“Those wishing to express their condolences can choose a cancer research group or charity of their choice and make a donation in Neil Peart’s name. “We ask that friends, fans, and media alike understandably respect the family’s need for privacy and peace at this extremely painful and difficult time,” Lee and Lifeson wrote. In a statement released Friday afternoon, Lee and Lifeson called Peart their “friend, soul brother and bandmate over 45 years,” and said he had been “incredibly brave” in his battle with glioblastoma, an aggressive form of brain cancer. His drum fills on songs like “Tom Sawyer” were pop hooks in their own right, each one an indelible mini-composition his lengthy drum solos, carefully constructed and packed with drama, were highlights of every Rush concert. He joined singer-bassist Geddy Lee and guitarist Alex Lifeson in Rush in 1974, and his musicianship and literate, philosophical lyrics – which initially drew on Ayn Rand and science fiction, and later became more personal and emotive – helped make the trio one of the classic-rock era’s essential bands. Peart was one of rock’s greatest drummers, with a flamboyant yet precise style that paid homage to his hero, the Who’s Keith Moon, while expanding the technical and imaginative possibilities of his instrument. A representative for the band confirmed the news to Rolling Stone. The cause was brain cancer, which Peart had been quietly battling for three-and-a-half years. It is a conversation with two guys who love music, drumming, and writing.Neil Peart, the virtuoso drummer and lyricist for Rush, died Tuesday, January 7th, in Santa Monica, California, at age 67, according to Elliot Mintz, a family spokesperson. Normally, within a day or two of an interview, I would transcribe the tapes my memory of the conversation fresh enough to fill in a few seconds of blank tape.Īgain, this 45-minutes conversation with Neil Peart is one of my favorites. But, I never wanted to stop the conversation while changing tapes. During interviews, the click of the tape ending was my cue to turn over the tape and start recording on the other side, or to start recording with a new tape. In 1983 or 1984, pre-digital media, these tapes served only as the basis for the written interview. That is, owning Neil’s drumset meant Adam should sound like Neil Peart. My question to Neil concerned some drummers’ belief that drum gear makes the drummer. “Adam,” who I mention at the start of this interview, is the name of the drummer who won one of Neil’s drumset giveaways. The conversation on both sides of this cassette starts mid-sentence. But our discussion also includes writers and writing. Much more of the conversation here, unlike Part 1, is about drums and drumming. This is the other side of the cassette used to tape this interview. I thank those listeners who refreshed my memory. When I posted the first part of this interview I had forgotten this interview was the basis for Neil Peart’s April 1984 Modern Drummer cover story. There is a way for you to still view this horizontally. Between my posting of Part 1 of this interview and now, YouTube switched to a default square perspective of YouTube videos. Scott writes in his March 14 th, 2023 post titled “Neil Peart on Music and Writing:įirst things first. 1 – Neil Peart which includes all of Neil’s interviews with Modern Drummer: HERE You can purchase the “Modern Drummer Legends Vol. This interview was used for the April 1984 issue of Modern Drummer Magazine. There are 2 parts to this interview, we will post the second part once it is posted. Wow, what a fantastic way to start these posts, this first one is his interview with the legendary Neil Peart. Please make sure to read his bio below to learn more about his contributions to the drumming community that started in 1976. Fish in a series of posts that will continue weekly. This is the first weekly post we will be featuring from Scott K.
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