Rush In Rio

Tom Sawyer
Distant Early Warning
New World Man
Roll The Bones
Earthshine
YYZ
The Pass
Bravado
The Big Money
The Trees
Freewill
Closer To The Heart
Natural Science
One Little Victory
Driven
Ghost Rider
Secret Touch
Dreamline
Red Sector A
Leave That Thing Alone!
O Baterista
Resist (acoustic)
2112 Overture/Temples of Syrinx
Limelight
La Villa Strangiato
The Spirit Of Radio
By-Tor and the Snowdog/
Cygnus X-1 (prologue)/
Working Man

Bonus Features
THE DOCUMENTARY
The Boys In Brazil, a film by Andrew MacNaughtan

MX MULTIANGLE
YYZ
O Baterista
La Villa Stangiato

Easter Eggs (DVD only)


CD One
Tom Sawyer (5:10)
Distant Early Warning (4:48)
New World Man (4:03)
Roll The Bones (6:03)
Earthshine (5:42)
YYZ (4:35)
The Pass (4:50)
Bravado (6:15)
The Big Money (5:58)
The Trees (5:07)
Freewill (5:32)
Closer To The Heart (3:01)
Natural Science (8:34)

CD Two
One Little Victory (5:32)
Driven (5:05)
Ghost Rider (5:36)
Secret Touch (7:00)
Dreamline (5:04)
Red Sector A (5:12)
Leave That Thing Alone! (4:59)
O Baterista (8:18)
Resist (acoustic) (4:24)
2112 Overture/Temples of Syrinx (6:52)

CD Three
Limelight (4:24)
La Villa Strangiato (10:05)
The Spirit Of Radio (4:59)
By-Tor and the Snowdog (4:35)/
Cygnus X-1 (prologue) (3:12)/
Working Man (5:35)
Bonus: The Board Bootlegs
* Between Sun & Moon (4:48)
+ Vital Signs (4:59)

* Phoenix, AZ, Sep. 27, 2002
+ Quebec City, PQ, Oct. 19, 2002


Flying Down To Rio - Leaving Vapor Trails Behind

By Neil Peart

Having released a live collection fairly recently, Different Stages, we had not intended to make another live album for some time - years, probably. However, after listening to the rough mixes from the concert video Rush in Rio, we felt we had something special, even as a purely musical document of the Vapor Trails tour, which had meant so much to us, personally and professionally.

Our manager, Ray, suggested that some people might prefer to listen to us without having to look at us, and we could understand how that might be. Perhaps we should release the show on CD as well, for those who might prefer just "the audio portion of the program." After all, the work was already done...

And it had taken some work.

The show in Rio de Janeiro was recorded on the fly by a somewhat primitive Brazilian recording truck, and Alex, along with engineers Jimbo and Patrick, spent many long nights refining the raw material that was caught on tape, polishing those rough diamonds into something that might reflect the shine of that hot night in Rio as we and the audience had experienced it.

We were assured the package could be offered as a good value, and in addition, we were able to include some "official bootleg" tracks not played in that particular concert, but recorded straight off the mixing board at earlier shows.

Here is some of the background story about "that night in Rio," as written for the DVD package...

Rain had threatened all three of the Brazilian shows, but only hit us during the second one, in Sao Paulo. And I mean hit us; the wind drove the rain straight onstage, into our faces, all over us and our equipment, and it's a good thing we had wireless microphones and transmitters, or... we could have been killed!

During the show, the three of us exchanged an occasional look, a wry expression of shared bemusement at this bizarre scene. The Sao Paulo soccer stadium held 60,000 people, by far the largest audience we had ever played to as a headliner, and despite the rain, they carried on singing along with every word, every note, and every beat. From behind my drums, I looked out at the raindrops caught in the spotlight beams, solid three-dimensional cylinders and cones of pelting drops, moving slashes of red, blue, amber, and white. My cymbals shimmered with beads of water, and when I hit them, fountains of spray erupted into colored light.

It was dramatic, all right, even beautiful, in a surreal way, but while it may have looked good, it was tough on the equipment. My electronic midi-marimba, which triggered all my keyboard percussion sounds, as well as a host of effects throughout the show, lost its midi-mind that night, and there was no assurance it would work the next night, in Rio de Janeiro. Even as I played through the show that night in Sao Paulo, looking out at the rain and the vast crowd and working around all the missing sounds as well as I could, I was already thinking ahead to the next night's show, preparing a new "map" of my performance-especially my solo-on the fly. Bad enough on any night, but especially when we were facing the very last show of the tour, which is supposed to be a triumphant finale, and, in this case, the one and only performance of the tour to be captured for posterity.

