Se esta for a primeira vez que você acessa este blog, leia tudo o que se encontra nesta página. Quando você for acessar outro post, poderá pular o texto a seguir e seguir em frente. È importante que você saiba exatamente porque este blog não segue a linha de tantos outros por aí, porque aqui duas coisas você pode ter a certeza absoluta que encontrará, conteúdo diferenciado e exclusivo e arquivos com a mais alta qualidade sonora da internet. Para tanto, eu disponibilizo o meu próprio player de áudio, totalmente na nossa língua portuguesa para que você obtenha a máxima satisfação ao ouvir estes arquivos de áudio, seja usando headphones ou escutando em um aparelho de som.
A Wikipédia é uma ferramenta de pesquisa maravilhosa, sem dúvida. No entanto, como qualquer outra coisa, precisa se saber como usa-lá.
Por exemplo, se fosse possível utilizá-la para ler qualquer coisa em qualquer idioma, com uma tradução fiel a lingua original, não existiriam páginas específicas em determinadas linguagens, mas sim uma única opção de tradução, em que em um passe de mágica você veria um texto escrito em chinês traduzido fielmente para o russo ou árabe. Provavelmente você continuaria sem entender o que aquilo significava, caso não dominasse integralmente aquele idioma.
Existem alguns assuntos em que você pode encontrar um artigo escrito em inglês que pode ser traduzido para o português com uma tradução ao pé ao letra, porém outros foram feitos utilizando o recurso de copiar e colar apenas.
Isso acontece muito no que diz respeito á biografias de bandas e cantores. Então o que acontece? Alguém vai lá na página da Wikipédia que está em português, copia e cola o texto errado, e coloca isso no seu blog. O motivo para isso é que alguém entrou na página da Wikipédia americana / inglesa, copiou todo o texto, jogou na caixa do Google Tradutor e colou o resultado, cheio de palavras erradas, verbos e etc.
Eu sou da seguinte opnião; quer fazer algo, faça. Mas faça direito. O trabalho é sempre o mesmo, seja para fazer algo certo ou errado. Quando se faz uma coisa mal feita, o prejuízo é dobrado: além disso comprometer o resultado do trabalho, desmonstra desleixo, relaxo e falta de atenção.
Por mim mesmo eu não colocaria a história de nenhum artista aqui. Porque? Porque é um longo texto que tornará os meus posts ainda maiores. Mas eu sei que se eu não fizer isso, alguém vai falar ´O blog do Fulano tem, e este não´.
Então para mim é preferível que se alguém for comparar este meu honesto blog com outro, que seja sempre em um pé de igualdade e nunca abaixo disso. Porque se amanhã alguém decidir fazer algo temático como eu faço hoje, as pessoas iram dizer, ´O blog do outro foi o primeiro a fazer isso´.
A minha vontade de não escrever a história dos artistas aqui, foi baseado principalmente no que eu vejo quando saio na rua; vejo carros que passam com pessoas ouvindo som alto que toca diversas porcarias, menos rock.
Então parece que ou pessoas que gostam de rock não tem carro ou então que estas pessoas jovens já crescem com o mal gosto definido, então porque colocar a história destas bandas e cantores, que já não são novidade para ninguém?
As pessoas mais velhas que já conhecem estes artistas não vão ler aquilo tudo outra vez, ou se forem ler, já perderam o tesão logo no começo, com um texto com erros crasos de português.
Então para satisfazer a todos, e principalmente para continuar fazendo as coisas bem feitas, como devem ser, eu vou colocar a história do Neil Peart na versão original da página da Wikipédia em inglês. A pessoa que fez esta página buscou as informações corretas e tem mais autoridade para falar dele do que alguma pessoa preguiçosa que não quis se dar ao trabalho árduo de fazer uma tradução digna do nível que ele merece.
O melhor jeito de se adquirir conhecimento é se buscando as informações direto na fonte, ou então você corre o risco de aprender os que os outros querem que você aprenda e desta maneira em vez de você criar a sua própria opnião você termina por adotar a dos outros e assim pensa com a cabeça deles, e não com a sua.
Partindo disso, você tem três opções: instalar um plugin no Firefox e traduzir esta página em tempo real, copiar este texto longo, jogá-lo no Google Tradutor, salvar o que vier de lá e mais tarde arrumá-lo da forma que você achar melhor ou então copiar este texto, salvá-lo no Bloco de Notas e baixar o tradutor off-line Lingoes que eu disponibilizarei em breve no Painel de Avisos e traduzí-lo no conforto do seu lar, de acordo com a sua disponibilidade de tempo, paciência e disposição.
Isso claro se para você for realmente necessário. Eu leio em inglês e consigo entender o conceito da frase, e isso para mim na maioria das vezes me satisfaz, quando isso não basta, eu traduzo uma palavra que eu não sei o que significa e isso resolve o problema.
Mais para a frente, quando eu tiver tempo, eu pretendo traduzir este texto e republicá-lo em portugues, mas isso é algo sem data definida.
Neil Peart: História Completa
Neil Ellwood Peart, OC (born September 12, 1952), is a Canadian-American musician and author, best known as the drummer and primary lyricist for the rock band Rush. Peart has received numerous awards for his musical performances, including an induction into the Modern Drummer Hall of Fame in 1983, making him the youngest person ever so honored.
He is known for his technical proficiency and stamina.
Peart grew up in Port Dalhousie, Ontario (now part of St. Catharines). During adolescence, he floated between regional bands in pursuit of a career as a full time drummer. After a discouraging stint in England to concentrate on his music, Peart returned home, where he joined a local Toronto band, Rush, in the summer of 1974.
Early in his career, Peart performance style was deeply rooted in hard rock. He drew most of his inspiration from drummers such as Keith Moon and John Bonham, players who were at the forefront of the British hard rock scene.
As time passed, he began to emulate jazz and big band musicians Gene Krupa and Buddy Rich. In 1994, Peart became a friend and pupil of jazz instructor Freddie Gruber. It was during this time that Peart decided to revamp his playing style by incorporating jazz and swing components. Gruber was also responsible for introducing him to the products of Drum Workshop, the company whose products Peart currently endorses.
Peart is Rush primary lyricist, and has also published several memoirs about his travels. His lyrics for Rush address universal themes and diverse subject matter including science fiction, fantasy, and philosophy, as well as secular, humanitarian and libertarian themes.
All five of his books are travel-based non-fiction, though they diverge into his life and these subjects as well. Peart lives in Santa Monica, California, with his wife (photographer Carrie Nuttall) and daughter. He also has a home in the Laurentian Mountains of Quebec, Canada, and spends time in Toronto for recording purposes.
On December 7, 2015, Peart announced his retirement from music in an interview with Drumhead Magazine, though bandmate Geddy Lee insisted Peart was quoted out of context, and suggested Peart was "simply taking a break".
He is known for his technical proficiency and stamina.
Peart grew up in Port Dalhousie, Ontario (now part of St. Catharines). During adolescence, he floated between regional bands in pursuit of a career as a full time drummer. After a discouraging stint in England to concentrate on his music, Peart returned home, where he joined a local Toronto band, Rush, in the summer of 1974.
Early in his career, Peart performance style was deeply rooted in hard rock. He drew most of his inspiration from drummers such as Keith Moon and John Bonham, players who were at the forefront of the British hard rock scene.
As time passed, he began to emulate jazz and big band musicians Gene Krupa and Buddy Rich. In 1994, Peart became a friend and pupil of jazz instructor Freddie Gruber. It was during this time that Peart decided to revamp his playing style by incorporating jazz and swing components. Gruber was also responsible for introducing him to the products of Drum Workshop, the company whose products Peart currently endorses.
