Canadian rock band

Rush was a Canuck rock crew consistin of Geddy Lee (bass, vocals, keyboards), Alex Lifeson (boomboxes), n' Neil Peart (drums, percussion, lyricist). Formed up in 1968, tha crew went all up in nuff muthafuckin configurations until arrivin at its longest n' funky-ass lineup when Peart replaced original gangsta disc jockey Jizzy Rutsey up in July 1974, two weeks before tha groupz first trip of tha United Hoods.

Rush is known fo' its musical muthafuckaship, complex compositions, n' eclectic lyrical motifs drawin heavily on science fiction, fantasy, n' philosophy. Da bandz musical steez has chizzled nuff muthafuckin times over tha years, from a funky-ass blues-inspired hard rock beginning, lata movin tha fuck into progressive rock, n' includin a period marked by heavy use of synthesizers. In tha early 1990s, Rush moonwalked back ta a guitar-driven hard rock sound, which continued fo' tha rest of they game n' shit. Rush announced plans ta cease large-scale tourin all up in tha end of 2015, followin tha conclusion of they R40 Live Tour fo' realz. Afta nearly three muthafuckin yearz of a uncertain future, Lifeson reluctantly announced up in January 2018 dat tha crew would not continue.[8][9] On January 7, 2020, Peart took a dirt nap of dome cancer all up in tha age of 67.[10]

Accordin ta tha RIAA, Rush ranks 88th up in tha U.S. wit salez of 25 mazillion units up in tha ghetto.[11] Although total ghettowide mixtape salez aint calculated by any single entity, nuff muthafuckin industry sources estimated Rushz total ghettowide mixtape salez at over 40 mazillion units az of 2017. Da crew has been awarded 24 gold, 14 platinum, n' 3 multi-platinum mixtapes.[12]

Rush has been nominated fo' seven Grammy Awards,[13] has won nuff muthafuckin Juno Awards, n' won a Internationistic Achievement Award all up in tha 2009 SOCAN Awards.[14] Da crew was inducted tha fuck into tha Canadian Music Hall of Hype up in 1994 n' tha Rock n' Roll Hall of Hype up in 2013.[15][16] Over they games, tha thugz of Rush done been bigged up as a shitload of da most thugged-out proficient playas on they respectizzle instruments, wit each crew member ballin a shitload of awardz up in magazine readers' polls.

History [ edit ]

1968�"1974: Early blues- n' hard rock-oriented years [ edit ]

Da original gangsta lineup formed up in tha neighbourhood of Willowdale up in Toronto, Ontario, by turntablist Alex Lifeson, basehead n' front playa Jeff Jones, n' disc jockey Jizzy Rutsey on September 18, 1968.[17] Within a cold-ass lil couple weekz of forming, n' before they second performance, basehead n' lead vocalist Jones left tha crew n' was replaced by Geddy Lee, a schoolmate of Lifeson. I aint talkin' bout chicken n' gravy biatch. Their first gigs took place all up in tha Coff-Inn, a youth centre up in tha basement of St. Theodore of Canterbury Anglican Church up in Uptown York.[18] Afta nuff muthafuckin lineup reformations, Rushz straight-up legit incarnation formed up in May 1971 consistin of Lee, Lifeson, n' Rutsey. Da name "Rush" was suggested by Rutseyz brother, Bizzle.[19] Da crew was managed by local Toronto resident Ray Danniels, a gangbangin' frequent attendee of Rushz early shows.[20][21]

Afta bustin stabilitizzle up in tha lineup n' honin they game on tha local bar n' high school dizzle circuit, tha crew thugz busted out they first single "Not Fade Away", a cold-ass lil cover of tha Buddy Holly song, up in 1973. Da B-side contained a original gangsta composition, "Yo ass Can't Fight It", credited ta Lee n' Rutsey. Da single generated lil erection (#99 on tha RPM charts) and, cuz of record company indifference, tha crew formed they own independent label, Moon Records.[22]

"Workin Man" (1974) Sample of "Workin Man" from tha debut mixtape Rush, tha cold lil' woo wop dat landed dem a record contract. Problems playin dis file, biatch? See media help.

With tha assistizzle of Danniels n' tha newly enlisted engineer Terry Brown, tha crew busted out its self-titled debut mixtape up in 1974, which was considered highly derivatizzle of Led Zeppelin.[23] Rush had limited local popularitizzle until tha mixtape was picked up by WMMS, a radio station up in Cleveland, Ohio. Donna Halper, a noize director n' DJ hustlin all up in tha station, selected "Workin Man" fo' her regular playlist. Da songz blue-collar theme resonated wit hard rock fans, n' dis newfound popularitizzle hustled ta tha mixtape bein re-released by Mercury Records up in tha U.S.[24] Immediately afta tha release of tha debut mixtape, Rutsey left tha crew cuz of game bullshit stemmin from diabetes n' his fuckin lil' distaste fo' tourin yo. His last performizzle wit tha crew was on July 25, 1974, at Centennial Hall up in London, Ontario.

1974�"1976: Neil Peart joins, foray tha fuck into progressive rock [ edit ]

Rush held auditions fo' a freshly smoked up disc jockey n' selected Neil Peart as Rutseyz replacement. Peart officially joined tha crew on July 29, 1974, two weeks before tha groupz first US tour.[25] They performed they first gangbang together, openin fo' Uriah Heep n' Manfred Mannz Ghetto Band wit a attendizzle of over 11,000 playas all up in tha Civic Arena up in Pittsburgh, Pennsylvania on August 14.[26] Peart also assumed tha role of principal lyricist from Lee, whoz ass had straight-up lil interest up in writing, despite havin penned tha lyrics of tha bandz first mixtape.[27] Lee n' Lifeson focused primarily on tha instrumenstrual aspectz of Rush, n' pushed tha crew up in a mo' n' mo' n' mo' progressive rock-oriented direction. I aint talkin' bout chicken n' gravy biatch. Fly by Night (1975), Rushz first mixtape afta recruitin Peart, saw tha inclusion of tha bandz first epic mini-tale "By-Tor n' tha Snow Dog", replete wit complex arrangements n' a multi-section format. Lyrical themes also underwent dramatic chizzlez cuz of Peartz ludd fo' fantasy n' science-fiction literature.[28] Despite these freshly smoked up styles, some other joints on tha mixtape mirrored tha simplistic blues steez found on Rushz debut.[20][28]

2112. [29] Da "starman" logo first rocked up on tha back cover of tha 1976 mixtape Hugh Syme , creator of graphics on nuff of Rushz mixtapes, holla'd at Jeffrey Morgan up in 1983 tha Starman "didn't begin as a identitizzle factor fo' tha crew, it just gots adopted".

