Logo name

Welcome Guest ( Log In | Register )

Discussion
> Rock Band


Rock Band is a music video game developed by Harmonix Music Systems, published by MTV Games, and distributed by EA Distribution. It is the first title in the Rock Band series. The PlayStation 3 and Xbox 360 versions were released in the United States on November 20, 2007,[1] while the PlayStation 2 version was released in the U.S. on December 18, 2007[2] and the Wii version was released on June 22, 2008.[3] The game was released in Canada for the PlayStation 3 and Xbox 360 on December 22, 2007 and for the PlayStation 2 on January 2, 2008. It was released in parts of Europe as a timed exclusive on Xbox 360 on May 23, 2008.

Rock Band allows players to perform in a virtual band by providing up to four players with the ability to play three different peripherals modeled after music instruments (a guitar peripheral for lead guitar and bass guitar gameplay, a drum peripheral, and a microphone). These peripherals are used to simulate the playing of rock music by hitting scrolling notes on-screen. Players with the Xbox 360 and PlayStation 3 versions can interact through both online and offline multiplayer capabilities. In addition to the 58 core songs included on the game disc, hundreds of downloadable songs are being released for the Xbox 360 and PlayStation 3 versions.[4]

At launch, the game software was made available in a bundle that packaged it together with the instrument peripherals, as well as for purchase separately. Individual instrument peripherals were released at a later date. The game has received widespread critical acclaim,[5] with sales of four million units and global revenues of $600 million.[6] Players have also made 30 million downloadable song purchases since Rock BandTemplate:Infobox musical artist Template:Portal Rush is a Canadian rock band originally formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario, currently composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their definitive form when Neil Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first U.S. tour.

Since the release of the band's self-titled debut album in March 1974, Rush has become known for the instrumental skills of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and libertarian philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns.

Musically, Rush's style has evolved over the years, beginning in the vein of blues-inspired heavy metal on their first albums, then encompassing hard rock, progressive rock, a period dominated by synthesizers and, more recently, modern rock. They have influenced various musical artists, including Metallica,[7][8] The Smashing Pumpkins[9] and Primus,[9] as well as progressive metal bands such as Dream Theater[7] and Symphony X.[10]

Rush has won a number of Juno Awards, and was inducted into the Canadian Music Hall of Fame in 1994. Over the course of their careers, the individual members of Rush have been acknowledged as being some of the most proficient players on their respective instruments, with each band member winning several awards in magazine readers' polls. As a group, Rush possesses 24 gold records and 14 platinum (3 multi-platinum) records. According to the RIAA, Rush's sales statistics place them fourth behind The Beatles, The Rolling Stones and Aerosmith for the most consecutive gold or platinum albums by a rock band. Rush also ranks 78th in U.S. album sales with 25 million units.[11] Although total worldwide album sales are not calculated by any single entity, as of 2004 several industry sources estimated Rush's total worldwide album sales at over 40 million units.

The band recently finished promoting their latest album, Snakes & Arrows with an intercontinental tour. The second leg began in San Juan, Puerto Rico on April 11, and ended on July 24, 2008 in Noblesville, Indiana.[12]

History

Template:Details

The early years (1968–1976)

Template:Sound sample box align right Template:Listen Template:Sample box end

The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, front man Jeff Jones, and drummer John Rutsey. Within a couple weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[13][14]

After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Rutsey and Lee. The single generated little reaction and, due to record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[15] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[16][17] Image:Starman.png

Immediately after the release of the debut album, Rutsey resigned in July 1974 due to his affliction with diabetes and a distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first US tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a handful of song lyrics over the rest of the band's career. Instead, they focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart due to his love for fantasy and science-fiction literature.[19] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[20][19]

Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Caress of Steel was reported by some critics to be unfocused and an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[21] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour."[22] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commercial success and their first platinum album in Canada.[23] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic Guide critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[24][25]

The progressive rock era (1977–1981)

After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding their use of progressive elements in their music. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[26]

Permanent Waves (1980) shifted Rush's style of music dramatically via the introduction of reggae and new wave.[27] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[28] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanistic, social, emotional and metaphysical elements. Template:Sound sample box align left Template:Listen Template:Sample box end Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[29] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[30]

Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of Signals in 1982.[31]

The synthesizer period (1982–1989)

Image:Oberheim OBX.jpg

While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[32][33] as evidenced by songs such as "Countdown" and the lead-off track "Subdivisions". Both feature nimble lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[31] Template:Sound sample box align right Template:Listen Template:Sample box end Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[34] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[35] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.

Image:DM Simmons SDS5.jpg

The style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Eventually Rush hired Peter Henderson to co-produce and engineer the album in his stead.[36]

Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[37] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Distant Early Warning", "Red Lenses", "Red Sector A" and "The Enemy Within" serve as prime examples.

With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable on "The Big Money", (the album's modest-charting single) with spotlights on "Grand Designs", "Middletown Dreams" and "Marathon." Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Ed Rivadavia, the culmination of this era of Rush.[38] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[39]

A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the 80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[40] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[41] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[42]

Returning to their roots (1989–1997)

Template:Sound sample box align right Template:Listen Template:Sample box end Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush stuck to their creative approach of incorporating traces of more exotic musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[43] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.

The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[44] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[44] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band.[45] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of several relatively complex musical passages repeated throughout. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[46] In October 1996, in support of Test For Echo, the band embarked on an extensive and successful North American tour, the band's first without an opening act and dubbed "An Evening with Rush." The tour was broken up into two segments spanning October through December, 1996 and May through July, 1997 with the band taking a respite between legs.

Hiatus and comeback (1997–2005)

After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[47] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band. Template:Sound sample box align left Template:Listen Template:Sample box end After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners due to its rapid guitar and drum tempos.[48] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[48] The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.

A triple CD live album and dual Rush In Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[49] Also in the summer of 2004, Rush hit the road again for the very successful 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005.

Snakes & Arrows (2006–present)

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).

Contents


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry," was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[50]

The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released 1 May 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[51] To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[52] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[53]

The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[54] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[55] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 was released November 24 as a DVD and Blu-Ray set, which also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[56][57] [58]

As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[59]

Musical style and influences

Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who[60] and Led Zeppelin,[15] but also became increasingly influenced by the British progressive rock movement.[61] In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae and pop rock.[62] This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire.[63] With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement.[64] The new millennium has seen them return to a more rock and roll roots sound, albeit with modern production.[60]

Band members

Former members

  • John Rutsey – drums, percussion, backing vocals (August 1968 – July 1974)
  • Jeff Jones – bass, lead vocals (August 1968 – September 1968)

Template:Details

Reputation

More than 30 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, such changes have inevitably resulted in dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this is a great source of contention in the Rush camp, especially the band's heavy reliance on synthesizers and keyboards during the 1980s, particularly on albums Grace Under Pressure, Power Windows, and Hold Your Fire.[65][66] Still, most fans saw this as nothing less than artistic growth and support for the band remained unwavering through each transitional phase.[63]

The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. To the chagrin of fans, the band has not been nominated for entry into the American Rock and Roll Hall of Fame since their year of eligibility in 1998. The Hall's refusal to induct Rush may be a consequence of the band's insistence on remaining outside the mainstream of rock when it comes to self-promotion, in favor of maintaining a high degree of independence.[67] To this day fans earnestly clamor for the band's inclusion into the Hall by citing noteworthy accomplishments including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications. However, Lifeson has expressed his indifference toward the perceived slight saying "I couldn't care less, look who's up for induction, it's a joke".[68] Rush has gained a degree of recognition in popular culture despite any official recognition from the Hall.[69]

As a band, Rush has been nominated for and received various awards throughout its career. Likewise, the individual members have received coverage in various modern music magazines with specific technocratic recognition for instrumental ability. See List of Rush awards for more details on this topic.

Geddy Lee

Image:GeddyLee.JPG

Geddy Lee's high-register vocal style has always been a signature of the band — and sometimes, a focal point for criticism, especially during the early years of Rush's career when Lee's vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin. Although his voice has softened over the years, it is often described as a "wail".[70][71] His instrumental abilities, on the other hand, are rarely criticized. An award-winning musician, Lee's style, technique, and ability on the bass guitar have proven influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden,[72] John Myung of Dream Theater,[73] Les Claypool of Primus[74] and Cliff Burton of Metallica[75] among others. Lee is notable for his ability to operate various pieces of instrumentation simultaneously. This is mostly evident during live shows when Lee must play bass, supply lead vocals, manipulate keyboards, and trigger foot pedals during the course of a performance, as in the song "Tom Sawyer".[61] Because of this he is required to remain in one place during songs containing complex instrumentation. Lifeson and Peart are, to a lesser extent, responsible for similar actions during live shows.

Alex Lifeson

Image:Alex Lifeson6.jpg

Instrumentally, Lifeson is regarded as a guitarist whose strengths and notability rely primarily on signature riffing, electronic effects and processing, unorthodox chord structures, and a copious arsenal of equipment used over the years.[76][77][78] Despite his esteem, however, Lifeson is often regarded as being overshadowed by his bandmates due to Lee's on-stage multi-instrumental dexterity and Peart's status as a drummer.[79]

During his adolescent years, he was influenced primarily by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton and Jimmy Page.[80] For versatility, Lifeson was known to incorporate touches of Spanish and classical music into Rush's guitar-driven sound during the 1970s. Taking a backseat to Lee's keyboards in the 1980s, Lifeson's guitar returned to the forefront in the 1990s, and especially on 2002's Vapor Trails. During live performances, he is still responsible for cuing various guitar effects, the use of bass-pedal synthesizers and backing vocals.

Neil Peart

Music

Peart is commonly regarded by music fans, critics and fellow musicians as one of, if not the greatest rock drummers.[81] He is also regarded as one of the finest practitioners of the in-concert drum solo.[82] Initially inspired by Keith Moon, Peart absorbed the influence of other rock drummers from the 1960s and 1970s such as Ginger Baker, Carmine Appice, and John Bonham.[83] Incorporation of unusual instruments (for rock drummers of the time) such as cowbells, glockenspiel, and tubular bells, along with several standard kit elements, helped create a highly varied setup. Continually modified to this day, Peart's drumkit offers an enormous array of percussion instruments for sonic diversity. For two decades Peart honed his technique; each new Rush album introduced an expanded percussive vocabulary. In the 1990s, he reinvented his style with the help of drum coach Freddie Gruber. Image:Neil Peart3.jpg

Lyrics

Peart also serves as Rush's primary lyricist, attracting much attention over the years due to his eclectic style. Known for penning concept suites and songs inspired by literature, music fan opinions of his writing have varied greatly, running the gamut from cerebral and insightful to overly pretentious and preachy. During the band's early years, Peart's lyrics were largely fantasy/science fiction-focused,[84] though since 1980 he has focused more on social, emotional, and humanitarian issues. Peart's lyrics continue to divide audiences today. For example, in 2007, he was placed second on Blender magazine's list of the "40 Worst Lyricists In Rock".[85]

Sales

Over the course of their career, Rush has come to release 24 gold records and 14 platinum records (3 of which have gone multiplatinum),[86] placing them within the top 4 for the most consecutive gold albums by a rock band.[87] Rush ranks 78th in U.S. album sales according to the RIAA with sales of 25 million units.[87] Total worldwide sales approximate 40 million units.[88][89][90][91]

Despite having completely dropped out of the public eye for five years after the gold-selling Test for Echo (which peaked at number 5 on the Billboard 200) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached #6 on the Billboard 200 chart in its first week of release in 2002 with 108,000 albums sold. It has sold approximately 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show — 60,000 fans in São Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status.

