Pather Panchali Quiz

Respond to these rapid questions in our Pather Panchali quiz and we will tell you which Pather Panchali character you are. Play it now.

Early years and the first record, 1968–1974[edit] Rush co-founder Alex Lifeson In August 1968, guitarist Alex Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey founded the group in Toronto, Ontario’s Willowdale neighborhood.[1] Lifeson and Rutsey were close pals who collaborated in the short-lived band The Projection. (formerly known as The Lost Cause).[18][19][20] After that, the two remained friends and recruited Jones to start a new band; their debut performance took place in September at the Coff-Inn, a youth center located in the basement of the neighboring North York St. Theodore of Canterbury Anglican Church. They received $25 Canadian.[1][21] When they were booked, they were unnamed; Bill, Rutsey’s brother, believed they required a name that was direct and succinct. The company chose Rush at his suggestion.[22] Jones recommended that Lifeson ask his classmate Gary “Geddy” Weinrib to fill in on lead vocals and bass because it was becoming more and more difficult to get to Lifeson’s house for practice.[23] Jones was replaced as Rush’s frontman by Weinrib, who went by the stage moniker Geddy Lee. Rush went through several line-up configurations during their rehearsals, with Lindy Young playing keyboards and other instruments and Mitch Bossi playing second guitar. Their set was primarily composed of covers of songs by different rock artists, such as Cream, Jimi Hendrix, and John Mayall.[1] Ray Danniels was chosen as their boss soon after the group expanded to include Lee, Lifeson, Young, and Rutsey. Ray came along, Lee recalled years afterward. He didn’t really have a track record as a boss or anything yet. He was merely a Toronto-based representative of sorts. He began leading the ensemble, and for whatever reasons, he felt I wasn’t a good fit. Who the f— knew? I’m not sure if it was my appearance or my Christian upbringing. However, Alex Lifeson and John Rutsey bowed to his sway and followed through, so I was kicked out.[24] Rutsey enlisted Joe Perna, a replacement bassist and singer, after Lee was expelled from the group. Lifeson, Rutsey, and Perna formed a company they called Hadrian. Rutsey invited Lee back after a disastrous performance with Perna, and the ensemble continued as Rush.[21] “I started a blues band and, frankly, I was doing better than they were,” said Lee. After that, John called and asked, “Can we get together?” In essence, “Can you return? We apologize.”[24] The band settled into a three lineup with Lifeson, Rutsey, and Lee in March 1972.[25] They retained Rush’s early concert promoter Ray Danniels as their manager, sharing the position with his business associate and agent Vic Wilson.[1] Rush developed their abilities through consistent performances, originally hitting the Ontario high school circuit. The band was able to perform in bars and clubs in 1971 because the legal drinking limit was lowered from 21 to 18. Rush, according to Lee, changed at this time from “a basement garage band that occasionally played high school gigs to a regular working band playing six days a week.”[21][26] After sending a demo tape to several labels, Rush was unable to sign a contract, which prompted the creation of their own label, Moon Records, with Danniels.[27] For their first single, Rush covered Buddy Holly’s “Not Fade Away,” which had become a fan favorite. Rush joined the studio in 1973. The B-side featured the original composition “You Can’t Fight It.” It reached No. 88 on the Canadian RPM Top Singles list after its September release. Rush completed recording their debut album in late 1973 and played their first significant gig, opening for the New York Dolls in Toronto. As a result of the original sessions’ poor sound quality, Terry Brown, a new engineer, was brought in to recut and remix the songs.[28] In order to generate money for the record, Danniels sold his management company.The words were written by Rutsey, who tore them up the day before Lee was scheduled to record them and refused to come up with a new batch. On the basis of earlier iterations, Lee rapidly created a new set that was used for the final takes.[30] the original Rush logo, which appeared on their first record. Rush, the band’s debut album, was released in March 1974; the 3,500 copies that were initially printed soon ran out of stock.[31] On the RPM Top Albums list, it eventually peaked at No. 86. The majority of reviewers thought the record heavily imitated Led Zeppelin.[32] It had a restricted distribution up until Donna Halper, a music director and DJ at Cleveland, Ohio’s rock station WMMS, chose it. The song’s blue-collar subject connected with hard rock fans in the city’s predominately working class neighborhood after she added “Working Man” to the station’s regular playlist.