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https://www.bonhams....ew_lot/5422694/ NEIL PEART'S CHROME SLINGERLAND DRUM KIT USED WITH RUSH FROM 1974-1977. Slingerland Drum Kit including 2 22-inch Bass Drums with chrome wrap including original head; blue resonant heads each with large silver Rush logo and "Neil" on one and "Peart" on the other (originals and additional replicas); 2 13-inch Tom Toms with chrome wrap; 14-inch Tom Tom with chrome wrap and with original head SIGNED by Peart, latter 3 Toms with Set-O-Matic mount; 16-inch Floor Tom with chrome wrap; Set of 4 Concert Toms with copper wrap in 6, 8, 10 & 12-inch. All with 3-ply shells of maple, poplar and mahogany. Kit extended with generally period-correct replacements: 14-inch Slingerland Artist Snare with copper wrap; 2 Zildjian 8-inch Splash Cymbals; Zildjian 13-inch New Beat Hi-Hat Cymbal pair; 2 Zildjian 16-inch Medium Crash Cymbals; Zildjian 18-inch Medium Crash Cymbal; Zildjian 20-inch Medium Crash Cymbal; Zildjian 22-inch Ping Ride Cymbal; Ludwig 4-inch Gold Tone Cowbell, model #129; LP Standard Agogo Bells; LP Black Beauty Cowbell; Gon Bops Agogo Tri Bells; LP Rock/Bongo Cowbell; Spectrasound Mark Tree with 35 brass bar Chimes; LP Bell Tree with 28 brass bells; 5-piece Temple Blocks; 2 Ludwig Speed king bass drum pedals; Ludwig Seat Case; Rogers Stick Tray Assembly and with all associated hardware. Provenance: Purchased by Neil Peart in late July/early August 1974 from Long & McQuade, Toronto; placed in storage in 1977; One of three drum kit's donated by Neil Peart for Modern Drummer Magazine's "Neil Peart Drumset Giveaway" introduced in the March 1987 issue. This set awarded to New York drummer Mark Feldman in the October 1987 issue and with a Letter Signed ("Neil Peart"), 2 pp, Toronto, July 20, 1987, informing Feldman that he was a contest winner and commenting on his submission; sold by Feldman to the present owner; Exhibited: Rhythm Discovery Center, Indianapolis. Although Rush had formed as early as 1968 and had even released its eponymous debut album, it wasn't until original drummer John Rutsey left and Neil Peart stepped in that the band's flame was truly ignited. It went from a blues and hard rock band whose first album was considered derivative of Led Zeppelin to a platinum-selling progressive rock powerhouse. Neil Peart not only provided the basis for more complex song structures with his masterful drumming, but by taking over as a lyricist, he freed bassist Geddy Lee and guitarist Alex Lifeson from a duty they had never wanted so that they could focus on bringing the collective musicianship to another level. Peart reportedly arrived at his July 1974 audition with Rush in a battered car, wearing shorts and transporting his drum kit in trash cans. Lee and Peart hit it off instantly, although it took Lifeson a bit longer to warm to warm to the drummer. Still, they eventually agreed to invite Peart into the band on July 29 of that year, two weeks before the group's first US tour. Peart purchased a silver Slingerland drum kit from local music store Long & McQuade that he used on his first show with the band, opening for Uriah Heep and Manfred Mann's Earth Band at the Civic Arena in Pittsburgh on August 14, 1974. He played this kit on the breakthrough Fly by Night, Caress of Steel, and 2112, considered among the greatest progressive rock albums of all time. Probably the highest profile live appearance of the kit was the 3-night performance at Toronto's Massey hall when the band's first live album All the World's a Stage was recorded. Peart was introduced at those shows as "the Professor on the drum kit" and his extended drum solo on "Working Man," played on the Slingerland kit, is legendary among fans. All the World's a Stage marked the end of Rush's first chapter and Peart's Slingerland drum kit was soon afterward retired. Rush had gone from Led Zeppelin wannabes to a US Top-40 charting band with a distinctive sound poised to win fans the world over. The Slingerland kit had been on the road for 5 consecutive US and Canadian tours and was seen by thousands of fans from 1974 through 1977. Neil retired the kit at that time and placed it in storage where it sat until it was brought out a decade later as a prize in Modern Drummer's "Neil Peart Drumset Giveaway."

http://www.youtube.com/watch?v=hzJB6-pfcJk&feature=emb_logo

Earl thinks Wolf Hoffmann from Accept is one of the best guitarists in the world. Let's put it to the test though, against a true guitar legend, Keith "KEEF" Richards! Who's the best Hoffmann or Keith Richards?