However, Rush's triple CD live album, 2003's Rush in Rio, was certified gold by the RIAA, marking the fourth decade in which a Rush album had been released and certified at least gold. Moreover, in 2004 Feedback cracked the top 20 on the Billboard 200 chart and received radio airplay. The band's most recent album, Snakes & Arrows, debuted at #3 (just one position shy of Rush's highest peaking album, 1993's Counterparts, which debuted at #2) on the Billboard 200 selling approximately 93,000 copies in its first week of release.[92] This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart regardless of position over the course of their career. The album also debuted at #1 on the Billboard's Top Rock Albums chart, as well as peaking at #1 on the Top Internet Albums chart when the album was released on the MVI format a month later.[93] Still, Snakes & Arrows has yet to accumulate sales that approach or eclipse Vapor Trails or Rush in Rio.

The two consecutive tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the top ten summer rock concerts.[94][95]

Live performances

The members of Rush share a strong work ethic, desiring to accurately recreate songs from their albums when playing live performances. Toward this goal, beginning in the late 1980s, Rush has included in their concert equipment a capacious rack of digital samplers which the band members use, in real-time, to recreate the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" that are familiarly heard on the studio versions of the songs.

In live performances, the band members share duties throughout most songs, with each member triggering certain sounds with his available limbs, while playing his primary instrument(s). Each band member has one or more MIDI controllers that enables him to use his free hands or feet to trigger sounds that have been loaded into the samplers for a particular song.[96] It is with this technology that the group is able to present their arrangements in a live setting with the level of complexity and fidelity that fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member.[97]

The band members' coordinated use of foot-pedal keyboards and other electronic triggers to "play" sampled instruments and audio events is subtly visible in their live performances, especially so on R30: 30th Anniversary World Tour, their 2005 concert DVD.

A staple of Rush's concerts is a Peart drum solo. Peart's drum solos include a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour sees the solo more advanced, with some routines dropped in favor of newer, more complex ones. Since the mid-1980s, Peart has used MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, and vibraslap as well as other, more esoteric percussion.

Philanthropy

Rush actively participates in philanthropic causes. The band was one of a number of hometown favorites to play Molson Canadian Rocks for Toronto, also dubbed SARStock, at Downsview Park in Toronto on July 30, 2003, with an attendance of over half a million people. The concert was intended to benefit the Canadian economy after the SARS outbreaks earlier in the year. The band has also sustained an interest in promoting human rights. They donated $100,000 to the Canadian Museum for Human Rights after a concert they held in Winnipeg on 24 May 2008.[98] Rush continues to sell t-shirts and donate the proceeds to the museum.[99]

The individual members of Rush have also been a part of philanthropic causes. Hughes & Kettner zenTeras and TriAmps have been endorsed and used by Lifeson for many years. A custom signature amplifier was engineered by Lifeson and released in April 2005 with the stipulation that UNICEF will receive a donation in the amount of $50 for every Alex Lifeson Signature TriAmp sold.[100] Lee, a longtime fan of baseball, donated 200 baseballs signed by famous Negro League players, including Willie Mays, Hank Aaron and Josh Gibson, to the Negro Leagues Baseball Museum in June 2008.[101]

The band is featured on the music album Songs for Tibet, appearing with a number of other celebrities as an initiative to support Tibet and the current Dalai Lama Tenzin Gyatso. The album was made downloadable on August 5 via iTunes and was released commercially August 12.[102]

Discography

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

Studio albums


See also

References

Template:Reflist

Further reading

Books

Scholarly articles

External links

Template:Spoken Wikipedia Template:Commonscat Template:Wikiquote

Template:Featured article Template:RushTemplate:Link FA

ca:Rush cs:Rush da:Rush de:Rush et:Rush es:Rush fr:Rush (groupe) hr:Rush id:Rush it:Rush he:ראש (להקה) lv:Rush hu:Rush mt:Rush nl:Rush (band) ja:ラッシュ (バンド) no:Rush nn:Rush pl:Rush pt:Rush ro:Rush ru:Rush simple:Rush (band) sk:Rush (skupina) fi:Rush sq:Rush sv:Rush tr:Rush (grup) uk:Rush zh:匆促樂團s release.[103] The game's success prompted a sequel, Rock Band 2, released for the Xbox 360 on September 14, 2008 and for the Wii and Playstation 2 on December 18th, 2008.

Gameplay

Each instrument is represented by a different interface: bass guitar (left), drums (middle), lead guitar (right), vocals (top). The Band Meter (green meter on left) measures the performance of each band member, while the Energy Meter (gold meter beneath each interface) tracks each player's Overdrive.

Reusing many gameplay elements from the Guitar Hero series, Rock Band players use peripherals modeled after musical instruments to simulate the performance of rock music. Players must play these instruments in time with musical "notes" as they scroll towards them on the screen. Rock Band expands upon the Guitar Hero series, in that it offers gameplay for drums and vocals, in addition to lead and bass guitars.

Rock Band's gameplay and on-screen interface uses a combination of elements from Guitar Hero and Karaoke Revolution.[104] Rock Band has up to three tracks of vertically scrolling colored music notes, one section each for lead guitar, drums, and bass.[104] The colored notes on-screen correspond to buttons on the guitar and drum peripherals.[104] Along the top of the screen is the vocals display, which scrolls horizontally, similar to Karaoke Revolution. The lyrics display beneath green bars, which represent the pitch of the individual vocal elements.[104] The remainder of the screen is used to display the band's virtual characters as they perform in concert.

During cooperative play as a band, all players earn points towards a common score, though score multipliers and "Overdrive" are tracked separately for each player.[104] Overdrive is collected during select portions of a song by successfully playing all white notes within that section (or by using the guitar controller's whammy bar during white sustained notes).[105] Once the Energy Meter is filled halfway, players can deploy their Overdrive, resulting in the "Band Meter" (which tracks how well each player is doing) changing more dramatically. This allows players to strategically use Overdrive to raise the Band Meter and pass portions of a song they otherwise might have failed. Overdrive can be used to activate score multipliers, which vary based on a player's note streak. Players can deploy Overdrive independently of each other, as well as collect additional Overdrive while it is deployed and draining.[105]

Each band member can choose the difficulty at which they play (spanning Easy, Medium, Hard, and Expert). If a player does not play well enough and falls to the bottom of the Band Meter, they will fail out of the song and their instrument will be muted from the audio mix. However, any active player can activate their Overdrive to bring failed players back into the song,[104] "saving" the band member. However, a band member can only be saved twice; after the third failure, they cannot be brought back for that song. Failed players continuously drag the band's Band Meter down until they are saved. If the player is not saved before the Band Meter reaches the bottom, the band fails the song. Players can earn Overdrive bonuses from "Unison Phrases" and extra points from a "Big Rock Ending."

Unlike the Playstation 2 and Wii versions, players with the Xbox 360 or PlayStation 3 versions can create and customize their own in-game character, complete with adjustable hair, body physique, clothing, tattoos, onstage movements, and instruments. Each character is permanently locked into a specific instrument. Using cash earned within the game, the player may purchase items at the in-game "Rock Shop," with which they can customize their rock star. The game features an art maker where players can combine different clip art elements to create custom face paint, tattoos, clothing designs, instrument artwork, and band logos.[106]

Instrument peripherals

The Fender Stratocaster Controller, which features 10 frets, a whammy bar, and an effects switch. The game features special Rock Band-branded guitar controllers modeled after the Fender Stratocaster to be used for the lead and bass guitar gameplay. These are similar to the Guitar Hero controllers; the colored fret buttons corresponding to on-screen notes must be held while the strum bar is pressed. The Stratocaster controller has five additional fret buttons of smaller size located on guitar neck, closer to the guitar's main body. These buttons can be used to play all notes in guitar solos (denoted by the note track turning blue) as hammer-ons and pull-offs, without strumming.[104] Additionally, the controller features an effects pickup switch that can toggle between five different effects, which are applied in solos and when Overdrive is activated. Overdrive for guitarists can be deployed by holding the controller in a vertical position or pressing the "Select/Back" button. The controller is offered in both wired and wireless versions.[107] Harmonix has confirmed most Guitar Hero guitar controllers and additional third-party controllers are compatible with the game,[104][107] with the exception of the Wii Guitar Hero III Gibson Les Paul peripheral[108] (see guitar incompatibility issues). The Stratocaster controller is only compatible with Rock Band.[109]

The drum controller, which features 4 pads, a bass drum pedal, and real drumsticks. The Wii version features white drums. The drum controller features four rubber drum pads and a kick pedal. The pads have colored rings around the edges that correspond to the notes on-screen, representing the snare drum (red), tom-tom (blue), hi-hat (yellow), and crash cymbal (green). The kick pedal simulates the bass drum, with on-screen notes represented as orange horizontal lines. To use the drum controller, players must strike the pads with the included authentic drum sticks and/or press the kick pedal in time with the scrolling notes on-screen. Drummers can improvise in special "freestyle drum fill" sections of songs, indicated by the columns for each note turning a solid color. Overdrive for drummers can be deployed by hitting the crash cymbal (green note for right-handed configuration) that appears directly after a freestyle drum fill. Harmonix representatives have suggested, "If you can play the drum parts on hard, you can pretty much play the drums [in reality]."[106][107]

Rock Band's USB microphone instrument is similar to the model used in the Harmonix-developed Karaoke Revolution games. For the most part, singers are judged on how closely they match the pitch of the song's vocalist. During "talking parts" that do not judge pitch, a phoneme detector will pick up individual vowels and consonants of the spoken lyrics.[111][104] Some sections without vocals will display circle notes, allowing for the microphone to be used as a tambourine and cowbell by tapping it or making vocal cues. Overdrive for singers can be deployed by singing in freestyle vocal sections of songs, denoted by yellow artwork in the background of the vocals interface.

