Set One
The World is .. The World is ...
The Anarchist
Headlong Flight
Far Cry
The Main Monkey Business
How It Is
Animate
Roll The Bones
Between The Wheels
Losing It (with Ben Mink)
Subdivisions
Set Two
No Country for Old Hens
Tom Sawyer
YYZ
The Spirit Of Radio
Natural Science
Jacob's Ladder
Hemispheres: Prelude
Cygnus X-1/The Story So Far (drum solo)
Closer To The Heart
Xanadu
2112 [Parts I, II, IV and VII]
Encore
Mel's Rockpile (with Eugene Levy)
Lakeside Park
Anthem
What You're Doing
Working Man
Exit Stage Left
Bonus Tracks
One Little Victory
Distant Early Warning
Red Barchetta
CD One
The World is .. The World is ...
The Anarchist
Headlong Flight
Far Cry
The Main Monkey Business
How It Is
Animate
Roll The Bones
Between The Wheels
Losing It (with Ben Mink)
Subdivisions
CD Two
Tom Sawyer
YYZ
The Spirit Of Radio
Natural Science
Jacob's Ladder
Hemispheres: Prelude
Cygnus X-1/The Story So Far (drum solo)
Closer To The Heart
Xanadu
2112 [Parts I, II, IV and VII]
CD Three
Mel's Rockpile (with Eugene Levy)
Lakeside Park
Anthem
What You're Doing
Working Man
Bonus Tracks
One Little Victory
Distant Early Warning
Red Barchetta
Clockwork Angels
The Wreckers
The Camera Eye
Losing It (with Jonathan Dinklage)
"It is good to have an end to journey toward; but it is the journey that matters, in the end" - Ernest Hemingway
All roads have led to this. Forty-one years in the making, the R40 tour took a very real journey back through time. beginning with the grand design: a state-of-the-art stage set that pivots, rolls and dives, and brings Clockwork Angels into bombastic, colourful life before marching stridently back in time (through theatre stages, a panoply of band and fan shots, the accrued memories of a life spent playing live) to a mocked-up school gym and the band playing there; a solitary bass amp set on the chair behind Geddy Lee, a mirror ball spiralling crazily above, casting thin rods of light like a light rain across the crowd, "Working Man" coming to a shuddering halt as the band's beginning becomes their end.
The two hometown shows at Toronto's Air Canada Centre this summer were always going to have an added poignancy given the giant question mark over the band's future - Neil's resistance to play live, Alex's physical travails - plus, this was the town where Rush rehearsed in their rooms and garages, were the scourge of high school dances, brought the bar scene thrumming into bluesy life, it's where "Subdivisions" was played out and the song born.
Any doubts were offset by a sell-out 35-date tour which drew people from as far afield as Australia, Japan, China, South America and London (not the one in Ontario, though they were in attendance too) and only amplified the Canadians' legend. People came dressed as the band (the 2112 era proving particularly popular even down to Neil's moustache), eleven-year-olds thrilled to hear songs that were recorded and released when their fathers were still teenage boys and were now too trying to keep time with Neil's rattling fills.
Toronto was the live debut for "Losing It," the band's hymn to a creative light finally snuffed out. The version on the Signals album was raised ever higher by Ben Mink's (FM) wonderfully affecting violin part, the recreation of which had always put the song beyond the band's live set. His appearance (mere moments after the band had casually told him that the whole show was being filmed) was, and is, a moment of intractable and pure joy, filled (much like the R40 tour) with bittersweet highs and lows, inexpressively beautiful, the violin's high-keening song reaching out to the impossibly high ceiling, disappearing there among the rafters.
"Closer to the Heart" is similarly impactful, as the room lights up with thousands of plastic star men logos held high, swaying unsteadily, couples link arms as the song's refrain echoes around the room and down through time. "Xanadu" buzzes into life as the stage becomes a giant lattice of blue laser beams, the audience in thrall as Lee and Lifeson strap on their double-neck guitars.
It's a musical history writ large; songs that have travelled with people for some if not all of their lives. As Geddy Lee shouts from the stage, maybe for one final time, "Thank you for forty years and i hope we see you again!" And that sentiment is reflected in every joyful face staring back at him.
