Rush In Rio


Video Linernotes - CD Linernotes - News Archive


Rush In Rio
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Disc One

Tom Sawyer (5:10)
Distant Early Warning (4:48)
New World Man (4:03)
Roll The Bones (6:03)
Earthshine (5:42)
YYZ (4:35)
The Pass (4:50)
Bravado (6:15)
The Big Money (5:58)
The Trees (5:07)
Freewill (5:32)
Closer To The Heart (3:01)
Natural Science (8:34)

Disc Two

One Little Victory (5:32)
Driven (5:05)
Ghost Rider (5:36)
Secret Touch (7:00)
Dreamline (5:04)
Red Sector A (5:12)
Leave That Thing Alone! (4:59)
O Baterista (8:18)
Resist (acoustic) (4:24)
2112 Overture/Temples of Syrinx (6:52)

Disc Three

Limelight (4:24)
La Villa Strangiato (10:05)
The Spirit Of Radio (4:59)
By-Tor and the Snowdog (4:35)/
Cygnus X-1 (prologue) (3:12)/
Working Man (5:35)

THE BOARD BOOTLEGS

Between Sun & Moon (4:48)
recorded at Phoenix, AZ, Cricket Pavillion on September 27, 2002
Vital Signs (4:59)
recorded at Quebec, City, PQ, Colisee on October 19, 2002

Click to enlarge

Having released a live collection fairly recently, Different Stages, we had not intended to make another live album for some time - years, probably. However, after listening to the rough mixes from the concert video Rush in Rio, we felt we had something special, even as a purely musical document of the Vapor Trails tour, which had meant so much to us, personally and professionally.

Our manager, Ray, suggested that some people might prefer to listen to us without having to look at us, and we could understand how that might be. Perhaps we should release the show on CD as well, for those who might prefer just "the audio portion of the program." After all, the work was already done...

And it had taken some work.

The show in Rio de Janeiro was recorded on the fly by a somewhat primitive Brazilian recording truck, and Alex, along with engineers Jimbo and Patrick, spent many long nights refining the raw material that was caught on tape, polishing those rough diamonds into something that might reflect the shine of that hot night in Rio as we and the audience had experienced it.

We were assured the package could be offered as a good value, and in addition, we were able to include some "official bootleg" tracks not played in that particular concert, but recorded straight off the mixing board at earlier shows.

Here is some of the background story about "that night in Rio," as written for the DVD package.

Flying Down To Rio
Leaving Vapor Trails Behind

by Neil Peart

Rain had threatened all three of the Brazilian shows, but only hit us during the second one, in Sao Paulo. And I mean hit us; the wind drove the rain straight onstage, into our faces, all over us and our equipment, and it's a good thing we had wireless microphones and transmitters, or... we could have been killed!

During the show, the three of us exchanged an occasional look, a wry expression of shared bemusement at this bizarre scene. The Sao Paulo soccer stadium held 60,000 people, by far the largest audience we had ever played to as a headliner, and despite the rain, they carried on singing along with every word, every note, and every beat. From behind my drums, I looked out at the raindrops caught in the spotlight beams, solid three-dimensional cylinders and cones of pelting drops, moving slashes of red, blue, amber, and white. My cymbals shimmered with beads of water, and when I hit them, fountains of spray erupted into colored light.

It was dramatic, all right, even beautiful, in a surreal way, but while it may have looked good, it was tough on the equipment. My electronic midi-marimba, which triggered all my keyboard percussion sounds, as well as a host of effects throughout the show, lost its midi-mind that night, and there was no assurance it would work the next night, in Rio de Janeiro. Even as I played through the show that night in Sao Paulo, looking out at the rain and the vast crowd and working around all the missing sounds as well as I could, I was already thinking ahead to the next night's show, preparing a new "map" of my performance-especially my solo-on the fly. Bad enough on any night, but especially when we were facing the very last show of the tOur, which is supposed to be a triumphant finale, and, in this case, the one and only performance of the tour to be captured for posterity.