Band World Tour mode

The world map in Band World Tour, which allows the band to select a city, venue, and setlist. "Band World Tour" is the game's primary multiplayer mode. It allows any combination of 2-4 local players to create a virtual band, play gigs, and tour a virtual representation of the world. Although online play is not supported for Band World Tour, players can use the "Band Quickplay" mode to play together as a band online.[112] For the Xbox 360 and PlayStation 3 versions of the game, Band World Tour mode lets bands play in 41 different venues spanning 17 cities, including Los Angeles, Seattle, Boston, New York, London, Sydney, Stockholm, and Rome.[113] After creating their band, characters, and logo, the players can begin playing concerts in small venues in their hometown until they unlock vans, tour buses and private jets, which unlock other cities and continents. Successful performances also earn the band fans, stars, and in-game cash.[114] Most cities and larger venues require the band to achieve a certain number of fans and stars before they are unlocked. In-game venues are inspired by real-life venues and often display local art styles from each of the represented cities.[113]

For the Xbox 360 and PlayStation 3 versions, rather than complete predetermined lists of songs (like in previous Guitar Hero games), players complete unique sets of activities at each venue. Performances consist of single songs, multiple song sets, "make your own" setlists, and mystery setlists.[114] Players are also faced with decisions that Harmonix refers to as "risk-versus-reward."[114] For certain performances, bands are faced with an optional challenge that requires the band to average a certain amount of stars for their gig in order to reap the rewards.[114] Bands can also choose to perform a benefit concert (earning no in-game money but gaining more fans) or "sell-out" (earning more in-game money but losing fans).[114] Additionally, for certain gigs, bands can compete for band personnel, as well as a recording deal with a record label.[114] The "Endless Setlist" provides players with all-day concert experience, as the setlist requires playing the entire game disc's setlist from start to finish.[115]

The PlayStation 2 and Wii versions of Rock Band contain a more stripped-down version of the Band World Tour mode, as 2-4 local players will only be able to play by completing predetermined tiers of songs ordered by difficulty. Players cannot create their own characters, nor can they choose a city, venue, or a setlist to play.[116]

Solo Tour modes

"Solo Tour" is a single-player mode offered for the lead guitar, drum, and microphone peripherals (there is no support for bass). Rather than feature the open-ended gameplay and features of the next-generation versions of Band World Tour mode, Solo Tour is structured much in the same vein as the career mode in Guitar Hero games. Players choose/create their character (on the Xbox 360 and PlayStation 3 versions only) and complete predetermined sets of songs ordered by difficulty, with each instrument's setlist ordered differently. By completing these sets of songs, additional songs are unlocked for play across all game modes. For the PlayStation 3 and Xbox 360 versions, players can use money earned for each performance to purchase merchandise at the "Rock Shop." The character's cash carries over into Band World Tour mode, and vice versa.

Other modes

Players can quickly play any song on any instrument individually in "Solo Quickplay." For a competitive experience, players can individually compete against each other for each instrument type in the "Tug of War" (much like Guitar Hero's "Face-off," in which players trade playing sections of a song to move a meter in their favor) and "Score Duel" (much like Guitar Hero II's "Pro Face-off," in which each player plays the song in its entirety on the same difficulty level to earn points). These head-to-head modes are available both online (for the Xbox 360 and PlayStation 3 versions) and locally.[117] "Band Quickplay" mode allows bands to quickly play any song; the Xbox 360 and PlayStation 3 versions allow any combination of 2-4 local or online players to play as a band, while the PlayStation 2 and Wii versions only support 2-4 local players. Also included in Rock Band are "Tutorial Mode," which allows players to learn how to play each instrument, and "Practice Mode," which allows players to practice songs for each instrument.[107]

Soundtrack

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

All versions of Rock Band feature the same core 58 playable tracks on the game disc; 45 of these are featured tracks in the main setlist, while the other 13 tracks are "bonus songs" by independent or lesser-known bands, as well as bands made up of Harmonix employees.[118][119] In total, 51 of the 58 songs are master recordings. The Wii version of the game features 5 additional songs. Featured tracks include "Dani California" by Red Hot Chili Peppers, "(Don't Fear) The Reaper" by Blue Öyster Cult, "Enter Sandman" by Metallica, "Here It Goes Again" by OK Go, "Highway Star" by Deep Purple, "Learn to Fly" by Foo Fighters, "Suffragette City" by David Bowie, "Wanted Dead or Alive" by Bon Jovi, and "Won't Get Fooled Again" by The Who. All but three songs on the Rock Band disc can be transferred to the user's hard drive on the Xbox 360 or PlayStation 3 to be used for Rock Band 2.[120]

Harmonix co-founder Alex Rigopulos commented that the game's soundtrack would be "covering a great breadth, from metal to classic rock to Southern rock to everything in between."[121] Five record labels agreed to supply most of the master recordings by their artists for use in the game, including EMI Music, Hollywood Records, Sony BMG Music Entertainment, Universal Music Group's Universal Music Enterprises, and Warner Music Group's Rhino Entertainment.[122]

Downloadable songs and Track Packs

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

The PlayStation 3 and Xbox 360 versions of the game support downloadable songs. Users can download songs on a track-by-track basis, with many of the tracks digitally bundled together in "song packs" or complete albums at a discounted rate.[123] Harmonix has likened the Rock Band game to a new platform for future music releases, and the company built the library of downloadable content up to hundreds of songs within the first year of the game's release by releasing new content on a weekly basis.[124] Fifteen songs were made available at the game's launch date. To date, over 345 downloadable songs are available[125] and over 30 million song purchases have been made by players.[103] Downloadable songs are playable within every game mode,[126] including the Band World Tour career mode.[114] All downloadable songs, both existing and forthcoming, are cross-compatible between Rock Band and Rock Band 2.[127] Downloadable albums have been a major selling point for the game, with nine albums having been released to date.[128] Currently, most song packs containing three songs are priced at $5.49/440 MSP, while most individual songs are available for the standard price of $1.99/160 MSP. Occasionally, certain songs are initially priced at $0.99/80 MSP for a limited time. The prices for albums differ, depending on the amount of songs the album contains. As of December 2008,

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

As both the PlayStation 2 and Wii version lack downloadable content, Harmonix is releasing a series of "Track Pack" standalone games that are sold in retail stores. Each volume contains several of the tracks available as downloadable content for Xbox 360 and PlayStation 3. Track Pack Vol. 2 saw an expanded release on the Xbox 360 and PlayStation 3, as well. One Track Pack, exclusively featuring the songs of AC/DC's 1991 Live at Donington concert, was released in November 2008.[129]

Development

Harmonix Music Systems was previously responsible for making the Guitar Hero series, while RedOctane manufactured the peripherals and owned the rights to the series. However, in June 2006, RedOctane was bought by Activision, while in September 2006, Harmonix was purchased by MTV Networks. As a result of the two purchases, Harmonix would no longer be able to develop future Guitar Hero games. Instead, Neversoft, a subsidiary of Activision, would take over development; the company released Guitar Hero III: Legends of Rock on October 28, 2007.[130][131]

Rock Band was first announced on April 1, 2007.[132] Harmonix CEO Alex Rigopulos said in the announcement that Rock Band "takes the core premise of Guitar Hero and expands it tenfold. It lets you create a complete collaborative band."[132]

Current Harmonix parent company MTV has been providing financial support to the development process, taking advantage of its stature to facilitate deals with record companies for licensing rights to songs.[132] Several record companies have pledged their support by offering master recordings.[133] Pressed for office space, Harmonix was forced to move its offices in the middle of Rock Band's beta period in order to support the company's 130-person staff.[134] Although the Xbox 360 and PlayStation 3 versions of the game were developed in-house, Harmonix outsourced development of the PlayStation 2 version to Pi Studios, as it omits certain features.[135]

Rock Band was a featured game at the 2007 E3 convention and provided one of the exhibition's highlights; Harmonix employees and Microsoft executive Peter Moore played the game on-stage, performing The Hives' "Main Offender". Moore infamously paused the game twice when he accidentally hit the guitar's Xbox Guide button.

Harmonix faced difficulty in making the Xbox 360 guitar wireless, as developers are charged a licensing fee to use Microsoft's wireless technology. Had Harmonix chosen to pay the fee, the Xbox 360 and PlayStation 3 bundles of Rock Band would have sold at different price points. Instead, Harmonix elected to choose a wired technology for the Xbox 360 bundle's guitar.[135]

According to the January 28, 2008 edition of KCRW's "The Business", the game cost $200 million to develop.[136] Harmonix's Vice President of Product Development, Greg LoPiccolo, stated that the game took about twenty months to develop, already having envisioned the possibility of different instruments before they were completed with the Guitar Hero series.[137]

A Wii version of the game was officially announced on January 31, 2008 by Electronic Arts CEO John Riccitiello,[138] and had a release date of June 22, 2008 in North America. This version of the game excludes features such as the online functionality found in the Xbox 360 and PlayStation 3 versions, instead having "functionality similar to the PS2 version".[139] The game disc includes all 58 playable tracks found in other versions of Rock Band, as well as five additional songs already available as downloadable content.[3][140]

A software update was released on March 21, 2008, which added new features to the game. The update included an in-game music store with preview and sorting options, revised microphone performance, and faster downloadable content loading.[141]

Online community

On October 25, 2007, Harmonix and MTV announced RockBand.com would be transformed into an extensive community website at the game's launch, and that it would extend the features of the game. The community website was absent at the game's launch in order to fix bugs and complete features, but was deployed on December 19, 2007. The site allows for leaderboards, customizable band profile pages with stats, a classified area for bands to find additional members, band blogs, online forums, and other sharing features.[142] Many originally announced features, such as the ability for players to pose their avatars, take photo shoots and order T-shirts, bumper stickers, and figurines,[124] were eventually made available on the website for Rock Band 2.

Promotion

MTV and Harmonix promoted Rock Band heavily in the months leading up to the game's release. The game made a nationwide promotional tour of the United States.[143] Several tour buses made stops at major American cities to set up demo stations and showcase playable versions of the game for fans.[143] Many of the locations included college campuses. Additionally, fan-created "bands" were able to audition on-stage by playing the game; their performances were recorded and sent to MTV casting directors, who selected two bands to appear on Total Request Live in a "battle of the bands." The promotional tour commenced with a featured showcase at the MTV Video Music Awards in Las Vegas on September 9, 2007.[143]

MTV will be investing in additional promotions that total about $30 million.[144] The game will be set up within the homes of The Real World participants, allowing for on-air visibility.[144] VH1 also produced a brief spoof documentary in the style of Behind the Music titled "Rock Band Cometh: The Rock Band Band Story," documenting a fictional band that plays the game.[144]

The game has also appeared in demo kiosks at Best Buy, Wal-Mart, and Sam's Club stores. The demo contains 15 songs and supports gameplay for all 4 instruments (although the actual in-store setup varies). The demo's drum set lacks a bass pedal, with the game automatically playing bass drum notes.

