Rock and roll has long been synonymous with excess, where one band’s claims of grandeur are often eclipsed by another’s attempts to outdo them in intensity and extravagance. While Rush may not have been known as the wildest party band, Neil Peart certainly didn’t shy away from excess when it came to his drum kit.
Peart’s journey with Rush began modestly, yet he could make the most of even the smallest kits. During his audition, he impressed Geddy Lee with intricate triplets on his bass drums, despite arriving with a set that Lee described as tiny.
As Peart’s career progressed, he invested significantly in his kit, which often resembled a small drum village when he performed with Rush. By the time of their fortieth-anniversary tour, his drum setup featured an impressive eleven cymbal heads, including four crash cymbals, a ride, two splash cymbals, and two China cymbals. And that was just the beginning—his kit also included a gong drum, three rack toms, and two brass tambourines for melodic embellishments.
Being in a trio presents its own challenges. Each member must contribute equally to maintain balance, especially with Peart’s demanding role behind the kit. Each Rush album saw Peart add new elements to his setup, reflecting his evolving style.
Influenced by drumming legends like Buddy Rich and Keith Moon, Peart often used large drum heads to achieve his signature sound. For instance, during performances of “Closer to the Heart,” he would incorporate tambourines for added texture. Even as the band embraced digital sounds in the 1980s, Peart showcased his creativity by tapping out intricate patterns on an electronic drum kit during the “Grace Under Pressure” era.
Peart’s approach to drumming transcended traditional expectations. While many drummers focus solely on maintaining a steady groove, Peart’s Renaissance spirit allowed him to experiment and innovate. Every time he took his place behind the kit, Rush’s groove evolved and adapted.
The band’s music spanned epic compositions like those found on “Hemispheres,” yet Peart’s meticulous attention to detail also led to stylistic explorations, such as integrating reggae grooves influenced by Stewart Copeland during “Moving Pictures.” Even after a period of relative quiet, Peart returned to form on “Vapor Trails.” While drummers are often the punchlines in band jokes, Peart’s influence on Rush was unmistakable, demonstrating that the rest of the band looked to him for inspiration during their performances.
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