Time Machine 2011: Live In Cleveland

Set One
• The 'Real History of Rush: Episode No. 2 "Don't Be Rash"
• The Spirit Of Radio
• Time Stand Still
• Presto
• Stick It Out
• Workin' Them Angels
• Leave That Thing Alone!
• Faithless
• BU2B
• Freewill
• Marathon
• Subdivisions

Set Two
• The 'Real History of Rush Episode No. 17 "...and Rock and Roll is my name."
• Tom Sawyer
• Red Barchetta
• YYZ
• Limelight
• The Camera Eye
• Witch Hunt
• Vital Signs
• Caravan
• Moto Perpetuo (featuring Love For Sale)
• O'Malley's Break
• Closer To The Heart
• 2112 (Overture/Temples of Syrinx)
• Far Cry
• Encore
• La Villa Strangiato
• Working Man

Bonus Features

• Outtakes from "History of Rush, Episode 2 & 17"
• "Tom Sawyer" featuring the cast of "History of Rush, Episode 17"
• "Need Some Love" Live from Laura Secord Secondary School
• "Anthem" Live from Passaic New Jersey

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CD One
• The Spirit Of Radio
• Time Stand Still
• Presto
• Stick It Out
• Workin' Them Angels
• Leave That Thing Alone!
• Faithless
• BU2B
• Freewill
• Marathon
• Subdivisions
• Tom Sawyer
• Red Barchetta
• YYZ
• Limelight

CD Two
• The Camera Eye
• Witch Hunt
• Vital Signs
• Caravan
• Moto Perpetuo (featuring Love For Sale)
• O'Malley's Break
• Closer To The Heart
• 2112 (Overture/Temples of Syrinx)
• Far Cry
• La Villa Strangiato
• Working Man

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Moving Pictures: Live 2011, from Time Machine 2011: Live In Cleveland, released on vinyl and digitally

• Tom Sawyer (4:56)
• Red Barchetta (6:55)
• YYZ (4:41)
• Limelight (4:32)
• The Camera Eye (10:03)
• Witch Hunt (4:42)
• Vital Signs (5:08)

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Notes

• 2CD and DVD & Blu-Ray editions released November 8, 2011; 4LP 180 gram vinyl edition released June 7, 2019
• Highest Billboard Chart Position: 1 (Video) - Video Certified Gold, Platinum & 2x Platinum by RIAA: May 14, 2014
• The film had a limited theatrical showing in U.S. theaters October 26 and UK theaters on November 1st.
• The first week of its release Time Machine 2011: Live In Cleveland (album) charted at #54 in the US, and #70 in the UK. Meanwhile the DVD opened at #1 in Canada & the US and #2 in the UK.
• Moving Pictures: Live 2011, the Moving Pictures portion of the concert, was released on vinyl and digitally the same day as Time Machine 2011: Live In Cleveland.

In Their Own Words...

"As a tribute to the US city that first played their music, Rush confirms that the Cleveland performance of their Time Machine show on April 15th at the Quicken Loans Arena will be filmed for full-length release. Cleveland is remarkable for being one of the very first US cities where the band performed, in addition to being the first city to provide American airplay. This will be a must-see event for Rush fans in Cleveland – and for everyone able to make the road trip as it is will also mark the first live full-length filming on US soil." - Rush.com, December 5, 2010

"'We realized after all these years that we've shot films in all these different locations. But we've never really shot an entire film in America. We thought, 'Well, that's just wrong.' So where do we want to shoot? And it dawned on me that it was appropriate to shoot in Cleveland, where our entire American adventure began.' The band got its big break here in 1974, when Donna Halper, a disc jockey and music director at WMMS FM/100.7, added the Rush song 'Working Man' to the influential radio station's playlist. 'I don't think we would've had a record deal if it hadn't been for Donna Halper at WMMS playing 'Working Man' and some other songs from our first album,' said Lee." - Cleveland Plain Dealer, April 15, 2011

