Time Machine 2011: Live In Cleveland

 

Video Tracklist

The 'Real History of Rush: Episode No. 2 "Don't Be Rash"
The Spirit Of Radio
Time Stand Still
Presto
Stick It Out
Workin' Them Angels
Leave That Thing Alone!
Faithless
BU2B
Freewill
Marathon
Subdivisions

The 'Real History of Rush Episode No. 17 "...and Rock and Roll is my name."
Tom Sawyer
Red Barchetta
YYZ
Limelight
The Camera Eye
Witch Hunt
Vital Signs
Caravan
Moto Perpetuo (featuring Love For Sale)
O'Malley's Break
Closer To The Heart
2112 (Overture/Temples of Syrinx)
Far Cry
Encore
La Villa Strangiato
Working Man

Bonus Material

  • Outtakes from "History of Rush, Episode 2 & 17"
  • "Tom Sawyer" featuring the cast of "History of Rush, Episode 17"
  • "Need Some Love" Live from Laura Secord Secondary School
  • "Anthem" Live from Passaic New Jersey

CD Tracklist

Disc One

Time Stand Still
Presto
Stick It Out
Workin' Them Angels
Leave That Thing Alone!
Faithless
BU2B
Freewill
Marathon
Subdivisions
Tom Sawyer
Red Barchetta
YYZ
Limelight

Disc Two

The Camera Eye
Witch Hunt
Vital Signs
Caravan
Moto Perpetuo (featuring Love For Sale)
O'Malley's Break
Closer To The Heart
2112 (Overture/Temples of Syrinx)
Far Cry
La Villa Strangiato
Working Man


Video Linernotes

Directed by SCOT MCFADYEN & SAM DUNN

Executive Producers PEGI CECCONI, RAY DANNIELS

Producers ALLAN WEINRIB, DAVE PATTENDEN

Director of Photography MARTIN HAWKES

Edited by AARON DARK - SCHOOL, TORONTO, ASSISTED BY LAUREN HORN

Lighting Director/ Designer HOWARD UNGERLEIDER

Audio Producer MIXED BY RICHARD CHYCKI AT MIXLAND, MIDHURSIZ CANADA

Additional Digital Editing: KEVIN O'LEARY, ALASTAIR SIMS

Audio Mastering ANDY VANDETTE, MASTERDISK, NEW YORK

Location Audio Engineer
REMOTE AUDIO RECORDING PROVIDED BY MUSIC MIX MOBILE
RECORDING ENGINEERS: RICHARD CHYCKI, JOEL SINGER
PREAMP OPERATOR: CHARLIE CAMPBELL
AUDIO ASSISTANTS: JIMMY GOLDSMITH, HEATHER BESON

Production Coordinator LANA MAURO

Camera Operators KRISTOFFER ARCHEITI, ADAM BIALO, JON ESPEVOLD, PETTER HALVORSEN, MARTIN HAWKES, JENS RAMBORG, BO RANDULFF, FRANK SHORTT, INGE SIGVALDSEN, JONATHAN STAAV, THOMAS TRANTER, LINDSEY HANEY, BOB LARKIN, JAMES WEYMAN

