GEDDVLEEai-Tech Bassist andSunthesist with RushBy Tom Mulhern

SINCE THE AUTUMN of 1968,Toronto's premier power trio, Rush,has been tirelessly slugging its way

up the rock ladder, playing quick, complex,and loud material that embraces both pro­gressive and traditional rock styles. Themembers' persistence has paid off: They areone of today's most popular groups, andtheir most recent album, Permanent Waves,has hovered in the Top 20 almost since its re­lease this spring.

Perhaps the most prominent member ofRush is the 26-year-old son of Polish immi­grants, Geddy Lee, the hard-hitting bassist,synthesist, and lead vocalist who's well­known for his peripatetic stage movements­it's dazzling to see so much sheer energyexpended without a nervous breakdown.Riffing away almost constantly on his blackRickenbacker 4001 bass, Geddy sets forthlow-frequency melodies while loosing hispiercing vocals. Additional harmonic workon his Taurus bass pedals further creates theimage of a one-man rhythm section whichcomplements Alex Lifeson's nimble guitarwork and Neil Peart's intricate drumming.Nevertheless, Geddy's self-taught style goesbeyond merely supplying the pulse for theband-it is an indispensable factor in Rush'smelodic lifeblood.

• >I< >I< >I<

TITHENtlJlD YOU start getting interestedrr in music?When I was about 14. I always took

music in school; I tried various instruments-drums. trumpet, and clarinet-all forreally short periods of time, though. Learn­ing an instrument in school didn't really turnme on, so I took piano on my own when Iwas very young-rudimentary stuff. Itwasn't until' was out ofgrammar school andlistening to rock music that , became inter­ested enough to seriously learn to play.

Was there any particular band's musicrhat inspired you?

Yeah, Cream was actually the first bandthat really got me interested. From then on. ,listened to people like the Who and Jeff Beck[GP, Dec. '73]. , was mainly interested inearly British progressive rock.

Did you start out on bass?No. , began with guitar. although' didn't

play it very long. , was about 14 then, and'got my first acoustic guitar, a beautifulacoustic that had palm trees painted on it.

Other than that, I have no idea what kind itwas. I got a bass about six months after that,a Conora, which was just a big solidbodywith two pickups. It had a real big neck­sort of like a Kent. I had a little amp, too, but] can't even remember what kind it was. Weused to borrow and rent amps-Ace amps,Sivertone amps-whenever we neededthem. The first real amp that I got was aTraynor with two 15s; I was almost 16 then.]t was just before I joined Rush, acutally.

Did you play along with records?Yeah. That's how I learned to play bass

---emulating Jack Bruce [GP, Aug. '75] andpeople like that. I was always trying to learnriffs to all their songs.

Did you use a pick or your fingers?] never used a pick. In fact, I can't even

play guitar very well with a pick. It's all rightfor rhythm, but when 1write songs, I alwaysjust fingerpick. I find a pick very awkwardfor some reason.

Were you playing in bands or just jam­ming?

We had little bands floating around, butwe didn't actually play gigs, except maybeoccasional talent shows at school.

How did you come to.ioin Rush?Continued on page 80

JUNE 1980/GUITAR PLAYER 53

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raunchy sound. I had that bass for quite awhile.

Did Rush play primarily in Toronto?We played all over Ontario. actually.

Originally. we played only at this one coffee­house called the Coff-Inn: it was a localdrop-in center in the basement of a church.We used to play there on Friday nights andmake perhaps seven bucks each. Then we'dgo wild afterwards-go to a restaurant andbuy some Cokes and chips. We thought itwas great! Other than that. we didn't playmany gigs. But then Ray Danniels-sort of alocal street-type, hustling kind of a guy­said he wanted to manage us. He startedbooking us into Ontario high schools. andhe's still our manager today.

Ho ..... did you branch out into otherjobs?I just turned 18 when the law changed

lowering the drinking age from 21 to 18. sowe could finally play bars. You see. rock barwere the real thing to get into. It was Impor­tant for local musicians in Toronto to getinto those clubs and be seen by more people.older people.

What kind of music were you doing?We were doing half original and half

copy material-mostly in a blues-rock vein.We used to have this running argument withour manager because we were always writingsongs. And whether they were good or baddidn't matter to us: it was only important towrite, just to get the experience. And just toget work, our manager would say, "Look.you can't just play originals, because peoplein these bars don't want to hear your originalstuff. ~ In those days, we were doing five setsa night. so we agreed to playa couple songseach set of somebody else. But we wouldpick lesser-known tunes by people like JohnMayall and Cream.

When did you start playing music moreakin to your present material?

It's funny-there was a sort of a cross­over point, I guess around 1970 or '71, whenwe started listening to other types of music.such as stuff by Procul Harum. And thenJeff Beck started getting heavier. and LedZeppelin was happening. They really blew usaway. We became real students of that heavyschool of rock. for sure.

Didn't your reluctance to play Top-40music make it difficult for you to get work?

Yeah. We once went through a summerwith only three gigs because we couldn't getany work. We didn't want to play otherkinds of music: we wanted to play mostlyours. And our manager said. "Well. you'rejust not going to get work. ~ Another prob­lem we had in bars was that we were tooloud. We used to get a lot of hassles becauseit was important that the barmaids couldhear the orders from the customers. Andwe'd get up there and play Led Zeppelinish.screeching, loud music. The bar ownerswould get really upset. and fire us.

