Latest / Booked On Rock with Eric Senich / Rush at 50: A Rock Legacy Revisited [Episode 220]

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Rush at 50: A Rock Legacy Revisited [Episode 220] · Booked On Rock with Eric Senich

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  Speaker 1: We're totally booked rock and Roll. I think I'll leave you.
• 0:05
  Speaker 1: You're reading little hands this, It's time to rock and
• 0:07
  Speaker 1: Roll band roll out. I totally booked. Hey guys, Welcome
• 0:16
  Speaker 1: back to book don Rock the podcast for those about
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  Speaker 1: to read and rock. Find the podcast at booked on
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  Speaker 1: rock dot com. Every episode there in both audio and video,
• 0:25
  Speaker 1: exclusive video segments, links to all of the social media sites,
• 0:29
  Speaker 1: and the latest rock book releases. Daniel Buckspan is making
• 0:33
  Speaker 1: his second appearance on the podcast. He's here to talk
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  Speaker 1: about his brand new book, Rush at fifty, a beautifully produced,
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  Speaker 1: photopacked celebration of the beloved rock trio. Rush at fifty
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  Speaker 1: examines the history of the Canadian rockers through the lens
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  Speaker 1: of fifty milestone events. Doesn't get any better than this
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  Speaker 1: book for fans of Rush, and I'm excited to talk
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  Speaker 1: about the book and Rush with Daniel bucks Band Right now.
• 0:57
  Speaker 1: I'm put together a playlist of Rush, which you can
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  Speaker 1: link up through the show notes page. Welcome back to
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  Speaker 1: the podcast.
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  Speaker 2: Daniel, Thank you very much for having me back.
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  Speaker 1: Last time I had you was for Ozzie's book Yes
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  Speaker 1: at seventy five.
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  Speaker 2: Yeah, and yeah, it's like exactly almost a year later, right,
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  Speaker 2: maybe a year and a couple of weeks. Yeah, but yeah,
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  Speaker 2: like here here we are again.
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  Speaker 1: We go again, Rush at fifty. Yeah, and this this
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  Speaker 1: is a band you're an obvious fan of because I
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  Speaker 1: read the introduction and this is a special one for
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  Speaker 1: you to talk about how important Rush is to you
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  Speaker 1: and how that influenced your approach to the book too,
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  Speaker 1: because it also came into play and when writing the book, well.
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  Speaker 2: You know, I mean, I'm like a lot of people
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  Speaker 2: where they hurt the band and it was just you know,
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  Speaker 2: the musician ship. That was certainly the first thing that
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  Speaker 2: grabbed me about them was like, you know, these guys
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  Speaker 2: can really really play. It took me a little time
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  Speaker 2: at first to get past Getty Lee's voice. I am
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  Speaker 2: not ashamed to say that, but it did not take on.
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  Speaker 2: You know, it's a unique voice, and I think a
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  Speaker 2: lot of people don't know like what to compare it to,
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  Speaker 2: you know, because he you know, he doesn't sound like
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  Speaker 2: di Oh. You know, he doesn't sound like Jim Morrison.
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  Speaker 2: You know, he doesn't sound like the average rock singer.
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  Speaker 2: The voice is higher, it's a little more nasal, and
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  Speaker 2: I think for some people they just they can't deal
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  Speaker 2: with that. But yeah, it didn't take much time between when, Like,
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  Speaker 2: the first thing that really hooked me was the guitar
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  Speaker 2: solo to Free Will. That's what pushed me in the door.
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  Speaker 2: And it took very little time after that to just
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  Speaker 2: be like, I want everything, give me everything, you know,
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  Speaker 2: I've been wanting to. I have written about them before.
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  Speaker 2: For my first book, I wrote a little section about them.
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  Speaker 2: I contributed to album reviews to someone else's Rush book,
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  Speaker 2: and when Neil Peer passed away, I had the unfortunate
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  Speaker 2: duty of writing the news piece for the place I
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  Speaker 2: was working for at the time. But I always wanted
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  Speaker 2: to do my own full book because I just I
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  Speaker 2: will never run out of things to say about this band.
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  Speaker 1: Yeah, and what you write in here too, it's what
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  Speaker 1: I think about with bands I love, which includes Rush.
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  Speaker 1: You say, Russia's music continues to matter to me, and
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  Speaker 1: it's been there for me in difficult times. It centers me.
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  Speaker 1: It's been a real friend to me and continues to
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  Speaker 1: be And I always look at these bands. The music
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  Speaker 1: becomes your best friend, the songs become friends.
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  Speaker 2: Yeah, more more so than some people do. Like there
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  Speaker 2: are you know, people will let you down, but some
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  Speaker 2: songs will not ever. You know, there are a few bands,
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  Speaker 2: you know, Russia is one of them. I've listened to
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  Speaker 2: everything a billion times. You know, there's like, you know,
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  Speaker 2: I don't think there's anything out there that I have
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  Speaker 2: not heard. And it still has the same effect on
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  Speaker 2: me that it had on me when I was first
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  Speaker 2: discovering them. It still makes me like, like my body
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  Speaker 2: moves involuntarily with the music every time. And you know,
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  Speaker 2: I've I've listened to all these songs like I couldn't
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  Speaker 2: even I couldn't even guess how many times, but I like,
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  Speaker 2: I was listening to them this morning, you know, I
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  Speaker 2: just I never get tired of it. And you know,
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  Speaker 2: the whole time when I was writing the book, I
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  Speaker 2: was like, well, you know, will this do it? Will
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  Speaker 2: this make me sudden?
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  Speaker 1: You know?
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  Speaker 2: Will that get it all out of my system?
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  Speaker 1: No?
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  Speaker 2: It did not. Still there, Yeah, it took me. It
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  Speaker 2: did take me a little time to kind of focus
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  Speaker 2: on how I wanted to approach it, just because there
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  Speaker 2: are some topics in there that're a little they demanded
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  Speaker 2: a little bit more sensitive handling than like anything in
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  Speaker 2: the Aussie book for example, you know, cause there were
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  Speaker 2: terrible tragedies in Neil Peart's life and that, you know,
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  Speaker 2: and then he passed away from cancer, you know, and
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  Speaker 2: I had to touch on those things, and I wanted
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  Speaker 2: I wanted to do that respectfully, and I wanted to
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  Speaker 2: do that in a way that you know, would not
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  Speaker 2: I don't know. The fans are still very much in mourning.
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  Speaker 2: It's been over four years now and I'm still in mourning,
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  Speaker 2: and I know they're not over it. And I did
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  Speaker 2: hope when I was writing this, you know, maybe you know,
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  Speaker 2: when I touch on those things, maybe I can help
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  Speaker 2: somebody feel a little less bad about it for five minutes,
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  Speaker 2: you know. That's that's what I have the power to
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  Speaker 2: do as a writer.
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  Speaker 1: And talk about the book, how it's laid out. You
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  Speaker 1: get fifty called milestone events. Did you choose all fifty?
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  Speaker 1: Was it difficult to pare it down? Okay, not at all.
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  Speaker 2: It was actually no. So once once I sort of
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  Speaker 2: got that what the approach needed to be, I realized,
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  Speaker 2: like one of the things that I needed to lose
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  Speaker 2: was all the little bits of trivia that all the
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  Speaker 2: fans love. And I anticipate they may not be happy that,
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  Speaker 2: Like I don't I don't talk about Getty Lee singing
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  Speaker 2: on Takeoff by Bob and Doug McKenzie in nineteen eighty one.
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  Speaker 2: I loved it. I loved that it happened, but there
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  Speaker 2: really was it wasn't. There wasn't really room for it
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  Speaker 2: in the book because this is like this very focused
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  Speaker 2: thing where you know, you have set number of words,
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  Speaker 2: set number of sections, and it runs out faster than
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  Speaker 2: you'd think, and it gets filled, it gets filled faster
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  Speaker 2: than you'd think. So yeah, it was. There was a
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  Speaker 2: lot of measuring that that had to happen a lot
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  Speaker 2: of the time.
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  Speaker 1: That milestone event number one Russia's debut single. It's still
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  Speaker 1: it's still crazy to think that their first single was
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  Speaker 1: by Holly's not Fade Away. That was really seventy three.
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  Speaker 1: I've heard, I've heard it.
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  Speaker 2: Yeah, yeah, it sounds like shit.
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  Speaker 1: And and I don't think the guys would disagree. I
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  Speaker 1: don't think they liked it that much either, right, No.
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  Speaker 2: They didn't.
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  Speaker 1: I believe.
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  Speaker 2: Geddy Lee went on record as describing the sound as dinky.
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  Speaker 2: Uh and yes, you just you don't want to be dinky.
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  Speaker 2: You know there are many, you know, accusations they can
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  Speaker 2: throw at you. But Dinky, you just you don't want that.
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  Speaker 1: That leads to milestone numbered moment number two R because
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  Speaker 1: they get Terry Brown and they want to really step
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  Speaker 1: it up and say, we've got to do something better
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  Speaker 1: than this aka the Fourth Man. It seemed like instant
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  Speaker 1: chemistry with him too. With Terry and the.
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  Speaker 2: Band, That's that's what everyone seems to say, that just
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  Speaker 2: they understood each other, and you know, he he was
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  Speaker 2: able to understand the essential components of their sound. It
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  Speaker 2: was Getty's voice, is Rick and Bocker all that guitar,
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  Speaker 2: uh and this is this is while John Rutzy is
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  Speaker 2: still in the band too, is the drummer. So Neil
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  Speaker 2: Peart wasn't even a factory yet, but he completely got
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  Speaker 2: it and he just completely sorted out the mix for them.
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  Speaker 1: Uh.
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  Speaker 2: You know, I wouldn't want to know what that record
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  Speaker 2: would have sounded like before he got involved. And I
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  Speaker 2: don't think there would have been a second Rush record
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  Speaker 2: if he had not been involved, because it just it
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  Speaker 2: just wouldn't have sounded good and people wouldn't have responded
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  Speaker 2: to it the way they did. Because when they put
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  Speaker 2: out that first record, they it was they pressed it themselves,
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  Speaker 2: like no one, right, But it wasn't until it got
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  Speaker 2: on the radio in Cleveland and people were, you know,
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  Speaker 2: calling in like, oh my god, what is that. Then
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  Speaker 2: eventually it led to a US major label deal with
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  Speaker 2: Mercury and from there, you know, it was a go.
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  Speaker 2: But it was a real struggle, like right up until
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  Speaker 2: that time, because people just wanted nothing to do with it.
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  Speaker 1: Yeah yeah, WMMS.
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  Speaker 2: WMMS in Cleveland great got the helper to whom we.
• 9:01
  Speaker 1: Now people thought that was led Zeppelin.
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  Speaker 2: Which is hysterical. Ug I mean, I don't it says
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  Speaker 2: a lot. I think about the choices people had back
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  Speaker 2: at the time, you know, you know, because now we
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  Speaker 2: have you know, endless supply on Spotify of like thousands
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  Speaker 2: and thousands of bands. In nineteen seventy four, it was
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  Speaker 2: like led Zeppelin, the Eagles and everybody else. Yeah, like that,
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  Speaker 2: those were your choices. So and I can understand how
• 9:31
  Speaker 2: people would think like, oh, it's just more Led Zeppelin,
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  Speaker 2: who we hear on the radio all the time anyway.
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  Speaker 2: But to me it sounds nothing like Zeppelin. But I
• 9:41
  Speaker 2: get like people just heard the high voice and it's like, oh,
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  Speaker 2: led Zeppelin and life's in on the first record is
• 9:48
  Speaker 2: definitely doing more like Jimmy pageisms than he would do
• 9:54
  Speaker 2: later in that station.
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  Speaker 1: Cleveland, that market is huge, so that was a big deal.
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  Speaker 1: There was like I mean, sometimes these bands get broken
• 10:02
  Speaker 1: in the smaller markets, but Cleveland was a huge market.
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  Speaker 2: So yeah, that was huge for the huge market, huge
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  Speaker 2: blue collar audience of who all you know had. They
• 10:13
  Speaker 2: wouldn't get up at seven, they would get it at
• 10:15
  Speaker 2: five in the morning, you know. Uh, and you know,
• 10:19
  Speaker 2: just be putting cars together all day and uh, or
• 10:23
  Speaker 2: you know, just doing other infrastructure type stuff. And if
• 10:27
  Speaker 2: it just resonated with them, uh, you know, I mean,
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  Speaker 2: I don't know if a lot of that has to
• 10:33
  Speaker 2: do with regionse you know, because Toronto and Cleveland are
• 10:37
  Speaker 2: not that far apart, and yes they're separate countries, but
• 10:39
  Speaker 2: geographically there is some overlap and I could see how
• 10:46
  Speaker 2: what they were doing resonated with people in that part
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  Speaker 2: of the country.