Camera Assistants FRANK SHORTT, JONATHAN STAAV

Production Sound KEVIN MACKENZIE

Cleveland Production Coordinator JOSHUA PORTER

Cleveland Camera Operators JOSHUA PORTER, ROD SILVIERA, DE'NEIL PHIPPS, JAY SIN

Steadicam Operator NICK SUTTON

Camera Grip LEWIS GORDON

Production Assistant CHARLEY SIMMS

Offline Editing Facilities SCHOOL TORONTO, CANADA

Audio Post Production MIXLAND - MIDHURST, CANADA

Title Design DEREK TOKAR

DVD Authoring JUICE PRODUCTIONS, TORONTO

Film Equipment Transportation ROCKIT CARGO

RUSH TOUR PERSONNEL
Tour Manager & Accountant LIAM BIRT
Road Manager DONOVAN LUNDSTROM
Production Manager CRAIG BLAZIER
Production Assistant KARIN BLAZIER
Concert Sound Engineer BRAD MADIX
Lighting Director HOWARD UNGERLEIDER
Keyboard Technician TONY GERANIOS
Drum Technician LORNE WHEATON
Bass Technician JOHN McINTOSH
Guitar Technician SCOTT APPLETON
Stage Manager / Carpenter GEORGE STEINERT
Nutritionist BRUCE FRENCH
Venue Security ANTHONY FEDEWA
Security MICHAEL MOSBACH
Artist Liaison KEVIN RIPA
Audio System Engineer DOUG McKINLEY
Monitor Mixer BRENT CARPENTER
Monitor Systems Engineer ANSON MOORE
Lighting Crew Chief KENNY ACKERMAN
Master Electrician JOEY BRADLEY
Lighting Technician MATT LEVINE
Lighting Technician BILL WORSHAM
Lighting Technician MATTHEW TUCKER
Head Rigger ALBERT POZZEITI
Rigger JAMES HARRELSON
Motion Control SEBASTIEN RICHARD
Video Director DAVID DAVIDIAN
Video Engineer BOB LARKIN
LED Engineer GREGORY 'GRIT' FREDERICK
Camera Operator ADRIAN BRISTER
Camera Operator LINDSEY HANEY
Pyro Technician JOHN ARROWSMITH
Bus Drivers DAVE BURNEITE, LASHAWN LUNDSTROM, MARTY BEELER, JOE C. BUSH, JOHN MORGAN
Truck Drivers ARTHUR "MAC" McLEAR, JON CORDES, TOM HARTMANN, HENRY McBRIDE, JULIE MENNITTI, STEVE MENNITTI, RUSS SCHLAGBAUM
Merchandise Driver DON JOHNSON
Merchandiser PATRICK McLOUGHLIN
Live Nation Global Tour Rep KEITH KELLER

REAR SCREEN PRODUCTION
Executive Producer ALLAN WEINRIB
Producers Suzy Bradshaw & Kim Jackson - Electric Company Art & Design Inc.

The "Real" History of Rush Act 1, 2 & 3
Directed by Dale Heslip/Electric Company Art & Design Inc.
Produced by Mark Hesselink
Edited by Mark Morton/School
Opening Animation by Ghostmilk
Alternate versions of "Spirit of Radio" arranged and recorded by Lou Pomanti

Presto - Edited by Jackie Roda/School
Stick It Out - Directed by Samuel Bayer, Re-edited by School
Workin' Them Angels - Directed by Christopher Mills
Faithless - Design and animation by Crankbunny, Electric Company Art & Design Inc.
Leave That Thing Alone - Design and animation by Derivative
BU2B - Concept by Date Heslip, Directed by Play Airways, Electric Company Art & Design Inc.
Subdivisions - Original Subdivisions footage Directed by Grant Lough
Moving Pictures - Design and Animation by Crankbunny
Red Barchetta - Directed by Greg Russell / Tandem Digital
Camera Eye - Directed and Photographed by Andrew MacNaughtan, Edited by Jackie Roda
Witchhunt - Design and Animation by Derivative
Caravan - Concept by Dale Heslip. Directed by Ghostmilk Electric Company Art & Design Inc,
Moto Perpetuo - Animation by Greg Russell and Brian Walters / Tandem Digital
2112 - Animation by Greg Russell / Tandem Digital
Far Cry - Design and Animation by Steven Lewis/Spin Productions

