man or woman is where that person stands in moments of challenge. When considering the ability to adapt and drive themselves far paste even their own musical expectations, Rush stands head and shoulders above their contemporaries throughout their remarkable career.

You and I are so fortunate to reap the rewards here on Clockwork Angels Tour.


Video Credits

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 Credits

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

Notes

Clockwork Angels Tour vinyl edition
  • Highest Billboard Chart Position: 1 (video) - Video Certified Gold & Platinum by RIAA: May 14, 2014
  • Released November 19, 2013; 5LP vinyl edition released October 11, 2019
  • 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.
  • The Garden picture disk, click to enlarge
  • 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.

In Their Own Words...

"I kept talking about it with the other guys and Neil was more ready for that than Alex initially. Alex is a little reticent - he likes to have the three-piece, no strangers on the stage. I think by day two in the rehearsals, that all changed. We were just loving it, and loving the fact that we had these new guys to hang around with on tour. They were contributing so much visually by being so into it and being such great players. It brought a new life to the tour, and we crossed our fingers our fans would see it the way we saw it and I think they certainly did." - Geddy Lee on bringing the string section out on tour, Radio.com, November 11, 2013
"'Clockwork Angels' has five or six songs with strings on them, and we thought that rather than triggering samples, why don't we think about taking strings out for a change? We can pull out some of the older material from the past that we did string arrangements for and include that. And, we sort of dove into it. It's so nice to go out and do something that's unusual and different and keeps you on your toes. And, hopefully, you don't wreck anything for them and they don't wreck anything for you." - Alex Lifeson, Pittsburgh Tribune-Review, September 6, 2012
"In the recent past I had always performed a long solo, around nine minutes, somewhere in the middle of the second set. But...during the mixing of Clockwork Angels, our co-producer, Nick Raskulinecz, an irrepressible 'enabler,' insisted that I had to do my solo out of the drum break in 'Headlong Flight.' It happened that that song would appear around the middle of the second set, but - Jesu Christo! - 'Headlong Flight' is a fast-paced seven-minute song, in the middle of a fast-paced hour-long performance of the Clockwork Angels songs, with another thirty or forty minutes still to go. Plus, coming out of that drum break I will still need to drive through a long guitar solo, another verse, bridge, and a double chorus, all at a fast tempo. To say the least, it was daunting. But...once again I applied some 'polyrhythmic thinking.' What if I did two shorter solos, one in each set?" - Neil Peart, DW Edge #10
"A future opportunity to appear on stage with rock legends Rush was probably not exactly what Salina Symphony legend Eric Stein had in mind when he handed his daughter a violin at age 3, but it suits Adele Stein fine. The 25-year-old Salina native, who started playing cello when she switched from violin at age 4, was on stage with Rush for the first time Friday at the opening show of the group's 'Clockwork Angels' tour in Manchester, N.H. She is one of eight string instrument musicians who are sharing the stage with the iconic rock trio during its current nine-week U.S. and Canada tour, which will conclude Dec. 4 in Houston. 'It's really an incredible experience,' she said. 'We sit behind the band on a riser. People will be able to see us very clearly.' Stein, who lives in Phoenix, is not old enough to have been into Rush in high school, having graduated South High in 2005...However, she had seen the movie called 'I Love You, Man,' about two men who were big Rush fans and attend a Rush concert, before she got an email from a gig contractor in Los Angeles asking if she'd be interested in the tour. She knew right away she wanted to do it. 'I couldn't believe it when I got the email,' she said. 'I was at the airport when I got it, and I was so excited. I was looking around, antsy, trying to tell somebody, but there was nobody to tell.' She found an appreciative audience for her news when she called her mom, Wendy, in Salina. Wendy is planning a trip to Chicago to see her daughter perform with the band and take advantage of a VIP pass and board the string players' bus, one of five buses on the tour. Stein said the stringed instruments are featured in the band's new material from the 'Clockwork Angels' CD, but she said they may also get to play along on the Rush hit 'YYZ'. She said guitarist Alex Lifeson, drummer/lyricist Neal Peart and vocalist/bass player Geddy Lee are 'the sweetest men you can possibly imagine.' Stein first met the band after she arrived in Toronto on Aug. 26 for pre-tour rehearsals. She said the string players did a rendition of 'Happy Birthday' for Lifeson, whose birthday fell during the early days of rehearsals. Stein said she walked past Lifeson and wished him happy birthday, and he thanked her by name. 'Some people I've worked with who are famous, like, they don't take the time to get to know your name,' she said. 'They (Rush members) are so humble and do not act famous at all.' Before the tour started, Stein had been concerned about how the loud music on stage might affect her sensitive ears. However, she was soon contacted by an audiologist, who took impressions of her ears and prepared custom-made headphones in which she can control the volume of the sound mix. She said she had listened to a few of the new songs off the recently released album before arriving to rehearse, but at the first rehearsal the musicians all listened to the music together before playing it. 'It's got some pretty incredible rock rifts all throughout every song,' she said. 'It's very well-written music.'" - Salina.com, September 12, 2012

