@@Liquidmuse3 WOOOOWEEEE edgecentee!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Now that a great and beautifully put Comment for Neil Peart (AKA) THE PROFESSOR!!!! PERFECT COMMENT 🎉🎉🎉🎉🎉🎉🎉!!
Steemer6023 Me, lol! Recovering from surgery, (say 60% before entering the Head) hearing this, HUMMING along, tapping my feet to the High-Hat and Bass-EXITING the Throne at least 10% healthier and Alive with Hope remembering how I haven’t heard it this way since the Reel to Reel days of the ‘70’s!
Nonsense, there are so many superior rock rhythm sections including “Squire/Bruford” (Yes), “Lake/Palmer” (ELP), “Entwistle/Moon” (The Who), “Bruce/Baker (Cream), “Lake/Giles” (King Crimson), “Waters/Mason” (Pink Floyd), “Wetton/Bruford” (King Crimson), “Rutherford/Collins” (Genesis), “Butler/Ward” (Black Sabbath), “McCartney/Starr” (The Beatles) to name a few…
@@atomicwedgie8176 Your uninformed opinion obviously. Certainly not the opinion of his peers and admirers including Phil Collins (Genesis), Don Henley (Eagles), Stewart Copeland (The Police), Dave Grohl (Nirvana/Foo Fighters), Jim Keltner (session drummer), Max Weinberg (Bruce Springsteen) as well as both George Harrison and Paul McCartney (The Beatles) who have both stated that when Ringo joined the Beatles he helped take them to another level. The sheer volume of Ringo’s work with the Beatles is testimony to his expertise and virtuosity. The Beatles recorded 305 songs with Ringo Starr from 1962 until 1970. Not one of the songs has any bad or substandard drumming. Ringo is an extraordinary left handed drummer playing a right handed drum kit. His drumming is absolutely perfect for the music of the Beatles.
Actually, he was one in about twenty billion, considering everyone who is, was, or ever will be ALIVE... let your brain wrap around THAT for about a minute or two!
The best thing about RUSH is that I'd be just as excited were the vid title LA VILLA STRANGIATO BASS & GUITAR isolated, or LA VILLA STRANGIATO GUITAR & DRUMS isolated. All three of them are worthy of high praise.
@@NyeGuy-yv2dv Agreed. La Villa is probably difficult to follow because you need the right endurance to follow this, especially if you're playing with the bass pedals and synths required but I argue it's even more difficult for guitar and drums for this song, while YYZ definitely hurts the fingers even more since it's coming more right at you and expects alot of you.
In the movie Time Stand Still Neil say's " in eight years I'll be 71. I can't play Neil Peart drum part's at 71. I can play Charlie Watts drum parts but not Neil Peart drum parts. The diminishing of my abilities is what I could't face."
Notice in that whole video, the three of them are b]never together. I don’t think Neil wanted to be around them...didn’t wanna get pressured into playing anymore. Me thinks they were pissed at each other for awhile after R40.
When i first heard this as a young lad i was blown away!!! I had a Aiwa type walkman cassette player and wore out my cassette copy of Hemispheres!! Rest in peace Neil....thank you Rush for the music and concerts!!
Six-Ten Visuals Check out a demo tape from 1970 by a group called JR Flood, it's the first Rush related recording with Neil on drums. The mix is better for him than a lot of Rush too.
Alex is super powerful on this song, but this isolated version shows how much goes behind the composition with bass and drums. That drum lad from St. Catharines has inspired many. Gone..... but never forgotten.
Listening to this in an isolated format, reaffirms drummer's assertion that this is the Holy Grail for drummers, Neil was at the top of the food chain.
It’s amazing how Getty’s base lines complimented Neil’s style more than I ever realized. Every bit skilled musician. Maybe even more. Singing, keyboards and lighting that Bass on fire. A magical trio!
I'm amazed listening to the full version, then I hear this and hear what's actually going on and I'm blown away. That section in the latter part of the guitar solo is absolutely incredible.