[33] Danniels signed Rush to the American booking firm ATI in June 1974. Ira Blacker, the executive of ATI, forwarded a copy of Rush to Mercury Records. Cliff Burnstein, an A&R representative, was drawn to the song, and together with a $75,000 advance as part of a $200,000 contract, they signed Rush.[34][28][29] After a string of concerts in Canada, Rutsey performed with the group for the final time on July 25, 1974. The more complex music that Lifeson and Lee had composed was incompatible with Rutsey’s preference for simpler rock, and Lee remembered that Rutsey had a general dislike of life as a touring musician.[26] Further difficulties were brought on by his type 1 diabetes, which necessitated regular hospital stays for testing and insulin administration.[21][35] Rutsey’s health was too bad for him to perform for a few weeks previous to his departure, so Rush had to continue with Jerry Fielding as their replacement drummer.[22] From 1974 to 1977, the band’s core lineup was in place, and progressive rock was introduced. Lifeson and Lee interviewed five drummers before choosing Neil Peart, who joined on July 29—two weeks before the band’s debut US tour.[22][36] On August 14 at Pittsburgh’s Civic Arena, they gave their first joint performance in front of more than 11,000 spectators, serving as the opening act for Uriah Heep and Manfred Mann’s Earth Band.[26] Peart took on the lyricist position; Lifeson and Lee showed little interest in it and noted Peart’s wider vocabulary from his frequent reading.[34] The new work, which shows Lifeson and Lee’s influences from the progressive rock bands Yes and Pink Floyd, was their main focus.[21] Rush had peaked at No. 105 on the US Billboard 200 list when the US tour came to an end in December 1974[37].[38] Rush’s first record with Peart, Fly by Night (1975), featured the narrative song “By-Tor & the Snow Dog,” which featured intricate arrangements and a multi-section structure. Due to Peart’s passion for fantasy and science fiction literature, lyrical themes also experienced significant changes.[39] Despite these fresh musical approaches, some of the album’s other tracks reflected the straightforward blues sound of Rush’s debut.[1][39] Released as a single, “Fly by Night” peaked at No. 45 in Canada.[40] The record peaked at No. 9 in Canada[40], where the Canadian Recording Industry Association (CAN) certified it platinum for selling 100,000 copies[41], and for selling one million copies in the US.[42] Caress of Steel (1975), a five-track album with the extended multi-chapter songs “The Necromancer” and “The Fountain of Lamneth,” was the band’s rapidly released follow-up to Fly by Night. Some critics claimed that Caress of Steel was aimless and an audacious move for the band due to the placement of two lengthy tracks back-to-back and a greater reliance on atmospherics and story-telling, which marked a significant departure from Fly by Night.[43] Caress of Steel was supposed to be the band’s breakthrough record, but it didn’t perform as well as anticipated, and the tour featured smaller venues and dwindling ticket sales, earning it the moniker “Down the Tubes Tour.”[44] Hugh Syme’s “starman” logo made its debut on the rear cover of 2112. The band rejected the requests and created their next album, 2112, which featured a 20-minute title track broken up into seven parts. In light of these events, Rush’s record company attempted to push the members into shaping their next album in a more accessible and financially friendly manner; however, the band refused the requests. Despite this, the record gave the group their first taste of sizable commercial success as it peaked at No. 5 in Canada and was certified double platinum.[41] Between February 1976 and June 1977, Rush performed performances across North America, including Canada, the US, and for the first time in Europe, including the UK, Sweden, Germany, and the Netherlands.[26][45] For Rush’s first live recording, All the World’s a Stage, the three sold-out performances at Toronto’s Massey Hall in June 1976 were recorded. The double LP, which was released in September of that year, peaked at No. 6 in Canada and became Rush’s first album to enter the US top 40.[46] According to Record World, Rush is positioned to break through completely with this two-record live set. “All the highly charged electricity is here in an explosive setting,” they wrote. “Rush is building its American reputation slowly but steadily.”[29] “This album to us, signifies the end of the beginning, a milestone to mark the close of chapter one, in the annals of Rush,” the liner notes state.