The Spirit Of Radio
Roll The Bones
* The Trees
* One Little Victory
* Secret Touch
Between The Wheels
* Red Sector A
Der Trommler (drum solo)
Heart Full Of Soul (acoustic)
2112 (Overture, The Temples of Syrinx, The Grand Finale)
* La Villa Strangiato
* By-Tor And The Snowdog
* Blu-Ray only
The Spirit Of Radio (5:05)
Force Ten (4:50)
Red Barchetta (6:50)
Roll The Bones (6:22)
The Seeker (3:22)
Tom Sawyer (5:00)
Between The Wheels
Mystic Rhythms (5:23)
Der Trommler (9:02)
Resist (acoustic) (4:34)
Heart Full Of Soul (acoustic) (2:45)
2112 (Overture, The Temples of Syrinx, The Grand Finale) (8:24)
Working Man (6:14)
Summertime Blues (3:41)
"The Anthem Vault"
R30 DVD Disk 2 Easter Eggs
Geddy Lee- Vocals, Bass
Alex Lifeson- Guitar, Vocals
Neil Peart- Drums
Directed by Pierre Lamoureux
Pegi Cecconi, Ray Danniels, Allan Weinrib
Pierre Lamoureux, Allan Weinrib
Franyois Lamoureux, Fogolabs
Director of Photography · Eugene O'Connor
Line Producer · Gavin Pigott
Assistant Director · Gavin Pigott
Editingby Mark Morton
Assistant Editor · Chris Thurston
Lighting Director/Designer · Howard Ungerleider
On-Site Audio Producer · Franyois Lamoureux
On-Site Audio Engineer · Denis Normandeau
Production Coordinator · Tanja Tschorn
Supervising Engineer · Ben Vaughn
Director's Assistant · David Rath
Wim Verelst, Michael Reichert, Ivo Fuchs, Simon Stadler, Holger Radler, Christian Weber, Paul Eggerton, Sam Osborne
Herman Heirstrate, Ronald Meyvisch
Karim Laout, Nikolai Kalg, Andreas Grindl, Mathias Diederich
Belgian & German Technical Crew
Project Co-ordinator · Timo Koch - Outside Broadcast, Belgium
Unit Manager · Ronald Meyvisch
Geert Helson, Werner Van Den Eede
Andre Verbesselt, Ivano De Notarpietro
Tape Operator · Joost Davidson
Hothead/JIM Technician · Dirk Vanderbemden
Vision Mixer · Miguel Rinckout
Sound Engineer · Bart Rommelaere
Peter Van Dam, Joeri Donckers, Staf Moonen
Sound TruckSound Truck · B&R Medientechnik
Audio Technical Director · Bernd Kugler
Operating Engineer · Marc Lenz
Audio Engineer · Marcus Kotter
Timo Ostermann, Dirk Reuther
5.1 Audio Mix
by Richard Chycki and Alex Lifeson, assisted by Adrian Lifeson
Engineeringby Francois Lamoureux
Offline Editing Facilities
School, Toronto, Canada
Fogolabs, Montreal, Canada
Online Editor · Yannick Gamache
Title Design by Crush, Toronto, Canada
Audio Post Production
Mixland Music & DVD, Toronto; Lerxst Sound, Toronto
Fogolabs, Montreal; Broadness, New York
Spin Productions, Toronto, Canada
Darn that Dragon
CuppaCoffee, Toronto, Canada
Ray Danniels, SRO Management, Toronto
European Touring Company
Neil Warnock, The Agency Group, London
Lighting Supplied by
Premier Global Productions, Nashville, TN
Audience Lighting Supplied by
Sound Supplied by
MD-Clair Brothers, Nashville, TN
Projection System Supplied by
BCC Video Inc., Westlake Village, CA
Lasers Supplied by
Production Design, Markham, ON
Pyrotechnics Supplied by
Pyrotek, Markham, ON
Video Equipment Provided by
Rear Screen Photo Montage Edited by
Aaron Dark, ark Morton, School, Toronto
RUSH R30 Tour Crew
Liam Birt · Tour Manager All Round Handsome Guy
Donovan Lundstrom · Road Manager