While the last chord of that Sao Paulo show still echoed in the damp night air, we ran offstage and into a van, and were driven straight to the hotel (to escape the traffic of 60,000 people). Toweling away the sweat and rain, we watched the impressive choreography of our motorcycle police escorts, and talked a little about the show, more or less shaking our heads in disbelief-and a good measure of relief, too. We hadn't been sure we were going to get through that one, but we had made it.

Now there was just one concert left. Our Vapor Trails tour had stretched from June to November of 2002, sixty-six shows altogether-and that was about enough! During early discussions, I had proposed a maximum of forty shows, over three months, which perhaps demonstrates the extent of my influence. However, in fairness (the fairness of love, war, and touring), the itinerary seemed to expand as it unfolded: one struggle, one surrender, one show at a time.

Offers came in for more North American dates, and we agreed to push back the end of the tour to play a few extra shows around the East Coast. Europe continued to hang like an unanswered question, for we hadn't toured over there for ten years, and there were a few "hands in the air" from parts of Canada we hadn't played for even longer, but regrettably, we just couldn't do it all.

We were offered a chance to play in Mexico City in mid October (during what was supposed to have been a ten-day break), and I had to think about that for awhile. As a general thing, I like traveling to unusual places and "developing nations," but not to work in them. However, after several motorcycle rambles through the entrancing country of Mexico, I had come to love that sad and beautiful city (perhaps despite itself). We had never played there, or anywhere in Central America, and I finally had to agree to that one. I could only hope it would be a good experience for us all, and the other guys would like it there too. It was, and they did. We played in a soccer stadium before 20,000 very enthusiastic fans, and had a great time after the show as well, a whole bunch of us sitting around a big table in a restaurant with great food, excellent live mariachi music, and a steady flow of tequila.

We also had an offer to go to South America for the first time, to play three shows in Brazil in late November, and we didn't know what to think about that. For one thing, we were supposed to have finished touring by that time, and be at home (remember that place?). And for another, did anyone want to see us in Brazil? We had been told we were fairly popular there, and had sold a respectable number of records through "official" channels, but presumably a certain amount of piracy and bootlegging had spread our music much wider than we knew, for no one was more surprised than this humble Canadian rock trio when we played to more than 125,000 people over those three shows, way beyond any numbers we had attracted before, anywhere. In Porto Alegre (a city we hadn't even heard of), 25,000 people came to see us; in Sao Paulo we had a staggering 60,000, and for the final show, in Rio de Janeiro, we played to a roiling throng of 40,000 very animated, vocal, and enthusiastic young Brazilians.

To put those numbers in perspective, our average audience on the Vapor Trails tour, in an American or Canadian arena or amphitheatre, was something like 12,000, and the largest audience we had ever played to as a headliner had been 20,000, at The Gorge in Washington state, on our Test For Echo tour, in early 1997.

Even more than the Mexico City show, the Brazilian concert environment was like nothing we had experienced before-bigger, wilder, crazier, and more intense. Historically, we had been an arena band for more than twenty years, only recently making the transition to outdoor amphitheatres, mainly on the Vapor Trails tour. We had tried playing the big American venues a couple of times in the early '80s-the Cotton Bowl, the Astrodome-but never felt comfortable. One thing about an arena, when the lights shine out on the audience, you can see every face, every little circle of "personhood," way up to the nosebleeds, and when we lose that element of what passes for contact, however tenuous, we feel too alienated from the people we are playing for.

However, when you're onstage in a teeming, steaming soccer stadium in South America, you can forget about those niceties. We looked out across one big heaving, waving, singing, dancing, sweating mass of humanity, and gave them our best, as always. For the final show, in Rio de Janeiro, it seemed we summoned an extra surge of adrenaline, knowing that this was the last one, and that it was being recorded and filmed.