While the last chord of that Sao Paulo show still echoed in the damp night air, we ran offstage and into a van, and were driven straight to the hotel (to escape the traffic of 60,000 people). Toweling away the sweat and rain, we watched the impressive choreography of our motorcycle police escorts, and talked a little about the show, more or less shaking our heads in disbelief-and a good measure of relief, too. We hadn't been sure we were going to get through that one, but we had made it.

Now there was just one concert left. Our Vapor Trails tour had stretched from June to November of 2002, sixty-six shows altogether-and that was about enough! During early discussions, I had proposed a maximum of forty shows, over three months, which perhaps demonstrates the extent of my influence. However, in fairness (the fairness of love, war, and touring), the itinerary seemed to expand as it unfolded: one struggle, one surrender, one show at a time.

Offers came in for more North American dates, and we agreed to push back the end of the tour to play a few extra shows around the East Coast. Europe continued to hang like an unanswered question, for we hadn't toured over there for ten years, and there were a few "hands in the air" from parts of Canada we hadn't played for even longer, but regrettably, we just couldn't do it all.

We were offered a chance to play in Mexico City in mid October (during what was supposed to have been a ten-day break), and I had to think about that for awhile. As a general thing, I like traveling to unusual places and "developing nations," but not to work in them. However, after several motorcycle rambles through the entrancing country of Mexico, I had come to love that sad and beautiful city (perhaps despite itself). We had never played there, or anywhere in Central America, and I finally had to agree to that one. I could only hope it would be a good experience for us all, and the other guys would like it there too. It was, and they did. We played in a soccer stadium before 20,000 very enthusiastic fans, and had a great time after the show as well, a whole bunch of us sitting around a big table in a restaurant with great food, excellent live mariachi music, and a steady flow of tequila.

We also had an offer to go to South America for the first time, to play three shows in Brazil in late November, and we didn't know what to think about that. For one thing, we were supposed to have finished touring by that time, and be at home (remember that place?). And for another, did anyone want to see us in Brazil? We had been told we were fairly popular there, and had sold a respectable number of records through "official" channels, but presumably a certain amount of piracy and bootlegging had spread our music much wider than we knew, for no one was more surprised than this humble Canadian rock trio when we played to more than 125,000 people over those three shows, way beyond any numbers we had attracted before, anywhere. In Porto Alegre (a city we hadn't even heard of), 25,000 people came to see us; in Sao Paulo we had a staggering 60,000, and for the final show, in Rio de Janeiro, we played to a roiling throng of 40,000 very animated, vocal, and enthusiastic young Brazilians.

To put those numbers in perspective, our average audience on the Vapor Trails tour, in an American or Canadian arena or amphitheatre, was something like 12,000, and the largest audience we had ever played to as a headliner had been 20,000, at The Gorge in Washington state, on our Test For Echo tour, in early 1997.

Even more than the Mexico City show, the Brazilian concert environment was like nothing we had experienced before-bigger, wilder, crazier, and more intense. Historically, we had been an arena band for more than twenty years, only recently making the transition to outdoor amphitheatres, mainly on the Vapor Trails tour. We had tried playing the big American venues a couple of times in the early '80s-the Cotton Bowl, the Astrodome-but never felt comfortable. One thing about an arena, when the lights shine out on the audience, you can see every face, every little circle of "personhood," way up to the nosebleeds, and when we lose that element of what passes for contact, however tenuous, we feel too alienated from the people we are playing for.

However, when you're onstage in a teeming, steaming soccer stadium in South America, you can forget about those niceties. We looked out across one big heaving, waving, singing, dancing, sweating mass of humanity, and gave them our best, as always. For the final show, in Rio de Janeiro, it seemed we summoned an extra surge of adrenaline, knowing that this was the last one, and that it was being recorded and filmed.

All through the tour there had been talk of filming the Vapor Trails show, for the first time since A Show of Hands, in 1988, but the arrangements seemed elusive, and finally it was put off until the very last possible opportunity. Certainly that was a bit risky, and indeed, after a series of technical hurdles that our crew had only barely overcome, a primitive recording truck that had the recording engineer, Jimbo, chewing his nails, and the further attrition of that rainy Sao Paulo show, it was looking pretty chancy.

Rain came and went during setup on the afternoon of the Rio show, and the trucks arrived so late from Sao Paulo that the crew didn't start loading in until six or seven hours later than usual. Toward what should have been soundcheck time, Geddy, Alex, and I wandered around, or sat under a threatening sky in the bleachers above the stage, watching rainjacketed technicians scrambling about, trying to make it happen.

With 40,000 people waiting to get in, there was no question of holding the doors, and we had to accept that there would be no soundcheck. At least the monitor board was working (unlike in Porto Alegre), and my drum tech, Lorne, reported that the midi-marimba seemed to have recovered from the previous night (though I was still mentally preparing to work around the missing sounds if I had to). The sky remained dark and gloomy, and the prospect of going onstage without a soundcheck was unnerving just as a missing part of the show-day ritual-never mind the last-show, grand-finale, captured-for-posterity stuff. There would be no run-through for the recording truck, no test for the camera crew; we were all going to have to wing it. Flying blind in Rio.