"Cleveland was hugely important for us, because up until we were embraced there, we were just basically a bar band in Toronto,' said Lifeson during a phone interview with Yahoo! from Fort Lauderdale, Fla. 'We were on the Southern Ontario high school dance circuit and doing clubs. 'To come to America was such a huge deal, and to come to Cleveland - with its rich connections and rock music heritage and be embraced by the city and crowd there - it really was a really great experience for us. It all started for us in Cleveland and the city has a giant place in our hearts.' So much so, in fact, that Lifeson and his bandmates are bringing their current 'Time Machine World Tour' to Cleveland's Quicken Loans Arena this Friday, April 15 and will be filming the entire performance for a full-length DVD concert release...'It couldn't be more appropriate to be doing the DVD in Cleveland. I can't tell you the number of gigs we played at the Agora when we were starting out,' Lifeson said. 'I definitely remember those gigs! The genuine interest in the band was amazing, the place was always packed and we were on that little stage playing our hearts out. When I close my eyes as a guy who calls himself 'forty-seventeen' (57 years old) now, I can still see myself up there playing and miss the skinny, sweaty long-haired guitar guy who was up on stage!' he laughed." - Yahoo.com, April 14, 2011

"During the guitar solo of the song Presto there was an unscheduled 'brain fart' on my part, and so for the sake of continuity (and to save my own face) rather than leave the song out of the show we chose to repair it with a few seconds of my live performance of that song from another show" - Geddy Lee, Time Machine linernotes

"We were worried. It was the day of the show, just a few hours before, when we got word that Geddy wasn't feeling well and his voice was suffering. A lot of those songs, as you know, the register is really high; it's his trademark voice, and I think it takes its toll. There'd been a weekend before that, back in Toronto, when he had to go and see these crazy witch doctors. There was a lot of voodoo involved! The show really was in jeopardy, but Geddy's been through it before, and he's a trouper." - Sam Dunn, Classic Rock Special Edition, June 11, 2012

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"I know that the mechanism that brought us up doesn't exist anymore. For instance, a perfect example of how reversed it is, in those days we made no money touring for a long time, even into the successful years. You counted on record sales and songwriting to make your living. And touring was a way to publicize that. Suddenly, in the last 10, 15 years all that turned around and our income is entirely from touring, and recording is an indulgence. In a band like Rush, no one's going to pay us to make a record. It's going to be an indulgence. Even Snakes and Arrows basically paid for itself and that's it, and if we want to make a living beyond that we have to go on the road and tour." - Neil Peart, GuitarCenter.com, February 2, 2010

"Everybody was kind of itching to get on the road and try and get in 'peak playing form' before we recorded the bulk of the record [Clockwork Angels], just to see what that effect is. In a way, we have this tendency to take a long period of time off, and then we kind of get our chops together and then go record. We thought it's kind of ass-backwards really, because when you finish a long tour, you're in such amazing playing shape that really, that's the time you should go in and start laying down tracks. But of course, you're exhausted by then, so we're trying to figure out if there's another way of attacking it. We thought it would be fun to put together a tour that was sort of 'future/past,' because those are some of the themes that are floating around the lyrical content and visual content that we're using for these new songs. So we thought, "Let's go out and do this Time Machine tour, where we can go mine our past, and at the same time, point to the future, try some new songs, and get us in shape......I think it's going to be an interesting challenge to play some of those songs, especially 'The Camera Eye,' a song we haven't played in years and years. Obviously, we'll probably do a slightly newer take on it. You never know what effect bringing older songs back has on you. There are times in the past that we thought, "There is no way we can make this song work," and then you get into rehearsal, you start playing it, and you're really pleasantly surprised how much you're enjoying it. And sometimes it takes on a whole new life.I think we've stopped being kind of cynical about our past in a way, and sometimes having a second look at an older song gives it a whole new story." - Geddy Lee, RollingStone.com, April 21, 2010

"To benefit the relief efforts in Haiti, one dollar of each ticket sold will be donated through several charities including 'Doctors Without Borders'. Rush will also contribute a portion of their proceeds at the culmination of the tour." - Rush.com, November 28, 2010