All through the tour there had been talk of filming the Vapor Trails show, for the first time since A Show of Hands, in 1988, but the arrangements seemed elusive, and finally it was put off until the very last possible opportunity. Certainly that was a bit risky, and indeed, after a series of technical hurdles that our crew had only barely overcome, a primitive recording truck that had the recording engineer, Jimbo, chewing his nails, and the further attrition of that rainy Sao Paulo show, it was looking pretty chancy.

Rain came and went during setup on the afternoon of the Rio show, and the trucks arrived so late from Sao Paulo that the crew didn't start loading in until six or seven hours later than usual. Toward what should have been soundcheck time, Geddy, Alex, and I wandered around, or sat under a threatening sky in the bleachers above the stage, watching rainjacketed technicians scrambling about, trying to make it happen.

With 40,000 people waiting to get in, there was no question of holding the doors, and we had to accept that there would be no soundcheck. At least the monitor board was working (unlike in Porto Alegre), and my drum tech, Lorne, reported that the midi-marimba seemed to have recovered from the previous night (though I was still mentally preparing to work around the missing sounds if I had to). The sky remained dark and gloomy, and the prospect of going onstage without a soundcheck was unnerving just as a missing part of the show-day ritual-never mind the last-show, grand-finale, captured-for-posterity stuff. There would be no run-through for the recording truck, no test for the camera crew; we were all going to have to wing it. Flying blind in Rio.

As the stadium lights went down and a mighty roar went up, we ran onstage to the Three Stooges theme and launched into "Tom Sawyer," our thoughts a little frantic and our emotions bound up in anxiety. The whole Vapor Trails tour had been very emotional for the three of us, right from the first night in Hartford, Connecticut. After five years away from live performance, and all we had been through in those five years, it really felt like a triumphant return. A few times during the show we looked at each other and shared a quick smile, an eloquent expression that stopped time for an instant and conveyed so much understanding, so much relief, and even a little joy. Our hearts were in our smiles.

Unusually for a first night, we had played really well, and the production side went smoothly too. That was our reward for weeks of rehearsing in a warehouse in Toronto, and more weeks at a small arena in upstate New York. It was also our reward for simply carrying on. Songs in the set like "One Little Victory" and "Bravado" had fresh resonance for us that night.

Even during rehearsals I had felt the three of us gradually begin to transcend our individual parts, becoming both submerged and elevated into a separate entity, the synergy of a touring band. After that first show, I said to our manager, Ray, "I have to admit, it would have been a shame if that had never happened again."

The set had changed a little through the tour, as we alternated a few pairs of songs we hadn't been able to choose between, or tried to play something different if we returned to the same area, and we had a surprise just before we went to Mexico City. Apparently our most popular song there was "Closer to the Heart," and we weren't playing it that tour (the periodic rest some older songs require). The three of us talked about it, decided we didn't want to disappoint the audience by not playing our most popular song for them, and agreed we could relearn it pretty quickly. After playing it through a few times during our soundchecks leading up to Mexico City, we added it to the show for that one night.

Only to learn that the same was true in Brazil: apparently "Closer to the Heart" was our most popular song there too (though we were told "Tom Sawyer" was used on Brazilian television as the theme song for "McGyver").

(That's what we said, "What?")

So, we stuck "Closer to the Heart" back in the show for the Brazil dates as well, and it got a very excited, very vocal response from the audience.

Though everything did, and somehow the show, and the whole tour, seemed to reach a natural climax in Rio de Janeiro. Watching the footage of that night, accom­panied by the excellent recording Jimbo Barton managed to capture in such difficult, primitive conditions (though after many hours of painstaking "rescue" of the occasionally ragged technical quality), it feels like the triumphant finale we wanted it to be.

Watching that show now, from so many angles I never see from the "hot seat," and with the luxury of not having to work at it, it is clear that audience had a synergy of its own, a unified, intense, pulsing energy, a force of nature, animating that soccer stadium with electricity and vitality. That night's show had 40,000 stars.

The three of us had a pretty good show too (and I certainly don't always say that), but no doubt we were inspired and elevated by that amazing audience, who gave back so much excite­ment, energy, and volume. Just listen to them singing along note-for-note with "YYZ"-an instrumental- and you realize this is no ordinary audience.