• 10:51
  Speaker 1: Booked on Rock Podcasts will be back after this when
• 10:55
  Speaker 1: Pieche absents make shortly after the self titled debut album's released,
• 11:06
  Speaker 1: Getting Me and Alex Lipson have a problem now they
• 11:08
  Speaker 1: need a drummer, and they need a drummer fast, because
• 11:10
  Speaker 1: the US tour dates were booked and imminent, but they
• 11:13
  Speaker 1: parted ways with John Rotzi, who you mentioned. What was
• 11:16
  Speaker 1: the reason or I should say reasons for Rotsi's departure.
• 11:20
  Speaker 2: Uh, he had diabetes, which just it it made the
• 11:24
  Speaker 2: idea of like a like an extensive three hundred day
• 11:27
  Speaker 2: US tour like it was not that could not happen.
• 11:31
  Speaker 2: You know, there weren't there weren't the tools to manage
• 11:34
  Speaker 2: diabetes at the time like we have now.
• 11:37
  Speaker 1: Uh.
• 11:37
  Speaker 2: It was it was a real problem.
• 11:40
  Speaker 1: Uh.
• 11:40
  Speaker 2: And also he just didn't want to go in a
• 11:41
  Speaker 2: more you know, they were going in a more progressive
• 11:44
  Speaker 2: rock direction and he was more of like just a
• 11:46
  Speaker 2: basic you know, for you know, four four time rock
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  Speaker 2: and roll type drummer.
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  Speaker 1: Uh. You know.
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  Speaker 2: And I think they could have even had like a
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  Speaker 2: little bit of a career with him had he stayed,
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  Speaker 2: Like they could have done a few albums like that.
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  Speaker 2: And nothing wrong with.
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  Speaker 1: That fantastic drummer. Yeah, yeah, he was great.
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  Speaker 2: The only problem with him was that he had the
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  Speaker 2: misfortune of being replaced by Neil Peart, who's, you know,
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  Speaker 2: the greatest drummer who ever lived. But you know, I
• 12:14
  Speaker 2: listened back to that first record. He's perfectly good and
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  Speaker 2: on the B side of that first single, the not
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  Speaker 2: fadea wasting single, he actually like gets into it a
• 12:25
  Speaker 2: little bit in ways that I don't know. People are
• 12:28
  Speaker 2: aware that he was capable of. People talk a lot
• 12:31
  Speaker 2: of shit about him, unfortunately because he was not Neil Peart,
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  Speaker 2: So there's a lot of like, oh, he sucked got
• 12:36
  Speaker 2: they had the shitty drummer, and then Neil Peart came in,
• 12:38
  Speaker 2: and it's like, no, he was not the shitty drummer.
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  Speaker 2: That's not accurate. He was very much a part of
• 12:45
  Speaker 2: everything and they really hated to lose him. My son
• 12:49
  Speaker 2: even like sort of noticed it a little bit. He
• 12:51
  Speaker 2: was listening to the first album and he was like something,
• 12:54
  Speaker 2: I don't know what it is, something, but yeah, he
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  Speaker 2: figured it out.
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  Speaker 1: Neil Peart he joined the band July twenty ninth of
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  Speaker 1: seventy four. If Neil doesn't join the band, how would
• 13:05
  Speaker 1: we be talking about Rush today. That's a big question.
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  Speaker 2: Well, you wouldn't have the lyrics, that's which is a
• 13:14
  Speaker 2: big part of it. But yeah, I mean really it's
• 13:19
  Speaker 2: when you think of, you know, like the crazy fills
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  Speaker 2: he does all over twenty one twelve, and you know,
• 13:25
  Speaker 2: just all the you know, superhuman athletic stuff he was doing.
• 13:30
  Speaker 2: That was you know, yeah, he was very influenced by
• 13:33
  Speaker 2: Keith Moon, but Keith Moon was was I thought, like,
• 13:36
  Speaker 2: very kind of sloppy, and but he took like sort
• 13:40
  Speaker 2: of like the style of Keith Moon and was able
• 13:42
  Speaker 2: to keep it in time. And oh and it also
• 13:47
  Speaker 2: helped that he didn't do horse franquilizers right before a
• 13:50
  Speaker 2: show what Keith Moon did.
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  Speaker 1: Yeah. No, but I mean no about a total opposite personality. Yeah,
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  Speaker 1: like Neil there was was clean. I don't think he
• 14:00
  Speaker 1: did drugs or drankle all that much.
• 14:04
  Speaker 2: Not famously so like like Keith Moon.
• 14:07
  Speaker 1: Yeah no, Yeah, he was a reader.
• 14:10
  Speaker 2: All three of those guys were I don't want to
• 14:12
  Speaker 2: say they were boring or anything, but they just they
• 14:15
  Speaker 2: just didn't get up to that kind of silly shenanigans.
• 14:20
  Speaker 2: But no, if Neil Pierre doesn't joint rush, we're not
• 14:23
  Speaker 2: sitting here having this discussion right now. That's not to
• 14:27
  Speaker 2: say they couldn't have found some other excellent drummer who
• 14:30
  Speaker 2: also wrote lyrics, you know, because I'm sure that exists.
• 14:33
  Speaker 2: I'm sure that's out there. I'm glad they found him.
• 14:37
  Speaker 1: Certainly and let's skip ahead now to milestone moment or
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  Speaker 1: event number eight, which is it's titled The Rule of
• 14:44
  Speaker 1: the Red Star, No single, no top forty, no problem.
• 14:48
  Speaker 1: Can you explain what's behind that title?
• 14:50
  Speaker 2: Well, the Rule of the Red Star, if you look
• 14:51
  Speaker 2: at the like the liner notes and plot description for
• 14:55
  Speaker 2: twenty one to twelve, that's like the insignia that the
• 15:00
  Speaker 2: the priests of the Temples of Seyrins lord over you,
• 15:04
  Speaker 2: kind of like you know, if you see like footage
• 15:07
  Speaker 2: of Adolf Hitler with the swastika behind him, it's like
• 15:10
  Speaker 2: it's basically the same sort of thing, or like a
• 15:13
  Speaker 2: sigil or something along those lines. And they had been
• 15:18
  Speaker 2: told right before they made that record, the record previous
• 15:21
  Speaker 2: to that had not sold well. Progressive Steel was very progressive,
• 15:25
  Speaker 2: way out there in a lot of ways, and it
• 15:28
  Speaker 2: just didn't It didn't do that great. So the labels like,
• 15:31
  Speaker 2: all right, we're giving you one more chance. You better
• 15:35
  Speaker 2: make a like record full of hits next one, or
• 15:39
  Speaker 2: we're dropping you. So like okay, and they put a
• 15:42
  Speaker 2: twenty minute song on the side about space dystopia, you
• 15:46
  Speaker 2: know as oh as. Angie Scarpa, a Los Angeles based
• 15:53
  Speaker 2: musician who helped me with the time signatures in these songs.
• 16:00
  Speaker 2: He told me that she'd always considered Rush to be
• 16:03
  Speaker 2: the ultimate punk rock band for reasons like that, where
• 16:06
  Speaker 2: it's like, you know, the labels is like, we need
• 16:08
  Speaker 2: you to be more commercial, and their answer is the
• 16:11
  Speaker 2: you know, well deserved middle finger salute called side one
• 16:16
  Speaker 2: of twenty one to twelve, you know, and it did
• 16:19
  Speaker 2: great for them. That's the thing, and that's the thing. Yeah,
• 16:22
  Speaker 2: like we're never listening to anybody, here we go.
• 16:25
  Speaker 1: Yeah. Yeah. Another intriguing title is for Milestone of Venumber twelve.
• 16:29
  Speaker 1: Have you chaps heard of editing Yes, Getty Lee as
• 16:33
  Speaker 1: the worst two weeks of his life. This has to
• 16:34
  Speaker 1: do with their nineteen seventy eight album Hemispheres. Yeah.
• 16:38
  Speaker 2: They it was a very progressive album. They had very
• 16:43
  Speaker 2: ambitious goals for it, but they had done some systemic
• 16:50
  Speaker 2: things that caused problems, Like they just they wrote all
• 16:53
  Speaker 2: the music and recorded it without seeing first if like
• 16:58
  Speaker 2: if the key was right for Getty to sing in.
• 17:01
  Speaker 2: So he goes into the vocal booth and everything is like,
• 17:04
  Speaker 2: you know, all the way up to the ceiling as
• 17:06
  Speaker 2: high as possible, Like, oh, if you listen to the
• 17:09
  Speaker 2: song circumstances on that record, it's I believe that's the
• 17:13
  Speaker 2: highest vocal he has in the entire Rush catalog. But
• 17:17
  Speaker 2: he was like that just that completely warm me up.
• 17:20
  Speaker 2: That was That was horrible and that was the worst
• 17:22
  Speaker 2: two weeks of his life. As far as the editing part,
• 17:26
  Speaker 2: they always work that you record a song from front
• 17:31
  Speaker 2: to back, one pass, one take, And for Lavilla Strangiata,
• 17:36
  Speaker 2: which is the ten minute instrumental at the end of Hemispheres,
• 17:40
  Speaker 2: they just they just couldn't nail it. They kept doing
• 17:42
  Speaker 2: it and doing it, and they just couldn't get through it.
• 17:44
  Speaker 2: And Terry Brown, the producer, puts a hand on the
• 17:48
  Speaker 2: shoulder and is like, boys, you can always like just
• 17:51
  Speaker 2: record the three parts and we edit them together. And
• 17:55
  Speaker 2: finally they relented and they did that, and they and
• 17:58
  Speaker 2: they had to admit, like, Okay, maybe we could have
• 18:01
  Speaker 2: saved ourselves some headaches if we had been doing it
• 18:04
  Speaker 2: that way in the past.
• 18:05
  Speaker 1: Daniel Bucks bands he's the author of Russi at fifty.
• 18:07
  Speaker 1: It's due on October eight through Motorbooks, but you can
• 18:10
  Speaker 1: pre order it. Now. Let's get to the eighties, which
• 18:12
  Speaker 1: leads to Milestone event number fourteen. They decide to leave
• 18:15
  Speaker 1: the formula behind, talk about the changes the band decided
• 18:19
  Speaker 1: to make and how that would impact the band's legacy
• 18:21
  Speaker 1: looking back on that years later.
• 18:23
  Speaker 2: They did Permanent Waves right after Hemispheres. It was it
• 18:27
  Speaker 2: came out like right at the beginning of nineteen eighty.
• 18:29
  Speaker 1: So it wasn't the first album of the eighties ever.
• 18:33
  Speaker 2: Believe it came out on January first, nineteen eighty according
• 18:36
  Speaker 2: to some accounts. I have seen January fourteenth also, but
• 18:40
  Speaker 2: January basically everyone's still, you know, getting their New Year's
• 18:44
  Speaker 2: Eve hangover out of themselves, you know, and here's Spirit
• 18:47
  Speaker 2: of Radio and all that kind of thing. And it
• 18:51
  Speaker 2: was it was just like a lot more refined take
• 18:55
  Speaker 2: on the band that was also more stream lined. They
• 19:01
  Speaker 2: weren't really necessarily changing their approach. They were just finding
• 19:06
  Speaker 2: different ways to do it because they didn't want to
• 19:08
  Speaker 2: be They didn't want to be formulated. They did and
• 19:12
  Speaker 2: they wanted to really that every album they put out
• 19:15
  Speaker 2: was something new. They did not want to repeat themselves. Uh,
• 19:19
  Speaker 2: you know, Getty leaf And said, at the time of Hemispheres,
• 19:22
  Speaker 2: he felt like they were getting formulaic because you had had,
• 19:27
  Speaker 2: you know, Farewell to Kings before that, which ends with
• 19:31
  Speaker 2: Signess x one, and then Hemispheres starts with Signess x
• 19:35
  Speaker 2: one Book two, and I think he felt like maybe
• 19:37
  Speaker 2: there was just too much similarity between the two records,
• 19:41
  Speaker 2: and so you know, he, well, the whole band felt
• 19:46
  Speaker 2: we need to keep moving, we need to keep doing
• 19:48
  Speaker 2: new things, we need to keep incorporating new things into
• 19:50
  Speaker 2: our music, you know, and Permanent Waves, as you know,
• 19:54
  Speaker 2: from start to finish is you know, it's this whole
• 19:57
  Speaker 2: new Lease on life. You know, it's very shiny album
• 20:00
  Speaker 2: in a lot of ways. The music is, and you know,
• 20:04
  Speaker 2: it's very crisp, and they had really, I think, really
• 20:07
  Speaker 2: wanted to make a point with it, and I think
• 20:10
  Speaker 2: they did. That is, of course where the synthesizers started
• 20:15
  Speaker 2: creeping in, which you know, they did start to loosen
• 20:20
  Speaker 2: people with that. But I never had any problem with it.
• 20:23
  Speaker 2: I thought it sounded great.
• 20:25
  Speaker 1: Same here. Maybe I guess it depends on when you
• 20:27
  Speaker 1: were born, what area you're from, because.
