The drum is a member of the percussion group of musical instruments, which is technically classified as the membranophones.^[1] Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player's hands, or with a drum stick, to produce sound. There is usually a "resonance head" on the underside of the drum, these are usually tuned to a slightly lower pitch than the top drumhead. Other techniques have been used to cause drums to make sound, such as the thumb roll. Drums are the world's oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years.^[1]

All types of drums such as timpani for example are always tuned to a certain pitch. Often, several drums, other than timpani drums, can be arranged together to create a drum kit.^[2]

Uses[link]

Drums are usually played by the hand, or by one or two sticks. In many traditional cultures drums have a symbolic function and are often used in religious ceremonies. Drums are often used in music therapy, especially hand drums, because of their tactile nature and easy use by a wide variety of people.^[3]

Within the realm of popular music and jazz, "drums" usually refers to a drum kit or a set of drums (with some cymbals) and "drummer" to the actual band member or person who plays them.

Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king.

Construction[link]

Drum carried by John Unger, Company B, 40th Regiment New York Veteran Volunteer Infantry Mozart Regiment, December 20, 1863

The shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western musical tradition, the most usual shape is a cylinder, although timpani, for example, use bowl-shaped shells.^[1] Other shapes include a frame design (tar, Bodhrán), truncated cones (bongo drums, Ashiko), goblet shaped (djembe), and joined truncated cones (talking drum).

Drums with cylindrical shells can be open at one end (as is the case with timbales), or can have two drum heads. Single-headed drums typically consist of a skin which is stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a cylindrical shell often have a small hole somewhat halfway between the two heads; the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a hollowed-out tree trunk, and the Caribbean steel drum, made from a metal barrel. Drums with two heads can also have a set of wires, called snares, held across the bottom head, top head, or both heads, hence the name snare drum.^[1]

On modern band and orchestral drums, the drumhead is placed over the opening of the drum, which in turn is held onto the shell by a "counterhoop" (or "rim"), which is then held by means of a number of tuning screws called "tension rods" which screw into lugs placed evenly around the circumference. The head's tension can be adjusted by loosening or tightening the rods. Many such drums have six to ten tension rods. The sound of a drum depends on several variables, including shape, size and thickness of its shell, materials from which the shell was made, counterhoop material, type of drumhead used and tension applied to it, position of the drum, location, and the velocity and angle in which it is struck.^[1]

Prior to the invention of tension rods drum skins were attached and tuned by rope systems such as that used on the Djembe or pegs and ropes such as that used on Ewe Drums, a system rarely used today, although sometimes seen on regimental marching band snare drums.^[1]

Sound of a drum[link]

Several American Indian-style drums for sale at the National Museum of the American Indian.

Several factors determine the sound a drum produces, including the type, shape and construction of the drum shell, the type of drum heads it has, and the tension of these drumheads. Different drum sounds have different uses in music. Take, for example, the modern Tom-tom drum. A jazz drummer may want drums that are high pitched, resonant and quiet whereas a rock drummer may prefer drums that are loud, dry and low-pitched. Since these drummers want different sounds, their drums will be constructed a little differently.

The drum head has the most effect on how a drum sounds. Each type of drum head serves its own musical purpose and has its own unique sound. Double-ply drumheads dampen high frequency harmonics because they are heavier and they are suited to heavy playing.^[4] Drum heads with a white, textured coating on them muffle the overtones of the drum head slightly, producing a less diverse pitch. Drum heads with central silver or black dots tend to muffle the overtones even more. And drum heads with perimeter sound rings mostly eliminate overtones (Howie 2005). Some jazz drummers avoid using thick drum heads, preferring single ply drum heads or drum heads with no muffling. Rock drummers often prefer the thicker or coated drum heads.

The second biggest factor affecting the sound produced by a drum is the tension at which the drum head is held against the shell of the drum. When the hoop is placed around the drum head and shell and tightened down with tension rods, the tension of the head can be adjusted. When the tension is increased, the amplitude of the sound is reduced and the frequency is increased, making the pitch higher and the volume lower.

The type of shell also affects the sound of a drum. Because the vibrations resonate in the shell of the drum, the shell can be used to increase the volume and to manipulate the type of sound produced. The larger the diameter of the shell, the lower the pitch. The larger the depth of the drum, the louder the volume. Shell thickness also determines the volume of drums. Thicker shells produce louder drums. Mahogany raises the frequency of low pitches and keeps higher frequencies at about the same speed. When choosing a set of shells, a jazz drummer may want smaller maple shells, while a rock drummer may want larger birch shells. For more information about tuning drums or the physics of a drum, visit the external links listed below.

