R40 Live

 

Video Tracklist

The World is .. The World is ...
The Anarchist
Headlong Flight
Far Cry
The Main Monkey Business
How It Is
Animate
Roll The Bones
Between The Wheels
Losing It (with Ben Mink)
Subdivisions

No Country for Old Hens
Tom Sawyer
YYZ
The Spirit Of Radio
Natural Science
Jacob's Ladder
Hemispheres: Prelude
Cygnus X-1/The Story So Far (drum solo)
Closer To The Heart
Xanadu
2112 [Parts I, II, IV and VII]

Encore:
Mel's Rockpile (with Eugene Levy)
Lakeside Park/Anthem
What You're Doing/Working Man
Exit Stage Left

Bonus:
One Little Victory
Distant Early Warning
Red Barchetta


Linernotes

"It is good to have an end to journey toward; but it is the journey that matters, in the end"
-Ernest Hemingway

All roads have led to this. Forty-one years in the making, the R40 tour took a very real journey back through time. beginning with the grand design: a state-of-the-art stage set that pivots, rolls and dives, and brings Clockwork Angels into bombastic, colourful life before marching stridently back in time (through theatre stages, a panoply of band and fan shots, the accrued memories of a life spent playing live) to a mocked-up school gym and the band playing there; a solitary bass amp set on the chair behind Geddy Lee, a mirror ball spiralling crazily above, casting thin rods of light like a light rain across the crowd, "Working Man" coming to a shuddering halt as the band's beginning becomes their end.

The two hometown shows at Toronto's Air Canada Centre this summer were always going to have an added poignancy given the giant question mark over the band's future - Neil's resistance to play live, Alex's physical travails - plus, this was the town where Rush rehearsed in their rooms and garages, were the scourge of high school dances, brought the bar scene thrumming into bluesy life, it's where "Subdivisions" was played out and the song born.

Any doubts were offset by a sell-out 35-date tour which drew people from as far afield as Australia, Japan, China, South America and London (not the one in Ontario, though they were in attendance too) and only amplified the Canadians' legend. People came dressed as the band (the 2112 era proving particularly popular even down to Neil's moustache), eleven-year-olds thrilled to hear songs that were recorded and released when their fathers were still teenage boys and were now too trying to keep time with Neil's rattling fills.

Toronto was the live debut for "Losing It," the band's hymn to a creative light finally snuffed out. The version on the Signals album was raised ever higher by Ben Mink's (FM) wonderfully affecting violin part, the recreation of which had always put the song beyond the band's live set. His appearance (mere moments after the band had casually told him that the whole show was being filmed) was, and is, a moment of intractable and pure joy, filled (much like the R40 tour) with bittersweet highs and lows, inexpressively beautiful, the violin's high-keening song reaching out to the impossibly high ceiling, disappearing there among the rafters.

"Closer to the Heart" is similarly impactful, as the room lights up with thousands of plastic star men logos held high, swaying unsteadily, couples link arms as the song's refrain echoes around the room and down through time. "Xanadu" buzzes into life as the stage becomes a giant lattice of blue laser beams, the audience in thrall as Lee and Lifeson strap on their double-neck guitars.

It's a musical history writ large; songs that have travelled with people for some if not all of their lives. As Geddy Lee shouts from the stage, maybe for one final time, "Thank you for forty years and i hope we see you again!" And that sentiment is reflected in every joyful face staring back at him.

Philip Wilding


Video Credits

GEDDY LEE
VOCALS, BASS

ALEX LIFESON
GUITARS, VOCALS

NEIL PEART
DRUMS

Director
Dale Heslip

Producer
Allan Weinrib

Executive Producers
Pegi Cecconi, Ray Danniels, John Virant

Director of Photography
Andre Pienaar

Lead Editors
Aaron Dark & Mark Morton - School, Toronto

Editors
Daniel Bochenski, Lauren Horn, Matthew Kett, Lauren Piche

Lighting Director/Designer
Howard Ungerleider

Production Manager
Pete Vanstone

Production Coordinator
Melissa Paduada

Technical Supervisor
Keith Holding

Audio Producer
David Bottrill

Audio Consultant
Brad Madix

Audio Mastering
Joao Carvalho

Record and Mix
David Bottrill

Audio Recording Assistant
Colin Miller

Concert Audio Recording
Livewire Remote Recorders, Toronto

Audio Mobile Engineers
Doug McClement

Audio Mobile Assistants
Gary Tompkins, David Johnston, Alex Halayko

Assistant Audio Producer
Ryan McCambridge

Venue
Air Canada Centre - Toronto, Ontario

Camera Operators
Justin Beattie, Kristin Fieldhouse, Greg Foad, Michael Grippo, Jonah Hart, Bob Lyte, Robin Miller, Matthew Miller, Brian Pascuzzo, Stephen Scott, Paul Steinberg, Mark Utley

Steadlcam Operator
Bryan Trleb

MoVi Operator
Vinit Borrlson

MoVi Technician
Yuri Tereshyn

Wirecam Operator
Nikita Zolotarov

Remote Head Technician
Mark Cabiddu

Rigging Supervisor
Marco Bianco

Winch Rigger
Steve Shackleton

Winch Programmer
Sean Snell

Camera Assistants
Mike Dawson, Eric Gerrard, Lem Ristsoo, Mike Pesut, Mark Pierce, Jay Luke, Jack Mosor, Jeffrey Hicks

Action Camera Assistant
Jean-Marc Saldini

Camera Grips
Alistair Dempsey, Jason McGowan, Owen Smith, Chris Farr

Systems Engineer
Tyler Rowe

Utilities
Patrick Dwyer, Mark Webb

Makeup Artist
Cathyann Cuthbert

Production Assistants
Shane Krick, Chuck Macintosh, Nick Petrie, Ian Carl, Scott McKay, Forbes Campbell