Peart is Rush primary lyricist, and has also published several memoirs about his travels. His lyrics for Rush address universal themes and diverse subject matter including science fiction, fantasy, and philosophy, as well as secular, humanitarian and libertarian themes.
All five of his books are travel-based non-fiction, though they diverge into his life and these subjects as well. Peart lives in Santa Monica, California, with his wife (photographer Carrie Nuttall) and daughter. He also has a home in the Laurentian Mountains of Quebec, Canada, and spends time in Toronto for recording purposes.
On December 7, 2015, Peart announced his retirement from music in an interview with Drumhead Magazine, though bandmate Geddy Lee insisted Peart was quoted out of context, and suggested Peart was "simply taking a break".
Biogrphy
Early Childhood
Peart was born in a Hamilton hospital to Glen and Betty Peart and lived his early years on his family farm in Hagersville, on the outskirts of Hamilton. The first child of four, his brother Danny and sisters Judy and Nancy were born after the family moved to St. Catharines when Peart was two years old.
At this time his father became parts manager for Dalziel Equipment, an International Harvester farm machinery dealer.
In 1956 the family moved to the Port Dalhousie area of the town. Peart attended Gracefield School and later Lakeport Secondary School, and describes his childhood as happy and says he experienced a warm family life. By early adolescence he became interested in music and acquired a transistor radio, which he would use to tune into pop music stations broadcasting from Toronto, Hamilton, Welland, Ontario and Buffalo, New York.
His first exposure to musical training came in the form of piano lessons, which he later said in his instructional video A Work in Progress did not have much impact on him. He had a penchant for drumming on various objects around the house with a pair of chopsticks, so for his thirteenth birthday his parents bought him a pair of drum sticks, a practice drum and some lessons, with the promise that if he stuck with it for a year they would buy him a kit.
His parents bought him a drum kit for his fourteenth birthday and he began taking lessons from Don George at the Peninsula Conservatory of Music. His stage debut took place that year at the school Christmas pageant in St. Johns Anglican Church Hall in Port Dalhousie. His next appearance was at Lakeport High School with his first group, The Eternal Triangle. This performance contained an original number titled "LSD Forever". At this show he performed his first solo.
Peart got a job in Lakeside Park, in Port Dalhousie on the shores of Lake Ontario, which later inspired a song of the same name on the Rush album Caress of Steel.[ He worked on the Bubble Game and Ball Toss, but his tendency to take it easy when business was slack resulted in his termination.
By his late teens, Peart had played in local bands such as Mumbling Sumpthing, the Majority, and JR Flood. These bands practiced in basement recreation rooms and garages and played church halls, high schools and roller rinks in towns across Southern Ontario such as Mitchell, Seaforth, and Elmira. They also played in the northern Ontario city of Timmins. Tuesday nights were filled with jam sessions at the Niagara Theatre Centre.
At this time his father became parts manager for Dalziel Equipment, an International Harvester farm machinery dealer.
In 1956 the family moved to the Port Dalhousie area of the town. Peart attended Gracefield School and later Lakeport Secondary School, and describes his childhood as happy and says he experienced a warm family life. By early adolescence he became interested in music and acquired a transistor radio, which he would use to tune into pop music stations broadcasting from Toronto, Hamilton, Welland, Ontario and Buffalo, New York.
His first exposure to musical training came in the form of piano lessons, which he later said in his instructional video A Work in Progress did not have much impact on him. He had a penchant for drumming on various objects around the house with a pair of chopsticks, so for his thirteenth birthday his parents bought him a pair of drum sticks, a practice drum and some lessons, with the promise that if he stuck with it for a year they would buy him a kit.
His parents bought him a drum kit for his fourteenth birthday and he began taking lessons from Don George at the Peninsula Conservatory of Music. His stage debut took place that year at the school Christmas pageant in St. Johns Anglican Church Hall in Port Dalhousie. His next appearance was at Lakeport High School with his first group, The Eternal Triangle. This performance contained an original number titled "LSD Forever". At this show he performed his first solo.
Peart got a job in Lakeside Park, in Port Dalhousie on the shores of Lake Ontario, which later inspired a song of the same name on the Rush album Caress of Steel.[ He worked on the Bubble Game and Ball Toss, but his tendency to take it easy when business was slack resulted in his termination.
By his late teens, Peart had played in local bands such as Mumbling Sumpthing, the Majority, and JR Flood. These bands practiced in basement recreation rooms and garages and played church halls, high schools and roller rinks in towns across Southern Ontario such as Mitchell, Seaforth, and Elmira. They also played in the northern Ontario city of Timmins. Tuesday nights were filled with jam sessions at the Niagara Theatre Centre.
Career Before Joining Rush
At eighteen years of age, after struggling to achieve success as a drummer in Canada, Peart travelled to London, England hoping to further his career as a professional musician. Despite playing in several bands and picking up occasional session work, he was forced to support himself by selling jewelry at a shop called The Great Frog on Carnaby Street.
While in London he came across the writings of novelist and Objectivist Ayn Rand. Rand writings became a significant early philosophical influence on Peart, as he found many of her writings on individualism and Objectivism inspiring. References to Rand philosophy can be found in his early lyrics, most notably "Anthem" from 1975 Fly by Night and "2112" from 1976 2112.
After eighteen months of dead-end musical gigs, and disillusioned by his lack of progress in the music business, Peart placed his aspiration of becoming a professional musician on hold and returned to Canada. Upon returning to St. Catharines, he worked for his father selling tractor parts at Dalziel Equipment.
While in London he came across the writings of novelist and Objectivist Ayn Rand. Rand writings became a significant early philosophical influence on Peart, as he found many of her writings on individualism and Objectivism inspiring. References to Rand philosophy can be found in his early lyrics, most notably "Anthem" from 1975 Fly by Night and "2112" from 1976 2112.
After eighteen months of dead-end musical gigs, and disillusioned by his lack of progress in the music business, Peart placed his aspiration of becoming a professional musician on hold and returned to Canada. Upon returning to St. Catharines, he worked for his father selling tractor parts at Dalziel Equipment.
Joining Rush
After returning to Canada, Peart was recruited to play drums for a St. Catharines band known as Hush, who played on the South Ontario bar circuit. Soon after, a mutual acquaintance convinced Peart to audition for the Toronto-based band Rush, which needed a replacement for its original drummer John Rutsey.
Geddy Lee and Alex Lifeson oversaw the audition. His future bandmates describe his arrival that day as somewhat humorous, as he arrived in shorts, driving a battered old Ford Pinto with his drums stored in trashcans. Peart felt the entire audition was a complete disaster.
While Lee and Peart hit it off on a personal level (both sharing similar tastes in books and music), Lifeson had a less favourable impression of Peart. After some discussion, Lee and Lifeson accepted Peart maniacal British style of drumming, reminiscent of The Who Keith Moon.
Peart officially joined the band on July 29, 1974, two weeks before the group first US tour. Peart procured a silver Slingerland kit which he played at his first gig with the band, opening for Uriah Heep and Manfred Mann in front of over 11,000 people at the Civic Arena, Pittsburgh, Pennsylvania on August 14, 1974.
Geddy Lee and Alex Lifeson oversaw the audition. His future bandmates describe his arrival that day as somewhat humorous, as he arrived in shorts, driving a battered old Ford Pinto with his drums stored in trashcans. Peart felt the entire audition was a complete disaster.
While Lee and Peart hit it off on a personal level (both sharing similar tastes in books and music), Lifeson had a less favourable impression of Peart. After some discussion, Lee and Lifeson accepted Peart maniacal British style of drumming, reminiscent of The Who Keith Moon.
Peart officially joined the band on July 29, 1974, two weeks before the group first US tour. Peart procured a silver Slingerland kit which he played at his first gig with the band, opening for Uriah Heep and Manfred Mann in front of over 11,000 people at the Civic Arena, Pittsburgh, Pennsylvania on August 14, 1974.