Time Tunnel Bumpers - Edited by Jackie Roda/School
Additional Steampunk Video frames - Designed by Bienvenido Cruz
Alex's Backline video & Geddy's backline video for Camera Eye Designed and Directed by Jamie Kaiser/Electric Company Art & Design Inc.
Geddys Backline video Design and Animation by Randy Knott/Electric Company Art & Design Inc.
Geddy and Alex's Back Line Amps - Designed by Dale Heslip
Construction by Mood Inc./Toronto
Lighting Supplied by Premiere Global Productions
Sound Supplied by - Clair Global
Pyrotechnics Supplied by - Pyrotek
Video Screens & Equipment Provided by Dannyo Video
Buses Supplied by Hemphill Brothers Coach Co. / Trucking Supplied by Ego Trips
Aircraft Charter Supplied by Apollo Jets
Custom Brokers - BARRY ZEAGMAN Bzee Brokerage Ltd.
Catering - Concert Kitchen, Cleveland
Venue - Quicken Loans Arena, Cleveland, OH

THANKS TO OUR TECHNICAL SUPPLIERS
For Alex: Hughes & Kettner Amplilieation, Paul Reed Smith, Gibson Guitars, Dean Markley Strings, Audio Technica
For Geddy: Saved by Technology, Fender, Tech 21/Sansamp, Rotosound Strings, Taylor Acoustic Guitars, Dunlop Manufacturing. Orange Amplifiers, James Hogg: Custom pickguards, Tom Brantley: Custom pickups and rewinds, Levy's Leathers
For Neil: DW Drums, Sabian cymbals. Promark Drumsticks, Remo Drumheads, Roland V-Drum

Art Direction, Illustration and Design Hugh Syme
Photographer Andrew MacNaughtan
Promoter - LiveNation - Gerry Barad/Arthur Fogel
Agent - Adam Kornfield for Artist Group International
RUSH/Anthem Entertainment Consigliere - Robert A Farmer
Management - Ray Danniels for SRO Management Inc.
At SRO/Anthem - Ray Danniels, Pegi Cecconi, Sheila Posner, Anna LeCoche, Cynthia Barry, Andy Curran, Meghan Symsyk, Tyler Tasson, Bob Farmer and Randy Rolfe

All songs Lee/Lifeson/Peart except "Leave That Thing Alone" (Lee/Lifeson); "Tom Sawyer" (Lee/Lifeson/Peart/Dubois); "YYZ" (Lee/Lifeson); "Moto Perpetuo" (Peart): "O'Malley's Break" (Lifeson); "Closer To The Heart" (Lee/Lifeson/Peart/Talbot); "Working Man" (Lee/Lifeson)

"During the guitar solo of the song Presto there was an unscheduled 'brain fart' on my part, and so for the sake of continuity (and to save my own face) rather than leave the song out of the show we chose to repair it with a few seconds of my live performance of that song from another show" - Geddy

All songs published by Core Music Publishing (SOCAN world excluding USA/SESAC USA except "Love For Sale" (Cole Porter) published by Warner Bros. Music
©2011 Core Music Publishing. All Rights Reserved

CD Linernotes

Recorded at Quicken Loans Arena, April 15, 2011 in Cleveland, OH

Mixed by Richard Chycki
Audio Post Production: Mixland Music & DVD, Midhurst
Mix assistants: Alastair Sims, Kevin, O'Leary
Recording Engineers: Richard Chycki, Joel Singer
Audio assistants: Jimmy Goldsmith, Heather Beslan
Remote Audio Recording provided by Music Mix Mobile
Mastered by Andy VanDette, Masterdisk, New York, NY
Executive Producer: Pegi Cecconi

Art Direction, Illustration and Design by Hugh Syme
Photography by Andrew MacNaughtan

