Look up kit in Wiktionary, the free dictionary.

Kit may refer to:

Collections[link]

Any collection of items or components needed for a specific purpose, especially for use by a workman, or personal effects packed for travelling, such as:

• Body kit, a collection of exterior modifications to a car
• Body hygiene kit, a small bag for storing bathroom and toiletry items for travel
• Drum kit, a collection of drums, cymbals, etc. arranged for convenient playing
• Electronic kit, an assembly kit for any electronic equipment, including a computer
• First aid kit, a collection of supplies and equipment for use in giving first aid
• Field kit, a generic term for a field-specific kit
• Garage kit, an assembly scale model kit
• Graphic kit, a set of decal s for an automobile, motorcycle, model car, or other toy, used to customize the item
• Hush kit, a device for reducing noise from an engine
• Jenter kit, a piece of equipment used by beekeepers to raise large numbers of queen honeybees
• Kit car, an automobile in parts that is assembled
• Kit bag, a large cylindrical bag made of cloth (or other fabric) with a drawstring closure at the top
• Kit house, a type of prefabricated housing
• Knock-down kit, a kit containing the parts needed to assemble a product
• Mess kit, a collection of silverware and cookware used during camping, backpacking, and extended military campaigns
• Plastic kit, a scale model supplied as individual parts of moulded plastic for assembly by hobbyists
• Press kit, a pre-packaged set of promotional materials of a person, company, or organization
• Rape kit, a set of items used by medical personnel for gathering and preserving physical evidence following an allegation of sexual assault which can be used in rape investigation
• Robot kit, a special construction kit for building robots
• Software development kit, a set of tools to create an application
• Stroker kit, an aftermarket assembly that increases the displacement of a reciprocating engine
• Survival kit, a package of basic tools and supplies prepared in advance as an aid to survival in an emergency
• Teaching kit, a teaching resource developed by a museum education department

Animals[link]

• A young ferret
• A young rabbit
• A young mink
• A young fox
• A young beaver
• A short form of kitten, a young cat
• A group of pigeons
• Kit fox, a relatively common North American fox

Music[link]

• Kit (album), 2004 rock album by The Rebel
• Kit violin, a small stringed musical instrument

Film[link]

• Kit (film), 1970 Bulgarian satirical movie directed by Petar B. Vasilev

• Short for Christopher, as for example Kit Carson. Christopher Marlowe was also called Kit. St. Christopher Island in the Caribbean is called St. Kitts.

People[link]

• Kit (given name)
• Barys Kit, a Belarusian scientist

Sport[link]

• Kit (rugby football), the standard equipment and attire worn by players in rugby football
• Kit (association football), the standard equipment and attire worn by players in association football

Technology[link]

• Kit lens, a low-end SLR camera lens

See also[link]

• All pages beginning with "Kit"
• All pages with titles containing "Kit"
• Kit's Coty, a small village in the English county of Kent
• Kits (disambiguation)
• KIT (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Rowan Atkinson
Atkinson at the Johnny English Reborn Premiere
Birth name	Rowan Sebastian Atkinson
Born	(1955-01-06) 6 January 1955 (age 57)[1][2] Consett, Durham, England, United Kingdom
Medium	Stand up, Television, Film
Years active	1978–present
Genres	Physical comedy, Satire, Black comedy
Influences	Peter Sellers, Charlie Chaplin, Jacques Tati[3]
Influenced	Steve Pemberton David Walliams
Spouse	Sunetra Sastry (m. 1990) «start: (1990)»"Marriage: Sunetra Sastry to Rowan Atkinson" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Rowan_Atkinson)
Notable works and roles	Not the Nine O'Clock News Blackadder Mr. Bean The Thin Blue Line Johnny English
BAFTA Awards Best Light Entertainment Performance 1981 Not the Nine O'Clock News 1990 Blackadder Goes Forth Laurence Olivier Awards Best Comedy Performance 1981 Rowan Atkinson in Revue

Rowan Sebastian Atkinson (born 6 January 1955) is a British actor, comedian, and screenwriter. He is most famous for his work on the satirical sketch comedy show Not The Nine O'Clock News, and the sitcoms Blackadder, Mr. Bean and The Thin Blue Line. He has been listed in The Observer as one of the 50 funniest actors in British comedy,^[4] and amongst the top 50 comedians ever in a 2005 poll of fellow comedians.^[5] He has also had cinematic success with his performances in the Mr. Bean movie adaptations Bean and Mr. Bean's Holiday and in Johnny English and its sequel Johnny English Reborn. He also starred in the film Never Say Never Again (a spy film based on the James Bond novel Thunderball) in 1983.

Early life and education[link]

Atkinson, the youngest of four brothers, was born in Consett, County Durham, England.^[6] His parents were Eric Atkinson, a farmer and company director, and Ella May (née Bainbridge), who married on 29 June 1945.^[6] His three older brothers were Paul, who died as an infant, Rodney, a Eurosceptic economist who narrowly lost the United Kingdom Independence Party leadership election in 2000, and Rupert.^[7][8] Atkinson was brought up Anglican,^[9] and was educated at Durham Choristers School, St. Bees School, and Newcastle University.^[10] In 1975, he continued for the degree of MSc in Electrical Engineering at The Queen's College, Oxford, the same college his father matriculated at in 1935,^[11] which made Atkinson an Honorary Fellow in 2006.^[12] First achieving notice at the Edinburgh Festival Fringe in 1976,^[10] while at Oxford, he also acted and performed early sketches for the Oxford University Dramatic Society (OUDS), the Oxford Revue and the Experimental Theatre Club (ETC), meeting writer Richard Curtis^[10] and composer Howard Goodall, with whom he would continue to collaborate during his career.

Career[link]

Radio[link]

Atkinson had starred in a series of comedy shows for BBC Radio 3 in 1978 called The Atkinson People. It consisted of a series of satirical interviews with fictional great men, who were played by Atkinson himself. The series was written by Atkinson and Richard Curtis, and produced by Griff Rhys Jones.^[13]

Television[link]

After university, Atkinson toured with Angus Deayton as his straight man in an act that was eventually filmed for a television show. After the success of the show, he did a one-off pilot for London Weekend Television in 1979 called Canned Laughter. Atkinson then went on to do Not the Nine O'Clock News for the BBC, produced by his friend John Lloyd. He starred on the show along with Pamela Stephenson, Griff Rhys Jones and Mel Smith, and was one of the main sketch writers.

The success of Not the Nine O'Clock News led to his starring in the medieval sitcom The Black Adder, which he also co-wrote with Richard Curtis, in 1983. After a three-year gap, in part due to budgetary concerns, a second series was written, this time by Curtis and Ben Elton, and first screened in 1986. Blackadder II followed the fortunes of one of the descendants of Atkinson's original character, this time in the Elizabethan era. The same pattern was repeated in the two sequels Blackadder the Third (1987) (set in the Regency era), and Blackadder Goes Forth (1989) (set in World War I). The Blackadder series went on to become one of the most successful BBC situation comedies of all time, spawning television specials including Blackadder's Christmas Carol (1988) and Blackadder: The Cavalier Years (1988).

Atkinson's other famous creation, the hapless Mr. Bean, first appeared on New Years Day in 1990 in a half-hour special for Thames Television. The character of Mr. Bean has been likened somewhat to a modern-day Buster Keaton.^[14] During this time, Atkinson appeared at the Just for Laughs comedy festival in Montreal in 1987 and 1989. Several sequels to Mr. Bean appeared on television in the 1990s, and it eventually made into a major motion picture in 1997. Entitled Bean, it was directed by Mel Smith, his former co-star from Not the Nine O'Clock News. A second movie was released in 2007 entitled Mr. Bean's Holiday. In 1995 and 1997, Atkinson portrayed Inspector Raymond Fowler in the popular The Thin Blue Line television series, written by Ben Elton, which takes place in a police station located in fictitious Gasforth.

Atkinson has fronted campaigns for Kronenbourg,^[15] Hitachi electrical goods,^{[citation needed]} Fujifilm, and Give Blood. Atkinson appeared as a hapless and error-prone espionage agent in a long-running series for Barclaycard, on which character his title role in Johnny English and Johnny English Reborn was based.

He also starred in a comedy spoof of Doctor Who as the Doctor, for a "Red Nose Day" benefit.

Atkinson has also starred as the Star in a Reasonably Priced Car in the motoring show, Top Gear in July 2011, where he recorded the second fastest lap in the Kia Cee'd with a time of 1:42.2.

Rowan Atkinson in 1997, promoting Bean

Film[link]

Atkinson's film career began in 1983 with a supporting part in the 'unofficial' James Bond movie Never Say Never Again and a leading role in Dead on Time with Nigel Hawthorne. He appeared in former Not the Nine O'Clock News co-star Mel Smith's directorial debut The Tall Guy in 1989. He also appeared alongside Anjelica Huston and Mai Zetterling in Roald Dahl's The Witches in 1990. In 1993 he played the part of Dexter Hayman in Hot Shots! Part Deux, a parody of Rambo III, starring Charlie Sheen.

