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There was a time when fast playing and fretboard pyrotechnics on the bass were important to me and when I am recording a bass track, that is still very important to me.

Geddy Lee

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Geddy Lee
Age: 71
Born: 1953
Born: July 29
Bassist
Composer
Keyboardist
Manufacturer
Musician
Pianist
Record Producer
Singer
Songwriter
City of Toronto
Gary Lee Weinrib
Geddy Lee Weinrib
Still
Important
Pyrotechnics
Time
Bass
Recording
Track
Fast
Playing
Stills

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Some writing and production projects will be a great way to spend my elderly rock years.
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If you have some magical chemistry that actually find the music you make compelling, that is a big bonus.
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I have such an extreme attitude about work, where I can just completely be derelict of my responsibilities and then when I am not derelict, I am completely indulged in it. I swing pretty wildly from the two extremes.
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First of all, when you live in a country like Canada, it's quite different from America in the sense that it's very tied to traditions that were born in Britain.
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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.
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And the meek shall inherit the earth.
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I love to write. It's my first love.
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I feel safe and comfortable to do that once I know that the song structure around the bass part is very interesting and it satisfies me in a compositional sense.
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I like to be able to come and go as I please, and I don't really like having my face and name plastered around. I think it's a bit weird to have your name plastered on every page in a magazine, where in each case you're using a different piece of equipment.
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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.
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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.
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But, I would be naive not to recognize the number of musicians who tell me they have been influenced by me and sight me - as well as Alex and Neil - as a musician who has been a positive influence on their playing.
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I worry about my voice 24/7 when I'm on tour. It's like a pitcher and his arm. It's constantly the thing that my whole life revolves around.
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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.
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That is what intrigues me songwriting and song structure and expression.
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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.
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So, I don't know what is going to happen when the CD comes out, how well it will sell, etc. But, from a personal point of view, it was a very worthwhile endeavor.
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