I'll show you a time machine!

[ClassicB]

They may have aged well, but just from viewing these pictures, I can see a vitality they once had is now obviously gone. That is very sad, but I guess it is to be expected.

 

Personally, I would love to go back in time and catch one of those 1980, 81 or 82 shows.

 

I think its more a hunger that has disappeared than anything else. At that point in time it was all about the music, and the guys will tell you that their family lives suffered at that time. With what happened to Neil's family I think they all have realized that there is a lot more important things than music. They are still passionate about it, but they do it to please themselves, not impress the rest of the planet.

 

BTW, happy belated birthday to Geddy! Heard he turned 60 yesterday.

 

Speaking as a musician, and this is NOT a criticism, but an objective observation, they could never be the band they were in the late 70's and early 80's, in terms of MUSICIANSHIP... I know they are always saying how they play better than ever, but I think they think that because they appreciate what they have more, since the tragedies... But, honestly, put on live recordings from that great era, and it is not even close from being the same... The advent of sequencers has helped them immensely (The Camera Eye intro on the Time Machine tour was mostly sequenced and triggered by Ged's ONE finger), Marathon, etc... but the most I notice is all the little places where they cut corners.... Especially Neil... I've been playing Rush songs on drums for 30 years, and I could show you a million little places where he has "simplified" a given fill, or pattern, or rhythm (Red Sector A on this tour sounds so "Square", it's unbelievable...)... Alex is the sloppiest one... Some solos he's just destroyed on some occasions.... I RARELY see Geddy mess up, or anything.... Does it dampen my joy of seeing them live? No.... Because it's obvious they are having the time of their lives onstage and they give it everything they have every show. Do I wish they still had their double-necks and stuff?? OF COURSE!!! I can't understand why they thought they looked so cool playing them, and just threw all that away..... It WAS a giant part of why we were Rush fans... The Instruments!! The Double-necks, The Rick, the Oberheims and Moogs (At least that one's back), the DRUMKIT (In my case)..... Not wanting to play Xanadu on a double-neck for 5 minutes because it's too heavy is a very lame excuse to me.... If I was in their place I'D WANT to have all that cool stuff around.... How can you not feel like the coolest guitar player in the world with a Gibson SG Double-neck strapped to your body!! But what can you do... It is what it is and whatever... I go to the shows to enjoy myself, not dwell on the past.....

 

You hit the nail on the head! I LOVE RUSH and have been a die hard fan since 1980 and ive seen every tour since 1982 Signals (pushing 70 concerts). Part of RUSH back then was the hunger, playing every show like it was the last and playing every note as written on the ACTUAL instruments. I listen to lots of boots on YouTube from back then and to hear the difference between those analog years to todays digital recordings, you can't capture that live sound like you once did.

Sampled Moog Taurus pedals?? Sorry Ged, but i can tell the difference between a sampled Taurus and the real thing.

How cool would it have been to see Ged break out the Double neck Rick for A Passage To Bankok back in 2007? Play the bottom end on the Taurus and the rythym on the Rick. The bass is too heavy?? Your Geddy Lee for christ sake! Make it happen like you used to!

Now adays Geddy is on "cruise control" out there. Push a sample and take the "I'm almost retired" route out there.

 

One other thing to gripe about comparing todays RUSH to the early '80s is NEIL PEART. Ever since about 1995 when Neil switched to those god awful DW drums, I think he has wanted to be a JAZZ drummer and not the Neil I was used to seeing. The DW drums have NOT done RUSH any favors. They are dull and the TOMS have no attack. Your Neil Peart, bring back the two 24" bass drums (Tama or Ludwigs) along with the finely tuned Toms. His drums have never sounded good since. By the way, there is a noticeable difference in a live setting between one 23" bass drum and two 24" bass drums.

 

Boy does my head hurt!

