“I prefer to think of myself as a musician who is still learning and trying to do something every time out…” Geddy Lee
In their nearly 50 years of existence – Rush was a genre unto their own, bringing prog rock to the masses by way of their pop inclinations, work ethic, and overall canon which, to my ears, never was given to formulae and always seemed to move forward. Geddy and Rush filled stadiums, sold gazillions of albums, and inspired musicians for as long as I can remember.
Bassist / singer / keyboardist / composer / author / baseball fanatic / wine connoisseur Gary Lee Weinrib experimented with a wide array of bass tones and instruments, among them Rickenbacker, Wal, Steinberger, and Fender Jazz. In fact, Fender created a massively popular Geddy Lee Signature Jazz bass which, in my opinion, tops Leo’s original designs and continues to be a best seller.
Working the pocket, and forging melodic passages Geddy influenced scores of players known for their chops and flash – yet he is a consummate compositional player who never allowed dexterity to take favor over melody or songwriting.
To choose one Geddy track is impossible. I’ll cite “Leave That Thing Alone” – a bass solo composition which to my ears reflects the expanse of Rush’s entire career wherein Lee quotes metal, jazz, progressive, blues, and funk – all within the span of 5:00.
That composition alone, and I am sure there are many, many, many more – is a testimony to Lee’s deep knowledge and reverence of the instrument and its role in every genre conceivable. This cat has every bass (pun intended) covered. Every serious student of the electric bass would be advised to study Lee’s work.
A true giant of the instrument, Geddy Lee has won scores of bass polls throughout his career, and his Geddy Lee’s Big Beautiful Book of Bass is essential reading.