• 20:29
  Speaker 2: I loved I find that people who are about ten
• 20:32
  Speaker 2: years older than me, like people in their sixties, will
• 20:36
  Speaker 2: be the first ones to be like they lost me
• 20:37
  Speaker 2: at Signals right, they'd be good before then then they
• 20:42
  Speaker 2: did the keyboards. They went new wave, they didn't go
• 20:47
  Speaker 2: but they were taking elements of what they heard out
• 20:52
  Speaker 2: there on the radio and then pop music, and they're like, oh,
• 20:56
  Speaker 2: that's interesting, let's see what we can do with that.
• 20:59
  Speaker 2: I think they really took it on as like a
• 21:00
  Speaker 2: creative challenge, as opposed to like, oh, these young new
• 21:04
  Speaker 2: wave up starts are come in for us. I think
• 21:07
  Speaker 2: they're like, okay, a challenge.
• 21:09
  Speaker 1: Nice, yeah, an ingredient to add into the mix.
• 21:12
  Speaker 2: Well, I mean there were artists, and uh, you know
• 21:15
  Speaker 2: you all artists want to you know, they want to
• 21:18
  Speaker 2: see like, well what can I do with this paint color?
• 21:20
  Speaker 2: And what can I do with this? And what can
• 21:22
  Speaker 2: I do with this? If they're really creative and really
• 21:25
  Speaker 2: interested in the process. Uh, I don't think Rush ever
• 21:29
  Speaker 2: wanted to be this like one thing perfectly encased in
• 21:35
  Speaker 2: a glass box that no one could you know, could puncture.
• 21:39
  Speaker 2: Uh that would be Jane's addiction.
• 21:42
  Speaker 1: I'm sorry. Were they in the news for something? Yeah?
• 21:49
  Speaker 1: Yeah that well certainly for Getty too. It wasn't like
• 21:53
  Speaker 1: it wasn't making things easier for him. He when he
• 21:55
  Speaker 1: was on stage. Now he's singing, keyboards, playing the bass,
• 21:58
  Speaker 1: he was a busy guy on stage.
• 22:00
  Speaker 2: And tourist pedals also, so don't create eat work before
• 22:04
  Speaker 2: even doing something. It's I don't know how he did it. Yeah,
• 22:08
  Speaker 2: we I think we have to talk to some neurologist
• 22:10
  Speaker 2: about like the different him oh hemispheres haha, me. You know, like,
• 22:15
  Speaker 2: well this when this neural pathway is it is at rest,
• 22:20
  Speaker 2: then this one. It's crazy stuff, you know, But I
• 22:25
  Speaker 2: don't know. They they seemed fine. They seem to be okay,
• 22:28
  Speaker 2: taking it all on book.
• 22:30
  Speaker 1: Rock podcasts will be back after this.
• 22:33
  Speaker 2: Surely you can't be serious.
• 22:35
  Speaker 1: I am serious, and don't call me surely. Let's talk
• 22:40
  Speaker 1: about Ein Rand. The bandput quote with acknowledgment to the
• 22:43
  Speaker 1: genius of Ein Rand in the liner Notes twenty one twelve.
• 22:46
  Speaker 1: Who is Iron Rand? How does she play a role
• 22:48
  Speaker 1: in Russi history?
• 22:50
  Speaker 2: Ein Rand was a novelist originally from Russia who came
• 22:55
  Speaker 2: to the United States, and uh, I guess you could
• 22:59
  Speaker 2: say basically was very responsible for libertarian philosophy. She read.
• 23:06
  Speaker 2: She wrote these books like The Fountain Head and Atlas
• 23:08
  Speaker 2: Shrugged that were very They were very centered on an
• 23:14
  Speaker 2: individual character who all of society is seeking to keep down,
• 23:21
  Speaker 2: but you know, the individual triumphs and you know that
• 23:26
  Speaker 2: sort of thing. It was very much against collectivism. It
• 23:30
  Speaker 2: was very much against you know, and she had been
• 23:32
  Speaker 2: coming from Russia, you know, where you have good reasons
• 23:36
  Speaker 2: to be against collectivism and that sort of thing. But
• 23:41
  Speaker 2: the famous story is that Neil Pierre found a copy
• 23:45
  Speaker 2: of one of her books when he was living in
• 23:48
  Speaker 2: London when he was like eighteen or so, and he
• 23:52
  Speaker 2: just was really taken with it and what he took
• 23:56
  Speaker 2: from it. And you know, what I think has been
• 23:59
  Speaker 2: sort of through line for them the whole time is
• 24:02
  Speaker 2: that she was saying, you know, if you believe in something,
• 24:07
  Speaker 2: you can just put yourself totally behind that thing and
• 24:10
  Speaker 2: put everything you have into it. And you should never
• 24:13
  Speaker 2: compromise on that. You should never surrender on that, because
• 24:17
  Speaker 2: the most important thing you have is your individuality, your
• 24:20
  Speaker 2: your uniqueness, which to me that all lines up perfectly
• 24:26
  Speaker 2: with If there's a rush Ethos, I would say, that's it.
• 24:29
  Speaker 2: It's about, you know, there this very individual thing that
• 24:33
  Speaker 2: no one else has ever no one has ever been
• 24:36
  Speaker 2: able to crack that formula. You know, But if they
• 24:39
  Speaker 2: had listened to you know, everyone around them, who are like,
• 24:43
  Speaker 2: you know, Getty's voice sucks, or you need to do
• 24:45
  Speaker 2: shorter songs, or what's with these lyrics or you know
• 24:49
  Speaker 2: all that kind of thing. I really respect the fact
• 24:53
  Speaker 2: that they never back down on any of it. That's hard,
• 24:58
  Speaker 2: that's really hard to do. But you know that, to me,
• 25:02
  Speaker 2: that really became their ethos. The problem with it is
• 25:06
  Speaker 2: there are a lot of people who believe that I'm
• 25:09
  Speaker 2: Rand was a fascist, and so they thought Brush was
• 25:12
  Speaker 2: a fascist band. I don't know how you can be
• 25:16
  Speaker 2: a fascist band, like if you're still just going up
• 25:19
  Speaker 2: there and playing and going home. You know, I don't
• 25:22
  Speaker 2: see where the opportunity for fascism has been that exactly.
• 25:26
  Speaker 2: But they took a lot of shit for it.
• 25:28
  Speaker 1: Yeah, Neil had to answer that question a lot, I
• 25:30
  Speaker 1: think more him specifically, I guess because they knew he
• 25:32
  Speaker 1: was such a fan.
• 25:34
  Speaker 2: Well, I mean, he was getting questions about it, like
• 25:36
  Speaker 2: right like up until you know, close to the end
• 25:39
  Speaker 2: of his life. There would be a lot of people
• 25:40
  Speaker 2: and be like, are you still reading iin Rand? Are
• 25:43
  Speaker 2: you still into that stuff? Uh?
• 25:46
  Speaker 1: You know what I mean.
• 25:47
  Speaker 2: As you know, as he got older, you know, as
• 25:49
  Speaker 2: we all do, we tend to kind of like mellow
• 25:51
  Speaker 2: out on some of our more strident beliefs of youth,
• 25:55
  Speaker 2: you know.
• 25:55
  Speaker 1: And you know, and he did too.
• 25:56
  Speaker 2: He got older and he mellowed out a little bit,
• 26:00
  Speaker 2: but he never he never went back on feeling like
• 26:04
  Speaker 2: what was important about her work to him was that
• 26:07
  Speaker 2: it really stressed individuality and pursuing that above everything else.
• 26:15
  Speaker 2: In that sense, I'm right there with them, absolutely.
• 26:18
  Speaker 1: Such a fascinating guy. I loved listening to him in interviews.
• 26:22
  Speaker 1: Just so intelligent, so well spoken. Yeah, they call him
• 26:26
  Speaker 1: the Professor the Yeah, yeah, the Professor was his nickname
• 26:30
  Speaker 1: lyrically in the eighties. So when he shifts now he's
• 26:33
  Speaker 1: in the seventies, he's it's more progressive. The lyrics kind
• 26:38
  Speaker 1: of reflect that the sound of the band, But then
• 26:41
  Speaker 1: things changed, tighten up, and then his lyrics are something
• 26:44
  Speaker 1: that's become more accessible and relatable. Like for me personally,
• 26:48
  Speaker 1: the first song I think I ever connected with based
• 26:51
  Speaker 1: on its lyrics with Subdivision, because I was in high
• 26:54
  Speaker 1: school and I was just like the high school nerd.
• 26:59
  Speaker 1: I mean, I wasn't popular, and I hear that line,
• 27:03
  Speaker 1: you know, in the high school halls just and and
• 27:07
  Speaker 1: it really it really struck a chor with me, and
• 27:12
  Speaker 1: lyrically he was always evolving, I think right up until
• 27:15
  Speaker 1: the end.
• 27:16
  Speaker 2: Yeah, you know, I mean I would say it's the
• 27:19
  Speaker 2: same as with the music, where there was just always
• 27:21
  Speaker 2: this urge to like, what's what's next? What can I
• 27:24
  Speaker 2: say next? Not how can I just say the same
• 27:27
  Speaker 2: thing again? They were always about that, they were always pushing.
• 27:32
  Speaker 2: What's funny about that too? Is the very last song
• 27:35
  Speaker 2: on their very last album, The Garden is you know
• 27:39
  Speaker 2: very much about the people you have around you. So
• 27:42
  Speaker 2: it's like, in a lot of ways, kind of the
• 27:44
  Speaker 2: opposite of this, like, you know, very individualistic, it's about
• 27:48
  Speaker 2: me the person, where it had really turned into this
• 27:52
  Speaker 2: other thing for him where he was really appreciating. You know,
• 27:57
  Speaker 2: I don't know necessarily that this was only because of
• 28:00
  Speaker 2: what had happened to his first wife and daughter, but
• 28:04
  Speaker 2: you know, he was surrounded by very good people. He
• 28:07
  Speaker 2: was the guys in the band were his best friends,
• 28:11
  Speaker 2: and you know, he married this wonderful woman later and
• 28:14
  Speaker 2: they and you know, they had a daughter later and
• 28:17
  Speaker 2: I could see, you know, again I'm projecting totally and
• 28:21
  Speaker 2: just reading into it, but it's it seemed to me
• 28:24
  Speaker 2: like the lyrics to the garden. Are are a little
• 28:26
  Speaker 2: more like welcoming of other people into your worldview, and
• 28:32
  Speaker 2: that they're not necessarily there to water it all down.
• 28:36
  Speaker 2: Sometimes they're there to help you, help lift you up,
• 28:39
  Speaker 2: and you can maybe even pursue your own personal goals
• 28:43
  Speaker 2: better with them in your life, with them around you.
• 28:47
  Speaker 2: I've you know, I've certainly reached that point in my
• 28:49
  Speaker 2: life where you know, I have good There's my wife
• 28:52
  Speaker 2: and my son, and I feel very lucky to have them.
• 28:55
  Speaker 2: When I was in my twenties, no, I had no
• 29:00
  Speaker 2: appreciation for other people at all. But you know, as
• 29:02
  Speaker 2: you get older, hopefully you wise up a little bit.
• 29:06
  Speaker 2: And he and that song really sounded to me like
• 29:09
  Speaker 2: you know, they didn't they didn't intend necessarily that that
• 29:14
  Speaker 2: was going to be the last song they ever recorded,
• 29:16
  Speaker 2: But if it was going to be, that was that
• 29:18
  Speaker 2: was the right one to go out on.
• 29:20
  Speaker 1: In my opinion, his observations of the world and mankind
• 29:25
  Speaker 1: and human nature and all those things were always fascinating,
• 29:27
  Speaker 1: and some of them are auto biographical, like Limelight is
• 29:29
  Speaker 1: about him, right, I mean, he was not somebody who
• 29:32
  Speaker 1: was interested in being famous.
• 29:34
  Speaker 2: Well, he uses the pronoun you know, one must put
• 29:38
  Speaker 2: up barriers to keep oneself intact. So maybe he was
• 29:41
  Speaker 2: trying to be like, no, no, it's not about me,
• 29:44
  Speaker 2: it's about anybody. That was about him. I'm fairly certain in.
• 29:48
  Speaker 1: Some divisions too, right. I think where he grew up
• 29:51
  Speaker 1: there was it was divided in the in the neighborhood.
• 29:54
  Speaker 1: I think I remember reading something like that.
• 29:56
  Speaker 2: But yeah, but I mean at the same time, and
• 29:58
  Speaker 2: in both cases he met, he never wrote in like
• 30:01
  Speaker 2: such a specific way that it could only be about him.
• 30:05
  Speaker 2: Just it just resonated too much with too many people
• 30:08
  Speaker 2: for it to be that way, you know, like you
• 30:10
  Speaker 2: were saying, with subdivisions. I remember hearing it and hearing
• 30:13
  Speaker 2: the lyrics and being like, my god, you know this
• 30:16
  Speaker 2: guy understands a lot.