"Alex, Geddy, and I exchanged many emails on the subject of the setlist - what new songs we would play, and which old ones we wanted to either keep or resurrect...I enjoyed relearning some songs from the mid-'80s we hadn't played for many years, like 'Grand Designs,' 'Territories,' 'Middletown Dreams,' and 'Manhattan Project' and I could tell they were going to sound better than the records (because we play better now than we did back then). But it soon became clear to me that the proposed sets were way too long. Typically, we like to play a one-hour first set, take a twenty-minute intermission (before which Geddy always makes an announcement along the lines of, "We have to take a break - 'cause we're about a hundred"), then play another hour and thirty or forty minutes. Gump and I could tell the two setlists I was playing to would add up to much more than that, and we would need to drop at least four songs. However, there were no obvious candidates, and when I mentioned this reality to Alex and Geddy, the three of us couldn't agree on dropping any. So I suggested something different for us: putting together two shows, Show A and Show B, that would alternate four different songs each night. In the past we had always preferred a fixed format for the setlist, and when confronted with only one or two songs in excess, we would either knuckle down and play them, or drop them for time constraints. This time, somehow the idea seemed more attractive to us when it was bigger (as it should). It did mean having to learn that many more songs, and work them out musically, technically, and production-wise, but it seemed worthwhile - even just because it was different." - Neil Peart, DW Edge #10
"What happened is the thing that always happens -- the set was much longer than what we had to limit ourselves to. We didn't want to get rid of those songs, so we picked a Set A and a Set B, and since then we've been tweaking it a bit, playing a couple and moving them around. I mentioned to Ged the other day: It's kind of nice to arrive at a gig in the afternoon and decide which songs to switch out that night and keep it mysterious, especially now that everything is blogged and tweeted and e-mailed. And it's been a whole set list controversy. Having a deep catalog like this makes it difficult to play enough songs that everybody wants to hear. Everybody has their favored and less favored songs. Rush fans are great at debating the merits of songs. And good at expressing their disappointment and elation. (Laughs) "We don't usually do this type of thing, so we may get back in our usual groove. I'd be an advocate for some other stuff, songs we didn't prepare perhaps." Alex Lifeson, Detroit Free Press, September 16, 2012
"We're stuck with certain songs that we kind of have to play, but generally we do try to go back to songs that we haven't played either in a long time or haven't at all. It's fun to revisit those songs and inject a little bit of new life into them. We weren't really keen on playing 'The Camera Eye' for a very long time. It wasn't until we ended up doing the whole Moving Pictures album that we made an effort. It ended up being our favorite song to play on a nightly basis. It's a challenging song to play and it's long. There are a lot of ups and downs and a lot of melody changes and key changes. It's a workout but to play it well is very, very satisfying for us. We'll continue to play it on this next tour." - Alex Lifeson on how 'The Camera Eye' was intended to be performed on the Clockwork Angels tour, Guitar Player, November 2012

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