[Mieko8]

http://i1328.photobucket.com/albums/w521/ninaklein/03cd7c76-d9fe-47ac-887d-7a875ee5bacc_zps58aa6ad2.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270264_zpsbfb5cd37.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270303-1_zpsd8450a80.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270301-1_zpsa6168733.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270285-1_zpsf1d979e1.jpg

[drbirdsong]

Wow, that is the Teardrop Bass. I never knew Geddy played one of those.

[andreww]

The Teardrop was actually just a white Fender bass that Geddy (or someone else) took a saw to. It wasn't used much, probably because when you remove large amounts of wood from a guitar body, you tend to lose some of the tonal quality of the instrument. It was basically his final encore guitar.

 

http://farm5.static.flickr.com/4024/4681643509_0b27464ec3_b.jpg

[andreww]

http://i1328.photobucket.com/albums/w521/ninaklein/03cd7c76-d9fe-47ac-887d-7a875ee5bacc_zps58aa6ad2.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270264_zpsbfb5cd37.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270303-1_zpsd8450a80.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270301-1_zpsa6168733.jpg

 

http://i1328.photobucket.com/albums/w521/ninaklein/01270285-1_zpsf1d979e1.jpg

 

So you gotta give us details about these. They're fabulous!

[Mieko8]

I wish I could give more details. I know very little other than they were taken at the Whisky A Go Go in Los Angeles right after Neil joined.

[Syrinx]

I love this thread! Rush was so central to my life back then. It brings back great memories. If you will indulge me, I will post some of the concert reviews from back then. Rather than a lousy scan I am transposing them, so it will take me some time. Here is the first, from the previously mentioned Varsity Stadium show. I have two more reviews iof this show to come. Here is a pick of my ticket stub. $12.50! Prices were really starting to rise by 1979.http://i3.photobucket.com/albums/y69/GRohn/RushTicket1_zps69ac739c.jpg

[Syrinx]

Rush at Varsity Stadium – Sunday, September 2, 1979

 

Concert review by Alan Niester – Globe and Mail

 

When it was conceived a few months ago, last night’s pairing of Rush and FM at Varsity Stadium probably seemed like a good idea. After all, Rush members are favourite sons here, and their appearances traditionally draw good crowds. It was the Labor Day weekend, the last slice of summer freedom, and presumably the city’s students would have been dying for one last chance at a summer blow-out. And putting the concert in a nice outdoor setting should only have increased the pleasure two-fold.

 

But somehow, it didn’t quite turn out that way. Only 8,000 fans turned out for the concert, apathetically sitting through conditions which seemed more suited to a late autumn football game than a summer concert. Between enduring the cool breeze and facing the realization that summer had run its course, the audience hardly seemed in a festive mood. And the music provided by the artists both reflected and increased the general audience apathy.

 

FM started it off with what may have been the most ignored set I’ve ever seen in this city. The three-man band, featuring Cameron Hawkins on synthesizer and Ben Mink on electronic violin, plus drummer Martin Dellar, ran through 50 minutes of its own brand of electro-jamming. Although the music tended to be a bit ragged, the trio generally acquitted itself well. Considering the similarities between this type of music (progressive, thought-provoking, rambling) and the headline act, it was quite surprising that almost no one noticed when they left the stage.

 

Of course, Rush fans are an intensely loyal lot, primed for their heroes and having little regard for anyone else. Simply because the band only drew half the number of fans it usually draws, I’m not yet prepared to write it off. The weather was less than inviting for an outdoor concert, and I suspect the CNE has gleaned most of the greens from teen jeans.

 

Rush ran through a lengthy set which revolved around material from its Hemispheres and 2112 albums. Personally, I find the idea of a power trio with a singer who sounds like Lucy Ricardo rather trying after an hour or so. But the Rush fans who hung in through the seemingly endless (often as long as 20 minutes – which in the hands of Rush seems endless) songs seemed to be satisfied, even if they did spend most of the evening hunkered dozily on the stadium infield.

 

For their perseverance, the fans were treated to some new material from the band, including a song called The Spirit of Radio. The new material sounded much like the old material – pretentious and bombastic. But it sells, so why knock it.