• 30:19
  Speaker 1: Yes, he's talking to me. Yeah, you know.
• 30:23
  Speaker 2: I felt like almost like, you know, I didn't even
• 30:26
  Speaker 2: grow up in the suburbs, so that part of the
• 30:31
  Speaker 2: song doesn't necessarily applied me. But I mean, if if
• 30:33
  Speaker 2: you're anywhere with a high school, that song will mean
• 30:37
  Speaker 2: something to you, whether you're in high school today or
• 30:42
  Speaker 2: it was fifty years ago. You I don't think you
• 30:45
  Speaker 2: can read the lyrics to that song and write them
• 30:49
  Speaker 2: off as like oh, they were just trying to fill
• 30:51
  Speaker 2: up four minutes. There's real thought put into that.
• 30:55
  Speaker 1: I thought, as a huge fan, did you know he
• 30:57
  Speaker 1: was writing the lyrics from from the start when he joined,
• 31:01
  Speaker 1: Because I didn't know that. I just thought it was
• 31:03
  Speaker 1: Getty Late that was writing him.
• 31:06
  Speaker 2: Well, originally it was supposed to be John Rutsy, and
• 31:10
  Speaker 2: he had actually written some lyrics that were supposed to
• 31:12
  Speaker 2: go on the first record, but at the last minute
• 31:15
  Speaker 2: he was like, these are no good and he took
• 31:17
  Speaker 2: them all back and tore them up, and so Gedty
• 31:20
  Speaker 2: and Alex wrote all the lyrics, like I think, just
• 31:24
  Speaker 2: as Gedty was about to go into the vocal booth.
• 31:26
  Speaker 2: You know, I don't think too many people will be
• 31:31
  Speaker 2: mad at me for saying that some of the lyrical
• 31:34
  Speaker 2: efforts on the Rush debut album are subpar. I think
• 31:40
  Speaker 2: I don't think that's a controversial statement. But I mean
• 31:43
  Speaker 2: what you know, what they said was when they hired
• 31:46
  Speaker 2: Neil Peart, it was just as a drummer, and they
• 31:49
  Speaker 2: never even considered like, oh, maybe he writes lyrics also,
• 31:53
  Speaker 2: but they were it didn't take very long and be like, wow,
• 31:57
  Speaker 2: this guy's reading like all the time. Yeah, and he
• 32:00
  Speaker 2: talks like someone who reads all the time, and he
• 32:03
  Speaker 2: has a really good way with words. Maybe there's some
• 32:07
  Speaker 2: arrangement we can come to, you know with this back.
• 32:11
  Speaker 1: Well, I don't think my brothers had the albums. Well
• 32:15
  Speaker 1: I think, yeah, my brother had the cassette. He had
• 32:18
  Speaker 1: a few of the cassettes. But I wasn't reading the
• 32:20
  Speaker 1: liner notes, so I didn't know he was the guy
• 32:22
  Speaker 1: doing the lyrics. I just figured Getty Lead, the dude singing,
• 32:24
  Speaker 1: was a guy who wrote the lyrics.
• 32:25
  Speaker 2: I didn't know, I mean, but most people, I think,
• 32:29
  Speaker 2: just had to assume whoever singing like in any band,
• 32:32
  Speaker 2: whoever singing like the guy Dozzy Osbourne or close personal
• 32:36
  Speaker 2: friend wrote no lyrics like ever, well, not never, but.
• 32:43
  Speaker 1: Not often.
• 32:44
  Speaker 2: There were a few instances later in the career when
• 32:48
  Speaker 2: Getty Lee wrote a couple of things and Alex Lifson
• 32:50
  Speaker 2: a couple of things lyrically, but really it was Neil's show. Yeah,
• 32:55
  Speaker 2: And you know, I mean, if it was me, I
• 32:57
  Speaker 2: wouldn't want to go up against him, not if he
• 33:02
  Speaker 2: was doing it already.
• 33:05
  Speaker 1: We'll be back after this, come out, Come out, wherever
• 33:08
  Speaker 1: you are. So of all those eighties albums, because there
• 33:13
  Speaker 1: were a lot of big ones and just there's so
• 33:15
  Speaker 1: many great ones. Permanent Waves, moving pictures, Signals, Grace, under Pressure,
• 33:19
  Speaker 1: power Windows, hold your Fire, Presto. Those are all in
• 33:22
  Speaker 1: the eighties. You got you got one that's your favorite,
• 33:24
  Speaker 1: and what do you think is the best? Objectively speaking,
• 33:28
  Speaker 1: no one agrees with me on this. My favorite album
• 33:31
  Speaker 1: that they did in the eighties was Signals. Okay, album
• 33:35
  Speaker 1: that lost all these people because there's too many keyboards
• 33:38
  Speaker 1: on it, right right? Love it from That's got that
• 33:41
  Speaker 1: song with subdivisions, right.
• 33:43
  Speaker 2: Yeah, uh it's I mean there's one song on it, Chemistry,
• 33:47
  Speaker 2: that I believe is considered like filler by most fans.
• 33:51
  Speaker 2: I love it every time I hear it that I
• 33:54
  Speaker 2: cannot understand why more people.
• 33:57
  Speaker 1: Don't love it, The Analog Kid and I love it good.
• 34:02
  Speaker 2: So I mean, just the guitar on that is amazing.
• 34:05
  Speaker 1: You know, and maybe the most underrated song of them all,
• 34:08
  Speaker 1: Losing It.
• 34:09
  Speaker 2: I love Losing It, absolutely love it yet I remember,
• 34:13
  Speaker 2: but I mean the time I remember really connecting with it,
• 34:17
  Speaker 2: I was on an airplane approaching my home and just
• 34:21
  Speaker 2: when it like the first half of it, I guess
• 34:24
  Speaker 2: is like a ballad, and then it goes into this
• 34:26
  Speaker 2: kind of more jazzy bit with the violin solo, and
• 34:30
  Speaker 2: the airplane touched down right as that part was starting,
• 34:35
  Speaker 2: you know, And you can't plan stuff like that, you know,
• 34:38
  Speaker 2: But I mean that's always kind of been part of
• 34:40
  Speaker 2: it for me. But more than that, it's just so
• 34:43
  Speaker 2: gracefully performed. And the meter is really odd, but it
• 34:50
  Speaker 2: doesn't sound odd, Like everything sounds natural, even though you know,
• 34:53
  Speaker 2: if you sit down with sheet music, it's like, oh wow, yeah,
• 34:56
  Speaker 2: this is all over the place, but it doesn't sound
• 34:59
  Speaker 2: like it light from moving pictures. The meter is all
• 35:03
  Speaker 2: over the place, and the time signatures are all over
• 35:05
  Speaker 2: the place, but it sounds completely natural.
• 35:09
  Speaker 1: So the electric violin, that the electric violin, Ben mink
• 35:13
  Speaker 1: on the electric violin, I mean, who's stunning? You know?
• 35:16
  Speaker 1: Who comes up with you? Right? And it's about Hemingway
• 35:20
  Speaker 1: And I don't know anybody's specific, but a dancer who's
• 35:23
  Speaker 1: kind of gotten older and right they're losing.
• 35:27
  Speaker 2: I can't remember like specifically who. I mean, Honestly, it
• 35:32
  Speaker 2: became a song that meant a lot to me personally
• 35:34
  Speaker 2: so long ago that I kind of forgot what the
• 35:37
  Speaker 2: lore behind the song actually is, Like who it's specifically about.
• 35:43
  Speaker 2: But you know, I mean, I'm I'm fifty four years old,
• 35:45
  Speaker 2: and you know I go through the same things where
• 35:47
  Speaker 2: it's like, man, I just I can't write today. Oh
• 35:49
  Speaker 2: on my knees right, my pancreas is upsetting me today.
• 35:54
  Speaker 2: You know, it's it just it happened to you.
• 35:56
  Speaker 1: You see somebody you see every day and you're like,
• 35:58
  Speaker 1: what's what's their name again?
• 36:00
  Speaker 2: Yeah? Or you or you see someone you see every
• 36:03
  Speaker 2: day and it's like, oh my god, what the hell
• 36:05
  Speaker 2: happened to you? You've got much older, really, so.
• 36:08
  Speaker 1: Some of the some of those later eighties albums take
• 36:12
  Speaker 1: some hits, but there's some great moments on there, like
• 36:16
  Speaker 1: like Hold Your Fire and Presto would be the two
• 36:18
  Speaker 1: ones that that time stand Still is great. Hold Your
• 36:22
  Speaker 1: Hold Your Fire might be my least favorite of that decade.
• 36:25
  Speaker 1: But if you get into Presto show Don't Tell the
• 36:30
  Speaker 1: Past the Past is one of the best rush songs
• 36:32
  Speaker 1: I've ever heard.
• 36:34
  Speaker 2: There's a there's a bunch of good stuff on Presto
• 36:36
  Speaker 2: Presto Super Conductor available light. I think it is fantastic,
• 36:43
  Speaker 2: very well, It's not like a rush type song at all,
• 36:48
  Speaker 2: you know, it's just like piano ballad kind of thing.
• 36:51
  Speaker 2: Red Tide. I think it's fantastic. Uh, there's a bunch
• 36:55
  Speaker 2: of good stuff on there. It's a really really underrated album.
• 36:59
  Speaker 1: The title track, you get it, it's fantastic, you know.
• 37:05
  Speaker 2: I remember even like hearing it for the first time
• 37:09
  Speaker 2: when it came out and being kind of having this
• 37:12
  Speaker 2: feeling of like, oh, okay, so they're doing something a
• 37:15
  Speaker 2: little different this time. Okay, I get it. Yeah, hold
• 37:19
  Speaker 2: I mean, Hold your Fire is probably of the eighty
• 37:22
  Speaker 2: stuff I would say my least favorite, but even that one,
• 37:25
  Speaker 2: I would say because when I did this book, I
• 37:29
  Speaker 2: went back and listened to everything. I listened to the
• 37:32
  Speaker 2: entire cattalog straight through, and I had to concede that
• 37:35
  Speaker 2: even on the albums that I wasn't crazy about, like
• 37:37
  Speaker 2: Hold your Fire is like, they put as much effort
• 37:42
  Speaker 2: and time and love and craft into this as they
• 37:46
  Speaker 2: did on every other record, and I maybe don't get it.
• 37:51
  Speaker 2: I am maybe not the intended audience for that specific record,
• 37:56
  Speaker 2: but I couldn't say like, ah, they just phoned that
• 37:59
  Speaker 2: one in, didn't even try, and and I know people
• 38:02
  Speaker 2: where that's their favorite rush record, So yeah, yeah, I
• 38:06
  Speaker 2: know people were Clockwork Angels is their favorite Rush record.
• 38:10
  Speaker 1: What's cool is I didn't even know about the influence
• 38:13
  Speaker 1: of the Police Stuart Copeland. Well, yeah, Neil and Alex
• 38:18
  Speaker 1: I think we're fans, so they so when you hear
• 38:20
  Speaker 1: those are reggae sections of these songs, that's where it's
• 38:23
  Speaker 1: coming from.
• 38:24
  Speaker 2: Well, I think all three of them were, I mean
• 38:26
  Speaker 2: all three yeah, well on digital man on uh right
• 38:31
  Speaker 2: back to signals, I mean everything. Yeah, everything in that
• 38:36
  Speaker 2: is like, oh, okay, so you have you have a
• 38:39
  Speaker 2: copy of uh, you know, Ghost in the Machine too,
• 38:41
  Speaker 2: I see, yeah, yeah, but I listen to it and
• 38:46
  Speaker 2: it's like you can hear that that's the influence, but
• 38:49
  Speaker 2: it doesn't sound like they're copying.
• 38:52
  Speaker 1: That's what's so cool. Yeah. Yeah, it's like you're trying
• 38:54
  Speaker 1: to emulate. You're trying to create a sound of a band,
• 38:57
  Speaker 1: but you create the sound all of its own and
• 39:00
  Speaker 1: in the process, which is yeah, it's that's cool. And
• 39:04
  Speaker 1: Neil Pierre like, I love the drums, so I can
• 39:06
  Speaker 1: listen to even the worst rush song. I'll just sit
• 39:09
  Speaker 1: there and listen to Neil's playing.
• 39:11
  Speaker 2: What's the worst rush song?
• 39:13
  Speaker 1: Yeah, you put now you're gonna have to I'm sorry,
• 39:16
  Speaker 1: what would be the no, you know what, I think
• 39:18
  Speaker 1: it might have to be. I think we have to
• 39:20
  Speaker 1: go and this is this isn't Neil's not honest. It's
• 39:24
  Speaker 1: got to be on that first album. I have to there's.
• 39:29
  Speaker 2: Oh boy, take a friend.
• 39:33
  Speaker 1: I'm taking take a friend. I really Yeah.