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

Digital Media Technician / Assistant Editors
Lauren Piche, Drew Macleod

Colour Correction
Notch, Toronto
Senior Colourist - Bill Ferwerda
Executive Producer - Wendy Linton
Producer - Kristen Van Fleet
Assistant Colourists - Andrew Ross, Dale Bennie, Adrian Gluvakovich

DVD/Blu-ray Authoring
Craigman Digital - Craig Anderson, David Dieckmann

Online Facilities
Smith, Toronto

Sound Design
Mike Rowland/Rancho Fantastico, Toronto

Title Animation
Crankbunny

Camera Suppliers
Sim Digital - William F. White

Lighting Technician
Eric Céré

Video Recording Technician
Julie Mriouah

Catering
Capers

ACC Personnel
Director, Live Production and Technology - Jim Steele
Manager, Venue Technology and Production - David August
Technical Producer - Tyler Rowe
Control Room Supervisor - Courtney Ross
Technical Director - Todd Bower
Systems Engineer - Nathan Campbell
House Technician - Justin Leblanc
House Technician - Ryan Tippin
House Technician - Arnold Nembhard
Production Switcher - Craig Wyles
House Lights Operator -Alex Malacarne

Crew
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Lydia Bourgeau - 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 - Security
Kevin Ripa - Artist Liaison
Cliff Sharpiing - Head Carpenter
John Renner - Carpenter
Anson Moore - Audio System Engineer
Brent Carpenter - Monitor Mixer Engineer
Corey Harris - Monitor Systems Engineer
Yanick Blais - Lighting Crew Chief
Vincent Cadieux - Electrician
Andrew O'Toole - Lighting Technician
Denis Ayotte - Lighting Technician
Benoit Paille - Lighting Technician
Jerry Ritter - Head Rigger
James Harrelson - Rigger
Sebastien Richard - Motion Control
David Davidian - Video Director
Dominic Moreau - Video Crew Chief
Frederic Fournier - Engineer
Philippe Casutt - Led
Philippe Valade - Projections
Jonathan Gagnon-Roy - Video Technician
Matthew Miller - Videographer
John Arrowsmith - Pyro Technician
Scott Wilson - Laser Technician
Patrick McLoughlin - Merchandiser
Keith Keller - Live Nation Global Tour Rep
Colin Womack - VlP Nation Rep
Meg Symsyk - Tour Publicity

Thanks to our Technical Suppliers:

For Alex:
Gibson Guitars, PRS Acoustic Guitars, Martin Acoustic Guitars, Dean Markley Strings, Lerxst Omega Amplifiers, Mesa Boogie Amplifiers, Box Amplifiers, DLS Effects, Fishman Transducers, Audio Technica, Fractal Audio, Apple Computers, Universal Audio, RJM Music, Dunlop Picks and Crybaby Wah's, Palmer Speaker Simulators, Tc Electronics, Tech 21, Graph Tech, Floyd Rose, Baratto Guitars, Pick of the Ricks, Travnnr Amnlifiers

For Geddy:
Fender and The Fender Custom Shop, Gretsch Custom Shop, Rotosound Strings, Orange Amplification, Tech 21lSansamp, James Hogg: Custom Engraved Pickguards, Tom Brantley: Custom Pickups and Rewinds, Rivera Amplification: Rock Crusher Recording, Jim Burgess and Saved By Technology, Garth Hjelte, Chicken Systems, Inc., Ableton Live, Moog, Fractal Audio Systems: Axe-Fx ll XL, Vintech AUdio: Model 273, Westbury National Show Systems, Tim Vear and Shure, Clydesdale Custom Case Co. Ltd., B. Zee Brokerage Ltd.

For Neil:
DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads, Roland V-Drum, Kelly Shu lndustries, Dauz Trigger Pads, Urbannboard Shoes

Bus Drivers - Dave Bumette, Lashawn Lundstrom, Marty Beeler, Joe C. Bush, John Morgan

Truck Drivers - Arthur "Mac" McLear, Jon Cordes, Mike Kindler, John Lyon, Julie Mennitti, Steve Mennitti. Bob Wright, Benoit Bourvages, Marc Andre Gelinas, Craig Hallman

Merchandise Driver - Don Johnson

Flight Crew - Darren Soley, Rob Bunston, Jennifer Merten

Concert Lighting, Video Screens & Equipment
Solotech Montreal, Quebec - Hugo Tardif

Concert Sound
Clair Global - Jason Heitman, Ralph Mastrangelo

Pyrotechnics
Pyrotek - Bob Ross

Lasers
Productions Design International - Brian Beggs

Rigging and Motors
Five Points Production Services - John Fletcher

Buses
Hemphill Brothers Coach Co. - Mark Larson

Trucking
Ego Trips - Jim Bodenheimer

Aircraft Charter
Chartright - Justin King

Customs Brokers
Bzee Brokerage Ltd. - Barry Zeagman, Neil Zeagman

Promoter
Live Nation Global Touring - Arthur Fogel & Gerry Barad
Live Nation Canada - Riley O'Connor

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

Rush/Anthem Entertainment Consigliere
Bob Farmer, Esquire

Merchandising
Showtech - Patrick & Kelly McLoughlin, Alex Mahood, Rayanne Lepieszo, Laura Henry, Louise Clash, Richie de Almeida

Travel Agency
FROSCH Travel - Marla Wax-Ferguson, Joe Mauceri

Geddy and Alex's Back Line Gear:
Marshall, Ampeg, Traynor, Hughes & Kettner

Design - Dale Heslip
Construction - Mood Inc. & Mojo Musical Supply

Zoe/Concord Music Group
Production - Brian Schuman
Video Production - Elizabeth Boettcher
Project Management - Liza Levy
Marketing Manager - Adam Jones

