Speaker 1: Hi, This is Bobby Brown and welcome to another fucking podcast.
Speaker 2: Troy a sight, don't be a a oh man bab
not once great champ now sunny and mopishness no longer
the factory hungry still wait right? So many times people
by a pathetic wash up age ax champion.
Speaker 3: All right, let's go.
Speaker 4: I think you know the guy, and I.
Speaker 3: Think you know what, pretty dear? WHOA? His name is he?
Speaker 5: Presley?
Speaker 3: Press Presley? What's my name?
Speaker 5: Say my name?
Speaker 3: Bitch? My good friend? Is he Presley? Is he Presley?
Speaker 5: Is Presley Couch?
Speaker 6: Is he Presley?
Speaker 2: WHOA?
Speaker 4: That sounds a little weird?
Speaker 3: Is he President?
Speaker 2: Is he Presley?
Speaker 4: Is he Presley?
Speaker 6: The heaviest, gurthiest rocky j around. Hey, this is Jeffer.
Speaker 4: You listen to Izzy Presley.
Speaker 6: Those aren't pillows?
Speaker 3: Hello, Las Vegas, Hello world, Hello, my loy minions.
Speaker 6: Is good to see what it's always good to be seeing.
I'm Mizzy Presley. I'm the host of the program, well
one of the hosts. Uh Dawson will be joining us
for the interview and Dawson's triumphant return. He is the
co host of the program. Mike Dawson from the Adam
Corolla Show, The Water Cooler and great stand up and
of course the band that I'm lucky enough to be in,
Mike Dawson and the Smoking Kills. We had a great
time on Cruise of the Edge. I hope you guys
enjoyed the interviews I put out Before that, we had Minnesota,
Pete Campbell from Pentagram, and that new project called Ax Dragger.
I always want to say grinder, ax grinder, but it's dragger.
It's Ax Dragger. And then we had one before that
as well, so I should probably know what that is.
Do do do Do Do do do? Oh yeah, I
can just fucking do that, all right. Oh ah oh
Del James, Hello, Las Vegas, Hello world, hell my, hello
Las Vegas, Hello world, Hello my loyal minions. It is
good to see you. It's always good to be seen.
I'm Issy Presley. I'm the host of the program currently
right now alone, but that will change in just a
little bit because Dawson's triumphant return, Ladies and gentlemen. That's right,
Mike Dawson is back. He had family stuff he was
dealing with, and he's back, and we are going to
interview Daniel Buckspan. He's an author and he's put out
a lot of great books. The current book is this
Rush and twenty one to twelve fifty years. It is very, very,
very well done. We're gonna get dived deep into that,
and it's it's gonna be a Dawson fest because Dawson
loves Rush. I am not a Rush guy, but you
all know that, and that's okay. I appreciate good art,
and this book is a piece of good art, and
Dawson's gonna geek out on Rush. I'm gonna sit back
and you know, just jump in when I have to
jump in. I hope you guys enjoyed the shows that
we had up. The Dell James Show was great, had
the return of the Mighty Hall of Famer Paul Gargano,
and last week with Minnesota Pete Campbell from AX Dragger,
I always want to say grinder for some reason, Ax Grinder,
but that sounds a little fruity, not though there's anything
wrong with that. We will have this month's edition of
Dating Tips from Porn Stars, and this month we are
featuring the icon. I'm assuming she's in the Hall of
Fame if there is a Hall of Fame, and I'm
assuming a lot of you have painted your walls while
enjoying her work. Ladies and gentlemen. Dudes, I mean we
are going to be talking about rush, so it's mostly dudes.
Speaker 3: The icon.
Speaker 6: Christy Canyon. She will be doing dating tips from porn stars.
Of course, those all recorded at the av Ens in
January here in fabulous Las Vegas, Nevada. If you are
hearing this or watching this Friday or Saturday, well kids,
he could be listening to this ad free. He could
have heard it on Monday night. That's right. If you
had joined the Patreon Patreon dot com slash Realizzie Presley,
it's only five dollars a month.
Speaker 2: You get.
Speaker 6: Four or so shows a week that are just for
the Patreon, plus this show as well. But you get
this before it comes out. You get an ad free.
Why would you want to sit and listen to ads?
I mean, you get all of this great content for
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Be a loyal Minion. Ladies and gentlemen, Patreon dot com
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Come and join the fun. Find me on all the socials.
Real Izzy Presley, Twitter, Instagram, at Facebook show page is
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You're gonna get married. I can do that. I am
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me up. Is he Presley dot com. Everything can be
found at Izzypresley dot com, even the cameo. You can
get me on cameo if you want. So there's that,
ladies and gentlemen. Without further do. We are going to
go do dating tips from porn stars with the icon
Christy Kanyon and right after that Daniel Bucksman talking about
this great book Rush in twenty one to twelve fifty years.
It is another fucking podcast.
Speaker 3: And now it's time for dating tips from porn stars.
Speaker 6: So I am with Kon and fellow shouted out Loudcaster
Hall of Famer Christie Kanyon, and we are going to
do dating tips.
Speaker 5: From porn star from or for wo or from.
Speaker 6: From So this is for losers like me.
Speaker 1: You can't get dates, so you're connecting me to give
you advice, Yes, funding anything to literally, it's all fun.
Speaker 6: It's all fun. Question Number one. Do you prefer a
cheesy pickup line, a subtle joke, or a random.