• 39:37
  Speaker 2: The weaknesses of the first album, I would say, is
• 39:39
  Speaker 2: more just like it was a little goofy in some
• 39:42
  Speaker 2: of it, and you know, but you know they were
• 39:45
  Speaker 2: just starting out and those are those are pretty forgivable
• 39:49
  Speaker 2: sins uh for me, something like I think I'm going baldy.
• 39:53
  Speaker 1: That's the one too.
• 39:54
  Speaker 2: I think that's that to me is a crime. The
• 39:57
  Speaker 2: crime was when they recorded that.
• 40:00
  Speaker 1: I think I'm going bald Yeah.
• 40:02
  Speaker 2: Yeah, but none of them are are going to sit
• 40:05
  Speaker 2: there today and be like, what do you mean you
• 40:07
  Speaker 2: didn't like I think I'm going ball, He tells us.
• 40:09
  Speaker 2: At our best, we're at our apex at that point,
• 40:12
  Speaker 2: you know it's.
• 40:13
  Speaker 1: Not gonna happen.
• 40:14
  Speaker 2: I think that. I think they're where like, yeah, we
• 40:17
  Speaker 2: just needed three minutes on that side of the record.
• 40:20
  Speaker 1: Yeah.
• 40:21
  Speaker 2: I know.
• 40:21
  Speaker 1: It's not one of the most iconic songs, but I'm
• 40:23
  Speaker 1: such a twilight Zone fan. So I love that song Twilight. Yeah,
• 40:27
  Speaker 1: that's great too. And he combines like three storylines, three
• 40:30
  Speaker 1: episodes into one, yeah, into one song. That's cool.
• 40:34
  Speaker 2: I remember the episodes too.
• 40:36
  Speaker 1: Oh yeah.
• 40:37
  Speaker 2: Also the first time hearing that song, like, oh oh
• 40:39
  Speaker 2: they're doing that one.
• 40:40
  Speaker 1: Oh hey, yeah, like the the little Girl Giant Kid,
• 40:45
  Speaker 1: the giant Kid is yeah, a little girl is a
• 40:47
  Speaker 1: giant kid. Yeah. All right, let's move into the nineties. Now,
• 40:50
  Speaker 1: let's talk nineties rush. So we see, we see Neil's
• 40:54
  Speaker 1: he's not resting at his laurels, but he's looking to
• 40:56
  Speaker 1: improve on his skills, which are already I'm amazing. Talk
• 41:00
  Speaker 1: about milestone of at number twenty nine, titled feels like
• 41:03
  Speaker 1: the first time Neil Pierret learns all about traditional grip.
• 41:08
  Speaker 1: But yeah, he.
• 41:10
  Speaker 2: Decided that he could use more lessons, which is like
• 41:17
  Speaker 2: astonishing to me.
• 41:18
  Speaker 1: He speaks volumes of the kind of guy he was. Yeah.
• 41:21
  Speaker 2: Yeah, Well, he had had this bad experience playing at
• 41:24
  Speaker 2: a tribute concert for Buddy Rich. But like, while he
• 41:29
  Speaker 2: was not necessarily enjoying that experience, he was talking to
• 41:32
  Speaker 2: Steve Smith, the drummer from Journey, who like he hadn't
• 41:37
  Speaker 2: seen him play in a while and then he saw
• 41:39
  Speaker 2: of this thing. He's like, my god, you know, this
• 41:40
  Speaker 2: guy's a beast. So he goes like, my god, you
• 41:44
  Speaker 2: know you sound amazing. What happened? Did you do something?
• 41:47
  Speaker 2: And Steve Smith is like, Freddie, Freddie happened? And Freddie
• 41:51
  Speaker 2: is Freddie Hubbard who had been a jazz drummer, like
• 41:55
  Speaker 2: in like going back to the nineteen forties, I think,
• 41:59
  Speaker 2: and you know, he had played with all the all
• 42:01
  Speaker 2: the big band guys and everything, and so Neil Peared
• 42:06
  Speaker 2: was like, Okay, I'll just build my entire you know,
• 42:09
  Speaker 2: drum technique all over again from the ground up with
• 42:12
  Speaker 2: this guy. Uh, you know on traditional grip is just
• 42:15
  Speaker 2: uh the way rock drummers hold a drumstick. Usually, you know,
• 42:20
  Speaker 2: they're holding it with their fist poking out straight and
• 42:24
  Speaker 2: apparently you're not supposed to do that. You're actually supposed
• 42:27
  Speaker 2: to hold it like kind of loosely. Yeah, and you
• 42:31
  Speaker 2: know it's like the stick is in the middle of
• 42:34
  Speaker 2: like between your index finger and the good finger. And
• 42:41
  Speaker 2: he he did like a week of lessons with him,
• 42:43
  Speaker 2: and he said it completely transformed everything. He said it
• 42:48
  Speaker 2: changed his internal clock, which is you know that's something
• 42:52
  Speaker 2: you're just kind of born with and I'm surprised anyone
• 42:55
  Speaker 2: can change it, but he's he said it, really it
• 42:58
  Speaker 2: just gave him like a whole new lease on life
• 43:00
  Speaker 2: and his playing, and he played that way for the
• 43:02
  Speaker 2: rest of his life after that.
• 43:03
  Speaker 1: Can you hear the difference?
• 43:06
  Speaker 2: No, I cannot, but.
• 43:09
  Speaker 1: I'm sure Neil probably could.
• 43:12
  Speaker 2: He did, and I mean the people there are people
• 43:14
  Speaker 2: I talked to for the book, like no engineers who
• 43:18
  Speaker 2: worked with them, who did sound for them, and one
• 43:21
  Speaker 2: of them, oh, Brad Maddox. He said that when he
• 43:25
  Speaker 2: first came to the job of doing live sound for them,
• 43:29
  Speaker 2: he was really thinking of Neil Pierce, as you know,
• 43:32
  Speaker 2: rock drummer nineteen seventies, part rock drummer, and it didn't
• 43:36
  Speaker 2: take very long at all until he was like, oh, well, no, no,
• 43:39
  Speaker 2: this guy's a jazz drummer. Now this is completely different,
• 43:44
  Speaker 2: you know. I mean I watch all the videos, I
• 43:47
  Speaker 2: hear all the things that they did since then, and
• 43:50
  Speaker 2: I guess I'm just not like sensitive enough to the
• 43:54
  Speaker 2: little differences in touch that are probably what other you
• 43:59
  Speaker 2: know what more study the drummers would hear right away.
• 44:03
  Speaker 2: But whatever he was doing sounded great to me, so
• 44:06
  Speaker 2: you know, so yeah, no, no Foul.
• 44:09
  Speaker 1: Book on Rock Podcasts will be back after this.
• 44:12
  Speaker 2: I had to lead down.
• 44:17
  Speaker 1: So three albums in the nineties, ninety ones Roll the
• 44:20
  Speaker 1: Bones ninety three's Counterparts ninety six is Test for Echo,
• 44:23
  Speaker 1: which you say was their most mediocre album. What's your
• 44:26
  Speaker 1: overall opinion of nineties rush Uh?
• 44:29
  Speaker 2: I thought that Roll the Bones was a good album
• 44:35
  Speaker 2: along the same lines of Presto. That people completely overreacted
• 44:40
  Speaker 2: to the fact that there's wrapping in it for like
• 44:42
  Speaker 2: ten seconds on the song Roll the Bones, and like
• 44:47
  Speaker 2: people have never gotten over that, Like white people still
• 44:51
  Speaker 2: complain about I did an interview this morning where they
• 44:54
  Speaker 2: were complaining about it, you know, and it's like this
• 44:57
  Speaker 2: happened thirty three years ago.
• 44:59
  Speaker 1: Yay, still here.
• 45:02
  Speaker 2: Counterparts was I liked that they were getting back into
• 45:07
  Speaker 2: like more sort of like heavy guitars. People kept calling
• 45:11
  Speaker 2: it their grunge album, which I thought was like the
• 45:13
  Speaker 2: stupidest thing I've ever heard in my life, because the
• 45:17
  Speaker 2: screaming trees just don't sound like that, you know.
• 45:21
  Speaker 1: You know.
• 45:22
  Speaker 2: My criticism with Test for Echo is more just like
• 45:24
  Speaker 2: it just feels a little like it needed another ten
• 45:29
  Speaker 2: minutes in the oven. You know, it just felt a
• 45:31
  Speaker 2: little undercooked to me, and like some ideas. I felt
• 45:35
  Speaker 2: like they pursued for five minutes that really could have
• 45:39
  Speaker 2: been a minute. But you know, but I mean again,
• 45:41
  Speaker 2: these are such like minor sure, and you know, and
• 45:44
  Speaker 2: the only reason I have any of these complaints at
• 45:46
  Speaker 2: all is because all of their other records are just
• 45:49
  Speaker 2: up to such a high standard and are life changing.
• 45:53
  Speaker 2: You know. So if you get a Rush record that
• 45:56
  Speaker 2: doesn't like affect your personal life, it seems like it
• 45:59
  Speaker 2: just appointment. It's not. And you know, any of those
• 46:03
  Speaker 2: records that I mentioned as like maybe not their best,
• 46:07
  Speaker 2: any other bands, if they could come up with something
• 46:10
  Speaker 2: like that, you know, I go nuts, go to town.
• 46:13
  Speaker 2: If you think you can do it.
• 46:14
  Speaker 1: I want to mention what I love about counterparts before
• 46:19
  Speaker 1: I do that, before I forget so on roll the bones.
• 46:21
  Speaker 1: There was always this thought that Neil was the one
• 46:23
  Speaker 1: doing the rap, but then there was a room that
• 46:25
  Speaker 1: it was a disc jockey in the air, or no,
• 46:27
  Speaker 1: it was that a newscaster in the area, but it
• 46:29
  Speaker 1: was it's getty.
• 46:31
  Speaker 2: Yeah, And they just lowered the effect of the voice,
• 46:34
  Speaker 2: that's all it is. But you know, for yeah, I know,
• 46:36
  Speaker 2: for years, you know, controversy raged on about who it was,
• 46:41
  Speaker 2: but it's Geddy, it's the same guy.
• 46:43
  Speaker 1: Yeah, a local television newscaster was one of the rumors.
• 46:48
  Speaker 2: People come up with some really interesting things sometimes if
• 46:51
  Speaker 2: you let them.
• 46:52
  Speaker 1: Yeah, so Gett, Yeah, Getty wasn't. I love the song
• 46:57
  Speaker 1: and I don't mind the rap. I don't think Getty
• 46:59
  Speaker 1: was going to be like joining Public Enemy or no
• 47:02
  Speaker 1: he yeah right, Getty was.
• 47:06
  Speaker 2: It's not gonna He's not gonna be an n w A.
• 47:08
  Speaker 2: That's that will not. But you though, I hate to,
• 47:12
  Speaker 2: you know, limit the guy he made Borrow like, you
• 47:14
  Speaker 2: know what I want to do. I want to I
• 47:16
  Speaker 2: want to be in a gangster rap group with East
• 47:19
  Speaker 2: Coast West Coast Beef.
• 47:21
  Speaker 1: That's what I.
• 47:23
  Speaker 2: Don't know if I see that happen.
• 47:26
  Speaker 1: But Counterparts, Counterparts, Oh sorry, go.
• 47:28
  Speaker 2: Ahead, Oh no, just I saw them on the Counterparts
• 47:32
  Speaker 2: tour and they played roll the Bones and everyone loved it. Though,
• 47:36
  Speaker 2: So I mean, I think I think it's more like,
• 47:39
  Speaker 2: you know that ten or thirty seconds of rapping or
• 47:41
  Speaker 2: whatever is more something people like to complain about. Yeah,
• 47:45
  Speaker 2: that is like something that's wrong with the song.
• 47:48
  Speaker 1: I love that I've been to one RUSS concert, but
• 47:50
  Speaker 1: I'll never forget that the fans are so die hard
• 47:54
  Speaker 1: that I would see all these fans with like a
• 47:56
  Speaker 1: notepad out, really what do they do, and they're writing
• 47:59
  Speaker 1: the set list, you know, and they're going to share
• 48:01
  Speaker 1: it online on it, you know, just taking notes and
• 48:04
  Speaker 1: I love it.
• 48:05
  Speaker 2: Yeah, you know. I mean I have been listening to
• 48:07
  Speaker 2: this band for decades. I have written a book about them,
• 48:11
  Speaker 2: and I would still say I am not at the
• 48:13
  Speaker 2: same level of fandom that these guys are because there
• 48:17
  Speaker 2: are people who've seen them one hundred and twenty times. Yeah, literally,
• 48:21
  Speaker 2: there are people who it doesn't matter what it costs,
• 48:24
  Speaker 2: it doesn't matter what they have to do. It doesn't
• 48:27
  Speaker 2: matter if they have to drive twenty hours to get
• 48:30
  Speaker 2: their twenty hours back and still go to work. They're going.
