“Some drummers started playing after seeing Ringo when the Beatles played on the Ed Sullivan show, while others started after seeing Sal Mineo star in “The Gene Krupa Story.” I was totally unimpressed by Ringo, whereas hearing masters like Krupa or Buddy Rich makes you set your goals a lot higher. “I have a litmus-test theory for drummers,” Peart said. His playing combines flawless technique, an impressive command of odd time-signatures and a no-nonsense delivery that is crisp and direct. He had to get over that innate cynicism.”Ī gifted drummer who consistently earns top honors in several annual pop music polls, Peart brings a sense of flair and finesse to his instrument unusual by conventional rock standards. Now he’s our biggest booster, and he writes that it’s shameful that we’re ignored. “Over the years, he began to give us grudging respect. He thought we were derivative and simplistic,” Peart recalled. “There was one writer in Toronto who was vitriolic about us in the early days. In the past few years, many critics have dramatically revised their opinion of Rush. It’s never been the nature of our band to play down to people I’ve always taken the attitude that our audience is just as smart as us.” Consider the post-impressionists, who took a lot of flak, or Einstein’s teacher, who told him he was stupid and would never amount to anything.
“Historically, all of the great writers and painters were maligned. “That shouldn’t be a surprise,” Peart said.
We learned a lot from that time.”īy 1980, their heavy-handed approach had given way to a more ambitious and accomplished style that combined the intricacy and precision of progressive rock, the energetic minimalism of new wave and the aggressive, hard-rock attack that characterized their earlier efforts. In the late ‘70s, we were proving ourselves with a lot of convoluted ideas that were strung together in a way that had no cohesion and meant nothing. “It was hurtful and annoying, but it didn’t keep me up at nights. “It certainly was irritating to have total strangers slagging us off,” Peart acknowledged. Rolling Stone was especially derisive, describing the singing of Rush bassist Geddy Lee as “a cross between Donald Duck and Robert Plant,” and dismissing the group as “the power boogie band for the 16 magazine graduating class.” Indeed, Rush’s records and concerts in the 1970s were consistently scorned by critics. “Of course, that raises the point that I have no need at all for our old music - basically anything we did before 1980 - because it was so simplistic,” he said with a wry chuckle. Peart, who speaks seriously without taking himself too seriously, paused to contemplate the implications of his statement. The nature of pop music is its ephemerality, and I have no need to listen to music from 20 years ago,” said Peart, who performs here with Rush at 8 tonight at the San Diego Sports Arena. Witness drummer Neil Peart of the veteran Canadian trio Rush.
Not all rock artists dream of creating music that will outlive them. In no Rush for immortality - Drummer Peart never looks backīy George Varga, San Diego Union-Tribune, February 3, 1988 Whether or not Peart listened to any of Rush’s early albums in recent years is unclear.īut his thoughtful words from that 1988 interview still have resonance, especially concerning his drumming, his love of jazz and his insights about his band’s music, its audience and its outspoken critics. Rock reflects the time in which it was made, and I’m quite happy to let it die.” Moliere’s plays are still great to read, but they have little relevance to modern life. Rock doesn’t last, and I don’t know if it should. “It’s just like, I don’t go up in the attic and dig out my old report cards. “The nature of pop music is its ephemerality, and I have no need to listen to music from 20 years ago. “There’s no necessity to be remembered,” Peart said in a 1988 Union-Tribune interview.
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