GEDDY LEE
VOCALS, BASS
ALEX LIFESON
GUITARS, VOCALS
NEIL PEART
DRUMS
Director Dale Heslip
Producer Allan Weinrib
Executive Producers Pegi Cecconi, Ray Danniels, John Virant
Director of Photography Andre Pienaar
Lead Editors Aaron Dark & Mark Morton - School, Toronto
Editors Daniel Bochenski, Lauren Horn, Matthew Kett, Lauren Piche
Lighting Director/Designer Howard Ungerleider
Production Manager Pete Vanstone
Production Coordinator Melissa Paduada
Technical Supervisor Keith Holding
Audio Producer David Bottrill
Audio Consultant Brad Madix
Audio Mastering Joao Carvalho
Record and Mix David Bottrill
Audio Recording Assistant Colin Miller
Concert Audio Recording Livewire Remote Recorders, Toronto
Audio Mobile Engineers Doug McClement
Audio Mobile Assistants Gary Tompkins, David Johnston, Alex Halayko
Assistant Audio Producer Ryan McCambridge
Venue Air Canada Centre - Toronto, Ontario
Camera Operators Justin Beattie, Kristin Fieldhouse, Greg Foad, Michael Grippo, Jonah Hart, Bob Lyte, Robin Miller, Matthew Miller, Brian Pascuzzo, Stephen Scott, Paul Steinberg, Mark Utley
Steadlcam Operator Bryan Trleb
MoVi Operator Vinit Borrlson
MoVi Technician Yuri Tereshyn
Wirecam Operator Nikita Zolotarov
Remote Head Technician Mark Cabiddu
Rigging Supervisor Marco Bianco
Winch Rigger Steve Shackleton
Winch Programmer Sean Snell
Camera Assistants Mike Dawson, Eric Gerrard, Lem Ristsoo, Mike Pesut, Mark Pierce, Jay Luke, Jack Mosor, Jeffrey Hicks
Action Camera Assistant Jean-Marc Saldini
Camera Grips Alistair Dempsey, Jason McGowan, Owen Smith, Chris Farr
Systems Engineer Tyler Rowe
Utilities Patrick Dwyer, Mark Webb
Makeup Artist Cathyann Cuthbert
Production Assistants Shane Krick, Chuck Macintosh, Nick Petrie, Ian Carl, Scott McKay, Forbes Campbell
Offline Editing Facility
School - Toronto, Canada
Executive Producer - Sarah Brooks
Producer - Katy Maravala
Digital Media Technician / Assistant Editors Lauren Piche, Drew Macleod
Colour Correction
Notch, Toronto
Senior Colourist - Bill Ferwerda
Executive Producer - Wendy Linton
Producer - Kristen Van Fleet
Assistant Colourists - Andrew Ross, Dale Bennie, Adrian Gluvakovich
DVD/Blu-ray Authoring Craigman Digital - Craig Anderson, David Dieckmann
Online Facilities Smith, Toronto
Sound Design Mike Rowland/Rancho Fantastico, Toronto
Title Animation Crankbunny
Camera Suppliers Sim Digital - William F. White
Lighting Technician Eric Céré
Video Recording Technician Julie Mriouah
Catering Capers
ACC Personnel
Director, Live Production and Technology - Jim Steele
Manager, Venue Technology and Production - David August
Technical Producer - Tyler Rowe
Control Room Supervisor - Courtney Ross
Technical Director - Todd Bower
Systems Engineer - Nathan Campbell
House Technician - Justin Leblanc
House Technician - Ryan Tippin
House Technician - Arnold Nembhard
Production Switcher - Craig Wyles
House Lights Operator -Alex Malacarne
Crew
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Lydia Bourgeau - Production Assistant
Brad Madix - Concert Sound Engineer
Howard Ungerleider - Lighting Director
Tony Geranios - Keyboard Technician
Lorne Wheaton - Drum Technician
John McIntosh - Bass Technician
Scott Appleton - Guitar Technician
George Steinert - Stage Manager
Bruce French - Nutritionist
Anthony Fedewa - Venue Security
Michael Mosbach - Security
Kevin Ripa - Artist Liaison
Cliff Sharpiing - Head Carpenter
John Renner - Carpenter
Anson Moore - Audio System Engineer
Brent Carpenter - Monitor Mixer Engineer
Corey Harris - Monitor Systems Engineer
Yanick Blais - Lighting Crew Chief