[47] Peak of the reformist era: 1977–1981. Rush traveled to Wales following the 2112 tour to record A Farewell to Kings (1977) and Hemispheres (1978) at Rockfield Studios. The band members expanded the progressive aspects in their music on these albums. In an interview, Lee stated, “As our tastes got more obscure, we found more progressive rock-based bands like Yes, Van der Graaf Generator, and King Crimson, and we were very inspired by those bands. We attempted fusing that with our individual personalities to see what we could create that was unmistakably us. They inspired us to make our music more complex and interesting.[48] Long songs, intensely dynamic playing with intricate time signature shifts, and increased synthesizer use all became hallmarks of Rush’s compositions. Lifeson started experimenting with classical and twelve-string guitars, and Lee added bass-pedal synthesizers and Minimoog to create a wider, more progressive sound. Peart also expanded the variety of his percussion instruments, adding triangles, glockenspiels, wood blocks, cowbells, timpani, gongs, and chimes. Beyond the addition of new instruments, the band continued to write lengthy, conceptual tracks with science fiction and fantasy undertones, keeping up with the progressive rock trends. Due in part to the band’s exhaustion from producing Hemispheres, Rush progressively started to abandon its older musical styles in favor of shorter and occasionally softer arrangements as the new decade drew near. The band’s 1975 song “Anthem” from Fly By Night and a specifically mentioned borrowing in 2112 are the best examples of the lyrics’ prior heavy reliance on classical poetry, fantasy literature, science fiction, and Ayn Rand’s works. (1976).[49] The band’s first chart-topping hit from A Farewell to Kings, “Closer to the Heart,” peaked at No. 36 in the UK while reaching No. 76 in the US and No. 45 in Canada. Despite not selling as well as 2112, A Farewell to Kings still achieved silver status in both Canada[41] and the United States[42]. At this point, each album under Rush’s record contract was eligible for a CA$250,000 advance and a 16% royalty.[51] Rush’s musical style changed with the addition of reggae and new wave components on Permanent Waves (1980).Despite the continued presence of a heavy rock aesthetic, [52] more synthesizers were added. Permanent Waves featured shorter, more radio-friendly songs like “The Spirit of Radio” and “Freewill” that helped the album become Rush’s highest-charting album to date due to the limited airplay Rush’s previous extended-length songs received.[53]The group’s biggest hit song to date was “The Spirit of Radio,” which peaked at No. 22 in Canada, No. 51 on the US Billboard Hot 100,[54] and No. 13 on the UK Singles Chart.[50] With a subject matter that focused more heavily on themes that explored humanistic, social, and emotional elements rather than fantastical or allegorical story-telling, Peart’s lyrics on Permanent Waves moved toward an expository tone. Over 650,000 people attended 96 concerts during the six-month Permanent Waves tour in 1980, making Rush the first band in history to turn a profit.[55] Rush collaborated with fellow Toronto rock group Max Webster to produce “Battle Scar” for their 1980 album Universal Juveniles after the tour.[56] The band was given the words to a song by their lyricist, Pye Dubois. The band agreed, and after Peart revised the composition, it eventually became “Tom Sawyer.”[56]

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But you shouldn’t waste any more time and start this Pather Panchali quiz. 1981’s “Tom Sawyer” 0:28 An excerpt of “Tom Sawyer” from the Moving Pictures LP. It is among the most well-known tracks by the group. Playing this file incorrectly? View our media assistance. When Moving Pictures was released in the beginning of 1981, Rush’s fame peaked. Moving Pictures basically carried on where Permanent Waves left off, advancing the genre of approachable and marketable progressive rock that propelled them to prominence. The band’s most well-known song is arguably the lead single, “Tom Sawyer.”[57] Immediately after its release, it peaked at No. 24 on the Canadian Top 40 Singles list, No. 44 on the Billboard Hot 100, and No. 8 on the newly released US Album Rock Tracks list. Additionally well-received by listeners and radio stations, the second song, “Limelight,” reached No. 18 in Canada, No. 54 on the Hot 100, and No. 4 on the US Album Rock Tracks Chart. The eleven-minute “The Camera Eye” was the final extended piece on a Rush album, and it appeared on Moving Pictures. The tune also featured the band’s heaviest use of synthesizers to date, providing a clue that Rush’s music was once again changing course. Moving Pictures, which has been awarded quintuple platinum by the Recording Industry Association of America[59] and Music Canada, became the band’s first album to debut at No. 1 on the Canadian Albums Chart[58] and peaked at No. 3 on the US Billboard 200[38] and UK album charts.