Speaker 1: High subtle joke mixed with a random high no cheesy lines.
Speaker 6: What's the best cheesy line you've ever heard?
Speaker 5: Heaven must have lost an angel or something like that?
Speaker 6: All right? So do you prefer the flirty long game
or just a guy that's straight out blunt?
Speaker 5: The flirting long game or what?
Speaker 6: Or just a guy that's straight out blunt?
Speaker 1: I'm straight out blunt, Like I'm seeing someone.
Speaker 5: I'm like, oh, did I mention that you're my boyfriend?
Speaker 2: Now?
Speaker 5: I don't mess around.
Speaker 4: I love it.
Speaker 6: I love it. So first date? Would you prefer a
low key dive bar, a high class dinner, or an activity?
Speaker 5: Not an activity? Although I do go bowling. I like
them all. I don't really care.
Speaker 1: Actually I'll do first date, not in activity. I'm thinking
a nice restaurant the first date, but I am down
in dirty and I will go to the bar.
Speaker 6: I love it.
Speaker 5: Let's go eat and then go.
Speaker 3: To a bar. All right.
Speaker 6: So here's one for a lot of us in this
day and age. What's the best way to break the
ice online?
Speaker 1: I'm gonna tell you something I have never dated online.
I've never done a dating app. I don't personally because
I'll see somebody at the market and I'm like, you're hot,
let me go out, Like I'm very aggressive, So I'm
not the right one to ask for that because I
have never done online dating.
Speaker 6: I'm glad it's there right right.
Speaker 5: Great story is not so great, you know, but it's
just he hasn't been in my bag yet.
Speaker 6: And lastly, yes, does size matter?
Speaker 1: Yes, I prefer five to seven inches porn. You know
what is great for a scene for an hour. There
was a weekend.
Speaker 5: I bucked Sean Michaels all weekend in the nineties.
Speaker 3: I couldn't walk.
Speaker 5: And I think I had a boyfriend, and I'm like,
I think I've been Houston, like I didn't. But I
was like, I can't. I can't buff right now.
Speaker 1: Like that's the thing, Like I don't mind big dick,
but I prefer a solid average dick.
Speaker 6: Side God bless.
Speaker 5: You, and let me tell you I was on Serious
XM for eighteen years.
Speaker 1: Ninety percent of the girls who were asked that question,
they're like, I don't want that big puffing ten inches
every night. One or two of you're like, yeah, you
get the better, and I'm like, I don't you know,
I like a good, solid one because I could do
you all night long.
Speaker 2: I love it.
Speaker 3: That was Dating Tips from Porn Stars. Now back to
another podcast with Izzie Presley.
Speaker 6: All right, ladies and gentlemen, we are back. That was
Dating Tips from Porn Stars with the icon Christy Canyon.
That's right recorded at the av Ends. And before we
get into this, it is three sixteen and I did
not do this. At the top of the show, Ladies
and gentlemen, in the words of my close personal friends,
don't col Steve Austin crack one for the working man. Ah,
cheers boys. Wow.
Speaker 3: By the way, it's ten thirty in the morning on Monday.
Speaker 6: Well, I'm only having one. Ladies and gentlemen, welcome back
to the show the co host and the Hall of
Famer Mike Dawson from The Iao and the Water Cooler.
It's good to be here and welcoming for the first
time and hopefully not the last, because we do a
lot of geek out music stuff on this show, Ladies
and Gentlemen. Daniel bucks Ban has this great new book
called Rush and twenty one twelve fifty years Yeah, very
very cool stuff. First of all, Daniel, how long ago
did you start doing this? And was it just a
coincidence that this reunion door just happened?
Speaker 4: It was a billion percent a coincidence. We had no
idea they were planning that. We also had no idea
that three days after the book comes out there's the
grace under pressure box set. This all just happened. We
intended none of it, but wow, did we get lucky
that things weren't happen when they did? Yeah?
Speaker 6: So right, right? When did you When did you start
planning this? And what was what was the obviously the
inspiration was twenty on twelve, fifty years? But when did
that idea hit you? Because you've done other fifty years books,
you did another Rush book, you did a maiden book,
did a lot of stuff.
Speaker 4: Well, I did Rush at fifty in twenty twenty four,
and that's this career spanning thing, and I figured like, well,
you know, that's it. I think I've said everything I
have to say about this band. Then the publisher gets
back to me a little while later and they're like,
do you want to do a book about twenty one twelve?
I did not hesitate it might have been a micro
second of thought before I said yes, And honestly, if
they asked me to do another one tomorrow, I would
say yes. I just can go on about this band forever.
Just ask my wife, I can go on about this
band forever.
Speaker 6: Yeah.
Speaker 4: No, No. What was really interesting to me about it
is usually if you're going to you know, isolate one
Rush album as like the one to talk about, it's
going to be Moving Pictures because that was their biggest hit.
Tom Sawyer is on you know all that twenty one
to twelve you know, is certainly by the fandom is
considered a very important album for them, and you know,
really the one that opened the door, but you just
don't you don't see as much coverage of it, you know.
So for me it was like, this is a really
ripe opportunity to you know, get into a lot of
different things that maybe some people even haven't talked about yet.
Where with Moving Pictures, I think people have talked about it.
Speaker 2: Well.