Vincent Cadieux - Electrician
Andrew O'Toole - Lighting Technician
Denis Ayotte - Lighting Technician
Benoit Paille - Lighting Technician
Jerry Ritter - Head Rigger
James Harrelson - Rigger
Sebastien Richard - Motion Control
David Davidian - Video Director
Dominic Moreau - Video Crew Chief
Frederic Fournier - Engineer
Philippe Casutt - Led
Philippe Valade - Projections
Jonathan Gagnon-Roy - Video Technician
Matthew Miller - Videographer
John Arrowsmith - Pyro Technician
Scott Wilson - Laser Technician
Patrick McLoughlin - Merchandiser
Keith Keller - Live Nation Global Tour Rep
Colin Womack - VlP Nation Rep
Meg Symsyk - Tour Publicity
Thanks to our Technical Suppliers:
For Alex: Gibson Guitars, PRS Acoustic Guitars, Martin Acoustic Guitars, Dean Markley Strings, Lerxst Omega Amplifiers, Mesa Boogie Amplifiers, Box Amplifiers, DLS Effects, Fishman Transducers, Audio Technica, Fractal Audio, Apple Computers, Universal Audio, RJM Music, Dunlop Picks and Crybaby Wah's, Palmer Speaker Simulators, Tc Electronics, Tech 21, Graph Tech, Floyd Rose, Baratto Guitars, Pick of the Ricks, Travnnr Amnlifiers
For Geddy: Fender and The Fender Custom Shop, Gretsch Custom Shop, Rotosound Strings, Orange Amplification, Tech 21lSansamp, James Hogg: Custom Engraved Pickguards, Tom Brantley: Custom Pickups and Rewinds, Rivera Amplification: Rock Crusher Recording, Jim Burgess and Saved By Technology, Garth Hjelte, Chicken Systems, Inc., Ableton Live, Moog, Fractal Audio Systems: Axe-Fx ll XL, Vintech AUdio: Model 273, Westbury National Show Systems, Tim Vear and Shure, Clydesdale Custom Case Co. Ltd., B. Zee Brokerage Ltd.
For Neil: DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads, Roland V-Drum, Kelly Shu lndustries, Dauz Trigger Pads, Urbannboard Shoes
Bus Drivers Dave Bumette, Lashawn Lundstrom, Marty Beeler, Joe C. Bush, John Morgan
Truck Drivers Arthur "Mac" McLear, Jon Cordes, Mike Kindler, John Lyon, Julie Mennitti, Steve Mennitti. Bob Wright, Benoit Bourvages, Marc Andre Gelinas, Craig Hallman
Merchandise Driver Don Johnson
Flight Crew Darren Soley, Rob Bunston, Jennifer Merten
Concert Lighting, Video Screens & Equipment Solotech Montreal, Quebec - Hugo Tardif
Concert Sound Clair Global - Jason Heitman, Ralph Mastrangelo
Pyrotechnics Pyrotek - Bob Ross
Lasers Productions Design International - Brian Beggs
Rigging and Motors Five Points Production Services - John Fletcher
Buses Hemphill Brothers Coach Co. - Mark Larson
Trucking Ego Trips - Jim Bodenheimer
Aircraft Charter Chartright - Justin King
Customs Brokers Bzee Brokerage Ltd. - Barry Zeagman, Neil Zeagman
Promoter
Live Nation Global Touring - Arthur Fogel & Gerry Barad
Live Nation Canada - Riley O'Connor
Agent
USA - Artist Group international - Adam Kornfeld, June Chaiyasit
International - The Agency Group - Neil Warnock, Samantha Henfrey
Canada - Feldman & Associates - Vinny Cinquemani, Olivia Ootes
Rush/Anthem Entertainment Consigliere Bob Farmer, Esquire
Merchandising Showtech - Patrick & Kelly McLoughlin, Alex Mahood, Rayanne Lepieszo, Laura Henry, Louise Clash, Richie de Almeida
Travel Agency FROSCH Travel - Marla Wax-Ferguson, Joe Mauceri
Geddy and Alex's Back Line Gear Marshall, Ampeg, Traynor, Hughes & Kettner
Design - Dale Heslip Construction - Mood Inc. & Mojo Musical Supply
Zoe/Concord Music Group
Production - Brian Schuman
Video Production - Elizabeth Boettcher
Project Management - Liza Levy
Marketing Manager - Adam Jones
Executive Producer for Fadoo Productions Corey Russell, Bob McCown
