ALEX LIFESON IS A DEPENDABLE GUY.
He’s super punctual for interviews, calling at precisely
the agreed-to time for this one. He takes the stage on
time. He delivers great tones, perfect rhythm, and killer
solos every single gig. And he’s done it—with help
from his hall of fame [sic] bandmates Geddy Lee and
Neil Peart—for the better part of 40 years.
For a bunch of guys who have unquestionably earned
a vacation, a sabbatical, or a cushy retirement, Lifeson
and his mates have been touring their brains out since
2007 in support of their release Snakes & Arrows. From
2010 on, the tour was dubbed Time Machine, and con-
sisted of a crowd-pleasing, three-hour show that went
deep into Snakes, showcased two new tunes, featured
radio hits and B-sides, and included their masterpiece,
Moving Pictures, in its entirety. Whilst on the road,
they wrote the bulk of the material that became their
latest record, Clockwork Angels. Once again teaming
with producer and Rush historian Nick Raskulinecz, Lifeson and company did what
to expect: They created powerful, intricate
arrangements that amply display the mem-
bers’ incredible chops and deft interplay,
with most songs clocking in at well over
five minutes. And while it would be easy
to say that Clockwork picks up where Snakes
left off, that’s not entirely true. The new
record has an openness and space to it that
makes it even more potent than its prede-
cessor. That gives greater breathing room
for Lifeson’s guitar parts, which run the
gamut from dark, heavy power chords to
pretty layered acoustics to chiming, arpeg-
giated clean tones. Given the band’s rich
history, the members of Rush can’t help
but reference their past work even as they
move forward, and those subtle nods help
to make Clockwork an engaging listen, just
as the humongous, Hemispheric F#7add4
chord in “Far Cry” off Snakes did. Fans of
Lifeson’s Fly By Night-era playing will smile
when they hear “The Anarchist” from the
new album, and adherents to the much-
maligned but badass Caress of Steel album
will definitely get the musical joke in the
intro to “Headlong Flight.” The more that
things change, the more they stay the same.
On the subject of change: Although he’s
certainly loyal to his favorite guitars—still
playing his trademark white ES-355, white
doubleneck, tobacco burst ES-335, and
Sportscaster Strat (the “Limelight” guitar)—
Lifeson has reliably shaken up his amp
rig every few years throughout his career,
with Marshalls, Hiwatts, G-Ks, and H &
Ks drifting through his transom at various
points. That seven-year itch struck again,
and the new album and tour see Lifeson
playing through a whole new collection of
amps and plug-ins. Like any other legend,
however, he sounds exactly the same—
only better. And he never sounds more like
himself than when he riffs with that lush,
expansive tone dripping with chorus and
delay, the guitar sound that is universally
known as the Alex Lifeson Tone.
Scott Appleton is the tech in
charge of making sure that all
the killer Alex Lifeson tones
that Rush fans crave make it
from Lifeson’s fingers to the
fans’ ears. He took a break
from Rush rehearsals to talk
about his gig.
“I started with Alex in 2010,”
he says. “I’ve also worked with
Phil Collen, Neal Schon, Peter
Frampton, Styx, and the B-52s
to name a few. Alex’s live rig has
changed quite a bit for this tour.
One of the biggest changes is the
use of the Marshall 2553 Silver
Jubilee and the Mesa/Boogie
Mark 5 heads. The Marshall is
the dirty/overdriven tone and
the Boogie is doing all the clean
sounds. We’re still using the
Hughes & Kettner Coreblade
for a few songs as well. The
other major changes we have
incorporated are the use of
the Fractal Audio AxeFX II for
all the effects and a Macbook
Pro running Apple’s Mainstage
software with Guitar Rig 5 for
additional guitar sounds and
some really cool effects from
the new record. We’re also using
the Tone Match feature on yet
another Fractal unit for the piezo pickups on Alex’s electric guitars.
“All of Alex’s amps are run
direct through Palmer PDI-03
Speaker Emulators. There are
no speaker cabinets anywhere
on stage. The biggest challenge
with that is phase coherency.
Every amplifier, effects
processor, and plug-in inherently
has a certain degree of latency,
and getting all of them properly
time aligned and in phase can be
bit of a challenge. The inputs of
all of the amps and Mainstage
are switched via a Mesa/Boogie
High Gain Amp Switcher. There
are times when all of them are on simultaneously.