Speaker 3: It is a lifelong argument amongst Rush fans, twenty one
to twelve or Moving Pictures, and each of them are
important in their own way. But regarding Daniel, what you
said about it was just kind of a coincidence that
this whole thing kind of happened with the fifty tour
and all of that. A very good friend of mine,
Angela Petrelli, said to me the other day, she said,
life is always on time. Yeah, so you know there
is no coincidence. It's happening when it's supposed to happen.
And I gotta tell you, man, this was supposed to happen.
Speaker 4: Thank you.
Speaker 3: I have never been so thrilled to get something in
the mail as I was to get Rush in twenty one,
twelve fifty years now. First question that I have for you, Daniel,
is who is the greatest band in the world and
why is it Rush?
Speaker 4: Oh? Okay, I long ago stopped having a favorite band
or greatest band in the world, just because you will
get into an argument every time. And I'm fifty six
years old and you know enough already. But you know,
I mean Rush. You know who certainly are in like
probably my top three, I would have to say, you know,
just obviously their world class, elite musicians. You cannot do
better than these guys. And obviously the songwriting is there
and you know, all of it, everything is there that
you want to be there but there's something else, and
I talked about it a little bit at the beginning
of the book where the Terry Brown era, you know,
like the first nine records. Basically, there's a specific sound
to that, yes, and a specific atmosphere to that that
you know, people who listen to them a lot are
sensitive to and get a little something extra out of it.
To this day, I couldn't really tell you what it is.
I don't know what that secret sauce was that makes
those records what they are. But you know, that's part
of why to me, they're one of the greatest bands
in the world. It's not just you know, the things
that they obviously do. There's also subtleties and details that
as you get to be a fan over the years
you start to notice and pick up on. And there's
also just so much depth to what they're doing, you know.
You know, I mean obviously that you know, they have
stuff like I think I'm going bald, you know, which
is a little throwaway. Yeah, but see I'm talking to
you like you know everything, But yes, I should remember
you may have listeners who tuned in for Christy Kanyon
who don't know Russia's all right.
Speaker 6: I just figured, you know, because it's going to be
a predominantly male, you know, a male audience for this.
And props to being a Rush fan who has a wife,
by the way, thank you. I think this is a
good one to have Christy Canyon on because it might
draw some more dudes in, you know, why not?
Speaker 4: Oh yeah, totally, No, there's there's probably a pipeline there
for sure. Sorry, uh no, but I mean there's there's
just a lot of depth to what they do, and
there's a and you know, I've been listening to them
now for decades, and what I loved about them when
I first heard them, that's still there for me. But
as the years have gone by, you know, I feel
like they've the experience of listening to their music has
evolved with me to the point where now I'm fifty
six years old and I'm not only still get out
of it what I got out of it the first.
Speaker 6: But when the first time? What when was your what
was your starting point with Rush? I'll admit it, I'm
not a Rush guy, but I appreciate good art, and
this book is great art. It's phenomenal. But what is
your starting point? Where's your jump in point? With Rush.
Speaker 4: Well, I mean the very first thing I ever heard
was it was the music video for Distant and Early Warning,
Grace under Pressure.
Speaker 3: I was in the glory days of MTV, yeah, and
I mean.
Speaker 4: That's you know, I'm gen X and like all all
the music that really made its way to me when
I was a teenager was not all of it, but
a lot of it was through MTV. I thought it
was a really interesting video. The song was good. You
can't beat the little kid writing the bomb on the
way down, you know, But for whatever reason, it just
it didn't totally make the sale. What made the sale
was hearing the song free Will on Permanent Waves and
that guitar soul. The second I heard that, I was
in and I never came out, and I don't want
to come out, you know. It was just I was
so blown away by it. And you know, I mean,
I knew they were great musicians already, and I certainly
they could play, but there was just something about that
one little moment where you know, when he's going to
I can't It's like thirty second notes or sixty fourth
notes or something like that, and I just couldn't believe
my fortune. You know that something like this existed, and
I still get that from them a lot, where I'll
be listening to them and it's like, this is so good,
I can't believe it exists. That's rare, That is very rare.
You do not get that a lot with you know,
maybe maybe the Beatles, maybe Black Sabbath, not too many
other people, you know, And but you know, Russia just
so distinct and so unique in what they do that
in my view, they just they don't really have a
lot of competition. Nothing, nothing else really sounds like that,
even bands who cite them as a primary influence, you know,
a dream Theater for example. When I listen to them,
I can tell they've listened to Rush and have kind
of taken it all in. But they don't sound like them, right,
No one sounds like them to this day, you know.
And they've stayed that way that which is incredible. You know,
They've they've always been a little bit on the outside
and a little bit of a cult, but massively popular
at the same time. So you can't really compare them
to anybody. I don't think there's no one I can
think of except maybe the Grateful Dead that has been
so outside the mainstream and it doesn't matter at all.
Speaker 3: Right, Well, one thing I would say to add to that,
one difference between Rush and say the Grateful Dead is
the Grateful Dead always had that Grateful Dead sound. Yeah,
Grateful Dead was always the Grateful Dead consistently all the
way through. You know what You're gonna get. One thing
that you point out in the introduction to this book,
and I just want to read this. The three members
of Rush were uncompromising in their pursuit of stylistic change.
So you can't really say there's a Rush sound. It
was always evolving. And as we get to this fourth
studio album, twenty one to twelve, although it is very
similar from some songs on previous works, this was a
whole new thing. And the story of how twenty one
twelve came to be, I mean, can you get into
this a little bit, Daniel. Because Rush was in trouble,
they were not going to be re signed. The label
is begging them for a hit, and what do they do.