Artist Management Ray Danniels for SRO Management
SRO/Anthem Ray Danniels, Pegi Cecconi, Sheila Posner, Bob Farmer, Andy Curran, Meg Symsyk, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Jeremy Biderman, Veronica Sinnaeve
A&R Andy Curran
Head of Marketing & Publicity Meg Symsyk
Production Manager Emma Sunstrum
Special Thanks to Jay Baruchei, Les Claypool, Peter Dinklage, Tom Morello, Paul Rudd, Jason Segel, Chad Smith, The Trailer Park Boys, Ben Mink, Jonathan Dinklage, Jerry Stiller, and Eugene Levy
Art Direction, Design and Illustrations Hugh Syme
Photo Curation Meg Symsyk
Cover Photograph Randy Johnson
Photography Richard Sibbaid, John Arrowsmith, Randy Johnson
All Songs Lee/Lifeson/Peart except:
"Tom Sawyer" (Lee/Lifeson/Peart/Dubols)
"Closer to the Heart" (Lee/Lifeson/Peart/Talbot)
"The Main Monkey Business." "What You're Doing." and "Working Man" (Lee/Lifeson)
"YYZ" (Lee/Peart)
"The Story So Far" (Peart)
All songs published by ole Core Music Publishing (SOCAN/SESAC). Administered by ole. All Rights Reserved.
2015 Anthem Entertainment/Anthem Film & Television Productions Inc. Under exclusive license to Zoé Vision, a division of Concord Music Group, lnc.. 100 N. Crescent Drive. Beverly Hills, CA 90210. All Rights Reserved.
Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A.
GEDDY LEE
VOCALS, BASS
ALEX LIFESON
GUITARS, VOCALS
NEIL PEART
DRUMS
Executive Producers Pegi Cecconi, Ray Danniels, John Virant
Audio Producer David Bottrill
Audio Consultant Brad Madix
Audio Mastering Joao Carvalho
Record and Mix David Bottrill
Audio Recording Assistant Colin Miller
Concert Audio Recording Livewire Remote Recorders, Toronto
Audio Mobile Engineers Doug McClement
Audio Mobile Assistants Gary Tompkins, David Johnston, Alex Halayko
Assistant Audio Producer Ryan McCambridge
Venue Air Canada Centre - Toronto, Ontario
Sound Design Mike Rowland/Rancho Fantastico, Toronto
Crew
Liam Birt - Tour Manager & Accountant
Donovan Lundstrom - Road Manager
Craig Blazier - Production Manager
Lydia Bourgeau - Production Assistant
Brad Madix - Concert Sound Engineer
Howard Ungerleider - Lighting Director
Tony Geranios - Keyboard Technician
Lorne Wheaton - Drum Technician
John McIntosh - Bass Technician
Scott Appleton - Guitar Technician
George Steinert - Stage Manager
Bruce French - Nutritionist
Anthony Fedewa - Venue Security
Michael Mosbach - Security
Kevin Ripa - Artist Liaison
Cliff Sharpiing - Head Carpenter
John Renner - Carpenter
Anson Moore - Audio System Engineer
Brent Carpenter - Monitor Mixer Engineer
Corey Harris - Monitor Systems Engineer
Yanick Blais - Lighting Crew Chief
Vincent Cadieux - Electrician
Andrew O'Toole - Lighting Technician
Denis Ayotte - Lighting Technician
Benoit Paille - Lighting Technician
Jerry Ritter - Head Rigger
James Harrelson - Rigger
Sebastien Richard - Motion Control
David Davidian - Video Director
Dominic Moreau - Video Crew Chief
Frederic Fournier - Engineer
Philippe Casutt - Led
Philippe Valade - Projections
Jonathan Gagnon-Roy - Video Technician
Matthew Miller - Videographer
John Arrowsmith - Pyro Technician
Scott Wilson - Laser Technician
Patrick McLoughlin - Merchandiser
Keith Keller - Live Nation Global Tour Rep
Colin Womack - VlP Nation Rep
Meg Symsyk - Tour Publicity
Thanks to our Technical Suppliers:
For Alex: Gibson Guitars, PRS Acoustic Guitars, Martin Acoustic Guitars, Dean Markley Strings, Lerxst Omega Amplifiers, Mesa Boogie Amplifiers, Box Amplifiers, DLS Effects, Fishman Transducers, Audio Technica, Fractal Audio, Apple Computers, Universal Audio, RJM Music, Dunlop Picks and Crybaby Wah's, Palmer Speaker Simulators, Tc Electronics, Tech 21, Graph Tech, Floyd Rose, Baratto Guitars, Pick of the Ricks, Travnnr Amnlifiers