Atkinson gained further recognition with his turn as a verbally bumbling vicar in the 1994 hit Four Weddings and a Funeral. That same year he was featured in Disney's The Lion King as the voice of Zazu the Red-billed Hornbill. Atkinson continued to appear in supporting roles in successful comedies, including Rat Race (2001), Scooby-Doo (2002), and Love Actually (2003).

In 2005, he acted in the crime/comedy Keeping Mum, which also starred Kristin Scott Thomas, Maggie Smith and Patrick Swayze.

In addition to his supporting roles, Atkinson has also had success as a leading man. His television character Mr. Bean debuted on the big screen in 1997 with Bean to international success. A sequel, Mr. Bean's Holiday, was released in March 2007 and this, as recently mentioned by Atkinson in 2011, was the last time he played the character.^[16] He has also starred in the James Bond parody Johnny English in 2003. Its sequel, Johnny English Reborn was released on 7 October 2011.

Theatre[link]

Rowan Atkinson did live on-stage skits – also appearing with members of Monty Python – in The Secret Policeman's Ball (1979).

Rowan Atkinson appeared in the 2009 revival of the West End musical Oliver! in the role of Fagin.^[17] The production was directed by Rupert Goold. A year prior he starred in a pre-West End run of the show in Oxford, directed by Jez Bond.

Comedic style[link]

Best known for his use of physical comedy in his trademark character of Mr. Bean, Atkinson's other characters rely more heavily on language. Atkinson often plays authority figures (especially priests or vicars) speaking absurd lines with a completely deadpan delivery.

One of his better-known trademark comic devices is over-articulation of the "B" sound, such as his pronunciation of "Bob" in a Blackadder episode. Atkinson suffers from stuttering,^[18] and the over-articulation is a technique to overcome problematic consonants.

Atkinson's often visually based style, which has been compared to Buster Keaton,^[14] sets him apart from most modern television and film comedies, which rely heavily on dialogue, as well as stand-up comedy which is mostly based on monologues. This talent for visual comedy has led to Atkinson being called "the man with the rubber face": comedic reference was made to this in an episode of Blackadder the Third, in which Baldrick (Tony Robinson) refers to his master, Mr. E. Blackadder, as a "lazy, big nosed, rubber-faced bastard".

Personal life[link]

Rowan Atkinson at the Mr. Bean's Holiday premiere at Leicester Square in London (2007)

Marriage and children[link]

Rowan Atkinson first met Sunetra Sastry in the late 1980s, when she was working as a make-up artist with the BBC.^[19] Sastry is of mixed descent, being the daughter of an Indian father and a British mother.^[20] The couple married at the Russian Tea Room in New York City on 5 February 1990. They have two children and live in Oundle, Northamptonshire as well as in Ipsden, Oxfordshire and in Highbury, London.^{[citation needed]} In October 2010, his Blackadder co-star Stephen Fry confessed on The Rob Brydon Show and in his second autobiography (The Fry Chronicles) that, although he was already openly homosexual at the time, he had considered asking Sastry (who was his make-up artist) out. However, when Rowan came to him one day and asked if he could swap make-up artists because he wanted to ask Sastry out, 'all idea of [his] asking out Sunetra left [him]'.^[21] Fry was best man at Atkinson's wedding in 1990. Atkinson was formerly in a relationship with actress Leslie Ash.^[22]

Politics[link]

In June 2005, Atkinson led a coalition of the UK's most prominent actors and writers, including Nicholas Hytner, Stephen Fry, and Ian McEwan, to the British Parliament in an attempt to force a review of the controversial Racial and Religious Hatred Bill, which they felt would give overwhelming power to religious groups to impose censorship on the arts.^[23] In 2009, he criticised homophobic speech legislation, saying that the House of Lords must vote against a government attempt to remove a free speech clause in an anti-gay hate law.^[24]

Cars[link]

With an estimated wealth of £100 million, Atkinson is able to indulge his passion for cars that began with driving his mother's Morris Minor around the family farm. He has written for the British magazines Car, Octane, Evo, and "SuperClassics", a short-lived UK magazine, in which he reviewed the McLaren F1 in 1995.

Atkinson holds a category C+E (formerly 'Class 1') lorry driving licence, gained in 1981, because lorries held a fascination for him, and to ensure employment as a young actor. He has also used this skill when filming comedy material.

Atkinson in 2009

A lover of and participant in car racing, he appeared as racing driver Henry Birkin in the television play Full Throttle in 1995. In 1991, he starred in the self-penned The Driven Man, a series of sketches featuring Atkinson driving around London trying to solve his obsession with cars, and discussing it with taxi drivers, policemen, used-car salesmen and psychotherapists.^[25]

Atkinson has raced in other cars, including a Renault 5 GT Turbo for two seasons for its one make series. He owns a McLaren F1, which was involved in an accident in Cabus, near Garstang, Lancashire with an Austin Metro in October 1999. It was damaged again in a serious crash in August 2011 when it caught fire after Atkinson reportedly lost control and hit a tree.^[26][27][28] He also owns a Honda NSX. Other cars he owns include an Audi A8,^[29] and a Honda Civic Hybrid.^[30]

The Conservative Party politician Alan Clark, himself a devotee of classic motor cars, recorded in his published Diaries this chance meeting with a man he later realised was Atkinson while driving through Oxfordshire in May 1984: "Just after leaving the motorway at Thame I noticed a dark red DBS V8 Aston Martin on the slip road with the bonnet up, a man unhappily bending over it. I told Jane to pull in and walked back. A DV8 in trouble is always good for a gloat." Clark writes that he gave Atkinson a lift in his Rolls-Royce to the nearest telephone box, but was disappointed in his bland reaction to being recognised, noting that: "he didn't sparkle, was rather disappointing and chétif."^[31]

One car Atkinson has said he will not own is a Porsche: "I have a problem with Porsches. They're wonderful cars, but I know I could never live with one. Somehow, the typical Porsche people—and I wish them no ill—are not, I feel, my kind of people. I don't go around saying that Porsches are a pile of dung, but I do know that psychologically I couldn't handle owning one."^[32][33]

He appeared in episode 4, series 17 of Top Gear in the "Star in a reasonably priced car" section, where he drove the Kia Cee'd on the test track in 1"42.2, taking first place on the board, but was later beaten by Matt LeBlanc during the second episode of the eighteenth series, with a lap time of 1"42.1.

He attended the inaugural Indian Grand Prix as a guest of McLaren.

Television appearances[link]

• Canned Laughter (1979), an experimental sitcom pilot for LWT
• The Secret Policeman's Ball (1979), a charity special for Amnesty International
• Not the Nine O'Clock News (1979–1982)
• Peter Cook & Co (1980)
• The Innes Book of Records (1980), guest appearance
• Never Say Never Again (1983)
• Blackadder as Prince Edmund (The Black Adder); Lord Blackadder (Blackadder II); Edmund Blackadder (Blackadder III); Ebenezer Blackadder (Blackadder's Christmas Carol); and Captain Blackadder (Blackadder Goes Forth) (1983–1989)
• Saturday Live as guest host (1986)
• Mr. Bean as Mr. Bean (1990–2009 various times)
• Rowan Atkinson Live as assorted characters (1992) (VHS of live sketches)
• Bernard and the Genie as Bernard's Boss (1991) (TV movie)
• Funny Business (1992), a documentary about the craft of comedy
• A Bit Of Fry And Laurie (1992), guest appearance
• The Thin Blue Line as Inspector Raymond Fowler (1995–1996)
• The Story of Bean as himself (1997)
• Blackadder: Back and Forth as Blackadder (2000)
• Mr. Bean (animated TV series) as Mr. Bean, voice (2002)
• The Comic Relief "Red Nose Day" telecasts, including appearances in:
  • Blackadder: The Cavalier Years as Edmund Blackadder (1988)
  • Nosenight sketches (1989)
  • Mr Bean's Red Nose Day as Mr. Bean (1991)
  • (I Wanna Be) Elected as Mr. Bean (1992)
  • Blind Date with Mr Bean as Mr. Bean (1993)
  • Torvill and Bean as Mr Bean (1995)
  • Doctor Who and the Curse of Fatal Death as The Doctor (1999)
  • Popsters as Nasty Neville (2001)
  • Lying to Michael Jackson as Martin Bashir (2003)
  • Spider-Plant Man as Peter Piper and Spider-Plant Man (2005)
  • Mr Bean's Wedding as Mr. Bean (2007)
  • The Greatest Worst Bits of Comic Relief as himself (2007)
• We Are Most Amused (2008), a special show to celebrate Prince Charles' 60th birthday
• Blackadder Rides Again as himself (2008)
• Not Again: Not the Nine O'Clock News as himself (2009)

