clockwork angels tour

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Revisiting Rush’s First and Final Concept LP, ‘Clockwork Angels’

Rush released their first proper concept album on June 12, 2012 — although, at the time, they didn't know it would also be their final studio album.

The Canadian trio was certainly no stranger to conceptual grandeur before Clockwork Angels , having produced lengthy, side-long suites such as "2112" and "Cygnus X-1 Book II: Hemispheres" on previous albums. And at the time of their new album's release, guitarist Alex Lifeson  told   this writer that "all our records are thematic — maybe not as overt as Clockwork Angels , but all our records have a connection and fluidity that runs through them."

But, he added, "This one is a little more overt, and there's a little more of a story to it and I think it gave [drummer and lyricist]  Neil [Peart ] an opportunity to express himself on a wider platform."

Clockwork Angels was the longest-gestating record Rush ever made. According to Peart, discussions began at a dinner in December 2009, when he presented Lifeson and singer, bassist and keyboardist Geddy Lee the idea for a concept album based on a story he'd worked up with friend and science fiction writer Kevin J. Anderson — the drummer's future collaborator on a Clockwork Angels novel and comic book series. The theme was "a young man's quest to follow his dreams" in a world that fought against them, and by January 2010 Peart had sent a batch of lyric ideas to Toronto for his bandmates to start working with.

"We understood what the gist of the story was, and of course, it evolved over a couple of years," said Lifeson, who cofounded Rush with Lee in 1968. (Peart replaced original drummer John Rutsey in 1974.) "We understood that it was a story about a journey, and with that singular thought in mind, that's kind of how we approached the music. We wanted to make it quite cinematic and get a sense of going to these places and feeling these moods as the journey continues."

Rush started recording Clockwork Angels  in April 2010 at Blackbird Studios in Nashville, working again with Nick Raskulinecz, who coproduced 2007's Snakes & Arrows . The initial sessions yielded a pair of songs — "Caravan" and "BU2B" — that Rush released online and played during their Time Machine Tour that began that summer and stretched into 2011, while sessions for the album resumed during the fall and early winter of that year at Toronto's Revolution Recording studio.

Watch Rush's 'The Wreckers' Video

"It was very different for us," Lifeson acknowledged. "Usually when we commit to a record, that's all we're focused on, and we kind of dive into it and ... do it all at once. So to break it up like this was something very different and new for us.

"But it was nice because we could live with [the songs] for a little bit, and we came in with a different vibe and a different attitude at each stage of the process," he continued. "That really made writing this record an absolute joy. We were positive through the whole experience. It never got bogged down. It was a lot of work, and I think we all made a great effort to make it the best album we could but at the same time we were just having so much fun."

Adding to the bonhomie were string arrangements by David Campbell, who also conducted the section for the recordings. "When we were doing the string sessions for 'The Garden,' I mean, we were all sniffling and in tears," Lifeson recalled. "It was just so beautiful in there. But it works so well in the record, and it's so dramatic and uplifting. I'm really glad that we did it." Rush wound up bringing a nine-piece string section on the road for the Clockwork Angels tour, with Campbell conducting.

The album took Rush's already super-sized ambitions up a notch. Lifeson said they were only too happy to do so and not concerned about who came along for the ride — particularly radio, which had embraced the group only sporadically over the years for songs like "Closer to the Heart," "Spirit of Radio," "Tom Sawyer" and "Limelight." "We never think about radio or if something is commercially accessible," Lifeson said.

"We've never done that, and this album was definitely no exception." Clockwork Angels ' first single, "Headlong Flight," clocked in at an imposing seven and a half minutes. "Our expectation was [radio] probably wouldn't play it," Lifeson said, "and there was pressure to do a radio-edit version which came down to about five and a half minutes ... and yet it's got lots of play and is generating attention for the album. So we get by without radio, really, although it's wonderful to have the support if you can get it."

Listen to Rush's 'Caravan'

Clockwork Angels certainly got plenty of fan support. The album debuted at No. 1 in Canada and No. 2 on the Billboard 200, tied with 1993's Counterparts for Rush's highest entry ever. It also premiered atop Billboard's Top Rock Albums and Top Hard Rock Albums charts and would go on to be named Rock Album of the Year at Canada's 2013 Juno Awards — just three days after Rush were inducted into the Rock & Roll Hall of Fame .