Craig Blazier · Production Manager
Shelley Nott · Artist Liaison/SRO Management
Keith Keller · Tour Accountant
Karin Blazier · Production Assistant
Brad Madix · Concert Sound Engineer
Howard Ungerleider · Lighting Director/ Designer
tony Geranios · Keyboard Tech
Lorne Wheaton · Drum Tech
Russ Ryan · Bass Tech
Rick Britton · Guitar Tech
Brent Carpenter · Stage Monitor Engineer
George Steinert · Carpenter
Bruce French · Nutritionist
Michael Mosbach · Security Director
Jo Ravitch · Sound Crew Chief
Beau Alexander · Audio Tech
Daniel Taake · Audio Tech
Rich Vinyard · Lighting Crew Chief
Norm Sliwa · Master Electrician
Keith Hoagland · Lighting Tech
Jamie Grossenkemper · Lighting Tech
David Davidian · Video Director
Bob Larkin · Video Engineer
Adrian Brister · LED Engineer
Greg Frederick · Camera Man
Brian Collins · Head Rigger
Frank Aguirre Jr. · Rigger
Marcus Heckmann · VJ
Scott Wilson · Laser Tech
Kevin Hughes · Pyrotechnic ian
Patrick McLoughlin · Merchandiser
Brutus · Scooter Trash
Heidi Varah · Caterer
Haydn Crowther · Caterer
Lauren Roberts · Caterer
Emma Scott · Caterer
Rear Screen Video Animation Supplied by
Derivative, Toronto, ON
Buses Supplied by
Beat The Street, Tirol, Austria
Trucking Supplied by
Stagestruck, Middlesex, England
Aircraft Charter Supplied by
Air Charter, W. Sussex, England
Barry Zeagman, B. Zee Brokerage, Mississauga, ON
Sound Moves UK Ltd.
Generators Provided by
G.E. Energy Rentals, Showpower
Television Truck Provided by
Outside Broadcast, Rotselaar, Belgium
Eat to the Beat, Hertfordshire, England
RUSH/Anthem Entertainment Consigliere
Robert A. Farmer
Festhalle, Frankfurt, Germany
KBK Konzert, Klaus Boenisch, Rainer Weiss
Thanks to our Technical Suppliers
Hughes & Kettner Amplification, Paul Reed Smith, Gibson Guitars, Dean Markley Strings, Dunlop Manufacturing
Saved by Technology, Fender, Tech 21/Sansamp, Rotosound Strings, Taylor Acoustic Guitars
DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads
Special Thanks to
A personal thank you from Rush to our long-neglected European fans, for their patience and dedication
Ray Danniels, Pegi Cecconi, Sheila Posner, Shelley Nott, Anna LeCoche, Cynthia Barry, Rayanne Lepieszo, Andy Curran, Bob Farmer, and Randy Rolfe
Art Direction, Illustration and Design
Fin Costello, Andrew MacNaughtan, Deborah Samuel, Dimo Safari, Carrie Nuttall, Bruce Cole, MRossi
1979, Hamilton, lvor Wynne Stadium
1981, Le Studio, Quebec
1990, Artist of the Decade interviews
1994, Juno Hall of Fame induction
2002, Vapor Trails tour interview
The Anthem Vault
Fly By Night
Rnding My Way
In the Mood
La Villa Strangiato
A Farewell to Kings
The Spirit of Radio (Sound Check - 1979 Ivor Wynne Stadium)
Freewill (from Toronto Rocks - 2003)
Closer to the Heart (from Canada for Asia - 2005)
Easter Eggs - good luck - find them
Interviews edited by Aaron Dark, School, Toronto
Interviews conducted by John Martin, Denise Donion, Bill Welychka
All interview footage is provided courtesy of MuchMusic Network, a Division of CHUM limited © 2005, All rights reserved,
Juno Hall of Fame footage courtesy of Canadian Academy of Recording Arts and Sciences and CBC © 1994 CARAS/CBC.