Speaker 4: Uh, they gave them one actually wow, but not but
not the wave label asked for it, you know, like
we want to hit single all that. And what I've
been saying is that the twenty one to twelve suite itself,
all twenty minutes of it. That was the single that
was the world's longest single. But that it did it,
you know, that's what opened the door for them, And
it did for them what a single is supposed to.
Like it did for them what death did for Kiss.
That opened the you know, and that was an accident,
you know, Yeah, that was the B side, I.
Speaker 6: Think, yeah B side Detroit Rock City, I'm a Kiss start.
Speaker 4: Right, Oh, okay, no, but you know what I mean,
they just rushed, just were not consciously looking for that.
And I think the idea of like, okay, we have
to sit down and somehow come up with like, you know,
three minutes of music that you know they consider alongside
like the Bay City Rollers and Debbie Boone and you know,
the stuff that was on the radio that I just
can't picture that unless someone else wrote the song for them,
like you know, like like if Desmond Child came and
never wrote a song, maybe, right, but that's it's just
not who they were. And yeah, I mean their attitude
was like, we don't do that. We do not want
to compromise one bit on our music, and let's just
make a record we really believe in, and if it's
a disaster, then at least we made a record we like,
you know, because there's also the you can make us
a hit single and do all this stuff the label
is asking for, and the record still doesn't sell. It's
no guarantee of anything, you know. I'm mean, I don't
have to tell you guys about the millions of bands
with the label behind them and lots of money, and
it's the public still has to like it, that's the thing.
And the public liked twenty one to twelve. And if anything,
what I've noticed about Rush is as long as there
was some kind of direct line from the music to
the fans, it was successful. Like you know the famous
story of WMMS Cleveland DJ Donna Helper playing working Man
for the first time. They weren't even on a label
at the time because no one liked them or wanted
to touch them. But she puts she puts on working Man,
the phone's light up. And as long as Rush music
has a direct line to Rush fans, it works. Just
the industry has to get out of the way. That's
that's really the thing. I generally absolutely hate the music
industry and think all they do is ruin music. What's
going on right now with the Rock and Roll Hall
of Fame and who they're inducting and not inducting, to me,
goes a long way towards saying the music industry doesn't
care about music.
Speaker 3: Right now, that's a whole nother That's a whole other podcast, is.
Speaker 4: It though, Because I mean the music that's lasted like that,
you know what I mean, A lot of it is
in my book, you know, like Iron Maiden. It doesn't
matter if they don't get into the Rock and Roll
Hall of Fame. In fact, I feel like they should
be proud not to. That means the music is good
in my opinion. And the only reason and the only
reason Rush got in is because the fans did this
massive write in campaign for years, right So they've always
been cool with the fans, and they've always been cool
with the people who actually go out there and buy records,
you know, and getting recognized by you know, the August
body that is the Rock Hall is just not important.
And I don't think they ever cared. You know, they
were happy to get the award, but they don't. They
just don't care about that stuff.
Speaker 3: They care about as exemplified in Alex Livesen's acceptance speech,
where all he said was blah blah blah blah blah
for about three and a half minutes.
Speaker 4: Yeah, I mean he said that was just for fun
and like as a joke, But I really interpret it
as like he is giving the Rock and Or Hall
of Fame with this speech exactly the amount of respect
they deserve, which is none. Yes, and and God bless
him for that. No, But I mean, I mean, if
none of that had happened, if they had never gotten
you know, if they were never recognized by critics, we
wouldn't care. It's not about that and it's not about
the industry. And you know, I would say the same
is true of Kiss and a lot of bands where
they you know, zero respect, but the fans will go
to the mat for them. To me, those are just
always the best bands are the ones where it's it's
just about the music and nothing else those few people
listen to.
Speaker 3: Yeah, you had mentioned Terry Brown earlier and that that
he had, you know, worked with Rush for the first
nine records. Was he almost are these records possible or
would they sound the same without him? And is he
almost at this point a fourth member of Rush.
Speaker 4: I mean they characterized him that way, you know, And
I repeated in the book, you know, I mean you
have to be a little sensitive about that, you know,
because like if you talk about like the Beatles and
George Martin, you have to get to how much of
that was George Martin and how much of that was
the Beatles. And I have made a lot of people
very upset by saying all the really good stuff that
was George Martin. I can see your phones lighting up
right now. And the less he was involved, I just
felt like the quality sort of fell off. And so
to me, he's the fifth Beatle and needed to be
with Terry, it's a little different, you know. I had
the privilege of interviewing the guy who's a gentleman of
the highest order, and he just really saw it as like, no,
it was just a fun collaborative at misps fear in
the studio, and they were willing to work in spontaneous ideas,
Like they came in totally prepared, and everyone I've ever
talked to who worked with the band said they were
the most prepared band they've ever worked with. Like there
was there was no like, oh I don't know, we'll
figure it out in the studio. Like they just didn't
do that, but they were totally willing if some cool
idea came up to throw it on the record. You know,
the song tears on side two has this melotron arrangement
by Hugh Syme, who did all their album covers, and
that just came about because they're you know, they're sitting
there tracking the song. Hugh Simeon is in the studio
because he was he would hang out in the studio
with them, and that was just sort of the nature
of the relationship. And he goes, oh, you know, maybe
some flutes might be nice, he or something something and
he and the response is, oh, go down the hall
to the piano and work some thing out and we'll
put that on the record.