As the stadium lights went down and a mighty roar went up, we ran onstage to the Three Stooges theme and launched into "Tom Sawyer," our thoughts a little frantic and our emotions bound up in anxiety. The whole Vapor Trails tour had been very emotional for the three of us, right from the first night in Hartford, Connecticut. After five years away from live performance, and all we had been through in those five years, it really felt like a triumphant return. A few times during the show we looked at each other and shared a quick smile, an eloquent expression that stopped time for an instant and conveyed so much understanding, so much relief, and even a little joy. Our hearts were in our smiles.

Unusually for a first night, we had played really well, and the production side went smoothly too. That was our reward for weeks of rehearsing in a warehouse in Toronto, and more weeks at a small arena in upstate New York. It was also our reward for simply carrying on. Songs in the set like "One Little Victory" and "Bravado" had fresh resonance for us that night.

Even during rehearsals I had felt the three of us gradually begin to transcend our individual parts, becoming both submerged and elevated into a separate entity, the synergy of a touring band. After that first show, I said to our manager, Ray, "I have to admit, it would have been a shame if that had never happened again."

The set had changed a little through the tour, as we alternated a few pairs of songs we hadn't been able to choose between, or tried to play something different if we returned to the same area, and we had a surprise just before we went to Mexico City. Apparently our most popular song there was "Closer to the Heart," and we weren't playing it that tour (the periodic rest some older songs require). The three of us talked about it, decided we didn't want to disappoint the audience by not playing our most popular song for them, and agreed we could relearn it pretty quickly. After playing it through a few times during our soundchecks leading up to Mexico City, we added it to the show for that one night.

Only to learn that the same was true in Brazil: apparently "Closer to the Heart" was our most popular song there too (though we were told "Tom Sawyer" was used on Brazilian television as the theme song for "McGyver").

(That's what we said, "What?")

So, we stuck "Closer to the Heart" back in the show for the Brazil dates as well, and it got a very excited, very vocal response from the audience.

Though everything did, and somehow the show, and the whole tour, seemed to reach a natural climax in Rio de Janeiro. Watching the footage of that night, accom­panied by the excellent recording Jimbo Barton managed to capture in such difficult, primitive conditions (though after many hours of painstaking "rescue" of the occasionally ragged technical quality), it feels like the triumphant finale we wanted it to be.

Watching that show now, from so many angles I never see from the "hot seat," and with the luxury of not having to work at it, it is clear that audience had a synergy of its own, a unified, intense, pulsing energy, a force of nature, animating that soccer stadium with electricity and vitality. That night's show had 40,000 stars.

The three of us had a pretty good show too (and I certainly don't always say that), but no doubt we were inspired and elevated by that amazing audience, who gave back so much excite­ment, energy, and volume. Just listen to them singing along note-for-note with "YYZ"-an instrumental- and you realize this is no ordinary audience.

Extraordinary they were, and we dedicate this performance, then and now, to them.

Back at the hotel, we gathered in the bar with our wives and colleagues and ordered many rounds of the powerful national drink, caipirinhas. We were bone-weary and drained, only starting to feel the relief of knowing it was over-the long, hard show, and the long, hard tour. As the recording and film people reported in, it seemed safe to trust that at least one of those sixty-six Vapor Trails shows would not fade into the ether, like an ephemeral jetstream of echoes and memories. Our stalwart crew had prevailed against all obstacles of weather, technology, and time, and that final show had been captured as a moving souvenir for those who were there, and for those who were not. We ordered another round of caipirinhas and drank to all of them, and to each other, feeling better every minute.


Vinyl Edition Linernotes

By Ray Wawrzyniak

Like every great piece of literature, a great album has a story that needs to be told. Some albums tell a story of heartbreak. Others tell a tale of unity, or of patriotism, or are a celebration of the human spirit. The greatness of Rush In Rio is the depth of the story it tells - in this case. the story of Rush's long career.

Originally released in digital formats in October 2003, Rush in Rio has now been given the vinyl treatment fans have yearned for. Sprawling across four LPs, Rush In Rio finds Geddy, Alex, and Neil breaking new ground while reasserting who they are, and how far they've traveled.

The band performed live in South America for the very first time in November 2002. Shows for 25,000 enthusiastic Brazilians in Porto Alegre and 60,000 equally ardent fans in Sao Paolo preceded the band's performance in front of 40,000 strong at the Maracana Stadium in Rio de Janeiro on November 23, 2002. And that show is captured here.