Da crew followed Fly by Night quickly wit Caress of Steel (1975), a gangbangin' five-track mixtape featurin two extended multi-chapta joints, "Da Necromancer" n' "Da Fountain of Lamneth". Right back up in yo muthafuckin ass. Some muthafuckas holla'd Caress of Steel was unfocused n' a audacious move fo' tha crew cuz of tha placement of two back-to-back protracted joints, as well as a heavier reliizzle on atmospherics n' story-telling, a big-ass deviation from Fly by Night.[30] Intended ta be tha bandz break-all up in mixtape, Caress of Steel sold below expectations n' tha promotionizzle trip consisted of smalla venues, which hustled ta tha moniker tha "Down tha Tubes Tour".[31]

In light of these events, Rushz record label tried ta heat tha thugz tha fuck into mouldin they next mixtape up in a mo' commercially thugged-out n' accessible fashion; tha crew ignored tha requests n' pimped they next mixtape 2112 wit a 20-minute title track divided tha fuck into seven sections. Despite this, tha mixtape was tha bandz first taste of commercial success n' they first platinum mixtape up in Canada.[32] Da supportin trip culminated up in a three-night stand at Massey Hall up in Toronto, which tha crew recorded fo' tha release of they first live mixtape, All tha Worldz a Stage. AllNoize critic Greg Prato notes tha mixtape demarcates tha boundary between tha bandz early muthafuckin years n' tha next era of they music.[33][34]

1977�"1981: Peak progressive era [ edit ]

Afta 2112, Rush went ta tha United Mackdaddydom ta record A Farewell ta Mackdaddys (1977) n' Hemispheres (1978) at Rockfield Studios up in Wales. These mixtapes saw tha crew thugz expandin tha progressive elements up in they beatz. Drop dis like itz hot! "As our tastes gots mo' obscure," Lee holla'd up in a rap battle, "we discovered mo' progressive rock-based bandz like Yes, Van der Graaf Generator n' Mack Crimson, n' we was straight-up inspired by dem bands. They made our asses wanna make our noize mo' bangin-ass n' mo' complex n' we tried ta blend dat wit our own personalitizzles ta peep what tha fuck we could come up wit dat was indisputably us."[35] Increased synthesizer use, lengthy joints, n' highly dynamic playin featurin complex time signature chizzlez became a staple of Rushz compositions. To big up a funky-ass broader, mo' progressive sound, Lifeson fuckin started ta experiment wit classical n' twelve-strin boomboxes, n' Lee added bass-pedal synthesizers n' Minimoog. Likewise, Peartz percussion became diversified up in tha form of trianglez, glockenspiel, wood blocks, cowbells, timpani, gong, n' chimes. Beyond instrument additions, tha crew kept up in stride wit tha progressive rock trendz by continuin ta compose long, conceptual joints wit science fiction n' fantasy overtones fo' realz. As tha freshly smoked up decade approached, Rush gradually fuckin started ta dispose of its olda stylez of noize up in favour of shorta n' sometimes softa arrangements, n' you can put dat on yo' toast. Da lyrics up ta dis point was heavily hyped up by old-ass poetry, fantasy literature, science fiction, n' tha writingz of novelist Ayn Rand, as exhibited most prominently by they 1975 cold lil' woo wop "Anthem" from Fly By Night n' a specifically bigged up derivation up in 2112 (1976).[36]

Permanent Waves (1980) shifted Rushz steez of noize wit tha introduction of reggae n' new wave elements.[37] Although a hard rock steez was still evident, mo' synthesizers was introduced. Y'all KNOW dat shit, muthafucka! Mo'over, cuz of tha limited airplay Rushz previous extended-length joints received, Permanent Waves included shorter, mo' radio-friendly joints like fuckin "Da Spirit of Radio" n' "Freewill", two joints dat helped Permanent Waves become Rushz first US Top 5 mixtape.[38] Meanwhile, Peartz lyrics shifted toward a expository tone wit subject matta dat dwelled less on dunkadelical or allegorical story-tellin n' mo' heavily on topics dat explored humanistic, hood, n' wack elements, n' you can put dat on yo' toast. Rush joined wit fellow Toronto-based rock crew Max Webster on July 28, 1980, ta record "Battle Scar" fo' they 1980 release, Universal Juvenilez.[39] Max Websta lyricist Pye Dubois offered tha crew lyrics ta a cold lil' woo wop dat schmoooove muthafucka had written. I aint talkin' bout chicken n' gravy biatch. Da crew accepted; tha cold lil' woo wop went on, afta reworkin by Peart, ta become "Tomothy Sawyer".[39]

"Tomothy Sawyer" (1981) Sample of "Tomothy Sawyer" from tha mixtape Movin Pictures. Well shiiiit, it is one of tha bandz dopest known joints. Problems playin dis file, biatch? See media help.

Rushz popularitizzle reached its pinnacle wit tha release of Movin Pictures up in 1981. Movin Pictures essentially continued where Permanent Waves left off, extendin tha trend of accessible n' commercially thugged-out progressive rock dat helped thrust dem tha fuck into tha spotlight. Da lead track, "Tomothy Sawyer", is probably tha bandz best-known song[40] wit "Limelight" also receivin satisfactory responses from listeners n' radio stations. Movin Pictures was Rushz last mixtape ta feature a extended song, tha eleven-minute "Da Camera Eye". Da cold lil' woo wop also contained tha bandz heaviest usage of synthesizers yet, hintin Rushz noize was shiftin direction once mo' n' mo' n' mo'. Movin Pictures reached No. 3 on tha Bizzleboard 200 mixtape chart n' has been certified quadruple platinum by tha Recordin Industry Association of Tha Ghetto.[41][42]

Peepin tha success of Movin Pictures n' havin completed another four basement mixtapes, Rush busted out a second live recording, Exit... Right back up in yo muthafuckin ass. Stage Left, up in 1981.[43]

1982�"1989: Synthesizer-oriented era [ edit ]

Movin Pictures n' Signals. An Oberheim OB-X synthesizer, as used by Geddy Lee on tha mixtapesn'

Da crew underwent another stylistic chizzle wit tha recordin of Signals up in 1982.[44] While Leez synthesizers had been featured instruments eva since tha late 1970s, keyboardz was suddenly shifted from tha contrapuntal background ta tha melodic front-lines[45][46] up in joints like "Countdown" n' tha lead-off track "Subdivisions". Both feature prominent lead synthesizer lines wit minimalistic boombox chordz n' solos. Other previously unused instrument additions was peeped up in tha cold lil' woo wop "Losin It", featurin collaborator Lil' Bow Wow Mink on electric violin.[44]

"Subdivisions" (1982) Sample of "Subdivisions" from tha mixtape Signals. This cold lil' woo wop is notable fo' demonstratin tha bandz foray tha fuck into its synthesizer period. Problems playin dis file, biatch? See media help.

Signals also represented a thugged-out drastic stylistic transformation apart from instrumenstrual chizzles. Da mixtape contained Rushz only US top-40 pop hit, "New Ghetto Man",[47] while other mo' experimenstrual joints like fuckin "Digital Man", "Da Weapon", n' "Chemistry" expanded tha bandz use of ska, reggae, n' funk.[48] Although tha crew thugz consciously decided ta move up in dis overall direction, creatizzle differences between tha crew n' long-time balla Terry Brown fuckin started ta emerge. Da crew felt dissatisfied wit Brownz basement treatment of Signals, while Brown was becomin mo' uncomfortable wit tha increased use of synthesizers up in tha music.[49] Ultimately, Rush n' Brown parted ways up in 1983, n' tha experimentation wit freshly smoked up electronic instruments n' varyin musical stylez would come tha fuck into further play on they next basement mixtape.[citation needed]