Executive Producer for Fadoo Productions
Corey Russell, Bob Mccown

Artist Management
Ray Danniels for SRO Management

SRO/Anthem
Ray Danniels, Pegi Cecconi, Sheila Posner, Bob Farmer, Andy Curran, Meg Symsyk, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Jeremy Biderman, Veronica Sinnaeve

A&R - Andy Curran
Head of Marketing & Publicity - Meg Symsyk
Production Manager - Emma Sunstrum

Special Thanks to - Jay Baruchei, Les Claypool, Peter Dinklage, Tom Morello, Paul Rudd, Jason Segel, Chad Smith, The Trailer Park Boys, Ben Mink, Jonathan Dinklage, Jerry Stiller, and Eugene Levy

Art Direction, Design and Illustrations - Hugh Syme
Photo Curation - Meg Symsyk
Cover Photograph - Randy Johnson
Photography - Richard Sibbaid, John Arrowsmith, Randy Johnson

All Songs Lee/Lifeson/Peart except:
"Tom Sawyer" (Lee/Lifeson/Peart/Dubols)
"Closer to the Heart" (Lee/Lifeson/Peart/Talbot)
"The Main Monkey Business." "What You're Doing." and "Working Man" (Lee/Lifeson)
"YYZ" (Lee/Peart)
"The Story So Far" (Peart)
All songs published by ole Core Music Publishing (SOCAN/SESAC). Administered by ole. All Rights Reserved.
2015 Anthem Entertainment/Anthem Film & Television Productions Inc. Under exclusive license to Zoé Vision, a division of Concord Music Group, lnc.. 100 N. Crescent Drive. Beverly Hills, CA 90210. All Rights Reserved.
Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A.

CD Credits

GEDDY LEE
VOCALS, BASS

ALEX LIFESON
GUITARS, VOCALS

NEIL PEART
DRUMS

Executive Producers
Pegi Cecconi, Ray Danniels, John Virant

Audio Producer
David Bottrill

Audio Producer
David Bottrill

Audio Consultant
Brad Madix

Audio Mastering
Joao Carvalho

Record and Mix
David Bottrill

Audio Recording Assistant
Colin Miller

Concert Audio Recording
Livewire Remote Recorders, Toronto

Audio Mobile Engineers
Doug McClement

Audio Mobile Assistants
Gary Tompkins, David Johnston, Alex Halayko

Assistant Audio Producer
Ryan McCambridge

Venue
Air Canada Centre - Toronto, Ontario

Sound Design
Mike Rowland/Rancho Fantastico, Toronto

Crew
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Lydia Bourgeau - 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 - Security
Kevin Ripa - Artist Liaison
Cliff Sharpiing - Head Carpenter
John Renner - Carpenter
Anson Moore - Audio System Engineer
Brent Carpenter - Monitor Mixer Engineer
Corey Harris - Monitor Systems Engineer
Yanick Blais - Lighting Crew Chief
Vincent Cadieux - Electrician
Andrew O'Toole - Lighting Technician
Denis Ayotte - Lighting Technician
Benoit Paille - Lighting Technician
Jerry Ritter - Head Rigger
James Harrelson - Rigger
Sebastien Richard - Motion Control
David Davidian - Video Director
Dominic Moreau - Video Crew Chief
Frederic Fournier - Engineer
Philippe Casutt - Led
Philippe Valade - Projections
Jonathan Gagnon-Roy - Video Technician
Matthew Miller - Videographer
John Arrowsmith - Pyro Technician
Scott Wilson - Laser Technician
Patrick McLoughlin - Merchandiser
Keith Keller - Live Nation Global Tour Rep
Colin Womack - VlP Nation Rep
Meg Symsyk - Tour Publicity

Thanks to our Technical Suppliers:

For Alex:
Gibson Guitars, PRS Acoustic Guitars, Martin Acoustic Guitars, Dean Markley Strings, Lerxst Omega Amplifiers, Mesa Boogie Amplifiers, Box Amplifiers, DLS Effects, Fishman Transducers, Audio Technica, Fractal Audio, Apple Computers, Universal Audio, RJM Music, Dunlop Picks and Crybaby Wah's, Palmer Speaker Simulators, Tc Electronics, Tech 21, Graph Tech, Floyd Rose, Baratto Guitars, Pick of the Ricks, Travnnr Amnlifiers

For Geddy:
Fender and The Fender Custom Shop, Gretsch Custom Shop, Rotosound Strings, Orange Amplification, Tech 21lSansamp, James Hogg: Custom Engraved Pickguards, Tom Brantley: Custom Pickups and Rewinds, Rivera Amplification: Rock Crusher Recording, Jim Burgess and Saved By Technology, Garth Hjelte, Chicken Systems, Inc., Ableton Live, Moog, Fractal Audio Systems: Axe-Fx ll XL, Vintech AUdio: Model 273, Westbury National Show Systems, Tim Vear and Shure, Clydesdale Custom Case Co. Ltd., B. Zee Brokerage Ltd.

For Neil:
DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads, Roland V-Drum, Kelly Shu lndustries, Dauz Trigger Pads, Urbannboard Shoes

Bus Drivers - Dave Bumette, Lashawn Lundstrom, Marty Beeler, Joe C. Bush, John Morgan

Truck Drivers - Arthur "Mac" McLear, Jon Cordes, Mike Kindler, John Lyon, Julie Mennitti, Steve Mennitti. Bob Wright, Benoit Bourvages, Marc Andre Gelinas, Craig Hallman

Merchandise Driver - Don Johnson

Flight Crew - Darren Soley, Rob Bunston, Jennifer Merten

Concert Lighting, Video Screens & Equipment
Solotech Montreal, Quebec - Hugo Tardif