Other companies have also helped to promote Rock Band through free and reduced cost downloadable content. Best Buy offered two free downloadable tracks by the band Disturbed for customers that pre-ordered their Indestructible album online; these tracks were made available to all users in June 2008 for $.99/80MSP.[145] McDonald's sponsored a month-long program that reduced the cost of two selected downloadable tracks to $1 (approximately half the standard cost) for each week during the month of May 2008 as part of their Dollar Menu promotion.[146]

The United Kingdom release of the game took place in London, where a number of bands including The Automatic, The Whip, and The Courteeners performed short sets.[147]

Bundle and pricing

Special Edition bundles
Features Xbox 360 PlayStation 3 PlayStation 2 Wii
Original price US$169.99 US$169.99 US$159.99 US$169.99
Release date (US) November 20, 2007 November 20, 2007 December 18, 2007 June 22, 2008
Guitar controller type Wired Wireless Wireless Wireless

The "Special Edition" bundle includes the game software, as well as guitar, drum, and microphone peripherals; the Wii, Xbox 360, and PlayStation 3 bundles originally cost US$169.99, while the PlayStation 2 bundle originally cost US$159.99.[148] The PlayStation 2, PlayStation 3, and Wii bundles include a wireless guitar, whereas the Xbox 360 bundle contains a wired guitar (a separate wireless guitar is currently available for the Xbox 360). Initially, a USB hub was only included in the Xbox 360, Wii, and PlayStation 2 bundles, in order to increase the number of available USB ports on the console. The more recent PlayStation 3 bundles now include a USB hub, with a sticker on the box indicating so.[149] MTV originally announced Rock Band would be released for the Xbox 360 and PlayStation 3 on November 23, 2007, Black Friday, one of the busiest shopping days in the United States.[148] However, the release date was eventually moved to November 20, 2007.[1]

The game software was made available for purchase individually at the game's launch,[150] allowing players with a USB microphone or a compatible guitar controller to take advantage of the vocals, lead guitar, and bass guitar gameplay. Individual Rock Band-branded instruments became available in retail stores later, starting with the drum kit on February 12, 2008, priced at US$79.99. An individual wireless guitar became available on April 8, 2008 for US$59.99.

On April 8, 2008, EA announced a timed Xbox 360 exclusive for a partial European launch, with other versions to follow later in the summer[151]. The pricing is set at £50/€70 for the game software and £130/€170 for an "Instrument Pack" (only the guitar, drums and microphone); the £180/€240 outlay required for the complete game package is more than double the $170 American RRP, at $375, causing anger among gamers.[152]

Technical issues and guitar incompatibility

A snapped bass drum pedal. This is one common malfunction occurring in Rock Band peripherals Upon release, many players reported hardware issues with Rock Band peripherals. Many complaints stemmed from the bass drum pedal snapping in half, the Stratocaster controller's strum bar being unresponsive, and it occasionally lagging when tilted to activate Overdrive.[153] In response to these issues, Harmonix admitted the guitars bundled with initial shipment of the game bundles were subject to manufacturing issues and has stated that they will replace all faulty peripherals.[154] Players affected by faulty peripherals can take advantage of the 60 day warranty on the peripherals and obtain replacements from EA. However, a class action lawsuit has been issued against Harmonix, MTV Games, Viacom, and Electronic Arts over the failures of the bass drum pedal, claiming the companies conspired to force consumers to pay for repairs or upgrade to the Rock Band 2 drum kit.[155][156]

Other players discovered at the game's launch that the Gibson Les Paul guitar controller bundled with the PlayStation 3 version of Guitar Hero III: Legends of Rock was initially not compatible with the PlayStation 3 version of Rock Band, despite Harmonix stating that any controllers that followed the open-controller standard would work. While this incompatibility could have been resolved through technical solutions, both Harmonix and Activision cited the other party as being at fault for failing to correct the incompatibility. Harmonix developed a patch to fix the issue, but it was blocked by Activision.[157] Activision stated that MTV Games was unwilling to reach an agreement to pay Activision to use the Guitar Hero III technology in Rock Band.[158] This incompatibility also applies to the Wii's Les Paul peripheral. However, a patch for the PlayStation 3 version of Rock Band, released on September 11, 2008, allows the Guitar Hero III Les Paul controller to work with Rock Band. Nyko has released a PlayStation 3 version of their "Frontman" guitar controller that is compatible with both Guitar Hero III and Rock Band.[159]

At a press conference at the 2008 E3 convention, Activision confirmed that the Xbox 360 version of Guitar Hero World Tour will be able to use Rock BandTemplate:Infobox musical artist Template:Portal Rush is a Canadian rock band originally formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario, currently composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their definitive form when Neil Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first U.S. tour.

Since the release of the band's self-titled debut album in March 1974, Rush has become known for the instrumental skills of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and libertarian philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns.

Musically, Rush's style has evolved over the years, beginning in the vein of blues-inspired heavy metal on their first albums, then encompassing hard rock, progressive rock, a period dominated by synthesizers and, more recently, modern rock. They have influenced various musical artists, including Metallica,[7][8] The Smashing Pumpkins[9] and Primus,[9] as well as progressive metal bands such as Dream Theater[7] and Symphony X.[10]

Rush has won a number of Juno Awards, and was inducted into the Canadian Music Hall of Fame in 1994. Over the course of their careers, the individual members of Rush have been acknowledged as being some of the most proficient players on their respective instruments, with each band member winning several awards in magazine readers' polls. As a group, Rush possesses 24 gold records and 14 platinum (3 multi-platinum) records. According to the RIAA, Rush's sales statistics place them fourth behind The Beatles, The Rolling Stones and Aerosmith for the most consecutive gold or platinum albums by a rock band. Rush also ranks 78th in U.S. album sales with 25 million units.[11] Although total worldwide album sales are not calculated by any single entity, as of 2004 several industry sources estimated Rush's total worldwide album sales at over 40 million units.

The band recently finished promoting their latest album, Snakes & Arrows with an intercontinental tour. The second leg began in San Juan, Puerto Rico on April 11, and ended on July 24, 2008 in Noblesville, Indiana.[12]

History

Template:Details

The early years (1968–1976)

Template:Sound sample box align right Template:Listen Template:Sample box end

The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, front man Jeff Jones, and drummer John Rutsey. Within a couple weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[13][14]

After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Rutsey and Lee. The single generated little reaction and, due to record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[15] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[16][17] Image:Starman.png

Immediately after the release of the debut album, Rutsey resigned in July 1974 due to his affliction with diabetes and a distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first US tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a handful of song lyrics over the rest of the band's career. Instead, they focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart due to his love for fantasy and science-fiction literature.[19] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[20][19]

Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Caress of Steel was reported by some critics to be unfocused and an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[21] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour."[22] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commercial success and their first platinum album in Canada.[23] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic Guide critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[24][25]

The progressive rock era (1977–1981)

After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding their use of progressive elements in their music. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[26]

Permanent Waves (1980) shifted Rush's style of music dramatically via the introduction of reggae and new wave.[27] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[28] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanistic, social, emotional and metaphysical elements. Template:Sound sample box align left Template:Listen Template:Sample box end Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[29] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[30]

Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of Signals in 1982.[31]

The synthesizer period (1982–1989)

Image:Oberheim OBX.jpg

While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[32][33] as evidenced by songs such as "Countdown" and the lead-off track "Subdivisions". Both feature nimble lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[31] Template:Sound sample box align right Template:Listen Template:Sample box end Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[34] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[35] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.

Image:DM Simmons SDS5.jpg

The style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Eventually Rush hired Peter Henderson to co-produce and engineer the album in his stead.[36]

Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[37] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Distant Early Warning", "Red Lenses", "Red Sector A" and "The Enemy Within" serve as prime examples.

With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable on "The Big Money", (the album's modest-charting single) with spotlights on "Grand Designs", "Middletown Dreams" and "Marathon." Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Ed Rivadavia, the culmination of this era of Rush.[38] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[39]

A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the 80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[40] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[41] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[42]

Returning to their roots (1989–1997)

Template:Sound sample box align right Template:Listen Template:Sample box end Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush stuck to their creative approach of incorporating traces of more exotic musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[43] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.

The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[44] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[44] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band.[45] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of several relatively complex musical passages repeated throughout. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[46] In October 1996, in support of Test For Echo, the band embarked on an extensive and successful North American tour, the band's first without an opening act and dubbed "An Evening with Rush." The tour was broken up into two segments spanning October through December, 1996 and May through July, 1997 with the band taking a respite between legs.

Hiatus and comeback (1997–2005)

After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[47] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band. Template:Sound sample box align left Template:Listen Template:Sample box end After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners due to its rapid guitar and drum tempos.[48] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[48] The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.

A triple CD live album and dual Rush In Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[49] Also in the summer of 2004, Rush hit the road again for the very successful 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005.

Snakes & Arrows (2006–present)

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry," was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[50]

The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released 1 May 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[51] To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[52] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[53]

The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[54] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[55] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 was released November 24 as a DVD and Blu-Ray set, which also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[56][57] [58]

As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[59]

Musical style and influences

Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who[60] and Led Zeppelin,[15] but also became increasingly influenced by the British progressive rock movement.[61] In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae and pop rock.[62] This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire.[63] With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement.[64] The new millennium has seen them return to a more rock and roll roots sound, albeit with modern production.[60]

Band members

Former members

  • John Rutsey – drums, percussion, backing vocals (August 1968 – July 1974)
  • Jeff Jones – bass, lead vocals (August 1968 – September 1968)

Template:Details

Reputation

More than 30 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, such changes have inevitably resulted in dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this is a great source of contention in the Rush camp, especially the band's heavy reliance on synthesizers and keyboards during the 1980s, particularly on albums Grace Under Pressure, Power Windows, and Hold Your Fire.[65][66] Still, most fans saw this as nothing less than artistic growth and support for the band remained unwavering through each transitional phase.[63]

The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. To the chagrin of fans, the band has not been nominated for entry into the American Rock and Roll Hall of Fame since their year of eligibility in 1998. The Hall's refusal to induct Rush may be a consequence of the band's insistence on remaining outside the mainstream of rock when it comes to self-promotion, in favor of maintaining a high degree of independence.[67] To this day fans earnestly clamor for the band's inclusion into the Hall by citing noteworthy accomplishments including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications. However, Lifeson has expressed his indifference toward the perceived slight saying "I couldn't care less, look who's up for induction, it's a joke".[68] Rush has gained a degree of recognition in popular culture despite any official recognition from the Hall.[69]

As a band, Rush has been nominated for and received various awards throughout its career. Likewise, the individual members have received coverage in various modern music magazines with specific technocratic recognition for instrumental ability. See List of Rush awards for more details on this topic.

Geddy Lee

Image:GeddyLee.JPG

Geddy Lee's high-register vocal style has always been a signature of the band — and sometimes, a focal point for criticism, especially during the early years of Rush's career when Lee's vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin. Although his voice has softened over the years, it is often described as a "wail".[70][71] His instrumental abilities, on the other hand, are rarely criticized. An award-winning musician, Lee's style, technique, and ability on the bass guitar have proven influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden,[72] John Myung of Dream Theater,[73] Les Claypool of Primus[74] and Cliff Burton of Metallica[75] among others. Lee is notable for his ability to operate various pieces of instrumentation simultaneously. This is mostly evident during live shows when Lee must play bass, supply lead vocals, manipulate keyboards, and trigger foot pedals during the course of a performance, as in the song "Tom Sawyer".[61] Because of this he is required to remain in one place during songs containing complex instrumentation. Lifeson and Peart are, to a lesser extent, responsible for similar actions during live shows.

