When Rush when on hiatus in the late 1990's aside from a live album that was compiled there was nothing else released until they returned in 2002. Thinking back to the 1990's it's astounding to me that more acts didn't dig deeper at that time into their vaults of fully embrace live albums and videos. It does help that the DVD transformed the home video concert experience and ever since then, Rush has fully embraced the art form and has been documenting every tour over the last decade with splendid results. Several live albums, reissues, remixes and above all else live DVD's have beautifully documented the band's history over the last ten years. By the time they filmed their latest DVD, Rush had a solid ten months of performances under their belts so they knew this set inside and out and it shows. The music found on Time Machine 2011: Live in Cleveland is more than simply good, it's deeply endearing. Opening with the spiraling guitar chords of "The Spirit of Radio" the band took to the stage at every show and never looked back. The set list covered their entire career and miraculously each song has a whiff of innocence to it still. "Presto", the title cut from 1989's LP of the same title finds the crowd swept up in the majesty of the moment. Presto is a record not initially viewed as a great one, but on this evening, the song transcends off the stage to the fans. Credit must be given to Rush as Geddy Lee flubbed a moment on "Presto" and since the band had only scheduled to film one show, instead of leaving the flub in, they fully admit to fixing the mistake (inside the album's artwork) with audio from another show during this one part. Most acts don't tell you this; they simply fix mistakes carefully and will never admit to polishing the performance.

The instrumental "Leave That Thing Alone" showcased an intense and solidifying reverberation by the three-piece. Watching them, you're truly astounded they don't bring more musicians with them onstage, their sound is that prevailing. This breathtaking instrumental pulled the whole crowd in even those who are unfamiliar with it. Moments like these you don't plan on relishing, but it's impossible not to be swayed and intoxicated by the musicianship. Classics such as "Freewill" and "Subdivisions" were as invigorating and fresh and they ever have been. This tour will be remembered specifically for the entire album performance that occurred each night of Moving Pictures. This commenced the second half of the show and it opens with a tongue-in-cheek video of "Tom Sawyer" followed by the band's ever faithful rendition of "Tom Sawyer" and Moving Pictures in its entirety. "YYZ" was glorious as the band coalesced all of their talents and emotions into a walloping climax. "Limelight" is one of the band's few staples that must be performed at every show, but when you see the smiles and grins escape from their faces, you can't help but be pulled inward. "The Camera Eye" stretches to nearly ten-minutes and yet not a second of it felt narcissistic. Whereas "Witch Hunt" and "Vital Signs" were turbocharged yet managed to contain the insurrectionary spirit in which they were originally crafted. You can't watch the three of them and not think they don't live for this. While it can be felt on the companion CD, the video truly brings the songs to life as you witness Rush tear through these songs with the appetite of three kids who grew up in the Canadian suburbs.

The songs are differentiated on stage from the studio by the crowd and their reactions. Rush has an intense connection with their fan base. The fans latch onto these songs not just because they're joyful and take our troubles away for a few hours, but we find guidance in them through he rough pastures. Despite being a band with continual forward movement, they still infuse the same young at heart liveliness into songs such as "The Spirit of Radio", "Limelight" and "Tom Sawyer". Rush has never had their proficiency as musicians called into question, but astoundingly, they continue to defy. Their onstage camaraderie is more gripping giving these archetypical songs dimensions not heard before. Any act can execute their classics, but can they attain a higher and more poignant plane through performance? Rush did this song-after-song. "Closer to the Heart" with its solemn acoustic opening revved up before its finish with the band providing a fresh take on a classic without tarnishing it. Geddy Lee sung with evocative empathy on "Time Stands Still", evoking a deeper reaction than when initially released nearly a quarter of a century back. On the flipside, the 2007 cut, "Far Cry" defines the will to survive. The ties that bind were showcased during these two numbers. While they may be unable to capture a specific moment in a bottle, they magically marinate the memory and live it out before a live audience. Even if you don't consider yourself a fan of the music, you will be drawn into the actual meticulous nature of the performances. They're one of the few acts on the planet where different parts of the same song can evoke reactions in ways you couldn't imagine; a Geddy vocal, a Peart cymbal crash or a Lifeson's solo. In fact, Neil Peart's drum solo is one of the few in the concert industry that has all eyes intensely placed on the stage. There are no beer runs or people looking at their phones. Each set of eyes is on the stage as they watch one of the world's premier percussionist's works their magic.

In addition to the 26-song concert set, there are a bounty of extras. The first short film, entitled "The `Real' History of Rush Episode No. 2 `Don't Be Rash,'" and the opening second set video "The `Real' History of Rush Episode No. 17' and Rock and Roll is My Name.'" The bonus material features outtakes from the short films, an alternate film version video for "Tom Sawyer, "and possibly the best extra, two rare pieces of Rush live footage from the 1970's. "Need Some Love" from Laura Second Secondary School with original drummer John Rutsey in 1974 and "Anthem" from Passaic New Jersey in 1976. It's not known how much more of this vintage footage is suited for release and while it may not appear on a Rushology video compilation, it is an expert addition here as a counterpoint to the 2011 performance.

Time Machine 2011: Live in Cleveland finds Rush at the peak of their powers. These recent tours are more than cash grabs, but something much more profound and deep. Over the last four decades, we've stood in awe of their musical prowess and their capacity to churn out album after album and give some of the most awe inspiring concert performances around, but none of it would mean anything if there wasn't a more profound connection between these three. It's this bond between these three men that defines the band. On this current DVD, it's a forgotten track that struck an emotional chord within; "Time Stand Still". With its lyric of "I'm not looking back but I want to look around" is one of the most telling and heartrending in the rock era. Released in 1987, the song has taken on new dimensions as the band has aged. The live performance serves the exigency of the music and lyric bringing it into the 21st Century. While the use of the keyboard and synthesizers has always been a semi-controversial topic for Rush fans, here they raucously roar with appreciation when the song begins. There comes a time in a band's career where they transcend mere adulation and their fans define their lives by the music. "Time Stand Still" is a song about capturing life in the here and now. Instead of letting it fly by you, it's imperative that we are aware in this moment now to fully value life. No song in Rush's cannon better exemplifies the journey of life than this one and this urgent performance is where music breaks off from mere diversion into a higher power that guides you and provides an arousing jolt of consciousness. Watching this performance Rush has never been more alive or aware of their power and purpose and for this alone, Time Machine 2011: Live in Cleveland is an essential live music document.

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

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