Now I am a fan of Y&T and Dave Meniketti but let's not get carried away...like Earl does. How could he measure up against a real guitar legend like Pete Townshend, a player who is known for his incredible chord voicings and his amazing songs and riffs? Not to mention he introduced feedback into rock music! Dave or Pete, your choice? WHO is best, Meniketti or Townshend?? Let's see...

Earl rates Tommy Lee as one of the best drummers of all time, but he doesn't rate the great Charlie Watts. Just think about it, Tommy Lee who featured in a show about drumming where he got outdone by a bunch of kids at drum school and Earl thinks he's better than Charlie Watts!

Which of these "Shades" do you prefer? KISS - Hot in the Shade (1989) http://assets.rollingstone.com/assets/2014/list/kiss-top-10-albums-ranked-20140325/items/hot-in-the-shade-1989-19691231/140402/_original/1035x1035-20140320-kiss3-x1800-1395425333.jpg or The Rolling Stones - Made in the Shade (1975)

I put this question to Rod earlier and I thought it might be a good poll since there's a few parallels with their careers, although one is much more famous and successful in terms of record sales, but both started in a rock band then abandoned it for a solo career.

https://www.rollingstone.com/music/music-features/judas-priest-rob-halford-favorite-albums-interview-1089882/ 1. Black Sabbath - Black Sabbath (1970) They were local guys from the same neighborhood, the same neck of the woods as Priest. We literally grew up together, inventing this great music that we love and cherish so much called heavy-metal music. I chose the Black Sabbath album just because, like so many bands, your first one or two records really establish who you are as a band. It’s a bit like Priest with Rocka Rolla and Sad Wings of Destiny; Sad Wings of Destiny becomes the one we love so much because it becomes defining. With Black Sabbath, here was the first example of what heavy-metal music should sound like, just the texture, the tone, the structure of all of the material, Ozzy’s very unique voice. It’s just become a very important record in the discography of Black Sabbath. 2. Led Zeppelin, Led Zeppelin (1969) The thing about this particular album is it’s got a lot of the transitional experience in heavy, hard rock that includes a lot of blues vibes. And they’ve freely admitted that the blues is where the basic journey for this band started out. 3. Queen, Queen II (1974) I have always been a massive Queen fan. Every single album that I listen to by Queen has its own character and identity, much like Priest in that respect. I’ve kind of suggested that in some elements, Priest is like Queen because no two Priest albums are the same. It’s very much the case with Queen. The second album, Queen II, defines that. By the time they did Queen II, they’d become very adventurous. They were just going panoramic. The landscape of their music was just ginormous, particularly in the voice sense, all of those incredible harmonies that they did together. And that’s the other thing I love about Queen, that everybody used to sing on the records, primarily Roger [Taylor] and Brian [May] and sometimes John Deacon. But the vocal impact for me as a singer was immense. It really taught me a lot. 4. The Beatles, A Hard Day’s Night (1964) This was difficult, because I was gonna go for Sgt. Pepper, because everybody does that, but there’s just something about the tone. They went from “She Loves You,” just barely a few years earlier, to what was becoming quite serious in the way they were structuring songs and thinking more about developing that side of a musician, which grows as you move on. So the songs on Hard Day’s Night are very expressive of a band that’s really shifting and coming to grips, probably with maturity like a lot of musicians do. 5. The Rolling Stones, Get Yer Ya-Ya’s Out! (1970) I’ve chosen a live album by the Stones because if you’ve ever seen the Stones live, there’s nobody like ’em. The way they transition their studio work into a live performance is electrifying. Whenever a band gets out onstage, a new dimension is experienced. And with the Stones, words just don’t work for them. You’ve got to see them live. And I think this is a great example of capturing all the charisma and characteristics of a great rock & roll band, probably the greatest rock & roll band of all time in one record. 6. Deep Purple, Machine Head (1971) I chose Machine Head, just because it’s fierce and it’s intense. There’s always been a debate over whether Purple are a hard-rock or heavy-metal band. Priest did a tour with them, and I watched them many, many times from the side of the stage. They sound heavy to me — really heavy. … But of all of the Deep Purple albums that they made, that one really, really works for me. 7. The Jimi Hendrix Experience, Axis: Bold as Love (1967) I’ve always been this frustrated guitar player in that I try to pick up the guitar and learn to play it, but it just baffles me. I just can’t understand how guitarists do what they do. It’s just unbelievable. And Jimi Hendrix is the maestro of that. What he was doing in the late Sixties and onwards was just a game changer for guitar players especially. And the way he put together the music for Axis: Bold as Love was very, very special. All of the records he made are great, but that one to me just connects. 8. David Bowie, The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972) Here’s a guy that really took his fans on a journey. Was he Ziggy Stardust? Was he the Thin White Duke? Hunky Dory? “Heroes”? The side project Tin Machine? His last glorious piece of music [blackstar]? But the imagery that Bowie created with every record, nobody else can touch that. He was the master of disguise. We were all so excited when we knew that a new Bowie album was about to drop, and out of all of them, the Ziggy Stardust album really rates with me because I actually saw the Ziggy Stardust tour in the Wolverhampton Civic Hall back home in the U.K. I think they pretty much played the entire record from start to finish, and it was just unbelievable to see him there doing what he did so magnificently with such conviction. He was Ziggy Stardust, and he mesmerized the world with that character. 9. Cream, Disraeli Gears (1967) It’s just a great example of incredible musicianship from three people. It’s very difficult to connect as a trio, and just the way the interaction, particularly from the percussive side with Ginger [baker] and Jack [bruce], was very, very special. It was full of a real pure self-identity. And then you wrap that up with what Eric Clapton was doing, and his special voice makes Cream in the big picture of rock & roll a very, very unique band. 10. Pantera, Cowboys From Hell (1990) Pantera came about around the early Nineties. They were together before then, but they suddenly started to crush with the impact of Cowboys From Hell. If you know your music and your rock & roll, great things happen at the start of every decade. So when I got an earful of Cowboys From Hell, I knew that this was going to be a shifter. This actual display of the style of music that these guys were playing was literally going to shake up the world, which it did. We all know so many beautiful things about the band, especially Dimebag [Darrell, guitar], who I think was the driving force behind that band. What everybody was doing was just a full-on assault and attack, which got even stronger and more potent as they moved on to Far Beyond Driven, Great Southern Trendkill, and all of those other great records later on. But this one, this first one, really does the business for me.