“We will have 11 guitars out
this year: several of the Gibson
Alex Lifeson Signature Les Pauls,
his original 355, and a couple
piezo-equipped Les Pauls.
“I try to have a backup for
everything. We have a rack full
of backup amps ready to go,
we have a backup Macbook Pro
with Mainstage, backup AxeFX
IIs. I think the only thing I don’t
have a backup for is the TC1210
Spatial Expander + Stereo
Chorus/Flanger in his rack. They
are getting really hard to find.”
WORKIN’ THEM ANGELS
The sessions with producer Nick Raskulinecz for Rush’s previous
album, Snakes & Arrows, were such a blast that the band brought him
back for the new record. Currently tracking with Alice in Chains, Rasku-
linecz was psyched to talk about the first band he ever saw, that power-
ful power trio from Toronto.
What was the vibe like during the sessions?
The vibe of this record is a little bit more like their older records.
The last record moved into some new territory and it was almost like we
were trying to find a sound. Sonically, we went back to the classic sounds
on this one. We wanted the vibe to be familiar. When people hear these
songs, it’s obviously Rush.
The tone and the attitude of some songs, like “The Anarchist,” reminds
me a little of “Fly By Night,” the tune and the album.
That’s funny you say that because I’ve been saying that Clockwork
Angels sounds like what would happen if Fly By Night and Grace Under
Pressure f***ed. I love Fly By Night
and it definitely feels like there’s
some influence from that record
on this one.
Talk about the gear choices
for this record.
We went through all of his
amps and I brought some amps
in as well. We tried all his gui-
tars and all the riffs to see what
would match up the best. The
sounds were good but I was still
wanting something different, so
I called up a rental company and
got a Marshall Silver Jubilee and
a small box plexi reissue Marshall.
Using those two together—get-
ting the gain from the Silver Jubi-
lee and the clean punch from the
plexi—ended up being the main
guitar sound on the record. No
pedals, just guitars straight into
those amps. We also used some
modern amps. We used a Bogner
Überschall, not completely on “stun” but headed toward stun. We had a
couple of Oranges, a Hiwatt, and an AC30, but the meat and potatoes—
the bulk of the riffs—were the Marshalls.
What were your favorite guitars?
We used his black signature Les Paul a lot. That guitar just shined. It
sounded better than all the other ones he has. We also used his famous
tobacco sunburst 335. That was pretty much the main guitar on Snakes &
Arrows, as well as being the main guitar on Fly by Night, Caress of Steel,
and 2112. We used his white 355 and one of his Telecasters. Those were
the primary guitars.
Alex said he got some tones with plug-ins. When would you use those?
We didn’t. Any plug-in tones would be carryovers from the demos. We
did keep some of his demo tracks. Some were just so perfect there was
no point in redoing them.
How did you cut the solos?
They happened sporadically through the process. We didn’t cut any
with the basics. “The Garden” and “Clockwork Angels” are solos from the
demos. For “Headlong Flight,” that song is so rockin’ that I just wanted him
to sit in front of the console with a Les Paul and a wah pedal and go for it.
What you hear on the record is his first and only take. As soon as he was
done I said, “Whoa! That’s it.” After he did that solo the room erupted into
laughter, howls, and high fives.
Did you do a lot of interesting layering of guitar tones?
We did a ton of that on the
last record but not as much on
this one. What I would do if I
wanted to give a little more
articulation to a heavy part is
bring in a little bit of the D.I. that
we always recorded along with
it. That would accentuate the
picks and strings. It’s amazing
how that can make a part jump
out and you can’t really put your
finger on why. It’s a really cool
trick for bringing in a different
character and tonality without
introducing a different sound or
reaching for the EQ. If you listen
to the pre-chorus to “Head-
long Flight,” you’ll hear exactly
what I mean.
Were any songs or parts particularly difficult to get down?
The verse in “Wreckers” was
so hard to come up with. We
searched for that part for the
longest time. We had tried clean guitar, dirty guitar, 6-string, 12-string—
you name it. Then, between takes, Alex just started doing that sixteenth-
note strumming figure and Geddy and I said, “That’s it!” Rich Chycki hit
record and we got it.