Rush In Rio is an important historical marker for the band, capturing them at their peak and in their element: live, onstage, and in front of their unparalleled fan base. It also represents the culmination of the bands Vapor Trails tour, which was an emotional and celebratory six months that ended with this triumphant show.

Prior to their Vapor Trails tour. the band had not performed live since July 4, 1997, when they closed their Test for Echo tour in Kanata, Ottawa. Because of this five-year break, their return to the stage was emotional all involved - for the band, their family, their crew, and their fans. And exactly how did Rush announce this return? They roared back, selecting "Torn Sawyer" as the set opener. This classic had never before been chosen as the opening number, just as "One Little Victory." from Vapor Trails, effectively pronounced their return as a recording band, "Tom Sawyer" declared their return to the stage, where they had determinedly established their reputation decades beforehand. Drop the needle on Side A of LP One of this set, and feel the undeniable power, precision and grandeur of "Tom Sawyer" live once again. Now as it was truly intended on vinyl, it's a reminder of why Rush's return to the stage in 2002, and here in Rio, was greeted with so much enthusiasm.

Opening the show with "Tom Sawyer" was not the only ground broken by the band on the Vapor Trails tour. For the first time in 16 years Rush welcomed "New World Man" - their highest charting single back to their live set. Here, on Rush in Rio, you are given the opportunity to experience that song live, on vinyl, for the very first time.

Just as the band reminded their fans of who they were with the two aforementioned classics, they also proclaimed who they'd become. To continue the literary analogy, any story arc illustrates how a character has evolved over time. At this show the band demonstrated their own development with the introduction of songs that would become instant live classics, "Earthshine," "Secret Touch," and "One Little Victory" were performed in Rio, and would be featured ih subsequent setlists for years to follow.

In this fan's opinion, though, the encore the band scripted for this tour - and therefore for this album - is the undeniable highlight of the set and brings the story of Rush In Rio full circle. For their encore, Rush performed "By-Tor & The Snow Dog" for the first time since an abridged version had been performed more than 20 years prior, at the end of their Moving Pictures tour in 1982. To have "By-Tor" at your fingertips now, having not appeared live on vinyl since 1976's All The World's A Stage, is cause for celebration.

The band segues from "By-Tor" into "Cygnus X-1: Book One - The Voyage." Again, Rush pulled out another song that had largely been dormant for years, playing a larger representative sample of "Cygnus" than the snippet that had appeared at the end of some shows throughout the '90s.

Just when it seemed the band couldn't have dug any deeper, the encore concludes on the final side of LP 4 with "Working Man," a song that had not been performed since the Moving Pictures tour. The triumvirate of "By-Tor," "Cygnus," and "Working Man," performed in that sequence, sent the incredibly enthusiastic fans in Rio over the top. For many of these fans in Rio, experiencing these three songs performed together was as close to seeing Rush perform live in, say, 1977 as any of them could have come. Now it's your turn to experience that same thrill. Hearing "By-Tor," "Cygnus," and, "Working Man" from this show in Rio not only takes you back to that magical night in 2002, but also to Rush's still formative concert days of 1977.

In 1916, novelist George Moore wrote, "A man travels the world over in search of what he needs and returns home to find it." Rush In Rio embodies that very claim. The band starts off their live set at "home" with "Tom Sawyer," one of their most recognizable songs and the centerpiece - the "home" - for any live Rush repertoire. Then the band takes their fans - and, in your case, the listener of this set - on a journey throughout their career, only to arrive back home where they started, with "Working Man." It's a perfectly scripted set, illustrating how far Rush had traveled to end up right back where they started.

To experience Rush In Rio on vinyl also serves to remind listeners of what an historic moment this was. The band's South American fans had waited so long to see Geddy, Alex, and Neil grace their homeland. Meanwhile, the rest of the band's fan base had waited six long years to see them onstage somewhere - anywhere! - following their extended hiatus. It was only fitting, then, that the tour announcing their return would conclude in front of the largest audiences for which the band had ever performed up to that point in their career. It was equally as fitting that this celebratory tour, and historic show, was captured for posterity upon its original release back in 2003. And now. in 2018, after a glorious, celebrated, and well - traveled career, Rush are returning home, where it all started. Back to vinyl. Back to your turntable.

On the back cover of the band's eponymous debut album. the listener is encouraged, "For best results play at maximum volume.". I invite you to follow that directive. Please, join me in celebrating the vinyl release of Rush In Rio. Let's drop the needle on side A, play "Tom Sawyer" at maximum volume, and imagine we are there, back at home, surrounded by 40,000 of our follow, passionate Rush fans.


