Quotes from Geddy Lee

I would like to think that Ben and myself have begun a partnership that will take us into different areas of music that we can continue to write, enjoy and keep me involved with music other then what I do with RUSH.

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.

Rock and Roll does have its limits as far as the aging process. You want to go out there and play while you're at your peak, right? I think that's encouraging us to keep going out on the road - to maximize the playing at the moment.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

Music is all about wanting to be better at it.

Invisible airwaves crackle with life Bright antennae bristle with the energy Emotional feedback on a timeless wavelength Bearing a gift beyond price, almost free

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.

So, I really don't consider myself a fabulous keyboard player.

Live albums are very important for Rush, and they became sort of a closing chapter for us.

If you have some magical chemistry that actually find the music you make compelling, that is a big bonus.

If I start mining for opinions on hundreds of websites that have fan forums, I'll be totally distorted in my view of myself. I'll lose myself in all that.

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.

It's very rare - and it does happen on occasion - where I'll take a piece of lyric and I'll just sit down and purposefully craft that melody around that lyric because I think the lyric is the wellspring for the song, without question.

I like to practice on the bass, but I don't do it as often as I should.

It's hard for me to just practice without writing something.

I guess, we were people who just dedicated to trying to get better.

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.

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 would like to shift more into writing for and producing people.

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.

Some writing and production projects will be a great way to spend my elderly rock years.

I liked the fact that I was forced to get inside of my emotions and to really try to figure out a lot of what I was going through.

My diet, my regime, the whole life I have on the road has always got that little bit of stress because I'm always afraid I'm going to get a cold. And it's just such a nightmare when you got a cold or an irritation and you have to do a show.

When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.