Guest appearances[link]

• Wogan (1988, 1991)
• Children in Need (1988), guest appearance as Mr. E. Blackadder
• Noel's House Party, guest appearance as Blackadder
• Going Live, guest appearance as Mr. Bean
• This Morning (1995), guest appearance as Mr. Bean
• Big Breakfast
• Parkinson (2003)
• Blue Peter (2004, 2007), guest appearance as Mr. Bean
• London Tonight (2005)
• BBC Breakfast (2007)
• Richard & Judy (2007)
• The Dame Edna Treatment (2007), guest appearance as Mr. Bean
• Top Gear (2011)

Filmography[link]

Live comedy albums[link]

• Live in Belfast (1980)
• Not Just a Pretty Face (1987)

References[link]

External links[link]

Wikimedia Commons has media related to: Rowan Atkinson

• Rowan Atkinson at the Internet Movie Database
• Rowan Atkinson biography at BFI Screenonline

Keith Moon
Keith Moon in 1975
Background information
Birth name	Keith John Moon
Born	(1946-08-23)23 August 1946 Wembley, Middlesex, England
Died	7 September 1978(1978-09-07) (aged 32) Westminster, London
Genres	Rock, art rock, hard rock, power pop
Occupations	Musician, songwriter, producer, actor
Instruments	Drums, percussion, vocals, bugle, trumpet, tuba
Years active	1964–1978
Associated acts	The Who, Plastic Ono Band, Jeff Beck Group

Keith John Moon (23 August 1946^[1] – 7 September 1978) was an English musician, best known for being the drummer of the English rock group The Who. He gained acclaim for his exuberant and innovative drumming style, and notoriety for his eccentric and often self-destructive behaviour, earning him the nickname "Moon the Loon". Moon joined The Who in 1964. He played on all albums and singles from their debut, 1964's "Zoot Suit", to 1978's Who Are You, which was released three weeks before his death.

Moon was known for dramatic, suspenseful drumming—often eschewing basic back beats for a fluid, busy technique focused on fast, cascading rolls across the toms, ambidextrous double bass drum work and wild cymbal crashes and washes. He is mentioned in the Rock and Roll Hall of Fame as one of the greatest of all rock and roll drummers,^[2] and was posthumously inducted into the Rock Hall as a member of The Who in 1990.

Moon's legacy, as a member of The Who, as a solo artist, and as an eccentric personality, continues to garner awards and praise, including a Rolling Stone readers' pick placing him in second place of the magazine's "best drummers of all time" in 2011,^[3] nearly 35 years after his death.

Early life[link]

Keith John Moon lived in Wembley, Middlesex. As a boy he was hyperactive and had a restless imagination. As a youth, the one thing that could hold his attention was music. Moon failed his eleven plus exam, and thus went to a secondary modern school, where in a report his art teacher commented: 'Retarded artistically. Idiotic in other respects'.^[4] Teacher Aaron Sofocleous praised his music skills and encouraged his chaotic style, even if one school report noted "He has great ability, but must guard against a tendency to show off". Often on his way home from school Keith would go to Macari's Music Studio in Ealing Road and would take instruction and practice on the drums there, where he learned his basic drumming skills. He left school in 1961.

On 17 March 1966, Moon married his pregnant girlfriend Kim Kerrigan in secrecy. Their daughter Amanda was born on 12 July 1966. Kerrigan left him in 1973. She took Mandy with her to live in the house of Faces keyboard player Ian McLagan, with whom she was having an affair, and divorced Moon in 1975. (Kerrigan and McLagan married in October 1978, one month after Moon's death. She was killed in a car crash in Texas in 2006). Before his divorce Moon dated Georgiana Steele, a British-born former fashion model who worked in their quadrophonic recording studio, Ramport, in Battersea, and in 1974 Moon began a relationship with Swedish model Annette Walter-Lax.

Early musical career[link]

At age twelve, Moon joined his local Sea Cadet Corps band as a bugle player but traded his position to be a drummer.^[5] He started to play the drums at age fourteen after his father bought him a kit. He received lessons from one of the loudest drummers at the time, Carlo Little, paying him ten shillings a lesson.^[6] During this time he joined his first serious band The Escorts.^[4] He later spent 18 months as the drummer for The Beachcombers, a London cover band notable for renditions of songs by Cliff Richard.^[7]

Moon initially played in the drumming style of American surf rock and jazz, with a mix of R&B, utilising grooves and fills of those genres, particularly Hal Blaine of Wrecking Crew. However, he played faster and louder, with more persistence and authority. Moon's favourite musicians were jazz artists Gene Krupa and Sonny Rollins.

Moon also enjoyed singing, particularly giving backing vocals that involved a light-sounding falsetto, and he adored the vocal styling of Motown soul music.^[8]

The Who[link]

Roger Daltrey and Keith Moon, 1967

At age 17, Moon joined The Who, replacing Doug Sandom after the band received the news that they could not expect a recording contract without a better drummer. Early in The Who's career, as they gained a following, they sought to set themselves apart from other bands of the time. When their live sets culminated in what they later described as "auto-destructive art", with Pete Townshend (and Moon delightedly following suit) destroying their equipment in elaborate fashion, they made a name for themselves in the press and gained the attention they had lacked. It was an act that was imitated by other bands and artists including Jimi Hendrix (who had just signed with the same label) in his break-out performance at the 1967 Monterey Pop Festival. Moon showed a zeal for this, kicking and smashing his drums. During the end of their 1967 appearance performing on The Smothers Brothers Comedy Hour, Moon had explosives loaded into one of his kit's two bass drums. During the finale of "My Generation", he kicked the other drum off the riser and then set off the charge, with the intensity of the explosion surprising even himself. He singed Townshend's hair and embedded a piece of cymbal in his own arm. The blast has been speculated as starting Townshend's tinnitus,^{[citation needed]} though Townshend himself attributes his hearing loss to years of headphone use in the recording studio.^[9] During one of his few drum solo performances on television, Moon filled clear acrylic drums with water and goldfish, and dressed as a cat, playing them for the audience. Antics like these earned him the nicknames "Moon the Loon" and "Mad Moon". Cultivating publicity for his behaviour, he became one of the most well-known drummers in his generation, and the other members of the Who benefited from the exposure as well.

His propensity for making his bandmates laugh around the vocal microphone whilst recording led them to banish him from the studio when vocals were being recorded. This led to a game, Moon sneaking in to join the singing. He can be heard singing lead on several tracks, including "Bell Boy" (Quadrophenia, 1973), "Bucket T" and "Barbara Ann" (Ready Steady Who EP, 1966), and the high backing vocals on other songs, such as "Pictures Of Lily".

Moon, Maple Leaf Gardens, Toronto 1976

Moon was credited as composer of "I Need You", which he also sang, and the instrumental "Cobwebs and Strange" (from A Quick One, 1966), the single B-sides "In The City" (co-written by Moon and Entwistle), "Dogs Part Two" (1969) (sharing credits with Townshend's and Entwistle's dogs, Towser and Jason), "Tommy's Holiday Camp" (1969), "Waspman" (1972), and "Girl's Eyes" (from The Who Sell Out sessions; featured on Thirty Years of Maximum R&B and a 1995 re-release of The Who Sell Out). He also co-composed the instrumental "The Ox" (from the debut album My Generation) with Townshend, Entwistle and keyboardist Nicky Hopkins. "Tommy's Holiday Camp" (from Tommy) was credited to Moon, who suggested the action should take place in a holiday camp. The song was written by Townshend, and although there is a misconception that Moon sings on the track, the version on the album is Townshend's demo. However Moon did sing it in live concerts, and on the film version of Tommy. He also produced "Baba O'Riley"'s violin solo (which he had suggested), performed by Dave Arbus, a friend.

Daltrey said Moon's drumming style held the band together; that Entwistle and Townshend "were like knitting needles... and Keith was the ball of wool."

Many rock drummers have cited Moon as an influence, including Neil Peart^[10] and Dave Grohl^[11] The Jam paid tribute to Moon on the second single from their third album, "Down in the Tube Station at Midnight", in which the B-side of the single is a cover song from The Who: "So Sad About Us", and the back cover of the record is a photo of Moon's face; the Jam's record was released about a month after Moon's death.