Early Career With Rush
Peart soon settled into his new position, also becoming the band primary lyricist. Before joining Rush, he had written few songs, but, with the other members largely uninterested in writing lyrics, Peart previously underutilized writing became as noticed as his musicianship. The band was working hard to establish themselves as a recording act, and Peart, along with the rest of the band, began to undertake extensive touring.
His first recording with the band, 1975 Fly by Night, was fairly successful, winning the Juno Award for most promising new act, but the follow-up, Caress of Steel, for which the band had high hopes, was greeted with hostility by both fans and critics.
In response to this negative reception, most of which was aimed at the B side-spanning epic "The Fountain of Lamneth", Peart responded by penning "2112" on their next album of the same name in 1976. The album, despite record company indifference, became their breakthrough and gained a following in the United States.
The supporting tour culminated in a three night stand at Massey Hall in Toronto, a venue Peart had dreamed of playing in his days on the Southern Ontario bar circuit and where he was introduced as "The Professor on the drum kit" by Lee.
Peart returned to England for Rush Northern European Tour and the band stayed in the United Kingdom to record the next album, 1977 A Farewell to Kings in Rockfield Studios in Wales. They returned to Rockfield to record the follow-up, Hemispheres, in 1978, which they wrote entirely in the studio.
The recording of five studio albums in four years, coupled with as many as 300 gigs a year, convinced the band to take a different approach thereafter. Peart has described his time in the band up to this point as "a dark tunnel."
His first recording with the band, 1975 Fly by Night, was fairly successful, winning the Juno Award for most promising new act, but the follow-up, Caress of Steel, for which the band had high hopes, was greeted with hostility by both fans and critics.
In response to this negative reception, most of which was aimed at the B side-spanning epic "The Fountain of Lamneth", Peart responded by penning "2112" on their next album of the same name in 1976. The album, despite record company indifference, became their breakthrough and gained a following in the United States.
The supporting tour culminated in a three night stand at Massey Hall in Toronto, a venue Peart had dreamed of playing in his days on the Southern Ontario bar circuit and where he was introduced as "The Professor on the drum kit" by Lee.
Peart returned to England for Rush Northern European Tour and the band stayed in the United Kingdom to record the next album, 1977 A Farewell to Kings in Rockfield Studios in Wales. They returned to Rockfield to record the follow-up, Hemispheres, in 1978, which they wrote entirely in the studio.
The recording of five studio albums in four years, coupled with as many as 300 gigs a year, convinced the band to take a different approach thereafter. Peart has described his time in the band up to this point as "a dark tunnel."
Playing Style Reinvention
In 1992, Peart was invited by Buddy Rich daughter, Cathy Rich, to play at the Buddy Rich Memorial Scholarship Concert in New York City. Peart accepted and performed for the first time with the Buddy Rich Big Band. Peart remarked that he had little time to rehearse, and noted that he was embarrassed to find the band played a different arrangement of the song than the one he had learned.
Feeling that his performance left much to be desired, Peart decided to produce and play on two Buddy Rich tribute albums titled Burning for Buddy: A Tribute to the Music of Buddy Rich in 1994 and 1997 in order to regain his aplomb.
While producing the first Buddy Rich tribute album, Peart was struck by the tremendous improvement in ex-Journey drummer Steve Smith playing, and asked him his "secret." Smith responded he had been studying with drum teacher Freddie Gruber.
In early 2007, Peart and Cathy Rich again began discussing yet another Buddy tribute concert. At the recommendation of bassist Jeff Berlin, Peart decided to once again augment his swing style with formal drum lessons, this time under the tutelage of another pupil of Freddie Gruber, Peter Erskine, himself an instructor of Steve Smith.
On October 18, 2008, Peart once again performed at the Buddy Rich Memorial Concert at New York Hammerstein Ballroom. The concert has since been released on DVD.
Feeling that his performance left much to be desired, Peart decided to produce and play on two Buddy Rich tribute albums titled Burning for Buddy: A Tribute to the Music of Buddy Rich in 1994 and 1997 in order to regain his aplomb.
While producing the first Buddy Rich tribute album, Peart was struck by the tremendous improvement in ex-Journey drummer Steve Smith playing, and asked him his "secret." Smith responded he had been studying with drum teacher Freddie Gruber.
In early 2007, Peart and Cathy Rich again began discussing yet another Buddy tribute concert. At the recommendation of bassist Jeff Berlin, Peart decided to once again augment his swing style with formal drum lessons, this time under the tutelage of another pupil of Freddie Gruber, Peter Erskine, himself an instructor of Steve Smith.
On October 18, 2008, Peart once again performed at the Buddy Rich Memorial Concert at New York Hammerstein Ballroom. The concert has since been released on DVD.
Family Tragedy and Recovery
On August 10, 1997, soon after the conclusion of Rush Test for Echo Tour, Peart first daughter and then-only child, 19-year-old Selena Taylor, was killed in a single-car accident on Highway 401 near the town of Brighton, Ontario.
His common-law wife of 22 years, Jacqueline Taylor, succumbed to cancer only 10 months later on June 20, 1998. Peart attributes her death to the result of a "broken heart" and called it "a slow suicide by apathy. She just did not care."
In his book Ghost Rider: Travels on the Healing Road, Peart writes that he told his bandmates at Selena funeral, "consider me retired." Peart took a long sabbatical to mourn and reflect, and travelled extensively throughout North and Central America on his motorcycle, covering 88,000 km (55,000 miles).
After his journey, Peart decided to return to the band. Peart wrote the book as a chronicle of his geographical and emotional journey.
Peart was introduced to photographer Carrie Nuttall in Los Angeles by long-time Rush photographer Andrew MacNaughtan. They married on September 9, 2000. In early 2001, Peart announced to his bandmates that he was ready to return to recording and performing.
The product of the band return was the 2002 album Vapor Trails. At the start of the ensuing tour in support of the album, it was decided amongst the band members that Peart would not take part in the daily grind of press interviews and "meet and greet" sessions upon their arrival in a new city that typically monopolize a touring band daily schedule.
Peart has always shied away from these types of in-person encounters, and it was decided that exposing him to a lengthy stream of questions about the tragic events of his life was not necessary.
Since the release of Vapor Trails and his reunion with bandmates, Peart has returned to work as a full-time musician. In the June 2009 edition of Peart website News, Weather, and Sports, titled "Under the Marine Layer", he announced that he and Nuttall were expecting their first child. Olivia Louise Peart was born later that year.
His common-law wife of 22 years, Jacqueline Taylor, succumbed to cancer only 10 months later on June 20, 1998. Peart attributes her death to the result of a "broken heart" and called it "a slow suicide by apathy. She just did not care."
In his book Ghost Rider: Travels on the Healing Road, Peart writes that he told his bandmates at Selena funeral, "consider me retired." Peart took a long sabbatical to mourn and reflect, and travelled extensively throughout North and Central America on his motorcycle, covering 88,000 km (55,000 miles).
After his journey, Peart decided to return to the band. Peart wrote the book as a chronicle of his geographical and emotional journey.
Peart was introduced to photographer Carrie Nuttall in Los Angeles by long-time Rush photographer Andrew MacNaughtan. They married on September 9, 2000. In early 2001, Peart announced to his bandmates that he was ready to return to recording and performing.
The product of the band return was the 2002 album Vapor Trails. At the start of the ensuing tour in support of the album, it was decided amongst the band members that Peart would not take part in the daily grind of press interviews and "meet and greet" sessions upon their arrival in a new city that typically monopolize a touring band daily schedule.