THE TIME MACHINE TOUR CREW

Tour Manager & Accountant LIAM BIRT
Lighting Director HOWARD UNGERLEIDER
Concert Sound Engineer BRAD MADIX
Production Manager CRAIG BLAZIER
Road Manager DONOVAN LUNDSTROM
Production Assistant KARIN BLAZIER
Keyboard Technician TONY GERANIOS
Drum Technician LORNE WHEATON
Bass Technician JOHN McINTOSH
Guitar Technician SCOTT APPLETON
Stage Manager | Carpenter GEORGE STEINERT
Nutritionist BRUCE FRENCH
Venue Security ANTHONY FEDEWA
Security MICHAEL MOSBACH
Artist Liaison KEVIN RIPA
Audio System Engineer DOUG McKINLEY
Monitor Mixer BRENT CARPENTER
Monitor Systems Engineer ANSON MOORE
Lighting Crew Chief KENNY ACKERMAN
Master Electrician JOEY BRADLEY
Lighting Technician MATT LEVINE
Lighting Technician BILL WORSHAM
Lighting Technician MATTHEW TUCKER
Head Rigger ALBERT POZZEITI
Rigger JAMES HARRELSON
Motion Control SEBASTIEN RICHARD
Video Director DAVID DAVIDIAN
Video Engineer BOB LARKIN
LED Engineer GREGORY 'GRIT' FREDERICK
Camera Operator ADRIAN BRISTER
Camera Operator LINDSEY HANEY
Pyro Technician JOHN ARROWSMITH
Bus Drivers DAVE BURNEITE, LASHAWN LUNDSTROM, MARTY BEELER, JOE C. BUSH, JOHN MORGAN
Truck Drivers ARTHUR "MAC" McLEAR, JON CORDES, TOM HARTMANN,
HENRY McBRIDE, JULIE MENNITTI, STEVE MENNITTI, RUSS SCHLAGBAUM
Merchandise Driver DON JOHNSON
Merchandiser PATRICK McLOUGHLIN for SHOWTECH MERCHANDISING
Live Nation Global Tour Rep KEITH KELLER
Promoter - GERRY BARAD/ARTHUR FOGEL
Agent - ADAM KORNFIELD for ARTIST GROUP INTERNATIONAL
RUSH/Anthem Entertainment Consigliere - ROBERT A FARMER

Management - RAY DANNIELS for SRO MANAGEMENT INC.

At SRO/Anthem - RAY DANNIELS, PEGI CECCONI, SHEILA POSNER, ANNA LECOCHE, CYNTHIA BARRY, ANDY CURRAN, MEGHAN SYMSYK, TYLER TASSON, BOB FARMER AND RANDY ROLFE

THANKS TO OUR TECHNICAL SUPPLIERS

For Alex: Hughes & Kettner Amplilieation, Paul Reed Smith, Gibson Guitars, Dean Markley Strings, Audio Technica

For Geddy: Saved by Technology, Fender, Tech 21/Sansamp, Rotosound Strings, Taylor Acoustic Guitars, Dunlop Manufacturing. Orange Amplifiers, James Hogg: Custom pickguards, Tom Brantley: Custom pickups and rewinds, Levy's Leathers

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

All songs Lee/Lifeson/Peart except: "Leave That Thing Alone"; "YYZ" and "Working Man" (Lee/Lifeson)
"Tom Sawyer" (Lee/Lifeson/Peart/Dubois)
"Moto Perpetuo" (Peart)
"O'Malley's Break" (Lifeson)
"Closer To The Heart" (Lee/Lifeson/Peart/Talbot)
"Love For Sale" (Porter)

"During the guitar solo of the song Presto there was an unscheduled 'brain fart' on my part, and so for the sake of continuity (and to save my own face) rather than leave the song out of the show we chose to repair it with a few seconds of my live performance of that song from another show" - Geddy

All songs published by Core Music Publishing (SOCAN/SESAC) except "Love For Sale" (Cole Porter) published by Warner Bros. Music ©1930
©2011 Core Music Publishing. All Rights Reserved

Miscellaneous

  • Released November 8, 2011
  • Highest Billboard Chart Position: 1 (Video) - Video Certified Gold, Platinum & 2x Platinum by RIAA: May 14, 2014
  • The film had a limited theatrical showing in U.S. theaters October 26 and UK theaters on November 1st.
  • The first week of its release Time Machine 2011: Live In Cleveland (album) charted at #54 in the US, and #70 in the UK. Meanwhile the DVD opened at #1 in Canada & the US and #2 in the UK.
  • Click here for the 'Time Machine 2011: Live In Cleveland' Transcript Archive.