All music clips courtesy of the Anthem vault except:
Finding My Wayand In the Moodcourtesy of Historic Fiim Archives
The Spirit of Radiocourtesy of MuchMusic Network, a Division of CHUM limited
Freewillfrom the DVD Toronto Rocks courtesy of Warner Vision
Closer to the Heartfrom Canada for Asia Tsunami Relief Concert courtesy of WorldVislon, CBC and BIZBUZ Entertainment
Thanks to Dayid Kines and Leisa Peacock
Special thanks to Anna LeCoche
All Songs Lee/Lifeson/Peart
Except Fly By Night(Lee/Peart), Finding My Way(Lee/Lifeson), In The Mood(Lee) and Closer to the Heart(Lee/Lifeson/Peart/Talbot)
© 2005 Anthem Film & Television. All Rights Reserved
On-site Audio Producers Francois Lamoureux
On-site Audio Engineer Denis Normandeau
2.0 Stereo Mix by Richard Chycki and Alex Lifeson
Assisted by Adrian Lifeson
Audio Post Production - Mixland Music & DVD, Toronto and Lerxst Sound, Toronto
Mastered by Stephen Marcussen, Marcussen Studios
Executive Producer - Pegi Cecconi with Andy Curran
Art Direction, Illustration and Design by Hugh Syme
All Songs Lee/Lifeson/Peart except:
Working Manand Finding My Way(Lee/Lifeson)
All songs published by Core Music Publishing (SOCAN) except:
One O'Clock Jump
(Written by Count Basie)
EMI Feist Catalog Inc.
(Written by Capehart/Cochran)
Warner-Tamerlane Publishing Corp.
Heart Full of Soul
(Written by Graham Gouldman)
EMI Miller Catalog Inc.
(Written by Pete Townshend)
Fabulous Music Ltd.
Abkco Music Inc.
Towser Tunes Inc.
(Written by Robert Leroy Johnson)
Backstage Music Publishing o/b/o Music & Media International
© 2005 Anthem Film & Television. All Rights Reserved
GEDDY LEE bass guitar, vocals, synthesizers
ALEX LIFESON guitars, vocals, synthesizers
NEIL PEART drums, cymbals, electronic percussion
Management by Ray Danniels, SRO Management Inc. Toronto
Tour Manager & Tour Accountant - Liam Birt
Production Manager - Craig Blazier
Production Assistant - Karin Blazier
Road Manager - Donovan Lundstrom
Artist Liaison - Shelley Nott
Concert Sound Engineer - Brad Madix
Lighting Director - Howard Ungerleider
Keyboard Technician - Tony Geranios
Drum Technician - Lome Wheaton
Bass Technician - Russ Ryan
Guitar Technician - Rick Britton
Stage Monitor Engineer - Brent Carpenter
Carpenter - George Steinert
Security Director - Michaei Mosbach
Nutritionist - Bruce French
Derivative VJ - Marcus Heckmann
Concert Rigging - Brian Collins, Frank Aguirre, Jr.