Da steez n' thang of Signals was augmented n' taken ta freshly smoked up heights on Grace Under Pressure (1984). Dat shiznit was Peart whoz ass named tha mixtape, as his thugged-out lil' punk-ass borrowed tha lyrics of Ernest Hemingway ta describe what tha fuck tha crew had ta go all up in afta makin tha decision ta leave Terry Brown. I aint talkin' bout chicken n' gravy biatch. Producer Steve Lillywhite, whoz ass gained hype wit successful thangz of Simple Minds n' U2, was enlisted ta produce Grace Under Pressure yo. Dude backed up all up in tha last moment, however, much ta tha ire of Lee, Lifeson n' Peart. Lee holla'd "Steve Lillywhite is straight-up not a playa of his word ... afta agreein ta do our record, he gots a offer from Simple Minds, chizzled his crazy-ass mind, blew our asses off ... so it put our asses up in a wack position." Rush eventually hired Peta Henderson ta co-produce n' engineer tha mixtape instead.[50]

Grace Under Pressure, 1984 Neil Peart fuckin started incorporatin Simmons Electronic Drums beginnin wit, 1984

Musically, although Leez use of sequencers n' synthesizers remained tha bandz cornerstone, his wild lil' focus on freshly smoked up technologizzle was complemented by Peartz adaptation of Simmons electronic beats n' percussion. I aint talkin' bout chicken n' gravy biatch. Lifesonz contributions on tha mixtape was decidedly enhanced, up in response ta tha minimalistic role he played on Signals.[51] Still, nuff of his cold-ass trademark boombox textures remained intact up in tha form of open reggae chordz n' funk n' new-wave rhythms.[52]

With freshly smoked up balla Peta Collins, tha crew busted out Juice Windows (1985) n' Hold Yo crazy-ass Fire (1987). Da noize on these two mixtapes gives far mo' emphasis n' prominence ta Leez multi-layered synthesizer work. While hustlas n' muthafuckas took notice of Lifesonz diminished boombox work, his thugged-out lil' presence was still palpable. Lifeson, like nuff turntablists up in tha mid-to-late 1980s, experimented wit processors dat reduced his crazy-ass muthafuckin instrument ta echoey chord bursts n' razor-thin leads. Hold Yo crazy-ass Fire represents both a extension of tha boombox stylings found on Juice Windows, and, accordin ta Allnoize critic Eduardo Rivadavia, tha culmination of dis era of Rush.[53] Whereas tha previous five Rush mixtapes sold platinum or better, Hold Yo crazy-ass Fire only went gold up in November 1987, although it managed ta peak at number 13 on tha Bizzleboard 200.[54]

A third live mixtape n' vizzle, A Show of Hands (1989), was also busted out by Anthem n' Mercury followin tha Juice Windows n' Hold Yo crazy-ass Fire tours, demonstratin tha aspectz of Rush up in tha '80s. A Show of Hands kicked it wit wit phat hustla approval yo, but Rollin Stone critic Mike Azerrad dissed n' dismissed it as "musical muscle" wit 1.5 stars, frontin Rush hustlas viewed they most straight-up bangin juice trio as "the holy trinity".[55] Nevertheless, A Show of Hands managed ta surpass tha gold mixtape mark, reachin number 21 on tha Bizzleboard 200.[56] At dis point, tha crew decided ta chizzle internationistic record labels from Mercury ta Atlantic fo' realz. Afta Rushz departure up in 1989, Mercury busted out a thugged-out double platinum two-volume compilation of they Rush catalogue, Chroniclez (1990).[57]

1989�"2002: Return ta guitar-oriented sound, hiatus [ edit ]

"Dreamline" (1991) Sample of "Dreamline" from tha mixtape Roll tha Bones. This cold lil' woo wop is notable fo' demonstratin tha bandz return ta a mo' standard three piece instrument style, where synthesizers is used mo' sparingly n' tha boombox returnin ta tha forefront of tha sound. Problems playin dis file, biatch? See media help.

Rush started ta deviate from its 1980s steez wit tha mixtapes Presto n' Roll tha Bones. Produced by record engineer n' musical muthafucka Rupert Hine, these two mixtapes saw Rush sheddin much of its keyboard-saturated sound. Y'all KNOW dat shit, muthafucka! Beginnin wit Presto (1989), tha crew opted fo' arrangements notably mo' guitar-centric than tha previous two basement mixtapes fo' realz. Although synthesizers was still used up in nuff joints, tha instrument was no longer featured as tha centrepiece of Rushz compositions.[58] Continuin dis trend, Roll tha Bones (1991) extended tha use of tha standard three-instrument approach wit even less focus on synthesizers than its predecessor. Shiiit, dis aint no joke. While musically these mixtapes do not deviate hella from a general pop-rock sound, Rush incorporated tracez of other musical styles. "Roll tha Bones", fo' example exhibits funk n' hip hop elements, n' tha instrumenstrual track "Wherez My fuckin Thing?" features nuff muthafuckin jazz components.[59] This return ta three-piece instrumentation helped pave tha way fo' future mixtapes, which would adopt a mo' streamlined rock formula.[citation needed]

Da transizzle from synthesizers ta mo' guitar-oriented n' organic instrumentation continued wit Counterparts (1993)[60] n' its follow-up, Test fo' Echo (1996), again n' again n' again both produced up in collaboration wit Peta Collins. Up ta dis point, Counterparts[60] n' Test For Echo was two of Rushz most guitar-driven mixtapes. Da latta mixtape also includes elementz of jazz n' swing-style drummin by Peart, which dat schmoooove muthafucka had hustled from Freddie Gruber durin tha interim between Counterparts n' Test For Echo.[61] In October 1996, up in support of Test For Echo, tha crew embarked on a Uptown Gangsta tour, tha bandz first without a openin act n' dubbed "An Evenin wit Rush". Da trip was fucked up tha fuck into two segments spannin October all up in December 1996 n' May all up in July 1997.[62]

Afta tha conclusion of tha Test fo' Echo trip up in 1997, tha crew entered a gangbangin' five-year hiatus primarily cuz of underground tragedies up in Peartz game. Peartz daughta Selena took a dirt nap up in a cold-ass lil hoopty crash up in August 1997, followed by tha dirtnap of his hoe Jacqueline from cancer up in June 1998. Peart took a hiatus ta mourn n' reflect, durin which tha pimpin' muthafucka travelled extensively all up in Uptown Tha Ghetto on his BMW motorcycle, coverin 88,000 km (55,000 mi) fo' realz. At some point up in his journey, Peart decided ta return ta tha band. Y'all KNOW dat shit, muthafucka! Peartz book Pimp Rider: Travels on tha Healin Road be a cold-ass lil chronicle of his journey. In tha book, da thug writez of how tha fuck dat schmoooove muthafucka had holla'd at his bandmates at Selenaz funeral, "consider me retired."[63] On November 10, 1998, a three-disc live mixtape entitled Different Stages was busted out, all bout tha memory of Selena n' Jacqueline. Mixed by balla Pizzle Northfield n' engineered by Terry Brown, it features recorded performances from tha bandz Counterparts, Test For Echo, n' A Farewell ta Mackdaddys tours, markin tha bandz fourth live mixtape.[64]

Afta a time of grief n' recovery, n' while hittin' up long-time Rush pornographer Andrew MacNaughtan up in Los Angeles, Peart was introduced ta his wild lil' future hoe, pornographer Carrie Nuttall. Peart n' Nuttall hooked up on September 9, 2000. In January 2001, Lee, Lifeson, n' Peart came together ta peep if they could reassemble tha band. Y'all KNOW dat shit, muthafucka! Accordin ta Peart, "We laid up no parameters, no goals, no limitations, only dat we would take a chillaxed, civilized approach ta tha project." Da crew produced seventy-four minutez of noize fo' they freshly smoked up mixtape, Vapor Trails.[65]

2002�"2009: Comeback, Vapor Trails, n' Snakes & Arrows [ edit ]

"One Little Victory" (2002) Sample of "One Little Victory" from tha mixtape Vapor Trails. This songz rapid tempo n' heavy double bass drummin was done intentionally ta herald tha comeback of tha crew afta they hiatus. Problems playin dis file, biatch? See media help.