Extraordinary they were, and we dedicate this performance, then and now, to them.

Back at the hotel, we gathered in the bar with our wives and colleagues and ordered many rounds of the powerful national drink, caipirinhas. We were bone-weary and drained, only starting to feel the relief of knowing it was over-the long, hard show, and the long, hard tour. As the recording and film people reported in, it seemed safe to trust that at least one of those sixty-six Vapor Trails shows would not fade into the ether, like an ephemeral jetstream of echoes and memories. Our stalwart crew had prevailed against all obstacles of weather, technology, and time, and that final show had been captured as a moving souvenir for those who were there, and for those who were not. We ordered another round of caipirinhas and drank to all of them, and to each other, feeling better every minute.


Video Credits

Producers - Lawrence Jordan, Daniel E. Catullo III, Lionel Pasamonte
Executive Producers - Ray Danniels, Pegi Cecconi, Allan Weinrib, Bryan Domyan
Directed By Daniel E. Catullo III
Line Producer - Ted Kenney
Co-Executive Producers - Glenis S. Gross, Tilton Gardner, Robert McClaugherty
Brazilian Producers - Michael J. Schultz, Alberto Magno
Post Production Supervisor - Allan Weinrib
Television Lighting Design by Jeff Ravitz, Visual Terrain
Audio Producer - James "Jimbo" Barton
Assisted by Patrick Thrasher
Audio Supervisor - Alex Lifeson
Main Show Edited by - Mark Hajek, Mark Morton, Frank Russo
Post Production Facilities - Stealing Time, Toronto, ON / School, Toronto, ON / Toy Box, Toronto, ON / Manta, Toronto, ON / Coming Home Studios, Los Angeles, CA / Departure Studios, Los Angeles, CA / Trax Records, North Hollywood, CA / MX Entertainment, San Francisco, CA / The Post Group, Hollywood, CA
World-Wide DVD Sales Agent - Steven Propas, Propas Management Corporation, Toronto, ON

CHS Would Like To Thank
Geddy Lee, Alex Lifeson, Neil Peart, Allan Weinrib, Arthur & Marie Sterling, J.W. Griffith, Daniel & Dolores Catullo, Tilton & Linda Gardner, Pegi, Ray, Shelley, Anna and everybody at SRO/Anthem, SBI USA, Shelly Singhal, Matt McGovern, Brookstreet Securities, City National Bank, Michael J. Schultz, Karina Goldrajch, Alberto Magno, Steve Propas, Damon Martin, Charlie Clour, Liam Birt, Craig Blazier, Howard Ungerleider and the entire Rush Crew for their hard work and support, and everybody else who helped during this incredible experience!

The "Boys in Brazil"
A Film By Andrew MacNaughtan

Produced by Allan Weinrib
Executive Producers - Daniel E. Catullo III & Bryan Domyan
Edited by Jennifer Dahl
Assisted by Bryan Domyan
Post Production Supervisor - Allan Weinrib
Audio Producer - Aaron Kaplan
Post Production Facilities - Coming Home Studios, Los Angeles, CA / The Post Group, Hollywood, CA / Departure Studios, Los Angeles, CA / Toybox, Toronto, ON

Produced by James "Jimbo" Barton and Alex Lifeson
Assisted by Patrick Thrasher
Assistant Engineer - Kooster McAllister. Record Plant Remote
Pre-Mixed and Assembled at Trax Studios, Los Angeles. CA
Mixed at Metalworks, Mississauga, ON / Assisted by Chris Gordon and Joe Barlow

Live Recording and invaluable Pre-mixing Organization by James "Jimbo' Barton
Assisted by Patrick Thrasher
Mastered at Gateway Mastering - Portland, Maine by Adam Ayan
Anthem and Zoe logo sound design Russ Mackay and Hugh Syme

Art Direction, Illustration and Design by Hugh Syme
Photography by Andrew MacNaughtan
Additional Photography by Carrie Nuttall (B&W) and MRossi