Video Credits

Producers - Lawrence Jordan, Daniel E. Catullo III, Lionel Pasamonte
Executive Producers - Ray Danniels, Pegi Cecconi, Allan Weinrib, Bryan Domyan
Directed By Daniel E. Catullo III
Line Producer - Ted Kenney
Co-Executive Producers - Glenis S. Gross, Tilton Gardner, Robert McClaugherty
Brazilian Producers - Michael J. Schultz, Alberto Magno
Post Production Supervisor - Allan Weinrib
Television Lighting Design by Jeff Ravitz, Visual Terrain
Audio Producer - James "Jimbo" Barton
Assisted by Patrick Thrasher
Audio Supervisor - Alex Lifeson
Main Show Edited by - Mark Hajek, Mark Morton, Frank Russo
Post Production Facilities - Stealing Time, Toronto, ON / School, Toronto, ON / Toy Box, Toronto, ON / Manta, Toronto, ON / Coming Home Studios, Los Angeles, CA / Departure Studios, Los Angeles, CA / Trax Records, North Hollywood, CA / MX Entertainment, San Francisco, CA / The Post Group, Hollywood, CA
World-Wide DVD Sales Agent - Steven Propas, Propas Management Corporation, Toronto, ON

CHS Would Like To Thank
Geddy Lee, Alex Lifeson, Neil Peart, Allan Weinrib, Arthur & Marie Sterling, J.W. Griffith, Daniel & Dolores Catullo, Tilton & Linda Gardner, Pegi, Ray, Shelley, Anna and everybody at SRO/Anthem, SBI USA, Shelly Singhal, Matt McGovern, Brookstreet Securities, City National Bank, Michael J. Schultz, Karina Goldrajch, Alberto Magno, Steve Propas, Damon Martin, Charlie Clour, Liam Birt, Craig Blazier, Howard Ungerleider and the entire Rush Crew for their hard work and support, and everybody else who helped during this incredible experience!

The "Boys in Brazil"
A Film By Andrew MacNaughtan

Produced by Allan Weinrib
Executive Producers - Daniel E. Catullo III & Bryan Domyan
Edited by Jennifer Dahl
Assisted by Bryan Domyan
Post Production Supervisor - Allan Weinrib
Audio Producer - Aaron Kaplan
Post Production Facilities - Coming Home Studios, Los Angeles, CA / The Post Group, Hollywood, CA / Departure Studios, Los Angeles, CA / Toybox, Toronto, ON

Produced by James "Jimbo" Barton and Alex Lifeson
Assisted by Patrick Thrasher
Assistant Engineer - Kooster McAllister. Record Plant Remote
Pre-Mixed and Assembled at Trax Studios, Los Angeles. CA
Mixed at Metalworks, Mississauga, ON / Assisted by Chris Gordon and Joe Barlow

Live Recording and invaluable Pre-mixing Organization by James "Jimbo' Barton
Assisted by Patrick Thrasher
Mastered at Gateway Mastering - Portland, Maine by Adam Ayan
Anthem and Zoe logo sound design Russ Mackay and Hugh Syme

Art Direction, Illustration and Design by Hugh Syme
Photography by Andrew MacNaughtan
Additional Photography by Carrie Nuttall (B&W) and MRossi

The Vapor Trails Tour Crew
Tour Manager - Liam Birt
Lighting Directorl/Designer - Howard Ungerleider
Concert Sound Engineer - Brad Madix
Production Manager - Craig (C.B.) Blazier
Artist Liaison - Shelley Nott
Keyboard Tech - Tony Geranios
Drum Tech - Lorne Wheaton
Bass Tech - Russ Ryan
Guitar Tech - Rick Britton
Stage Monitor Engineer - Brent Carpenter
Production Assistant - Karin Blazier
Personal Assistant - Peter Rollo
Security Director - Michael Mosbach
Carpenter - George Steinert
Nutritionist - Bruce French
Concert Sound by MD Clair Bros - Jo Ravitch, Brian Evans, Kevin Kapler
Lighting by Premier Global - Rich Vinyard, Shane Gowler, Keith Hoagland, Jamie Grossenkemper
Moving Lights Programmer - Matt Druzbik
Rear Screen Projection created by SPIN Productions - Norman Stangl, Hilton Treves, Colin Davies
Live 3D Animation by Derivative - Greg Hermanovic, Ben Voigt, Jarrett Smith, Farah Yusuf, Rob Bairos
Additional Animation - Paul Simpson, Alan Kapler
Derivative VJ - James Ellis

