Neil Peart's Top 10-Plus Fills
Updated: 01/09/2016
One of the reasons Neil Peart is so popular with other drummers is his creativity and how he approaches his fills. He never wastes an opportunity to make a transition in a song with some style. Here are a few of my favorites.
Click a link to hear a fill. (Also, listen to some of our favorite Neil Peart beats.)
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"Tom Sawyer." Who can forget this drum-solo-within a song? The first fill is trickier than it seems (if you watch the Archives studio video, Neil actually skips a tom on the way down). The second is the famous "quadruplet" with a triplet feel.
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"YYZ." The first fill from the solo section is what I like to call "the fill to end all fills." Even if you understand how to play it (a four-stroke ruff), it's hard to get the right feel. The last fill shows Neil's creativity in landing on an "off" beat, and then he does one of his roundhouse fills.
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"The Spirit of Radio." The fill that brings the song into second section seems even more amazing with Geddy Lee's bass line following along underneath.
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"Limelight." The fill that ends this song is what I'd call a masterpiece. It combines all the best elements of Neil's fills to date.
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"The Enemy Within." This fill is deceptive. It sounds like Neil is playing a lot more notes than he actually is. It's actually the same rhythm as the second fill on "Time Stand Still."
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"The Digital Man." The fill that begins the song shares many of the same rhythms as the first "YYZ" fill.
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"Between the Wheels." This fill is the last in the solo section and is a great example of precision and controlled chaos on the drums
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"Free will." There are so many great fills in this song, but the fill takes Neil from the hi-hat to the ride cymbal is especially interesting.
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"Vital Signs." Like "Limelight," this fill at the end of the song seems to throw in just about everything except the kitchen sink. I especially like the sixteenth note roll between the snare and the bass drum.
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"Leave That Thing Alone." Another masterpiece fill.
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