The Vapor Trails Tour Crew
Tour Manager - Liam Birt
Lighting Directorl/Designer - Howard Ungerleider
Concert Sound Engineer - Brad Madix
Production Manager - Craig (C.B.) Blazier
Artist Liaison - Shelley Nott
Keyboard Tech - Tony Geranios
Drum Tech - Lorne Wheaton
Bass Tech - Russ Ryan
Guitar Tech - Rick Britton
Stage Monitor Engineer - Brent Carpenter
Production Assistant - Karin Blazier
Personal Assistant - Peter Rollo
Security Director - Michael Mosbach
Carpenter . George Steinert
Nutritionist - Bruce French
Concert Sound by MD Clair Bros - Jo Ravitch, Brian Evans, Kevin Kapler
Lighting by Premier Global - Rich Vinyard, Shane Gowler, Keith Hoagland, Jamie Grossenkemper
Moving Lights Programmer - Matt Druzbik
Rear Screen Projection created by SPIN Productions - Norman Stangl, Hilton Treves, Colin Davies
Live 3D Animation by Derivative - Greg Hermanovic, Ben Voigt, Jarrett Smith, Farah Yusuf, Rob Bairos
Additional Animation - Paul Simpson, Alan Kapler
Derivative VJ - James Ellis

Video by BBC - David Davidian, Bob Larkin, Adrian Brister, James George
Lasers by Production Design - Chris Blair
Pyrotechnics provided by pyrotek Special Effects - John Arrowsmith
Concert Rigging - Ken Mitchell, Brian Collins
Trucking - Ego Trips
Buses - Hemphill Brothers
Drivers - Arthur (Mac) McLear, David Burnette, Jon Cordes, Michael Gibney, Don Johnson, Tom Hartman, Dave Cook, Lashawn Lundstrom, Lonnie Sweet, Steve Kotzer
Flight Crew - Frank McGrath, Gil Faria, Don West
Merchandising - The McLoughlin Family
Booking Agencies - Artist Group International, NYC, The Agency Group, London, S.L. Feldman & Associates, Toronto
Tour Accountants - Drysdale & Drysdale - John Whitehead, Liam Birt
Management - Ray Danniels/SRO Management, Toronto
Management Staff - Pegi Cecconi, Sheila Posner, Anna LeCoche, Shelley Nott, Cynthia Barry, Steve Hoffman, Rayanne Lepieszo, Randy Rolfe and Bob Farmer

For technical help and contributions, our thanks to Jim Burgess and Eric Pavlyak at Saved By Technology, Barry and b. zee brokerage, Gibson Guitars, Paul Reed Smith, Fender bass guitars, Ernie Ball Strings, Tyme Rogers at Tech 21, Steve and Mark at Hughes and Kettner amplification, Dean Markley, Drum Workshop, Avedis Zildjian, Promark, Remo, Roland electronic percussion, and Ω™

www.rush.com   www.rushinrio.com

This compilation 2003 Core Music Publishing (SOCAN) / All Rights Reserved. All songs Lee/Lifeson/Peart Except: "Tom Sawyer" (Lee/Lifeson/Peart/Dubois), "YYZ" (Lee/Peart), "Closer To The Heart" (Lee/Lifeson/Peart/Talbot), "Leave That Thing Alone" and "Working Man" (Lee/Lifeson) and "O Baterista" (Peart)

2003 Coming Home Studios / Anthem Entertainment. All Rights Reserved.


CD Credits

Recorded by James "Jimbo" Barton
Mixed by James "Jimbo" Barton and Alex Lifeson
Assisted by Patrick Thrasher
Assistant Engineer Kooster McAllister, Record Plant Remote
Pre-Mixed and Assembled at Trax Studios, Los Angeles, CA
Mixed at Metalworks, Mississauga, ON
Assisted by Chris Gordon and Joe Barlow