Concert Sound
Clair Global - Jason Heitman, Ralph Mastrangelo

Pyrotechnics
Pyrotek - Bob Ross

Lasers
Productions Design International - Brian Beggs

Rigging and Motors
Five Points Production Services - John Fletcher

Buses
Hemphill Brothers Coach Co. - Mark Larson

Trucking
Ego Trips - Jim Bodenheimer

Aircraft Charter
Chartright - Justin King

Customs Brokers
Bzee Brokerage Ltd. - Barry Zeagman, Neil Zeagman

Promoter
Live Nation Global Touring - Arthur Fogel & Gerry Barad
Live Nation Canada - Riley O'Connor

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

Rush/Anthem Entertainment Consigliere
Bob Farmer, Esquire

Merchandising
Showtech - Patrick & Kelly McLoughlin, Alex Mahood, Rayanne Lepieszo, Laura Henry, Louise Clash, Richie de Almeida

Travel Agency
FROSCH Travel - Marla Wax-Ferguson, Joe Mauceri

Geddy and Alex's Back Line Gear:
Marshall, Ampeg, Traynor, Hughes & Kettner

Design - Dale Heslip

Construction - Mood Inc. & Mojo Musical Supply

Zoe/Concord Music Group
Production - Brian Schuman
Video Production - Elizabeth Boettcher
Project Management - Liza Levy
Marketing Manager - Adam Jones

Executive Producer for Fadoo Productions
Corey Russell, Bob Mccown

Artist Management
Ray Danniels for SRO Management

SRO/Anthem
Ray Danniels, Pegi Cecconi, Sheila Posner, Bob Farmer, Andy Curran, Meg Symsyk, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Jeremy Biderman, Veronica Sinnaeve

A&R - Andy Curran
Head of Marketing & Publicity - Meg Symsyk
Production Manager - Emma Sunstrum

Special Thanks to - Jay Baruchel, Les Claypool, Peter Dinklage, Tom Morello, Paul Rudd, Jason Segel, Chad Smith, The Trailer Park Boys, Ben Mink, Jonathan Dinklage, Jerry Stiller, and Eugene Levy

Art Direction, Design and Illustrations - Hugh Syme
Photo Curation - Meg Symsyk
Cover Photograph - Randy Johnson
Photography - Richard Sibbaid, John Arrowsmith, Randy Johnson

"Tom Sawyer" (Lee/Lifeson/Peart/Dubols)
"Closer to the Heart" (Lee/Lifeson/Peart/Talbot)
"The Main Monkey Business." "What You're Doing." and "Working Man" (Lee/Lifeson)
"YYZ" (Lee/Peart)
"The Story So Far" (Peart)
All songs published by ole Core Music Publishing (SOCAN/SESAC). Administered by ole. All Rights Reserved.
2015 Anthem Entertainment/Anthem Film & Television Productions Inc. Under exclusive license to Zoé Vision, a division of Concord Music Group, lnc.. 100 N. Crescent Drive. Beverly Hills, CA 90210. All Rights Reserved.
Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A.

Miscellaneous

    Roll The Bones singleRoll The Bones single
  • Released November 20, 2015, in five different packaging options: DVD, Blu-Ray, CD, CD+DVD, and CD+Blu-Ray.
  • The first single, "Roll The Bones", was released September 25, 2015. The second single, "Closer To The Heart", was released October 23, 2015, and "Tom Sawyer" was released November 6, 2015.
  • A one-off advanced screening of R40 Live, hosted by Team Rock's Jerry Ewing, was held November 17th @ Gibson Showrooms, London.
  • Bonus video tracks "One Little Victory," "Distant Early Warning," and "Red Barchetta" were filmed the first night in Toronto; also performed that night was "Clockwork Angels," which we assume was not included due to technical issues known to have occurred with Geddy's bass during the live performance.
  • Although not specified in the linernotes, Jonathon Dinklage's performane of "Losing It" is from the Los Angeles show.
  • Click here for the digital booklet courtesy of HighResAudio.
  • Click here for the 'R40 Live' Transcript Archive.
  • "Rush recorded and filmed R40 Live over two sold-out shows in the band?s hometown of Toronto at the Air Canada Centre on June 17 & 19, 2015 in the middle of their R40 Live 35-date North American tour...The concert film also includes the the band's renowned tour videos, highlighted by 'Roll The Bones (R40 Live),' that features an array of special guests in the rap part of the song: Jay Baruchel (She's Out Of My League), Les Claypool (Primus), Peter Dinklage (Game of Thrones), Tom Morello (Rage Against The Machine, Audioslave), Chad Smith (Red Hot Chili Peppers), The Trailer Park Boys, and Jason Segel & Paul Rudd (I Love You, Man). It is the first time the band put the song back in the setlist since the R30 tour, a full decade ago. During the R40 Live tour, 'Roll The Bones' gained new life and became a fan-favorite with an arena sing-along to the chorus 'Why are we here? Because we're here - Roll The Bones.' Singer/Bassist Geddy Lee explained how the large group of cameo appearances came about: 'We had this older video of an animated skeleton doing the 'rap' part of 'Roll The Bones,' and felt it was time to update the concept for this tour. So after a lot of joking around with our show design team, we thought it would fun if we called upon some of our well-known pals and see if they wanted to have some fun with the lyrics. There were so many good and funny moments that it was hard to choose, some really hilarious and outrageous stuff! I'm so glad it worked out as it brought a big smile to the faces in the audience (and to us) every single night!'" - Rush.com, October 8, 2015
  • "Rush racks its third No. 1 on Billboard's Top Rock Albums chart, and first leader with a live effort, as R40 Live, the classic rock trio's three-disc set chronicling its 40th anniversary tour in spring/summer 2015, debuts atop the list (dated Dec. 12) with 24,000 copies sold, according to Nielsen Music. R40 Live follows previous chart-toppers Clockwork Angels in 2012 and Snakes & Arrows in 2007. While Top Rock Albums launched in 2006, Rush's history on the Billboard 200 dates back four decades. The new album debuts at No. 24 on the Billboard 200, marking the band's 24th top 40 title. Rush first reached the region with another live release: All the World's a Stage: Recorded Live (No. 40, 1976). R40 Live is also the first live album to crown Top Rock Albums since the Beatles' On Air: Live at the BBC Volume 2 on the Nov. 30, 2013, chart. Additionally, Rush's new release opens atop Hard Rock Albums, where it's the band's second leader, following Clockwork Angels. (Could R40 Live be the final live album of Rush's storied career? When the band announced the R40 Live Tour earlier this year, its accompanying press release stated that the trek "will most likely be their last major tour of this magnitude.") - Billboard.com, December 12, 2015