Speaker 6: He did.
Speaker 4: They loved it, and that's what you hear today. And
there was a lot of that, and you know, I
my concept of Rush was just, you know, no no
spontaneites allowed, no smiling. Everything is very serious, you know,
follow the diagram for how everything is supposed to go.
You know, I think that's how they're perceived a lot. Yeah, yeah, uh,
and it's just not true.
Speaker 3: Uh.
Speaker 4: It was, you know, according to Terry, it was a
very fun atmosphere. And everyone I talked to for both
books said those three guys were just funny like that,
like hilariously funny. One of the guys said, gut bustingly funny.
That it was like working with the Three Stooges, you know,
just not just not at all what you would think,
right uh, you know, and to this day, you know,
they they have a sense of humor. I think they
surprised a lot of people with you know, like Trailer
Park Boys exactly. Yeah, you know, their association with the
South Park guys. But they were always like that, you know.
I mean even in nineteen eighty one they did something
with se TV.
Speaker 6: You know, yeah take off.
Speaker 4: It's a beautique way to go take off. Yeah. But
you know, but I think for a lot of people
they just believe, like this music is so serious and
so complex, there's no way you would ever see these
guys crack a smile right right.
Speaker 6: Not to It even goes down to that last tour
they did where they changed the set, change the background,
and I think the last set they had like a
fucking washing machine on stage, you know, do a laundry.
Speaker 4: Yeah, well that that was because someone told them, you
need you need a better stage show, you need to
put some stuff on your stage. So they so they
put washing machines. Yeah, and I think they did rotisserie
chickens once.
Speaker 3: Yes, yes, yes, you know there's.
Speaker 4: It all means they're not playing the game, right and
they're doing they're being themselves. Yes, you know so, and
that's great, you know, that's I wish we had more
of that out there.
Speaker 3: Taking it back to not playing the game and the
recording of twenty one twelve. First of all, just if
you could remind us about how long it took Rush
to produce this record and where they recorded it. I
don't remember.
Speaker 4: They recorded it at the studio in more In Heights
in Quebec, I believe, and it took them about a month, okay.
Speaker 3: And when you hear that that it took them a month,
that's like a relatively short time.
Speaker 4: That's nothing. That's nothing. You know, you hear about these
albums now where it's like we were in the studio
for three years.
Speaker 3: Right, right, that's what I believe took three years to
do the long run.
Speaker 4: How about Chinese democracy.
Speaker 3: Right, yeah, dude, China will have democracy before we'll have
that record.
Speaker 4: Yeah, you know, I mean it's it's there's I don't
know if you have heard that record when it came out,
but my god, there's just nothing about that.
Speaker 6: That should have taken that right right exactly.
Speaker 4: But you know, they but you know, no one talks
about Guns N' Roses as the most prepared band they've
ever worked with, who had demo's ready when they got
to the studio. It's a different animal entirely.
Speaker 6: Well it was. It was also a different time too,
because you always, you know, keep going back to kiss
and I can't count past Peter Chris, which is one
of the reasons I'm not a rush guy. But but
like you know, three two albums a year, you know,
you would get off tour, go in the studio, go
back on tour, and it was like they were right
in the studio, right on tour and then boom, there
it is, let's get back. And that's kind of what
it was in the seventies. So you know, in fact,
it only took him a month to get do this.
It's not really shocking to me considering the time it was.
Speaker 4: They had two albums in nineteen seventy five rushed it.
They had fly by Night and Corressive Steel and the
great author Martin Popoff, who I have the great fortune
actually to be promoting my book at That's exactly what
I was getting to. You know, the fact that they
recorded Destroyer and Rock and roll Over, which are two
of their like seminole albums, in the same year. That's crazy,
that's absolutely and then you know, and a live album
was also expected, and and you know, it's just crazy busy.
But you know, the Beatles did two albums a year,
and you know, for a while that was that was
the norm, that was expected. But no, we're not, We're
not living in that time anymore. For it.
Speaker 6: Well, actually, you know, from what I'm gathering, twenty one
to twelve is kind of like kiss Alive because it
was their last chance and it was right place, right
time it hit.
Speaker 4: Yeah, well that's exactly right. And you know, but I
mean again, it goes to show that never really know
what people are going to respond to. You know, there's
not a lot of enthusiasm today for double live albums,
but at the time, you know, and you know, I
think kiss Alive is why Rush made their live album
All the World to stage The following year was like
kiss a live hit, Frampton Comes Alive comes out, and
just generally it's like, oh, double live albums. Everyone's got
to have one, right that.
Speaker 2: You know?
Speaker 4: They I think the way it went was twenty one
to twelve comes out April first, nineteen seventy six. In
June they record these concerts at Massey Hall in Toronto,
and in September they're released as All the World of Stage.
So that's that's not even six months. That's bonkers. I
can't even imagine.
Speaker 2: That, you know.
Speaker 4: But the fact is it's one of their best studio
albums and one of their best live albums. So maybe
there's just something about the constant activity that too sharp
and really producing good stuff, you know. I don't. I
don't know if waiting ten years between albums really helps.
I don't, you know. There there are not a lot
of albums I can think of where there was like
a ten year break or something like that where what
they came back with was worth waiting ten years, you know, right.
Speaker 3: Well, it was funny, Well I've heard it.
Speaker 6: I was just gonna make a point. But like even today,
La Guns puts out a record every year, you know,
there's they're still at it, you know, and I love
that there's a band that does at Dawson. What did
you what did you have?
