Most Helpful Customer Reviews
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71 of 80 people found the following review helpful:
3.0 out of 5 stars
Enjoyable, but not polished, November 7, 2004
I certainly am not regretting the 20 bucks I spent on this book, but I think it could have been, well, tighter. Perhaps one would expect that an artist known for such machine-precision drumming would write prose the same way, but this book is neither tight and precise like Mr. Peart's drumming or cerebral and evocative like much of his lyricism with Rush.
After reading the book, I read the reviews here on Amazon. I suppose the theme that keeps coming up in reviews for this book as well as "Ghost Rider" is an assumption that the voice in his writing is arrogant, snobby and/or elitist. Speaking strictly of "Traveling Music", I do not hear that voice in the writing. Riding solo on his motorcycle while the "rest of the band" is on the bus is basic to the personality Peart reveals in this book, and to me did not come across as elitist. Who knows... I'd rather be flying down the highway on a bike than in a bus any day. Ordering him to join the band every day on the bus might well tinker with the magic that is Peart's creative, driving force behind Rush, and besides, he'd just do his own thing anyhow. That is one of the points of this book: living individually while participating in community. Therein are lessons. Today's publicly visible artists, as Peart writes, are unfortunately not always treated well by those that claim to appreciate them (he mentions John Lennon... point made). If the man wishes to lead a life of seclusion and peace, who is to begrudge him? Like most people, he writes of wanting to go to work, give it his all, and then, well... go home or go private. Peart apparently is quite cognizant that there are those who feel he shuns them, and at least makes an attempt to address it. Peart writes of his frustration with people who invade his privacy. As for the "I love your work" quote - well, Peart seems to have appreciated it and, more to the point, appreciated the unobtrusive nature of the comment. Fans who feel short-shrifted by such behavior should remember that a person like Peart is essentially a captive audience... a target for far more people's attention than can be realistically accepted on an individual level. He gives us what the normal unspoken contract between star and fan agrees to give us... his professional hours on stage and wonderful art otherwise. Autographs are nice, and public appearances are good, but no wonder there is a tendency to carve out ones' own private space. I certainly am not defending the man, but I relate to the writing in this book about needing sanctuary. Anyone who works in a profession that deals with a crush of people (musicians, athletes, actors, politicians - OK, SOME politicians...) can understand Peart's desire for "down time". Basically, the desire to live a private life is not snubbing his fans... get over it, people...
Back to the writing... as a road-trip junkie myself (and who has taken many of the roads Peart describes in my rather less inspired vehicle), I easily was transported along. Yes, the constant reference to The Macallan gets a bit impish, but, hey, the man's just that way. (Personally, I prefer The Balvenie, but who really cares, right...). The loose narrative style fits the subject matter well, and alternating the chapters between the current journey and the lifelong journey is effective. I enjoyed his presentation of his musical influences and CD collection immensely, and now have some new stuff to listen to. Those reviewers who complained about his focus on these musicians apparently forgot to read this book's title...
Students of literature may well find Peart's writing a bit simple, but therein lies the beauty of this book... it is a road-trip... not a medical science journal. Peart may, or may not, be a self-centered, arrogant, unapproachable star. It really doesn't matter. The fact that he chose to share his basic life story, whether altruistically or with a profit motive (perhaps both) is unusual enough in a person of his professional standing. Rush fans... it is more information than we ever thought we'd see. Everyone else... at the least you may find Peart an interesting study.
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35 of 39 people found the following review helpful:
5.0 out of 5 stars
Intricately Woven, October 19, 2004
I'd consider this the most well written published work of Neil Peart to date.
He uses the songs of a solo drive over an extended weekend as the springboard for reflections on his past and his evolution to what he has become. The music and his life have many parallels.
I found the diversity of music he likes fascinating and certainly got turned onto some music I never would have considered seriously before reading this (Frank Sinatra, Linkin Park) while others were fairly obvious influences that I directly related to.
It was interesting how open Neil was about his past, esp. his Teen years and how the behavior of others so permanantly and dramatically impacted who he became as an adult. I think we can all relate to that.
This book could easily have become confusing and bogged down in the changes from distant past stories to recent past to present time. But it doesn't. It easily kept my interest, had me nodding in agreement, and search in the music store and bookstore shelves for referenced books and albums.
My one complaint, and it was a complaint with Ghost Rider as well, is that he doesn't include a biography of the books and albums he mentioned. I kept a bookmark and pen handy and wrote down most of the albums I want to check out and books I want to read, but it would be nice if they'd have been included with full information and potentially even comments in an appendix.
If you're a fan of Neil or just a fan of well written biographies of interesting people I think you'll enjoy this book.
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25 of 28 people found the following review helpful:
4.0 out of 5 stars
A kinder, gentler Neil, August 31, 2004
Having read the poignant "Ghost Rider" three times, I awaited a follow-up with high expectation. What resonated with me the most about "Ghost Rider" was the concept of travel as catharsis - an idea with which I share profound belief. So my mind reeled with questions of how Peart would follow up such a personal account so masterfully interwoven with appreciations on the road.
"Traveling Music" is different. Here, we find the Canadian establishing roots in (Oh, God - not really) America of all places. Peart's observations on the United States - especially those in "Ghost Rider" - are almost shamelessly typical of non-U.S. citizens, often boiling down to how crass and arrogant Americans are, but with an obvious appreciation for all the richness of the land and, yes, even the culture. While many of his critical views in "Ghost Rider" felt particularly (I hate this term) unfair, he paints with broader strokes in "Traveling Music" and reveals himself to be a man far more at peace.
The book details a drive through parts of the U.S. while listening to the music that has carried the most profound impact throughout his life. In the process, we get glimpses of the history ad progression of rock and roll from someone who has made it his life's work. But these opinions are also peppered with observations of other types of music and cultural developments that have helped shape his own distinction as well. While the reader may not agree with all his opinions regarding musical taste, his awareness of the cultural sway and the business we call "show" is keen and acute. Peart jumps back and forth between growing up in Canada, living in England, the "history" of rock as seen through his eyes and opinions about musicians as diverse as Isaac Hayes, Willie Nelson, Frank Sinatra and Linkin Park. He does manage to skillfully pull all the ends together in a tidy knot as he details the events of the SARS concert wherein he meets Charlie Watts of the Rolling Stones thirty some-odd years after watching Watts on a television show. For any budding musician, this is certainly a book to read. For anyone appreciating music, this is certainly a book to read.
There's less emphasis on travel, more on Peart's opinions, but that's okay. Along the way, one can embrace the possiblity of broadening ones palatte. In fact, I've since explored a few of the artists Peart mentions if only for the sake of doing just that. I still can't get behind Nirvana or Linkin Park, but the doomed flavor of the day, Jeff Buckley, did yield some interesting things on his "Grace" CD.
And as a note to Rush fans, this book is also not a "Rush" book, though there is a teaser within the pages that Peart may next work on the history of the band.
Though it lacks the drama of "Ghost Rider," "Traveling Music" is nonetheless a compelling read, sure to force the reader into thinking of the music playing in the background of his or her life as well. As an autobiographer, Peart's work rates along other musician / writers such as the sly and witty Joe Jackson. Though his book may not hit the New York Times bestseller list, as Gene Simmons' "Kiss and Make-up" did, he at least has something to say, while Simmons merely wants to be heard. And as a travel writer, Peart has accomplished more in three volumes than Bill Bryson has done in a lifetime devoted to the endeavor. His writing is pure and unfiltered, unapologetic and honest.
I closed the book pleased and waiting for the next one.
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