What were your overall impressions of Alex’s work on this record?
I can’t tell you how proud I am of his playing and his songwriting on this
album. I honestly think it’s some of the best work he’s ever done.
Other things you can rely on about these
guys is the fact that they will come to your
town every year and play their butts off,
which they will be doing by the time you
read this. In a biz where we’ve seen great
bands phone it in, fizzle out, limp along
with one original member, or just plain
quit, its nice to know that you can count
on Lifeson and his partners.
Talk about the difference between Clockwork
Angels and Snakes & Arrows.
I think the approach was a lot simpler
with Clockwork Angels. We really made an
effort to write Snakes & Arrows acoustically
and when it came to recording, I missed
those acoustics. So, we blended them in
and consequently there’s a density to that
record that in retrospect I would have pre-
ferred to have thinned out. When we started
working on this record, right from the
get-go the idea was to make it more three-
piece in order to make it a clearer-sound-
ing record. So, for the most part, I might
have double-tracked guitars and only on a
few songs did I layer them up. “BU2B” has
100 guitars overdubbed on it, just playing
the same thing to make it super heavy, but
generally it’s pretty much double-tracked
guitar left and right. It was really refresh-
ing to approach it that way. That’s the way
we used to record: two tracks of guitar and
no rhythm guitar in the solo sections. Con-
sequently, it’s made reproducing them live
simpler in some ways and also more sat-
isfying in the context of having just one
Did you layer acoustics? “The Garden” sounds
like it might be one acoustic and one electric in
For “The Garden” I used my Gibson
J-150. I believe it’s just a single track for
the verses and then for the choruses it’s
acoustic guitar as well as the piezo on one of
my Les Pauls, which we put through some
very slow kind of phasing and it plays the
arpeggiated part there.
That’s an interesting blend.
Yeah, it’s not something I typically
would have gone for but our engineer, Rich
Chycki, is great at getting cool sounds.
He’s a real stompbox/outboard guy and he
has a whole box full of toys like Big Muffs and Electric Mistresses and ones
never heard of before. So we worked on
that chorus and we wanted something a
little more unusual sound-wise. We didn’t
want something electric, but the acoustic
didn’t have enough forcefulness to it. The
piezo seemed to be a nice combination of the
two—not quite acoustic and not quite electric.
Once we got the phasing on it and doubled it
with an acoustic underneath, it did the trick.
Did that affect how you’ll gig that song?
It definitely did. I had intended to play
the bulk of the song on an Alvarez-Yairi
6/12 doubleneck acoustic. I was going to
play the verse chords on the 12 and then
the arpeggios on the 6-string, and it just
didn’t sound right. My memory is not the
best—certainly not what it once was—and I
couldn’t remember what I had done. We dug
up the recording notes and, sure enough, it
was the piezo. I played that section on a Les
Paul with a piezo and of course it sounded
You’ve done unusual guitar layers like this
in the past. In “Fly By Night” you doubled your
amp sound with a direct guitar right into the
board and that’s what gives that part its clarity
Yeah, exactly. That whole song is the
direct guitar. It’s the character of the guitar
sound, and I would never have expected that
when we did it.
This record has some great guitar solos. The
one in “Caravan” has some cool intervallic skips.
I think I did that solo at home when I
was just working out parts of the song. It’s
got a certain kind of intensity, almost robotic
in a way. I wanted to reflect a little of that
edginess. It kind of bounces all over the
place and it’s not really rooted in any kind
of melody. It’s just bursts of energy. It’s not
typical of the way I often think about solo-
ing. There are other songs on this album
that are structured in a more typical way,
but I think it works effectively for that song.
Are some of the interval jumps a result of you pulling off to open
strings, like in the “Lime-
Yeah, I think I did mostly pull-offs to open
strings on that. I might have done one little
edit where I went from one take to another
in there but it’s mostly pulling off.