Video by BBC - David Davidian, Bob Larkin, Adrian Brister, James George
Lasers by Production Design - Chris Blair
Pyrotechnics provided by pyrotek Special Effects - John Arrowsmith
Concert Rigging - Ken Mitchell, Brian Collins
Trucking - Ego Trips
Buses - Hemphill Brothers
Drivers - Arthur (Mac) McLear, David Burnette, Jon Cordes, Michael Gibney, Don Johnson, Tom Hartman, Dave Cook, Lashawn Lundstrom, Lonnie Sweet, Steve Kotzer
Flight Crew - Frank McGrath, Gil Faria, Don West
Merchandising - The McLoughlin Family
Booking Agencies - Artist Group International, NYC, The Agency Group, London, S.L. Feldman & Associates, Toronto
Tour Accountants - Drysdale & Drysdale - John Whitehead, Liam Birt
Management - Ray Danniels/SRO Management, Toronto
Management Staff - Pegi Cecconi, Sheila Posner, Anna LeCoche, Shelley Nott, Cynthia Barry, Steve Hoffman, Rayanne Lepieszo, Randy Rolfe and Bob Farmer

For technical help and contributions, our thanks to Jim Burgess and Eric Pavlyak at Saved By Technology, Barry and b. zee brokerage, Gibson Guitars, Paul Reed Smith, Fender bass guitars, Ernie Ball Strings, Tyme Rogers at Tech 21, Steve and Mark at Hughes and Kettner amplification, Dean Markley, Drum Workshop, Avedis Zildjian, Promark, Remo, Roland electronic percussion, and Ω™

www.rush.com    www.rushinrio.com

This compilation © 2003 Core Music Publishing (SOCAN) / All Rights Reserved. All songs Lee/Lifeson/Peart Except: "Tom Sawyer" (Lee/Lifeson/Peart/Dubois), "YYZ" (Lee/Peart), "Closer To The Heart" (Lee/Lifeson/Peart/Talbot), "Leave That Thing Alone" and "Working Man" (Lee/Lifeson) and "O Baterista" (Peart)

© 2003 Coming Home Studios / Anthem Entertainment. All Rights Reserved.


CD Credits

Recorded by James "Jimbo" Barton
Mixed by James "Jimbo" Barton and Alex Lifeson
Assisted by Patrick Thrasher
Assistant Engineer - Kooster McAllister, Record Plant Remote
Pre-Mixed and Assembled at Trax Studios, Los Angeles, CA
Mixed at Metalworks, Mississauga, ON
Assisted by Chris Gordon and Joe Barlow

Live Recording and invaluable Pre-mixing Organization by James "Jimbo" Barton
Assisted by Patrick Thrasher
Mastered at Gateway Mastering - Portland, Maine by Adam Ayan
Executive Production - Pegi Cecconi and Liam Birt

Art Direction, Illustration and Design by Hugh Syme
Photography by Andrew MacNaughtan
Additional photography by Carrie Nuttall (B&W), MRossi

The Vapor Trails Tour Crew
Tour Manager - Liam Birt
Lighting Director/Designer - Howard Ungerleider
Concert Sound Engineer - Brad Madix
Production Manager - Craig (C.B.) Blazier
Artist Liaison - Shelley Nott
Keyboard Tech - Tony Geranios
Drum Tech - Lorne Wheaton
Bass Tech - Russ Ryan
Guitar Tech - Rick Britton
Stage Monitor Engineer - Brent Carpenter
Production Assistant - Karin Blazier
Personal Assistant - Peter Rollo
Security Director - Michael Mosbach
Carpenter - George Steinert
Nutritionist - Bruce French
Concert Sound by MD Clair Bros. - Jo Ravitch, Brian Evans, Kevin Kapler
Lighting by Premier Global - Rich Vinyard, Shane Gowler, Keith Hoagland, Jamie Grossenkemper
Moving Lights Programmer - Matt Druzbik
Rear Screen Projection created by SPIN Productions - Norman Stangl, Hilton Treves, Colin Davies
Live 3D Animation by Derivative - Greg Hermanovic, Ben Voight, Jarrett Smith, Farah Yusuf, Rob Bairos
Additional Animation - Paul Simpson, Alan Kapler
Derivative VJ - James Ellis
Video by BBC - David Davidian, Bob Larkin, Adrian Brister, James George
Lasers by Production Design - Chris Blair
Pyrotechnics provided by Pyrotek Special Effects - John Arrowsmith
Concert Rigging - Ken Mitchell, Brian Collins
Trucking - Ego Trips / Buses - Hemphill Brothers
Drivers - Arthur (Mac) McLear, David Burnette, Jon Cordes, Michael Gibney, Don Johnson, Tom Hartman, Dave Cook, Lashawn Lundstrom, Lonnie Sweet, Steve Kotzer
Flight Crew - Frank McGrath, Gil Faria, Don West
Merchandising - The McLoughlin Family
Booking Agencies - Artist Group International, NYC, The Agency Group, London, S.L. Feldman & Associates, Toronto
Tour Accountants - Drysdale & Drysdale - John Whitehead, Liam Birt
Management - Ray Danniels / SRO Management, Toronto
Management Staff - Pegi Cecconi, Sheila Posner, Anna LeCoche, Shelley Nott, Cynthia Barry, Steve Hoffman, Rayanne Lepieszo, Randy Rolfe and Bob Farmer
Special thanks to Gil Moore and Raine Munro at Metalworks