Behaviour[link]

Moon led a very destructive lifestyle. He laid waste to hotel rooms, the homes of friends and even his own home, throwing furniture out of high windows and setting fire to buildings. In one case, the band were due to perform at The Valley (home of Charlton Athletic F.C.), and were waiting in the dressing room for Moon to arrive. A witness described the drummer's sudden entry: "Suddenly, there was a great crash and Keith Moon dropped through the ceiling, having smashed his way through the corrugated iron roof."^[12] Moon even crashed a milk float he had purchased into his own property.^[13]

Along with his drum sets, Moon's infamous (and favourite) calling card was to flush powerful explosives down toilets.^[7][14] It has been estimated that his destruction of toilets and plumbing ran as high as UK£300,000 (US$500,000).^[15][16] His levels of destruction forced The Who to stay outside of New York City when the band performed there, and his repeated practice of blowing up toilets with explosives led to Moon being banned for life from lodging at several hotel chains around the world, including all Holiday Inn, all Sheraton, and all Hilton Hotels,^[17] as well as the Waldorf Astoria.^[18] Moon became so notorious for this practice that when Nick Harper was asked about his childhood memories spent around The Who, his first recollection was, "I remember Keith blowing up the toilets."^[19]

According to Tony Fletcher's biography, Moon's toilet pyrotechnics began in 1965, when he purchased 500 cherry bombs.^[7][21] In time, Moon would graduate from just cherry bombs to taking out toilets with M-80s. Eventually, Moon began using sticks of dynamite, his explosive of choice, to destroy toilets.^[22] "All that porcelain flying through the air was quite unforgettable," Moon recalled. "I never realised dynamite was so powerful. I'd been used to penny bangers before."^[7] In a very short period of time, Moon developed a reputation of "leaving holes" in bathroom floors, completely annihilating the toilets, mesmerising Moon and enhancing his reputation as rock and roll's premier hellraiser.^[7] Fletcher goes on to state that, "no toilet in a hotel or changing room was safe," until Moon had detonated his supply of explosives.^[7]

Unknown to many people at the time, Moon was often able to cajole John Entwistle into helping him blow up toilets. In a 1981 interview with the Los Angeles Times, Entwistle confessed, "A lot of times when Keith was blowing up toilets I was standing behind him with the matches."^[23] Incidents between Moon and hotel management included an occasion in which Moon was asked to turn down his cassette player because The Who were making "too much noise." In response, Moon asked the manager up to his room, lit a stick of dynamite in the toilet, and shut the bathroom door. Following the explosion, Moon informed the startled manager, "That, dear boy, was noise." Moon then turned the cassette player back on and proclaimed, "This is The Who."^[24][25] On another occasion in Alabama, Moon and Entwistle loaded a toilet with cherry bombs when they were told that they could not receive room service. According to Entwistle, "That toilet was just dust all over the walls by the time we checked out. The management brought our suitcases down to the gig and said: 'Don't come back...'"^[26]

The acts, though often fuelled by drugs and alcohol, were his way of expressing his eccentricity, as well as the joy he got from shocking the public.^[7] In Moon's biography, Full Moon, longtime friend and personal assistant Dougal Butler, observed: "He would do anything if he knew that there were enough people around who didn't want him to do it."

According to Townshend, Moon's reputation for erratic behaviour was something he cultivated. Once, on the way to an airport, Moon insisted they return to their hotel, saying, "I forgot something. We've got to go back!" When the limo returned, Moon ran to his room, grabbed the television while it was plugged in, threw it out the window and into the pool. He then jumped back into the limousine, sighing "I nearly forgot".

In 1967, Moon set in motion events which would become one of rock's most famous legends. According to the book Local DJ, a Rock & Roll History, after The Who opened for Herman's Hermits, Moon celebrated his 21st birthday party at the Holiday Inn in Flint, Michigan. Already intoxicated, he began the celebration by lighting a stick of dynamite in the toilet of his room. When the dynamite did not flush, Moon leapt out of the bathroom at the last possible moment to avoid porcelain toilet shards from the blast.^[27] He then allegedly drove a Cadillac (according to Moon's own account, it was a Lincoln Continental) into the hotel pool. While Holiday Inn management had begrudgingly tolerated Moon's notorious history of blowing up toilets at other locations as long as the damage was paid for, they decided after the car incident that they had had enough; Moon and The Who were subsequently banned from all Holiday Inns for life, as well as from Flint. Author Peter C. Cavanaugh, who was there and witnessed the event firsthand, recalled the events for a documentary on the 1960s rock scene.^[28] According to the book, The Who In Their Own Words, Moon said the Holiday Inn incident was how he broke his front tooth. Other people who attended the event, including Entwistle, cast doubt on the veracity of the car-in-the-swimming-pool story, but confirm some other parts of the tale. Another version of the night was recounted by Moon biographer Tony Fletcher in the book Moon: The Life and Death of a Rock Legend; "It was (after a cake fight) that the cry came to 'debag' the birthday boy... Various members of (Herman's Hermits and The Who) launched themselves on Keith, pinned him to the floor and successfully pulled his trousers down... As the teenage girls began gasping and giggling and the cops started grunting their disapproval, Keith, naked from the waist down, made a good-natured dash for it out of the room...and smashed one of his front teeth out".(p210) It was after Moon went to the dentist and the party was disbanded that the 30 to 40 guests filed out, a few taking fire extinguishers to cars and dirtying the swimming pool. According to VH1's Behind the Music, the broken tooth came from Moon diving into the pool at the Flint Holiday Inn when there was no water in it.

Passing out on stage[link]

Moon's penchant for the wild life was not only outwardly detrimental; it began to take a toll on his health while he was still in his twenties, as well as on his drumming and his reliability as a band member. On the 1973 Quadrophenia tour, at the Cow Palace in San Francisco, California, Moon took a large mixture of horse tranquillisers and brandy. He passed out during "Won't Get Fooled Again" and again in "Magic Bus". Townshend asked the audience, "Can anyone play the drums? – I mean somebody good". An audience member, Scot Halpin, filled in for the rest of the show. Townshend later said in an interview that Moon had consumed large tranquilliser pills, meant to be shot at animals, with the brandy.^[29] During the band's recording sabbatical between 1975 and 1978, Moon put on a great deal of weight. Nonetheless, Entwistle maintained that Moon and The Who reached their prime live peak during 1975 and 1976. That tour earned them Rolling Stone's 'red suspenders' for best live rock band.

Moon's close friend Ringo Starr was seriously concerned about his lifestyle and told Moon that if he kept going the way he was he would eventually kill himself. Moon simply replied "Yeah, I know."^[30]

Personal life and relationships[link]

From 1971 to 1975, Moon owned Tara, a home in Chertsey. He and his wife Kim and their daughter Mandy moved into the home, where the couple maintained an extravagant social life.

A darker side to Moon's behaviour, tentatively diagnosed as caused by a borderline personality disorder in Fletcher's biography, resulted in the eruption of physical violence towards his wife Kim. Although he never hit his later girlfriend Annette, he was verbally abusive toward her. Moon loved his daughter Mandy, but he had not been prepared to be a father, and this translated to an uneasy relationship with her as a very young girl, as he was not quite sure how to relate to her. When Kim at last left him, his jealousy towards his wife was powerful enough that Moon was even prepared to pay someone to break the fingers of Faces keyboardist Ian "Mac" McLagan who became Kim's boyfriend after the marital break-up. It was not until a month after Moon's death that the two married. Kim was married to McLagan until her death in a car accident in 2006.

Annette Walter-Lax described his Mr Hyde-like change into a growling, uncontrollable beast as something out of a horror movie. She begged Malibu neighbour Larry Hagman to check Moon into yet another clinic to dry out, (as he had tried more than once before) but when doctors recorded Moon's intake at breakfast (a full bottle of champagne along with Courvoisier along with amphetamines), they concluded there was no hope.^[31]

Alice Cooper remembers their drinking club, The Hollywood Vampires, commenting that Moon ("the Puck of Rock 'n' Roll") used to enter dressed up as the Pope, one of many costumes he wore to elicit humour from others.^[32] Joe Walsh recorded chats with Moon, finding it remarkable how witty and alert the inebriated drummer managed to stay, ad-libbing his way through surrealistic fantasy stories à la Peter Cook, which Cooper reaffirms, saying he was not even certain he ever knew the real Keith Moon, or if there was one.

Keith Moon showing off atop his drumkit Toronto, 21 October 1976

In the documentary Amazing Journey: The Story of The Who, Daltrey and Townshend state that Moon had a real talent for dressing up in a variety of various characters and embodying them; they recount how Moon often dreamed of getting out of music to be a Hollywood actor.^[8]

The Hollywood Vampires was also attended by the likes of John Lennon, Ringo Starr, Keith Richards and Ronnie Wood all of whom Moon maintained friendships with. Another of Keith's friends was Larry Smith, who was regularly seen partying with Moon.

In 1974, Moon struck up a friendship with actor Oliver Reed, while working on the movie version of Tommy.

Aside from his romantic relationships, although his behaviour was outrageous, it was in the humorous vein^[7] as his friend Vivian Stanshall, of the Bonzo Dog Band claimed. Moon produced Stanshall's version of Terry Stafford's Suspicion.

Moon owned a lilac-coloured Rolls-Royce, painted with house paint. On Top Gear,^[33] Daltrey commented that Moon liked to take upper-class icons and make them working class. The car is now owned by Middlebrook Garages (based in Nottinghamshire).

