@@Vinterfrid in the middle of the solo you’ll notice a boom chick chick boom chick chick. That is 3/4 time meaning three beats per measure. He plays that with his feet, while at the same time with his hands playing the drums switches between 9/16 and 12/14 time.
I think what I loved most about Neil was his humility. He was very modest, still taking lessons at the top of his game. He always said that he was short on talent but very determined. I found that inspirational.
Listen to that little chirping sound he starts playing with his left foot at 4:10 and try to tap your foot along to it as long as he does and imagine how he's also playing the rest of it with his right foot and hands at the same time. It's crazy!
He called that his "waltz section". Playing the kick with his right foot on one and the hi-hat on 2 and 3, hence a 1-2-3 (waltz). All while playing different patterns with his hands. Total limb independence.
I’ve seen this video hundreds of times and saw him perform this live numerous times. I still just smile and shake my head at the sheer talent of that man. He and the rest of the band brought so much joy to my life.
Rumor has it Neil shared 98.6% of his DNA with an octopus. 😊 You have to remember Neil's solos always came in the latter half of their concerts after he'd already been playing for well over an hour. True legend.
That video you are referring to is Rick Beato's "what makes this song Great" episode on Xanadu. Another epic song from Rush. That and La Villa Strangiato are must-hear Rush songs.
The Drum Master- Circa 1994- Drumming has the power to unite people, no matter how varied their language or cultural background might be. On a recent trek through Africa, Neil Peart had a singular experience that proved just that. "I was in Gambia, walking through a small village, and I heard the sound of a drum. So of course I was curious! I looked into a compound and I could hear the drumming coming from a curtained room. I walked up to a woman doing laundry in front of the room. She could see my interest in the sound, so she waved me to go in. Inside I found a young, white missionary from a nearby Catholic school. Sitting across from him was the commanding presence of the local drum master. He was attempting to show the missionary how to play any kind of beat. The missionary was trying as hard as he could, but he wasn't having a lot of success." After a time the drum master, frustrated by the missionary's lack of ability, noticed the other man who had come into the room. The master had no idea who this person was, but he thought to himself, "Why not see if he can play?" According to Peart, what happened next was fascinating. "The drum master gestured to me to try and play a rhythm. So we began playing together, and he started smiling because he could tell I had a rhythm - maybe not his rhythm, but a rhythm of some kind. We were playing and playing, building the intensity, and little kids started coming in, laughing at the white man playing drums. Then a few women came into the room, and everybody began dancing to our beat! The master and I even started trading fours. It wasn't a spoken thing, but he could tell that I would lay out and listen to what he was doing for a certain amount of time, and then he would do the same. It was just a magical moment." When they finished, a confused and startled missionary ran up to Peart and asked, "How can you do that?" Chuckling to himself, Neil politely responded, "I'm in the business." World Inspiration Neil's love of bicycling and travel is well known - it's almost the stuff of legend. While on tour with Rush he's been known to avoid the tour bus and bike to the next town and venue. When not on the road with Rush, he has taken his bike to the four corners of the globe, including Europe, mainland China, and Africa. Upon entering Peart's Toronto home, one is immediately struck by the fact that this man has seen and experienced locales most people can't imagine. "Here's a prized possession of mine," he says proudly, showing a raw-metal sculpture standing about ten inches high and resembling a tribal version of Rodin's "The Thinker." "It's from Africa. It weighs about twenty pounds, and I had to carry it a hundred miles on my bike. but it was worth it." Neil's passion for authentic African art is obvious. Unique drums, with their rich, hand-carved elegance, are displayed in his home with reverence. Original Chinese gongs decorate a few of the walls. The decor hints at the fact that a drummer lives in the house, shouts at the fact that a word traveler resides there. Peart's love of travel is obvious, but does actually going to other parts of the world inspire him musically? "First of all, I think travel is very important for any person," he insists. "It's affected me enormously, and I'm sure it filters down to my work. Africa is not an abstraction to me anymore - neither is China. They're places I've experienced, places where I've met people, made friends - and just broadened my thinking. "I've written lyrics that were directly influenced by my travels abroad. In a drumming sense, I've had some interesting experiences in different countries, experiences that may not directly affect the way I play drums, but that certainly inspire my feelings about drumming. And I've gotten very interested in hand drumming. Lately I've been working on playing the djembe." One way Peart's wanderlust has directly affected the sound of his drums is through sampling. "One of the small drums I brought from China is an antique that's too fragile to play. So I took it and a few of the other delicate instruments that I own and sampled them - along with many of my other instruments like my temple blocks and glockenspiel. I've built up a huge library of sounds, and they've made their way onto our albums in many of the different patterns I play." A particular pattern Neil has recorded that demonstrates the value of "world inspiration" comes from Rush's last album, Roll The Bones. "On that record we had a song called 'Heresy' that had a drum pattern I heard when I was in Togo. I was laying on a rooftop one night and heard two drummers playing in the next valley, and the rhythm stuck in my head. When we started working on the song I realized that beat would complement it well."
