Neil Peart
Neil Peart
Neil Ellwood Peart, OC, 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...
NationalityCanadian
ProfessionDrummer
Date of Birth12 September 1952
CityHamilton, Canada
CountryCanada
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Live shows were always religion for us. We never played a show - whether it was in front of 15 people or 15,000 - where it wasn't everything we had that night.
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It's not the music you hear in your head that other people are going to hear. You have to be able to make it true enough to the image in your head, and that's where technique and technology come in, for sure, and knowledge. It's not true and will never be true that someone who knows nothing can sit in a basement and make great music.
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If drummers are 'anti-solo,' that's up to them. They're musicians, and they can play whatever they want. But my inspirations early on were people like Buddy Rich, seeing him on 'The Tonight Show', or Gene Krupa.
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The thing for me about Ayn Rand is that her philosophy is the only one applicable to the world today - in every sense. If you take her ideas, then take them farther in your own mind, you can find answers to pretty well everything on an individual basis.
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The reality is that my style of drumming is largely an athletic undertaking, and it does not pain me to realize that, like all athletes, there comes a time to... take yourself out of the game.
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Our songs were not written to be listened to in headphones or on the radio. They were written to be played. All of the little infinite detail that went into the arrangements and giving ourselves lots of breathing room in terms of playing what we wanted to play and using up any ideas that we had - all of those were conceived to be performed.
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Once, I went speeding past an old couple and smiled as I imagined their conversation: him grumbling about me and her telling him not to be such an old grouch. Then, suddenly I was in tears, thinking, 'I'll never get to be a grumpy old grandpa!'
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It astonished me in the early Nineties to suddenly have musicians admit that they had been inspired and influenced by us. That meant a lot at that time. But of course, being human, the... disrespect isn't even strong enough a word, is it? The opprobrium was painful. Being popular and hated is not satisfying.
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I've heard the stories. Like, Eric Clapton said he wanted to burn his guitar when he heard Jimi Hendrix play. I never understood that because, when I went and saw a great drummer or heard one, all I wanted to do was practice.
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I am the audience. I want to observe people. Even when I'm playing drums onstage, I'm watching people. I'm looking at them and their faces and their T-shirts and their signs. And travelling by motorcycle, especially, the world is just coming at me.
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For me to call myself a musician, it's necessary to play live, and it rewards so much - not just in the pay cheque sense but what it does for my playing. I feel it through a tour - I feel it at the end of a tour - all that I've gathered, and especially now that I am improvising so much.
When Mr. Ludwig invented the bass-drum pedal, that's what made the drum set possible.
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I think, in music, you're always hoping that you'll have a like-minded audience and that the music you like making will appeal to them, too.
Do yourself a favor. Don't ever say to me, 'Everything happens for a reason.'