Clockwork Angels had an active afterlife once it was released:  Clockwork Angels Tour , a document of the $27.2 million-grossing road trip supporting it, was released in November 2013; the Clockwork Angels novel, meanwhile, debuted at No. 18 on  The New York Times Hardcover Fiction bestseller list; a movie adaptation was spoken about but never transpired.

Rush would never return to the studio for another album. The group reconvened just once more en masse, for the 2015  R40 Live Tour . Peart announced his retirement at the end of that year, citing physical issues from the wear and tear of decades of drumming. The trio remained close friends, however, and Peart's death from brain cancer on Jan. 7, 2020, brought an end to any hopes of a change of heart.

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Clockwork Angels Tour

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Clockwork Angels Tour

• Subdivisions
• The Big Money
• Grand Designs
• The Body Electric
• Territories
• The Analog Kid
• Where's My Thing?/Here It Is! (drum solo)
• *Clockwork Angels
• *The Anarchist
• *The Wreckers
• *Headlong Flight/Drumbastica (drum solo)
• Peke's Repose (guitar solo) /*Halo Effect
• *Seven Cities of Gold
• *Wish Them Well
• *The Garden
• The Percussor (I) Binary Love Theme (II) Steambanger's Ball (drum solo)
• *Red Sector A
• The Spirit Of Radio
• Temples of Syrinx
• The Grand Finale
• Limelight (soundcheck recording)
• Middletown Dreams
• *Manhattan Project
• Can't Stop Thinking Big (tour documentary)
• Behind The Scenes (featuring Jay Baruchel)
• Interview With Dwush
• Family Sawyer
• The Watchmaker (intermission tour film)
• Office Of The Watchmaker (closing tour film)
• Alex Lifeson's opening night joke: press up on the main menu
• *With the Clockwork Angels String Ensemble

Clockwork Angels Tour Linernotes, Vinyl Edition

By ray wawrzyniak, video credits.

• Released November 19, 2013; 5LP vinyl edition released October 11, 2019
• The video premiered at #1 on Billboard's Video Chart, while the live album opened at #33 on Billboard's Top 200 Albums chart.
• Highest Billboard Chart Position: 1 (video) - Video Certified Gold & Platinum by RIAA: May 14, 2014
• Certified platinum (100,000 units sold) in the Video Longform category by the RIAA on May 14th, 2014.
• A 10" picture disc single of "The Garden" was released as a Record Store Day exclusive on November 29th, 2013 (Black Friday). Side A is the studio release, and the B-side is the live album version. The artwork is designed by Crankbunny (Norma V. Toraya) from the animated screen projections for "The Garden".
• To access the Easter Egg, simply arrow up on the main menu.
• For most of the tour, "The Body Electric" alternated with "Middletown Dreams" or "Limelight", "Bravado" alternated with "The Pass", "Seven Cities Of Gold" alternated with "Wish Them Well", and "Manhattan Project" alternated with "Dreamline". For the video filming, both "Seven Cities Of Gold" and "Wish Them Well" were performed. The remaining alternates, while not performed in Dallas, are also included as bonus tracks on the video and cd but from other shows.
• Click here for the 'Clockwork Angels Tour' Transcript Archive .

In Their Own Words...

"I kept talking about it with the other guys and Neil was more ready for that than Alex initially. Alex is a little reticent - he likes to have the three-piece, no strangers on the stage. I think by day two in the rehearsals, that all changed. We were just loving it, and loving the fact that we had these new guys to hang around with on tour. They were contributing so much visually by being so into it and being such great players. It brought a new life to the tour, and we crossed our fingers our fans would see it the way we saw it and I think they certainly did." - Geddy Lee on bringing the string section out on tour, Radio.com , November 11, 2013