Neil Peart was the drummer that other drummers idolize. I have yet to figure out how someone can move both hands and a foot in different directions and sound good. Then this guy comes along and throws his other foot in there with 2 kick drums. It's mind boggling.
Neil was the human version of the computerized drum machine… before it was even invented. Meticulously perfect an you can say that about only a handful of drummers at best in the history of music… Such a loss too the drumming community but alas, we have a 40+ yr discography to salivate over 🤘🔥🤘
Happy for you to reach 23K. It's well deserved. Your reactions are honest and insightful (no cap). What I mean by that (and that's why I like 'reaction videos') is that I like to see/hear other people's opinions. I do the same with other things I may be passionate about whether it's sports, comedy, politics (arghhh! 🙃🙃😎😎), etc. Keep it going. I'd like to suggest other things, but that would be presumptuous of me. Have a good one! A.
He played that 3 4 between the bass and the hats with that rhythm over top , Then as he keeps the boom tic tic steady he changes up the time over top on the Tom’s
He is triggering all the horn sounds that start at 8:10 There is another video around where he breaks down this solo and talks about/demonstrates those triggers.
It wasn't natural. He worked *hard* building that skill. He talks about how he wasn't that naturally talented but he was tenacious in his effort to always improve.
Neil is the GOAT! but damn is El Estepario Siberiano isn't a F-ING drum GOD... Check out his cover of Emenim's Godzilla or Tool - The Pot or the Weekend's Blinding Lights.... UNBELIEVABLE!!!!
Subscribe, you bastards - just kidding, I'm not, I am - Just Do It. You watch Dame; after they read that they'll all subscribe. Anyways bro, that was a unique analogy of Rush as Thanksgiving dinner items. Thanks for your videos, and hang in there.
Dude your mic volume is clipping. That's like when you push your face right on to a mic meant to be a room mic and not a dynamic mic and the volume goes into the little red part of the meter. Try this: eat a snack first and then go on a mic you don't look like you wanna eat and stay like 8 inches from while you talk at a normal volume. You'll be shocked at how much better you sound. Oh and Peart wasn't the greatest drummer of all time. Any kid in Berklee can dust Peart. He was certainly one of the most influential to be sure, but the greatest? Hardly. This really does a disservice to entire generations of jazz drummers who could play more complicated time signatures and nuanced parts on a 4 piece street player kit with hi-hats and a chonky ride
Mic information useful. Hyperbolic opinion on Peart not so much. I always find it puzzling when people claim that a musician renowned for his creative contributions to music ignores that fact and just claims - declaratively, no less - that the musician wasn't all that technically competent. It's akin to two kids bragging in a school yard about how good or strong or smart their parents are. "Yeah, well, my Dad went to Harvard." "Oh yeah, while mine went to Stanford!" etc., etc., etc.
@@SnowDogisVictorious Hyperbolic? Hardly. I loved Neal Peart but he's the gateway drug to real drummers who play in time signatures the masses just don't have the bandwidth to appreciate.