www.rush.com    www.rushinrio.com

© 2003 Atlantic Records © 2003 Anthem Entertainment

Notes

Rush In Rio vinyl edition
  • 2 DVD and 3 CD released October 21, 2003; 1 DVD (feature only) released November 7, 2006; Blu-Ray (lacking only the Easter Eggs) released Jun 23, 2015, 4LP 180 Gram Vinyl edition released January 18, 2019
  • Highest Billboard Chart Position: 33 - Album Certified Gold by RIAA: February 10, 2004
  • Video certified 7x Platinum: September 1, 2010
  • Recorded at Maracana Stadium, Rio de Janeiro, Brazil, November 23, 2002; although understated by the band, their concert the previous night, November 22, 2002, was in fact the largest crowd ever to attend a Rush concert, with 65,000 fans in attendence at Morumbi Stadium in São Paulo, Brazil.
  • Video feature run time 128 minutes.
  • Rush In Rio, was Rush's first live DVD. The concert was also released as a 3CD live album containing two "official bootleg tracks" not available on the DVD: "Between Sun & Moon" and "Vital Signs".
  • Unique editions: the Japanese CD release includes a minature Vapor Trails tourbook, while the Brazilian DVD release contains a small poster not included on the USA release.
  • Click to enlarge
  • A 4:32 edit of "Resist" was released as a promo cd single.
  • The DVD includes a documentary by longtime Rush photographer Andrew MacNaughtan titled "The Boys In Brazil". For the documentary, MacNaughton and 2-3 other official cameraman filmed rare rehearsal and backstage footage, as well as fans welcoming the band at the airports, in hotels, small interviews with fans while waiting in stadium lines, and shooting the crowd's reactions during the shows. The DVD also includes multi-angle viewing options on "La Villa Strangiato" and "YYZ", two alternate angle shots on "O Baterista" (drum solo), two Easter Eggs including the "By Tor & The Snow Dog" cartoon created specifically for the tour, and a live performance of "Anthem" from 1975.
  • As captured on Rush In Rio, similar to the band introductions given on the Counterparts tour, each night during the Vapor Trails tour, Alex performed a unique "rant" during "La Villa Strangiato", a practice that would continue through the subsequent R30 tour. His rant in Rio was costly to release on the live album:
  • "...when we wanted to use 'The Girl From Ipanema', and they wanted something like forty thousand dollars just to use it. And our publishing guys said: 'Do you want to reconsider and use something else?' And we didn't because it's a highlight of the show, Alex introduces us and I play a little and then Geddy goes into '...Ipanema', so we had to have it whatever it cost." - Neil Peart, Classic Rock, October 2004
  • The drum solo included a complete triggered big band sample of "One O'Clock Jump", which Neil had performed with the Buddy Rich Band on Burning for Buddy Vol. II. "Resist" was performed acoustically, the first acoustic performance ever to be included in the setlist.
  • Sales History from Soundscan, reporting U.S. sales from participating retail stores: The DVD debuted at #1 on Soundscan's charts selling over 40,000 copies after the first week, and 66,000 the first month, 91,000 the second, and 126,000 after the third month. The CD debuted at #33 on Soundscan's charts selling over 33,000 copies the firt week, with 54,000 sold the first month, 71,000 the second, and 89,000 after the thrid month.
  • The DVD release was the inaugural winner of the Juno Award for 2004's new catagory, Music DVD Of The Year. Recognizing the artist, director and producer, submissions were judged by a panel of industry experts and voted on by the CARAS membership.
  • "O Baterista" was nominated for the Best Rock Instrumental Performance Grammy (their fourth nomination). The winner was "Mrs. O'Leary's Cow" by Brian Wilson, from Brian Wilson Presents Smile.
  • "We are exceedingly proud of Neil in particular for his outstanding virtuosity which is fully displayed in this drum solo piece" Geddy Lee, Canada.com, December 7, 2004
  • "Resist" from Rush In Rio is one of 87 tracks found on the 4CD anthology, The Rounder Records Story, released October 12, 2010.
  • Click here for the 'Rush In Rio' Transcript Archive.