With tha help of balla Pizzle Northfield, tha crew returned up in May 2002 wit Vapor Trails, freestyled n' recorded up in Toronto. To herald tha bandz comeback, tha single n' lead track from tha mixtape, "One Little Victory", was designed ta grab tha attention of listeners wit its rapid boombox n' drum tempos.[66] Vapor Trails marked tha straight-up original gangsta Rush basement recordin ta not include any keyboardz or synthesizers since Caress of Steel fo' realz. Accordin ta tha crew, tha entire pimpmenstrual process fo' Vapor Trails was mad taxin n' took approximately 14 months ta finish, by far tha longest tha crew had eva dropped freestylin n' recordin a funky-ass basement mixtape.[66] Da mixtape was supported by tha bandz first tour up in six years, includin first-ever concerts up in Brazil n' Mexico City, where they played ta a shitload of tha phattest crowdz of they game n' shit. Da phattest was a cold-ass lil capacitizzle of 60,000 up in São Paulo.[67]

A live mixtape n' DVD, Rush up in Rio, was busted out up in October 2003 featurin tha last performizzle of tha bandz Vapor Trails Tour on November 23, 2002 at Maracanã Stadium up in Rio de Janeiro, Brazil. To big-up tha bandz 30th anniversary, June 2004 saw tha release of Feedback, a extended play recorded up in suburban Toronto featurin eight covers of such artists as Cream, Da Dum diddy-dum, here I come biaaatch! Who tha fuck n' Da Yardbirds, bandz tha thugz of Rush cite as inspiration round tha time of they inception.[68] To help support Feedback n' continue biggin' up they 30-year anniversary as a cold-ass lil crew, Rush launched tha 30th Anniversary Tour up in tha summer of 2004, playin dates up in tha United Hoods, Canada, tha United Mackdaddydom, Germany, Italy, Sweden, tha Czech Republic, n' tha Netherlands. On September 24, 2004, tha gangbang at Da Festhalle up in Frankfurt, Germany was filmed fo' a STD titled R30: 30th Anniversary Ghetto Tour, which was busted out on November 22, 2005. This release omitted eight joints also included on Rush up in Rio; tha complete gangbang was busted out on Blu-ray on December 8, 2009.[69]

Durin promotionizzle rap battlez fo' tha R30 DVD, tha crew thugz revealed they intention ta begin freestylin freshly smoked up material up in early 2006. While up in Toronto, Lifeson n' Lee fuckin started tha songwritin process up in January 2006. Durin dis time, Peart assumed his bangin role of lyric freestylin while residin up in Downtown California. Da followin September, Rush chose ta hire Gangsta balla Nick Raskulinecz ta co-produce tha mixtape. Da crew officially entered Allaire Studios up in Shokan, New York up in November 2006 ta record tha bulk of tha material. It aint nuthin but tha nick nack patty wack, I still gots tha bigger sack. Takin tha crew five weeks, tha sessions ended up in December n' shit. On February 14, 2007, a announcement was made on tha straight-up legit Rush wizzy joint dat tha title of tha freshly smoked up mixtape would be Snakes & Arrows. Da first single, entitled "Far Cry", was busted out ta Uptown Gangsta radio stations on March 12, 2007 n' reached No. 2 on tha Mediabase Mainstream n' Radio n' Recordz Charts.[70]

"Far Cry" (2007) Sample of "Far Cry", first single from tha mixtape Snakes & Arrows. Problems playin dis file, biatch? See media help.

Da Rush joint, newly redesigned on March 12, 2007, ta support tha freshly smoked up mixtape, also announced tha crew would embark on a trip ta begin up in tha summer n' shit. Snakes & Arrows was busted out on May 1, 2007, up in Uptown America, where it debuted at No. 3 on tha Bizzleboard 200 wit approximately 93,000 units sold up in its first week.[71] It sold a estimated 611,000 copies ghettowide. To coincizzle wit tha beginnin of Atlantic Ocean hurricane season, "Spindrift" was busted out as tha straight-up legit second radio single on June 1, 2007, while "Da Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "Da Larger Bowl" peaked within tha top 20 of both tha Bizzleboard Mainstream Rock n' Media Base Mainstream charts yo, but "Spindrift" failed ta step tha fuck up on any commercial chart.[72] Da planned intercontinental tour up in support of Snakes & Arrows fuckin started on June 13, 2007 up in Atlanta, Georgia, comin ta a cold-ass lil close on October 29, 2007, at Hartwall Arena up in Helsinki, Finland.[73]

Da 2008 portion of tha Snakes & Arrows trip fuckin started on April 11, 2008, up in San Juan, Puerto Rico, at José Miguel Agrelot Coliseum, n' concluded on July 24, 2008 up in Noblesville, Indiana all up in tha Verizizzle Wireless Music Center.[74] On April 15, 2008, tha crew busted out Snakes & Arrows Live, a thugged-out double live mixtape documentin tha straight-up original gangsta leg of tha tour, recorded all up in tha Ahoy arena up in Rotterdam, Netherlandz on October 16 n' 17, 2007.[75] A STD n' Blu-ray recordin of tha same concerts was busted out on November 24, 2008.[76][77][78] As Rush neared tha conclusion of tha Snakes & Arrows tour, they announced they first appearizzle on Gangsta televizzle up in over 30 years. They rocked up on Da Colbert Report on July 16, 2008, where they was rap battleed by Stephen Colbert n' performed "Tomothy Sawyer".[79] Continuin ta ride what tha fuck film critic Manohla Dargis called a "pop cultural wave", tha crew rocked up as theyselves up in tha 2009 comedy film I Ludd You, Man, starrin Pizzle Rudd n' Jizzo Segel.[80]

2009�"2013: Time Machine Tour n' Clockwork Angels [ edit ]

On February 16, 2009, Lifeson remarked tha crew may begin hustlin on a freshly smoked up mixtape up in tha Fall of 2009 wit Gangsta balla Nick Raskulinecz once again n' again n' again producing.[81] In November 2009, Lee, Lifeson n' Peart was awarded tha Internationistic Achievement Award all up in tha annual SOCAN Awardz up in Toronto.[14] On March 19, 2010, tha STD posted a vizzle rap battle wit Lee n' Lifeson where they discussed Rushz induction tha fuck into tha Canadian Songwritas Hall of Hype on March 28, 2010, all up in tha Toronto Centre fo' tha Arts' George Weston Recital Hall. Da crew was recognized fo' tha joints "Limelight", "Closer ta tha Heart", "Da Spirit of Radio", "Tomothy Sawyer" n' "Subdivisions". In addizzle ta discussin they induction, Lee n' Lifeson touched on future material wit Lee saying, "Just on some month n' a half ago our crazy asses had no joints fo' realz. And now we've been freestylin n' now we've gots bout 6 joints dat our laid-back asses just love ..."[82] On March 26, 2010, up in a rap battle wit Da Globe n' Mail, Lifeson remarked dat there was even tha potential fo' two supportin tours.[83] Soon after, Peart confirmed Nick Raskulinecs had returned as co-producer.[84]