The main chord pattern to “Caravan” has a
lot of angular, chromatic movement. It seemed
like back in the day a lot of your chording was
more diatonic or even pentatonic, thinking spe-
cifically of riffs like “Anthem,” “Bastille Day,” or
“Temples of Syrinx.” Can you talk about the dif-
ference between a more pentatonic riff and a
more chromatic-based riff, and when you made
I don’t think in terms of what kind of
scales I’m playing. I’m not trained that way
and I don’t give it much thought. I never
have. What popped into my head is what I
think works for the song. It’s just the devel-
opment of what suits the song and where
the jam starts because most of the stuff
we write now is based on a jam. Ged and I start playing, we pick a tempo and a
and we play and play and play until we lock
onto something and slowly start to develop
the structure of what that is.
Speaking of “Bastille Day,” you guys refer-
ence that tune in the intro to “Headlong Flight.”
How did that come about?
I think Ged and Neil just wanted to have
a little fun. The riff itself is reminiscent of
“Bastille Day” but it’s not the same. They
thought it would be cool to tip the hat to that
little flurry that the rhythm section played
on that record. I think they knew it would
get everybody talking [laughs].
You’re pretty much the stereo chorus guy. What
did you use for the chorusing on the title track?
It was a Guitar Rig 5 plug-in called Slow
Motion Movie. It generates a lot of delays
that cascade and it’s got the chorus and a
slight phasing to it. I love the sound of it—
it’s very spacey and dreamy and undefined,
but I think it’s really effective, especially with
reference to the song’s lyrics.
How are you going to recreate that sound on tour?
Well, in my setup this year, I’m includ-
ing Apple MainStage so I can access all those
plug-ins that I used on the record and then
some. There are some great sounds that I’ll
utilize for extra guitar layers and for presence.
So you’ll be running plug-in sounds into the
board along with your stage amps?
That’s right. I’ve changed things around
a little this year. I’ve got a Marshall Silver
Jubilee that I’m using for the main guitar
stuff and then a Mesa/Boogie Mark 5 for all
the clean tones. The Boogie is a really great
amp, for clean stuff in particular. Then I’ve
got the Hughes & Kettner Coreblade for
additional guitar presence, plus the Main-
Stage. I’ve got stuff cutting in and out all over
the place, creating a lot of really interesting
layers. Depending on how they’re spread out
in stereo, I can really get quite a huge guitar
sound. I’m not lacking in any of the tones
that I feel are important to the songs, like the
tone you mentioned in “Clockwork Angels.”
There’s another one in the chorus of “Car-
nies,” an almost carousel-sounding effect
that’s a very slow tremolo. It kind of shakes
and it really gives the sense that you’re at
the carnival and you’re on a carousel. That’s
another Guitar Rig plug-in that I’ll blend in
with the main guitar sound.
It seems like you got that seven-year itch where
you’ll shake up your amp rig.
I’ve been using Hughes & Kettners for the
last 10 or 11 years and I’ve been happy with
them, but in the studio I came across one of
these 50-watt Marshall Jubilees and it just
sounded so great that I ended up using it on
a lot of the record. I thought, “Why go back
to something and try to make it sound like
something else when I can use that thing?”
I was due for a change. I really thought it
was time to mix things up. I used the Mesa/
Boogie in the studio for all the clean stuff
and I just fell in love with it. I haven’t even
explored the rest of that amp. I think it has
something like nine different settings. The next time I have a couple of weeks
I’m not doing anything, I’ll explore it a little
more, but certainly the clean sound is really
crisp and clear. You can get a nice body to
it without hitting the distortion. I’m really
happy with the combination.
Do you have a favorite guitar part on this record?
I have to admit that the solo in “The
Garden” is one of my favorites. It’s so emo-
tive and speaks so succinctly in that song.
Neil developed his drum arrangement for that
part of the song to the guitar solo instead of
the other way around, where I’m picking up
some of his rhythms and accents. It’s kind of nice to switch it around a little
bit. The solo
in “Clockwork Angels” is also a demo solo.
They’re my two favorite solos on this record,
and among my two favorites of all time.
That’s not the first time you’ve kept solos from
the demos. Does being able to cut them when no
one is watching bring out something in your play-
ing that you like?
That’s exactly right. I think one of my
strengths is in the spontaneity. Typically
with songs, I don’t spend a lot of time with
the solos. The first five or six takes are usu -
ally the ones that we work with. Maybe it
was just me getting used to it, hearing it for a couple of years in that demo
stage. I could
have done it again, for sure, but there was
something about it that just seemed right to
me. I love the fact that it happened in the
very early stages, just me by myself in a room.