The photo above is shown with Neil Pearts Second Custom Slingerland set in Black Chrome finish. This set was used for Farewell to Kings and Hemispheres.
good eye on the Slingerland set...I was looking it over during this incredible track when it donned on me it looked just like my vintage Slingerland set....they are quite valuable now and it is the closest set i have found to duplicate the tones here. Cymbal work here is crazy good, I don't hear all that with the guitar track intact......thank you for sharing.
yes indeed....a slingerland...was really cool..loved the sound --he still played his slingerland snare in many of early gigs...saw him play his first slingerland kit...i think is was bronze-cool azz kit...then he went to tama i think...(wish i knew why????)
@@TheTayedrums Yep he went to Tama after Hemispheres for quite awhile and I think he had a Ludwing kit for a minute during Time Stands Still stuff and then it was DW all the way.
@@justinfontaine9069 thx.. yeah a ludwig for a hot minute--seemed it was'nt quite 'him'..Ludwig had changed quite a bit by then...then again his sets were custom -so a big difference with any kit produced or played..a fan of DW's earlier kits,,,earlier 90's-as they were switching from camco(bill bruford played camco for a while..) but people love them..
Imagine how excited Neil must have been when he became the drummer for Rush. They took him Steve’s music store in Toronto and he got his first professional touring kit. I bet the couldn’t wipe the smile off of his face
Hat was his best sounding drum kit. I never liked his drum sound after he retires this set/configuration. Miss you so much. You were responsible for me getting into prog drum playing and i studied your playing for thousands of hours. RIP my mentor.
Recall that when they wrote this song it was so complex they were worried that it would be too hard to play live, so they simplified it so they could!........Simplified!
@@genghis1971No, no.... It's not like that. I get my information from interviews and a documentary. As they were writing all of the parts, they realized that what they wanted to do was too complex to play live just by the three of them. So they had to revise it for that purpose.
@@NikonErik That's not exactly correct. They found that they couldn't play the song live all the way through in the studio to record it, so they were forced to record it in 2 sections and splice them together. Alex commented that they couldn't play it all the way through when they wrote it, but "now I can play it while I'm watching TV."
@@good4sound - And even then, I don't recall it being that they "couldn't" play it all the way through during the recording session so much as that they found it started losing some of the feel and energy, so they recorded it in two or three parts and spliced together.
Of course this shows the brilliance of Geddy and Neil...but this also makes me so appreciative of how much Alex's guitar was the complete driving force of this masterpiece...
i have played this for people who are pretty convinced Neil is a machine..... Rest in Peace and thank you oh so much for decades of wonderful music and influence.
As I've said the very FIRST TIME I ever heard this song.................Just hearing the Drums in this,is like Watching an artist,do something SO INCREDIBLY UNBELIEVEABLE.............it just leaves the mind to always wonder..........."How the HELL did he DO THAT??? " ~Peace~ :)
I thoroughly enjoyed listening to all the isolated versions of this song. They truly show what great musicians each guy is is his right. But the song with all 3 of them is even greater than the sum of its parts. I think that's what made Rush so great is they worked well together, playing off each others strengths to become a truly great band!
Besides Neil's creative composition and dexterity, which one can continue pondering for a lifetime, it's his quality of each strike that often gets me. A visual artist goes for line quality; the way an uninterrupted contour line flows across the substrate can appear with various levels of feel and quality. Neil plays with such a quality that's obtained by focused determination and natural ability.