"'Clockwork Angels' has five or six songs with strings on them, and we thought that rather than triggering samples, why don't we think about taking strings out for a change? We can pull out some of the older material from the past that we did string arrangements for and include that. And, we sort of dove into it. It's so nice to go out and do something that's unusual and different and keeps you on your toes. And, hopefully, you don't wreck anything for them and they don't wreck anything for you." - Alex Lifeson, Pittsburgh Tribune-Review, September 6, 2012

"In the recent past I had always performed a long solo, around nine minutes, somewhere in the middle of the second set. But...during the mixing of Clockwork Angels , our co-producer, Nick Raskulinecz, an irrepressible 'enabler,' insisted that I had to do my solo out of the drum break in 'Headlong Flight.' It happened that that song would appear around the middle of the second set, but - Jesu Christo! - 'Headlong Flight' is a fast-paced seven-minute song, in the middle of a fast-paced hour-long performance of the Clockwork Angels songs, with another thirty or forty minutes still to go. Plus, coming out of that drum break I will still need to drive through a long guitar solo, another verse, bridge, and a double chorus, all at a fast tempo. To say the least, it was daunting. But...once again I applied some 'polyrhythmic thinking.' What if I did two shorter solos, one in each set?" - Neil Peart, DW Edge #10

"A future opportunity to appear on stage with rock legends Rush was probably not exactly what Salina Symphony legend Eric Stein had in mind when he handed his daughter a violin at age 3, but it suits Adele Stein fine. The 25-year-old Salina native, who started playing cello when she switched from violin at age 4, was on stage with Rush for the first time Friday at the opening show of the group's 'Clockwork Angels' tour in Manchester, N.H. She is one of eight string instrument musicians who are sharing the stage with the iconic rock trio during its current nine-week U.S. and Canada tour, which will conclude Dec. 4 in Houston. 'It's really an incredible experience,' she said. 'We sit behind the band on a riser. People will be able to see us very clearly.' Stein, who lives in Phoenix, is not old enough to have been into Rush in high school, having graduated South High in 2005...However, she had seen the movie called 'I Love You, Man,' about two men who were big Rush fans and attend a Rush concert, before she got an email from a gig contractor in Los Angeles asking if she'd be interested in the tour. She knew right away she wanted to do it. 'I couldn't believe it when I got the email,' she said. 'I was at the airport when I got it, and I was so excited. I was looking around, antsy, trying to tell somebody, but there was nobody to tell.' She found an appreciative audience for her news when she called her mom, Wendy, in Salina. Wendy is planning a trip to Chicago to see her daughter perform with the band and take advantage of a VIP pass and board the string players' bus, one of five buses on the tour. Stein said the stringed instruments are featured in the band's new material from the 'Clockwork Angels' CD, but she said they may also get to play along on the Rush hit 'YYZ'. She said guitarist Alex Lifeson, drummer/lyricist Neal Peart and vocalist/bass player Geddy Lee are 'the sweetest men you can possibly imagine.' Stein first met the band after she arrived in Toronto on Aug. 26 for pre-tour rehearsals. She said the string players did a rendition of 'Happy Birthday' for Lifeson, whose birthday fell during the early days of rehearsals. Stein said she walked past Lifeson and wished him happy birthday, and he thanked her by name. 'Some people I've worked with who are famous, like, they don't take the time to get to know your name,' she said. 'They (Rush members) are so humble and do not act famous at all.' Before the tour started, Stein had been concerned about how the loud music on stage might affect her sensitive ears. However, she was soon contacted by an audiologist, who took impressions of her ears and prepared custom-made headphones in which she can control the volume of the sound mix. She said she had listened to a few of the new songs off the recently released album before arriving to rehearse, but at the first rehearsal the musicians all listened to the music together before playing it. 'It's got some pretty incredible rock rifts all throughout every song,' she said. 'It's very well-written music.'" - Salina.com , September 12, 2012