Concert Sound by MD Clair Bros. - Jo Ravitch, Beau Alexander
Lighting by Premier Global Productions - Rich Vinyard, Andy Garanyi, Keith Hoagiand, Jamie Grossenkemper
Video by BCC Screenworks - David Davidian, Bob Larkin, Adrian Brister, Greg Frederick
Rear Screen Projection by Spin Production - Norm Stangi, Lisa Batke, Mikkel Groesland, Paristu Rezaie - Nick Perks, Steven Lewis, Luis Torres
Live 3D Animation by Derivative - Greg Hermanovic, Ben Voight, Farah Yusuf, Garrett Smith, Rob Bairos
Lasers by Production Design - Scott Wilson
Pyrotechnics by Pyrotek - Kevin Hughes
Director of Visual Production - Allan Weinrib
Trucking by Ego Trips - Arthur (Mac) McLear, Tom Hartmann, Jon Cordes, Michael Gibney, Don Johnson, Jeff Wiesner
Buses by Hemphill Brothers - David Burnette, Lashawn Lundstrom, Marty Beeler, Sam Mitchell
Tour Merchandise - Pat and Kelly McLoughlin, Alex Mahood
Booking Agencies - Writer & Artist Group International, NYC, / The Agency Group, London, / S. L. Feldman & Associates, Toronto
Art Direction, Tour Book Design and Digitai Illustrations - Hugh Syme
Photo research, Editing and Archiving - Andrew MacNaughtan
Assistant Editor - Jeff Harris
Photographers - Fin Costello, Andrew MacNaughtan, Deborah Samuel, Dimo Safari, Carrie Nuttall, Philip Kamin, Bruce Coie, MRossi, and Yousuf Karsh
visit our site at www.rush.com
I didn't know if I should write some sort of story, or tell a joke, or list my equipment like Ged and Neil did, but in the end, I chose to go the gear route. It's like two weeks before the tour and, as always, we're down to the wire.
I did ask my wife to help me with it, though, and she was a terrific help, as usual. She's always been into amps and delay units and string gauges, and never lacks giving some sort of helpful advice.
The conversation went something like this:
"So honey, I'm thinking of using the Hughes & Kettner Zentera modeling amps and the Triamps again this year, as I was very happy with them on the last tour."
"It's just that the Audio Technica AEW R5200 wireless system sounds so good through the Behringer MX602 mixers. It helps make the T.C. Electronics G Force sound great and really widens the T.C. Electronics Spatial Expander."
"The spatula what?"
"Now, if it wasn't for the Custom Audio Japan power supply and VCA units connected with the Ground Control Audio Switcher, I don't know what I'd do. I'd have no Cry Baby Wah Wah."
"Wah what? That's how a grown man talks, wah wah? Where are my cigarettes?"
"I'm also taking out a bunch of guitars again. Four Paul Reed Smith CE Bolt Ons, 3 Gibson Les Pauls, 2 Fender Telecasters, a Gibson double-neck, ES 355 and SG, Taylor and Gibson J150 acoustics and my trusty Ovation Nylon."
"You wear nylons now? Where's that stupid corkscrew when I need it?"
"Here it is. So where was I? Oh yeah, here's the schematic layout Rick drew of the routing, post radio via Axces splitter pre effects, and if you notice here at the...Honey? Honey?"
Just about everything in my workshop is new and different this tour - everything but the drummer, really. (And the equally aging, but invaluable, drum tech, Lorne "Gump" Wheaton.) Even the drum riser had to be rebuilt, after it was demolished during loadout after the Rio de Janeiro show (fortunately the last show of the Vapor Trails tour). Upended on a flatbed truck, the riser was being ferried to the semi-trailers outside the stadium, when the driver failed to notice that his load was higher than the exit. Just like in a cartoon, the whole big assembly flew off the back and went "boom."
After that Rio show (I've been dying to tell this story somewhere), we also had to leave behind the carpet that covered the stage (40' by 24', with the Vapor Trails logo in the middle). It had absorbed so much rain over those three shows in Brazil, it was too heavy to ship back to Canada. Apparently it finally dried out, decorated a Brazilian home awhile, then appeared on eBay.
But I digress.
The biggest news is the cymbals. In September of 2003, I had the fascinating experience of visiting the Sabian factory in Meductic, New Brunswick, and working with cymbal master Mark Love on the design of my own line of cymbals, called Paragon. The results have been extremely gratifying, first in how well they work for me, and second in how well they've been received by other musicians. I play a 22" ride, 20", 18", and two 16" crashes, 13" high-hats, 14" "x-hats," 8" and 10" splashes, and 19" and 20" China types.