Will you stick fairly close to it when you play
I hope so [laughs]. I try. With both of them, actually, I do. They were both
tively easy to relearn.
In the November 1991 issue of GP, you said
that you guys tend to lock yourselves into a particular key for a record. Do you feel like you did
that on this one? Is there a particular key center
to Clockwork Angels?
A lot of it is dependent on what Geddy is
comfortable to sing, so we’ll generally work
in either E, A, or C. Those seem to be the
keys that we normally gravitate to. I make
an effort to mix it up if I can and try to play
different inversions to make it a little differ-
ent from another song on the record that’s
in that same key. With some of the heavier
stuff that’s in E, there’s not a whole lot you
can do if you want to maintain a heaviness
or a particular character to it. But songs like
“Carnies” and “Headlong” are both in E and
to me they sound different just because of
the way they are played. That’s a little bit of
an art, I think.
If I had to pick a key for some of the early records,
I would say 2112 feels like it’s an E record. Moving
Pictures seems like it’s fighting it out between E
and A. Does that seem right to you?
Yes, very much so.
I’d say Hemispheres is an F# record, but I think
it’s just because of that one huge chord in the
That is kind of the signature of that record!
You’ll occasionally throw a more obscure
tune into your set list. Over the past few years
you’ve done “Entre Nous,” “Circumstances,” and
“The Camera Eye,” and your die-hard fans lose
We try to do that. We’re stuck with certain
songs that we kind of have to play, but gen-
erally 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 favor-
ite song to play on a nightly basis. It’s a chal-
lenging 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.
How about “Lakeside Park”?
Wow. We did that on the Caress of Steel
tour and probably for a couple of tours after
but not beyond that.
That riff seems simple, with the A, G, and D
chords, but it’s tricky to make it sound like the
record. Can you describe how you’re playing it?
Well, it’s kind of a very relaxed strumming.
A big influence on me when I was starting
out was Pete Townshend and he was such a
consummate rhythm guitarist. I gravitated
to Jimmy Page, Hendrix, and Clapton for soloing, but there was something about
way Townshend strummed the guitar that
was very acoustic-like. “Lakeside Park” is an
example of that. It was written on an acous-
tic guitar so that strumming came naturally.
It translates to an electric well. I don’t know
what the tablature or the internet videos look
like for that song but I’m guessing they’re
not quite the same as how I play it, and the
inversions that I play.
I definitely hear the Jimmy Page and Pete Town -
shend influences in your rhythm riffs and power
chords, but where do you think the influence for
the sparkly clean tones and arpeggios comes from
in a song like “Emotion Detector”?
I’m not sure where I got that. I always
thought it was important in a three-piece,
especially a three-piece where you have such
an active rhythm section, to fill in as much space as possible. The arpeggios
job. It’s a fluid, melodic guitar presence
in a song. That’s something that just came
naturally and developed, particularly with
the suspended chords and the open strings
ringing out, creating the illusion of a second
guitar playing. That’s always been key to
my style and what I felt I needed within the
context of what Rush is. “Emotion Detec-
tor” has that in the verse. It’s got the trun-
cated open chords but then there are the
arpeggios that play this soulful kind of
melody within. That’s always been a very
effective one for me. There’s a pathos in
the way the guitar sounds in those verses—
kind of lonely and exposed.
When I told James Hetfield that he was on
a very short list of the greatest rhythm guitar-
ists of all time with guys like Keith Richards
and Pete Townshend, the first thing he said
was, “I would put Alex Lifeson on that list too.”
What can you say about that and about rhythm
guitar in general?
Well, that’s very sweet of him. He’s
a great guitarist. He’s a great singer and
songwriter and he’s a good friend. I work
very hard to be a rhythm guitarist. I grew
up thinking the more notes I played in a
solo, the better. I think over the years I got
a better sense of melody and emotional
impact in my soloing but if you’re a strong,
solid rhythm guitarist, you serve the song
much better, and that’s really what it’s all
about at the end of the day.
How the hell are you guys still at it after
nearly 40 years, and playing at such a high level?