• 48:33
  Speaker 2: They're seeing this band one hundred and eighteen times is
• 48:37
  Speaker 2: not enough. I feel like you have to respect that,
• 48:41
  Speaker 2: like that kind of dedication, and I think it says
• 48:44
  Speaker 2: a lot for the band too, that they're able to
• 48:48
  Speaker 2: create something that causes that kind of reaction in people.
• 48:51
  Speaker 2: I don't know of any other band that makes people
• 48:54
  Speaker 2: respond in that way.
• 48:56
  Speaker 1: And the fact that all three guys remain so humble.
• 48:59
  Speaker 1: They're despite the fact that you got all these people
• 49:02
  Speaker 1: that would work up the ground they walked on if
• 49:04
  Speaker 1: they walked in the room and they would be like laughing,
• 49:06
  Speaker 1: like get out of here. And Neil Pierre hated it,
• 49:09
  Speaker 1: like after he passed away Porto Mike Portnoy, and I
• 49:15
  Speaker 1: think I think from what I call he was saying.
• 49:17
  Speaker 1: At first he was talking about drums and hey, what
• 49:19
  Speaker 1: type of kit do you use? And he could and
• 49:20
  Speaker 1: Neil's just like, dude, I don't want to talk about
• 49:22
  Speaker 1: that shit. And then I just started talking about riding
• 49:25
  Speaker 1: bikes and your favorite wines. Then he was off to
• 49:29
  Speaker 1: the races and he could chat with him because he
• 49:32
  Speaker 1: just didn't want to hear about how great he was.
• 49:33
  Speaker 2: And I don't think any of the three of them
• 49:37
  Speaker 2: had any interest whatsoever in startup right. They wanted the
• 49:43
  Speaker 2: band to be popular, they wanted the band to be good.
• 49:46
  Speaker 2: They're certainly happy to sell out arenas, but the like
• 49:50
  Speaker 2: celebrity bullshit, I can see no appetite for that in
• 49:56
  Speaker 2: those guys. Yeah, you know, then you know they did
• 49:59
  Speaker 2: the photo shoots and made the videos, you know, because
• 50:01
  Speaker 2: you have to if you at that time anyway, if
• 50:04
  Speaker 2: you wanted to sell records, just you had to do it.
• 50:08
  Speaker 2: But I think they did it, uh, cooperatively, but grudgingly,
• 50:13
  Speaker 2: like they were like, Okay, fine, we understand we have
• 50:17
  Speaker 2: to do this. Will smile, but but really, come on,
• 50:22
  Speaker 2: we all know this is sort of silly. I think
• 50:24
  Speaker 2: maybe sort of how they looked at it.
• 50:26
  Speaker 1: Yeah, the songs from from that that album Counterparts that
• 50:33
  Speaker 1: I love, the lead track Animate, Yeah, the drums on there,
• 50:38
  Speaker 1: stick it Out, Cold Fire. But my ultimate all time
• 50:43
  Speaker 1: favorite from the nineties is probably Nobody's Hero. And again
• 50:46
  Speaker 1: we go back to lyrics. There's empathy. There's empathy in
• 50:49
  Speaker 1: a rock and roll song. I mean, you're talking about somebody,
• 50:52
  Speaker 1: somebody who's gay, who's who's going through all of these
• 50:56
  Speaker 1: battles through life, having to deal with all of the
• 50:59
  Speaker 1: hate trade and all that, and Nobody's Hero and there's
• 51:04
  Speaker 1: there's there's it's amazing. That's what I loved about Rush
• 51:08
  Speaker 1: songs too.
• 51:09
  Speaker 2: Well, that's that's thirty years ago now, and I mean
• 51:12
  Speaker 2: I can certainly remember from thirty years ago. You know,
• 51:15
  Speaker 2: being gay was still not you know, I mean, it
• 51:18
  Speaker 2: wasn't quite like it was, you know, some years before that,
• 51:21
  Speaker 2: but it was not like it is now where it's
• 51:23
  Speaker 2: a much more kind of accepted thing. At the time,
• 51:27
  Speaker 2: it uh, I felt like they were really kind of
• 51:30
  Speaker 2: it was like, wow, that's that's like nervy of them
• 51:34
  Speaker 2: to like take a stand on that and opinion on that.
• 51:39
  Speaker 2: I've really respected it. I respected the hell out of that. Yeah,
• 51:42
  Speaker 2: because I just don't I just don't know that there
• 51:44
  Speaker 2: were a lot of people at the time in like
• 51:47
  Speaker 2: rock music, like hard rock music at the time, who
• 51:51
  Speaker 2: were that willing to step forward, you know. I mean, uh,
• 51:54
  Speaker 2: Rob Halford from Judas Priest hadn't come out yet because
• 51:58
  Speaker 2: he was you know, he was worried about the effect
• 51:59
  Speaker 2: it was going to have on his career. That was
• 52:01
  Speaker 2: still a time when like, if you told the wrong person,
• 52:05
  Speaker 2: it could really like everything for you.
• 52:08
  Speaker 1: Well, Freddie Mercury kept it a secret right up until towards.
• 52:12
  Speaker 2: The end, right, I think it was the day before
• 52:14
  Speaker 2: he died he finally put out a press statement about
• 52:16
  Speaker 2: what was happening with him. Uh, that's horrifying to me
• 52:21
  Speaker 2: to think, to think, like you, that you would have
• 52:23
  Speaker 2: to go through life like that with this whole part
• 52:25
  Speaker 2: of who you are, that you have to hide from everybody,
• 52:29
  Speaker 2: you cannot be true to yourself. And all Rush music,
• 52:32
  Speaker 2: you know, the again the ethos is be true to yourself,
• 52:36
  Speaker 2: be who you are, and you had all these people
• 52:39
  Speaker 2: who couldn't because there was going to be like you know,
• 52:43
  Speaker 2: professional consequences, personal consequences. Uh he I feel you know,
• 52:49
  Speaker 2: Neil Pier really kind of went out on a limb
• 52:52
  Speaker 2: and took a took a risk. But you know, the
• 52:57
  Speaker 2: fans have always been with them, and I think even
• 52:59
  Speaker 2: when the band has maybe challenged them in their thinking
• 53:02
  Speaker 2: or something like that, it sort of has had the
• 53:05
  Speaker 2: effect of thawing it out a little bit, you know,
• 53:10
  Speaker 2: because I'm not going to pretend like everyone now everyone
• 53:12
  Speaker 2: loves homosexuals, you know, I'm not going to pretend one
• 53:15
  Speaker 2: hundred percent of people think they're great. But I have
• 53:18
  Speaker 2: to imagine that there were some people, you know, in
• 53:21
  Speaker 2: Rush fandom who were maybe at one point, you know,
• 53:26
  Speaker 2: uncomfortable with the idea or whatever, and that you know,
• 53:28
  Speaker 2: this song maybe helped turn the tide a little bit,
• 53:32
  Speaker 2: you know.
• 53:32
  Speaker 1: Yeah, and good on Atlantic they released it as a single. Yeah.
• 53:36
  Speaker 2: Well, when you think about it, it's, you know, musically,
• 53:39
  Speaker 2: it's one of the more kind of like commercial songs
• 53:42
  Speaker 2: on the poppy I don't I wish there was a
• 53:45
  Speaker 2: better word than commercial and a better word than poppy. Yeah,
• 53:49
  Speaker 2: but you know, standard, I don't know, uh, something that
• 53:53
  Speaker 2: could be played on the radio.
• 53:54
  Speaker 1: Yeah, it's kind of a great melody to it. Great
• 53:57
  Speaker 1: it just it's a greatful song. Great books.
• 53:59
  Speaker 2: Yeah, Yeah, my favorite song on that album would never
• 54:02
  Speaker 2: be played on the radio. It's a Double Agent, which
• 54:05
  Speaker 2: even Geddy Lee himself has disowned.
• 54:07
  Speaker 1: But I love it really. Why doesn't he like it?
• 54:10
  Speaker 2: Uh? He thought it was goofy and too strange, Okay,
• 54:14
  Speaker 2: And to me it was like, oh man, this sounds
• 54:16
  Speaker 2: like voivod awesome.
• 54:18
  Speaker 1: Yeah, yeah, yeah, interesting, all right, Double Agent. Gotta I
• 54:22
  Speaker 1: gotta listen to that one again. Book on rock podcasts.
• 54:25
  Speaker 1: We'll be back after this.
• 54:27
  Speaker 2: I'drittmember my friend due to that, not just the will
• 54:32
  Speaker 2: affect you in the future.
• 54:35
  Speaker 1: Three more studio albums O two's Vapor Trails, Oh seven
• 54:38
  Speaker 1: Snakes and Arrows, twenty twelve's Clockwork Angels. There was the
• 54:42
  Speaker 1: EP feedback too from four, featuring covers, and then Neil
• 54:47
  Speaker 1: faces some terrible family tragedies in such a short period
• 54:50
  Speaker 1: too His nineteen year old daughter died in a car
• 54:52
  Speaker 1: crash in nineteen ninety seven. A year later, his wife
• 54:55
  Speaker 1: died of cancer. He goes into retirement, he travels extensive.
• 55:01
  Speaker 1: How much do you think that affected him creatively from
• 55:04
  Speaker 1: that point forward, you know, as far as musically and lyrically.
• 55:08
  Speaker 2: When I when I heard what had happened, I assumed, well,
• 55:12
  Speaker 2: that's that's it. It's over, the band is over, because
• 55:16
  Speaker 2: I know I would not recover from something like that.
• 55:20
  Speaker 2: I was very, very surprised in two thousand and two
• 55:23
  Speaker 2: to hear they were coming back, and I was definitely
• 55:26
  Speaker 2: I was asking sort of the same question you are of, like, well,
• 55:29
  Speaker 2: what version of Neil are we getting back? Like, yes,
• 55:34
  Speaker 2: he's the world's greatest drummer and all that, but you
• 55:38
  Speaker 2: can't go through something like that and not be affected
• 55:42
  Speaker 2: by it permanently. But I was very happy that, you know,
• 55:46
  Speaker 2: they they came back with something really meaningful and something
• 55:52
  Speaker 2: you know, that was it really felt to me vapor traills,
• 55:55
  Speaker 2: like they were just harnessing all their creativity to get
• 56:01
  Speaker 2: this grief out of them and express this grief because
• 56:05
  Speaker 2: you know, it didn't just happen to him, you know,
• 56:07
  Speaker 2: Geddy and Alex or dear dear friends of his, you know,
• 56:11
  Speaker 2: and they were friends with his family, and I'm sure
• 56:16
  Speaker 2: the whole thing was incredibly difficult for them. I wouldn't
• 56:20
  Speaker 2: have if I had been one of them, I wouldn't
• 56:22
  Speaker 2: have even known how to. I would have felt guilty
• 56:26
  Speaker 2: about having the desire to play again because of what
• 56:30
  Speaker 2: this guy had been through, and it would it would
• 56:32
  Speaker 2: have felt almost selfish to me to feel like, you know, yeah, okay,
• 56:36
  Speaker 2: your wife and kid are dead, but you know I'm
• 56:38
  Speaker 2: getting restless, I need to go on tour. You know,
• 56:41
  Speaker 2: it just it just will never come out well. But
• 56:44
  Speaker 2: you know, they they had a really tight connection and
• 56:47
  Speaker 2: they understood each other really well. And also, I think
• 56:50
  Speaker 2: recording that album with no deadline so they could just
• 56:54
  Speaker 2: work it out and take as long as it took,
• 56:57
  Speaker 2: I think was really important because I think if they
• 56:58
  Speaker 2: were like, we need to do this six weeks, you
• 57:02
  Speaker 2: don't want to put them under that kind of pressure.
• 57:05
  Speaker 2: He also, I mean he was he had also not
• 57:07
  Speaker 2: been playing for a lot of that time, so you know,
• 57:10
  Speaker 2: he needed to get his chops back. They needed to
• 57:13
  Speaker 2: regain their identity as a band, as a trio. But
• 57:18
  Speaker 2: we got them back, which to me is like, you know,
• 57:23
  Speaker 2: what they did in the two thousands and the twenty tens,
• 57:26
  Speaker 2: to me, I thought was some of their best work ever.
• 57:29
  Speaker 2: I thought of some of the best things they had
• 57:31
  Speaker 2: ever done. And again this is you know, they're coming
• 57:35
  Speaker 2: back from this horrible tragedy where they could have really
• 57:40
  Speaker 2: afforded to phone it in if they wanted to, and
• 57:44
  Speaker 2: they didn't. They never phoned anything in, and they gave
• 57:48
  Speaker 2: us a really really strong album in Vapor Trails, Snakes
• 57:53
  Speaker 2: and Arrows, I would say was even stronger, you know.