[60] Exit… Stage Left, Rush’s second live album after the success of Moving Pictures, was issued in 1981.[61] 1981–1989: the age of the synthesizer[edit] Geddy Lee used an Oberheim OB-X synthesizer on the records Moving Pictures and Signals. The 1982 release of Signals marked the beginning of the band’s next artistic shift.[62] Lee’s synthesizers had been prominent instruments since the late 1970s, but in tracks like “Countdown” and the opening track “Subdivisions,” keyboards moved from the background to the melodic foreground[63][64]. Both songs have pronounced main synthesizer lines and straightforward guitar chords and solos. The tune “Losing It,” which features collaborator Ben Mink on electric violin, also features some additional previously unused instrument additions.[62] 1982’s “Subdivisions” 0:25 “Subdivisions” from the album Signals, a sample. This tune stands out because it represents the band’s entry into its synthesizer era. Playing this file incorrectly? View our media assistance. A radical change in style was also reflected by Signals, in addition to instrumental adjustments. The album included “New World Man,” Rush’s greatest hit single, as well as more avant-garde tracks like “Digital Man,” “The Weapon,” and “Chemistry,” which increased the band’s use of ska, reggae, and funk.[54][65][66] The second song, “Subdivisions,” peaked at No. 5 on the US Album Rock Tracks Chart and No. 36 in Canada. In the UK, both songs made it into the Top 50.[50] Signals reached its peak at No. 10 in the US, became the group’s second No. 1 album in Canada, their third straight No. 3 album in the UK, and continued their modest success in the Netherlands, Sweden, and Norway by reaching the Top 30 in each nation. Despite the band’s conscious decision to go in this general path, the band and longtime producer Terry Brown started to have creative disagreements. The band was unhappy with Brown’s handling of Signals in the studio, and Brown was growing uneasy with the music’s increased use of synthesizers.[67] Ultimately, Brown and Rush split up in 1983, and on their subsequent studio record, Rush would continue to experiment with new electronic instruments and different musical genres.[68] Grace Under Pressure enhanced and elevated the production values of Signals to new heights. (1984). Peart chose the album’s title and used Ernest Hemingway’s words to characterize the band’s experience after deciding to part ways with Terry Brown. Grace Under Pressure was produced by Steve Lillywhite, a famous producer best known for his work on Simple Minds and U2. But he abruptly changed his mind, much to the chagrin of Lee, Lifeson, and Peart. Steve Lillywhite, according to Lee, “is really not a man of his word. After agreeing to do our record, he received an offer from Simple Minds, changed his mind, and blew us off. Peter Henderson was ultimately chosen by Rush to co-produce and engineer the record. Henderson’s contribution to Supertramp’s Breakfast in America earned him a Grammy Award nomination.[69] With the release of Grace Under Pressure in 1984, Neil Peart first used Simmons electronic drums. Musically, although Lee’s use of sequencers and synthesizers remained the band’s fulcrum, Peart’s adaptation of Simmons electronic drums and percussion complimented Lee’s emphasis on cutting-edge technology. In contrast to his understated role on Signals, Lifeson’s contributions to the record were distinctly improved.[70] Many of his distinctive guitar textures, such as the open reggae chords and the funk and new-wave beats, were still present.[71] In addition to the Top 10, Grace Under Pressure made the Top 5 in the US, Canada, and the UK. It was their first record to chart in Germany (No. 43), Finland, and Sweden, where it reached the highest chart position to that point in Sweden (No. 18). (No. 14). “Distant Early Warning” peaked at No. 5 on the US Album Rock Tracks list despite not being a hit on Top 40 radio.[72] The group issued Hold Your Fire (1985) and Power Windows (1985) with new director Peter Collins. (1987). Lee switched to an English-made Wal MK1 bass on these two albums, and the music places a lot more stress and prominence on his multi-layered synthesizer work. Lifeson’s diminished guitar playing was noted by admirers and detractors, but his influence was still felt. Like many guitarists in the mid- to late 1980s, Lifeson played with processors that turned his guitar into thin leads and echoey chord bursts. Power Windows peaked at Nos. 9 and 10 in the UK and US, respectively, before reaching No. 2 in Canada. The main single, “The Big Money,” reached No. 4 on the US Mainstream Rock Chart and reached the Top 50 in Canada, the UK, and the US. According to Allmusic reviewer Eduardo Rivadavia, Hold Your Fire is both a continuation of the guitar sound heard on Power Windows and the pinnacle of this period of Rush.