With the guitar missing here, it would be a good practice track for a guitarist. I am a guitarist and would have liked to have this back in the day (1979-1985). (Sorry for the length, but I nave to describe the music here. If you’re not a musician, you probably won’t enjoy reading nay of this) The part I had the hardest time with might surprise a non-guitarist or non-musician. You think it would be one of the two solos, the first being the most difficult of the two, but I practiced that solo so many times, because of the skill level required, it wasn’t the part that gave me the biggest fit with the band. It is a part that is so easy to play with the record, I really didn’t consider what problems it would cause alone, without Alex’s guitar to follow. It is in the part Danforth And Pape, I think? It is hard for me to tell where Danforth And Pape end and The Waltz Of Shreves begins. The part I’m talking about follows directly after Alex’s second guitar solo, right after they change to a 3/4 time signature, I believe, and hit only the first note of each measure. Peart is gating the cymbal with each hit. Then they go into the part where Alex is doing an arpeggiation in an A, the. G, and D, then powers the D, E and G chords. They are all on the beat and Alex powers each chord, D, E and G and he continues running the arpeggios of the A, G, D, then power the D,E, and G on the first beat of each measure, the hard part for me was the third time they do this progression, Neil and a Geddy begin hitting the accent on the off-beat, so when Alex hits the D on the first beat of the measure, Neil and Geddy answer back with hard hits on the second and third beat. It kind of creates the feel of an Ompapa rhythm, Om-pa-pa, Om-pa-pa, except an Ompapa on steroids, with power chords and Geddy’s punch-you-in-the-face bass hits. It sounds funny putting it that way, but if you listen for it, you won’t be able to un-hear it and will always hear that Oompapa rhythm from then on. Anyway, it is the part where a Neil and Geddy play on the off-beat, or the non-stress beats, might be more proper. The first time I played it with my band, it was really hard not to hit those other two beats. Every time, I would find myself hitting all three beats, both Alex’s and Neil and Geddy’s parts. It was kind of like rubbing your stomach and patting your head at the same time, you would suddenly find yourself patting your stomach or rubbing your head unless you really concentrate. If I wasn’t careful, I would find myself hitting the off-beats. It didn’t take me long to get over it, but it didn’t surprise me the first time playing it with the band. I had practiced with the record and never gave much mind to that part. The chords were easy enough and as long as Alex was there, I stayed with the guitar, but the first couple of times without Alex, I got lost at that part, not giving it the respect it deserved. I’d like to hear from any other guitarist and see if that part ever threw them off? It wasn’t like ridiculously hard, but I was unprepared when it came time to fly solo. Both of the guitar solos I knew were difficult going in, especially getting the right feeling in the first solo, so I practiced the shit out of those and was prepared. Alex puts a lot of feeling into every note of that lead. Every bit of nuance he puts on those sustained notes and then his famous staccato notes he uses in a lot of solos, it kind of a trademark of his. One that many guitarists get wrong. I have heard a lot of really good guitarists in some of the better tribute bands on RU-vid and many of them slop their way through those staccatos, changing them as if they’re improving them... they’re not! The way he attacks those notes adds a certain feeling that can’t be topped by some slick guitarist tricks. It’s about the feeling, not showing off. It kind of irritates me when they think they can improve on his solos. You can’t. He wrote them to fit the music and no one does it better. I always tried to mimic his chops as close as I was able. If I wanted to show some other skill, I’d do it in my own songs. Some of the natter tribute bands I’ve heard are New World Men (one of the lesser known, but probably the best. The drummer sings lead! He plays Peart while singing Lee and sounds more like Geddy then any other vocalist in ay tribute band). The next is Lotus Land whose singer is the bassist and he sounds a lot like Geddy also, but I think Matt from NWM sounds more like Geddy. Another good one is YYNot. An excellent bass player. He has Geddy’s dynamics down to a T. They are a larger than 3 piece band. They have a female vocalist who sings lead and she is basically a stand alone singer. She sings well, but doesn’t sound like a Geddy, but she can hit some of the higher notes from the early years. She sang No On At The Bridge and nailed those high notes at the bridge, probably the highest notes Geddy ever sang, way back on Caress Of Steel, when he was very young.
Beginner bassist here. In my opinion, Lerxst and Colin Greenwood (Radiohead) can be juxtaposed reasonably even though the latter is a bass player. Both always play for the song rather than engage in histrionics. Both also can take the lead like Alex is doing here and Colin in a song like 15 Steps. So I had learned it and played it pretty decently along. Recently I’ve gotten headphones so I could practice and hear my playing better. When I tried to play alongside, it felt off even though i was playing on time and hitting the right notes. So i feel like i can sympathize with your situation
What a fabulous set of drums - both acoustically and visually. I have most of the pieces of this set in silver sparkle Ludwig with the exception that I removed the second bass drum and put the toms on a stand and got a double bass pedal. But I know personally the amount of time it takes to break down and reconstitute this set and all the mics. Unreal - and Neal and his roadies did this night after night. I saw him live in Philly and he was a machine of a rock drummer. What a loss. RIP.
Two rock musicians considered by many to be the best in history at their respected instruments playing one of their most iconic pieces. Incredible talent.
So cool to hear all those ghost notes Neil is playing. Sad that no young bands are picking up the mantle where great bands like Rush left off, rock is dead RIP