Speaker 4: Well?
Speaker 3: One of the things that I was taught or was
floated to me in audio engineering school is that records
aren't really released. They escape. Yeah, and you could be
working on a record forever and ever and ever. I
think Rush is the only band that has produced and
released so many perfect records.
Speaker 4: Yeah, they wouldn't release them unless they felt like these
are ready to go, you know. Getty did say once
like they do have to take it away from me eventually, yes,
those otherwise I'll just be fiddling forever. But even so,
you know, I mean there are like Barry Gibb of
the Bejesu is said to be this like notorious perfectionist
who will just take forever with every you know, and
I mean a lot of it. You can't really argue
with the results. A lot of it. You can argue
with the results, you know, because some of it is garbage,
but some of it is a masterpiece, you know. But
it all just comes I think a lot of it
just comes down to the production schedule. My production schedule
for this book was kind of aggressive, but that really
helped me like focus and bear down and do what
I needed to do. And I had another manuscript right
after that. And I've found being constantly izzy like that
is really good for my writing, and it's probably really
good for musicians too, to just it's going, going, going.
Speaker 6: You know a lot of.
Speaker 4: Musicians who I really admire, like Neil Young, Willie Nelson,
they're still Willie Nelson. I think it's on his one
hundred and fiftieth album or something like that, right, And
it's it's about just keeping it going and being a
musician and living that life and just getting this product
out there. And maybe people don't like it today, but
in twenty years they'll discover it and it's great. It's
for the ages, you know. But yeah, just again, the
bands who like you know, like Metallica, taking years and
years and years between albums, I just don't know that
the results are there.
Speaker 6: I gotta say.
Speaker 3: One of the things ahead one of the things that
I really appreciate about being a rushman over these years
is we always seem to find something new, something intriguing,
something like I never thought of something that way or
that had never occurred to me. You point out something
in the book that that I was like, yeah, and
I'll just read this to you. Twenty one to twelve
features exactly two nods to classical music, both of which
occur in the first movement overture. The first comes in
the form of a brief snippet of Peter Eliots Tchaikowski's
The Year eighteen twelve, the eighteen twelve overture the Rush's
miniature tribute to it, even as the sound of firing
cannons just like the original and never put that together.
And then the second nod, and this is kind of
in the vein of the Rush humor. The second nod
to classical music is simply that they called that first
movement overture.
Speaker 4: Yeah, that's it. There is nothing else, you know, And
maybe the fact that it's like split up into movements
with Roman numerals, whatever's the But yeah, no, I mean
I spoke to a classical composer, an accredited classical composer,
and he's like, no, there's there's no classical music on
this anywhere except that little Yeah. For your listeners who
were here for Christy Kanyon and don't.
Speaker 6: Know, right, yeah, right, they'll know, Yeah, yeah, yeah, yeah.
Speaker 4: Sorry to keep coming back to that, but I just
I just think, well, I mean it's yeah, yeah, I
just uh. The last thing I was on, they were
talking about how I was going to be sharing time
with Taylor mom Sin and it's just funny that it's like, wow,
me and Taylor Momson or wow, me and Christy Kanyon
were on the same show, right.
Speaker 6: Right, Well, I think at our age, the more impressive
one is Christy Kanyon.
Speaker 4: One hundred percent. Yeah, a billion person. Yeah, I know
my place in the world.
Speaker 6: It's okay, right, Just really quick, Dawson, what time do
you have a heart out at? I can go for
about more minute perfect.
Speaker 3: I'm curious, Daniel about the atmosphere in the studio during
this recording in regards to people in suits trying to
knock down walls and find out just what the hell
is going on here?
Speaker 4: Oh, they dealt with that in a really smart way.
They locked everyone out, would not let anyone hear what
they were doing, told their manager to tell the label
they're making really commercial music though even though he didn't
hear any of it, they just lied to him and
had him go live for them. Then they present this
record which is just not what they asked for. But no,
the atmosphere in the studio I must thank again Terry
Brown for letting me know this he said, was just
a lot of fun and they were just really having
a blast making this great record and all the sort
of music industry concerns and all that like really didn't
intrude on what they were doing. And I don't think
there was ever a moment, like even at the very end,
where they're like, should should we try to do a
single like the label wants. I think that everyone understood
the assignment and everyone understood like, no, this is going
to be this might be the last thing we ever do,
so let's really make a statement here, well by part
of what they weren't at this, but at the same time,
they had fun.
Speaker 3: Doing it, so you know, part of that statement is
releasing twenty one to twelve on side A and then
ending the record with something for Nothing. Yes, you got
to lay it all on the line. You want this,
take a chance, get it, but you're gonna have to
give some of your own blood to get it.
Speaker 6: Certainly did.
Speaker 4: Yeah, I mean I feel like Something for Nothing is
almost kind of in a way is like the cliff
notes for side one, where it's like, in case you
need to review everything you heard on side one, what
we're saying is yes, you know, and that it's just
this very concise four minute statement that kind of characterizes
just being yourself as the ultimate act of rebellion and
that whatever you do in life, you have achieved a
kind of greatness just by being yourself.
Speaker 2: You know.
Speaker 4: So there's you know, what you own is your own kingdom,
what you do is your own glory, what you live
is your own power, what you live is your own story.
Speaker 3: To me, that cup your hands is the answer. Let
it guide you along. Sorry all of it?