"Alex, Geddy, and I exchanged many emails on the subject of the setlist - what new songs we would play, and which old ones we wanted to either keep or resurrect...I enjoyed relearning some songs from the mid-'80s we hadn't played for many years, like 'Grand Designs,' 'Territories,' 'Middletown Dreams,' and 'Manhattan Project' and I could tell they were going to sound better than the records (because we play better now than we did back then). But it soon became clear to me that the proposed sets were way too long. Typically, we like to play a one-hour first set, take a twenty-minute intermission (before which Geddy always makes an announcement along the lines of, "We have to take a break - 'cause we're about a hundred"), then play another hour and thirty or forty minutes. Gump and I could tell the two setlists I was playing to would add up to much more than that, and we would need to drop at least four songs. However, there were no obvious candidates, and when I mentioned this reality to Alex and Geddy, the three of us couldn't agree on dropping any. So I suggested something different for us: putting together two shows, Show A and Show B, that would alternate four different songs each night. In the past we had always preferred a fixed format for the setlist, and when confronted with only one or two songs in excess, we would either knuckle down and play them, or drop them for time constraints. This time, somehow the idea seemed more attractive to us when it was bigger (as it should). It did mean having to learn that many more songs, and work them out musically, technically, and production-wise, but it seemed worthwhile - even just because it was different." - Neil Peart, DW Edge #10

"What happened is the thing that always happens -- the set was much longer than what we had to limit ourselves to. We didn't want to get rid of those songs, so we picked a Set A and a Set B, and since then we've been tweaking it a bit, playing a couple and moving them around. I mentioned to Ged the other day: It's kind of nice to arrive at a gig in the afternoon and decide which songs to switch out that night and keep it mysterious, especially now that everything is blogged and tweeted and e-mailed. And it's been a whole set list controversy. Having a deep catalog like this makes it difficult to play enough songs that everybody wants to hear. Everybody has their favored and less favored songs. Rush fans are great at debating the merits of songs. And good at expressing their disappointment and elation. (Laughs) "We don't usually do this type of thing, so we may get back in our usual groove. I'd be an advocate for some other stuff, songs we didn't prepare perhaps." Alex Lifeson, Detroit Free Press , September 16, 2012

"We're stuck with certain songs that we kind of have to play, but generally we do try to go back to songs that we haven't played either in a long time or haven't at all. It's fun to revisit those songs and inject a little bit of new life into them. We weren't really keen on playing 'The Camera Eye' for a very long time. It wasn't until we ended up doing the whole Moving Pictures album that we made an effort. It ended up being our favorite song to play on a nightly basis. It's a challenging song to play and it's long. There are a lot of ups and downs and a lot of melody changes and key changes. It's a workout but to play it well is very, very satisfying for us. We'll continue to play it on this next tour." - Alex Lifeson on how 'The Camera Eye' was intended to be performed on the Clockwork Angels tour, Guitar Player , November 2012

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Rush Clockwork Angels Tour captures the Rock & Roll Hall of Famers' 2012-2013 sold-out tour from a unique point-of-view approach to film-making utilizing distinct composition and a voyeuristic style that at varying moments puts the viewer on the stage, at the side of the stage, and throughout the arena. For the first time ever the legendary band was accompanied on this tour by an eight-piece string section!

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Product Description

Rush CLOCKWORK ANGELS TOUR captures the Rock & Roll Hall of Famers' 2012-2013 sold-out tour from a unique point-of-view approach to filmmaking utilizing distinct composition and a voyeuristic style that at varying moments puts the viewer on the stage, at the side of the stage, and throughout the arena. This electrifying concert features over 3 hours of music including favorites "Tom Sawyer" and "The Spirit of Radio," 3 drum solos, new string arrangements of classics such as "YYZ," "Dreamline" and "Red Sector A," and rarely performed songs such as "The Body Electric" and "Middletown Dreams".

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.4 ounces
• Item model number ‏ : ‎ 601143115394
• Director ‏ : ‎ Dale Heslip
• Media Format ‏ : ‎ Multiple Formats, Color, NTSC
• Run time ‏ : ‎ 4 hours and 2 minutes
• Release date ‏ : ‎ November 19, 2013
• Actors ‏ : ‎ Rush
• Producers ‏ : ‎ Allan Weinrib
• Studio ‏ : ‎ Rounder / Umgd
• ASIN ‏ : ‎ B00F878K4S
• Number of discs ‏ : ‎ 2
• #2,402 in Music Videos & Concerts (Movies & TV)
• #41,003 in Rock (CDs & Vinyl)

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