Neil Peart In Remembrance: Ten Otherworldly Rush Songs With Defining Peart Solos

As we mourn the sudden passing of Neil Peart at 67 this week, who was arguably rock’s greatest drummer and a sublime lyricist. What separated Peart from “other” drummers was his drum solos, which were the highlight of RUSH shows, where bathroom breaks were forbidden. You never saw so many air drummers in your life than at a RUSH show. Peart invented a style that was radically different, where every fill was well thought out and precise, just as how he composed his lyrics. Let’s look back upon ten Rush songs that fly a bit under the radar and feature otherworldly Neil Peart solos, fills and other “how did he do that?” interludes that only “The Professor” could pull off…

“Jacob’s Ladder” (Permanent Waves, 1980) – Peart adds a monumental booming post-apocalyptic thunder to this Permanent Waves track that should have been a rock radio staple.

“Headlong Flight” (Clockwork Angels, 2012)

This modern-day composition features a muscular mid-song solo, reminiscent of Rush’s earlier classic “Bastille Day”

“Mystic Rhythms,” (Power Windows, 1985)

This mid 80’s synth period Rush song features a compelling example of Peart’s use of electronic drums and how he adapted and changed his sound through different band eras.

“Natural Science” (Permanent Waves, 1980)

Imagine trying to keep up with the time signature changes on this composition that at nine minutes long, is composed of three distinct movements: I) Tide Pools, II) Hyperspace, and III) Permanent Waves.

“Witch Hunt” (Moving Pictures, 1981)

This is peak Peart, going from one side of the kit to the other with speed and grace..

“Territories” (Power Windows, 1985)

Inspired by the music of the far east and includes prime examples of his worldly rhythms, including Peart’s most tongue in cheek lyrics ” Better people — better food — and better beer.”

“Malignant Narcissism”(Snakes & Arrows, 2007)

This instrumental was nominated for a 2008 Grammy under the category of Best Rock Instrumental Performance and feeds off Peart’s propelling rhythm.

“Digital Man” (Signals, 1982)

Inspired by the band’s love of Stewart Copeland and The Police, “Digital Man” cracks polyrhythms and heavy use of cowbells and rimshots.

“Red Barchetta” (Moving Pictures, 1981)

This Canadian inspirational song expands, builds, crescendos then ends on such a powerful note-making for one or Rush’s most defining musical statements.

“By-Tor & the Snow Dog” (Fly By Night, 1975)

Peart’s snare work during the outro ranks up amongst the finest efforts from this, his first Rush “epic” song. Check out this amazing 1-2 punch from the R30 tour featuring “La Villa Strangiato,” one of the best instrumentals and the de facto “best of the rest” of this list