Peart has always shied away from these types of in-person encounters, and it was decided that exposing him to a lengthy stream of questions about the tragic events of his life was not necessary.
Since the release of Vapor Trails and his reunion with bandmates, Peart has returned to work as a full-time musician. In the June 2009 edition of Peart website News, Weather, and Sports, titled "Under the Marine Layer", he announced that he and Nuttall were expecting their first child. Olivia Louise Peart was born later that year.
In the mid-2010s, Peart acquired American citizenship.
Retirement
Peart announced his retirement in an interview in December 2015:
Lately Olivia has been introducing me to new friends at school as 'My dad — He is a retired drummer.' True to say — funny to hear. And it does not pain me to realize that, like all athletes, there comes a time to... take yourself out of the game.
I would rather set it aside than face the predicament described in our song 'Losing It'.
Peart had been suffering from chronic tendonitis and shoulder problems. Peart bandmates have confirmed Rush retirement from touring, although the band future as a whole remains uncertain.
Lately Olivia has been introducing me to new friends at school as 'My dad — He is a retired drummer.' True to say — funny to hear. And it does not pain me to realize that, like all athletes, there comes a time to... take yourself out of the game.
I would rather set it aside than face the predicament described in our song 'Losing It'.
Peart had been suffering from chronic tendonitis and shoulder problems. Peart bandmates have confirmed Rush retirement from touring, although the band future as a whole remains uncertain.
Musicianship
Style and influences
Peart drumming skill and technique are well-regarded by fans, fellow musicians, and music journalists.
His influences are eclectic, ranging from Pete Thomas, John Bonham, Michael Giles, Ginger Baker, Phil Collins, Steve Gadd, Stewart Copeland, Michael Shrieve and Keith Moon, to fusion and jazz drummers Billy Cobham, Buddy Rich, Bill Bruford and Gene Krupa.
The Who was the first group that inspired him to write songs and play the drums. Peart is distinguished for playing "butt-end out", reversing stick orientation for greater impact and increased rimshot capacity.
"When I was starting out", Peart said, "if I broke the tips off my sticks I could not afford to buy new ones, so I would just turn them around and use the other end. I got used to it, and continue to use the heavy end of lighter sticks – it gives me a solid impact, but with less 'dead weight' to sling around."
Peart had long played matched grip, but shifted to traditional as part of his style reinvention in the mid-1990s under the tutelage of jazz coach Freddie Gruber. He played traditional grip throughout his first instructional DVD A Work in Progress, and on Rush Test For Echo studio album.
Peart went back to using primarily matched, though he does switch to traditional from time to time when playing songs from Test for Echo and during moments when he feels traditional grip is more appropriate, such as the rudimental snare drum section of his drum solo. He discusses the details of these switches in the DVD Anatomy of a Drum Solo.
His influences are eclectic, ranging from Pete Thomas, John Bonham, Michael Giles, Ginger Baker, Phil Collins, Steve Gadd, Stewart Copeland, Michael Shrieve and Keith Moon, to fusion and jazz drummers Billy Cobham, Buddy Rich, Bill Bruford and Gene Krupa.
The Who was the first group that inspired him to write songs and play the drums. Peart is distinguished for playing "butt-end out", reversing stick orientation for greater impact and increased rimshot capacity.
"When I was starting out", Peart said, "if I broke the tips off my sticks I could not afford to buy new ones, so I would just turn them around and use the other end. I got used to it, and continue to use the heavy end of lighter sticks – it gives me a solid impact, but with less 'dead weight' to sling around."
Peart had long played matched grip, but shifted to traditional as part of his style reinvention in the mid-1990s under the tutelage of jazz coach Freddie Gruber. He played traditional grip throughout his first instructional DVD A Work in Progress, and on Rush Test For Echo studio album.
Peart went back to using primarily matched, though he does switch to traditional from time to time when playing songs from Test for Echo and during moments when he feels traditional grip is more appropriate, such as the rudimental snare drum section of his drum solo. He discusses the details of these switches in the DVD Anatomy of a Drum Solo.
Equipment
Peart played Zildjian A-series cymbals and Wuhan china cymbals until the early 2000s when he switched to Paragon, a line created for him by Sabian. In concert, Peart uses an elaborate 360-degree drum kit, with a large acoustic set in front and electronic drums to the rear.
During the late 1970s, Peart augmented his acoustic setup with diverse percussion instruments including orchestra bells, tubular bells, wind chimes, crotales, timbales, timpani, gong, temple blocks, bell tree, triangle, and melodic cowbells. Since the mid-1980s, Peart has replaced several of these pieces with MIDI trigger pads. This was done in order to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area. Some purely electronic non-instrumental sounds are also used.
One classic MIDI pad used is the Malletkat Express, which is a two-octave electronic MIDI device that resembles a xylophone or piano. The Malletkat Express is composed of rubber pads for the "keys" so that any stick can be used. Beginning with 1984 Grace Under Pressure, he used Simmons electronic drums in conjunction with Akai digital samplers.
Peart has performed several songs primarily using the electronic portion of his drum kit.
E.g. "Red Sector A", "Closer to the Heart" on A Show of Hands and "Mystic Rhythms" on R30. Peart drum solos also feature sections performed primarily on the electronic portion of his kit.
Shortly after making the choice to include electronic drums and triggers, Peart added what has become another trademark of his kit: a rotating drum riser. During live Rush shows the riser allows Peart to swap the prominent portions of the kit (traditional acoustic in front, electronic in back).
A staple of Peart live drum solos has been the in-performance rotation-and-swap of the front and back kits as part of the solo itself. This special effect provides both a symbolic transition of drum styles within the solo and a visual treat for the audience.
In the early 2000s, Peart began taking full advantage of the advances in electronic drum technology, primarily incorporating Roland V-Drums and continued use of samplers with his existing set of acoustic percussion. His digitally-sampled library of both traditional and exotic sounds has expanded over the years with his music.
In April 2006, Peart took delivery of his third DW set, configured similarly to the R30 set, in a Tobacco Sunburst finish over curly maple exterior ply, with chrome hardware. He refers to this set, which he uses primarily in Los Angeles, as the "West Coast kit". Besides using it on recent recordings with Vertical Horizon, he played it while composing parts for Rush album, Snakes & Arrows. It features a custom 23-inch bass drum; all other sizes remain the same as the R30 kit.
On March 20, 2007 Peart revealed that Drum Workshop prepared a new set of red-painted DW maple shells with black hardware and gold "Snakes & Arrows" logos for him to play on the Snakes & Arrows Tour.
Peart has also designed his own signature series drumstick with Pro-Mark. The Promark PW747W, Neil Peart Signature drumsticks, are made of Japanese White Oak, which adds more weight than a standard hickory stick. They have the thickness of a standard 5A (0.551", 1.4 cm) but are longer (16.25", 41.3 cm) with a thicker taper and larger olive shaped wooden tip.
When Rush held their Time Machine Tour, Pro-Mark released three limited edition sticks, each with one of the three designs selected from Peart "Steam Punk" tour kit printed with copper ink. Some other artists who use the Neil Peart Signature series include Ben Johnston of Biffy Clyro, Richie Hayward of Little Feat and Paul Garred of the Kooks.
During the 2010-11 Time Machine Tour Peart used a new DW kit which was outfitted with copper-plated hardware and time machine designs to match the tour's steampunk themes. Matching Paragon cymbals with clock imagery were also used.
During the late 1970s, Peart augmented his acoustic setup with diverse percussion instruments including orchestra bells, tubular bells, wind chimes, crotales, timbales, timpani, gong, temple blocks, bell tree, triangle, and melodic cowbells. Since the mid-1980s, Peart has replaced several of these pieces with MIDI trigger pads. This was done in order to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area. Some purely electronic non-instrumental sounds are also used.