• 57:57
  Speaker 2: And you know, Clockwork Angels is their concept album. I mean,
• 58:01
  Speaker 2: you know, so it's like it's not even just that
• 58:02
  Speaker 2: they weren't phoning it in. I mean it was they
• 58:04
  Speaker 2: were showing up. They were showing the fuck up. You know.
• 58:08
  Speaker 1: Russian Rio was a great live album.
• 58:11
  Speaker 2: That's people complain about the sound quality on that, but
• 58:16
  Speaker 2: I think the performance is like it is fantastic. I
• 58:20
  Speaker 2: don't know if you ever saw the video.
• 58:22
  Speaker 1: Of it, but some of the songs and and Neil solo, Yeah.
• 58:28
  Speaker 2: Check out the video of them playing yyz okay.
• 58:32
  Speaker 1: I may have seen it. I'll watch it again.
• 58:35
  Speaker 2: The crowd is just like bouncing up like they're in
• 58:38
  Speaker 2: a bouncy house and there's sixty thousand of them, wow
• 58:42
  Speaker 2: on like concrete and I have I have never seen
• 58:47
  Speaker 2: a crowd react that way in my life, you know,
• 58:49
  Speaker 2: because I mean I've been to some pretty crazy metal
• 58:52
  Speaker 2: shows like Slayer shows and that sort of thing, but
• 58:54
  Speaker 2: that was like the crowd reaction there's like kind of
• 58:59
  Speaker 2: more violent and crazy and everything. This was really celebratory.
• 59:06
  Speaker 2: But from a distance it looks like a full scale riot.
• 59:10
  Speaker 2: It looks like there's some like you know, civil you know,
• 59:14
  Speaker 2: disturbance going on there or something. But it's just all
• 59:17
  Speaker 2: these people having the time of their lives and giving
• 59:21
  Speaker 2: this band a reaction that most bands don't get.
• 59:24
  Speaker 1: I don't think just goosebumps, yeah, kicking yeah. The and
• 59:33
  Speaker 1: then the resurgence of Rush. And it's like a lot
• 59:36
  Speaker 1: of the bands that grew up fans of Rush were
• 59:39
  Speaker 1: now grown ups and had their own bands with a
• 59:41
  Speaker 1: lot of fans, and so I think a lot of
• 59:44
  Speaker 1: this whole new generation of fans were saying, oh, my
• 59:47
  Speaker 1: favorite band keeps talking about Rush, Let's check these guys out.
• 59:51
  Speaker 1: I think that had a lot to do with it.
• 59:52
  Speaker 1: The resurgence that's milestone eventt number forty two and the
• 59:56
  Speaker 1: title is New World Men Pop Acceptance on the Third
• 1:00:00
  Speaker 1: Year Plan. Yes, yeah, talk about when and why there
• 1:00:04
  Speaker 1: started to be more of an interest in Rush than
• 1:00:07
  Speaker 1: ever before.
• 1:00:08
  Speaker 2: Well, there was always an interest in Rush, but it
• 1:00:10
  Speaker 2: was like the critics and the press and people like
• 1:00:13
  Speaker 2: that who like like to shit.
• 1:00:16
  Speaker 1: All over it, right, But then all of a sudden
• 1:00:18
  Speaker 1: they're on board.
• 1:00:20
  Speaker 2: It took some doing. Uh no, I mean, I mean
• 1:00:23
  Speaker 2: some of those critics, like you know, especially like the
• 1:00:25
  Speaker 2: guy from New Music Express who called them Nazis, was
• 1:00:28
  Speaker 2: never going to be like, oh, yes, nakes and Arrows
• 1:00:31
  Speaker 2: is good. It's never going to happen. I think. Just
• 1:00:36
  Speaker 2: they stayed and you can get a lot of my
• 1:00:40
  Speaker 2: wage out of not breaking up. Eventually the respect starts
• 1:00:44
  Speaker 2: to come around. Eventually, what you know, whatever like sort
• 1:00:48
  Speaker 2: of initial hatred or hostility or whatever that there is
• 1:00:52
  Speaker 2: at first that wears off, and then a lot of
• 1:00:57
  Speaker 2: people at that point are more in trying to be like, so,
• 1:01:01
  Speaker 2: what you know, what is this thing I heard about
• 1:01:03
  Speaker 2: where this is the worst band ever in history? Let
• 1:01:05
  Speaker 2: me go check it out. And then then then that's
• 1:01:09
  Speaker 2: how rush bands are made. Basically, I think, you know,
• 1:01:13
  Speaker 2: I think a lot of them, A lot of people
• 1:01:16
  Speaker 2: were told for a very long time, uh, through you know,
• 1:01:20
  Speaker 2: until the two thousands. Uh, this this is the dorkiest
• 1:01:24
  Speaker 2: band in the world. You don't want to be caught
• 1:01:26
  Speaker 2: listening to them. Uh, It's like being caught masturbating. And
• 1:01:32
  Speaker 2: you should be ashamed of yourself for listening to this.
• 1:01:34
  Speaker 2: Like that. That was the prevalent attitude in the press
• 1:01:37
  Speaker 2: towards them for a very long time, and I think
• 1:01:40
  Speaker 2: it took a lot of the old guard, you know,
• 1:01:45
  Speaker 2: going their way and new people coming in, like people
• 1:01:48
  Speaker 2: more our age. I'm assuming we're somewhat closer around there. Yeah,
• 1:01:53
  Speaker 2: who you know who grew up with this stuff in
• 1:01:54
  Speaker 2: high school and who loved signals, who loved subdivisions, who
• 1:01:59
  Speaker 2: loved all that stuff and felt like it spoke for them.
• 1:02:03
  Speaker 2: And I also think all the haters made the love stronger, so,
• 1:02:10
  Speaker 2: you know, because if you love something and someone is
• 1:02:13
  Speaker 2: attacking it, you get very protective and suddenly this is
• 1:02:16
  Speaker 2: the best thing. Ever, how can you say that? So
• 1:02:19
  Speaker 2: I think the haters did Russia big favor in that
• 1:02:22
  Speaker 2: sense too, because when it came back around, like in
• 1:02:25
  Speaker 2: the nineties and the two thousands, they were not really
• 1:02:29
  Speaker 2: the prominent critical voices anymore, and people were wanted they
• 1:02:33
  Speaker 2: wanted to hear for themselves what this was all about.
• 1:02:37
  Speaker 1: Yeah, and then the last Rush show August first, twenty
• 1:02:40
  Speaker 1: fifteen at the Forum in Los Angeles. Neil pearce death
• 1:02:43
  Speaker 1: came in twenty twenty. Came as a shock in this
• 1:02:46
  Speaker 1: day and age. To keep that a secret still amazes me.
• 1:02:49
  Speaker 1: He had brain cancer and only a handful of people
• 1:02:52
  Speaker 1: knew about it. The news hit January tenth, twenty twenty.
• 1:02:56
  Speaker 1: How do you feel he should be remembered as we
• 1:02:58
  Speaker 1: get further and further away from is passing.
• 1:03:02
  Speaker 2: The way he's remembered right now? As you know, I
• 1:03:06
  Speaker 2: keep I say it over and over again in the book,
• 1:03:08
  Speaker 2: and I will keep saying it. He was the greatest
• 1:03:10
  Speaker 2: drummer that ever lived. I will repeat that until the
• 1:03:13
  Speaker 2: day I die, and the music just holds up. I
• 1:03:19
  Speaker 2: think as long as the music holds up and you're
• 1:03:22
  Speaker 2: it's sincere and you're doing it for the right reasons,
• 1:03:25
  Speaker 2: people will continue to show up. You know, this is
• 1:03:29
  Speaker 2: all work of incredible quality. Again, even the albums, I
• 1:03:34
  Speaker 2: wasn't even feedback. I would say what you know, even
• 1:03:37
  Speaker 2: though I'm like, I don't really need to hear eight
• 1:03:40
  Speaker 2: psychedelic covers by this band, those are still great performances.
• 1:03:44
  Speaker 2: And you know, none of it is like haphazard or
• 1:03:47
  Speaker 2: anything like that. I think his work will continue to
• 1:03:51
  Speaker 2: speak for itself. And in not going public with his illness,
• 1:03:58
  Speaker 2: I you know, I don't know if this is like
• 1:04:00
  Speaker 2: specifically what he wanted, but it's had the effect of people,
• 1:04:04
  Speaker 2: I think, really remembering him as he was when he
• 1:04:06
  Speaker 2: was healthy, you know, because they never saw when people
• 1:04:12
  Speaker 2: get cancer, they physically deteriorate, and you know, it's awful.
• 1:04:17
  Speaker 2: It's horrible to watch. And he didn't share that with
• 1:04:20
  Speaker 2: anybody but the closest people around him. So in terms
• 1:04:25
  Speaker 2: of just you know, preserving his legacy, I think that's
• 1:04:30
  Speaker 2: forever and would I would say the same thing if
• 1:04:32
  Speaker 2: he was still here. I would say the same thing
• 1:04:35
  Speaker 2: if he had died twenty years ago, because that stuff
• 1:04:39
  Speaker 2: just holds up. He should be wherever he is. He
• 1:04:42
  Speaker 2: should be very very proud of everything he accomplished and
• 1:04:47
  Speaker 2: how long it's going to last, because people are still
• 1:04:49
  Speaker 2: going to be listening to this music in one hundred years.
• 1:04:52
  Speaker 1: That's my thing too. Yeah, Like we talk about Buddy
• 1:04:54
  Speaker 1: Rich today, they'll be talking about Neil Pierre fifty years
• 1:04:58
  Speaker 1: from now.
• 1:04:59
  Speaker 2: Well we have more video now. That's that's the thing,
• 1:05:02
  Speaker 2: is Buddy Rich. You know, you had to listen on
• 1:05:05
  Speaker 2: the radio, you had to hear records. This this is
• 1:05:07
  Speaker 2: just you just fire up YouTube. Sure, that's all there.
• 1:05:11
  Speaker 2: And I cannot ignore the thousands and thousands of like
• 1:05:16
  Speaker 2: gen Z YouTubers that I see on their hearing Tom
• 1:05:20
  Speaker 2: Sawyer for the first time, and they just lose their
• 1:05:23
  Speaker 2: shit every single time. One percent of the time. I
• 1:05:27
  Speaker 2: have not seen any one of these kids who have
• 1:05:31
  Speaker 2: anything bad to say about it. And all of them
• 1:05:32
  Speaker 2: are like, man, look at wow, those drums. He's a
• 1:05:35
  Speaker 2: superhero on those drums, and like, oh my, he's playing
• 1:05:39
  Speaker 2: bass and keyboards and singing. Look, you know all the
• 1:05:42
  Speaker 2: things we've been talking about.
• 1:05:44
  Speaker 1: And the songs stand up. That's the thing.
• 1:05:47
  Speaker 2: That's the thing, you know, You know, you have elite
• 1:05:50
  Speaker 2: musicianship that never gets into Mahavi Shnu territory all in
• 1:05:57
  Speaker 2: the surface of kind of rock use it and so
• 1:06:02
  Speaker 2: you know, so it's at a level where, uh, there's
• 1:06:06
  Speaker 2: a lot of intelligence in it, but it's not it's
• 1:06:08
  Speaker 2: not alienating to people. It's high level music but not exclusionary.
• 1:06:14
  Speaker 1: Uh.
• 1:06:15
  Speaker 2: And I you know, I think as long as that's
• 1:06:16
  Speaker 2: the case, Uh, that's just always going to draw people in.
• 1:06:20
  Speaker 2: I think that that's always going to be interesting to people.
• 1:06:24
  Speaker 1: Podcast we'll be back after this. I think you'd be
• 1:06:26
  Speaker 1: glad later if you weren't here now. You must have
• 1:06:31
  Speaker 1: seen the clip of Getty Lee when he was promoting
• 1:06:33
  Speaker 1: his book, and he was talking about like a week
• 1:06:35
  Speaker 1: or two after Neil died, he's already getting texts from
• 1:06:39
  Speaker 1: drummers like, hey man, I'd love to, you know, try
• 1:06:44
  Speaker 1: out for the band, like get He's like.
• 1:06:46
  Speaker 2: Gross, so gloss. I mean, on the one hand, I
• 1:06:49
  Speaker 2: get it, but no, don't do that.
• 1:06:54
  Speaker 1: You'll wait at least at least six months, if not
• 1:06:57
  Speaker 1: a year. Yeah, yeah, they're just.
• 1:06:59
  Speaker 2: Like, hate dude, it's been a week. Uh, you know
• 1:07:02
  Speaker 2: who wants to make that call? You know who wants
• 1:07:04
  Speaker 2: to be the person to.
• 1:07:05
  Speaker 1: You know, sorry to hear man, but do you guys
• 1:07:07
  Speaker 1: need a drummer?
• 1:07:08
  Speaker 2: I'll be I hope that when he spoke about that,
• 1:07:11
  Speaker 2: that whoever gave him those calls were like, oh, okay,
• 1:07:15
  Speaker 2: I should Maybe I shouldn't have done that.