Alex Lifeson

Image:Alex Lifeson6.jpg

Instrumentally, Lifeson is regarded as a guitarist whose strengths and notability rely primarily on signature riffing, electronic effects and processing, unorthodox chord structures, and a copious arsenal of equipment used over the years.[76][77][78] Despite his esteem, however, Lifeson is often regarded as being overshadowed by his bandmates due to Lee's on-stage multi-instrumental dexterity and Peart's status as a drummer.[79]

During his adolescent years, he was influenced primarily by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton and Jimmy Page.[80] For versatility, Lifeson was known to incorporate touches of Spanish and classical music into Rush's guitar-driven sound during the 1970s. Taking a backseat to Lee's keyboards in the 1980s, Lifeson's guitar returned to the forefront in the 1990s, and especially on 2002's Vapor Trails. During live performances, he is still responsible for cuing various guitar effects, the use of bass-pedal synthesizers and backing vocals.

Neil Peart

Music

Peart is commonly regarded by music fans, critics and fellow musicians as one of, if not the greatest rock drummers.[81] He is also regarded as one of the finest practitioners of the in-concert drum solo.[82] Initially inspired by Keith Moon, Peart absorbed the influence of other rock drummers from the 1960s and 1970s such as Ginger Baker, Carmine Appice, and John Bonham.[83] Incorporation of unusual instruments (for rock drummers of the time) such as cowbells, glockenspiel, and tubular bells, along with several standard kit elements, helped create a highly varied setup. Continually modified to this day, Peart's drumkit offers an enormous array of percussion instruments for sonic diversity. For two decades Peart honed his technique; each new Rush album introduced an expanded percussive vocabulary. In the 1990s, he reinvented his style with the help of drum coach Freddie Gruber. Image:Neil Peart3.jpg

Lyrics

Peart also serves as Rush's primary lyricist, attracting much attention over the years due to his eclectic style. Known for penning concept suites and songs inspired by literature, music fan opinions of his writing have varied greatly, running the gamut from cerebral and insightful to overly pretentious and preachy. During the band's early years, Peart's lyrics were largely fantasy/science fiction-focused,[84] though since 1980 he has focused more on social, emotional, and humanitarian issues. Peart's lyrics continue to divide audiences today. For example, in 2007, he was placed second on Blender magazine's list of the "40 Worst Lyricists In Rock".[85]

Sales

Over the course of their career, Rush has come to release 24 gold records and 14 platinum records (3 of which have gone multiplatinum),[86] placing them within the top 4 for the most consecutive gold albums by a rock band.[87] Rush ranks 78th in U.S. album sales according to the RIAA with sales of 25 million units.[87] Total worldwide sales approximate 40 million units.[88][89][90][91]

Despite having completely dropped out of the public eye for five years after the gold-selling Test for Echo (which peaked at number 5 on the Billboard 200) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached #6 on the Billboard 200 chart in its first week of release in 2002 with 108,000 albums sold. It has sold approximately 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show — 60,000 fans in São Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status.

However, Rush's triple CD live album, 2003's Rush in Rio, was certified gold by the RIAA, marking the fourth decade in which a Rush album had been released and certified at least gold. Moreover, in 2004 Feedback cracked the top 20 on the Billboard 200 chart and received radio airplay. The band's most recent album, Snakes & Arrows, debuted at #3 (just one position shy of Rush's highest peaking album, 1993's Counterparts, which debuted at #2) on the Billboard 200 selling approximately 93,000 copies in its first week of release.[92] This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart regardless of position over the course of their career. The album also debuted at #1 on the Billboard's Top Rock Albums chart, as well as peaking at #1 on the Top Internet Albums chart when the album was released on the MVI format a month later.[93] Still, Snakes & Arrows has yet to accumulate sales that approach or eclipse Vapor Trails or Rush in Rio.

The two consecutive tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the top ten summer rock concerts.[94][95]

Live performances

The members of Rush share a strong work ethic, desiring to accurately recreate songs from their albums when playing live performances. Toward this goal, beginning in the late 1980s, Rush has included in their concert equipment a capacious rack of digital samplers which the band members use, in real-time, to recreate the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" that are familiarly heard on the studio versions of the songs.

In live performances, the band members share duties throughout most songs, with each member triggering certain sounds with his available limbs, while playing his primary instrument(s). Each band member has one or more MIDI controllers that enables him to use his free hands or feet to trigger sounds that have been loaded into the samplers for a particular song.[96] It is with this technology that the group is able to present their arrangements in a live setting with the level of complexity and fidelity that fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member.[97]

The band members' coordinated use of foot-pedal keyboards and other electronic triggers to "play" sampled instruments and audio events is subtly visible in their live performances, especially so on R30: 30th Anniversary World Tour, their 2005 concert DVD.

A staple of Rush's concerts is a Peart drum solo. Peart's drum solos include a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour sees the solo more advanced, with some routines dropped in favor of newer, more complex ones. Since the mid-1980s, Peart has used MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, and vibraslap as well as other, more esoteric percussion.

Philanthropy

Rush actively participates in philanthropic causes. The band was one of a number of hometown favorites to play Molson Canadian Rocks for Toronto, also dubbed SARStock, at Downsview Park in Toronto on July 30, 2003, with an attendance of over half a million people. The concert was intended to benefit the Canadian economy after the SARS outbreaks earlier in the year. The band has also sustained an interest in promoting human rights. They donated $100,000 to the Canadian Museum for Human Rights after a concert they held in Winnipeg on 24 May 2008.[98] Rush continues to sell t-shirts and donate the proceeds to the museum.[99]

The individual members of Rush have also been a part of philanthropic causes. Hughes & Kettner zenTeras and TriAmps have been endorsed and used by Lifeson for many years. A custom signature amplifier was engineered by Lifeson and released in April 2005 with the stipulation that UNICEF will receive a donation in the amount of $50 for every Alex Lifeson Signature TriAmp sold.[100] Lee, a longtime fan of baseball, donated 200 baseballs signed by famous Negro League players, including Willie Mays, Hank Aaron and Josh Gibson, to the Negro Leagues Baseball Museum in June 2008.[101]

The band is featured on the music album Songs for Tibet, appearing with a number of other celebrities as an initiative to support Tibet and the current Dalai Lama Tenzin Gyatso. The album was made downloadable on August 5 via iTunes and was released commercially August 12.[102]

Discography

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

Studio albums


See also

References

Template:Reflist

Further reading

Books

Scholarly articles

External links

Template:Spoken Wikipedia Template:Commonscat Template:Wikiquote

Template:Featured article Template:RushTemplate:Link FA

ca:Rush cs:Rush da:Rush de:Rush et:Rush es:Rush fr:Rush (groupe) hr:Rush id:Rush it:Rush he:ראש (להקה) lv:Rush hu:Rush mt:Rush nl:Rush (band) ja:ラッシュ (バンド) no:Rush nn:Rush pl:Rush pt:Rush ro:Rush ru:Rush simple:Rush (band) sk:Rush (skupina) fi:Rush sq:Rush sv:Rush tr:Rush (grup) uk:Rush zh:匆促樂團s instruments, adapting the note tracks to account for the smaller number of drum pads, and that this compatibility was patched into Guitar Hero: Aerosmith as a result of additional arrangements.[160][161] Specific details between Harmonix and Activision's resolution to allow this have not yet been made.

Sequel

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

Rock Band 2 was officially announced on June 30, 2008, and was released on September 14, 2008 release on the Xbox 360, with other platform releases to follow later in the year. Original instruments from Rock Band are compatible with Rock Band 2, which features new instruments that been described as quieter and more reliable. Furthermore, both existing and any forthcoming downloadable content will be cross-compatible between Rock Band and Rock Band 2.[162][163] Rock Band 2 saw enhancements to the existing Band World Tour mode, as well as inclusions of new "Drum Trainer" and "Battle of the Bands" modes. 55 of the 58 Rock Band songs can be exported for use in Rock Band 2, with the purchase of a $5 export key.

Reception

Xbox 360 and PlayStation 3
Publication Score Notes
1UP.com A[164]
Electronic Gaming Monthly 9.0, 9.5, 9.0 Gold Award
Game Informer 9.25/10[165]
GamePro 5/5[166]
GameSpot 9.0/10[167] Editor's Choice Award
IGN 9.4/10[168] Editor's Choice Award
Official Xbox Magazine 9.5/10[169] Editor's Choice Award
Wired 10/10[170]
X-Play 5/5
Awards
2007 1UP Network Editorial Awards </nowiki> *Best Multiplayer Experience <small>(console)</small><ref name="1up07" /> |- |''[[GamePro]]'' Editors' Choice 2007 |style="text-align: left;" colspan="2"|<nowiki>
GameSpot's Best of 2007 </nowiki> *Best Rhythm/Music Game<ref name="gs07a" /> *Best New Gaming Hardware<ref name="gs07b" /> *Best Downloadable Content<ref name="gs07c" /> *Best Sound Design<ref name="gs07d" /> *Best Multiplayer Game<ref name="gs07e" /> |- |[[IGN]]'s Best of 2007 |style="text-align: left;" colspan="2"|<nowiki>
  • Best Music Game (360/PS3)[173][174]
  • Best Local Multiplayer Game (360/PS3)[175][176]
  • Best Downloadable Content (PS3)[177]
  • Best Console Peripheral[178]
  • Best Music Game[179]
  • Best Licensed Soundtrack[180]
  • Best Local Multiplayer Game[181]
Official Xbox Magazine 2007
Game of the Year Awards
</nowiki> *Best Reason to Move to a Bigger House/Apartment<ref name="oxm07" /> *Studio of the Year (Harmonix)<ref name="oxm07" /> *Game of the Year<ref name="oxm07" /> |- |2007 [[Spike Video Game Awards]] |style="text-align: left;" colspan="2"|<nowiki>
Wired's Top 10 Games of 2007 </nowiki> *Game of the Year<ref name="wired" /> |- |''[[X-Play]]'' Best of 2007 Awards |style="text-align: left;" colspan="2"|<nowiki>
  • Best Multiplayer Game
PlayStation 2
Publication Score Notes
1UP.com B+[183]
GameSpot 8.0/10[184]
IGN 8.4/10[185]
Wii
Publication Score Notes
1UP.com B-[186]
IGN 7.9/10[187]
Game Informer 8.25/10[188]
X-Play 4/5[189]
NGamer 80%
Official Nintendo Magazine 69%

Prior to release, EA CEO John Riccitielo remarked that the company would not be able to meet the high demand for Rock Band in the 2007 holiday season, stating, "We're not going to be able to put enough inventory to meet demand in North America or Europe this calendar year or this fiscal [year]."[190] This prompted many retailers to limit the number of preorders they sold before the game was released.