For Geddy: Fender and The Fender Custom Shop, Gretsch Custom Shop, Rotosound Strings, Orange Amplification, Tech 21lSansamp, James Hogg: Custom Engraved Pickguards, Tom Brantley: Custom Pickups and Rewinds, Rivera Amplification: Rock Crusher Recording, Jim Burgess and Saved By Technology, Garth Hjelte, Chicken Systems, Inc., Ableton Live, Moog, Fractal Audio Systems: Axe-Fx ll XL, Vintech AUdio: Model 273, Westbury National Show Systems, Tim Vear and Shure, Clydesdale Custom Case Co. Ltd., B. Zee Brokerage Ltd.
For Neil: DW Drums, Sabian Cymbals, Promark Drumsticks, Remo Drumheads, Roland V-Drum, Kelly Shu lndustries, Dauz Trigger Pads, Urbannboard Shoes
Bus Drivers Dave Bumette, Lashawn Lundstrom, Marty Beeler, Joe C. Bush, John Morgan
Truck Drivers Arthur "Mac" McLear, Jon Cordes, Mike Kindler, John Lyon, Julie Mennitti, Steve Mennitti. Bob Wright, Benoit Bourvages, Marc Andre Gelinas, Craig Hallman
Merchandise Driver Don Johnson
Flight Crew Darren Soley, Rob Bunston, Jennifer Merten
Concert Lighting, Video Screens & Equipment Solotech Montreal, Quebec - Hugo Tardif
Concert Sound Clair Global - Jason Heitman, Ralph Mastrangelo
Pyrotechnics Pyrotek - Bob Ross
Lasers Productions Design International - Brian Beggs
Rigging and Motors Five Points Production Services - John Fletcher
Buses Hemphill Brothers Coach Co. - Mark Larson
Trucking Ego Trips - Jim Bodenheimer
Aircraft Charter Chartright - Justin King
Customs Brokers Bzee Brokerage Ltd. - Barry Zeagman, Neil Zeagman
Promoter
Live Nation Global Touring - Arthur Fogel & Gerry Barad
Live Nation Canada - Riley O'Connor
Agent
USA - Artist Group international - Adam Kornfeld, June Chaiyasit
International - The Agency Group - Neil Warnock, Samantha Henfrey
Canada - Feldman & Associates - Vinny Cinquemani, Olivia Ootes
Rush/Anthem Entertainment Consigliere Bob Farmer, Esquire
Merchandising Showtech - Patrick & Kelly McLoughlin, Alex Mahood, Rayanne Lepieszo, Laura Henry, Louise Clash, Richie de Almeida
Travel Agency FROSCH Travel - Marla Wax-Ferguson, Joe Mauceri
Geddy and Alex's Back Line Gear: Marshall, Ampeg, Traynor, Hughes & Kettner
Design Dale Heslip
Construction Mood Inc. & Mojo Musical Supply
Zoe/Concord Music Group
Production - Brian Schuman
Video Production - Elizabeth Boettcher
Project Management - Liza Levy
Marketing Manager - Adam Jones
Executive Producer for Fadoo Productions Corey Russell, Bob Mccown
Artist Management Ray Danniels for SRO Management
SRO/Anthem Ray Danniels, Pegi Cecconi, Sheila Posner, Bob Farmer, Andy Curran, Meg Symsyk, Cynthia Barry, Tyler Tasson, Emma Sunstrum, Jeremy Biderman, Veronica Sinnaeve
A&R Andy Curran
Head of Marketing & Publicity Meg Symsyk
Production Manager Emma Sunstrum
Special Thanks to Jay Baruchel, Les Claypool, Peter Dinklage, Tom Morello, Paul Rudd, Jason Segel, Chad Smith, The Trailer Park Boys, Ben Mink, Jonathan Dinklage, Jerry Stiller, and Eugene Levy
Art Direction, Design and Illustrations Hugh Syme
Photo Curation Meg Symsyk
Cover Photograph Randy Johnson
Photography Richard Sibbaid, John Arrowsmith, Randy Johnson
"Tom Sawyer" (Lee/Lifeson/Peart/Dubols)
"Closer to the Heart" (Lee/Lifeson/Peart/Talbot)
"The Main Monkey Business." "What You're Doing." and "Working Man" (Lee/Lifeson)
"YYZ" (Lee/Peart)
"The Story So Far" (Peart)
All songs published by ole Core Music Publishing (SOCAN/SESAC). Administered by ole. All Rights Reserved.