[73] Despite reaching a peak of No. 13 on the Billboard 200, Hold Your Fire only achieved gold status in the US, compared to the five platinum-certified Rush recordings that came before it.[74] and reached the Top 10 in the UK, Finland, and Canada. “Force Ten” and “Time Stand Still,” two songs from Hold Your Fire, both reached their highest peak of No. 3 on the US Mainstream Rock Tracks list.[72] Following the Power Windows and Hold Your Fire tours, Anthem and Mercury also published a third live album and video, A Show of Hands (1989), showcasing aspects of Rush in the 1980s. Strong fan support was shown for A Show of Hands, but Rolling Stone reviewer Michael Azerrad gave it only 1.5 stars, calling Rush supporters’ favorite power trio “the holy trinity” and dismissing it as “musical muscle.”[75] A Show of Hands nevertheless succeeded in crossing the gold record threshold in the US and the platinum threshold in Canada.[76] The group then made the decision to switch from Mercury to Atlantic as their new preferred worldwide record label. Mercury published Chronicles, a double platinum two-volume compilation of their Rush catalog, following Rush’s departure in 1989. (1990).[77] Return to guitar-centric style and hiatus from 1989 to 2000[edit]

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Also, you will find out which character are you in this Pather Panchali quiz. 0:21 in “Dreamline” (1991). a clip from the album Roll the Bones’ “Dreamline.” This composition is noteworthy for showing the band’s return to a more traditional three-piece instrument style, with synthesizers used less frequently and the guitar taking center stage once again. Playing this file incorrectly? View our media assistance. With the releases of Presto and Roll the Bones, Rush began to depart from its 1980s aesthetic. These two recordings, which were produced by musician and record engineer Rupert Hine, saw Rush eschew a large portion of its keyboard-heavy sound. The band decided to use arrangements that were noticeably more guitar-centric than those on the previous two studio recordings starting with Presto (1989). Although they were still used, synthesizers were no longer the main focus of Rush’s songs.[78] This tendency was continued in Roll the Bones (1991), which put even less emphasis on synthesizers than its predecessor while extending the use of the traditional three-instrument setup. While the music on these albums doesn’t stray too far from the typical pop-rock sound, Rush did integrate other genres, including jazz in the instrumental track “Where’s My Thing?” and funk and hip-hop in “Roll the Bones.”[79] While Presto’s “Show Don’t Tell” peaked at No. 1 on the US Mainstream Rock Tracks Chart, the album only managed to achieve No. 16 in the US and No. 10 in the UK despite reaching the Top 10 in Canada. (No. 27). Rush’s record sales in the US (No. 3 and platinum), the UK (No. 10) and some other northern European countries experienced a resurgence following the success of “Dreamline” (No. 1) and “Ghost of a Chance” (No. 2) from Roll the Bones. With Counterparts (1993)[80] and its follow-up, Test for Echo (1996), both created in association with Peter Collins, the shift from synthesizers to more guitar-oriented and organic instrumentation persisted. Up until this time, Test for Echo and Counterparts[80] were two of Rush’s albums with the most guitar-heavy compositions. Peart’s jazz and swing drumming, which he had acquired from drum instructor Freddie Gruber between Counterparts and Test for Echo, is also featured on the latter album.[81] Counterparts peaked at No. 2 in the US and No. 6 in Canada, with “Stick It Out” from the album reaching the top of the US Mainstream Rock Tracks Chart. The title cut of Test for Echo again topped the US Mainstream Rock Tracks Chart as the album entered the Top 5 in both nations. An evening with Rush was the name of the band’s first North American concert, which kicked off in October 1996 in support of Test For Echo. The trip was divided into two parts, each lasting from May through July 1997 and October through December 1996.[82] The band went on a five-year hiatus following the 1997 Test for Echo tour, mainly as a result of tragedies in Peart’s personal life. Following the loss of his wife Jacqueline from cancer in June 1998, Peart’s daughter Selena passed away in a car accident in August 1997. During his time off to grieve and reflect, Peart traveled widely across North America on his BMW motorcycle, clocking up 88,000 kilometers. (55,000 mi). Peart describes how, at Selena’s funeral, he urged his bandmates to “consider me retired” in his memoir Ghost Rider: Travels on the Healing Road.