Car-pedestrian death[link]

On 4 January 1970, Moon was involved in a car-pedestrian death outside the Red Lion pub in Hatfield, Hertfordshire. Trying to escape hostile patrons from the pub who had begun to attack his Bentley, the drunk Moon attempted to take control of his car, which in the melee ran over and killed his friend, driver, and bodyguard, Neil Boland. Although the coroner said Boland's death was an accident and Moon was given an absolute discharge having been charged with driving offences, those close to him said Moon was haunted by the accident for the rest of his life. Boland's daughter spent a significant amount of time investigating and questioning each witness from the police blotter, and concluded that Moon was not the person behind the wheel of the car.^[34][35] However, Moon never recovered from feelings of guilt. According to Pamela Des Barres, a groupie with whom Moon had had a three-year relationship, Moon would have nightmares that would wake them both during the night. Immediately after waking, Moon would be convinced that he had no right to be alive.^[36]

Work outside The Who[link]

It was Moon who recommended the name "Led Zeppelin" to Jimmy Page who intended to name his new band 'Mad Dog'. According to Oxford lexicographer Susie Dent, Moon and Entwistle were speculating with Page about the possible formation of a supergroup when Moon remarked that a particular suggestion had gone down like a "lead zeppelin" (i.e. "lead balloon"). Page remembered the odd expression and later adopted it as the name for his newly forming band, however manager Peter Grant, while doodling with the name on a pad of paper, spelled "lead" as "led" because he thought otherwise it would be mispronounced (as /li:d/ -lead).^[37] Although Moon's work with The Who dominated his career, he participated in minor outside projects. In 1966, he did his first work with Yardbirds guitarist Jeff Beck, session man Nicky Hopkins, and future Led Zeppelin members Page and John Paul Jones to record an instrumental, "Beck's Bolero", released as a single-double later that year. He also played timpani on another track, "Ol' Man River" (credited on the back of the album as "You Know Who").

On 15 December 1969, Moon joined John Lennon's Plastic Ono Band for a live performance at the Lyceum Ballroom in London for a UNICEF charity concert. The supergroup also consisted of Eric Clapton, George Harrison, Nicky Hopkins, Yoko Ono, Billy Preston and Klaus Voormann. The band played Lennon's Cold Turkey and Ono's Don't Worry Kyoko. The performance was eventually released in 1972 as a companion disc to Lennon's and Ono's Some Time In New York City LP.

In 1973, Moon was featured in the film That'll Be the Day, playing J.D. Clover, the drummer in a fictional early-era rock-and-roll band called Stray Cats. He would reprise this role the following year in Michael Apted's sequel, Stardust.

In 1974 Track Records/MCA released a solo single: "Don't Worry, Baby" backed with "Teenage Idol", a reflection of his love of The Beach Boys.

On Valentine's Day 1974, Moon performed on drums with Jimmy Page, Ronnie Lane, Max Middleton and fellow drummer John Bonham on acoustic guitar for the gig premiering Roy Harper's album Valentine.

In 1974, he played drums on Harry Nilsson's album "Pussy Cats" produced by John Lennon.

In 1975, he released his only solo album, pop covers entitled Two Sides of the Moon. Although this featured Moon's singing, much drumming was left to other artists including Ringo Starr, session musicians Curly Smith and Jim Keltner and actor/musician Miguel Ferrer (Twin Peaks and Crossing Jordan). Moon played drums on only three tracks.

In late 1975, he played drums on the track "Bo Diddley Jam" on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album.

In 1971, he had a cameo role in Frank Zappa's film 200 Motels. He acted in drag as a nun fearful of death from overdosing on pills. In 1973 he appeared in That'll Be the Day, playing J.D. Clover, the drummer at a holiday camp during the early days of British rock 'n' roll. Moon reprised the role for the sequel Stardust in 1974. The film co-starred Moon's friend Ringo Starr of The Beatles. He appeared as "Uncle Ernie" in Ken Russell's 1975 film adaptation of Tommy.

In a bar about 1975, he asked Graham Chapman and Bernard McKenna to do a "treatment" for a "mad movie". They asked a thousand pounds, Moon pulled the cash from his pocket and gave it to them. This was the start of the project that would become the movie Yellowbeard. Moon wanted to play the lead but the movie took many years to develop, and by that time he was in physically poor shape, and unsuitable.^[38] He had also been invited by the Monty Python group to join them in Tunisia for their filming of Monty Python's Life of Brian, where he was to play some of the smaller roles. He died shortly before filming started.

In 1976, he covered the Beatles' "When I'm Sixty-Four" for the soundtrack of the documentary All This and World War II.

He joined Led Zeppelin on stage and drummed with John Bonham for encores in a show on 23 June 1977 at the L.A. Forum (recorded on Led Zeppelin bootlegs, For Badgeholders Only/Sgt. Page's Badgeholders Only Club).

He impersonated a camp fashion designer in Sextette (1978), starring Mae West.

Moon once owned a hotel, the Crown and Cushion in Chipping Norton where he held "lavish parties". A receptionist at the hotel told a guest Moon bought it from Petula Clark.

Death[link]

Moon's plaque at Golders Green Crematorium

Moon was Paul McCartney's guest at a film preview of The Buddy Holly Story on the evening of 6 September 1978. After dining with Paul and Linda McCartney at Peppermint Park in Covent Garden, Moon and his girlfriend, Annette Walter-Lax, returned to a flat on loan from Harry Nilsson, No.12 at 9 Curzon Place (now called Curzon Square), Shepherd Market, Mayfair in which Cass Elliot had died a little more than four years earlier.^[39][40] Moon watched a film, The Abominable Doctor Phibes and requested Annette cook him a breakfast of steak and eggs. When she objected, he replied "If you don't like it, you can just fuck off!" These turned out to be his last words.

Moon then took 32 tablets of clomethiazole (Heminevrin).^[7] The medication was a sedative he had been prescribed to alleviate his alcohol withdrawal symptoms as he tried to dry out on his own at home; he was desperate to get clean, but was terrified of another stay in the psychiatric hospital for in-patient detoxification. However, clomethiazole is specifically contraindicated for unsupervised home detox because of its addictiveness, tendency to rapidly induce drug tolerance and dangerously high risk of death when mixed with alcohol.^[41] The pills were also prescribed by a new doctor, Dr. Geoffrey Dymond, who was unaware of Moon's recklessly impulsive nature and long history of prescription sedative abuse. He had given Moon a full bottle of 100 pills, and instructed him to take one whenever he felt a craving for alcohol (but not more than 3 per day). The police determined there were 32 pills in his system, with the digestion of 6 being sufficient to cause his death, and the other 26 of which were still undissolved when he died.^[7]

Moon died shortly after the release of Who Are You. On the album cover, he is seated on a chair back-to-front to hide the weight gained over three years (as discussed in Tony Fletcher's book Dear Boy); the words "NOT TO BE TAKEN AWAY" appear on the back of the chair.

Keith Moon was cremated on 13 September 1978, at Golders Green Crematorium in London and his ashes scattered in its Gardens of Remembrance.

After death[link]

Keith Moon's blue plaque, at London's 90 Wardour Street, W1 Soho (Marquee Club).

• After his death, Moon was replaced by Small Faces/Faces drummer Kenney Jones as an official member of the band. Simon Phillips later toured with the band as an unofficial member. The Who also added keyboardist John "Rabbit" Bundrick to the live band. The Who's drum position is currently occupied by Zak Starkey, son of Ringo Starr. Starkey was taught drumming by Moon and referred to him as "Uncle Keith".
• Daltrey recorded a song, "Under a Raging Moon", as a tribute to Moon and the "Middle Bar" in the London Astoria was named after him.
• A biography was written about Moon by Tony Fletcher, entitled Dear Boy: The Life of Keith Moon in the United Kingdom. "Dear Boy" became a catchphrase of Moon's when he started affecting a pompous English accent around 1969, particularly when ordering drinks.^[7] The book was released in the U.S. under the title, "Moon (The Life and Death of a Rock Legend)".
• In early 2006, Moon's signature Pictures of Lily drum kit was reissued by Premier Percussion under the name Spirit of Lily.
• Moon's ex-wife, Kim, was married to Ian McLagan of the Faces in 1978, the year that Moon died. She was killed in a traffic accident near Austin, Texas on 2 August 2006.
• Daltrey is producing a biopic about Moon called See Me Feel Me: Keith Moon Naked for Your Pleasure, which will be released in 2012. Comedian Mike Myers will play the main role and may have to take drumming lessons to suit the character.^[42] However, according to Daltrey, this project may currently be stalled.^[43]
• The London 2012 summer olympic committee contacted The Who manager Bill Curbishley about Moon performing at the games, 34 years after his death. Curbishley told the Times, "I emailed back saying Keith now resides in Golders Green crematorium, having lived up to the Who's anthemic line 'I hope I die before I get old'...If they have a round table, some glasses and candles, we might contact him."^[44]