The drums are also brand, spanking new, a special "30th Anniversary" kit created for me by the good people at DW. As we worked together on the design, we aimed to create the drum-set equivalent of the "dream cars" displayed at auto shows, a showpiece that was also the ultimate expression of craftsmanship. John Good carefully selected the woods and laminates, even the grain direction, for maximum tonality, and the shells, as always, were timbre-matched to complement - and compliment - each other musically. Additional thanks to Don and Garrison for their overview and detail work, and the finish was developed with master painter Louie and transfer-designer Javier, partly inspired by Keith Moon's "Pictures of Lily" kit, to represent the "dream drums" of my youth.
The sizes are the same as the old red sparkle kit, 22" bass drum, toms 8", 10", 12", 13", two 15", 16", and 18". I have been favoring either the DW "Edge" model snare drum (indoors) or the DW "Solid Shell" (outdoors). The hardware is plated in 24-karat gold this time, rather than brass, and the heads are DW's own design, which have lovely feel and resonance.
DW also put together custom shells for the Roland V-drums, to give a nice completion to the electronic side of the shop, which also includes a MalletKAT, K.A.T. trigger pedals, and a Dauz pad, all running through a Roland XV5080 sampler and Project X Glyph hard drives.
Bringing it all back to basics, and keeping it real (not to say primitive), I continue to beat on all that with Promark signature model drumsticks.
Well, it's time for me to list my equipment for this here 30th Anniversary Tour. So I guess I should start with what seems to be the single most popular piece of gear I own - the Maytags. (Geez, you'd think I'd have a sponsorship by now!)
I have to confess that I don't even know what their model number is, or even what vintage they are! I really have to get onto that - I mean, a professional musician should know everything about every piece of gear he or she uses on stage. Like, we're only as good as our tools, right?
I've been lucky with some of my gear. I found my Fender Jazz Bass in a pawn shop in Kalamazoo, Michigan, and I found my Maytags in a used appliance store in the outskirts of Toronto. Even luckier because they were in such good shape - and three of them to boot!
But lately I have been pondering whether or not to carry on with them for this tour, or to try something else. Something, er?different. You know, keep evolving, so to speak, looking for that perfect setup. The ultimate piece of gear, know what I mean? I think I owe it to my craft to keep searching for perfection in technology.
I know, I know, what you're going to say - "Don't mess with a perfect thing, man!" "People love them, man!"
Well you could be right, but I just can't give in to the vox populi, as it were, tempting as it may be to keep up with the status quo (hey, not bad - two Latin references in one sentence!). I just gotta be me and keep looking for the certain, special, something that will make my little corner of the stage a little more special.
As I write this, I am looking at alternatives. Other appliances? Perhaps. Speaker cabinets? Nah, never.
Hmm...Hey, wait a minute! Maybe I can pay my respects to the past, and still move forward!
Just give me a few days to work this out. Why, that's so crazy it just might work...
Anyway, see you out there somewhere!
Oh, right...I also use a few other bits of stuff. Like a few Fender Jazz Basses with maple necks and Badd-Ass bridges. An Avalon Tube direct box, a Sans Amp R.B.I. bass preamp, and a Palmer speaker simulator. For keyboard noises, and sounds that you can hear and wonder where the come from, we use Roland XV-5080 sampler-synthesizers, either played on keyboards or triggered my me, Alex, or Neil via footpedals or drum triggers.
All very scientific stuff, you know...