[83] Because of the uncertainty surrounding the band’s destiny, Lee and Lifeson created the archival album Different Stages for release during the break. It is a three-disc live album with performances from the band’s Counterparts, Test For Echo, and A Farewell to Kings tours that is dedicated to the remembrance of Selena and Jacqueline. It was mixed by producer Paul Northfield and engineered by Terry Brown.[84] Following a period of mourning and healing, Peart met his future bride, photographer Carrie Nuttall, while visiting longtime Rush photographer Andrew MacNaughtan in Los Angeles. Peart wed Nuttall on September 9, 2000. The next year, Peart made the decision to rejoin Rush. Comeback, Vapor Trails, and Snakes & Arrows from 2001 to 2009[edit] 0:33 “One Little Victory” from 2002 “One Little Victory” from the album Vapor Trails is an example. The fast pace and intense double bass drumming of this composition were specifically chosen to announce the band’s return after a hiatus. Playing this file incorrectly? View our media assistance. Lee, Lifeson, and Peart got together in January 2001 to try to put the band back together. We didn’t set any guidelines, objectives, or restrictions, only that we would approach the job in a laid-back, civilized manner, according to Peart. The band composed and recorded the music for seventy-four minutes of their newest recording, Vapor Trails, in Toronto with the aid of producer Paul Northfield.[85] Since Caress of Steel, Vapor Trails is the first album by Rush to feature no keyboards or synths. The band claims that the creation of the album was highly taxing and took them the longest amount of time ever to write and record a studio album—roughly 14 months.[86] On May 14, 2002, Vapor Trails was released. To announce the band’s comeback, the opening track and single from the album, “One Little Victory,” was made to pique listeners’ interest with its frantic guitar and drum tempos.[86] The band’s first tour in six years, which included their first-ever performances in Brazil and Mexico City where they drew some of the biggest crowds of their history, served as support for the album. The biggest had a 60,000 capacity and was located in So Paulo.[87] Vapour Trails sold poorly in the UK, where it peaked at No.38, but reached its highest position at No. 3 in Canada and No. 6 in the US. Rush’s September 2004 performance Rush’s final concert of their Vapor Trails Tour, which took place on November 23, 2002, at Rio de Janeiro, Brazil’s Maracan Stadium, was captured on a live album and DVD called Rush in Rio, which was released in October 2003. Feedback, an extended play with eight covers of artists like Cream, The Who, and The Yardbirds, bands that the members of Rush name as inspiration around the time of their formation, was released in June 2004 to commemorate the band’s 30th anniversary.[88] Rush started the 30th Anniversary Tour in the summer of 2004, performing shows in the US, Canada, the UK, Germany, Italy, Sweden, the Czech Republic, and the Netherlands to raise money for Feedback and continue commemorating their 30th anniversary as a band. The R30: 30th Anniversary World Tour performance at The Festhalle in Frankfurt, Germany, on September 24, 2004, was recorded for a DVD that would be made available on November 22, 2005. Eight songs from Rush in Rio were not included in this release; the entire performance was released on Blu-ray on December 8, 2009.[89] The band members stated during promotional interviews for the R30 DVD that they planned to start composing new music in early 2006. In January 2006, Lifeson and Lee started composing songs while living in Toronto. Peart began writing lyrics during this period while residing in Southern California. Rush decided to co-produce the record with American producer Nick Raskulinecz in September of that year. In order to record the majority of the material, the band formally joined Allaire Studios in Shokan, New York, in November 2006. The band’s five-week long practice period came to a close in December. The name of the new record, Snakes & Arrows, was revealed on the official Rush website on February 14, 2007. On March 12, 2007, the first song, “Far Cry,” was made available to North American radio stations. It peaked at No. 2 on the Mediabase Mainstream and Radio and Records Charts.[90] 0:31 “Far Cry” from 2007. A snippet of the album Snakes & Arrows’ lead song, “Far Cry.” Playing this file incorrectly? View our media assistance.