One classic MIDI pad used is the Malletkat Express, which is a two-octave electronic MIDI device that resembles a xylophone or piano. The Malletkat Express is composed of rubber pads for the "keys" so that any stick can be used. Beginning with 1984 Grace Under Pressure, he used Simmons electronic drums in conjunction with Akai digital samplers.
Peart has performed several songs primarily using the electronic portion of his drum kit.
E.g. "Red Sector A", "Closer to the Heart" on A Show of Hands and "Mystic Rhythms" on R30. Peart drum solos also feature sections performed primarily on the electronic portion of his kit.
Shortly after making the choice to include electronic drums and triggers, Peart added what has become another trademark of his kit: a rotating drum riser. During live Rush shows the riser allows Peart to swap the prominent portions of the kit (traditional acoustic in front, electronic in back).
A staple of Peart live drum solos has been the in-performance rotation-and-swap of the front and back kits as part of the solo itself. This special effect provides both a symbolic transition of drum styles within the solo and a visual treat for the audience.
In the early 2000s, Peart began taking full advantage of the advances in electronic drum technology, primarily incorporating Roland V-Drums and continued use of samplers with his existing set of acoustic percussion. His digitally-sampled library of both traditional and exotic sounds has expanded over the years with his music.
In April 2006, Peart took delivery of his third DW set, configured similarly to the R30 set, in a Tobacco Sunburst finish over curly maple exterior ply, with chrome hardware. He refers to this set, which he uses primarily in Los Angeles, as the "West Coast kit". Besides using it on recent recordings with Vertical Horizon, he played it while composing parts for Rush album, Snakes & Arrows. It features a custom 23-inch bass drum; all other sizes remain the same as the R30 kit.
On March 20, 2007 Peart revealed that Drum Workshop prepared a new set of red-painted DW maple shells with black hardware and gold "Snakes & Arrows" logos for him to play on the Snakes & Arrows Tour.
Peart has also designed his own signature series drumstick with Pro-Mark. The Promark PW747W, Neil Peart Signature drumsticks, are made of Japanese White Oak, which adds more weight than a standard hickory stick. They have the thickness of a standard 5A (0.551", 1.4 cm) but are longer (16.25", 41.3 cm) with a thicker taper and larger olive shaped wooden tip.
When Rush held their Time Machine Tour, Pro-Mark released three limited edition sticks, each with one of the three designs selected from Peart "Steam Punk" tour kit printed with copper ink. Some other artists who use the Neil Peart Signature series include Ben Johnston of Biffy Clyro, Richie Hayward of Little Feat and Paul Garred of the Kooks.
During the 2010-11 Time Machine Tour Peart used a new DW kit which was outfitted with copper-plated hardware and time machine designs to match the tour's steampunk themes. Matching Paragon cymbals with clock imagery were also used.
Solos
Peart is noted for his distinctive in-concert drum solos, characterized by exotic percussion instruments and long, intricate passages in odd time signatures. His complex arrangements sometimes result in complete separation of upper- and lower-limb patterns; an ostinato dubbed "The Waltz" is a typical example.
His solos have been featured on every live album released by the band. On the early live albums (All The World Is A Stage & Exit...Stage Left), the drum solo was included as part of a song. On all subsequent live albums through Time Machine 2011: Live in Cleveland, the drum solo has been included as a separate track.
The Clockwork Angels Tour album includes three short solos instead of a single long one: two interludes played during other songs and one standalone. Similarly, the R40 Live album includes two short solos performed as interludes.
Peart instructional DVD Anatomy of a Drum Solo is an in-depth examination of how he constructs a solo that is musical rather than indulgent, using his solo from the 2004 R30 30th anniversary tour as an example.
His solos have been featured on every live album released by the band. On the early live albums (All The World Is A Stage & Exit...Stage Left), the drum solo was included as part of a song. On all subsequent live albums through Time Machine 2011: Live in Cleveland, the drum solo has been included as a separate track.
The Clockwork Angels Tour album includes three short solos instead of a single long one: two interludes played during other songs and one standalone. Similarly, the R40 Live album includes two short solos performed as interludes.
Peart instructional DVD Anatomy of a Drum Solo is an in-depth examination of how he constructs a solo that is musical rather than indulgent, using his solo from the 2004 R30 30th anniversary tour as an example.
Lyrics
Peart is the main lyricist for Rush. Literature has always heavily influenced his writings and, as such, he has tackled a wide range of subjects. In his early days with Rush, much of his lyrical output was influenced by fantasy, science fiction, mythology and philosophy. However, nearly as much would deal with real world or personal issues such as life on the road and parts of his adolescence.
The song "2112" focuses on the struggle of an individual against the collectivist forces of a totalitarian state. This became the band breakthrough release, but also brought unexpected criticism, mainly because of the credit of inspiration Peart gave to Ayn Rand in the liner notes.
"There was a remarkable backlash, especially from the English press, this being the late seventies, when collectivism was still in style, especially among journalists," Peart said. "They were calling us 'Junior fascists' and 'Hitler lovers.' It was a total shock to me".
Weary of ideological fealty to Rand philosophy of Objectivism, Peart has sought to remind listeners of his eclecticism and independence in interviews. He did not try to argue in defence of Rand views, saying "For a start, the extent of my influence by the writings of Ayn Rand should not be overstated. I am no one disciple."
The 1980 album Permanent Waves saw Peart cease to use fantasy and mythological themes. 1981 Moving Pictures showed that Peart was still interested in heroic, mythological figures, but now placed firmly in a modern, realistic context.
The song "Limelight" from the same album is an autobiographical account of Peart reservations regarding his own popularity and the pressures with fame. From Permanent Waves onward, most of Peart lyrics began to revolve around social, emotional, and humanitarian issues, usually from an objective standpoint and employing the use of metaphors and symbolic representation.
1984 Grace Under Pressure strings together such despondent topics as the Holocaust ("Red Sector A") and the death of close friends ("Afterimage"). Starting with 1987 Hold Your Fire and including 1989 Presto, 1991 Roll the Bones, and 1993 Counterparts, Peart would continue to explore diverse lyrical motifs, even addressing the topic of love and relationships ("Open Secrets", "Ghost of a Chance", "Speed of Love", "Cold Fire", "Alien Shore") a subject which he purposefully avoided in the past, out of fear of using clichés.
2002 Vapor Trails was heavily devoted to Peart personal issues, along with other humanitarian topics such as the 9/11 terrorist attacks ("Peaceable Kingdom"). The album Snakes & Arrows dealt primarily and vociferously with Peart opinions regarding faith and religion.
The lyrics of the album song "Faithless" exhibit Peart life stance, which has been closely identified with secular humanism.
Peart has only explicitly discussed his religious views in his book The Masked Rider: Cycling in West Africa, in which he writes "I am a linear thinking agnostic, but not an atheist, folks."
Opinions of Peart lyrics have always been divided. While fans have lauded them as thoughtful and intelligent, some critics have called them overwrought and bombastic. In 2007, he was ranked No. 2 (after Sting) on Blender magazine list of "worst lyricists in rock". In contrast, Allmusic has called Peart "one of rock most accomplished lyricists."
The song "2112" focuses on the struggle of an individual against the collectivist forces of a totalitarian state. This became the band breakthrough release, but also brought unexpected criticism, mainly because of the credit of inspiration Peart gave to Ayn Rand in the liner notes.
"There was a remarkable backlash, especially from the English press, this being the late seventies, when collectivism was still in style, especially among journalists," Peart said. "They were calling us 'Junior fascists' and 'Hitler lovers.' It was a total shock to me".
Weary of ideological fealty to Rand philosophy of Objectivism, Peart has sought to remind listeners of his eclecticism and independence in interviews. He did not try to argue in defence of Rand views, saying "For a start, the extent of my influence by the writings of Ayn Rand should not be overstated. I am no one disciple."