"Some of the songs were dropped from R30 due to technical reasons but also we didn't want to have too many similarities with Rush In Rio. Why not? Well, I think now that it was a dumb decision of ours. In fact I regret not having put the whole show on those disks. But I promise you, all those songs that were cut will eventually see the light of day, in some shape or form." - Geddy Lee, Aardschok Magazine, March 2006
As promised by Geddy Lee, these songs have all been subsequently released:
Unfortunately, the Blu-Ray edition does not include the bonus features previously released as the second disk of the DVD edition. This means that a fan must possess both the DVD and Blu-Ray editions to have both the full concert as well as the bonus features. A source with SRO/Anthem stated that with the Blu-Ray release the band simply wanted to give the fans the full concert in a great format without being too expensive, and that when initially planning the release it was believed that including the bonus features would have required a second disk at additional cost to the fan. However, the total amount of data on the final Blu-Ray is only 38GB, while the disk itself holds 50GB; that means that there is more than enough room for all the special features originally included on the 8GB DVD.
"'I approached the band's management SRO about filming Rush on their anniversary tour and they turned me down being so close to their Rush In Rio project. As the tour went on they decided it would be a great idea but it was too late to film Radio City Music Hall and Red Rocks although we talked about it, we just couldn't get crews into the cities at the right time.'" - Pierre Lamoureux, Producer and Director of R30, allheadlinenews, October 12, 2005
"One of the German shows, we're going to be filming. And its not that we have a specific DVD release in mind for it, but just kind of as a historical record of 'this' tour." Geddy Lee, Phill Jupitus Breakfast Show, BBC Music 6, September 8, 2004
"We have a tendency of screwing these decisions up pretty well. At the beginning of the tour, I said, 'Hey, are we gonna film any of these shows? And if we are, let's plan it now, well in advance.' And everybody said, 'Well, we just put out "Rio." Why do we want to do two DVDs back to back? Let's just go out there and have fun.' Then, of course, we were halfway through the tour and were playing really well and the crowds were great and everyone says, 'Hey, let's record this for posterity in case we get hit by a bus or something.' So, we about-face and throw the plans together to film the show in Frankfurt since we were just about done with the American tour." - Geddy Lee, MTV.com, December 28, 2005
"A crew of 14 cameras is shooting footage for what will ultimately become Rush's second DVD music video. The fact that the cameras are HD, shooting in 1080p, indicates the band and its management plan a long and profitable revenue life for this project, well into the arrival of the next generation of high-density disc formats (HD-DVD and Blu-Ray Disc) and the proliferating number of high-def broadcast outlets in the U.S. and elsewhere...The video shoot was financed by the band and its Canadian management company, Anthem Entertainment, and will cost several hundreds of thousands of dollars by the time post-production and 5.1 mixing are finished." - Rushing Into Something New, FOH Meets DVD on the Rush European Tour, FOHonline, January 2005
"Well, basically nobody was in a big hurry to do another live project, because we've got about 60,000 of them out there, but when we were touring Europe on the last tour, we hadn't been to those countries in 10 years - some of them 20 years. And there was such an exuberant response from the crowd; it just seemed like a unique opportunity to capture the band in that kind of environment. The venue is very old. We've played there a couple of times. It's always a strange atmosphere for North Americans to come over there and play in one of these buildings that Hitler used to do speeches in and so forth. So it's always got kind of an ominous vibe for us. But the crowd is always great and a lot of fans hadn't seen us in a long time." - Geddy Lee, Billboard.com, October 12, 2005