Promos

Live It All Again

By Neil Peart

R40 Tourbook, click to enlarge

Exactly two-thirds of my already surprisingly long life has been spent as a member of Rush. Thus our forty years of making music together is not only a large part of the soundtrack of my life, but the longest collaboration - the longest friendship - I have ever known. I once tossed off a quote that now seems deeper than I knew, about how such a relationship best survives: "Because surely the essence of collaboration is making each other happy, yes?"

Regular readers will know that "live it all again" is a phrase from "Headlong Flight" that was inspired by my late drum teacher, Freddie Gruber. Toward the end of his long, haphazard life, friends and students gathered around him in his quirky little house in the San Fernando Valley. Even as his vitality faded, Freddie would sometimes have a burst of energy and launch into tales from New York in the 1940s, or Los Angeles in the 1960s and '70s. Then he would shake his head and smile, "I had quite a ride. I wish I could do it all again."

Recently I picked up a trendy abbreviation, "irl," for "in real life." That is the distinction I would make here. For myself, I have no wish to actually live it all again "irl" - but reliving it, through memories and music, is quite a ride.

I could not attempt to recount even the high points of that journey - from early tours as an opening act to decades as a headliner; the songs and albums, the people and places - but one location and our experiences there might stand as a symbol of our lives together all these years, the work and the play.

In the summer of 2014 I revisited the ruins of Le Studio in Quebec to film an interview. Alex, Geddy, and I recorded there many times from 1979 until 1995, but the place had been abandoned and crumbling for about fifteen years, and I had never been back.

At the moment of arriving, and even on the way there, I felt some emotions bubbling up. At first I pushed them down - unsure exactly what I was feeling, or would feel. Later I realized that the experience was just too much to process all at once - because no other place on Earth had been more important in my life. So that's big.

Glancing back at all the days and nights, the weeks and months, the summers and winters, the songs, the albums, the laughs - it was a long emotional parade of memories. Yet at least the ghosts there were happy ones, so it was enjoyable to wander among them.

As I stood in front of the low, weathered building with the film crew, I described the recording of the intro for "Witch Hunt" on those very steps. On a night in early winter, with a few snowflakes in the air, we set up a microphone outdoors and acted out the vigilante scene. The rabble-rouser was played by yours truly, shouting out stuff like, "We've got to stand up for law and order!" and "We have to protect our children!" The mob I was inciting to mayhem was made up of the Guys at Work - band, crew, and studio guys.

Another memory emerged as I led the crew around to the back of the studio building, where the lake appeared through the trees. I described the recording of the intro for "Natural Science," down by the Lakeshore. On a cold night late in 1979, Alex and I stood at the water's edge with rowboat oars and canoe paddles, stirring the water. A microphone on a stand beside us captured the sound effects for the "Tide Pools" section.

Our first visit to Le Studio was in the fall of 1979, to record the basic tracks for Permanent Waves. In subsequent years we returned to record and mix Moving Pictures, then to mix a live album, Exit: Stage Left, in the summer of 1981. On that project there wasn't much for us to do except occasionally approve performances and balances, so we started messing around with other things. Alex built and crashed radio-control float planes; Geddy learned everything in the world about baseball (his new passion then), and I did a painstaking nut-and-lug restoration of an old set of Hayman drums that were laying around the studio basement. Apparently they had belonged to Corky Laing, drummer with Mountain, and when my work was done, I liked the way they sounded. Each of us eventually started fooling around with words and music and put together "Subdivisions" - I remember Alex and Geddy coming up to me in the driveway of the guest house and playing the demo for me on a cassette player. (Later I played those Haymans on a demo of that song.)

After completing Signals at Le Studio in 1982, we returned through the long winter of 1983-84 to struggle with the making of Grace Under Pressure. From then on our visits to Le Studio became more sporadic - as we experimented with "settings" again, recording and mixing in the English countryside, in London, on the tropic isle of Montserrat in the Caribbean, and in Paris. (Because we could.) In the '90s we returned to Le Studio with Rupert Hine and Stephen W. Tayler to record the basic tracks for Presto, and a few years later with Peter Collins and Kevin "Caveman" Shirley for the same on Counterparts.

So, a lot of my life had been centered on Le Studio. It felt good to reflect on it all now, with pride, and a feeling of having been fortunate to have lived all that once - never mind again. Many, many good memories are attached to those days, and I do treasure them. (Perfect word - "the treasure of a life.")

The following passage was written for a bio and tourbook essay for Presto, in 1990. (Funny that I first referred to us as "Rash" in that story - a joke that would recur over twenty years later, in comedic films to accompany the Time Machine tour.) Just as Le Studio can be considered a symbolic place of work for us, this description of our after-work volleyball games might be emblematic of our leisure hours together.

