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Neil Peart. 1952-2020

5K views 60 replies 25 participants last post by  noodles 
#1 ·
#14 ·
Rush was such a fundamental part of my formative years--feels almost like a death in the family.

The older I get, the more I appreciate the precision and creativity of Neil's approach to drumming. Not just the complexity, but how "orchestral" everything was--it shaped the music as much as it drove it.

I remember was I was about 16 I thought I was hot shit because I'd learned a bunch of Zeppelin tunes. My guitar teacher recommended that I started trying to learn some Rush songs, and I was suitably humbled thereafter. :lol:

For me, "Freewill" and "Limelight" are the two quintessential Rush songs, and a big part of what I admire about them is how Neil was able to make all the time changes flow smoothly. They sound like singular pieces of groove, even though there's seemingly a time change every other measure. None of it sounds forced, like a lot of tech metal inspired by Rush does. Heck, have there ever been any more rhythmically complex songs that were played on the radio a zillion times a month?
 
#20 ·
I had beers tonight with a buddy of mine who's a huge Rush fan and raised an interesting discussion.

If Rush wasn't done, and ignoring the fact that NP was the primary songwriter/lyricist as well - what other drummers could possibly step into this gig? Who else is really even close to being on the level that Peart was? Portnoy and Mangini come to mind obviously, but who else? Marco Minnemann, maybe? Virgil Donati? Gavin Harrison?
 
#24 ·
I had beers tonight with a buddy of mine who's a huge Rush fan and raised an interesting discussion.

If Rush wasn't done, and ignoring the fact that NP was the primary songwriter/lyricist as well - what other drummers could possibly step into this gig? Who else is really even close to being on the level that Peart was? Portnoy and Mangini come to mind obviously, but who else? Marco Minnemann, maybe? Virgil Donati? Gavin Harrison?
I feel like Gavin would be the guy for that. The others are monster players, but they'd want to turn it into a pure chops demonstration, which wasn't Neil's thing. He flashed his chops in the right places but mostly focus on shaping the songs.
 
#23 ·
Also a die hard Rush fan.
We've lost one of the best thee ever was.
Rest in Peace, Neil, you'll be so missed and never forgotten.

I've been contemplating taking up drums. The day I can play his stuff will be a day of days :agreed:
 
#28 ·
I can sort of see Virgil Donati and Thomas Lang doing it for a bit. They've got some pop music background in the past so at least they can show some restraint. That vid is more of a showcase so it really isn't a good representative.

I spent the weekend going through Signals and Grace Under Pressure whilst driving around. And it was a great reminder how Neil Peart was always playing with purpose no matter the context, always to enhance the song. The one snare fill he does following Geddy's vocals on The Enemy Within speaks larger volumes than every moment Mike Portnoy tries to follow other instruments note for note.

It also made me realise that Neil Peart is my favorite drummer of all time, and I've always used him as a point of reference whenever I write drum parts.
 
#30 ·
I spent the weekend going through Signals and Grace Under Pressure whilst driving around. And it was a great reminder how Neil Peart was always playing with purpose no matter the context, always to enhance the song. The one snare fill he does following Geddy's vocals on The Enemy Within speaks larger volumes than every moment Mike Portnoy tries to follow other instruments note for note.
This. He wrote a bunch of complex parts that required a high level of technical ability, but it never sounded like he was showing off. Everything was so integral to the music, locking in like a piece of the puzzle, as if he was playing in a symphony.
 
#33 ·
RIP Neil :( Heartbreaking for his family, my heart breaks for his wife and daughter Olivia.

In this one of many possible worlds, all for the best, or some bizarre test?
It is what it is - and whatever
Time is still the infinite jest
The arrow files when you dream, the hours tick away - the cells tick away
The Watchmaker keeps to his schemes
The hours tick away - they tick away

The measure of a life is a measure of love and respect
So hard to earn, so easily burned
In the fullness of time
A garden to nurture and protect

In the rise and the set of the sun
'Til the stars go spinning - spinning 'round the night
It is what it is - and forever
Each moment a memory in flight
The arrow flies while you breathe, the hours tick away - the cells tick away
The Watchmaker has time up his sleeve
The hours tick away - they tick away

The treasure of a life is a measure of love and respect
The way you live, the gifts that you give
In the fullness of time
It's the only return that you expect

The future disappears into memory
With only a moment between
Forever dwells in that moment
Hope is what remains to be seen


 
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