 

When all was said and done, however, Labor Day weekend with Rush was certainly not the triumph it should have been. The concert was a “so what” affair, and ended the listless Toronto concert summer with a whimper, not a bang.

[RUSHian62]

Thanks for sharing these!!

[andreww]

Rush at Varsity Stadium – Sunday, September 2, 1979

 

Concert review by Alan Niester – Globe and Mail

 

When it was conceived a few months ago, last night’s pairing of Rush and FM at Varsity Stadium probably seemed like a good idea. After all, Rush members are favourite sons here, and their appearances traditionally draw good crowds. It was the Labor Day weekend, the last slice of summer freedom, and presumably the city’s students would have been dying for one last chance at a summer blow-out. And putting the concert in a nice outdoor setting should only have increased the pleasure two-fold.

 

But somehow, it didn’t quite turn out that way. Only 8,000 fans turned out for the concert, apathetically sitting through conditions which seemed more suited to a late autumn football game than a summer concert. Between enduring the cool breeze and facing the realization that summer had run its course, the audience hardly seemed in a festive mood. And the music provided by the artists both reflected and increased the general audience apathy.

 

FM started it off with what may have been the most ignored set I’ve ever seen in this city. The three-man band, featuring Cameron Hawkins on synthesizer and Ben Mink on electronic violin, plus drummer Martin Dellar, ran through 50 minutes of its own brand of electro-jamming. Although the music tended to be a bit ragged, the trio generally acquitted itself well. Considering the similarities between this type of music (progressive, thought-provoking, rambling) and the headline act, it was quite surprising that almost no one noticed when they left the stage.

 

Of course, Rush fans are an intensely loyal lot, primed for their heroes and having little regard for anyone else. Simply because the band only drew half the number of fans it usually draws, I’m not yet prepared to write it off. The weather was less than inviting for an outdoor concert, and I suspect the CNE has gleaned most of the greens from teen jeans.

 

Rush ran through a lengthy set which revolved around material from its Hemispheres and 2112 albums. Personally, I find the idea of a power trio with a singer who sounds like Lucy Ricardo rather trying after an hour or so. But the Rush fans who hung in through the seemingly endless (often as long as 20 minutes – which in the hands of Rush seems endless) songs seemed to be satisfied, even if they did spend most of the evening hunkered dozily on the stadium infield.

 

For their perseverance, the fans were treated to some new material from the band, including a song called The Spirit of Radio. The new material sounded much like the old material – pretentious and bombastic. But it sells, so why knock it.

 

When all was said and done, however, Labor Day weekend with Rush was certainly not the triumph it should have been. The concert was a “so what” affair, and ended the listless Toronto concert summer with a whimper, not a bang.

 

Nothing like sending a reviewer to a show for a band who he admits he cant stomach listening to for more than 20 minutes.

 

However, he was correct in that what should have been a triumphant homecoming turned out to be somewhat disappointing. In the bands defence, this was their seventh appearance in Toronto in about two years. Because the show was general admission only there was no incentive to buy tickets prior to the show, so when the weather turned out to be terrible, it really hurt sales. At that point in time most people assumed the band would be back again in a few months for their annual new years show. Unfortunately, the low ticket sales would persuade the band to avoid Toronto for a full year and a half :(

[timhorton]

Thanks for sharing these pictures. I was at every one of those shows-including Buffalo. They skipped Toronto due to overexposure & I had to take a road trip. The show at the CNE still remains one of my favourites. If I remember correctly, Geddy walked across the football field to the stage, while Neil & Alex took a limo.

 

Do you have any pictures from Ivor Wynne? I was at that show too.

 

There was something magical about seeing them in the '70's and early 80's.

 

Thanks man, you brought back a lot of great memories.

[andreww]

Thanks for sharing these pictures. I was at every one of those shows-including Buffalo. They skipped Toronto due to overexposure & I had to take a road trip. The show at the CNE still remains one of my favourites. If I remember correctly, Geddy walked across the football field to the stage, while Neil & Alex took a limo.

