Geddy Lee Quotes
Geddy Lee Weinrib, OC (born Gary Lee Weinrib; July 29, 1953), known professionally as Geddy Lee, is a Canadian musician, singer, and songwriter best known as the lead vocalist, bassist, and keyboardist for the Canadian rock group Rush. Lee joined what would become Rush in September 1968, at the request of his childhood friend Alex Lifeson, replacing original bassist and frontman Jeff Jones. Lee's first solo effort, My Favourite Headache, was released in 2000.
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My emotions are very simple and always have been about the Hall of Fame. It's something that I had absolutely nothing to do with and had no control over, so I never thought much about it, to be frank.
I do love using keyboards and I love writing keyboard parts, but I am not a player in the true sense of the word.
The first song that made me interested in music was 'Oh, Pretty Woman' by Roy Orbison. It was the guitar intro, that riff, that I really liked and made me listen in a different way.
I was taking piano lessons with a very good piano instructor in Toronto, and I'm afraid due to my schedule and discipline, it kind of fell apart. One thing lead to another and I was unable to practice as much as I wanted to.
Then, once I have lyrics, being able to shape them around a song is nothing new for me, I've been doing that for 25 years. The soul searching part of it, the spontaneous part of it, that was, and remains, a really terrific process.
My studio is designed for atmosphere. I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.
I can't remember the first song I learned to play on bass, but the first song I learned to play on guitar was 'For Your Love' by the Yardbirds. That kind of was the beginning for me. I thought it was a great song and I loved the open chord progression at the beginning of that song.
Live albums are very important for Rush, and they became sort of a closing chapter for us.
It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.
If you have some magical chemistry that actually find the music you make compelling, that is a big bonus.
You spend most of your life working and trying to hone your craft, working on your chops, working on your writing, and you don't really think about accolades. Then you get a bit older and they start coming your way. It's a nice pat on the back.
Back in the day, fans wrote letters to groups - you'd get them, although it could take a while. Now, artists can go online and there's discussions about what you should and shouldn't be doing. The minute you announce that you're recording an album, thousands of people are telling you what that album should be.
I think you just have to cross your fingers that there's enough artists out there that keep producing interesting work, and eventually it will form a kind of wave that will force people to pay attention to it.
I have a lot of hobbies and I can be very remiss in reminding myself to go down to the basement to work.