A long day's work behind us, we gathered outside, charged by the cool air of early summer in the Laurentians. We doused ourselves with bug repellent, then gathered on the floodlit grass, took our sides, and performed a kind of St. Vitus Dance to shake off the mosquitoes. Occasionally one of us hit the ball in the right direction - but not often. Mostly it was punched madly toward the lake, or missed completely, to trickle away into the dark and scary woods. ("That's okay; I'll get it.") We were as amused by Rupert's efforts at volleyball as he'd been by our songs, but indeed, all of us had our moments - laughter contributed more to the game than skill. And if the double-distilled French refreshments subtracted from our skill, they added to our laughter.
Between games the shout went up: "Drink!", and obediently we ran to the line of brandy glasses on the porch. Richard the Raccoon poked his masked face out from beneath the stairs, wanting to know what all the noise was about. "Richard!", we shouted, and the poor frightened beastie ran back under the steps, and we ran laughing back onto the court. The floodlights silvered the grass, an island of light set apart from the world, like a stage.
On this stage, however, we leave out the drive for excellence; no pressure from within, no expectations from others. Mistakes are not a curse, but a cause for Laughter, and on this stage, the play's the thing - we can forget that we also have to work together.
Work together, play together, frighten small mammals together: Are we having fun yet? Yes, we are. And that, now that I think about it, is why we do what we do, and why we keep doing it. We have fun together. How boring it would be if we didn't. Not only that, but we work well together, too, balancing each other like a three-sided mirror, each reflecting a different view, but all moving down the road together. As the Zen farmer says, "Life is like the scissors-paper-stone game: None of the answers is always right, but each one sometimes is."

My feelings were running high during that 2014 visit, but I could not quite define them - words failed for a time. Some people described the place's abandonment as "sad," but wandering through those rooms did not make me feel that way. What I felt was more like lucky, and an overriding sense of gratitude - that we had been fortunate enough to live and work in a place like that, all those times, in every season. And others like it: Air Studios in the tropical paradise of Montserrat, the "quaint" British residential studios like Rockfield, the Manor, and Ridge Farm, and Bearsville and Allaire in New York's Catskill Mountains. Will a rock band ever again enjoy and be nourished by such artistic and playful retreats?

That, to me, is the really sad part.

But never mind all that - let's think happy thoughts!

Like, just consider the statistical absurdity of the three of us, all these years and decades later, still around, and still ... doing it. Still playing those very songs, from a time when, as I described in a recent interview, "we were young and foolish and brave and fun." (If we are no longer young, the other qualities still apply!)

A few years ago the band received a couple of lifetime-achievement-type awards, and in response to one of them I remarked - only half-jokingly - that it was our fans who deserved a lifetime achievement award. Because if we have hung in there, they surely have too.

We never forget that reality, and often celebrate it - just as we are planning to do "irl," on this fortieth anniversary tour. As the three of us discussed the songs we would play, it was all about how we and the fans might be able to live it all again - just this once.

Because it was quite a ride, wasn't it?


Alex Lifeson

R40 Tourbook, click to enlarge

We are just completing the first week of rehearsals and have gone from sounding like a terrible Rush tribute band to a crappy Rush tribute band. I wish we sounded like a mediocre Rush tribute band, but you can't have everything. Hey, it's amazing we can still play at all, after over 40 years together, but each day brings some level of progress and reminds me of how much fun it is to play music, and how blessed we've been to do it together, year after year.

It's funny - as I look around the rehearsal room I see cases and cases of basses (rhyme!), two full kits of drums and my own bloated collection of guitars and I can't imagine how we'll play all this stuff in one night. Geddy and I have been trying out lots of different combinations and I can't tell you how much fun it is to revive many older instruments that haven't seen a stage in some time. Geddy, who is a crazy maniac, has been seriously collecting vintage basses and some guitars as well. He is the consummate collector: serious, knowledgeable, passionate and dedicated. In fact, I was over at his place recently (no, not to borrow his amp!) and he made me play every guitar he acquired in the past year, which I have to admit was really interesting and helpful for both of us, not to mention the delicious coffee, rich and robust with just a hint of, um, coffee. I'm also playing his 1957 Les Paul Goldtop on this tour. I sent him an invoice but still haven't seen a cent.

Neil, who is a crazy maniac as well, is mostly just a crazy maniac, a trait common to all drummers and even those who are just thinking of becoming drummers, but in his case he's like multiple crazy maniacs rolled into one. I didn't quite get the count, because I didn't have a calculator, but he's got something like eleven hundred drums he's playing mostly at once, or at least that's what it sounds like to me. I could do that but I don't feel like it, okay? Anyway, I'm sure they'll "fill" (hilarious drummer joke) you in on all that equipment junk on their pages.

I had dinner with Liam the other night and we took a trip down memory lane. It was remarkable how well we remembered these bright moments in time, sort of like snippets of dreams that fire from memory, considering we were in a critically challenged recall state. We went way back to club dates and crappy hotels we stayed in, sometimes four to a room, and bar owners who'd "buy" us drinks and meals only to present a bill at the end of our weeklong gig that happened to equal our fee. And the time we all took up pipe smoking on a long drive for the entire ride, and the car we rented for a short several-day tour but returned six weeks later with 11,000 more miles on it and a cooler of lobsters in the trunk that we forgot about. And the time we played a union benefit gig at a mental institution, and the time we opened for Sha Na Na at a greaser Sadie Hawkins dress-up gig in Baltimore on Neil's birthday and were lucky to get out alive... I guess it didn't help when we turned up to 12!

There were also all those bands and musicians we played with - some we got to know better than others, and I could hardly believe how many they were once we started to name them: The Projection, Water-Logged Gorilla Fingers, The Cigarettes featuring Peter Stuyvesant, The Crap ... to name a few. And where are they now?

The stories flowed for a couple of hours and as we wiped our laughing tears it occurred to me that we are so fortunate to have lived during such a great period in music history and to have traveled a road not available to many, in the company of madmen. It is now another time to celebrate all that Rush was and is, and get lost in the happy memories we all shared of the special moments spent together.

I know I will.