 

Do you have any pictures from Ivor Wynne? I was at that show too.

 

There was something magical about seeing them in the '70's and early 80's.

 

Thanks man, you brought back a lot of great memories.

 

Ged walked and Alex rode in a limo eh? I couldn't see that from the floors. But yeah, that CNE show was my favourite by far. And no, I didn't make it to Ivor Wynne. I think there were just so many opportunities to see the band in Toronto at that point, there was no need to go all the way to Hamilton. Little did I know they wouldn't come back for a very long time.

[Syrinx]

Rush at Varsity Stadium Review #2 – The Toronto Sun

What a bummer for Rush!

When last Toronto’s hometown heavies played at home, they sold nearly 50,000 tickets to three nights at the Gardens.

This year they had reportedly been booked to play the CNE but were lured back into the arms of Concert Productions International with a fat guarantee. CPI hired Varsity Stadium for them on Sunday and sought to raise the crowd limit by 10,000.

But by showtime the attendance was less than 10,000 in all.

Was the problem the recession that is scaring many American acts off the road?

Was it the length of time since the last album? (Rush will begin to record again next month at Quebec’s Le Studio.)

Was it promotion that took for granted that the Rush show was the big event of Labor Day weekend and failed to make it seem so?

Was it a ticket price half again as much as the CNE concert by Triumph and Doucette (who drew half again as many people)?

Was it the threatening weather that also prevented Rush from using its movies and turned its clouds of smoke into wisps of mist?

Aside from bruised feelings, though, Rush was alright. (It was the scalpers hustling passers-by with slashed-price tickets who got burned – and some of them had been burned at the Bee Gees!) The trio played more like the tough little barband that triumphed at Massey Hall just a few years ago. Even the more progressive science-fiction material seemed gutsier without the band’s classy visual distractions – and that’s a pointer towards Rushmusic in the 80’s.

The new album will be called Magnetic Air, which describes the buzz they get before going on stage. Neil Peart, whose solo rhythmic showmanship closed the concert on a climax, said he didn’t think there was “a single whiff of space anywhere on the album.”

“Not in the lyrics,” agreed singer Geddy Lee, who also mentioned a song that is “almost entirely” in 4/4 time. “That’s a breakthrough for us. Finding something we like that is in 4/4 almost all the way through is an accomplishment.”

During the concert they previewed two tight, disciplined creations called Free Will and The Spirit of Radio. The latter is a tribute to progressive CFNY, and while the band didn’t dedicate it on stage (the show was presented by CHUM), they knew the Brampton station’s listeners would recognize references to their promotions.

Progressive-rocking FM had their biggest hometown audience (and their best sound system) as Rush’s special guest; Peart told me his group feels FM is the best band in Canada.

Despite the lack of lighting (it was still day) and plastic shelter that shrouded drummer Martin Deller and his equipment, the young trio acquitted itself admirably. Ben Mink dropped a bunch of violin notes, but behind his electric mandolin is a guitar-hero in the making. Multiphrenic Cameron Hawkins was a believably passionate singer, a precise pedal-bass player and a multi-keyboard star – all at the same time.

I hope they sell bales of copies of Surveillance when their new album is released in a couple of weeks.

[Syrinx]

Did anyone know that Permanent Waves was supposed to be called Magnetic Air??

[Bluefunk]

The new album will be called Magnetic Air, which describes the buzz they get before going on stage.

Hmm, Max Webster had an album called 'Live Magnetic Air'. I wonder if the interviewer got confused? Or did Max Webster get the idea from Rush (that album was released in 1979). Do you have an link for the source of that interview, Syrinx?

[Lorraine]

Nothing like sending a reviewer to a show for a band who he admits he cant stomach listening to for more than 20 minutes.

 

I thought the same thing.

 

Interesting reviews though.