Speaker 4: Yeah no, but I mean for me, when I heard that,
I really kind of took that up as like a
personal cause and is really just how I try to
live my life. And where it's like, you know, this
may all come to nothing, but it doesn't matter. Just
do what matters to you. And you know, you guys
are doing it right now with this show where it's like,
if I may speak bluntly, your basic saying, fuck everybody,
we want to just do this and too bad, and
you know, maybe the economy supports it, maybe it doesn't.
You know, I mean, I know there's I've done a
show like what you guys are doing, and it's it's
a lot harder, yeah, than a lot of people realize.
I don't think they understand the.
Speaker 6: Dude, Honestly. I jokingly named this show another fucking podcast
in twenty thirteen, right jokingly. And now everybody does have
a podcast, you know, so it sus not easy.
Speaker 4: But oh yeah, I mean I think I think COVID
suddenly everyone was like, well, we're never going outside again,
I might as well do a podcast, you know. But
you were calling it another fucking podcast seven years before that. Yeah, right,
So the market is full in a lot of ways,
you know. And it's the same thing as when I
write these books. You know, it's like everything has been
said already about Rush. They wrote their own books, you know,
and what they said that's the last word. They're the
final authority on themselves, right. But I still wanted to
write this book anyway, and it still gives me such
joy that I did it, you know, to me, I
don't know, that's that's what you love, is your own power,
right there?
Speaker 6: You know, Daniel, And what did you who did you
all talk to in preparation for this and doing research.
Speaker 4: Well, there were some people I had already interviewed for
Rush at fifty Hughes signed the album cover designer, and
Donna Halper, who we discussed, you know, the woman who
discovered them and was also at Mercury Records when they
were making the record.
Speaker 6: Isn't it ironic that it was a woman that discovered them?
Speaker 3: That's very ironic, very ironic. I never really thought of that.
Speaker 4: I will say, there's a much larger female presence in
the Rush fandom then they get credit for. And you know,
certainly at first first ten years maybe all dudes, right,
That stopped being the case as time went on. And
you know, I mean when I saw them, there were
there were women there, you know, and they knew the
words and we're air drawing, you know, so they were
not dragged there by their boyfriend or anything like that.
Speaker 3: That's the thing about a Rush show is everyone at
a Rush show there is no place on God's green
Earth where they would rather be than in that moment
at that Rush show. I've become instant best friends with
people I've never even spoken a word to, just during
a drum fill when we caught each other's eyes and
we both went, Yep, we're in the right place.
Speaker 4: One hundred percent. The band has recognized that too, and
they've they've said like pretty much every night when they play,
they're looking out at the sea of people, like doing
air Base and Airbuk and they're like, they know the
songs better than we do, right, they get they get
the fills right every time. They know they never make
a miss steak. You know, no, I mean again, other
than the Grateful Dead, I just can't think of a
more dedicated fan base. Uh you know, the only the
only thing the Grateful Dead has on them is all
their fans dropped out of society to follow them, where
Rush fans have chops.
Speaker 6: Right, Yeah, well that's funny. And this is the last
thing on the on the girl part of it. I'm
good friends with Eric Martin from Mister Big, and he
told me that they opened for Rush. They're on tour
with Rush, and that was when mister Big was on
top of the world. But to be with you, and
he goes, Rush loved us. There was girls at the
show because they came.
Speaker 4: Yeah. Rush. Rush actually speak very fondly of the time
when mister Big was on the road with them, I
think that was a good pairing. Eventually they stopped having
opening acts, which I think was probably the right move
because I saw them with Candlebox opening.
Speaker 3: That's a bad idea.
Speaker 6: Yeah, yeah, candlebox, but it's not.
Speaker 4: You don't whoever you are, you just don't want to
open for rush period. Like the you know, the fans
gave mister Big a lot more of a fair shake
from you, and it was cool that they were there,
but like on the Power Windows tour, they had the
fabulous Thunderbirds open for them. Yeah, and that's again nothing
against the Fabulous Thunderbirds. Jimmy Vaughn is amazing guitar player.
Speaker 3: You're not gonna have him Wilson as a fantastic vocalist.
Speaker 4: Yeah, exactly, you know, But I mean it's it's like
chocolate and beer, it's just not those are great things
in isolation. But you're not going to see someone with like,
you know, a Moulson in their right hand in a
Hershey bar and there unless something's wrong with them, you know, right.
But yeah, they they they got some women in and
perhaps that that was the moment when women went like,
oh this stuff my boyfriend won't shut up about is
actually pretty good.
Speaker 3: Yeah, well of women Anika in the band now. And
I'm curious in your research and development and writing of
this book, did you discover anything that might give you
some insight into what we can't expect in the Rush
fifty ish tour.
Speaker 4: No, because they're doing everything completely differently from how they
did it. You know, like they got they got a
fourth member, like people right, they have never you know,
that was like a big no no the whole time
they were together to you know, they considered it in
the eighties, you know, because Getty was doing like a
lot more keyboards and he's a busy guy. He's probably
the busiest guy on stage there. And for a minute
they were like, well, maybe we get an outside keyboard
player just for the tour. But they decided, know, the
three of us get along really well and there's no problem,
and if we introduce someone else into it, it's you know,
it's like if you're married and you're like, can we
have another wife come in? Also? You know there will
be problems.
Speaker 6: Isn't it ironic that the bands that stay together the
longest are the trios.