"Sometimes that kind of pressure inspired us to rise to an exalted level, as had happened the previous tour in Rio de Janeiro, and for other performances we had recorded and filmed over the years. However, other times that kind of pressure had the opposite effect, making us tense and...lousy. Frankfurt, sadly, was the second kind. I had a cold coming on, and felt fuzzy headed, and all of us were edgy, overconcentrating and overanalyzing. It seemed like we had to fight our way through the show. I made a nasty mistake right in the first song, the 'R30 Overture,' and never really recovered. Something bad happened in 'Earthshine,' and again in 'One Little Victory,' and at the time I though they had all been my fault. (The next night, after I had tormented myself all day about it, gone over theose parts in my head all day, and even rehearsed that part of 'Earthsine' in the Bubba-Gump room before the show, Alex told me it had been Geddy in 'Earthshine,' and Geddy told me it was Alex in 'One Little Victory.')" - Neil Peart, Roadshow
"Rio was all about being in that 12th row center seat and feeling the energy of the crowd, whereas R30 is more about the performers and the production. It's a tighter sound - a tighter mix with less ambience and less crowd...this is probably the best-sounding live performance of us I've ever heard." - Alex Lifeson, Sound & Vision, February 2006 issue
"[R30 Overture] was an idea that Neil had. He suggested that maybe we could pay tribute to those songs in some way other than...obviously we can't play as many songs as we'd like to, we're already well over 3 hours. So in rehearsals, actually quite late in rehearsals, we decided to throw a bunch of them together and see if we could make some sort of overture. So we came up with this "R30 Overture" idea and worked on it. It came together quite quickly actually. I think it's a nice way to open the show. It's really easy to pull songs together if you don't have to sing them. It's like a walk in the park." - Geddy Lee, fye.com, July 9, 2004
"Medleys had always been a good tool for squeezing more songs into the time available, and I suggested we might arrange a kind of 'overture,' in which instrumental themes from many songs could be woven together into a powerful opening piece." - Neil Peart, Roadshow
"We always wanted to bring back things like 'Mystic Rhythms', so we just added a wish list. And, of course, we had way too many. 'Closer To The Heart' got retired because we got sick of it..." - Neil Peart, Classic Rock, October 2004
"There was talk about doing 'Second Nature' as an acoustic song - I think that would be a good treatment for a song like that. Again, it's a question of time. I'd love to extend the acoustic thing to be half-an-hour long, but I don't know if we could justify that in the context of all our material." - Geddy Lee, fye.com, July 9, 2004
"[The cover songs are] a blast to play. I love playing them. I wish we could play them all, but there's a fine line, in my view, with what Rush fans want to hear and what we want to play. To lose four songs that people have been waiting to hear from our previous albums, in favor of four cover songs, is a jump enough. To do four more would start boring them. People are digging them. I think they're kind of a breath of fresh air in the set to be honest." - Geddy Lee, FYE.com, July 9, 2004
"We had a few people in mind, and Jerry was very interested in doing it, and he's a real pro. And it was just such a cool idea to have George Costanza's father introducing the band (chuckles), you know? So he was a really, really good sport, and I think he did a great job. (We) get a lot of laughs out of that." - Alex Lifeson on Jerry Stiller's guest appearances, therockradio.com, December 13, 2005
"We opened our show through the last tour with a film, it was a dream sequence, and at the end, Jerry Stiller wakes up, and says, 'Whoa! Did I miss the show?' And then he calls us to the stage. We originally wanted Jack Black to do that. We called his people, and they said he wasn't available. When I met Jack he said, 'I never heard about that! I would have done it, I'm at your service!' So when we played in Irvine Meadows in Southern California, he came to the show. I told him, well, we keep these dryers on stage, we have t-shirts in them, and at the end of the show, Geddy and Alex pass the shirts out to the audience. So we asked him to come out and do that, and he said, 'Oh, yeah!' Well, it turned into performance art. While we're playing '2112,' he somersaults onto the stage, striking rock poses in front of Geddy on stage, he climbs up on the dryer, he starts stripping, he's down to his boxers with the 'plumber's crack, he immerses himself in posing, then he sommersaults off stage, and we're looking at each other going 'What just happened?'" - Neil Peart, Sirius.com, September 20, 2006