Live Recording and invaluable Pre-mixing Organization by James "Jimbo" Barton
Assisted by Patrick Thrasher
Mastered at Gateway Mastering - Portland, Maine by Adam Ayan
Executive Production Pegi Cecconi and Liam Birt

Art Direction, Illustration and Design by Hugh Syme
Photography by Andrew MacNaughtan
Additional photography by Carrie Nuttall (B&W), MRossi

The Vapor Trails Tour Crew
Tour Manager Liam Birt
Lighting Director/Designer Howard Ungerleider
Concert Sound Engineer Brad Madix
Production Manager Craig (C.B.) Blazier
Artist Liaison Shelley Nott
Keyboard Tech Tony Geranios
Drum Tech Lorne Wheaton
Bass Tech Russ Ryan
Guitar Tech Rick Britton
Stage Monitor Engineer Brent Carpenter
Production Assistant Karin Blazier
Personal Assistant Peter Rollo
Security Director Michael Mosbach
Carpenter George Steinert
Nutritionist Bruce French
Concert Sound by MD Clair Bros. Jo Ravitch, Brian Evans, Kevin Kapler
Lighting by Premier Global Rich Vinyard, Shane Gowler, Keith Hoagland, Jamie Grossenkemper
Moving Lights Programmer Matt Druzbik
Rear Screen Projection created by SPIN Productions Norman Stangl, Hilton Treves, Colin Davies
Live 3D Animation by Derivative Greg Hermanovic, Ben Voight, Jarrett Smith, Farah Yusuf, Rob Bairos
Additional Animation Paul Simpson, Alan Kapler
Derivative VJ James Ellis
Video by BBC David Davidian, Bob Larkin, Adrian Brister, James George
Lasers by Production Design Chris Blair
Pyrotechnics provided by Pyrotek Special Effects John Arrowsmith
Concert Rigging Ken Mitchell, Brian Collins
Trucking Ego Trips / Buses Hemphill Brothers
Drivers Arthur (Mac) McLear, David Burnette, Jon Cordes, Michael Gibney, Don Johnson, Tom Hartman, Dave Cook, Lashawn Lundstrom, Lonnie Sweet, Steve Kotzer
Flight Crew Frank McGrath, Gil Faria, Don West
Merchandising The McLoughlin Family
Booking Agencies Artist Group International, NYC, The Agency Group, London, S.L. Feldman & Associates, Toronto
Tour Accountants Drysdale & Drysdale John Whitehead, Liam Birt
Management Ray Danniels / SRO Management, Toronto
Management Staff Pegi Cecconi, Sheila Posner, Anna LeCoche, Shelley Nott, Cynthia Barry, Steve Hoffman, Rayanne Lepieszo, Randy Rolfe and Bob Farmer
Special thanks to Gil Moore and Raine Munro at Metalworks