History[link]

Moche ceramic vessel depicting a drummer. Larco Museum Collection. Lima-Peru

Animal drumming[link]

Macaque monkeys drum objects in a rhythmic way to show social dominance and this has been shown to be processed in a similar way in their brains to vocalizations suggesting an evolutionary origin to drumming as part of social communication.^[5] Other primates make drumming sounds by chest beating or hand clapping,^[6][7] and rodents such as kangaroo rats also make similar sounds using their paws on the ground.^[8]

Talking drums[link]

In the past drums have been used not only for their musical qualities, but also as a means of communication, especially through signals. The talking drums of Africa can imitate the inflections and pitch variations of a spoken language and are used for communicating over great distances. Throughout Sri Lankan history drums have been used for communication between the state and the community, and Sri Lankan drums have a history stretching back over 2500 years.

Military uses[link]

Chinese troops used tàigǔ drums to motivate troops, to help set a marching pace, and to call out orders or announcements. For example, during a war between Qi and Lu in 684 BC, the effect of drum on soldier's morale is employed to change the result of a major battle. Fife-and-drum corps of Swiss mercenary foot soldiers also used drums. They used an early version of the snare drum carried over the player's right shoulder, suspended by a strap (typically played with one hand using traditional grip). It is to this instrument that the English word "drum" was first used. Similarly, during the English Civil War rope-tension drums would be carried by junior officers as a means to relay commands from senior officers over the noise of battle. These were also hung over the shoulder of the drummer and typically played with two drum sticks. Different regiments and companies would have distinctive and unique drum beats which only they would recognize. In the mid-19th century, the Scottish military started incorporating pipe bands into their Highland Regiments.^[9] During pre-Columbian warfare, Aztec nations were known to have used drums to send signals to the battling warriors. The Nahuatl word for drum is roughly translated as huehuetl.^[10]

The Rig Veda, one of the oldest religious scriptures in the world, contain several references to the use of Dundhubi (war drum). Arya tribes charged into battle to the beating of the war drum and chanting of a hymn that appears in Book VI of the Rig Veda and also the Atharva Veda where it is referred to as the "Hymn to the battle drum". Given the age of the Rig Veda being atleast 1500 BC or before, this must rank as the earliest practice of beating of the war drum in the history of mankind.^[11]

	Drum - Cadence A Drum - Cadence B Drum - Four Flams Snare drum cadences performed by the United States Navy Band
Problems listening to these files? See media help.

The concepts of drums are as old as mankind. A drum is called a membranophone, or an instrument that creates sound by striking a stretched membrane with some type of object, usually a rounded stick. Drums consist of a hollowed-out piece (called the body), a membrane stretched over the end of the drum, and tuning keys or pegs which tighten or loosen the membrane to achieve different tones. While most may think that the body of the drum produces the sound, it is in fact actually the membrane and its vibration that creates the sound when struck. Drums first appeared as far back as 6000 BC.^{[citation needed]} Mesopotamian excavations unearthed small cylindrical drums dated 3000 BC.^{[citation needed]} Several wall markings found in caves in Peru show drums used in various aspects of societal life. The American Indians used gourd and wooden constructed drums for their rituals and ceremonies. Drums have always been used for more than merely creating music. Civil uses, messaging, and religious uses are but a few.

Types of drum[link]

Aburukuwa Ashiko Bass drum Batá Bedug Bodhrán Bongo drums Bougarabou Cajón Candombe drums Cocktail drum Chalice drum Chenda Conga Darbuka Chenda Dayereh Davul Damphu

Dhak Dhimay Dhol Dholak Djembe Dong Son drum Doumbek Frame drum Ewe Drums Goblet drum Hand drum Ilimba drum Karyenda Kpanlogo Log drum Madal

Mridangam Side drum (Marching snare drum) Slit drum Snare drum Steelpan (Steel drum) Tabor Tamborim Tambourine Taiko Tabla Talking drum Tapan Tar Tavil

Tenor drum Timbales Timpani Tombak Tom-tom drum Tongue drum Repinique Surdo

Handscroll detail of a Chinese percussionist playing a drum for a dancing woman, from a 12th century remake of Gu Hongzhong's 10th century originals, Song Dynasty.

See also[link]

Blast beat Double drumming Drum beat Drum circle Drum kit Drumline Drum machine Drummer Drum replacement Drumsticks

Electronic drum Gallop Hang (musical instrument) Hearing the shape of a drum List of drummers Musical instrument Percussive Arts Society Practice pad Vibrations of a circular drum

Wikimedia Commons has media related to: Drums Wikisource has the text of the 1911 Encyclopædia Britannica article Drum. Music portal

References[link]

External links[link]

Listen to this article (info/dl)

This audio file was created from a revision of the "Drum" article dated 2005-04-13, and does not reflect subsequent edits to the article. (Audio help)

More spoken articles

• Drum resources at the Open Directory Project

lez:Далдам

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

Carlos Ramón Mendoza (born November 4, 1974) is a former professional baseball player. He played parts of two seasons in Major League Baseball for the New York Mets (1997) and Colorado Rockies (2000), primarily as an outfielder. He batted and threw left-handed.

In a two-season career, Mendoza hit .182 with one RBI and no home runs in 28 games.

Mendoza currently serves as a coach for the Class-A Charleston RiverDogs in the South Atlantic League.^{[1][not in citation given]}

References[link]