Speaker 4: I think the I think you know, in the words
of Notorious Big More, people is more problems, you know,
and it's just the more people. To me, It's like,
I don't see how a band like Molly Hatchett that
had like seven people on stage could keep it together.
Most most of those Southern rock bands actually was they
had like forty people on like Black Oak Arkansaw.
Speaker 6: Yeah, yeah, yeah, you know, all of them.
Speaker 4: Just there was a lot of people up there, and
I just don't know how you can get seven people
and they all have no problem with each other? Right, right,
three people, your chances are a lot better.
Speaker 6: Yeah.
Speaker 3: I look at this latest Rush tour as a chance
to say goodbye that we didn't have before. It's like
Jerry Seinfeld always talked about that last cookie satisfaction. If
you keep reaching into the bag and grabbing the cookie
and then you reach into the bag and there's no
more cookies, yeah, don't you have an empty feeling? And
so I'm taking this tour as a gift, as a
chance to say goodbye and hopefully say hello. I don't
want this to end, don't get me wrong, but at
least it's a chance to gather again with your old
friends and fall in love with your favorite band one
more time, one last thing. I just want to say, Daniel,
I am a huge Rush fan, but I was doing
a podcast called The water Cooler a few years ago.
We still do it, but there was a question that
was floating around the room, and it's when was the
last time you cried? And why? And all the guys
went through and told me, you know, some some horrible stories,
some really heartfelt good stories, and it came to me
and I said, well, I was at a Rush show
and I cried because I was at a Rush show.
Speaker 4: I get it.
Speaker 3: It's one of the most it's one of the most
emotionally tugging experiences that I can personally have in my life.
And I got to say, man, this book, the work
you put into this, this it seems like it would
have taken fifty years to produce this in a sense,
in a sense it did. But did you have there's
there's I love pictures. There's a ton of pictures in
this book. And collecting all of this stuff and putting
it together, I have a feeling that it was just.
Speaker 4: We were very lucky to have our rock Star photo
editor Stewart Peas involved, and he he just nailed it.
He just absolutely understood what we wanted and what we
needed and really what you needed, because for me, it's
all these books that I've been doing for Quardo the
last couple of years. For me, it's very important that
they come off as by fans for fans, you know,
and you know, I'm getting good feedback from fans and
very much like what you're saying. And to me, that's
that's everything. That's the whole point right there. And if you,
as someone who like really digs this band and they've
really done a lot for you over the years, if
you feel like I, you know, sort of met the
you know, met the challenge, then I don't care how
many one star reviews I get on Amazon. I don't
care about that.
Speaker 3: All. I believe you did.
Speaker 4: Terry Brown liked it too, so I'm out. We're good.
Speaker 3: I'd like to share one more story with you. I
know we got a run, but it was in the
R thirty tour. I was working in radio in San
Diego and my only ask when I got the job
there was that I get the luxury box suite at
cors Amphitheater for the Rush show. And they gave it
to me and invited my best friends from high school
and we got to do the meet and greet and
all that, and you don't get to meet Neil, but
you stand in a long line to talk to Alex
and ged And the whole time we're standing in this
line for about an hour, I'm going through my head
exactly what I'm going to say to these guys. This
is my chance, this is my chance to tell them
how much they mean to me. And I get up
there with Alex and Getty and I opened my mouth
and I said hi, and that was it.
Speaker 6: It was enough. It was enough.
Speaker 4: Yeah, but I'm you know, what the hell are you
really going to say? After years and years of their
music and everything it's meant. Trying to put that.
Speaker 3: Into words and takes a book.
Speaker 4: But even even so, I could keep going, you know
that the my god, just you know what this music
is meant to me over the years. And if I
did ever meet them, I would I'd just be like,
I don't know, what, what are you going to say?
Besides you're awesome? Yeah, but that's that's so inadequate. But
at the same time, it's like, you you hope they
they see your enthusiasm, and they and the whole line
of people you were waiting on with also probably had
the exact same experience you did of like, I'm finally
meeting these guys. I have so much to say. They
helped me when I got through my divorce, and then
you meet them and it's like, but it it's okay.
Speaker 6: You know exactly, Daniel. If you want to get the book,
where can they get it.
Speaker 4: It's on Amazon, Barnesonnoble dot com, those wonderful places. Or
you could go to my website notorious buk dot com
and I'm doing autograph copies while supplies a way.
Speaker 6: Very cool, very cool, very cool that your your website
link will be in the in the description. Then they
buy it straight from you. You take all the money
on that and they can get an autoca autograph copy
through the website. So I love it, Daniel, dude, this
is a blast man. Thank you for coming on, and
you are welcome. Anytime we got something that might fit
your interest, we'll have you back.
Speaker 4: I've always got stupid crap to say about I love
that these topics, like for again, ask my wife, so.
Speaker 6: Yeah, ah, which is because we talked about this before
we started recording. Uh that is you are not Asia
Bucks band sheet or not that is your wife's computer soft.
Speaker 3: This book is a fun, fun reach and even for
people who don't know that much about Rush, this is
this is rock and roll history. This is this is
the priests of the Temples of Syrinx. Let's fucking go.
Speaker 6: I love that's right, Daniel bucks Man, Mike Dawson. My
name is Izzi Presley. This has been another fing podcast.
I'll be half of those two fine gentlemen won by
the book. Two what I lack of talent make up
for the cock. Thank you, thank you very much. We're
a little late. Just say good night, Christie, good night,
good night.