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A tour by the band was also announced on the freshly updated Rush website, which was launched on March 12 to promote the new album. On May 1, 2007, Snakes & Arrows was made available in North America, where it opened at No. 3 on the Billboard 200 after selling about 93,000 copies in its first week.[91] With projected global sales of 611,000 copies, it also reached a peak position of No. 3 in Canada and No. 13 in the UK. “Spindrift” was released as the official second radio single on June 1, 2007, to correspond with the start of the Atlantic hurricane season, while “The Larger Bowl (A Pantoum)” attained single status on June 25, 2007. The Billboard Mainstream Rock and Mediabase Mainstream charts for “The Larger Bowl” and “Spindrift,” respectively, both reached their highest positions within the top 20.[92] Snakes & Arrows’ scheduled worldwide tour kicked off on June 13 in Atlanta, Georgia, and concluded on October 29 at Hartwall Arena in Helsinki, Finland.[93] Also, you must try to play this Pather Panchali quiz. The Snakes & Arrows tour’s 2008 leg started on April 11, 2008, at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico, and ended on July 24, 2008, at the Verizon Wireless Music Center in Noblesville, Indiana.[94] Snakes & Arrows Live, a double live album that the group released on April 15, 2008, captured the first part of the tour on October 16 and 17, 2007, at the Ahoy arena in Rotterdam, Netherlands.[95] On November 24, 2008, a DVD and Blu-ray recording of the same performances was made available.[96][97][98] Rush revealed their first appearance on American television in more than 30 years as the Snakes & Arrows tour came to an end. On July 16, 2008, they featured on The Colbert Report, where Stephen Colbert conducted an interview with them and they performed “Tom Sawyer.”[99] The group made an uncredited appearance in the 2009 comedy I Love You, Man, featuring Jason Segel and Paul Rudd, as themselves, continuing to ride what critic Manohla Dargis referred to as a “pop cultural wave.”[100] Time Machine Tour and Clockwork Angels from 2009 to 2013[edit] Lifeson suggested that the group might start recording a new album in the fall of 2009 with American producer Nick Raskulinecz once more serving as the executive producer on February 16, 2009.[101] At the yearly SOCAN Awards in Toronto in November 2009, Lee, Lifeson, and Peart received the International Achievement Award.[15] Rush’s induction into the Canadian Songwriters Hall of Fame is scheduled to take place on March 28, 2010, at the Toronto Centre for the Arts’ George Weston Recital Hall. On March 19, 2010, the CBC released a video interview with Lee and Lifeson where they discussed the event. Limelight, Closer to the Heart, The Spirit of Radio, Tom Sawyer, and Subdivisions are some of the band’s best-known tracks. In addition to talking about their induction, Lee and Lifeson discussed upcoming music, with Lee noting that they had no tracks until just over a month ago. And now that we’ve been writing, we have about six tracks that we just adore.[102] There may even be two supporting shows, Lifeson said on March 26, 2010, in an interview with The Globe and Mail.[103] Shortly after, Peart announced that co-producer Nick Raskulinecz had returned.[104] Rush and Raskulinecz joined Blackbird Studios in Nashville, Tennessee in April 2010 to record “Bu2B” and “Caravan,” two brand-new songs that will appear on the band’s studio album Clockwork Angels. On June 1, 2010, “Caravan” and “BU2B” were simultaneously published for digital download.[105] The first stage of the Time Machine Tour concluded at the National Stadium in Santiago, Chile on October 17 after starting on June 29 in Albuquerque, New Mexico. It included “Caravan” and “BU2B” as well as the complete album Moving Pictures being performed.[106] It was reported that Rush would go back to the studio following the Time Machine Tour with the intention of releasing Clockwork Angels in 2011.[107] Rush did reveal, however, that they would be expanding the Time Machine Tour on November 19, 2010. The second section finished on July 2, 2011, in Seattle, Washington, having started on March 30, 2011, in Fort Lauderdale, Florida.[106] Time Machine 2011: Live in Cleveland, a concert DVD, Blu-ray, and double CD featuring footage from the band’s April 15, 2011, performance at Cleveland, Ohio’s Quicken Loans Arena, was published by the group on November 8 of that year. Rush entered Revolution Recording studios in Toronto, Ontario to complete the recording of Clockwork Angels after the second portion of the tour was completed.[108] On April 19, 2012, the second song, “Headlong Flight,” was made available. A novelization of Clockwork Angels written by Peart and novelist Kevin J. Anderson was published in September 2012.[109] On June 12, 2012, Clockwork Angels was released in the US and Canada. [110] It debuted at No. 1 in Canada, No. 2 in the US, No. 21 in the UK, and entered the Top 10 in the majority of Rush’s typical northern European markets. On November 25, 2012, in Phoenix, Arizona, and on November 28, 2012, in Dallas, Texas, performances of the supporting Clockwork Angels Tour were recorded for a live CD/DVD/Blu-ray that was released on November 19, 2013. The supporting Clockwork Angels Tour started on September 7, 2012.[111] The group’s performance at the Sweden Rock Festival on June 8, 2013, during Rush’s European portion of the Clockwork Angels Tour, marked their first festival outing in thirty years.