The 1980 album Permanent Waves saw Peart cease to use fantasy and mythological themes. 1981 Moving Pictures showed that Peart was still interested in heroic, mythological figures, but now placed firmly in a modern, realistic context.
The song "Limelight" from the same album is an autobiographical account of Peart reservations regarding his own popularity and the pressures with fame. From Permanent Waves onward, most of Peart lyrics began to revolve around social, emotional, and humanitarian issues, usually from an objective standpoint and employing the use of metaphors and symbolic representation.
1984 Grace Under Pressure strings together such despondent topics as the Holocaust ("Red Sector A") and the death of close friends ("Afterimage"). Starting with 1987 Hold Your Fire and including 1989 Presto, 1991 Roll the Bones, and 1993 Counterparts, Peart would continue to explore diverse lyrical motifs, even addressing the topic of love and relationships ("Open Secrets", "Ghost of a Chance", "Speed of Love", "Cold Fire", "Alien Shore") a subject which he purposefully avoided in the past, out of fear of using clichés.
2002 Vapor Trails was heavily devoted to Peart personal issues, along with other humanitarian topics such as the 9/11 terrorist attacks ("Peaceable Kingdom"). The album Snakes & Arrows dealt primarily and vociferously with Peart opinions regarding faith and religion.
The lyrics of the album song "Faithless" exhibit Peart life stance, which has been closely identified with secular humanism.
Peart has only explicitly discussed his religious views in his book The Masked Rider: Cycling in West Africa, in which he writes "I am a linear thinking agnostic, but not an atheist, folks."
Opinions of Peart lyrics have always been divided. While fans have lauded them as thoughtful and intelligent, some critics have called them overwrought and bombastic. In 2007, he was ranked No. 2 (after Sting) on Blender magazine list of "worst lyricists in rock". In contrast, Allmusic has called Peart "one of rock most accomplished lyricists."
Political Views
For most of his career, Peart had never publicly identified with any political party or organization in Canada or the United States. Even so, his political and philosophical views have often been analyzed through his work with Rush and through other sources.
In October 1993, shortly before that year Canadian federal election, Peart appeared with then-Liberal Party leader Jean Chrétien in an interview broadcast in Canada on MuchMusic. In that interview, Peart stated he was an undecided voter who supported Quebec federalism.
Peart has often been categorized as an Objectivist and an admirer of Ayn Rand. This is largely based on his work with Rush in the 1970s, particularly the song "Anthem" and the album 2112; the latter specifically credited Rand work.
However, in his 1994 Rush Backstage Club Newsletter, while contending the "individual is paramount in matters of justice and liberty,"
Peart specifically distanced himself from a strictly Objectivist line. In a June 2012 Rolling Stone interview, when asked if Rand words still speak to him, Peart replied, "Oh, no. That was forty years ago. But it was important to me at the time in a transition of finding myself and having faith that what I believed was worthwhile."
Peart has also ascribed to a philosophy that he has called "Tryism," which means that anything that one tries to attain will be attained if one tries hard enough.
Although Peart is sometimes assumed to be a "conservative" or "Republican" rock star, he has criticized the Republican Party by stating that the philosophy of the party is "absolutely opposed" to Christ teachings.
In 2005 he described himself as a "left-leaning libertarian," and is often cited as a libertarian celebrity. In July 2011, Peart reiterated those views, calling himself a "bleeding-heart libertarian".
In a 2015 interview with Rolling Stone, Peart stated that in US politics he supports the Democratic Party.
In October 1993, shortly before that year Canadian federal election, Peart appeared with then-Liberal Party leader Jean Chrétien in an interview broadcast in Canada on MuchMusic. In that interview, Peart stated he was an undecided voter who supported Quebec federalism.
Peart has often been categorized as an Objectivist and an admirer of Ayn Rand. This is largely based on his work with Rush in the 1970s, particularly the song "Anthem" and the album 2112; the latter specifically credited Rand work.
However, in his 1994 Rush Backstage Club Newsletter, while contending the "individual is paramount in matters of justice and liberty,"
Peart specifically distanced himself from a strictly Objectivist line. In a June 2012 Rolling Stone interview, when asked if Rand words still speak to him, Peart replied, "Oh, no. That was forty years ago. But it was important to me at the time in a transition of finding myself and having faith that what I believed was worthwhile."
Peart has also ascribed to a philosophy that he has called "Tryism," which means that anything that one tries to attain will be attained if one tries hard enough.
Although Peart is sometimes assumed to be a "conservative" or "Republican" rock star, he has criticized the Republican Party by stating that the philosophy of the party is "absolutely opposed" to Christ teachings.
In 2005 he described himself as a "left-leaning libertarian," and is often cited as a libertarian celebrity. In July 2011, Peart reiterated those views, calling himself a "bleeding-heart libertarian".
In a 2015 interview with Rolling Stone, Peart stated that in US politics he supports the Democratic Party.
Books
Peart is the author of seven non-fiction books, the latest released in September 2016. His growth as an author predates the published work by several years (not including his work as Rush primary lyricist), through private letters and short travelogues sent out to a small circle of friends and family.
Peart first book, titled The Masked Rider: Cycling in West Africa, was written in 1996 about a month-long bicycling tour through Cameroon in November 1988. The book details Peart travels through towns and villages with four fellow riders.
The original had a limited print run, but after the critical and commercial success of Peart second book, Masked Rider was re-issued and remains in print as of 2006.
After losing his wife and (at the time) only daughter, Peart embarked on a lengthy motorcycle road trip spanning North America. His experiences were penned in Ghost Rider: Travels on the Healing Road. Peart and the rest of the band were always able to keep his private life at a distance from his public image in Rush.
However, Ghost Rider is a first-person narrative of Peart on the road, on a BMW R1100GS motorcycle, in an effort to put his life back together as he embarked on an extensive journey across North America.
Years later, after his marriage to Nuttall, Peart took another road trip, this time by car. In his third book, Traveling Music: Playing Back the Soundtrack to My Life and Times, he reflects on his life, his career, his family and music.
As with his previous two books, it is a first-person narrative.
Thirty years after Peart joined Rush, the band found itself on its 30th anniversary tour. Released in September 2006, Roadshow: Landscape With Drums, A Concert Tour By Motorcycle details the tour both from behind Neil drumkit and on his BMW R1150GS and R1200GS motorcycles.
Peart next book, Far and Away: A Prize Every Time, was published by ECW Press in May 2011. This book, which he worked on for two years, is based around his travelling in North and South America. It tells how he found in a Brazilian town a unique combination of West African and Brazilian music.
Peart first book, titled The Masked Rider: Cycling in West Africa, was written in 1996 about a month-long bicycling tour through Cameroon in November 1988. The book details Peart travels through towns and villages with four fellow riders.
The original had a limited print run, but after the critical and commercial success of Peart second book, Masked Rider was re-issued and remains in print as of 2006.
After losing his wife and (at the time) only daughter, Peart embarked on a lengthy motorcycle road trip spanning North America. His experiences were penned in Ghost Rider: Travels on the Healing Road. Peart and the rest of the band were always able to keep his private life at a distance from his public image in Rush.
However, Ghost Rider is a first-person narrative of Peart on the road, on a BMW R1100GS motorcycle, in an effort to put his life back together as he embarked on an extensive journey across North America.
Years later, after his marriage to Nuttall, Peart took another road trip, this time by car. In his third book, Traveling Music: Playing Back the Soundtrack to My Life and Times, he reflects on his life, his career, his family and music.
As with his previous two books, it is a first-person narrative.