In April 2010, Rush entered Blackbird Studios up in Nashville, Tennessee wit Raskulinecs ta record "Caravan" n' "BU2B", two freshly smoked up joints ta be featured on tha bandz basement mixtape Clockwork Angels. "Caravan" n' "BU2B" was busted out together on June 1, 2010 n' made available fo' digital download.[citation needed] Da Time Machine Tourz first leg fuckin started on June 29 up in Albuquerque, New Mexico, n' finished on October 17 up in Santiago, Chile, all up in tha Nationizzle Stadium. Well shiiiit, it featured tha mixtape Movin Pictures played up in its entirety, as well as "Caravan" n' "BU2B".[citation needed] Dat shiznit was suggested Rush would return ta tha basement afta tha completion of tha Time Machine Tour wit plans ta release Clockwork Angels up in 2011.[85] But fuck dat shiznit yo, tha word on tha street is dat Rush announced on November 19, 2010, dat they would be extendin tha Time Machine Tour. Shiiit, dis aint no joke. Da second leg fuckin started on March 30, 2011, up in Fort Lauderdale, Florida, n' came ta a end on July 2, 2011, up in George, Washington.[86] On November 8, 2011, tha crew busted out Time Machine 2011: Live up in Cleveland, a gangbang DVD, Blu-ray n' double CD documentin tha April 15, 2011, gangbang all up in tha Quicken Loans Arena up in Cleveland, Ohio fo' realz. Afta tha tourz second leg was finished, Rush entered Revolution Recordin studios up in Toronto, Ontario ta finalize tha recordin of Clockwork Angels.[87] Da second single, "Headlong Flight", was busted out on April 19, 2012. Peart n' lyricist Kevin J fo' realz. Anderson collaborated on a novelization of Clockwork Angels dat was busted out up in September 2012.[88]

Clockwork Angels was busted out up in tha United Hoodz n' Canada on June 12, 2012,[89] n' its supportin Clockwork Angels Tour fuckin started on September 7, 2012 fo' realz. Az of August 31, 2011, Rush switched they Gangsta distribution from Atlantic Records over ta tha Warner Brothers majority-owned metal label, Roadrunner Records. Roadrunner handled Gangsta distribution of Time Machine 2011: Live up in Cleveland n' Clockwork Angels fo' realz. Anthem/Universal Music would continue ta release they noize up in Canada.[90] On April 18, 2013, Rush was inducted tha fuck into tha Rock n' Roll Hall of Hype.[91] Durin Rushz European leg of tha Clockwork Angels Tour, tha June 8, 2013, show all up in tha Sweden Rock Gangbang was tha groupz first gangbang appearizzle up in 30 years.[92] Da bandz performances on November 25, 2012, up in Phoenix, Arizona n' November 28, 2012, up in Dallas, Texas was recorded ta cook up a live CD/DVD/Blu-ray dat was busted out on November 19, 2013.[93]

2013�"2020: R40 Tour, disbandment n' Peartz dirtnap [ edit ]

On November 18, 2013, Lifeson holla'd tha crew had committed ta takin a year off, followin tha completion of tha ghetto trip up in support of Clockwork Angels. "We've committed ta takin on some year off", Lifeson holla'd. Y'all KNOW dat shit, muthafucka! "We all agreed when we finished dis [Clockwork Angels] trip [in early August] we was goin ta take dis time off n' we weren't goin ta rap bout crew shiznit or make any plans. We committed ta a year, so thatz goin ta take our asses all up in ta tha end of next summer, fo' sure. Thatz tha minimum. We aint stopped or quit. Right now our laid-back asses just chillaxing. We takin it easy as fuck n' just trippin' off our current employment."[94]

In September 2014, tha Rush R40 box set was announced ta commemorate tha fortieth anniversary of tha release of tha bandz self-titled debut mixtape. Well shiiiit, it included five previously busted out live vizzle mixtapes, as well as various previously unreleased footage from across tha bandz game.[95] On January 22, 2015, tha crew officially announced tha Rush R40 Tour, biggin' up tha fortieth anniversary of Peartz membershizzle up in tha band. Y'all KNOW dat shit, muthafucka! Da trip started on May 8 all up in tha BOK Center up in Tulsa, Oklahoma,[96] n' wrapped up on August 1 at Da Forum up in Los Angeles.[97]

On April 29, 2015, Lifeson stated up in a rap battle dat R40 might be tha final large-scale Rush trip cuz of his psoriatic arthritis n' Peartz chronic tendinitis.[98] Dude noted dat it didn't necessarily mean a end ta tha crew, suggestin tha possibilitizzle of smalla tours n' limited performances yo. Dude also holla'd da thug wanna work on soundtracks wit Lee.[99] On December 7, 2015, Peart stated up in a rap battle da thug was retiring. Da followin day, Lee insisted dat Peartz remarks had been taken outta context, n' suggested da thug was "simply takin a funky-ass break".[100][101] Lifeson confirmed up in 2016 dat tha R40 trip was tha bandz last large-scale tour.[102] Da bandz sickest fuckin documentary, Time Stand Still, was announced up in November 2016.[103]

On January 16, 2018, Lifeson holla'd at Da Globe n' Mail dat dat shiznit was unlikely dat Rush would play any mo' shows or record freshly smoked up material. It aint nuthin but tha nick nack patty wack, I still gots tha bigger sack yo. Dude holla'd, "Our thugged-out asses have no plans ta trip or record no mo'. We basically done fo' realz. Afta 41 years, we felt dat shiznit was enough."[9][8] In October 2018, Rollin Stone published a rap battle wit Lee, whoz ass stated, "I'd say I can't straight-up rap much other than dat there be zero plans ta trip again. I aint talkin' bout chicken n' gravy biatch fo' realz. As I holla'd earlier, we straight-up close n' rap all tha time yo, but our phat asses don't rap bout work. We playas, n' we rap bout game as playas. I can't straight-up rap mo' than that, I be afraid. Y'all KNOW dat shit, muthafucka! I would say there be a no chizzle of seein Rush on trip again n' again n' again as Alex, Geddy, Neil. But would you peep one of our asses or two of our asses or three of us, biatch? Thatz possible."[104]

On January 7, 2020, Peart took a dirt nap all up in tha age of 67 followin a ​3 1⁄ 2 -year battle wit glioblastoma, a type of dome cancer.[10][105][106]

Musical steez n' influences [ edit ]

Rushz musical steez chizzled substantially over tha years. Its debut mixtape was straight fuckin hyped up by British blues-based hard rock: a amalgam of soundz n' stylez from such rock bandz as Black Sabbath, the Who, Cream, n' Led Zeppelin.[23][107][108] Rush became mo' n' mo' n' mo' hyped up by bandz of tha British progressive rock movement of tha mid-1970s, especially Genesis, Yes, n' Jethro Tull.[109][110] In tha tradizzle of progressive rock, Rush freestyled extended joints wit irregular n' shiftin time signatures, combined wit fantasy n' science fiction-themed lyrics. In tha 1980s, Rush merged they sound wit tha trendz of dis period, fuckin wit wit freshly smoked up wave, reggae, n' pop rock.[111] This period included tha bandz most extensive use of instruments like fuckin synthesizers, sequencers, n' electronic percussion. I aint talkin' bout chicken n' gravy biatch. In tha early 1990s, tha crew transformed they steez once again n' again n' again ta return ta a mo' grounded hard rock steez n' simultaneously harmonize wit tha alternatizzle rock movement.[112]