Here's the Priest top 5 I currently have: 1. Sad Wings of Destiny 2. Stained Class 3. Killing Machine 4. Sin After Sin 5. Screaming For Vengeance

Within the previous 3 years both these guys had parted ways with Sabbath, by 1983 who is the real Master of Reality?

I don't own a copy of this album, never have. I've heard it a few times but never owned it. But now I'm starting to feel like I need to grab a copy. Yeah it's worst VH album of the bunch, but it's got Eddie on it, and Alex and Michael Anthony on 3 songs (Ed plays the rest of the bass) and ok Gary Cherone was all wrong for the band and is the worst of the Van Halen singers. But is he any worse than Blaze Bailey in Maiden? Ripper Owens in Priest? Paul Rodgers in Queen? On paper I think he was a good choice. And who else could they have got in 1998? I'm not trying to defend this album but I feel like I'm missing out on some Eddie tricks and licks and bits! It has to happen!

Eddie Trunk thinks TRF should be shut down. He thinks RUSH fans should respect Geddy Lee's bass legacy and stop talking nonsense about Peart quitting with foot rot! He thinks Peart was hounded for years by TRF RUSH fans lead by a man known only as TICK! Trunk has given Tick's description to the police in New York City... Any thoughts? :smoke:

The floorboards creak, and not just when she's walking on them...

Which of these bands is your favourite?

Here's my (current) list: 1. Fair Warning 2. 1984 3. Van Halen 4. Van Halen II 5. Women and Children First 6. Diver Down 7. 5150 8. A Different Kind of Truth 9. For Unlawful Carnal Knowledge 10. OU812 11. Balance 12. Van Halen III

THE SYMBOL REMAINS - TRACKLIST 1. That Was Me 2. Box In My Head 3. Tainted Blood 4. Nightmare Epiphany 5. Edge Of The World 6. The Machine 7. Train True (Lennie’s Song) 8. The Return Of St. Cecilia 9. Stand And Fight 10. Florida Man 11. The Alchemist 12. Secret Road 13. There’s A Crime 14. Fight

Motley Crue members Tommy Lee, Vince Neil and Nikki Sixx were saying today how much they hated the Theatre of Pain album, and that it was trash. Vince Meal was shocked that it went double platinum, Lee said he hadn't even heard the album yet, and Nikki SIxx said it was complete rubbish. I actually think it's one of their better albums, in fact it's better than everything apart from Shout at the Devil for me. What do you think? Is Theatre of Pain a load of rubbish or not?

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Some of these are good replacements and some not so good, others may disagree.

Dio's Holy Diver vs Led Zep's Houses of the Holy, which album is "holier"?? In other words which do you like best?

With that being said... It is what it is (or) that's what it is

Is it Roll the Bones? Test For Echo? Snakes & Arrows? Vapor Trails? Counterparts? Presto? Something else?

Any amount of songs from each album is good. Here's mine: Subdivisions The Analog Kid Turn the Page Middletown Dreams New World Man The Big Money Lock and Key Marathon Chemistry Prime Mover

Who do you think is the more accomplished guitarist of these three legends? Or if you like who do you prefer?