"We're bringing a bunch of other old stuff back, 'Jacob's Ladder,' too. We're rearranging it slightly, as with 'The Camera Eye,' changing a couple of things, having another crack at it. It's going to be a lot of fun for us." - Alex Lifeson, NewYork.Timeout.com, April 21, 2010

"'[Moving Pictures] was the album that took us to the next level,' notes Lifeson, who credits drummer Neil Peart with the full-album idea..." - Billboard.com, June 22, 2010

"Peart proposed the idea of doing an entire album after he saw Steely Dan on a recent tour. 'He was really impressed with the fact that they were doing different albums night to night,' Lifeson says. 'That's perhaps a little ambitious for us.' The band had already decided to perform 'The Camera Eye,' the longest song on Moving Pictures, for its current tour, so it was an easy leap to choose the album. 'We thought it would be a nice way to incorporate doing that song, a little more of a special presentation,' Lifeson says. 'The other stuff from that album, we've been doing for a while on and off, but it was nice to condense it all into the album and present it that way.'" - Allentown Morning Call, August 25, 2010

"The big question for us was 'The Camera Eye'. I thought we had never played live. I wrote this [in the tourbook] and I was proven wrong: the fans have shown me that we had played it in 1980! [sic - 1981] Ok, we played it 30 years ago, but never again thereafter. We were concerned that it was too long and we would probably have done some things differently." - Neil Peart (translated from the French Quebec cyberpresse.ca), July 15, 2010

"'I don't think we would ever have played...'Camera Eye' if we hadn't decided to play the whole record,' admits Lee. 'We would never had rediscovered the enjoyment of playing a song like that, while we thought we'd never be able to pull off again!  I was really gritting my teeth before we set out to learn that song.  Alex and I were sitting in my studio at home and we were listening to it, saying "Oh my god, it goes on forever! What the hell were we thinking?" So we very judiciously eliminated a minute and a half of its 12 minutes.  But little did we know how difficult it would be to learn a 12-minute song that suddenly became a 10-and-a-half minute song, because the edits were so subtle that they were harder for us to learn.  It really would have been easier to just play the whole dame thing!  Ha ha!'" - Geddy Lee, Classic Rock Presents Prog #16, May 2011

"'The Camera Eye' was the last really epic song we wrote. It's 11 minutes long. At the time, we really didn't appreciate it. Back then we though it was too long and repetitive. We didn't understand the mood it generated...it was a song we never thought worked. But the way we revamped it made this come alive. One thing the tour did for us was to make us aware of how good 'The Camera Eye' always was. I'm so glad we've become friends with it again." - Geddy Lee, Classic Rock, December 2010

"We thought about resurrecting Camera Eye on the previous tour but in the end we just didn't feel it was exciting enough in that particular set. It took up a big chunk of time - two songs worth - that we have to be aware of when playing a three-hour set. But when we put it all together for this tour there was something about the song that gave it this new life that made it one of our favourites to play on a nightly basis." - Alex Lifeson, Musicradar.com, Janurary 10, 2011

"I wondered, 'what about Presto?' Our album from 1989 that for all of us should have been so much better than it was. That's the one that I know that if we could do one again, it would be that one, because we still love the songs from it, but you can never make magic happen. But I said 'we've got to do a song from that' so we brought back the song 'Presto' and we love playing it live. And it's so much better than the record." - Neil Peart with Jeff Woods, April 19, 2011

"We were trying to think of all of the different, perhaps unlikely possibilities we could resurrect. Another example of that was 'Presto'. We wanted to do a song from that album 'just because'. I wrote to the other guys about that 'so let's just represent that album with just one song', and that was the one we decided on. 'Jacob's Ladder' was a similar 'let's try it'. Then when I started listening to it and learning it, I wrote back to the other guys. Something we've learned from time to time is it works or it doesn't work. 'Presto' was a beautiful surprise to us, we wanted to try it, we love playing it still after many, many performances. It turned out to be a good bet, that song, but 'Jacob's Ladder' just didn't. Sometimes you can't go back". - Neil Peart, Taking Center Stage: A Lifetime of Live Performance