www.rush.com www.rushinrio.com

2003 Atlantic Records 2003 Anthem Entertainment


Rush In Rio News Archive

In Their Own Words

"You will see very rare moments of the band doing a variety of daily 'being on the road' type things like; sound check, Neil in his drum room warming up before the show, Alex eating his breakfast while make happy faces out of his eggs... stuff like that... They filmed the Rio show with 20 cameras!!! It was an amazing concert... especially since the band wasn't able to do a sound check that night.... in fact the crew (who are amazing) were setting up the gear until 9:30pm... that's how crazy it was." - Andrew MacNaughtan, TriNet Chat, December 15th, 2002.
"In Rio, the trucks were late and didn't arrive until late afternoon, and we're filming and recording the last night of the tour, our one and only chance that we really wanted to capture on that tour. So this was the last and final chance under the most - impossible is not too strong a word. No sound check. Minutes before we went on, [drum tech] Lorne [Wheaton] came up to tell me the electronics were actually working. They had no sound check for the recording truck, no test for the cameras, everybody had to adopt that attitude of, 'Okay, here's what we do.' And did. One telling anecdote that I love, the carpet that we used on stage got so soaking wet during those days that we had to leave it behind. It was too heavy to ship home. It was so waterlogged that it would have cost way more than it was worth to ship it home, so we just left it there. It's in some Brazilian guy's living room. [laughs]" - Neil Peart, liveDaily, July 30, 2004
"In the original Vapor Trails design, Hugh Syme had one version of the cover, where on the back, very small in the corner, was this very tiny dinosaur, who was the cause of this great vapor trail. And when we were doing the preproduction for the tour, I was looking for animation ideas to use live. I wondered what it would be like to expolit that little dragon a bit more, turn him into a character, which people at Spin Productions developed into a full-blown character that we used during 'One Little Victory' live. It was a cool, humorous way to use this dragon...the dragon was picked on by Hugh to become the representative of the show in Rio, and of course he's got him dressed up like Carmen Miranda." - Geddy Lee, Contents Under Pressure
"I shot the photo that is on the front cover of the DVD - the live picture. That series of photos I shot with the idea in mind of, 'I better get shots of this. I think this could potentially be a great cover.' So I shot it vertically with the idea in mind of the shape of a DVD. I sent the roll to Hugh Syme and we talked about some ideas and I said, 'I shot these photos specifically for your consideration for the front cover.' I guess from there he sort of rolled with that and came up the dragon idea and just took it to the next level. I think it's very funny and very brilliant - it's a wonderful cover. I think he got the initial [dragon] elements from Norm [Stangl, of Spin Productions, creator of the dragon visuals for the Vapor Trails tour], but Hugh is the one that added all of the fruits and that stuff. He created all of that himself." - Andrew MacNaughtan, Fye.com, September 26, 2003
"...when we wanted to use 'The Girl From Ipanema', and they wanted something like forty thousand dollars just to use it. And our publishing guys said: 'Do you want to reconsider and use something else?' And we didn't because it's a highlight of the show, Alex introduces us and I play a little and then Geddy goes into '...Ipanema', so we had to have it whatever it cost." - Neil Peart, Classic Rock, October 2004
"...Alex was having a problem with a cameraman in the first set, and he started freaking out at him, lost some concentration and had a gaffe in one of the songs, during one of the solos," says Geddy. "And after the set, we had to kind of cool him off and remind him that you've got to forget about that; you can't let those things bother you during a show that you're filming. Because there's just no sense looking pissed off on tape. He got the message, but it's very hard. There was so much going against us that day. We were going on cold; everyone was going on cold. And, to add to the confusion, there were all these extra lights that the camera people had put on stage without discussing with us. So there were these wires running across the front of the stage that were inhibiting our ability to go to the front of the stage and ham it up with the crowd kind of thing. And that was really disconcerting for me because I'm used to just roaming around and having some fun. And when I'd venture to the edges of the stage, I suddenly had to look at my feet to make sure I didn't trip over these stupid cables. The way you want to record a show should be ideal, and the last thing you should be thinking about is all this crap, so this was pretty f---ed in terms of our ability to stay calm, cool and collected." - Contents Under Pressure, pp 225-226
"The decision to forego an anamorphic version was due to limitations with some of the cameras used to film the concert. The majority of the concert was filmed in a 16:9 Digibeta format but due to the sensitivity of having cameramen distracting Neil during the show, mini remote cameras were used around him that could only be recorded in a 4:3 format. The issue of anamorphic was first raised in June and we investigated the option and what it would take to convert these tapes, which once the show was fully edited comprised about 25 - 30% of the footage used, to anamorphic. Since we were already dealing with a softer image, the process necessary to achieve anamorphic for these particular tapes would have degraded the footage further and many shots of Neil would have become blurred and all these shots would have really stood out from the rest of the program. With this footage comprising so much of the show it would have been become a distraction and as such lessen the experience for the viewer. The decision was made to maintain the strongest possible quality product and deliver a great performance, in what is still the most common format, while holding onto our intended letterbox look. The decision was purely one of giving the highest quality experience to all the viewers possible." - Allan Weinrib, Executive Producer, "Rush In Rio"