In Their Own Words...

"'We realized after all these years that we've shot films in all these different locations. But we've never really shot an entire film in America. We thought, 'Well, that's just wrong.' So where do we want to shoot? And it dawned on me that it was appropriate to shoot in Cleveland, where our entire American adventure began.' The band got its big break here in 1974, when Donna Halper, a disc jockey and music director at WMMS FM/100.7, added the Rush song 'Working Man' to the influential radio station's playlist. 'I don't think we would've had a record deal if it hadn't been for Donna Halper at WMMS playing 'Working Man' and some other songs from our first album,' said Lee." - Cleveland Plain Dealer, April 15, 2011
"Cleveland was hugely important for us, because up until we were embraced there, we were just basically a bar band in Toronto,' said Lifeson during a phone interview with Yahoo! from Fort Lauderdale, Fla. 'We were on the Southern Ontario high school dance circuit and doing clubs. 'To come to America was such a huge deal, and to come to Cleveland - with its rich connections and rock music heritage and be embraced by the city and crowd there - it really was a really great experience for us. It all started for us in Cleveland and the city has a giant place in our hearts.' So much so, in fact, that Lifeson and his bandmates are bringing their current 'Time Machine World Tour' to Cleveland's Quicken Loans Arena this Friday, April 15 and will be filming the entire performance for a full-length DVD concert release...'It couldn't be more appropriate to be doing the DVD in Cleveland. I can't tell you the number of gigs we played at the Agora when we were starting out,' Lifeson said. 'I definitely remember those gigs! The genuine interest in the band was amazing, the place was always packed and we were on that little stage playing our hearts out. When I close my eyes as a guy who calls himself 'forty-seventeen' (57 years old) now, I can still see myself up there playing and miss the skinny, sweaty long-haired guitar guy who was up on stage!' he laughed." - Yahoo.com, April 14, 2011
"During the guitar solo of the song Presto there was an unscheduled 'brain fart' on my part, and so for the sake of continuity (and to save my own face) rather than leave the song out of the show we chose to repair it with a few seconds of my live performance of that song from another show" - Geddy Lee, Time Machine linernotes
"We were worried. It was the day of the show, just a few hours before, when we got word that Geddy wasn't feeling well and his voice was suffering. A lot of those songs, as you know, the register is really high; it's his trademark voice, and I think it takes its toll. There'd been a weekend before that, back in Toronto, when he had to go and see these crazy witch doctors. There was a lot of voodoo involved! The show really was in jeopardy, but Geddy's been through it before, and he's a trouper." - Sam Dunn, Classic Rock Special Edition, June 11, 2012

Promos

Time Machine: The Future As It Ought To Have Been

By Neil Peart

Time Machine Tourbook, click to enlarge

Past, present, and future all come together on this stage-sometimes in the most unlikely ways.

The story began last December, when the three of us met in Los Angeles with our Snakes and Arrows coproducer, Nick ("Booujzhe") Raskulinecz, to talk about the coming year. We had deliberately not discussed any plans before that meeting, only agreeing that we wanted to do something together. We had several possible choices ahead, and we would outline them together and decide.

In late 2006 and early '07 we had recorded Snakes and Arrows, then toured in the summers of '07 and '08, and taken some time off in 2009. So far, so normal. Now the typical thing to do would be to start writing songs toward making an album, then launch a tour behind that in 2011 or so. However, these days an "album" is an abstraction dearer to artists than to audiences, and it didn't seem necessary to follow that timeworn pattern anymore. "Crisis is both danger and opportunity," goes the old Chinese saying, and we were kind of excited about doing things a different way.

We definitely wanted to work on something new, and talked about just writing and recording a couple of songs. We could follow the wishes of our manager, Ray, and do a little touring in 2010 as well. Geddy brought up a project that has long appealed to him-collecting all of our instrumentals into one album, and perhaps writing a new one to go with them.