"My solo is built on three rhythmic foundations, which I think of as 'The Steampunk Waltz' (freeform melodies and rhythms in 3/4 time), 'The Steampunk Stomp' (polyrhythms in 4/4 with upbeats against downbeats), and 'The Steampunk Mambo' (a Latin ostinato, or repeating rhythm-regular readers will recall its root in the Italian word for 'obstinate,' or 'stubborn'). Through a couple of different variations, including the electronic drums at the back, I continue to explore and stretch my limits in all of those frameworks, and all of them converge toward the end-the big-band climax of 'Love For Sale.'" - Neil Peart, "Theme And Variations", August 2010

"The set design was quirky and faithful to the Steampunk theme - epitomized, perhaps, by a whimsically-elaborate sausage-making contraption on stage. Ungerleider used recent innovations in lighting technology to create what some have called his punchiest and most emotive looks to date...'Once the band revealed that they wanted to do something in a Steampunk genre, I had to come up with a design for the system based on that concept. The more I researched the genre, the more possibilities I found to explore,' Ungerleider says..." - Howard Ungerleider, PLSN.com, October 2010

"This summer of 2010, and the seasons leading up to it, have been a cruel time for many people, economically, and as we planned our tour, we couldn't fail to be aware that there had been other concert tours that had been suddenly 'rescheduled' (canceled, in fact, due to low ticket sales). So as always, we remain grateful and delighted that after so many years, people still come to see us in such numbers-and with such enthusiasm. While we are the ones supposed to be doing the entertaining, I have written before that we are always entertained by our audiences, too. And inspired by them-when other people care so much about what you do, you can hardly do less than care about it more." - Neil Peart, "Cruel Summer", September 2010

"It was kind of important that we continue the set just as it is - particularly in Europe and the U.K., 'cause they're kind of expecting what Time Machine was over here. So we've been tempted to change out a few songs, but we decided that we would keep everything intact. And we're really not hitting a lot of the markets that we've already played on the last tour. We're really picking up a lot of other places and certainly that whole month that we're spending in Europe is new." - Alex Lifeson, Gibson.com, February 18, 2011

"The tour has hit new parts of the world. There have always been requests for us to go to South America. We're a lot more popular than we think or we've always been more popular than we thought. When we went in 2002 it was exciting for us, we had no idea we would play to crowds that big in Brazil. But I feel the same way about the rest of the world really. I wouldn't mind taking our tour everywhere, it would be a lot of fun, provided we had audiences obviously."- Alex Lifeson, Sheffield Telegraph, May 12, 2011

"...we played that first-ever show in Ireland, in Dublin, and that was a thrill. (In the comic movie that opens our Time Machine shows, I have a minor role as an Irish cop named O'Malley, and I was delighted when the audience cheered when O'Malley said, 'Jesus, Mary, and Joseph-sounds like the damned howling in Hades,' and they cheered again when Alex's 'Slobovich' mentioned the name 'O'Malley.')" - Neil Peart, "News Weather and Sports", June 2011

"At the end of forty-four shows for me, my bandmates, and our incredible crew, and at the end of 23,132 motorcycle miles for me and my riding partners, Michael and Brutus, Alex and Geddy and I stood (or sat, in my case) on that stage and looked out at that cheering, heaving, chanting crowd, and saw, heard, and felt...the power of magical thinking." - Neil Peart, "The Power Of Magical Thinking", November 2010

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Videos

• Hughes & Kettner Talks To Alex Lifeson And His Guitar Tech, Scott Appleton - July 1, 2010
• Alex Lifeson Gear Interview - Musicians Friend, April 19, 2011
• Hughes & Kettner's Paul Airey presents Alex Lifeson with the very first "Tube Meister" 18 watt amp - May 17, 2011
• All access Neil Peart Time Machine kit tour - MusicRadar.com, June 3, 2011

Promos

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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.

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