Official Xbox Magazine published the first review of Rock Band, scoring the Xbox 360 version a 9.5/10 and calling it "gaming's most intensely rewarding co-op experience." OXM also commented that the game's "payoff isn't visceral or technical; it's emotional."[169] IGN awarded the game a 9.4/10 score and an Editor's Choice Award for the Xbox 360 and PlayStation 3 versions. IGN largely praised the game, calling it "one of the must-have games of the year" and suggesting it "may just be among the best party games ever released."[168] 1UP.com gave the next-generation versions of the game an A,[164] stating that "Rock Band unquestionably, unequivocally rocks." GameSpot rated the next-generation versions of the game a 9.0/10, calling Rock Band "one of the best party games of all time." They also gave the game their Editor's Choice award.[167] The Xbox 360 version of Rock Band has an average critic score of 92%, according to Metacritic, tying it for the 11th highest scored Xbox 360 game to date, as of October 2008.[191] Similarly, the PlayStation 3 version of Rock Band has an average critic score of 92% on Metacritic, making it the 7th highest scored PlayStation 3 game to date, as of November 2008.[192]

Most critics[164][165][167][168][169] have commended the Xbox 360 and PlayStation 3 versions of Rock Band for the game's group gameplay, the depth of Band World Tour mode, and the introduction of a drum peripheral. Common complaints about the game focus on the different feel of the packaged Fender Stratocaster controller,[165][168][169] as well as the game's Solo Tour modes not being as enjoyable as the multiplayer offerings.[164][168] IGN's video review lamented the lack of a single player Band World Tour mode.

The PlayStation 2 version of the game was well received, but was subject to criticism for the omission of the character customization features, as well as the stripped-down Band World Tour mode. GameSpot rated it an 8.0/10, stating that "Rock Band is still a lot of fun on the PS2--it's just nowhere near the ideal version of the experience."[184] IGN.com rated it an 8.4/10, noting that the removed features made the game feel like a "lessened" version, but that the game still "succeeds because it's infinitely fun to play with your friends."[185]

Reviews for the Wii version of Rock Band also criticize the lack of features compared to the PlayStation 3 and Xbox 360 versions. The Wii version is basically the same as its PlayStation 2 counterpart, but IGN criticized it for its late release and their effort in completing a full game. However, IGN notes that the drum controller is an improvement over the original version, stating, "The pads are quieter and the kick pedal will withstand more abuse."[187]

Sales

As of October 9, 2008, the game has sold four million units and generated global revenues of $600 million.[6] The sales of Rock Band have helped Viacom to become the fifth largest video game publisher in the United States, although analysts estimate that Viacom is only breaking even on sales of the game.[193]

As of December 2008, over 30 million downloadable songs purchases have been made from the Rock Band music store.[103] Viacom estimates that it is averaging the sale of 1 million downloadable songs every 9 days.[193] Sales of songs have been in favor of hard rock bands; Mötley CrüeTemplate:Infobox musical artist Template:Portal Rush is a Canadian rock band originally formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario, currently composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their definitive form when Neil Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first U.S. tour.

Since the release of the band's self-titled debut album in March 1974, Rush has become known for the instrumental skills of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and libertarian philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns.

Musically, Rush's style has evolved over the years, beginning in the vein of blues-inspired heavy metal on their first albums, then encompassing hard rock, progressive rock, a period dominated by synthesizers and, more recently, modern rock. They have influenced various musical artists, including Metallica,[7][8] The Smashing Pumpkins[9] and Primus,[9] as well as progressive metal bands such as Dream Theater[7] and Symphony X.[10]

Rush has won a number of Juno Awards, and was inducted into the Canadian Music Hall of Fame in 1994. Over the course of their careers, the individual members of Rush have been acknowledged as being some of the most proficient players on their respective instruments, with each band member winning several awards in magazine readers' polls. As a group, Rush possesses 24 gold records and 14 platinum (3 multi-platinum) records. According to the RIAA, Rush's sales statistics place them fourth behind The Beatles, The Rolling Stones and Aerosmith for the most consecutive gold or platinum albums by a rock band. Rush also ranks 78th in U.S. album sales with 25 million units.[11] Although total worldwide album sales are not calculated by any single entity, as of 2004 several industry sources estimated Rush's total worldwide album sales at over 40 million units.

The band recently finished promoting their latest album, Snakes & Arrows with an intercontinental tour. The second leg began in San Juan, Puerto Rico on April 11, and ended on July 24, 2008 in Noblesville, Indiana.[12]

History

Template:Details

The early years (1968–1976)

Template:Sound sample box align right Template:Listen Template:Sample box end

The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, front man Jeff Jones, and drummer John Rutsey. Within a couple weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[13][14]

After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Rutsey and Lee. The single generated little reaction and, due to record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[15] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[16][17] Image:Starman.png

Immediately after the release of the debut album, Rutsey resigned in July 1974 due to his affliction with diabetes and a distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first US tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a handful of song lyrics over the rest of the band's career. Instead, they focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart due to his love for fantasy and science-fiction literature.[19] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[20][19]

Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Caress of Steel was reported by some critics to be unfocused and an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[21] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour."[22] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commercial success and their first platinum album in Canada.[23] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic Guide critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[24][25]

The progressive rock era (1977–1981)

After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding their use of progressive elements in their music. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[26]

Permanent Waves (1980) shifted Rush's style of music dramatically via the introduction of reggae and new wave.[27] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[28] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanistic, social, emotional and metaphysical elements. Template:Sound sample box align left Template:Listen Template:Sample box end Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[29] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[30]

Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of Signals in 1982.[31]

The synthesizer period (1982–1989)

Image:Oberheim OBX.jpg

While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[32][33] as evidenced by songs such as "Countdown" and the lead-off track "Subdivisions". Both feature nimble lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[31] Template:Sound sample box align right Template:Listen Template:Sample box end Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[34] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[35] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.

Image:DM Simmons SDS5.jpg

The style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Eventually Rush hired Peter Henderson to co-produce and engineer the album in his stead.[36]

Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[37] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Distant Early Warning", "Red Lenses", "Red Sector A" and "The Enemy Within" serve as prime examples.

With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable on "The Big Money", (the album's modest-charting single) with spotlights on "Grand Designs", "Middletown Dreams" and "Marathon." Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Ed Rivadavia, the culmination of this era of Rush.[38] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[39]

A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the 80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[40] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[41] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[42]

Returning to their roots (1989–1997)

Template:Sound sample box align right Template:Listen Template:Sample box end Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush stuck to their creative approach of incorporating traces of more exotic musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[43] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.

The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[44] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[44] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band.[45] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of several relatively complex musical passages repeated throughout. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[46] In October 1996, in support of Test For Echo, the band embarked on an extensive and successful North American tour, the band's first without an opening act and dubbed "An Evening with Rush." The tour was broken up into two segments spanning October through December, 1996 and May through July, 1997 with the band taking a respite between legs.

Hiatus and comeback (1997–2005)

After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[47] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band. Template:Sound sample box align left Template:Listen Template:Sample box end After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners due to its rapid guitar and drum tempos.[48] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[48] The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.

A triple CD live album and dual Rush In Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[49] Also in the summer of 2004, Rush hit the road again for the very successful 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005.

Snakes & Arrows (2006–present)

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry," was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[50]

The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released 1 May 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[51] To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[52] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[53]

The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[54] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[55] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 was released November 24 as a DVD and Blu-Ray set, which also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[56][57] [58]

As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[59]

Musical style and influences

Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who[60] and Led Zeppelin,[15] but also became increasingly influenced by the British progressive rock movement.[61] In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae and pop rock.[62] This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire.[63] With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement.[64] The new millennium has seen them return to a more rock and roll roots sound, albeit with modern production.[60]

Band members

Former members

  • John Rutsey – drums, percussion, backing vocals (August 1968 – July 1974)
  • Jeff Jones – bass, lead vocals (August 1968 – September 1968)

Template:Details

Reputation

More than 30 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, such changes have inevitably resulted in dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this is a great source of contention in the Rush camp, especially the band's heavy reliance on synthesizers and keyboards during the 1980s, particularly on albums Grace Under Pressure, Power Windows, and Hold Your Fire.[65][66] Still, most fans saw this as nothing less than artistic growth and support for the band remained unwavering through each transitional phase.[63]

The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. To the chagrin of fans, the band has not been nominated for entry into the American Rock and Roll Hall of Fame since their year of eligibility in 1998. The Hall's refusal to induct Rush may be a consequence of the band's insistence on remaining outside the mainstream of rock when it comes to self-promotion, in favor of maintaining a high degree of independence.[67] To this day fans earnestly clamor for the band's inclusion into the Hall by citing noteworthy accomplishments including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications. However, Lifeson has expressed his indifference toward the perceived slight saying "I couldn't care less, look who's up for induction, it's a joke".[68] Rush has gained a degree of recognition in popular culture despite any official recognition from the Hall.[69]

As a band, Rush has been nominated for and received various awards throughout its career. Likewise, the individual members have received coverage in various modern music magazines with specific technocratic recognition for instrumental ability. See List of Rush awards for more details on this topic.

Geddy Lee

Image:GeddyLee.JPG

Geddy Lee's high-register vocal style has always been a signature of the band — and sometimes, a focal point for criticism, especially during the early years of Rush's career when Lee's vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin. Although his voice has softened over the years, it is often described as a "wail".[70][71] His instrumental abilities, on the other hand, are rarely criticized. An award-winning musician, Lee's style, technique, and ability on the bass guitar have proven influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden,[72] John Myung of Dream Theater,[73] Les Claypool of Primus[74] and Cliff Burton of Metallica[75] among others. Lee is notable for his ability to operate various pieces of instrumentation simultaneously. This is mostly evident during live shows when Lee must play bass, supply lead vocals, manipulate keyboards, and trigger foot pedals during the course of a performance, as in the song "Tom Sawyer".[61] Because of this he is required to remain in one place during songs containing complex instrumentation. Lifeson and Peart are, to a lesser extent, responsible for similar actions during live shows.

Alex Lifeson

Image:Alex Lifeson6.jpg

Instrumentally, Lifeson is regarded as a guitarist whose strengths and notability rely primarily on signature riffing, electronic effects and processing, unorthodox chord structures, and a copious arsenal of equipment used over the years.[76][77][78] Despite his esteem, however, Lifeson is often regarded as being overshadowed by his bandmates due to Lee's on-stage multi-instrumental dexterity and Peart's status as a drummer.[79]

During his adolescent years, he was influenced primarily by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton and Jimmy Page.[80] For versatility, Lifeson was known to incorporate touches of Spanish and classical music into Rush's guitar-driven sound during the 1970s. Taking a backseat to Lee's keyboards in the 1980s, Lifeson's guitar returned to the forefront in the 1990s, and especially on 2002's Vapor Trails. During live performances, he is still responsible for cuing various guitar effects, the use of bass-pedal synthesizers and backing vocals.