2015 Anthem Entertainment/Anthem Film & Television Productions Inc. Under exclusive license to Zoé Vision, a division of Concord Music Group, lnc.. 100 N. Crescent Drive. Beverly Hills, CA 90210. All Rights Reserved.
Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A.
"Rush recorded and filmed R40 Live over two sold-out shows in the band's hometown of Toronto at the Air Canada Centre on June 17 & 19, 2015 in the middle of their R40 Live 35-date North American tour...The concert film also includes the the band's renowned tour videos, highlighted by 'Roll The Bones (R40 Live),' that features an array of special guests in the rap part of the song: Jay Baruchel (She's Out Of My League), Les Claypool (Primus), Peter Dinklage (Game of Thrones), Tom Morello (Rage Against The Machine, Audioslave), Chad Smith (Red Hot Chili Peppers), The Trailer Park Boys, and Jason Segel & Paul Rudd (I Love You, Man). It is the first time the band put the song back in the setlist since the R30 tour, a full decade ago. During the R40 Live tour, 'Roll The Bones' gained new life and became a fan-favorite with an arena sing-along to the chorus 'Why are we here? Because we're here - Roll The Bones.' Singer/Bassist Geddy Lee explained how the large group of cameo appearances came about: 'We had this older video of an animated skeleton doing the 'rap' part of 'Roll The Bones,' and felt it was time to update the concept for this tour. So after a lot of joking around with our show design team, we thought it would fun if we called upon some of our well-known pals and see if they wanted to have some fun with the lyrics. There were so many good and funny moments that it was hard to choose, some really hilarious and outrageous stuff! I'm so glad it worked out as it brought a big smile to the faces in the audience (and to us) every single night!'" - Rush.com, October 8, 2015
"Rush racks its third No. 1 on Billboard's Top Rock Albums chart, and first leader with a live effort, as R40 Live, the classic rock trio's three-disc set chronicling its 40th anniversary tour in spring/summer 2015, debuts atop the list (dated Dec. 12) with 24,000 copies sold, according to Nielsen Music. R40 Live follows previous chart-toppers Clockwork Angels in 2012 and Snakes & Arrows in 2007. While Top Rock Albums launched in 2006, Rush's history on the Billboard 200 dates back four decades. The new album debuts at No. 24 on the Billboard 200, marking the band's 24th top 40 title. Rush first reached the region with another live release: All the World's a Stage: Recorded Live (No. 40, 1976). R40 Live is also the first live album to crown Top Rock Albums since the Beatles' On Air: Live at the BBC Volume 2 on the Nov. 30, 2013, chart. Additionally, Rush's new release opens atop Hard Rock Albums, where it's the band's second leader, following Clockwork Angels. (Could R40 Live be the final live album of Rush's storied career? When the band announced the R40 Live Tour earlier this year, its accompanying press release stated that the trek "will most likely be their last major tour of this magnitude.") - Billboard.com, December 12, 2015
"We thought maybe we'd do another Feedback thing of cover tunes. Never got motivated for that. And then when we started talking, it was about playing live." - Neil Peart, RollingStone.com, June 30, 2015
"The concept for this tour began with an idea I had about devolution. And I thought it would be kind of neat to do a retrospective at some point, where we began in the present day and went back in time. Last July [2014] I shared this concept during a creative meeting with [art director] Dale Heslip, and he started expanding upon it, and suggested the idea if we were going to go back musically in time, why don't we go back physically in a more theatrical sense." - Geddy Lee PasteMagazine.com, December 18, 2015
"Before every Rush tour, the artistic team, including creative director Dale Heslip, producer Allan Weinrib, lead singer/bassist Geddy Lee (Allan's older brother) and Howard Ungerleider start by getting together for some new ideas. Prior to their latest brainstorming session, Dale came up with an idea of going backwards in time. His idea was to stage a show that started where they left off in 2013, with the Clockwork Angels tour and all its high tech visuals, and take the audience back in time all the way to when Rush played their first gigs with a few PARs on sticks and a mirror ball. Dale pitched the idea to Geddy, who immediately called a meeting to discuss the concept further. There, everyone looked to Howard to come up with ways to make the concept come to fruition...The time periods represented in the show include: 1) Current Big Technology Era (2007-present); 2) Large Arena Looks (1990s-2000s); 3) Small Arena Looks (1980s); 4) Theater Looks (late 1970s); 5) Gymnasium Period (early 1970s)." - PLSN.com, July 21, 2015