Neil Peart

R40 Tourbook, click to enlarge

MONSTERS FROM THE DEEP

These R40 drums are a time machine that spans an incredible fifteen hundred years. Around 500 CE was the beginning of the Dark Ages in Central Europe, when the Roman Empire was crumbling and overrun by ... what sounds like a bunch of heavy-metal bands - the Visigoths, the Ostrogoths, the Vandals, the Byzantines, the Saxons, the Bulgars, the Huns.

Meanwhile, along the banks of the Olt River in present-day Romania, a mighty oak tree toppled into the water and was gradually buried in silt. Centuries, generations, and historical epochs passed, while that oak's wood gathered supernatural density from the pressure of its airless tomb.

In 2014 that log was raised, and its wood was acquired by Drum Workshop. I tried a few prototype shells, and knew I wanted my new drums made from that log - the wood offered exceptional tonality and projection.

Through the development of DW's "Icon" snare series, I learned about laser-cut inlay work, and we applied that technology to an update of the R30 drumset design. Each of the logos and even the red oblong frames around them (deliberately evoking Keith Moon's "Pictures of Lily" kit, my teenage dream) are made of inlaid hardwoods. The hardware is gold-plated, as seemed appropriate for an "anniversary" tour.

It will soon be no secret that I am playing two separate sets on this tour - one "modern" arrangement like I have been using for the past twenty-five years, and one like the setup I played for almost twenty years before - double bass drums, open concert toms, ride cymbal hard right. Its look is modeled after the black-chrome Slingerlands I played in the late '70s, but DW's version far surpasses those in tone, resonance, playability, and "shininess!" The hardware is plated in black nickel, for a murdered-out look that will be perfect when I am asked to play for the Ostrogoth Vandals or the Byzantine Huns...

Each drumshell in both sets was made from that single Romanian River Oak (DW uses the slogan "1500 Years in the Making," I prefer "Monsters From the Deep.")

The cymbals are all Sabian Paragons, with a couple of new sizes in the mix - 19-inch and 17-inch crashes. Sticks are by Pro-Mark, the heads an ever-changing variety of DW and Remos (always experimenting in that area). The Roland V-Drums (with custom DW shells), MalletKat, KAT trigger pedal, and Dauz pad go through Ableton Live running on a MacBook Pro.

Lorne "Gump" Wheaton continues to keep all that good stuff working and looking wonderful, as he has for almost fifteen years now. Recently a friend asked the two of us who was the bigger "pain" to work with, and after a pause, I replied, "We don't really have trouble with each other - just other people!"

Gump laughed and agreed...


Geddy Lee

R40 Tourbook, click to enlarge

"All About That Bass."

Vintage basses ... custom colour basses ... weird-looking basses ... basses and more basses ... that's my theme for this tour!

They are fascinating and beautiful to look at (IMHO), and the evolution of how they are made and how their sound has developed through the years is very compelling to me.

Okay ... yes, I know - I can be a little obsessive, but I have never collected anything that was more appropriate to who I am and what I do and have done with my life.

So here is the rundown...

Somewhere around the rehearsal phase of the Clockwork Angels Tour I managed to acquire a couple of vintage basses. One was a bit of a conceit as it was a Fender Precision Bass from my birth year - 1953 (the electric bass was only invented in 1951) and the other was a rather whimsical and striking 1968 Fender Telecaster Bass covered in Pink Paisley "wallpaper" - to celebrate the Summer of Love.

As I examined these pieces of Bass History I found that I wanted to know more about them - well, everything about them - and more about how the electric bass came into being. Because as a player, in a sense, it was important to the understanding of my own history.

As a collector of many and various things I have come to recognize when you arrive at "the point of no return!" - where your curiosity begins to drive your passion to the extent that you must know everything about the thing that has come into your focus ... in other words, I was a goner!

So with my esteemed and highly knowledgeable technician John "Skully" McIntosh, we began a two-year journey of searching for vintage basses that told a story to us. I have chosen to share the sound and glory of some of those instruments with you all on this R40 tour. Even though I did not play these exact instruments on the original recordings of these songs, I have tried to choose ones that enhance the music in one way or another. I hope you will enjoy this parade through time, and will dig the experience of hearing these fantastic instruments as much as I will enjoy playing them!

Here they are:
1972 Fender Jazz Bass (Black) My Number One
1972 Fender Jazz Bass (Blonde)
Fender Jazz Bass (Surf Green Custom Shop)
Fender Jazz Bass (Trans Red Custom Shop)
1960 Fender Jazz Bass (Fiesta Red)
1962 Fender Jazz Bass (Sea Foam Green)
1963 Fender Jazz Bass (Black with matching headstock)
1964 Fender Jazz Bass (Lake Placid Blue with matching headstock)
1964 Fender Jazz Bass (Sonic Blue with matching headstock)
1965 Fender Jazz Bass (White)
1966 Fender Jazz Bass (Shoreline Gold with matching headstock)
1966 Fender Jazz Bass (Fiesta Red with matching headstock)
1957 Gibson EB-1 (Walnut)
1964 Gibson Thunderbird IV (Sunburst)
1964 Epiphone Embassy (Cherry)
1967 Gibson Thunderbird II (Polaris White)
1959 Fender Precision Bass (Olympic White) with matching headstock
1965 Fender Precision Bass (Burgundy Mist)
1968 Fender Telecaster Bass (Paisley)
1967 Rickenbacker Model 3261 (FireGlo)
1968 Rickenbacker Model 4001 (BurgundyGlo)
1977 Rickenbacker Model 4001 (JetGlo)
1975 Rickenbacker Model 4080/12 (JetGlo)
1978 Rickenbacker Model 4080/12 (FireGlo)
1961 Hofner Solid Body 2 Pickup (Cherry Red)
1992 Zematis Bass (Black with engraved metal front)


TOUR STAFF

Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Lydia Bourgeau - 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 - Head Carpenter
John Renner - Carpenter