It’s an interesting question. We’ve
been doing it for a very long time and
in so many ways we’re playing the best
we’ve ever played. I think all three of us
would agree that we’re in a really good
space in terms of how we’re playing and
how we’re addressing some of our older
material. We feel really good about this
new record. We really pushed ourselves.
It was a move forward and that’s not
really supposed to happen when you’re
on the cusp of 60 and you’re taking it a
little bit easier. There are a lot of things
that you want to favor in your life and
sometimes touring gets in the way, but
at the same time, it’s what we do and
what we’ve always done. We still write
and play the way we want, but we’ve got a
much broader audience now and a broader
appeal. So, the timing is perfect: If you’re
going to broaden your audience, it’s a
good time to be able to deliver the goods
onstage. The shows are over three hours
long and bands half our age or younger
don’t do that sort of thing. We try really
hard. We really want to be the best that
we can be with every note that we play
and I don’t just say that because it’s the
right thing to say. It’s from our hearts.
We take a great deal of pride in what we
do. That’s why it’s a little frustrating at
this point in rehearsals. Right now we
kind of sound like a crappy Rush tribute
band, but I know in a week or so it will
all start to gel and then we’ll sound like
a mediocre Rush tribute band [laughs].
You’ve talked in the past about how much
you love dialing up a sound in your home studio
and not writing, not working, but just playing as
the hours fly by. Do you still do that?
I’ve been doing it for the last couple
of weeks. I come home from rehearsals
and I’ll start to prep for the next day, but
I invariably end up sitting here for at least
an hour and a half just playing, and I love
that. I’ve got my J-150 in the other room
tuned to DADAAD and I can play in that
tuning for hours and not get bored. I love
playing guitar, period. It’s my job, it’s my
profession, but I get so much enjoyment
out of just playing the thing by myself. I
honestly didn’t expect that close to 60 years
old I would still feel that way. I always hoped
I would, but I seem to be getting deeper
and deeper into it just for my own enjoy-
ment. I can get burned out after a tour and
shift into other parts of my everyday living:
being with my grandkids, being with my
family, and exploring some other inter-
ests. But invariably, I’ll pick up the guitar
one night, start playing, and I’ll be right
back into it. I sit outside on our balcony
and play to the city late at night and it feels
really special. I feel really fortunate to be
able to do that.
LIFESON’S CHORDAL CHRONICLES
When I asked Geddy Lee what he hears when he listens to Alex Lifeson,
he said, “He has evolved a particular style of arpeggiation that’s quite
unique. He can develop a part that has melodic content, and at the same
time, really fills up space.” Well, Ged should know. And the chords that
Lifeson applies his rhythmic magic to—which have been described as
the perfect middle ground between Mel Bay cowboy chords and Allan
Holdsworth monster stretches—are often way easier than they sound.
This lesson attempts to capture a bit of that science that comes so
naturally to the man known as Lerxst by taking “normal” shapes and
moving them around the fretboard to get abnormal sounds. How Lifeson
The chords in Ex. 1a are the very ones that turned me onto this
concept of moving shapes around with open strings, and they make
up the first part of the verse to Rush’s awesome “Xanadu.” Based on a
simple open E shape, we can move this almost anywhere and get a cool
chord. In Ex. 1b, I opt for the eighth position, which produces a righteous Cmaj7
voicing. Bash all six strings first and then pick out the rhythmic
subdivisions. The open B string provides some cool scalar motion before
we jump down to the fifth position and its Aadd9 chord, arpeggiated
in a similar (but not identical) fashion, lending a shifting major/minor
ambiguity to the progression. Ex. 1c adds another tonality with a
G#madd9. Play the bass note with your thumb or just leave it out—the
half-step between the top two strings is the key to that chord.
Ex. 2a is just a simple C chord with a G on top. That is a powerful grip
if we start relocating it, however, and it once again works at almost every
position. In Ex. 2b we have an arpeggiated climb that could easily be the
bridge of a Hemispheres-era Rush tune (if I were Canadian and as cool
as Alex Lifeson, that is). Grab the two-note downbeat of every chord
with either your pick and middle finger or your thumb and forefinger and
carefully find your way through the remaining notes on different strings,
allowing the G string to ring the whole time. The Ab and Bb offerings are
particularly tasty. As Geddy would say, “Yeah! Oh, yeah!”