"On Vapor Trails, Geddy had been inspired to have a row of three old Maytag dryers up there spinning throughout the show with T-shirts he and Alex handed out later to the crowd before the encore - 'I Got This T-Shirt From Dryer Number 3.' Those dryers had caused considerable wonder from stagehands and fans, and the crew had fun inventing reasons for their use, 'This one's for a "warm" sound, this one's for a "dry" sound,' and the sound crew even set up dummy microphones in front of them. For this tour, Geddy didn't want to give up those dryers, but at the same time, he wanted something new. Eventually he settled on having only two Maytags, but added an old-fashioned Automat dispenser (another part of Liam's job was locating this relics) with rotating shelves that eventually collected all kinds of interesting items, from presidential bobble-heads to superhero dolls. Some days, soundcheck was held up while he found places to display his latest treasures." - Neil Peart, Roadshow
"...That Darn Dragon, would open the second set, with puppet animation of three bobble-head dolls of us (in '70s regalia of long hair and kimonos) doing battle against a puppet version of the dragon from Vapor Trails. It was a little like an old Japanese monster movie, but with puppets - Godzilla meets 'Fireball XL-5' (which Geddy and Alex and I used to watch every morning in the rented house we shared in Chelsea during an '80s recording project)." - Neil Peart, Roadshow
"'Bravado' also gave us breathing space, as it began with a mid-tempo instrumental groove, more textural and gentle than what had gone before. While we played that introduction, I had a good chance to let my gaze wander around the audience, and I couldn't help noticing a scattered few-dozen silhouettes rising and walking away, choosing that song as a good opportunity to get up an wander around-head off to get some more beer, or to 'offload' some. That bothered me more than it should have." - Neil Peart, Roadshow
"I don't really know. We must have just missed it for some reason. I think maybe our minds and memories were going when we did that." - Alex Lifeson on why Presto was the only album not featured in the R30 setlist, Metal Express Radio, May 21, 2012
"Sure, the footage from Exit Stage Left is classic, and you can't beat the wild Brazilian crowd in the Rush in Rio DVD, but if you can only get one Rush DVD it has to be R30. The setlist, sound quality, and camera angles just can?t be beat. The R30 Overture that opens the show has all-instrumental snippets of 'Finding My Way,' 'Anthem,' 'Bastille Day,' 'A Passage to Bangkok,' 'Cygnus X-1,' and 'Hemispheres,' plus a hilarious cameo from Jerry Stiller. The lack of vocals on this medley allows Alex Lifeson's PRS-fueled guitar tones to really stand out. He and the boys run through a whole bunch of Rush favorites including 'Xanadu,' 'Subdivisions,' 'Red Barchetta,' and 'Tom Sawyer' (with a killer Lifeson solo). The show kicks ass from start to finish and Lifeson is in fine form the entire time with his trademark arpeggios, fiery solos, and a humongous tone that fills the arena. If the gig was all you got this would still be a must have. When you factor in all the DVD extras likea bunch of live-in-the-studio performances from back in the day and soundcheck footage, this is an amazing piece of work and a great example of Lifeson working his magic." - "50 Essential Guitar DVDs", Guitar Player, February 2008
"My brother, he's kind of an intermediary between us and our video projects and he just spent some time in the vault just kind of looking at what we had, cataloging what we had. And he found all this old footage that we had kind of forgotten about, and brought it to our attention. Once we knew about it, we said, 'Well, we'll look for the right opportunity to use all those pieces.' And then when we decided to do the R-30 tour and then subsequently made the late decision to film one of the shows on R30, it seemed the perfect opportunity to add another disc with all these pieces." - Geddy Lee, Ultimate-Guitar.com, December 6, 2005
"It wasn't a church, it was a school, in the southern states, I think in Georgia, actually. We were doing a gig that night, and we loaded in, and there was this kind of castle setup in another auditorium. And we just happened to have a guy with us who was a camera guy, I think he was working for the record company...and so we just did the song and he just quickly shot it just for our own kind of use, but of course we never used it [laughs] so that's why it was one of those Easter Eggs on the last DVD." - Geddy Lee discussing the Fly By Night Church Session Video, "Rockline", May 9, 2007
"'Here's an interesting piece of trivia, the guy that filmed the 'Xanadu' and 'Farewell To Kings' stuff that's on there went on to be the director of American Idol,' laughs Geddy". - More Sugar, May 2006
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