In Their Own Words

"In Rio, the trucks were late and didn't arrive until late afternoon, and we're filming and recording the last night of the tour, our one and only chance that we really wanted to capture on that tour. So this was the last and final chance under the most - impossible is not too strong a word. No sound check. Minutes before we went on, [drum tech] Lorne [Wheaton] came up to tell me the electronics were actually working. They had no sound check for the recording truck, no test for the cameras, everybody had to adopt that attitude of, 'Okay, here's what we do.' And did. One telling anecdote that I love, the carpet that we used on stage got so soaking wet during those days that we had to leave it behind. It was too heavy to ship home. It was so waterlogged that it would have cost way more than it was worth to ship it home, so we just left it there. It's in some Brazilian guy's living room. [laughs]" - Neil Peart, liveDaily, July 30, 2004
"Video shoots are the worst - hurry up and wait - but live video is pretty exciting. Rush played this huge football stadium [ Maracanã Stadium]. I saw fireworks going on outside and I thought 'this is amazing. I didn?t realize quite how big Rush were in Brazil.' It turns out the fireworks are for when the drugs land, 'cos not everyone had cellphones in Rio! You don?t have to wait for Jose to call you. That was so wild." - Pegi Cecconi, SRO/Anthem, FYIMusicNews, August 3, 2016
"Alex was having a problem with a cameraman in the first set, and he started freaking out at him, lost some concentration and had a gaffe in one of the songs, during one of the solos. And after the set, we had to kind of cool him off and remind him that you've got to forget about that; you can't let those things bother you during a show that you're filming. Because there's just no sense looking pissed off on tape. He got the message, but it's very hard. There was so much going against us that day. We were going on cold; everyone was going on cold. And, to add to the confusion, there were all these extra lights that the camera people had put on stage without discussing with us. So there were these wires running across the front of the stage that were inhibiting our ability to go to the front of the stage and ham it up with the crowd kind of thing. And that was really disconcerting for me because I'm used to just roaming around and having some fun. And when I'd venture to the edges of the stage, I suddenly had to look at my feet to make sure I didn't trip over these stupid cables. The way you want to record a show should be ideal, and the last thing you should be thinking about is all this crap, so this was pretty fucked in terms of our ability to stay calm, cool and collected." - Geddy Lee, Contents Under Pressure, pp 225-226
"You will see very rare moments of the band doing a variety of daily 'being on the road' type things like; sound check, Neil in his drum room warming up before the show, Alex eating his breakfast while make happy faces out of his eggs... stuff like that... They filmed the Rio show with 20 cameras!!! It was an amazing concert... especially since the band wasn't able to do a sound check that night.... in fact the crew (who are amazing) were setting up the gear until 9:30pm... that's how crazy it was." - Andrew MacNaughtan, TriNet Chat, December 15th, 2002.
"In the original Vapor Trails design, Hugh Syme had one version of the cover, where on the back, very small in the corner, was this very tiny dinosaur, who was the cause of this great vapor trail. And when we were doing the preproduction for the tour, I was looking for animation ideas to use live. I wondered what it would be like to expolit that little dragon a bit more, turn him into a character, which people at Spin Productions developed into a full-blown character that we used during 'One Little Victory' live. It was a cool, humorous way to use this dragon...the dragon was picked on by Hugh to become the representative of the show in Rio, and of course he's got him dressed up like Carmen Miranda." - Geddy Lee, Contents Under Pressure
"I shot the photo that is on the front cover of the DVD - the live picture. That series of photos I shot with the idea in mind of, 'I better get shots of this. I think this could potentially be a great cover.' So I shot it vertically with the idea in mind of the shape of a DVD. I sent the roll to Hugh Syme and we talked about some ideas and I said, 'I shot these photos specifically for your consideration for the front cover.' I guess from there he sort of rolled with that and came up the dragon idea and just took it to the next level. I think it's very funny and very brilliant - it's a wonderful cover. I think he got the initial [dragon] elements from Norm [Stangl, of Spin Productions, creator of the dragon visuals for the Vapor Trails tour], but Hugh is the one that added all of the fruits and that stuff. He created all of that himself." - Andrew MacNaughtan, Fye.com, September 26, 2003
"I think 'Secret Touch' is my favorite song on the record, and I love playing it live. It's got a great intensity about it." - Geddy Lee, Contents Under Pressure
"The decision to forego an anamorphic version was due to limitations with some of the cameras used to film the concert. The majority of the concert was filmed in a 16:9 Digibeta format but due to the sensitivity of having cameramen distracting Neil during the show, mini remote cameras were used around him that could only be recorded in a 4:3 format. The issue of anamorphic was first raised in June and we investigated the option and what it would take to convert these tapes, which once the show was fully edited comprised about 25 - 30% of the footage used, to anamorphic. Since we were already dealing with a softer image, the process necessary to achieve anamorphic for these particular tapes would have degraded the footage further and many shots of Neil would have become blurred and all these shots would have really stood out from the rest of the program. With this footage comprising so much of the show it would have been become a distraction and as such lessen the experience for the viewer. The decision was made to maintain the strongest possible quality product and deliver a great performance, in what is still the most common format, while holding onto our intended letterbox look. The decision was purely one of giving the highest quality experience to all the viewers possible." - Allan Weinrib, Executive Producer

Promos

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