"To most, the end of the theatre component would feel like the end of the show; however, it's followed by a short break and another humourous video clip, this one with Eugene Levy reprising his classic SCTV character Rockin' Mel Slirrup in a 'new' edition of Mel's Rock Pile. Recalling the shoot, [creative director Dale] Heslip shares how excited he was to watch Levy revisit the character. 'He knows his character so well; it's not the kind of thing where you could say, "Hey, why don't we try it this way?" We just let him go, and in six or seven takes, we had it.'" - Professional Lighting And Production, Fall 2015
"My attitude was: This is an anniversary tour, so we should really celebrate our most popular songs. And in order to do that, you have to have the discussion: Well, popular by whose metric? ... If you look at some of the hardcore fans and their requests, they want the more obscure, deeper tracks. So we tried to strike a balance." - Geddy Lee, Montreal Gazette, June 12, 2015
"We've dug deep. We've pulled out some songs that we haven't played in a very long time. We've pulled out some real fan favourites. And we're enjoying playing them. We've revisited every era except maybe the mid-eighties era, which we covered in a good portion of the set on the last tour. We've not included anything from Power Windows or Hold Your Fire, but there's something from just about every other record. We're bringing the 'Hemispheres Prelude' and 'Jacob's Ladder' and 'Cygnus X-1'. It's fun and exciting to play these old songs. 'Jacob's Ladder' sounds amazing! For years we've discounted it, although it was always a fans' favourite. We've got three sets - A, B, C - which we'll be rotating throughout the tour." - Alex Lifeson, ClassicRock.com, May 2015
"Some of the decisions were based on albums that didn't fit the design of the show. We were covering our career in these broad strokes, so that left out records like Presto and Hold Your Fire. The present transforming into the near-present into the early Eighties in set one didn't leave time for records that we deemed less essential. And we also considered what we'd presented on the last tour. We did a lot from Permanent Waves in that show, so we didn't do so much from it on this tour." - Geddy Lee, Guitar World, March 2016
"One day during pre-tour rehearsals we were goofing around, riffing on our oldest songs - the truly 'prehistoric' ones from before I joined, that were never recorded. Just for fun we decided to end the night with a few bars of one called 'Garden Road.' It had been in the band's repertoire before I joined, and we had played it on the first tour, but it didn't make the cut for Fly by Night. That snippet would also be a humorous nod to the reverse chronology of the show that took us back to the first album - now we went back even farther." - Neil Peart, Far And Wide
"I am playing two separate sets on this tour - one 'modern' arrangement like I have been using for the past twenty-five years, and one like the setup I played for almost twenty years before - double bass drums, open concert toms, ride cymbal hard right. Its look is modeled after the black-chrome Slingerlands I played in the late '70s, but DW's version far surpasses those in tone, resonance, playability, and 'shininess!' The hardware is plated in black nickel..." - Neil Peart, R40 Live Tourbook
"An important feature of that second Toronto show was the first performance of 'Losing It.' The three of us had been working on that song since our band rehearsals back in April, and played it at every soundcheck since. Our part of the song was as ready as it could be - without being properly 'road-tested' like the rest of the night. Over thirty years after violinist Ben Mink had joined us at Le Studio in Quebec to record that song, we would perform it together live for the first time. During soundcheck before the first show, then again that afternoon, we ran through it a few times with Ben, and that night we pulled it off pretty well. (As the concert DVD shows me - I couldn't be totally sure at the time.)" - Neil Peart, Far And Wide