Legacy[link]

Keith Moon is often cited by critics as one of the greatest and most eccentric drummers in rock music. Holly George-Warren, editor and author of The Rock and Roll Hall of Fame: The First 25 Years, argues: "With the death of Keith Moon in 1978, rock arguably lost its single greatest drummer."^[45] According to Allmusic, "Moon, with his manic, lunatic side, and his life of excessive drinking, partying, and other indulgences, probably represented the youthful, zany side of rock & roll, as well as its self-destructive side, better than anyone else on the planet."^[46] In the words of Pete Townshend, "The production of our [The Who's] records has got nothing to do with sound. It's got to do with trying to keep Keith Moon on his fucking drum stool."^[47] Dave Marsh's The New Book of Rock Lists ranks Moon at No. 1 on its list of The 50 Greatest Rock 'n' Roll Drummers.^[48] Similarly, he was ranked at No. 2 on Rolling Stone's "The Best Drummers of All Time" readers poll in 2011.^[49]

Many notable rock drummers have been influenced by Keith Moon, including Dave Grohl, Neil Peart, Tommy Lee, Peter Criss, and Brad Wilk.^{[citation needed]}

Drum kits[link]

Premier's replica of the classic "Pictures of Lily" drumkit

The first kit Moon owned was a blue Premier kit bought on hire purchase (credit) and co-signed by his father, Alf. It was purchased at the suggestion of his friend and fellow drummer Gerry Evans. Throughout 1964 and 1965 he played typically four, then five-piece kits, but moved to a Premier double bass kit in June 1966. This new set widened his playing; he abandoned his hi-hat cymbals almost entirely and started basing his grooves on a double bass ostinato with eighth note flams, and a wall of white noise created by riding a crash or ride cymbal. On top of this he played fills and cymbal accents. This became his trademark.

Moon's Classic Red Sparkle Premier setup comprised two 14×22-inch bass drums, three 8×14 mounted toms, one 16×16 floor tom, a 5×14 Ludwig Supraphonic 400 snare and one extra floor tom of different sizes but mainly 16×18 or 16×16. Moon's classic cymbal setup consisted of two Paiste Giant Beat 18" crashes and one 20" ride. In 1973, Moon added a second row of tom-toms (first four, then six) and, in 1975, two more timbales. These huge kits became well known, notably the amber set in the films, Tommy and Stardust, and in footage shot by the BBC at Charlton in 1974. The 1975–1976 white kit with gold fittings, in which the gold was actually copper because of the weakness of gold, was given by Moon to a young Zak Starkey. His final kit, a dark metallic one, is seen in the footage from The Kids Are Alright at Shepperton in 1978.

Quotation[link]

NME – October 1971.^[50]

References[link]

Further reading[link]

• Moon: The Life and Death of a Rock Legend by Tony Fletcher
• Anyway Anyhow Anywhere (Revised Edition): The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Mathew Kent
• The Who: Maximum R&B by Richard Barnes and Pete Townshend, Plexus Publishing; 5th edition (27 September 2004)
• Before I Get Old: The Story of The Who by Dave Marsh, Plexus Publishing (16 September 2003)

External links[link]

• Further Information about Forthcoming Keith Moon Biopic

v t e The Who Roger Daltrey Pete Townshend John Entwistle Keith Moon Kenney Jones John "Rabbit" Bundrick Pino Palladino Doug Sandom Zak Starkey Simon Townshend Studio albums My Generation A Quick One The Who Sell Out Tommy Who's Next Quadrophenia The Who by Numbers Who Are You Face Dances It's Hard Endless Wire Extended plays Ready Steady Who Tommy Won't Get Fooled Again Wire & Glass Live albums Live at Leeds Who's Last Join Together Live at the Isle of Wight Festival 1970 BBC Sessions Blues to the Bush Live at the Royal Albert Hall Live from Toronto View from a Backstage Pass Greatest Hits Live Encore Series Encore Series 2002 Encore Series 2004 Encore Series 2006 Encore Series 2007 Compilations Magic Bus: The Who on Tour Direct Hits Meaty Beaty Big and Bouncy Odds & Sods The Story of The Who Phases Hooligans Who's Greatest Hits Rarities Volume I & Volume II The Singles The Who Collection Who's Missing Two's Missing Who's Better, Who's Best Thirty Years of Maximum R&B My Generation: The Very Best of The Who The Ultimate Collection Then and Now The 1st Singles Box Greatest Hits Soundtracks Tommy The Kids Are Alright Quadrophenia Amazing Journey: The Story of The Who Filmography Tommy The Kids Are Alright Quadrophenia Who's Better, Who's Best Thirty Years of Maximum R&B Live Live at the Isle of Wight Festival 1970 Classic Albums: The Who – Who's Next The Who & Special Guests: Live at the Royal Albert Hall The Who Special Edition EP Live in Boston Tommy and Quadrophenia Live The Vegas Job Amazing Journey: The Story of The Who The Who at Kilburn: 1977 Discographies The Who discography Roger Daltrey discography Pete Townshend discography John Entwistle discography Two Sides of the Moon Performances 1968 tour 1969 tour 1970 tour 1971 tour 1972 tour 1973 tour 1974 tour 1975 tour 1976 tour 1977-1978 performances 1979 tour 1979 concert disaster 1980 tour 1981 tour 1982 tour 1985 and 1988 reunions 1989 tour 1996–1997 tour 1999 performances 2000 tour 2001 The Concert for New York City appearance 2002 tour 2004 tour 2005 Live 8 appearance 2006–2007 tour 2008–2009 tour Related people Personnel Jon Astley Chris Charlesworth Bill Curbishley Bob Heil Glyn Johns Kit Lambert Peter Meaden Bob Pridden Chris Stamp Bill Szymczyk Shel Talmy Musicians Mitch Mitchell Dave Golding Julian Covey Chris Townson Scot Halpin Tim Gorman Steve "Boltz" Bolton Simon Phillips Jon Carin Damon Minchella Steve White Brian Kehew J.J. Blair Jon Button Related articles The Boy Who Heard Music Lifehouse The Who's Tommy Who's For Tennis? The Roots of Tommy The Who's Tommy Pinball Wizard A Tale of Two Springfields Musical equipment Personnel Track Records Double O Ramport Studios The Rolling Stones Rock and Roll Circus CSI franchise Las Vegas Miami New York No Plan B Kim McLagan The Wick Chapel House, Twickenham Ashdown House, Oxfordshire Tara, Chertsey Quarwood Holmshurst Manor Categories Albums Associated people Compilation albums EPs Live albums Members Songs Soundtracks Templates Category

Neil Peart
Peart performing a drum solo at the Xcel Energy Center on May 22, 2008.
Background information
Birth name	Neil Ellwood Peart
Born	(1952-09-12) September 12, 1952 (age 59) Hamilton, Ontario, Canada
Genres	Progressive rock, hard rock, heavy metal
Occupations	Musician, songwriter, producer, author
Instruments	Drums, percussion, tubular bells
Years active	1969–present
Labels	Mercury, Anthem, Atlantic
Associated acts	Rush, Buddy Rich Big Band
Website	neilpeart.net
Notable instruments
Sabian Paragon Signature cymbals, designed by Peart

Neil Ellwood Peart ( /ˈpɪərt/; born September 12, 1952), OC, is a Canadian musician and author. He is the drummer and lyricist for the rock band Rush. Peart has received numerous awards for his musical performances, and is known for his technical proficiency and stamina.^[1]

Peart grew up in Port Dalhousie, Ontario (now part of St. Catharines). During adolescence, he floated from regional band to regional band 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's 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.^[2] As time passed, however, 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.^[3] 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.

In addition to being a musician, Peart is also a prolific writer, having published several memoirs about his travels. Peart is also Rush's primary lyricist. In writing lyrics for Rush, Peart addresses 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 currently resides in Santa Monica, California, with his wife, photographer Carrie Nuttall, and daughter, Olivia Louise. He also has a home in the Laurentian Mountains of Quebec, Canada, and spends time in Toronto for recording purposes.

Life and career[link]

Early childhood[link]

Peart was born in a Hamilton hospital and lived his early years on his family's farm in Hagersville,^[1][4] on the outskirts of Hamilton. The first child of four,^[5] his brother Danny and sisters Judy and Nancy were born after the family moved to St. Catharines when Peart was two. 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 and Welland, Ontario and Buffalo, USA.^[4]

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 13th 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.^[4]

His parents bought him a drum kit for his 14th birthday and he began taking lessons from Don George at the Peninsula Conservatory of Music.^[4] His stage debut took place that year at the school's 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.^[4]

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.^[6] 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 Mumblin’ Sumpthin’, 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.^[4]

Career before joining Rush[link]

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.^[3] Despite playing in several bands and picking up occasional session work, he was forced to support himself by selling trinkets to tourists in a souvenir shop called The Great Frog on Carnaby Street.^[7][8]

While in London he came across the writings of novelist and objectivist Ayn Rand. Rand's writings became a significant philosophical influence on Peart, as he found many of her writings on individualism and Objectivism inspiring. References to Rand's philosophy can be found in his lyrics, most notably "Anthem" from 1975's Fly by Night and "2112" from 1976's 2112.^[9]

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.^[3] Upon returning to St. Catharines, he worked for his father selling tractor parts at Dalziel Equipment.