[112] Rush moved their American distribution from Atlantic Records to the majority-owned metal label Roadrunner Records on August 31, 2011. The American distribution of Clockwork Angels and Time Machine 2011: Live in Cleveland was managed by Roadrunner. In Canada, Anthem/Universal songs would keep releasing their songs.[113] Rush was enshrined in the Rock and Roll Hall of Fame on April 18, 2013.[114] R40 Tour, Disbandment, and Peart’s Death from 2013 to 2020[edit] Lifeson announced on November 18, 2013, that after the world tour in favor of Clockwork Angels was over, the band would take a year off. Lifeson stated, “We’ve committed to taking roughly a year off.” “We all decided that we would take this time off and not discuss band business or make any plans after the Clockwork Angels tour concluded [in early August]. We agreed to a year, so that will undoubtedly get us through the end of the current summer. The bare least is that. We haven’t given up or halted. We’re currently just unwinding. We’re relaxing and just taking pleasure in our present jobs.[115] In September 2014, the Rush R40 box set was unveiled in honor of the group’s self-titled debut album’s 40th anniversary. It contained numerous previously unreleased clips from the band’s history as well as five live video albums that had already been released.[116] Rush unveiled the Rush R40 Tour on January 22, 2015, marking the band’s forty-year anniversary with Peart. On May 8 in Tulsa, Oklahoma,[117] the tour officially began. It was over on August 1 in Los Angeles.[118] Lifeson said in an interview on April 29, 2015, that owing to Peart’s persistent tendinitis and his own psoriatic arthritis, R40 might be the last significant Rush tour.[119] He pointed out that it wasn’t definitely the end of the band and offered the possibility of more modest tours and fewer live appearances. He added that he would like to collaborate with Lee on music.[120] Peart announced his retirement in an interview on December 7, 2015. The next day, Lee claimed that Peart’s comments had been misinterpreted and claimed he was “simply taking a break.”[121][122] The band’s final extensive trip, according to Lifeson’s confirmation in 2016, was the R40 tour.[123] Time Stand Still, the group’s most recent film, was introduced in November 2016.[124] Lifeson stated to The Globe and Mail on January 16, 2018, that it was unlikely that Rush would perform any more concerts or release any new music. We no longer have any intentions to tour or release music, he declared. Basically, we’re finished. We decided that 41 years was enough.[10][9] In an interview with Lee that appeared in Rolling Stone’s October 2018 issue, Lee said, “I’d say I can’t really tell you much other than that there are zero intentions to tour again. We are very close and talk all the time, as I mentioned previously, but we never discuss work. We converse about life as peers because we are friends. I’m sorry I can’t really tell you any more than that. There is, in my opinion, no possibility of seeing Rush perform live again with Alex, Geddy, and Neil. Would you, however, see just one, two, or three of us? That is conceivable.[125] Peart passed away on January 7, 2020, at the age of 67 after a 32-year fight with the brain cancer glioblastoma.[11][126][127] A year later, Lee told Rolling Stone that Rush was “over” and that Peart’s departure made it impossible for the group to continue: “That’s done, right? That is done. I remain extremely pleased of what we accomplished. I’m unsure of my future plans in the music industry. Al, I’m certain, doesn’t, whether they are present or not. But Rush’s sound will always be a part of us. And if the situation called for it, I wouldn’t think twice about playing one of those tunes. You must, however, also appreciate the work that the three of us and Neil accomplished together.[128] 2021 and beyond: aftermath Lifeson disclosed that he and Lee were in discussions about collaborating on new music in a January 2021 conversation with Make Weird Music: “We’re both anxious to reconnect and sort of get back into that activity we’ve enjoyed since we were 14 years old. And our collaboration is fantastic. So, we’ll watch what occurs there.[129][130] In a conversation with Eddie Trunk in June 2021, Lifeson reaffirmed Rush’s situation and the likelihood of working with Lee going forward: “Neil’s not here to be a part of it, so there’s no chance Rush will ever exist again. And that doesn’t mean we can’t do other things, things for our neighborhoods, and things like that. I have many ideas for that kind of thing, and not all of them inherently involve Geddy. I frequently get the question, “Are we going to do this or that?” The future? All I know is that we still adore one another and will always be very, very close pals.[131] For the first time since the passing of Peart, Lee and Lifeson performed “Closer to the Heart” with the members of Primus at the South Park 25th anniversary show in Colorado in August 2022, with South Park co-creator Matt Stone on drums.[132] With Dave Grohl and Omar Hakim on drums, Lee and Lifeson played at the London Taylor Hawkins tribute performance in September 2022. They played “Working Man,” “2112: Overture,” and “YYZ,” which was Hawkins’ favorite Rush tune.[133] At the second Taylor Hawkins Tribute concert in Los Angeles later that month, Lee and Lifeson performed the same performance. Again, Grohl provided the drumming for “2112,” the Red Hot Chili Peppers’ Chad Smith joined them for “Working Man,” and Tool’s Danny Carey provided the drumming for “YYZ.”

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