"Jonathan Dinklage used to jam in his bedroom to the song when he was a teenager and once - between shows on the Clockwork Angels tour - he told the band it was his dream to join them onstage and play it live. And as Geddy Lee told us earlier that day, 'We thought, fuck it, let's make his dream come true'. It's a moment of intractable, pure joy, filled with both highs and lows, inexpressibly beautiful, the violin's high, keening song reaching out to the distant, circular ceiling. It does something to an already charged crowd who are suddenly moist-eyed and hopeless, as if they suddenly realise what they're about to lose or have already lost." - ClassicRock.com, August 2, 2015
"It's funny, some of those old songs sound so strange to me now, but when you start playing them you get back into that head-space you were in when they were written and recorded. It's really all about your sense of perspective. A few years ago we brought back 'The Camera Eye'. I never wanted to play that song. I never thought it was particularly worthy. And yet it was one the most requested Rush songs. I couldn't understand it. How could people be so wrong? I realised I underestimate the moment in time - the context of that moment. When we started playing 'The Camera Eye', I thought, okay, there are a lot of pretentious moments in this song. It hasn't aged well. But then I started re-learning the keyboard parts and putting together a slightly different version - instead of eleven minutes it clocks in at nine-and-a-half. And in the playing of it, yes, I fell in love with it again. And that's where it becomes very subjective, and not objective. I stopped being able to tell if it was a pretentious song, and I just enjoyed playing those chords and I remembered why the song got recorded in the first place - I liked the chord progression and the vocal melodies. You can go back to that time and appreciate what you were trying to do. This song - it was a point in your life, and fans want to relive that point in your life and you can have fun playing it. I dig the hell out of that song now." - Geddy Lee, ClassicRock.com, May 2015
"['Jacob's Ladder'] sounded really naive to me, and the lyrics are not our best. You could see Neil playing with alliteration, which is kind of an exercise really. And I really was afraid of doing that whole keyboard middle part. But when you start playing it, you start remembering what it was like when you wrote it, what you were thinking when you wrote it, and you can kind of get into it - because if we committed it to record it meant we were digging it. 'Cause we always said if there's a song we write that we didn't dig we wouldn't keep it on a record. It reflected who we were then. That's exactly who we were. We were struggling with trying to be more concise and yet still in love with the long instrumental passages." - Geddy Lee, RollingStone.com, June 30, 2015
"I was rehearsing ['Fly by Night' for the R40 Live tour]. I thought it would sound great, like a modern version that would be much heavier and more powerful. I think Geddy felt that he'd really have a problem singing it. He has a challenge with 'Lakeside Park' as it is. 'Fly by Night' was just in that range, and we didn't want to drop the key on that one. So the consensus was, let's just pass on that." - Alex Lifeson, RollingStone.com, June 30, 2015
The idea of performing a time traveling retrospective was originally planned for the Counterparts tour in 1994:
"The next tour that we do is going to be more of a retrospective tour; it's our 20th Anniversary. We'd like to go out and do an evening with, and break up the set; do the first 10 years, in chronological order from the first album up to, I guess Grace Under Pressure and then take a short intermission and have some film stuff on the band, on the history of the band. I think that a lot of our fans would kinda like to see some candid stuff; and, and then come back and do the second set, from that point up to the present. So it'll be a really great presentation of the history of the band, of that whole 20 year period. And hopefully it'll be the start of the next 20 year period." - Alex Lifeson, Rush: Up Close, Media America Radio, January/February 1994,
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This is a collection of transcripts of magazine and newspaper articles and other media related to this release or coinciding with the time frame surrounding it. This is an ongoing work in progress; feel free to email any suggested additions.