• 1:07:17
  Speaker 1: I could just see Getty though, just being very nice
• 1:07:19
  Speaker 1: about it too. Hey, thanks things man, but I'll get
• 1:07:22
  Speaker 1: back to you.
• 1:07:23
  Speaker 2: Yeah, you couldn't replace him anyway, no matter who you are.
• 1:07:26
  Speaker 1: Well, that's my last question to you. Yeah, is the
• 1:07:29
  Speaker 1: current state of Getty, Lee and Alex liveson? Will they
• 1:07:32
  Speaker 1: work together again? Will they ever reform Rush for one show?
• 1:07:36
  Speaker 1: You know?
• 1:07:36
  Speaker 2: I mean I could see, you know, the two of
• 1:07:39
  Speaker 2: them may be wanting to play together on something that
• 1:07:43
  Speaker 2: is not Rush, because you know, they've been friends forever,
• 1:07:46
  Speaker 2: they've played together forever, and I'm sure it's hard to
• 1:07:50
  Speaker 2: just not be doing it anymore. And I'm sure the
• 1:07:52
  Speaker 2: idea does come up occasionally, like well, what if it's
• 1:07:55
  Speaker 2: just the two of us and no one has to know?
• 1:07:57
  Speaker 2: You know, I can't see them getting another drummer and
• 1:08:02
  Speaker 2: calling it Rush. I can't see that happening for a
• 1:08:05
  Speaker 2: lot of reasons.
• 1:08:07
  Speaker 1: Would you want it to happen? Is the question though?
• 1:08:09
  Speaker 1: Would you want it? Would you be happy to see that? Selfishly?
• 1:08:13
  Speaker 2: I have to say, you know, in the process of
• 1:08:15
  Speaker 2: doing this book, it really just became clear to me,
• 1:08:19
  Speaker 2: like what a tight unit those three guys were and
• 1:08:22
  Speaker 2: how much they meant to each other that it's more
• 1:08:24
  Speaker 2: than a question of just bringing in someone else. Would Yeah,
• 1:08:28
  Speaker 2: And also if they were to bring in someone like Okay,
• 1:08:31
  Speaker 2: let's say they picked Ganny Carey from Tool. Does he
• 1:08:36
  Speaker 2: write lyrics?
• 1:08:38
  Speaker 1: Right right? Right? Mikey they talk about.
• 1:08:42
  Speaker 2: Yeah, But I would not want to be Mike Portnoy
• 1:08:47
  Speaker 2: and join Rush. I think that would just be seen
• 1:08:49
  Speaker 2: as like a gross, grotesque maneuver, totally self serving on
• 1:08:55
  Speaker 2: my part. And I believe, you know, I believe he
• 1:08:58
  Speaker 2: feels the same way that he's like, I love this band.
• 1:09:02
  Speaker 2: It would be the culmination of a lifelong dream to
• 1:09:04
  Speaker 2: play with them, But I do not want to, not
• 1:09:08
  Speaker 2: under these circumstances, and.
• 1:09:10
  Speaker 1: Not in this way.
• 1:09:13
  Speaker 2: I just it's just the whole idea of it is
• 1:09:15
  Speaker 2: just so like distasteful to me. And I agree because
• 1:09:20
  Speaker 2: I think would be distasteful to them.
• 1:09:22
  Speaker 1: Yeah, you know, here's my idea, a whole new band,
• 1:09:27
  Speaker 1: Getty Lee, Alex Lefsen in my man, Alex van Halen.
• 1:09:30
  Speaker 1: There you go, we get Alex back, we get Getty
• 1:09:33
  Speaker 1: and Alex Lisen back.
• 1:09:35
  Speaker 2: There you go again. You know again, We're just in both,
• 1:09:39
  Speaker 2: you know, both Rush.
• 1:09:40
  Speaker 1: Work with me here Man work with me.
• 1:09:42
  Speaker 2: Well, both both cases are like these kind of lightning
• 1:09:46
  Speaker 2: in a bottle things you know you can't. You know,
• 1:09:50
  Speaker 2: I like van Halen a lot less than I like Rush,
• 1:09:53
  Speaker 2: but I will not pretend that, like in the David
• 1:09:56
  Speaker 2: Lee Roth ears, they didn't really have something. Yeah, you know,
• 1:10:00
  Speaker 2: I mean I was in high school when Naddie van
• 1:10:02
  Speaker 2: Halen was like the guy, and even if you weren't
• 1:10:07
  Speaker 2: really a fan, you know, you had to respect him,
• 1:10:09
  Speaker 2: you had to appreciate him because no one sounded like that.
• 1:10:13
  Speaker 2: You cannot replace it. It's not possible. You can't replace
• 1:10:17
  Speaker 2: Neil Peart, it's not possible.
• 1:10:19
  Speaker 1: The same thing.
• 1:10:20
  Speaker 2: Yeah, and you know, I mean, you know, I saw
• 1:10:22
  Speaker 2: I saw Queen with Adam Lambert singing uh and it
• 1:10:27
  Speaker 2: was actually not that. But he's not He's not Freddie Mercury.
• 1:10:30
  Speaker 2: And you have to know that going into it, like
• 1:10:32
  Speaker 2: expect a glorified cover band playing the hits. If you
• 1:10:37
  Speaker 2: go in expecting that, you'll be fine. If you're going
• 1:10:40
  Speaker 2: there looking for the real thing, forget it. It's not
• 1:10:43
  Speaker 2: going to happen. And I mean unless they were like
• 1:10:47
  Speaker 2: really retooling the band in some way where it wasn't
• 1:10:51
  Speaker 2: a three piece, and you know, like I don't know,
• 1:10:55
  Speaker 2: I don't know what they would have to do, but
• 1:10:56
  Speaker 2: they would they would have to come back as something
• 1:10:59
  Speaker 2: so different from what it was, and I can't see
• 1:11:03
  Speaker 2: them really being interested in that.
• 1:11:06
  Speaker 1: I do.
• 1:11:06
  Speaker 2: I do like the Envy of None album very much
• 1:11:09
  Speaker 2: that alexis Yeah, and I like how there's You Cannot
• 1:11:15
  Speaker 2: Tell Rush has anything to do with correct Yeah, both
• 1:11:19
  Speaker 2: both of them. I think I could see. I could
• 1:11:22
  Speaker 2: just see them each like individually or maybe even together,
• 1:11:24
  Speaker 2: like doing really weird projects and doing independent stuff, uh
• 1:11:32
  Speaker 2: like more boutique kind of music. They could because they
• 1:11:36
  Speaker 2: don't have they have nothing to prove at this, just
• 1:11:38
  Speaker 2: have fun totally. As as someone who's never met them,
• 1:11:43
  Speaker 2: has never spoken to them, and doesn't know them, it
• 1:11:48
  Speaker 2: would make me feel very happy to see them having
• 1:11:51
  Speaker 2: fun playing because I have a just enormous good will
• 1:11:54
  Speaker 2: for them, and I still feel very bad about what
• 1:11:59
  Speaker 2: happened with Neil passing and all of it. I still
• 1:12:03
  Speaker 2: feel like that's an open wound in a lot of ways.
• 1:12:08
  Speaker 2: But I think for them to do something in some
• 1:12:11
  Speaker 2: other direction entirely, could you know that that could have
• 1:12:15
  Speaker 2: some maybe some therapeutic value for them, Maybe but coming
• 1:12:20
  Speaker 2: back as Rush with some other drummer, I would I
• 1:12:23
  Speaker 2: would be very surprised.
• 1:12:24
  Speaker 1: To see that. Did you read Getty's book?
• 1:12:27
  Speaker 2: I did not read Getty's book either when I was
• 1:12:30
  Speaker 2: finishing this book, and so I didn't have the time
• 1:12:32
  Speaker 2: to get to it.
• 1:12:33
  Speaker 1: So plan on it.
• 1:12:35
  Speaker 2: Oh yeah, I mean there are a couple of books
• 1:12:38
  Speaker 2: actually by Rush members that I need to get more
• 1:12:41
  Speaker 2: attention to, you know, like Neil has six books. Yeah, Ghostwriter.
• 1:12:47
  Speaker 2: I started, but it was so painful I couldn't finish
• 1:12:51
  Speaker 2: it because you know, that's the story of him on
• 1:12:54
  Speaker 2: his motorcycle after what happened with his family, And when
• 1:12:59
  Speaker 2: I got to that part of the story in my book,
• 1:13:02
  Speaker 2: all I put was read Neil's book, because there's nothing
• 1:13:06
  Speaker 2: I can say that's more authoritative and more representative of
• 1:13:13
  Speaker 2: how he felt than what he said. But the other
• 1:13:16
  Speaker 2: guys too, I would say the same thing.
• 1:13:18
  Speaker 1: You know, they didn't.
• 1:13:20
  Speaker 2: If you have the opportunity to hear it from the
• 1:13:22
  Speaker 2: horse's mouth, you should, And I wouldn't seek to, you know,
• 1:13:29
  Speaker 2: try to get in the way of that or anything.
• 1:13:31
  Speaker 2: So if there were things where I felt like, you know,
• 1:13:34
  Speaker 2: they said it best, I just quoted them and just
• 1:13:39
  Speaker 2: put that in there, you know, because gedty Lee knows
• 1:13:44
  Speaker 2: better than anybody what gedty Lee is like. And I'm
• 1:13:49
  Speaker 2: very glad he finally put that book out too. And
• 1:13:50
  Speaker 2: I think it's been a good thing for the fans
• 1:13:52
  Speaker 2: also to have that, because it's sort of they haven't
• 1:13:56
  Speaker 2: they haven't had like a wrapping up kind.
• 1:13:59
  Speaker 1: Of a thing. Yeah, bit of closure there, Yeah, yep.
• 1:14:03
  Speaker 1: And then you have this book rush at fifty do
• 1:14:05
  Speaker 1: on October eighth through Motorbooks. You can find it wherever
• 1:14:08
  Speaker 1: books are sold. Amazon, you can pre order it and
• 1:14:11
  Speaker 1: any where people can find you online.
• 1:14:13
  Speaker 2: M Oh they'll find me, yeah finding So okay.
• 1:14:18
  Speaker 1: Yeah, are you on social media? Do you have Facebook'?
• 1:14:21
  Speaker 2: I'm on Instagram and I have a professional page on Facebook.
• 1:14:25
  Speaker 2: I don't really do a lot of social media because
• 1:14:28
  Speaker 2: it makes me angry. So yeah, and I noticed, like, gee,
• 1:14:33
  Speaker 2: this time, I've been spending here arguing with somebody for
• 1:14:36
  Speaker 2: the last six hours. I could have been making money,
• 1:14:39
  Speaker 2: So maybe do that. Yeah, but uh yeah, I am
• 1:14:44
  Speaker 2: on Facebook, I am on Instagram. Oh and that my
• 1:14:47
  Speaker 2: website is notorious buk dot. Yes, that's right, right, yeah,
• 1:14:53
  Speaker 2: and uh yeah, I'm I'm I'm out there and I'm reachable.
• 1:14:56
  Speaker 1: Uh, but but I don't.
• 1:14:57
  Speaker 2: I don't like put myself out there like a lot
• 1:15:00
  Speaker 2: of people, you know, and maybe I would be more
• 1:15:03
  Speaker 2: rich and famous if I did.
• 1:15:04
  Speaker 1: But yeah, that's all right, that's all right. It's perfect
• 1:15:08
  Speaker 1: just the way you are. And we love this book
• 1:15:12
  Speaker 1: is great. The fans are going to love the book,
• 1:15:13
  Speaker 1: and we love the fact that you put so much
• 1:15:15
  Speaker 1: time and effort into this book because clearly you are
• 1:15:18
  Speaker 1: the guy to write this book. You're a huge fan,
• 1:15:19
  Speaker 1: so it comes from the heart. And appreciate you being
• 1:15:23
  Speaker 1: back on and hey, we'll have you back on again,
• 1:15:26
  Speaker 1: I'm sure some somewhere down the line.
• 1:15:28
  Speaker 2: I appreciate being here very much. Thank you very much
• 1:15:31
  Speaker 2: for having me. And maybe I'll see you next year
• 1:15:34
  Speaker 2: for Iron Maiden at fifty.
• 1:15:36
  Speaker 1: Oh there you go. Is this a promise.
• 1:15:40
  Speaker 2: It's with the same publisher, about halfway through the manuscript
• 1:15:44
  Speaker 2: right now. And yeah, next year is their fiftieth anniversary
• 1:15:49
  Speaker 2: and they're another band I can listen to over and
• 1:15:51
  Speaker 2: over again and never get.
• 1:15:52
  Speaker 1: Sick of it. Great band. Yeah, all right, thanks so much, Daniel.
• 1:15:56
  Speaker 1: I'll look forward to that and take care of man,
• 1:15:58
  Speaker 1: take care, thank you. That's it it's in the box.