Personnel [ edit ]

Definitizzle lineup [ edit ]

Forma members [ edit ]

Jizzy Rutsey �" drums, percussion, backin vocals (1968�"1974, took a dirt nap 2008), lyrics (1968�"1973)

Jeff Jones �" bass guitar, lead vocals (August�"September 1968)

Lindy Young �" keyboards, backin n' lead vocals, boomboxes, percussion, harmonica (January�"July 1969)

Joe Perna �" bass guitar, lead n' backin vocals (May�"July 1969)

Mitchel Bossi �" boomboxes, backin vocals (February�"May 1971)[115][116]

Reputation n' legacy [ edit ]

Mo' than 40 muthafuckin yearz of activitizzle has provided Rush wit tha opportunitizzle fo' musical diversitizzle across they discography fo' realz. As wit nuff bandz known fo' experimentation, chizzlez have inevitably resulted up in dissent among muthafuckas n' fans. Da bulk of tha bandz noize has always included synthetic instruments, n' dis has been a source of contention among hustlas n' muthafuckas, especially tha bandz heavy usage of synthesizers n' keyboardz durin tha 1980s, particularly on mixtapes Grace Under Pressure, Juice Windows, n' Hold Yo crazy-ass Fire.[117][118]

Da thugz of Rush have noted playas "either ludd Rush or don't give a fuck bout Rush",[119] resultin up in phat detractors n' a intensely loyal hustla base. In 1979, Da Rollin Stone Record Guide called it "the juice boogie crew fo' tha 16 magazine graduatin class".[clarification needed][120] A July 2008 Rollin Stone article stated "Rush hustlas is tha Trekkies/trekkerz of rock".[121] They done been cited as a influence by notable musical artists, like fuckin Alice up in Chains,[122] Anthrax,[123] Dream Theater,[124] Fishbone,[125] Foo-Tang Clan,[126] Janez Addiction,[127] Manic Street Preachers,[128] Meshuggah,[129][130] Metallica,[124] No Doubt,[131] Pixies,[132] Primus,[133] Queensrÿche,[134] Rage Against tha Machine,[135] Red Hot Chili Peppers, Da Smashin Pumpkins,[133] Elliott Smizzle,[136] Soundgarden,[137] n' Tool.[138][139] Trent Reznor considaz Rush ta be one of his wild lil' most straight-up bangin bandz up in tha 2010 documentary Rush: Beyond tha Lighted Stage n' has particularly cited tha mixtape Signals as a major influence on how tha fuck ta incorporate keyboardz n' synthesizers tha fuck into hard rock.

Rush was eligible fo' nomination tha fuck into tha Rock n' Roll Hall of Hype beginnin up in 1998; tha crew was nominated fo' entry up in 2012[140] n' they induction was announced on December 11, 2012.[15] A reason fo' they previous exclusion may done been they genre. USA Today writa Edna Gunderson dissed tha Hall of Hype fo' excludin some genres, includin progressive rock.[141] Supportas cited tha bandz accomplishments includin longevity, proficiency, n' influence, as well as commercial salez figures n' RIAA certifications.[142] In tha muthafuckin years before induction, Lifeson expressed his crazy-ass muthafuckin indifference toward tha perceived slight saying, "I couldn't care less. Look whoz up fo' induction; itz a joke".[143]

On April 24, 2010, tha documentary Rush: Beyond tha Lighted Stage, pimped up by Scot McFadyen n' Sam Dunn, premiered all up in tha Tribeca Film Gangbang. Well shiiiit, it went on ta receive tha Tribeca Film Gangbang Audience Award.[144] Da film was also nominated fo' Best Long Form Music Video at 53rd Grammy Awards, losin ta When Yo ass is Strange, a thugged-out documentary bout Da Doors.[145] A limited theatrical run fuckin started on June 10, 2010, n' tha film was busted out on STD n' Blu-ray up in tha US n' Canada on June 29, 2020. Da film explores tha bandz influence on ghettofab noize n' tha reasons why dat influence has been under-represented over tha years. This is done via rap battlez wit ghettofab musical muthafuckas, noize industry professionals, n' tha crew thugz theyselves.[citation needed]

On June 25, 2010, Rush received a star on tha Hollywood Walk of Hype at 6752 Hollywood Boulevard. Critical props continued ta mount fo' Rush up in 2010 when, on September 28, Funky-Ass Rock announced Rush would be dat yearz Livin Legendz awarded all up in tha Marshall Funky-Ass Rock Roll of Honour Awards up in tha UK.[146] Da award was presented November 10, 2010. On September 29, Bizzleboard.com announced Rush would also receive tha 2010 Legendz of Live award fo' dope n' lastin contributions ta live noize n' tha art of struttin live n' reachin hustlas all up in tha gangbang experience.[147] Da award was presented all up in tha Bizzleboard Tourin Awardz on November 4, 2010.[148]

In 2013, tha Canuck posse honored Rush wit a gangbangin' first class "permanent" postage stamp featurin tha iconic "Starman" Rush logo. Well shiiiit, it is tha equivalent of a "forever" stamp up in tha US.

Da crew thugz was made Officerz of tha Order of Canada up in 1996.[149] In May 2012, tha crew received tha Governor Generalz Performin Arts Award fo' Lifetime Artistic Achievement at a cold-ass lil ceremony at Rideau Hall followed by a gala all up in tha Nationizzle Arts Centre biggin' up tha award recipients tha followin day.[150][151][152] In 2017, tha crew thugz had three freshly smoked up microbe species named up in they honour.[153]

Geddy Lee [ edit ]

Geddy Leez high-regista vocal steez has always been a signature of tha band �" n' sometimes a gangbangin' focal point fo' criticism, especially durin tha early muthafuckin yearz of Rushz game when Leez vocals was high-pitched, wit a phat likenizz ta other thugs like Robert Plant of Led Zeppelin.[120][154] A review up in Da New York Times opined Leez voice "suggests a munchkin givin a sermon".[155] Although his voice has softened, it is often busted lyrics bout as a "wail".[154][156] His instrumenstrual abilities, on tha other hand, is rarely dissed. Y'all KNOW dat shit, muthafucka! Dude has cited Jeff Berlin, Jack Casady, Jizzy Entwistle, Jack Bruce n' Chris Squire as tha basehead s whoz ass had tha freshest impact on his thugged-out lil' playin style.[157] Leez style, technique, n' mobilitizzle on tha bass boombox done been influential ta rock n' heavy metal musical muthafuckas, inspirin playas includin Steve Harris,[158] Jizzy Myung,[159] Les Claypool,[160] n' Cliff Burton.[161] Lee be able ta operate various piecez of instrumentation simultaneously durin live concert, most evidently when Lee skits bass n' keyboards, sings, n' triggers foot pedals as up in tha cold lil' woo wop "Tomothy Sawyer".[110]

Alex Lifeson [ edit ]

Lifeson as a turntablist is dopest known fo' his signature riffing, electronic effects n' processing, unorthodox chord structures, n' a cold-ass lil copious arsenal of shiznit used over tha years.[162][163]