"Maybe something a little more extended," he said, and my ears pricked up. Years back, we had clone our share of long works, lyrical concepts and instrumentals (always remembering the subtitle of "La Villa Strangiato" from 1978, "An Exercise in Self Indulgence"), but lately we had tended to make our songs, if not concise, at least more compressed. So that, for example, an instrumental like "The Main Monkey Business" on Snakes and Arrows was enormously complex, but worked through its movements in six minutes, instead of nine or ten.

At that suggestion, wheels started turning in my head. Now that we were talking about doing something a little more ambitious musically, I wondered if it wasn't time to think that way in terms of lyrics and concepts, too. The chorus line in "Caravan" seems apt: "I can't stop thinking big."

I told the guys about an idea for a fictional world that had interested me lately, thinking it would make a great setting, maybe for a suite of songs that told a story. A genre of science fiction pioneered by certain authors (including my friend Kevin J. Anderson) had come to be called "steampunk," seen as a reaction against the "cyberpunk" futurists, with their scenarios of dehumanized, alienated, dystopian societies. Our own previous excursions into the future, 2112 and "Red Barchetta," had been set in that darker kind of imagining, for dramatic and allegorical effect, but I was thinking of steampunk's definition as "The future as it ought to have been," or "The future as seen from the past"-as imagined by Jules Verne, for example, in 1866, when he was writing 20,000 Leagues Under the Sea.

When I was nine or ten, my dad took my brother and sister and me to see that movie at a Saturday matinee, and images from it had always stuck with me. The fearsome destructiveness of the Nautilus had a kind of monstrous beauty, contrasted with the cultured opulence of Captain Nemo's quarters, and the massive pipe organ on which, he played with mad rapture. The captain may have been insane, but it was a romantic, idealistic bind of madness-his mission was only to destroy ships of war, because his beloved family had been killed in wartime.

The guys seemed intrigued by the concept, and at home in Southern California, I started working on a story and some lyrics along those lines, set in a world driven by steam, intricate clockworks, and alchemy-"a world lit only by fire" (title of a history of medieval times by William Manchester). Early in January, 2010, I was able to send a bunch of pages of lyrics to Alex and Geddy in Toronto, and they got together in Geddy's home studio, "messing around," jamming and seeing what came out. Their individual temperaments are perfect for that approach-Alex the consummate improviser (you will hear him noodling on the guitar and play something great, then ask him, "Wait-what was that?," and he'll look up and say, "Um, I don't know"), and Geddy the patient editor and organizer, sifting through their recorded rambles for the best parts, then stitching them together into an arrangement. He would also look through my pages of lyrics for things that seemed to go together, then tweak the music to suit, and send me requests for lyrical alterations to fit the growing song.

In early March we met in Toronto at Geddy's house, and listened to the five songs they had completed. Booujzhe also came back into the picture at that point, delivering his opinions and suggestions for the work in progress, and together we decided to focus on two of the songs, "Caravan" and "BU2B" (the guys thought my original title of "Brought Up to Believe" was too unwieldy, so I found it musing to render it in modern social-networking textese). Those songs also happened to be the first two pieces of the projected story, now titled Clockwork Angels.

In April I returned to Toronto for two weeks, when we finalized the arrangements, and I started working out drum parts. With reference to the "compressed complexity" mentioned earlier, it is noteworthy that "Caravan" alone took me three days to learn just as "The Main Monkey Business" had. Playing through it time and again, gradually "absorbing" its bumps and wrinkles and smoothing them out, I was grumbling to my drum tech, Gump, about my bandmates' tendency to add and drop random beats here and there in the arrangement, whenever it suited them. "I do wish they could learn to count to four three times in a row!"

Then came Booujzhe. I have explained before that his nickname came from his habit of airdrumming outrageous fills, "Blappada-blappada, dubba-dubba-dubba, rat-a-ta-tat, booujzhe." (Onomatopoeia, like.)