Thirty years after Peart joined Rush, the band found itself on its 30th anniversary tour. Released in September 2006, Roadshow: Landscape With Drums, A Concert Tour By Motorcycle details the tour both from behind Neil drumkit and on his BMW R1150GS and R1200GS motorcycles.
Peart next book, Far and Away: A Prize Every Time, was published by ECW Press in May 2011. This book, which he worked on for two years, is based around his travelling in North and South America. It tells how he found in a Brazilian town a unique combination of West African and Brazilian music.
In 2014, a follow-up book, Far and Near: On Days like These, was published by ECW. It covers travels in North America and Europe. Another book, Far and Wide: Bring That Horizon to Me!, was published in 2016 and is based on his travels between stops on the R40 Live Tour of 2015.
Peart worked with science fiction author Kevin J. Anderson to develop a novelization of Rush 2012 album Clockwork Angels; the book was published by ECW Press. Snippets of the band lyrics can be found throughout the story. The two collaborated again on a loose sequel, Clockwork Lives, published in 2015.
Peart worked with science fiction author Kevin J. Anderson to develop a novelization of Rush 2012 album Clockwork Angels; the book was published by ECW Press. Snippets of the band lyrics can be found throughout the story. The two collaborated again on a loose sequel, Clockwork Lives, published in 2015.
Side Projects
Jeff Berlin 1985 album Champion, played drums on two songs, the title track "Champion," and "Marabi."
Vertical Horizon's 2009 album Burning the Days - drums on 3 songs including "Save Me from Myself," "Welcome to the Bottom," and "Even Now"
Vertical Horizon 2009 album Burning the Days - "Even Now" - co-written by Matt Scannell and Neil Peart Vertical Horizon 2013 album Echoes from the Underground - drums on 2 songs including "Instamatic" and "South for the Winter"
Burning for Buddy: A Tribute to the Music of Buddy Rich
Burning for Buddy: A Tribute to the Music of Buddy Rich Vol. 2
Peart had a brief cameo in the 2007 film Aqua Teen Hunger Force Colon Movie Film for Theaters, in which samples of his drumming were played.
Peart also had a brief cameo in the 2008 film Adventures of Power and in the DVD extra does a drum-off competition.
Vertical Horizon's 2009 album Burning the Days - drums on 3 songs including "Save Me from Myself," "Welcome to the Bottom," and "Even Now"
Vertical Horizon 2009 album Burning the Days - "Even Now" - co-written by Matt Scannell and Neil Peart Vertical Horizon 2013 album Echoes from the Underground - drums on 2 songs including "Instamatic" and "South for the Winter"
Burning for Buddy: A Tribute to the Music of Buddy Rich
Burning for Buddy: A Tribute to the Music of Buddy Rich Vol. 2
Peart had a brief cameo in the 2007 film Aqua Teen Hunger Force Colon Movie Film for Theaters, in which samples of his drumming were played.
Peart also had a brief cameo in the 2008 film Adventures of Power and in the DVD extra does a drum-off competition.
Awards and Honours
Peart has received the following awards in the Modern Drummer magazine reader poll:
Hall of Fame: 1983
Best Rock Drummer*: 1980, 1981, 1982, 1983, 1984, 1985, 1986, 2006, 2008
Best Multi-Percussionist*: 1983, 1984, 1985, 1986
Best Percussion Instrumentalist: 1982
Most Promising New Drummer: 1980
Best All Around: 1986
1986 Honor Roll: Rock Drummer, Multi-Percussion
Best Instructional Video: 2006, for Anatomy of A Drum Solo
Best Drum Recording of the 1980s, 2007, for "YYZ" from Exit...Stage Left
Best Recorded Performance:
1980: Permanent Waves
1981: Moving Pictures
1982: Exit...Stage Left
1983: Signals
1985: Grace Under Pressure
1986: Power Windows
1988: Hold Your Fire
1989: A Show of Hands
1990: Presto
1992: Roll the Bones
1993: Counterparts
1997: Test for Echo
1999: Different Stages
2002: Vapor Trails
2004: R30
2007: Snakes & Arrows
2011: Time Machine
2012: Clockwork Angels
(* – As a member of the Honor Roll in these categories, he is no longer eligible for votes in the above categories.)
Peart has received the following awards from DRUM! magazine for 2007:
Drummer of the Year
Best Progressive Rock Drummer
Best Live Performer
Best DVD (Anatomy Of A Drum Solo)
Best Drumming Album (Snakes & Arrows)
Peart received the following awards from DRUM! magazine for 2008:
Drummer of the Year
Best Progressive Rock Drummer (Runner-Up)
Best Mainstream Pop Drummer (Runner-Up)
Best Live Drumming Performer
Peart received the following awards from DRUM! magazine for 2009:
Drummer Of The Year
Best Progressive Rock Drummer
Peart received the following awards from DRUM! magazine for 2010:
Drummer of the Year
Best Live Performer (Runner-Up)
Best Progressive Rock Drummer (Runner-Up)
Along with his bandmates Lee and Lifeson, Peart was made an Officer of the Order of Canada on May 9, 1996.
The trio was the first rock band to be so honoured, as a group. Peart was inducted into the Canadian Songwriter Hall of Fame along with bandmates Lifeson and Lee. On April 18, 2013, Rush was inducted into the Rock And Roll Hall Of Fame.
Hall of Fame: 1983
Best Rock Drummer*: 1980, 1981, 1982, 1983, 1984, 1985, 1986, 2006, 2008
Best Multi-Percussionist*: 1983, 1984, 1985, 1986
Best Percussion Instrumentalist: 1982
Most Promising New Drummer: 1980
Best All Around: 1986
1986 Honor Roll: Rock Drummer, Multi-Percussion
Best Instructional Video: 2006, for Anatomy of A Drum Solo
Best Drum Recording of the 1980s, 2007, for "YYZ" from Exit...Stage Left
Best Recorded Performance:
1980: Permanent Waves
1981: Moving Pictures
1982: Exit...Stage Left
1983: Signals
1985: Grace Under Pressure
1986: Power Windows
1988: Hold Your Fire
1989: A Show of Hands
1990: Presto
1992: Roll the Bones
1993: Counterparts
1997: Test for Echo
1999: Different Stages
2002: Vapor Trails
2004: R30
2007: Snakes & Arrows
2011: Time Machine
2012: Clockwork Angels
(* – As a member of the Honor Roll in these categories, he is no longer eligible for votes in the above categories.)
Peart has received the following awards from DRUM! magazine for 2007:
Drummer of the Year
Best Progressive Rock Drummer
Best Live Performer
Best DVD (Anatomy Of A Drum Solo)
Best Drumming Album (Snakes & Arrows)
Peart received the following awards from DRUM! magazine for 2008:
Drummer of the Year
Best Progressive Rock Drummer (Runner-Up)
Best Mainstream Pop Drummer (Runner-Up)
Best Live Drumming Performer
Peart received the following awards from DRUM! magazine for 2009:
Drummer Of The Year
Best Progressive Rock Drummer
Peart received the following awards from DRUM! magazine for 2010:
Drummer of the Year
Best Live Performer (Runner-Up)
Best Progressive Rock Drummer (Runner-Up)
Along with his bandmates Lee and Lifeson, Peart was made an Officer of the Order of Canada on May 9, 1996.
The trio was the first rock band to be so honoured, as a group. Peart was inducted into the Canadian Songwriter Hall of Fame along with bandmates Lifeson and Lee. On April 18, 2013, Rush was inducted into the Rock And Roll Hall Of Fame.
Informação Complementar:
Se você tem um conhecimento médio acerca de bitrates de arquivos de áudio, pode ser que estas taxas baixíssimas tenham deixado você com um frio na espinha ou então com a impressão de que estes arquivos não tem a mínima qualidade.Bom, eu vou te dizer o porque destas taxas, mas antes eu preciso dizer algumas coisas que talvez você não saiba, se não tiver lido o texto da página inicial ainda ou então se tiver vindo parar aqui por meio de um link direto que eu coloquei em algum lugar da internet.