Joining Rush[link]

After returning to Canada, Peart was recruited to play drums for the St. Catharines band Hush, who played on the South Ontario bar circuit.^[3] 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 band mates 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.^[3] 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.^[3] After some discussion, Lee and Lifeson accepted Peart's maniacal British style of drumming, reminiscent of The Who's Keith Moon.

Peart officially joined the band on July 29, 1974, two weeks before the group's 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.^[10]

Early career with Rush[link]

Peart soon settled into his new position, also becoming the band's primary lyricist. Before joining Rush, he had written few songs, but, with the other members largely uninterested in writing lyrics, Peart's previously underutilized writing became as noticed as his musicianship.^[11] The band were working hard to establish themselves as a recording act, and Peart, along with the rest of the band, now had to learn to live from a suitcase.

His first recording with the band, 1975's Fly by Night, was fairly successful, winning the Juno Award for most promising new act,^[12] but the follow-up, Caress of Steel, for which the band had high hopes, was greeted with hostility by both fans and critics.^[13] 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.^[14] 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 now introduced as "The Professor on the drum kit" by Lee.^[15]

Peart returned to England for Rush's Northern European Tour and the band stayed in the United Kingdom to record the next album, 1977's 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."^[16]

Playing style reinvention[link]

In 1992, Peart was invited by Buddy Rich's daughter, Cathy Rich, to play at the Buddy Rich Memorial Scholarship Concert in New York City. Though initially intimidated by the request, Peart accepted the offer 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 learned.^[17] 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's playing, and asked him his "secret." Smith responded he had been studying with drum teacher Freddie Gruber. As a result, Peart would put Rush-related activities on hold while he regularly met with 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.^[17] On October 18, 2008, Peart once again performed at the Buddy Rich Memorial Concert at New York's Hammerstein Ballroom. The concert has since been released on DVD.

Family tragedy and recovery[link]

Soon after the conclusion of Rush's Test for Echo Tour on July 4, 1997, Peart's 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, on August 10, 1997. His common-law wife of 22 years, Jacqueline Taylor, succumbed to cancer only 10 months later on June 20, 1998. Peart, however, maintains that her death was the result of a "broken heart" and called it "a slow suicide by apathy. She just didn't care."^[18]

In his book Ghost Rider: Travels on the Healing Road, Peart writes that he told his bandmates at Selena's funeral, "consider me retired."^[18] 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 mi). After his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road 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's 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's daily schedule. While Peart has always shied away from these types of in-person encounters, it was decided that exposing him to an endless stream of questions about the tragic events of his life was not necessary.^[19][20][21]

Since the release of Vapor Trails and his reunion with fellow band mates, Peart has returned to work as a full-time musician. Rush released a cover EP, Feedback in June 2004 and their 18th studio album Snakes & Arrows in May 2007, supported by tours in 2004, 2007, and 2008.

In the June 2009 edition of Peart's website's News, Weather, and Sports, titled "Under the Marine Layer", he announced that he and Nuttall were expecting their first child.^[22] Peart and Nuttall's first child, Olivia Louise Peart, was born on August 12, 2009.

Peart and the rest of the band toured North America, South America and Europe on the Time Machine Tour, which concluded on July 2, 2011, at The Gorge Amphitheatre in George, Washington.

Musicianship[link]

Style and influences[link]

Peart (right, behind Alex Lifeson & Geddy Lee) performing with Rush.

Peart's drumming skill and technique is well-regarded by fans, fellow musicians, and magazines.^[1][23] His influences are eclectic, ranging from Jon Thomas, John Bonham, Michael Giles, Ginger Baker, Phil Collins, Steve Gadd, and Keith Moon, to fusion and jazz drummers Billy Cobham, Buddy Rich, Bill Bruford and Gene Krupa.^[24][25] The Who was the first group that inspired him to write songs and play the drums.^[26] 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 couldn't 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."^[27]

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.^[3] Shortly after the filming of his first instructional DVD A Work in Progress, Peart went back to using primarily matched, though he does switch to traditional when playing songs from Test for Echo and during moments when he feels traditional grip is more appropriate, such as the rudimentary snare drum section of his drum solo. He discusses the details of these switches in the DVD Anatomy of a Drum Solo.

Equipment[link]

Neil Peart and his 360 degree drumkit

With Rush, Peart has played Slingerland, Tama, Ludwig, and Drum Workshop drums, in that order.^[28]

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.^[28][29] In concert, Peart uses an elaborate 360-degree drum kit, with a large acoustic set in front and electronic drums to the rear.

Neil Peart began incorporating electronic drums beginning with 1984's Grace Under Pressure

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.^[28] 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's Grace Under Pressure, he used Simmons electronic drums in conjunction with Akai digital samplers.^[28] 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 (video) and "Mystic Rhythms" on R30.) Peart's 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.^[28] 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's 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, Neil 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's latest studio 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 Neil to play on the Snakes & Arrows Tour.^[30]

Peart has also designed his own signature series drumstick with Pro-Mark.^[31] 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's "Steam Punk" tour kit printed with Copper ink. Some other artists who use the Neil Peart Signature series include Ben Johnston (Scottish musician) of Biffy Clyro, Richie Hayward of Little Feat and Paul Garred of The Kooks.

During the 2010 Time Machine Tour Peart used a new DW kit which was outfitted with brass hardware and time machine designs to match the tour's Steampunk theming. Matching Paragon cymbals with clock imagery were also used.

Solos[link]

Peart is noted for his distinctive in-concert drum solos,^[32] characterized by exotic percussion instruments^[33] and long, intricate passages in odd time signatures.^[23][34][35] His complex arrangements sometimes result in complete separation of upper- and lower-limb patterns; an ostinato dubbed "The Waltz" is a typical example.^[36] His solos have been featured on every live album released by the band. On the early live albums (All the World's a Stage & Exit...Stage Left), the drum solo was included as part of a song. On all subsequent live albums, the drum solo has been included as a separate track. His 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[link]

Peart is also the main lyricist for Rush. Literature has always heavily influenced his writings^[37] 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.^[38] 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's 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".^[39]

Weary of ideological fealty to Rand's philosophy of Objectivism, Peart has sought to remind listeners of his eclecticism and independence in interviews. He did not, however, try to argue in defence of Rand's views: "For a start, the extent of my influence by the writings of Ayn Rand should not be overstated. I am no one's disciple."^[40]

The 1980 album Permanent Waves saw Peart cease to use fantasy literature or ancient mythology in his writing. 1981's Moving Pictures showed that Peart was still interested in heroic, mythological figures, but would now place them firmly in a modern and reality-based context. The song "Limelight" from the same album is an autobiographical account of Peart's reservations regarding his own popularity and the pressures with fame. From Permanent Waves onward, most of Peart's lyrics began to revolve around social, emotional, and humanitarian issues, usually from an objective standpoint and employing the use of metaphors and symbolic representation.^[38]

1984's Grace Under Pressure strings together such despondent topics as the Holocaust ("Red Sector A") and the death of close friends ("Afterimage").^[41] Starting with 1987's Hold Your Fire and including 1989's Presto, 1991's Roll the Bones, and 1993's Counterparts, Peart would continue to explore diverse lyrical motifs, even addressing the topic of love and relationships^[42] ("Open Secrets", "Ghost of a Chance", "Speed of Love", "Cold Fire", "Alien Shore") a subject which he purposefully eschewed in the past out of fear that he wouldn't be able to write about it without using clichés.^[43] However, 2002's Vapor Trails was heavily devoted to speaking about Peart's personal issues, combined with other humanitarian topics such as the 9/11 terrorist attacks ("Peaceable Kingdom"). The band's most recent album Snakes & Arrows deals primarily and vociferously with Peart's opinions regarding faith and religion.^[44] The lyrics of one of the songs on that album, "Faithless", exhibit Peart's life stance, which is most closely identified with secular humanism.

Opinions of Peart's 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 voted No. 2 on Blender magazine's list of "worst lyricists in rock".^[45] However, Allmusic has called Peart "one of rock's most accomplished lyricists." ^[46]

Political views[link]

Peart has 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's 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.^[47]

Peart is often 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 to "the genius of Ayn Rand."^[48] 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.^[49]

Although Peart is sometimes regarded as a "conservative" and "Republican" rock star,^[50] he, in 2005, described himself as a "left-leaning libertarian",^[51] and is often cited as a libertarian celebrity.^{[52] [53]} In July 2011 Peart reiterated those views, calling himself a "bleeding-heart libertarian."^[54]

Books[link]

Peart is the author of five non-fiction books, the latest released in May 2011. His growth as an author predates the published work by several years (not including his work as Rush's primary lyricist), through private letters and short travelogues sent out to a small circle of friends and family.