He was soon at it again. In the middle of "Caravan" there was a linking section where Geddy and Alex did a climb down, then up again, and I had laid out of that part, just accentuating the downbeats between. In those spaces, Booujzhe started miming an absurd fill, tumbling all the way down the toms in triplet-feel flurries, then rising all the way back up again, to follow the guitar and bass. I just looked at him, incredulous. He gave me his usual comment, "Hey-I wouldn't ask if I didn't think you could do it."

Geddy looked up over his glasses and said drily, "He wants to make you famous."

I worked it out and played it, and Booujzhe got all excited. All I could say was, "I'm so ashamed."

Like the end section of "Far Cry," which Booujzhe had likewise encouraged me to solo over, it was not something I would ever have suggested myself, but it's one of the reasons we like having a guy like Booujzhe around-to push us, encourage us, make us do crazy stuff.

So now we needed a studio where we could properly record this new music. Part of the collateral damage in the decline of the established music industry has been that many recording studios have closed, and the only good room for recording drums we could get at short notice was in Nashville-Blackbird. However, as we put down the drum and bass tracks in the first two days, then moved on to overdubs and mixing for another ten days, it proved to be a great studio, and we loved the results.

During all this time, going back to January, we had also been planning the Time Machine tour-trading suggestions for old songs to resurrect, as well as dreaming up a whole new stage presentation. Inspired by artists like Steely Dan and Todd Rundgren who had recently been performing some of their older albums in their entirety, I suggested that it might be cool to do that with Moving Pictures-one of our most popular albums, we had never performed the whole thing before-had never played "The Camera Eye" live. [Webmaster note: "The Camera Eye" was in fact performed on both the Moving Pictures and Signals tours...]

Other recent tours have actually given us more freedom in choosing songs. After presenting such a broad retrospective on the R30 tour in 2004, we felt liberated from that "responsibility" on the Snakes and Arrows tour in 2007 and '08, and played more of the newer songs. This time we felt free of those, and along with adding our two new songs, "Caravan" and "BU2B," and the Moving Pictures set, we tried to find some unusual oldies to spark up the song list-for ourselves and for our fans.

The time machine was now set to past, present, and future.

While I put together some ideas for cover art with Hugh Syme, for the song releases and the tour, Geddy was working with his film collaborators Dale and Allan on the rear-screen movies, recruiting Alex and me as comedic "actors"-to pursue our long-term goal in live performance: "More Comedy, Less Music."

While we never seem to get away with "less music," it's true that as the years go by we do have more laughs.


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

MANAGEMENT
Ray Danniels, SRO Management Inc. Toronto
Pegi Cecconi (QOFE), Sheila Posner, Cynthia Barry, Anna Le Coche,
Mehgan Symsyk, Bob Farmer, Andy Curran, Randy Rolfe

AUDIO COMPANY
Clair Global: Ralph Mastrangelo
Mattbew Stahlhut - Audio System Engineer
Brent Carpenter - Stage Monitor Engineer
Anson Moore - Monitor Systems Engineer

LIGHTING COMPANY
Premier Global Productions: Steven Anderson
Seth Conlin - Lighting Crew Chief
Joey Bradley - Master Electrician
Martin Joos - Lighting Technician
Bill Worsham - Lighting Technician
Matthew Tucker - Lighting Technician

RIGGING COMPANY
Five Points Rigging
John Fletcher - Head Rigger
Chuck Anderson - Rigger
Sebastien Richard - Motion Control

Art Direction, Design, Illustrations, and Horology - Hugh Syme
Band Photograpby - Andrew MacNaughtan
(Thanks to Stephen Alexander of Cumbrae's for Geddy's location.)