Eu trabalho com tratamento de áudio desde 2010 e paralelamente a isso eu estudo linguagens de programação de computador desde esta mesma época.
Eu não baixo os arquivos que eu posto aqui de outros blogs, ou seja, eu não pego arquivos mastigados de outro lugar, os converto e coloco na minha conta.
O que eu faço é baixar os arquivos em estado bruto, em suas versões originais, e então eu processo este material e deixo a extensão exatamente como ela veio, a diferença é que eu tenho todos os recursos, meios necessários e também conhecimento para deixar estes arquivos com bitrates abaixo de 100 kbps e ainda preservar a qualidade que eles tinham antes de eu manipulá-los.
Por exemplo, você já deve ter lido que um arquivo mp3 pode ser reduzido em até 90% do seu tamanho original.
Eu era um fã incondicional de mp3 por causa disso, e desde 2010 eu colecionava discografias inteiras em mp3 de 128 kbps. Se o arquivo que eu baixava vinha em um bitrate maior, eu o deixava com 128 kbps.
Eu criei este blog em 2013 e o deixei ocioso até o ano de 2016, quando comecei as primeiras postagens, todas em mp3 de 128 kbps.
Este ano, eu fiz uma experiência sem nenhum compromisso e o resultado me surpreendeu, e desde então eu vi que além de eu não precisar continuar só ouvindo arquivos em mp3 eu também podia ouvir as minhas coleções em outros formatos e taxas de bitrates mais baixas e o que é melhor, sem perder em nada no quesito qualidade.
E isso ainda não é tudo. Por exemplo, você já deve ter ouvido algum arquivo em formato wav na sua vida e sabe que estes arquivos costumam ser pesados, porque um arquivo wav tem uma taxa entre 1411 e 1536 kbps.
Com este bitrate, uma música de apenas 5 minutos tem o tamanho de 54,93 mb, praticamente maior do que um álbum inteiro em mp3 de 128 kbps.
Aqui há muitos arquivos no formato wav que eu baixei com esta taxa, e que na maior parte das vezes são álbuns que tem 700 mb ou mais, se forem albuns duplos ou bootlegs então, 1,5 Gb de tamanho no mínimo, se não mais.
Pois bem. Eu consigo uma taxa de compressão, no caso dos arquivos wav de mais de 96,5%, ou seja, maior ainda do que a compressão que o mp3 suporta, e como eu não converto este arquivo, ele não perde absolutamente nada de sua qualidade.
Este é o detalhe que muitas pessoas desconhecem; se você pega um arquivo de uma extensão com um bitrate alto e o converte para outra extensão com um bitrate menor, você destrói o arquivo por completo, porque uma vez que você muda a extensão do mesmo você também altera todas as freqüências dele, e tudo se perde.
No meu blog, o que eu publico em wav estava originalmente em wav; em ogg estava em ogg, e quando é alguma coisa mais rara que eu só encontrei em mp3 eu publico aquilo que eu já tinha. A única exceção são os arquivos que eu posto em wma.
Estes arquivos estavam em outros formatos, como por exemplo m4a, e após alguns testes eu verifiquei que eles ficavam com uma qualidade muito boa nesta extensão. Não deve ser uma mera coincidência, pois há um outro detalhe que agora você deve observar bem; ambos os formatos wav e wma são específicos do sistema Windows e por isso mesmo eles costumam parecer que tem uma qualidade muito superior aos outros formatos, pois o sistema em si já está preparado desde o começo para reproduzí-los.
Sempre que possível neste blog eu tentarei postar o mínimo possível em mp3, não porque eu tenha mudado a minha opnião sobre o mp3, mas sim porque eu descobri que arquivos em ogg apesar de ter um bitrate variável na maioria das vezes tem uma qualidade maior do que arquivos de mp3 de 128 kbps de bitrate constante.
Mas claro que isso não é um desejo meu exclusivamente; há muitos álbuns que ainda não foram remasterizados ou que são muito dificeis de serem encontrados, então neste caso eu vou postar o que eu já tenho em mp3 de 128 kbps mesmo.
Pelo conhecimento que eu tenho eu não posso cometer a leviandade de baixar um arquivo em outra extensão e tentar convertê-la já que eu sei que fazendo isso eu estou estragando o arquivo por inteiro.
Você deve saber; uma música no formato mp3 de 128 kbps tem cerca de 1 mb por minuto, e há pequenas variações de ordem técnica que modificam o tamanho de acordo com o tempo da música, que como você também sabe, varia muito.
Então o que eu faço é usar o conhecimento que eu tenho de acordo com o material que eu possuo e com isso eu chego no resultado que eu pretendo. Logo, estas taxas baixas de bitrates são um mero detalhe, porque como eu não converto os arquivos que eu trabalho, eu mantenho intacta a qualidade dos mesmos, uma vez que eu não mexo na sua origem.
Para exemplificar isso melhor, é como se eu pegasse uma imagem de alta resolução e utilizasse um programa apenas para reduzir o tamanho dela. Como a imagem tem um tamanho grande, eu consigo manter a qualidade dela, se eu apenas reduzir a sua resolução.
Basicamente é isso o que eu faço com os arquivos que eu publico aqui; reduzo o tamanho deles, para ficar mais fácil para mim fazer o upload deles, já que neste momento não tenho internet de cabo na minha casa. Isso também te ajuda, porque você tem arquivos de tamanho reduzido, consegue baixá-los mais rápido, não ocupa muito espaço em seu hd e o que é melhor, você não perde absolutamente nada em qualidade.
Por isso se esta for a sua primeira vez neste blog, não se impressione com estas taxas de bitrates, aparentemente insignificantes, pois elas não significam, em hipótese alguma que estes arquivos tem pouca ou nenhuma qualidade.
Quando você for ouvir o primeiro álbum, seja ele em qual formato for, se possível use um headphone e se ele estiver muito gasto, pressione-o levemente entre os seus ouvidos, e perceba com que riqueza de detalhes você conseguirá ouvir todas as notas da música, independente delas serem graves, médias ou agudas.
Tenho a certeza de que você se convencerá do que estou dizendo; taxa de bitrate não significa qualidade. Qualidade se consegue sabendo processar um arquivo de áudio não o convertendo para outra extensão. Um dia eu não sabia disso, mas graças a Deus eu aprendi. E agora eu estou descartando todas as discografias que eu tinha em mp3 de 128 kbps e estou as refazendo do zero, com todos os álbuns remasterizados e publicando no blog.
O que você baixar aqui, é exatamente o arquivo que eu tenho e escuto no meu computador.
Agora, para encerrar este assunto, preciso dizer que para que você usufrua da qualidade máxima destes arquivos, você precisa ouví-los com o player de áudio que eu disponibilizo na coluna lateral á esquerda. Este player foi reconstruído por mim para refletir com 100% de exatidão as alterações que eu fiz e faço nos meu arquivos, e de todos os players que eu testei, este foi o único que alcançou a qualidade que eu buscava. Leia o tutorial, extraia para a pasta de sua preferência em seu computador, mescle as informações de registro em seu pc e descubra uma nova experiência em ouvir música como você nunca sonhou.
Obrigado por ter lido todas estas linhas. Fazer as coisas bem feitas dá muito trabalho, mas também vale muito a pena.
Meu comentário:
O que escrevi há muito tempo não sei onde está e neste hd há apenas o sistema, o Firefox e mais alguns programas básicos pra eu poder conseguir navegar. Irei localizá-lo e quando isso acontecer o publicarei.
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