Durin his thugged-out adolescent years, da thug was hyped up by Jizzy Hendrix, Pete Hoodshend, Jeff Beck, Eric Clapton n' Jizzy Page.[164] Lifeson incorporated touchez of Spanish n' old-ass noize tha fuck into Rushz sound durin tha 1970s, reflectin his crazy-ass muthafuckin interest up in progressive rock turntablists like Steve Hackett n' Steve Howe.[165] To adapt ta Leez expandin use of synthesizers up in tha 1980s, Lifeson took inspiration from turntablists like Allan Holdsworth,[165] Andy Summers of Da Police n' Da Edge of U2, whoz ass gave his ass models fo' rethankin tha guitarz role up in Rushz music.[166] Lifesonz boombox moonwalked back ta tha forefront up in tha 1990s, n' especially on Vapor Trails (2002). Durin live performances, da thug was responsible fo' cuin various boombox effects, tha use of bass-pedal synthesizers n' backin vocals.[167]

Neil Peart [ edit ]

Peart has been voted tha top billin rock disc jockey by noize fans, muthafuckas n' fellow musical muthafuckas, accordin ta Drummerworld.[168] Dude was also regarded as one of tha finest practitionerz of tha in-concert drum solo.[169] Initially inspired by Keith Moon, Peart absorbed tha influence of other rock drummers from tha 1960s n' 1970s like fuckin Ginger Baker, Carmine Appice, n' Jizzy Bonham.[170] Incorporation of unusual instruments (for rock drummerz of tha time) like fuckin tha glockenspiel n' tubular bells, along wit nuff muthafuckin standard kit elements, helped create a highly varied setup. Continually modified, Peartz drumkit offered a enormous array of percussion instruments fo' sonic diversity. For two decades Peart honed his cold-ass technique; each freshly smoked up Rush mixtape introduced a expanded percussive vocabulary. In tha 1990s, he reinvented his steez wit tha help of drum pimp Freddie Gruber.[171]

Peart also served as Rushz primary lyricist, attractin much attention over tha muthafuckin years fo' his wild lil' fuckin eclectic style. Durin tha bandz early years, Peartz lyrics was largely fantasy/science fiction-focused,[172] though afta 1980 he focused mo' on hood, wack, n' humanitarian issues. In 2007, da thug was placed second on Blender magazinez list of tha "40 Worst Lyricists In Rock".[173] In contrast, Allnoize has called Peart "one of rockz most accomplished lyricists", Gibstone.com raps bout Rushz lyrics as "great", n' others believe tha lyrics is "brilliant".[174][175][176]

Salez [ edit ]

Rush has busted out 24 gold recordz n' 14 platinum recordz (includin 3 multi-platinum), placin dem fifth behind the Beatlez, the Rollin Stones, Kiss n' Aerosmith fo' da most thugged-out consecutizzle gold or platinum basement mixtapes by a rock crew up in tha United Hoods.[177] Az of 2005, Rush had sold bout 25 mazillion copiez of they mixtapes up in tha U.S. (rankin dem 88th among recordin acts[178]) n' 40 mazillion ghettowide.[179][180][181][182] Az of 2012, Movin Pictures was tha bandz highest-pimpin mixtape (4.4 mazillion units).[183]

Despite droppin outta tha hood eye fo' five muthafuckin years afta tha gold-pimpin Test fo' Echo (which peaked at No. 5 on tha Bizzleboard 200 chart)[184] n' tha crew bein relegated almost solely ta funky-ass rock stations up in tha U.S., Vapor Trails reached No. 6 on tha Bizzleboard 200[185] up in its first week of release up in 2002 wit 108,000 copies sold. Y'all KNOW dat shit, muthafucka! Well shiiiit, it has sold bout 343,000 units ta date. Da subsequent Vapor Trails trip grossed over $24 mazillion n' included tha phattest crew eva ta peep a headlinin Rush show: 60,000 hustlas up in São Paulo, Brazil.

Rushz triple-CD live mixtape, Rush up in Rio (2003), was certified gold, markin tha fourth decade up in which a Rush mixtape had been busted out n' certified at least gold. Y'all KNOW dat shit, muthafucka! In 2004, Feedback cracked tha top 20 on tha Bizzleboard 200 n' received radio airplay. Da bandz 2007 mixtape, Snakes & Arrows, debuted at number 3 (just one posizzle shy of Rushz highest peakin mixtapes, Counterparts (1993) n' Clockwork Angels (2012), which both debuted at number 2) on tha Bizzleboard 200, pushin bout 93,000 its first week of release.[186] This marks tha 13th basement mixtape ta step tha fuck up in tha Top 20 n' tha bandz 27th mixtape ta step tha fuck up on tha chart. Da mixtape also debuted at number 1 on tha Bizzleboardz Top Rock Albums chart, and, when tha mixtape was busted out on tha MVI format a month later, peaked at number 1 on tha Top Internizzle Albums chart.[187]

Da tours up in support of Snakes & Arrows up in 2007 n' 2008 accrued $21 mazillion n' $18.3 million, respectively, earnin Rush tha number 6 n' 8 spots among tha summers' rock concerts.[188][189]

Live performances [ edit ]

Da thugz of Rush shared a phat work ethic, desirin ta accurately recreate joints from they mixtapes when playin live performances. To bust dis goal, beginnin up in tha late 1980s, Rush included a cold-ass lil capacious rack of digital samplers up in they gangbang shiznit ta recreate tha soundz of non-traditionizzle instruments, accompaniments, vocal harmonies, n' other sound "events" up in real-time ta match tha soundz on tha basement versionz of tha joints, n' you can put dat on yo' toast. In live performances, tha crew thugz shared dutizzles all up in most joints, n' you can put dat on yo' toast. Each member had one or mo' MIDI controllers, which was loaded wit different soundz fo' each song, n' used available limbs ta trigger tha soundz while simultaneously playin they primary instrument(s).[190] Dat shiznit was wit dis technologizzle dat tha crew was able ta present they arrangements up in a live settin wit tha level of complexitizzle n' fidelitizzle hustlas had come ta expect, n' without tha need ta resort ta tha use of backin tracks or employin a additionizzle crew member.[191] Da crew members' coordinated use of pedal keyboardz n' other electronic triggers ta "play" sampled instruments n' audio events was subtly visible up in they live performances, especially so on R30: 30th Anniversary Ghetto Tour, they 2005 gangbang DVD.[citation needed]

A staple of Rushz concerts was a Neil Peart drum solo. Peartz drum solos included a funky-ass basic framework of routines connected by sectionz of improvisation, makin each performizzle unique. Each successive trip saw tha solo mo' advanced, wit some routines dropped up in favour of newer, mo' complex ones. Right back up in yo muthafuckin ass. Since tha mid-1980s, Peart had used MIDI trigger pads ta trigger soundz sampled from various piecez of hip hop percussion dat would otherwise consume far too much stage area, like fuckin a marimba, harp, temple blocks, trianglez, glockenspiel, orchestra bells, tubular bells, n' vibraslap as well as other, mo' esoteric percussion.[citation needed]

One prominent feature of Rushz concerts was props on stage, at one point called "diversions". These props have included washin machines, vintage popcorn poppers, or animations n' inflatable rabbits emergin from giant basebizzle caps behind tha band.[192] Startin up in tha mid-90s, tha props often took up Leez side of tha stage (stage left) as a way ta balizzle up tha amp stacks on Lifesonz side (stage right) when Lee opted ta bust a venuez doggy den system instead of amps.