VIDEO SCREENS
Screenworks: Danny O'Bryen, Amy Segawa
David Davidian - Video Director
Bob Larkin - Video Engineer
William Duncan - LED engineer
Bruce Ramos - Camera Operator
Lindsey Haney - Camera Operator

FILMMAKERS
Allan Weinrib - Video Production Chief

The "Real" History of Rush Act 1 & 2
Directed by Dale Heslip/Electric Company Art & Design Inc.
Edited by Mark Morton/School
Opening animation by Ghostmilk
Alternate versions of "The Spirit of Radio" and "Closer to the Heart" arranged by Lou Pomanti
Presto
Edited by Jackie Roda/School
Stick It Out
Directed by Samuel Bayer
Re-edited by School
Workin' Them Angels
Directed by Christopher Mills
Faithless
Design and animation by Crankbunny/Electric Company Art & Design lnc.
Leave That Thing Alone
Design and animation by Derivative
BU2B
Concept: by Dale Heslip
Directed by Play Airways/Electric Company Art & Design lnc.
Subdivisions
Original Subdivisions footage directed by Grant Lough
Re-envisioned by Bienvenido Cruz
Moving Pictures
Design and animation by Crankbunny
Red Barchetta
Directed by Greg Russell/Tandem Digital
The Camera Eye
Directed & Photographed by Andrew MacNaughtan
Edited by Jackie Roda
Witch Hunt
Design and animation by Derivative
Caravan
Concept by Dale Heslip
Directed by Ghostmilk/Electric Company Art & Design lnc.
Love For Sale
Animation by Greg Russell and Brian Walters/Tandem Digital
Far Cry
Design and Animation by Steven Lewis/Spin Productions
I Still Love You Man
Written and directed by John Hamburg
Backline "amps
Designed by Dale Heslip
Constructed by Mood Inc.
Time Tunnel Bumpers
Edited by Jackie Roda/School
Additional Steampunk Video Frames
Designed by Bienvenido Cruz

PYROTECHNICS
Pyrotek, Lorenzo Cornacchia
John Arrowsmith - Pyro Technician

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

TRUCKING
Ego Trips (Jim Bodenheimer)
Arthur "Mac" McLear - Lead Truck Driver
Jon Cordes - Driver
Tom Hartmann - Driver
Henry McBride - Driver
Julie Mennitti - Driver
Steve Mennitti - Driver
Don Johnson - Merch Driver

MERCHANDISING
Showtech, Pat McLoughlin

TOUR PROMOTER
Live Nation Global Touring
Gerry Barad
Keith Keller - Live Nation Global Tour Rep.

Booking Agencies: Artist Group International, NYC,
The Agency Group, London,
S. L. Feldman & Associates, Toronto


Geddy Lee

Time Machine Tourbook, click to enlarge

Well...my equipment...

As always -
the usual baloney...

Fender Jazz Basses
Kielbasa
Chorizo
Bratwurst-Wurtenberg
Boudin Noir
Sans-Amps
Frankfurter Wurstel
Salami
Salsiccia stagionata
Some keyboards
Podhala n ska
Szynkowa (smoked)
Kulen
Rotosound Strings
Knackwurste
Orange Amplifiers
Cotchino Verde
Toulouse
Merguez
Moogs
Lincolnshire
Polse
Saucisson
Cevapciéi
Lukanec
Avalon DI's
Korv
Thai-Panang
Calabrese
Haggis
Leberwurst
Lap Cheong
Longaniza

No vegetables were harmed in the making of this list...well maybe a few


Alex Lifeson

Time Machine Tourbook, click to enlarge

Tour Equipment List
A bunch of guitars in different colors, most with 6 strings but not always
Spunk Amplifiers
Some electrical stuff with blinking lights that Scott seriously stares at and shakes his head
Delicious steaks
Geddy's wine, mostly
Smelly stage clothes that don't start out that way
A bushel of iApples
A great golf swing
A horrible golf swing
Diet everything


Neil Peart

Time Machine Tourbook, click to enlarge

Obviously the real time machine around here is the drumset.

And what a set of drums. Captain Nemo would have loved them, probably better than that dreary old pipe organ.

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

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

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

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

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

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

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