Neil Peart

Music

Peart is commonly regarded by music fans, critics and fellow musicians as one of, if not the greatest rock drummers.[81] He is also regarded as one of the finest practitioners of the in-concert drum solo.[82] Initially inspired by Keith Moon, Peart absorbed the influence of other rock drummers from the 1960s and 1970s such as Ginger Baker, Carmine Appice, and John Bonham.[83] Incorporation of unusual instruments (for rock drummers of the time) such as cowbells, glockenspiel, and tubular bells, along with several standard kit elements, helped create a highly varied setup. Continually modified to this day, Peart's drumkit offers an enormous array of percussion instruments for sonic diversity. For two decades Peart honed his technique; each new Rush album introduced an expanded percussive vocabulary. In the 1990s, he reinvented his style with the help of drum coach Freddie Gruber. Image:Neil Peart3.jpg

Lyrics

Peart also serves as Rush's primary lyricist, attracting much attention over the years due to his eclectic style. Known for penning concept suites and songs inspired by literature, music fan opinions of his writing have varied greatly, running the gamut from cerebral and insightful to overly pretentious and preachy. During the band's early years, Peart's lyrics were largely fantasy/science fiction-focused,[84] though since 1980 he has focused more on social, emotional, and humanitarian issues. Peart's lyrics continue to divide audiences today. For example, in 2007, he was placed second on Blender magazine's list of the "40 Worst Lyricists In Rock".[85]

Sales

Over the course of their career, Rush has come to release 24 gold records and 14 platinum records (3 of which have gone multiplatinum),[86] placing them within the top 4 for the most consecutive gold albums by a rock band.[87] Rush ranks 78th in U.S. album sales according to the RIAA with sales of 25 million units.[87] Total worldwide sales approximate 40 million units.[88][89][90][91]

Despite having completely dropped out of the public eye for five years after the gold-selling Test for Echo (which peaked at number 5 on the Billboard 200) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached #6 on the Billboard 200 chart in its first week of release in 2002 with 108,000 albums sold. It has sold approximately 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show — 60,000 fans in São Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status.

However, Rush's triple CD live album, 2003's Rush in Rio, was certified gold by the RIAA, marking the fourth decade in which a Rush album had been released and certified at least gold. Moreover, in 2004 Feedback cracked the top 20 on the Billboard 200 chart and received radio airplay. The band's most recent album, Snakes & Arrows, debuted at #3 (just one position shy of Rush's highest peaking album, 1993's Counterparts, which debuted at #2) on the Billboard 200 selling approximately 93,000 copies in its first week of release.[92] This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart regardless of position over the course of their career. The album also debuted at #1 on the Billboard's Top Rock Albums chart, as well as peaking at #1 on the Top Internet Albums chart when the album was released on the MVI format a month later.[93] Still, Snakes & Arrows has yet to accumulate sales that approach or eclipse Vapor Trails or Rush in Rio.

The two consecutive tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the top ten summer rock concerts.[94][95]

Live performances

The members of Rush share a strong work ethic, desiring to accurately recreate songs from their albums when playing live performances. Toward this goal, beginning in the late 1980s, Rush has included in their concert equipment a capacious rack of digital samplers which the band members use, in real-time, to recreate the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" that are familiarly heard on the studio versions of the songs.

In live performances, the band members share duties throughout most songs, with each member triggering certain sounds with his available limbs, while playing his primary instrument(s). Each band member has one or more MIDI controllers that enables him to use his free hands or feet to trigger sounds that have been loaded into the samplers for a particular song.[96] It is with this technology that the group is able to present their arrangements in a live setting with the level of complexity and fidelity that fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member.[97]

The band members' coordinated use of foot-pedal keyboards and other electronic triggers to "play" sampled instruments and audio events is subtly visible in their live performances, especially so on R30: 30th Anniversary World Tour, their 2005 concert DVD.

A staple of Rush's concerts is a Peart drum solo. Peart's drum solos include a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour sees the solo more advanced, with some routines dropped in favor of newer, more complex ones. Since the mid-1980s, Peart has used MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, and vibraslap as well as other, more esoteric percussion.

Philanthropy

Rush actively participates in philanthropic causes. The band was one of a number of hometown favorites to play Molson Canadian Rocks for Toronto, also dubbed SARStock, at Downsview Park in Toronto on July 30, 2003, with an attendance of over half a million people. The concert was intended to benefit the Canadian economy after the SARS outbreaks earlier in the year. The band has also sustained an interest in promoting human rights. They donated $100,000 to the Canadian Museum for Human Rights after a concert they held in Winnipeg on 24 May 2008.[98] Rush continues to sell t-shirts and donate the proceeds to the museum.[99]

The individual members of Rush have also been a part of philanthropic causes. Hughes & Kettner zenTeras and TriAmps have been endorsed and used by Lifeson for many years. A custom signature amplifier was engineered by Lifeson and released in April 2005 with the stipulation that UNICEF will receive a donation in the amount of $50 for every Alex Lifeson Signature TriAmp sold.[100] Lee, a longtime fan of baseball, donated 200 baseballs signed by famous Negro League players, including Willie Mays, Hank Aaron and Josh Gibson, to the Negro Leagues Baseball Museum in June 2008.[101]

The band is featured on the music album Songs for Tibet, appearing with a number of other celebrities as an initiative to support Tibet and the current Dalai Lama Tenzin Gyatso. The album was made downloadable on August 5 via iTunes and was released commercially August 12.[102]

Discography

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

Studio albums


See also

References

Template:Reflist

Further reading

Books

Scholarly articles

External links

Template:Spoken Wikipedia Template:Commonscat Template:Wikiquote

Template:Featured article Template:RushTemplate:Link FA

ca:Rush cs:Rush da:Rush de:Rush et:Rush es:Rush fr:Rush (groupe) hr:Rush id:Rush it:Rush he:ראש (להקה) lv:Rush hu:Rush mt:Rush nl:Rush (band) ja:ラッシュ (バンド) no:Rush nn:Rush pl:Rush pt:Rush ro:Rush ru:Rush simple:Rush (band) sk:Rush (skupina) fi:Rush sq:Rush sv:Rush tr:Rush (grup) uk:Rush zh:匆促樂團s single "Saints of Los Angeles", debuting as a Rock Band track at the same time as the release of the album of the same name, saw 48,000 Rock Band downloads and 14,000 iTunes downloads during its first week of release.[194] The popularity of some tracks have also led to groups considering releasing more material for the game. RushTemplate:Infobox musical artist Template:Portal Rush is a Canadian rock band originally formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario, currently composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their definitive form when Neil Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first U.S. tour.

Since the release of the band's self-titled debut album in March 1974, Rush has become known for the instrumental skills of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and libertarian philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns.

Musically, Rush's style has evolved over the years, beginning in the vein of blues-inspired heavy metal on their first albums, then encompassing hard rock, progressive rock, a period dominated by synthesizers and, more recently, modern rock. They have influenced various musical artists, including Metallica,[7][8] The Smashing Pumpkins[9] and Primus,[9] as well as progressive metal bands such as Dream Theater[7] and Symphony X.[10]

Rush has won a number of Juno Awards, and was inducted into the Canadian Music Hall of Fame in 1994. Over the course of their careers, the individual members of Rush have been acknowledged as being some of the most proficient players on their respective instruments, with each band member winning several awards in magazine readers' polls. As a group, Rush possesses 24 gold records and 14 platinum (3 multi-platinum) records. According to the RIAA, Rush's sales statistics place them fourth behind The Beatles, The Rolling Stones and Aerosmith for the most consecutive gold or platinum albums by a rock band. Rush also ranks 78th in U.S. album sales with 25 million units.[11] Although total worldwide album sales are not calculated by any single entity, as of 2004 several industry sources estimated Rush's total worldwide album sales at over 40 million units.

The band recently finished promoting their latest album, Snakes & Arrows with an intercontinental tour. The second leg began in San Juan, Puerto Rico on April 11, and ended on July 24, 2008 in Noblesville, Indiana.[12]

History

Template:Details

The early years (1968–1976)

Template:Sound sample box align right Template:Listen Template:Sample box end

The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, front man Jeff Jones, and drummer John Rutsey. Within a couple weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[13][14]

After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Rutsey and Lee. The single generated little reaction and, due to record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[15] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[16][17] Image:Starman.png

Immediately after the release of the debut album, Rutsey resigned in July 1974 due to his affliction with diabetes and a distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first US tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a handful of song lyrics over the rest of the band's career. Instead, they focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart due to his love for fantasy and science-fiction literature.[19] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[20][19]

Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Caress of Steel was reported by some critics to be unfocused and an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[21] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour."[22] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commercial success and their first platinum album in Canada.[23] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic Guide critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[24][25]

The progressive rock era (1977–1981)

After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding their use of progressive elements in their music. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[26]

Permanent Waves (1980) shifted Rush's style of music dramatically via the introduction of reggae and new wave.[27] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[28] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanistic, social, emotional and metaphysical elements. Template:Sound sample box align left Template:Listen Template:Sample box end Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[29] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[30]

Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of Signals in 1982.[31]

The synthesizer period (1982–1989)

Image:Oberheim OBX.jpg

While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[32][33] as evidenced by songs such as "Countdown" and the lead-off track "Subdivisions". Both feature nimble lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[31] Template:Sound sample box align right Template:Listen Template:Sample box end Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[34] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[35] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.

Image:DM Simmons SDS5.jpg

The style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Eventually Rush hired Peter Henderson to co-produce and engineer the album in his stead.[36]

Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[37] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Distant Early Warning", "Red Lenses", "Red Sector A" and "The Enemy Within" serve as prime examples.

With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable on "The Big Money", (the album's modest-charting single) with spotlights on "Grand Designs", "Middletown Dreams" and "Marathon." Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Ed Rivadavia, the culmination of this era of Rush.[38] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[39]

A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the 80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[40] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[41] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[42]

Returning to their roots (1989–1997)

Template:Sound sample box align right Template:Listen Template:Sample box end Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush stuck to their creative approach of incorporating traces of more exotic musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[43] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.

The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[44] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[44] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band.[45] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of several relatively complex musical passages repeated throughout. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[46] In October 1996, in support of Test For Echo, the band embarked on an extensive and successful North American tour, the band's first without an opening act and dubbed "An Evening with Rush." The tour was broken up into two segments spanning October through December, 1996 and May through July, 1997 with the band taking a respite between legs.

Hiatus and comeback (1997–2005)

After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[47] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band. Template:Sound sample box align left Template:Listen Template:Sample box end After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners due to its rapid guitar and drum tempos.[48] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[48] The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.

A triple CD live album and dual Rush In Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[49] Also in the summer of 2004, Rush hit the road again for the very successful 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005.

Snakes & Arrows (2006–present)

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig

3. Making The Video

4. European Invasion

5. Bighouse Blues

6. The Hottest Band On Earth

7. Live in Japan

8. Battle For Your Soul

Co-Op Setlist

1. Getting a Band Together

2. We Just Wanna Be Famous

3. Overnight Success

4. Getting the Band Back Together

5. Jailhouse Rock

6. Battle for Your Souls...

Bonus Tracks

Downloadable Content

Singles

Halo Theme MJOLNIR Mix - Released November 22, 2007 on XBL.