[Syrinx]

No I transposed an original newspaper review. I have a number of scrapbooks from the 70's and 80's. Every concert I went to, I cut out the reviews and put them in with my ticket stub. Some great history and reading there. And yes I thought the same thing. Maybe Max Webster used the name after Rush decided not to go ahead with it. Or, maybe they heard Max Webster was going to use and changed their album title as a result.

[andreww]

I think Max Webster used it after Rush had a change of heart about using it. The title is likely the creation of Webster lyricist Pie Dubois who was working pretty closely with Neil at the time.

[OneLittleVictory]

I love this thread! Rush was so central to my life back then. It brings back great memories. If you will indulge me, I will post some of the concert reviews from back then. Rather than a lousy scan I am transposing them, so it will take me some time. Here is the first, from the previously mentioned Varsity Stadium show. I have two more reviews iof this show to come. Here is a pick of my ticket stub. $12.50! Prices were really starting to rise by 1979.http://i3.photobucket.com/albums/y69/GRohn/RushTicket1_zps69ac739c.jpg

 

 

tickets should be around that price again not friggin $200+

[Lorraine]

I love this thread! Rush was so central to my life back then. It brings back great memories. If you will indulge me, I will post some of the concert reviews from back then. Rather than a lousy scan I am transposing them, so it will take me some time. Here is the first, from the previously mentioned Varsity Stadium show. I have two more reviews iof this show to come. Here is a pick of my ticket stub. $12.50! Prices were really starting to rise by 1979.http://i3.photobucket.com/albums/y69/GRohn/RushTicket1_zps69ac739c.jpg

 

 

tickets should be around that price again not friggin $200+

 

They used to be even cheaper than that - $5.00 and $7.50.

 

We had a thread here on that topic about six months ago.

[Syrinx]

I will post the CNE ticket stub from a couple years earlier when I get to that one. Yes I have some stubs from the mid 70's in the $5-7 range.

[andreww]

Yep, $12.50 is about 50% more than I paid to see them the previous summer if I recall correctly. But it was a different time. Tours were made to sell records. They were cheap cause they wanted to attract more people. Now bands don't make any money from albums, it all comes from tours.

 

If you don't like the prices, don't go. I don't.

[Lorraine]

Yep, $12.50 is about 50% more than I paid to see them the previous summer if I recall correctly. But it was a different time. Tours were made to sell records. They were cheap cause they wanted to attract more people. Now bands don't make any money from albums, it all comes from tours.

 

If you don't like the prices, don't go. I don't.

The first concert I went to was in 1969 at the Fillmore East. I paid $5.00 for the ticket.

 

What you wrote about all the money being in touring I've been told also - no money is really made from the sale of

CDs/DVDs. If a band wants to make money and continue to live in the style they have become accustomed to over the years, they have to tour.

[rushfanNlv]

Thanks for the pics. Awesome.

[andreww]

Yep, $12.50 is about 50% more than I paid to see them the previous summer if I recall correctly. But it was a different time. Tours were made to sell records. They were cheap cause they wanted to attract more people. Now bands don't make any money from albums, it all comes from tours.

 

If you don't like the prices, don't go. I don't.

The first concert I went to was in 1969 at the Fillmore East. I paid $5.00 for the ticket.

 

What you wrote about all the money being in touring I've been told also - no money is really made from the sale of

CDs/DVDs. If a band wants to make money and continue to live in the style they have become accustomed to over the years, they have to tour.

 

Actually things were pretty stable as far as prices went back then. I saw Kiss two years previous to that Rush show at Varsity and the price was only $6 or $7. So from 1969 (your Filmore show) until 1976, prices were pretty stagnant. Two years after that they had almost doubled. By the 80s, prices were probably over $30. Prices just skyrocketed in a short period of time, and it was well before any internet and record pirating.

 

The big hit to prices came when the Eagles did their "Hell Freezes Over" tour. at the time prices for a concert were probably about $50, so the Eagles asked about $150. When they proved that people would still pay, everybody else jumped on board.