Philanthropy [ edit ]

Rush actively participates up in philanthropic causes. Da crew was one of nuff muthafuckin hometown favourites ta play Molson Canuck Rocks fo' Toronto, also dubbed SARStock, at Downsview Park up in Toronto on July 30, 2003, wit a attendizzle of over half a mazillion people. Da gangbang was intended ta benefit tha Toronto economizzle afta tha SARS outbreaks earlier up in tha year.[193] Da crew has also sustained a interest up in biggin' up human rights, n' you can put dat on yo' toast. They donated $100,000 ta tha Canadian Museum fo' Human Rights afta a gangbang they held up in Winnipeg on May 24, 2008.[194] Rush continues ta push T-shirts n' donate tha proceedz ta tha museum.[195]

On July 24, 2013, Rush performed a funky-ass benefit gangbang up in Red Deer, Alberta, all up in tha ENMAX Centrium wit all proceedz goin ta tha Canuck Red Cross ta help suckaz of tha 2013 floodin dat devastated nuff regionz of southern Alberta. Da original gangsta venue fo' tha show, tha Scotiabank Saddledome, was heavily damaged from tha floodin n' was unavailable fo' tha gangbang date as originally planned.[196]

Da individual thugz of Rush have also been a part of philanthropic causes. Hughes & Kettner zenTera[197] n' TriAmp[198] electronics done been endorsed n' used by Lifeson fo' nuff muthafuckin years fo' realz. A custom signature amplifier was engineered by Lifeson n' busted out up in April 2005 wit tha stipulation UNICEF will receive a thugged-out donation up in tha amount of $50 fo' every last muthafuckin Alex Lifeson Signature TriAmp sold.[199] Lee, a longtime hustla of baseball, donated 200 baseballs signed by hyped Negro League playas, includin Willie Mays, Hank Aaron, n' Josh Gibstone, ta tha Negro Leagues Basebizzle Museum up in June 2008.[200] In late 2009, Geddy Lee n' Alex Lifeson launched a auction fo' they initiatizzle "Grapes Under Pressure", up in support of tha cause "Grapes fo' Humanity". Da auction consisted of shit from tha crew like fuckin signed boomboxes, cymbals n' basses, as well as autographs on all shit by tha crew members. There was also autographs by crew thugz from Depeche Mode, Tool, the Fray, Judas Priest, Pearl Jam n' more, as well as signatures from Ricky, Julian n' Bubblez from Traila Park Boys on a rare Epiphone guitar.[201]

Da crew is featured on tha mixtape Joints fo' Tibet, appearin wit other clowns as a initiatizzle ta support Tibet n' tha current Dalai Lama Tenzin Gyatso. Da mixtape was made downloadable on August 5, 2008, via iTunes n' was busted out commercially August 12, 2008.[202]

Rush has also been a funky-ass big-ass supporta of Little Kidz Rock, a nationistic nonprofit dat works ta restore n' revitalize noize ejaculation programs up in disadvantaged U.S. hood schools. They crewed up wit Musicianz Friend n' Sabian ta help Little Kidz Rock provide percussion ta hood schools nationwide. They donated $500 of tha proceedz from every last muthafuckin Neil Peart Paragon Cymbal Pack sold, each of which came wit a gangbangin' free splash cymbal personalized, autographed, n' dated by Peart. Da cause-based marketin initiatizzle raised over $50,000 fo' Little Kidz Rock.[203]

Discography [ edit ]

Studio mixtapes

Concert tours [ edit ]

[204]

See also [ edit ]

References [ edit ]

Further reading [ edit ]

Books [ edit ]

Analysis n' appreciation [ edit ]

Birzer, Bradley J. Cultural Repercussions: An In-Depth Examination of tha Words, Ideas n' Professionizzle Life of Neil Peart, Man of Letters . Wordfire Press, 2015. ISBN 1614753547.

. Wordfire Press, 2015. ISBN 1614753547. Bowman, Durrell n' Berti, Jim. Rush n' Philosophy: Da Heart n' Mind United . Open Court Press, 2011. ISBN 978-0812697162.

. Open Court Press, 2011. ISBN 978-0812697162. Bowman, Durrell. Experiencin Rush: A Listenerz Companion . Rowman & Littlefield Publishers, 2014. ISBN 1442231300.

. Rowman & Littlefield Publishers, 2014. ISBN 1442231300. Freedman, Robert. Rush: Life, Liberty, n' tha Pursuit of Excellence fo' realz. Algora Pub, 2014. ISBN 1628940840.

fo' realz. Algora Pub, 2014. ISBN 1628940840. McDonald, Chris. Rush, Rock Music, n' tha Middle Class: Dreamin up in Middletown . Indiana Universitizzle Press, 2009. ISBN 0-253-22149-8.

. Indiana Universitizzle Press, 2009. ISBN 0-253-22149-8. Mobley, Max. Rush FAQUIZZY: All Thatz Left ta Know Bout Rockz Top Billin Juice Trio . Backbeat Books, 2014. ISBN 1617134511.

. Backbeat Books, 2014. ISBN 1617134511. Popoff, Martin. I aint talkin' bout chicken n' gravy biatch. Rush: Album by Album . Voyageur Press, 2017. ISBN 978-0760352205.

. Voyageur Press, 2017. ISBN 978-0760352205. Price, Carol S. n' Robert M. Price. Mystic Rhythms: Da Philosophical Vision of Rush . Wildside Press, 1999. ISBN 1-58715-102-2.

. Wildside Press, 1999. ISBN 1-58715-102-2. Roberto, Leonard. Y'all KNOW dat shit, muthafucka! A Simple Kind Mirror: Da Lyrical Vision of Rush . Iuniverse Star, 2000. ISBN 0595213626.

. Iuniverse Star, 2000. ISBN 0595213626. Telleria, Robert. Rush Tribute: Merely Players. Quarry Press, 2002. ISBN 1-55082-271-3.

Biographies [ edit ]

Banasiewicz, Bizzle. Rush: Visions: Da Straight-Up Legit Bibliography . Omnibus Press, 1988. ISBN 0-7119-1162-2.

. Omnibus Press, 1988. ISBN 0-7119-1162-2. Collins, Jon. I aint talkin' bout chicken n' gravy biatch. Rush: Chemistry : Da Definitizzle Bibliography yo. Helta Skelta Publishing, 2006. ISBN 1-900924-85-4 (hardcover).

yo. Helta Skelta Publishing, 2006. ISBN 1-900924-85-4 (hardcover). Gett, Steve. Rush: Success Under Pressure . Cherry Lane Books, 1984. ISBN 0-89524-230-3.

. Cherry Lane Books, 1984. ISBN 0-89524-230-3. Harrigan, Brian. I aint talkin' bout chicken n' gravy biatch. Rush . Omnibus Press, 1982. ISBN 0-86001-934-9.

. Omnibus Press, 1982. ISBN 0-86001-934-9. Popoff, Martin. I aint talkin' bout chicken n' gravy biatch. Contents Under Pressure: 30 Yearz of Rush at Home n' Away . ECW Press, June 28, 2004. ISBN 1-55022-678-9.

. ECW Press, June 28, 2004. ISBN 1-55022-678-9. Popoff, Martin. I aint talkin' bout chicken n' gravy biatch. Rush: Da Illustrated History. Voyageur Press, 2013. ISBN 978-0760349953.

Memoirs [ edit ]