Peart's first book, titled The Masked Rider: Cycling in West Africa,^[55] was written in 1996 about a month-long bicycling tour through Cameroon in November 1988. The book details Peart's 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's second book, Masked Rider was re-issued and remains in print as of 2006.

After losing his wife and only (at the time) daughter, Peart embarked on a lengthy motorcycle road trip spanning North America. His experiences were penned in Ghost Rider: Travels on the Healing Road.^[18] 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: The Soundtrack of my Life and Times,^[56] 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's drumkit and on his BMW R1150GS and R1200GS motorcycles.

Peart's most recent book, Far and Away: A Prize Every Time, was published by ECW Press in May 2011.^[57] 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.^[58]

Non-Rush music projects[link]

• 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's 2009 album "Burning the Days" - "Even Now" - co-written by Matt Scannell and Neil Peart.
• Burning for Buddy: A Tribute to the Music of Buddy Rich ASIN: B001208NUQ
• Burning for Buddy: A Tribute to the Music of Buddy Rich, Vol. 2 ASIN: B000002JD4

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. ^[59]

DVDs[link]

Apart from Rush's video releases as a band, Peart has released the DVDs:

• A Work in Progress. Miami, Florida: Warner Bros. Publications. 2002. ISBN 0-7579-9029-0 Originally released on VHS in 1996 and re-released on DVD in 2002.
• Anatomy of A Drum Solo S.l.: Hudson Music: Distributed by Hal Leonard. 2005. ISBN 1-4234-0700-8
• The Making Of Burning For Buddy (A Tribute To The Music Of Buddy Rich) ASIN: 0739045059
• Taking Center Stage: A Lifetime of Live Performance Distributed by Hudson Music. 2011. ISBN 978-1-4584-1174-7
• Fire on Ice: The Making of the Hockey Theme Distributed by Drum Channel. 2011. ASIN: B00481YQPW

Awards and honours[link]

Peart has received the following awards in the Modern Drummer magazine reader's poll:^[12][60]

• 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

(* – As a member of the Honor Roll in these categories, he is no longer eligible for votes in the above categories.)

• 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

Peart has received the following awards from DRUM! magazine for 2007:^[61]

• 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:^[62]

• 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:^[63]

• Drummer Of The Year
• Best Progressive Rock Drummer

Peart received the following awards from DRUM! magazine for 2010:^[64]

• 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.^[65] Peart was inducted into the Canadian Songwriter Hall of Fame along with bandmates Lifeson and Lee.^[66]

See also[link]

Rush portal

• List of notable drummers
• 21st-century travel literature

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Neil Peart

• Official website
• Neil Peart in ATHFCMFT
• Official Rush Web site
• Power Windows tour drumkit assembly
• Order of Canada citation

Nicko McBrain
Nicko McBrain in Costa Rica during the Somewhere Back in Time World Tour
Background information
Birth name	Michael Henry McBrain
Born	(1952-06-05) 5 June 1952 (age 60) Hackney, London, England
Genres	Heavy metal, blues rock, hard rock
Occupations	Musician
Instruments	Drums, percussion
Years active	1975–present
Associated acts	Iron Maiden, Pat Travers, Streetwalkers, Trust, The Entire Population of Hackney

Michael Henry "Nicko" McBrain (born 5 June 1952) is an English musician, best known as the drummer of the British heavy metal band Iron Maiden, which he joined in 1982.

Having played in small pub bands from the age of 14, upon leaving school McBrain paid his bills with session work before he joined a variety of artists, such as Streetwalkers, Pat Travers, and the French political band, Trust. He joined Iron Maiden in time to debut on their fourth album, Piece of Mind (1983), and has remained with them ever since, contributing to a total of twelve studio releases.

Biography[link]

McBrain first wanted to learn the drums at a young age after watching Joe Morello performing with The Dave Brubeck Quartet on television.^[1] At the age of ten, he started to play drums with pots, pans and other kitchen utensils, before, to his parents' dismay, he began drumming on the gas cooker with a pair of knives and chipped off the paintwork.^[1] McBrain recalls that he was eleven or twelve before his father bought him his first drum kit, "which was basically one snare, one tom-tom, one cymbal, two drumsticks and a pair of brushes."^[2] He soon started playing The Rolling Stones and The Beatles covers with school bands, before he began regularly playing "pubs and weddings" by the age of 14.^[2]

Upon leaving school, McBrain paid his rent by undertaking session work, before deciding to join his first "proper" band, "The 18th Fairfield Walk", later known as "Peyton Bond".^[3] A small pub band, which he decided was "never gonna go anywhere" as they only performed Otis Redding, The Beatles and The Who covers, McBrain soon left to join "The Wells Street Blues Band", which renamed themselves "The Axe" in 1969.^[3] Although this group would play their own material, the band split up after an argument between the singer and the guitarist, and McBrain began playing with Billy Day, a singer and keyboardist, and Michael "Mickey" Lesley, a guitarist, in 1971.^[4] At that point, he was known as "Nicky", a nickname given to him by his parents after his teddy bear, Nicholas,^[1] until an intoxicated Billy Day introduced him to Dick Asher, head of CBS Records, as "Neeko", while they were recording at CBS Studios, Whitfield Street.^[4] McBrain liked the name, changing it to Nicko "so that it sounded more English," and decided to keep it even after leaving the group.^[5]

In 1975, he began playing with Streetwalkers,^[5] before joining Pat Travers and then the French band, Trust,^[6] with whom he met Iron Maiden for the first time, while touring together in 1981.^[7] In 1982, the band asked McBrain to replace their previous drummer, Clive Burr,^[6] and, as news of Burr's departure had not yet been announced, made his first appearance with Iron Maiden on German TV disguised as Eddie.^[8] He formed a close partnership with bassist, Steve Harris,^[8] and completed what many critics consider the band's "definitive" lineup,^[9] releasing a series of gold and platinum selling albums throughout the 1980s.^[10] Although the band's lineup altered drastically in the 1990s, McBrain remained in Iron Maiden and, since the return of Adrian Smith and Bruce Dickinson in 1999, the group has undergone a resurgence in popularity,^[11] and are now considered by some as "bigger than ever".^[12] Although he writes the drum parts for all the band's songs, McBrain registered his first and only songwriting credit for "New Frontier," from 2003's Dance of Death,^[13] which expresses his opposition to human cloning, arising from his religious beliefs.^[14]

Drumming style[link]

McBrain's drumming has been an important element of Iron Maiden's sound from 1983's Piece of Mind onwards, with guitarist Adrian Smith remarking that, "he always had the chops and the technique, but in Maiden he really exploded, to the point where a lot of stuff we did after he joined was then founded on his playing, all those busy patterns he does, displaying tremendous technique."^[8] As described in detail on the band's 2004 The Early Days documentary, the opening track of "Where Eagles Dare" famously displays McBrain's ability to use the single drum pedal very quickly, plus his rapid tom fills.^[15]

He is often considered among the best and most influential heavy metal drummers.^[16][17][18] In the 2008 Live After Death DVD, Steve Gadd, McBrain's then drum technician, comments that, on the World Slavery Tour, drummers such as Tommy Lee would refer to McBrain as an 'octopus' after witnessing the way in which his stamina gives him the ability to use all of his large signature drum kit in concert.^[19]

McBrain often employs the back end of his left hand drum stick to allow for more powerful "snare hits".^[20] He is known for not using a double bass pedal, with Bruce Dickinson commenting that he refused to use one on "Where Eagles Dare", considering them 'undrummerish'.^[15] He claims to have only ever used a double pedal once on "Face in the Sand", from Dance of Death, preferring to use a DW 5000 Accelerator single pedal.^[21] Since switching to the DW pedal in 2000, McBrain plays barefoot, stating that it gives him "more freedom."^[22]

Steve Harris remarks that "...he can play all kinds of music. Drummers from other bands sit round the back of him to see what he’s doing, but he’s got his kit set so he doesn't even look at what he's hitting half the time"^[23] After McBrain joined the band in 1982, Harris also noted how much easier playing with McBrain was for a songwriter,^[24] with Adrian Smith claiming that, "Steve loves playing with him. [They] used to work for hours going over these bass and drum patterns."^[8]

Equipment[link]

McBrain currently uses Premier drums and Paiste cymbals.^[25][26] For A Matter of Life and Death he used his Ludwig metal shell LM 402 snare drum which was purchased in 1975, making it the oldest drum in his kit.^[27] He endorses Vic Firth signature drum sticks, also using them for his own drumming.^[28]

Tour Kit[link]