AUDIO

Clair Global, Jason Heitmann
Anson Moore - Audio System Engineer
Brent Carpenter - Monitor Mixer
Corey Harris - Monitor Systems Engineer

LIGHTING

Solotech, Richard Lachance, Hugo Tardif
Yanick Blais - Lighting Crew Chief
Vincent Cadieux - Lighting Technician
Andrew O'Toole - Lighting Technician
Denis Ayotte - Lighting Technician
Benoit Paille - Lighting Technician

LASERS

Production Design Intl., Brian Beggs
Laser Technician - Scott Wilson

RIGGING

Five Points Production SVCS, John Fletcher
Jerry Ritter - Head Rigger
James Harrelson Jr. - Rigger
Sebastien Richard - Motion Control

PYROTECHNICS

Pyrotek, Bob Ross
John Arrowsmith - Pyro Technician

MERCHANDISING

Showtech
Patrick McLoughlin, Don Johnson

VIDEO SCREENS

Solotech, Richard Lachance, Hugo Tardif
David Davidian - Video Director
Dominic Moreau - Video Crew Chief
Frederic Fournier - CCU & Controls
Philippe Casutt - Projections
Philippe Valade - LED / Camera Operator
Jonathan Gagnon-Roy - LED / Camera Operator

VIDEOGRAPHER

Matthew Miller

REAR SCREEN FILMMAKERS

Allan Weinrib - Executive Producer
Dale Heslip - Creative Director

"The World is .. The World is ..."
Crankbunny - Design and Animation

R40 Screen Animations
Julia Deakin/Smith - Graphic Designer/VFX Artist

Clockwork Angels
Moment Factory - Design and Animation

The Anarchist
Christopher Mills - Director

The Wreckers
Pyramid Attack - Design and Animation

Headlong Flight
Josh Vermeulen & Chris Moberg - Design and Animation

Big Money
Retrospective 1 & 2 (2nd set)
Fort York - Design and Animation

Far Cry
Steven Lewis, Spin Productions - Design and Animation

Fan Film & Montage
Banger Films - Original Footage
Mark Morton, Aaron Dark, School & Miller - Editorial

One Little Victory
Spin Productions - Design and Animation

Animate
Julia Deakin, Smith - Graphic Designer/VFX Artist

Roll The Bones
4U2C - Design and Animation, Randy Gonzalez - Artistic Director
Aaron Dark, School - Editorial

Distant Early Warning
David Mallet - Original Video Director
Drew MacLeod - Re-editing

Subdivisions
Grant Lough - Original Video Director
Drew MacLeod - Re-editing

No Country for Old Hens
Mark Morton, School - Editor

Tom Sawyer
School - Editorial

Red Barchetta/YYZ
Crankbunny - Design and Animation

Camera Eye
Andrew MacNaughtan - Photography
Jackie Roda, School - Editorial

Spirit of Radio/Natural Science/Closer to the Heart
Christopher Mills - Director

Jacob's Ladder
4U2C - Design and Animation, Randy Gonzalez - Artistic Director

Prelude to Hemispheres/Cygnus X-1
CuppaCoffee - Animation

Ask Al
Pyramid Attack - Design and Animation

2112
4U2C - Design and Animation, Randy Gonzalez - Artistic Director

Mel's Rockpile
Special Thanks to Eugene Levy

Exit Stage Left
Director - Dale Heslip
Kelly Norris - Producer
Mark Morton, School - Editor
Pyramid Attack - Animation
Fort York - Compositing
Special Thanks - Rob Cohen

Stage Re-Creations
4U2C - Design and Animation, Randy Gonzalez - Artistic Director
Drew MacLeod, Lauren Piche, Mark Morton & Aaron Dark/School - Additional Editorial

Geddy's Backline Video
Randy Knott & Jamie Kaiser - Design and Animation

Research
Andrew Bergant

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

Special thanks to Marshall and Ampeg

MANAGEMENT

SRO Management Inc.
Ray Danniels, Pegi Cecconi, Meg Symsyk, Andy Curran, Sheila Posner, Emma Sunstrum, Bob Farmer, Cynthia Barry, Tyler Tasson, Veronica Sinnaeve, Jeremy Biderman, Izzy Martin

BOOKING AGENCY

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

TOUR PROMOTER

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

CUSTOM BROKER

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

BY-TOUR, INC

Provident Financial MGT., Amy Cetron

TRAVEL AGENCY

Frosch Travel, Marla Wax-Ferguson, Joe Mauceri

AIRCRAFT CHARTER

Chartright, Justin King
Darren Soley - Pilot
John Bunston - Pilot
Jennifer Merten - Flight Attendant

BUSES

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

TRUCKING

Ego Trips, Jim Bodenheimer
Arthur "Mac" McLear - Lead Truck Driver
Jon Cordes - Truck Driver
Mike Kindler - Truck Driver
John Lyon - Truck Driver
Juli Mennitti - Truck Driver
Steve Mennitti - Truck Driver
Bob Wright - Truck Driver

AUSTRIAN CURTAIN

Tait Towers, John 'Freddie' Frederick

SCISSOR LIFT

Acass Systems, LLC, Aaron Cass

PASSES

Otto Entertainment, Mark Alger

RADIOS

Point To Point Communications, Ken Micks, Kevin Kett

ITINERARIES

Smart Art, Donna Hair, Lon Porter

TOUR BOOK

Hugh Syme - Art Direction, Design and Illustration

PHOTOGRAPHY

Craig Renwick, Richard Sibbald, Fin Costello
Neil Zlozower, Patricia Seaton, Randy Johnson
John Arrowsmith, Donovan Lundstrom, Brutus
and Andrew MacNaughtan

Meg Symsyk - Photo Curation
Meg Symsyk and Richard Sibbald - Photo Editing

Dedicated to the Memory of Tom Hartmann

Smartphone Wallpaper

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