Ernten Was Wir Säen - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

So Payso - Released December 20, 2007 on XBL & January 3, 2008 on PSN.

Antisocial - Released December 20, 2007 on XBL and January 3, 2008 on PSN.

We Three Kings - Released December 20, 2007 on XBL & PSN.

Dream On - Released Febuary 18, 2008 on XBL & PSN.

I am Murloc - Released June 26, 2008 on XBL and PSN.

Track Packs

Companion Pack - Released October 31, 2007 on XBL.

Foo Fighters Pack - Released November 8, 2007 on XBL & PSN.

Velvet Revolver Pack - Released November 8, 2007 on XBL & PSN.

Boss Battle Pack - Released November 15, 2007 on XBL and November 29, 2007 on PSN.

Warner/Reprise Track Pack - Released December 20, 2007 on XBL and January 3, 2007 on PSN.

Classic Rock Track Pack - Released January 24, 2008 on XBL and PSN.

No Doubt Track Pack - Released Febuary 28, 2008 on XBL and PSN.

Modern Metal Track Pack - Released March 6, 2008 on XBL & PSN.

Dropkick Murphys Track Pack - Released March 13, 2008 on XBL & PSN.

Def Leppard Track Pack - Released April 24, 2008 on XBL & PSN.

Guitar Virtuoso Pack - Released July 24, 2008 on XBL & PSN.

DragonForce Track Pack - Released August 21, 2008 on XBL & PSN

During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry," was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[50]

The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released 1 May 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[51] To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[52] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[53]

The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[54] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[55] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 was released November 24 as a DVD and Blu-Ray set, which also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[56][57] [58]

As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[59]

Musical style and influences

Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who[60] and Led Zeppelin,[15] but also became increasingly influenced by the British progressive rock movement.[61] In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae and pop rock.[62] This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire.[63] With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement.[64] The new millennium has seen them return to a more rock and roll roots sound, albeit with modern production.[60]

Band members

Former members

  • John Rutsey – drums, percussion, backing vocals (August 1968 – July 1974)
  • Jeff Jones – bass, lead vocals (August 1968 – September 1968)

Template:Details

Reputation

More than 30 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, such changes have inevitably resulted in dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this is a great source of contention in the Rush camp, especially the band's heavy reliance on synthesizers and keyboards during the 1980s, particularly on albums Grace Under Pressure, Power Windows, and Hold Your Fire.[65][66] Still, most fans saw this as nothing less than artistic growth and support for the band remained unwavering through each transitional phase.[63]

The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. To the chagrin of fans, the band has not been nominated for entry into the American Rock and Roll Hall of Fame since their year of eligibility in 1998. The Hall's refusal to induct Rush may be a consequence of the band's insistence on remaining outside the mainstream of rock when it comes to self-promotion, in favor of maintaining a high degree of independence.[67] To this day fans earnestly clamor for the band's inclusion into the Hall by citing noteworthy accomplishments including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications. However, Lifeson has expressed his indifference toward the perceived slight saying "I couldn't care less, look who's up for induction, it's a joke".[68] Rush has gained a degree of recognition in popular culture despite any official recognition from the Hall.[69]

As a band, Rush has been nominated for and received various awards throughout its career. Likewise, the individual members have received coverage in various modern music magazines with specific technocratic recognition for instrumental ability. See List of Rush awards for more details on this topic.

Geddy Lee

Image:GeddyLee.JPG

Geddy Lee's high-register vocal style has always been a signature of the band — and sometimes, a focal point for criticism, especially during the early years of Rush's career when Lee's vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin. Although his voice has softened over the years, it is often described as a "wail".[70][71] His instrumental abilities, on the other hand, are rarely criticized. An award-winning musician, Lee's style, technique, and ability on the bass guitar have proven influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden,[72] John Myung of Dream Theater,[73] Les Claypool of Primus[74] and Cliff Burton of Metallica[75] among others. Lee is notable for his ability to operate various pieces of instrumentation simultaneously. This is mostly evident during live shows when Lee must play bass, supply lead vocals, manipulate keyboards, and trigger foot pedals during the course of a performance, as in the song "Tom Sawyer".[61] Because of this he is required to remain in one place during songs containing complex instrumentation. Lifeson and Peart are, to a lesser extent, responsible for similar actions during live shows.

Alex Lifeson

Image:Alex Lifeson6.jpg

Instrumentally, Lifeson is regarded as a guitarist whose strengths and notability rely primarily on signature riffing, electronic effects and processing, unorthodox chord structures, and a copious arsenal of equipment used over the years.[76][77][78] Despite his esteem, however, Lifeson is often regarded as being overshadowed by his bandmates due to Lee's on-stage multi-instrumental dexterity and Peart's status as a drummer.[79]

During his adolescent years, he was influenced primarily by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton and Jimmy Page.[80] For versatility, Lifeson was known to incorporate touches of Spanish and classical music into Rush's guitar-driven sound during the 1970s. Taking a backseat to Lee's keyboards in the 1980s, Lifeson's guitar returned to the forefront in the 1990s, and especially on 2002's Vapor Trails. During live performances, he is still responsible for cuing various guitar effects, the use of bass-pedal synthesizers and backing vocals.

Neil Peart

Music

Peart is commonly regarded by music fans, critics and fellow musicians as one of, if not the greatest rock drummers.[81] He is also regarded as one of the finest practitioners of the in-concert drum solo.[82] Initially inspired by Keith Moon, Peart absorbed the influence of other rock drummers from the 1960s and 1970s such as Ginger Baker, Carmine Appice, and John Bonham.[83] Incorporation of unusual instruments (for rock drummers of the time) such as cowbells, glockenspiel, and tubular bells, along with several standard kit elements, helped create a highly varied setup. Continually modified to this day, Peart's drumkit offers an enormous array of percussion instruments for sonic diversity. For two decades Peart honed his technique; each new Rush album introduced an expanded percussive vocabulary. In the 1990s, he reinvented his style with the help of drum coach Freddie Gruber. Image:Neil Peart3.jpg

Lyrics

Peart also serves as Rush's primary lyricist, attracting much attention over the years due to his eclectic style. Known for penning concept suites and songs inspired by literature, music fan opinions of his writing have varied greatly, running the gamut from cerebral and insightful to overly pretentious and preachy. During the band's early years, Peart's lyrics were largely fantasy/science fiction-focused,[84] though since 1980 he has focused more on social, emotional, and humanitarian issues. Peart's lyrics continue to divide audiences today. For example, in 2007, he was placed second on Blender magazine's list of the "40 Worst Lyricists In Rock".[85]

Sales

Over the course of their career, Rush has come to release 24 gold records and 14 platinum records (3 of which have gone multiplatinum),[86] placing them within the top 4 for the most consecutive gold albums by a rock band.[87] Rush ranks 78th in U.S. album sales according to the RIAA with sales of 25 million units.[87] Total worldwide sales approximate 40 million units.[88][89][90][91]

Despite having completely dropped out of the public eye for five years after the gold-selling Test for Echo (which peaked at number 5 on the Billboard 200) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached #6 on the Billboard 200 chart in its first week of release in 2002 with 108,000 albums sold. It has sold approximately 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show — 60,000 fans in São Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status.

However, Rush's triple CD live album, 2003's Rush in Rio, was certified gold by the RIAA, marking the fourth decade in which a Rush album had been released and certified at least gold. Moreover, in 2004 Feedback cracked the top 20 on the Billboard 200 chart and received radio airplay. The band's most recent album, Snakes & Arrows, debuted at #3 (just one position shy of Rush's highest peaking album, 1993's Counterparts, which debuted at #2) on the Billboard 200 selling approximately 93,000 copies in its first week of release.[92] This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart regardless of position over the course of their career. The album also debuted at #1 on the Billboard's Top Rock Albums chart, as well as peaking at #1 on the Top Internet Albums chart when the album was released on the MVI format a month later.[93] Still, Snakes & Arrows has yet to accumulate sales that approach or eclipse Vapor Trails or Rush in Rio.

The two consecutive tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the top ten summer rock concerts.[94][95]

Live performances

The members of Rush share a strong work ethic, desiring to accurately recreate songs from their albums when playing live performances. Toward this goal, beginning in the late 1980s, Rush has included in their concert equipment a capacious rack of digital samplers which the band members use, in real-time, to recreate the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" that are familiarly heard on the studio versions of the songs.

In live performances, the band members share duties throughout most songs, with each member triggering certain sounds with his available limbs, while playing his primary instrument(s). Each band member has one or more MIDI controllers that enables him to use his free hands or feet to trigger sounds that have been loaded into the samplers for a particular song.[96] It is with this technology that the group is able to present their arrangements in a live setting with the level of complexity and fidelity that fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member.[97]

The band members' coordinated use of foot-pedal keyboards and other electronic triggers to "play" sampled instruments and audio events is subtly visible in their live performances, especially so on R30: 30th Anniversary World Tour, their 2005 concert DVD.

A staple of Rush's concerts is a Peart drum solo. Peart's drum solos include a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour sees the solo more advanced, with some routines dropped in favor of newer, more complex ones. Since the mid-1980s, Peart has used MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, and vibraslap as well as other, more esoteric percussion.

Philanthropy

Rush actively participates in philanthropic causes. The band was one of a number of hometown favorites to play Molson Canadian Rocks for Toronto, also dubbed SARStock, at Downsview Park in Toronto on July 30, 2003, with an attendance of over half a million people. The concert was intended to benefit the Canadian economy after the SARS outbreaks earlier in the year. The band has also sustained an interest in promoting human rights. They donated $100,000 to the Canadian Museum for Human Rights after a concert they held in Winnipeg on 24 May 2008.[98] Rush continues to sell t-shirts and donate the proceeds to the museum.[99]

The individual members of Rush have also been a part of philanthropic causes. Hughes & Kettner zenTeras and TriAmps have been endorsed and used by Lifeson for many years. A custom signature amplifier was engineered by Lifeson and released in April 2005 with the stipulation that UNICEF will receive a donation in the amount of $50 for every Alex Lifeson Signature TriAmp sold.[100] Lee, a longtime fan of baseball, donated 200 baseballs signed by famous Negro League players, including Willie Mays, Hank Aaron and Josh Gibson, to the Negro Leagues Baseball Museum in June 2008.[101]

The band is featured on the music album Songs for Tibet, appearing with a number of other celebrities as an initiative to support Tibet and the current Dalai Lama Tenzin Gyatso. The album was made downloadable on August 5 via iTunes and was released commercially August 12.[102]

Discography

Here is the complete setlist for Guitar Hero III, which will also include all downloadable content (when released).


Bold text indicates a master track, all other songs are covers.

Single Player Setlist

1. Starting Out Small

2. Your First Real Gig