Was Rushjust a three-piece group then?On and off. We had an electric piano

player for a while. in our bluesier times, buthe left the band. Then we got a rhythm gui­tarist for a short period, and he also left. We

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want to come out and fill in for the gig?" Isaid. "Sure!'" You know. in those days it wastypcial for a band to rehearse for four hours,get all the songs together. and just go out anddo it I did that one gig. and they asked me tostay in the band. We've been together nowfor about 12 years.

Once you were in Rush, did you keep thesame equipment?

I had the same Traynor amp for years­m those days we couldn't afford very much. Ichanged basses, though. I got a new Hag-trom, which was a light solidbody shaped

kind of lik a Gibson SG. It was quite a stepup from my Conora It had a couple of slideswitches and really weird-looking blackpickups with silver dots. I liked that bass alot b cause it had a hin neck which made iteasy to play really fast-and it had a really

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GEDDYLEECotJIinuedfrom page 53

I knew Alex from school. We were prettygood friends. and we had always wanted toplay together. but we never had the opportunity. He used to call me all the time to bor­row my amp. though. because in those days,an amp was hard to com by He would say-How are you dOll1gT and I'd say. "Oh. notbad. - Then he'd say "Oh, by th way, can Iborrow your amp this weekend? We've got agig. -I used to loan him my amp all the timeWell. I received a call hom him about twweeks after he started Rush with our originaldrummer. John Rutsey fhey had an excel­lent bass player. but he d cided to quit theband at the la~t minute befor a gig at a localcoffeehouse. That was big stuff back thenSo I got this panic call from Alex: "Do you

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talked about forming their own recordlabel-which they did in 1974. It was calledMoon Records. And they fronted somemoney for us to go in and do an album, butwe had to record under the worst of condi­tions.

Were you still playing in bars?Yes. We'd start playing at nine and finish

playing at one in the morning; we playedthree or four sets a night. Afterwards, we'dtake all our gear out of the bar and move itinto an 8-track studio. We'd set up, and thenrecord from 2:30 to 8:00 in the morning. Inaddition, the producer didn't know what hewas doing. It was just crazy.

Did any of you have a nervous break­down?

Very close to it! Fortunately, we werereally young. We were so fired up that it wasfinally happening that we didn't care whathours we had to work. It eventually turnedout to be our first album, but it went througha lot of changes along the way. After wefinally heard the original mixes, we went,"Wow! There's something wrong with this.h doesn't sound good." You know, itsounded really dinky and wimpy. And wewere disappointed. So we figured that theguy in charge of the production just didn'tknow what he was doing. He was a goodengineer. I guess, but he was no producer. Sowe were freaked out, and our managers werefreaked out because we'd spent all thismoney and it didn't sound right. So one ofour managers knew an engineer/producernamed Terry Brown who'd come over fromEngland; he had his own studio in Toronto.We took the tapes to him, and after listeningto them he couldn't believe how poorly re­corded the stuff was. So we made a deal thatwe'd work 48 hours straight in this studio in

Cominued

always seemed to return to a trio format; itfelt most comfortable.

What kind ofbass were you using then?By then I had a 1969 Fender Precision. In

fact, before we started playing the bars Itraded my Hagstrom for it. I used that Pre­cision for years and years-I still have it.

What kind ofstrings did you use?I was using laBella flat-wounds for a few

years. Then around 1972 there was a bigturning point for my sound when I discov­ered Rotosound round-wounds. It was likewow-high end! And at the same time, I gotinterested in Sunn amplification; JohnEntwistle [GP, Nov. '75] was using Sunns,and I really loved the sound that he used toget. So I got a 2000-S tube head and twocabinets with two 15s in each. I didn't carefor the speakers that were originally in­cluded, so I eventually took those out andput SRO speakers in. My Sunn had muchbetter transient response than my Traynor­it was really a live-sounding amp. I had it upuntil about two years ago.

Was the band becoming more popular?Yeah. All of a sudden we had a following

that would come out to every bar we played.Eventually, our manager started takingnotice of the fact that we were attractingquite a following. They were trying to getrecord people interested in us, and time andtime again they'd say, "Well you can do asingle or something." And it would alwaysfall through. We'd really get our hopes upand say "Hey, it's going to happen and get usout of the bars," then we'd be disappointed.So around 1972 or '73 we were getting reallyfrustrated because all these record com­panies were turning us down left and right.And our management was getting frustrated,too, because they started to really believethat the band couldn't make it. So they

JUNE 1980lGUITAR PLAYER 81

GEDDY LEE

an effort to fix up the tapes-that's all themoney we could afford. SO'in that 48 hours,we redid three songs from top to bottom,and fixed up all the other tracks as best wecould. and then remixed them. It made quitea difference-it's still a real raw-soundingalbum. but at least it has some balls to it.

Did you plug your Precision right intothe mix board, or did you use an amp?

I tried both. At that time I didn't knowanything about recording basses; I was stilljust learning about what kind of sound Iwanted to have. Actually, for the first fewalbums, that was the basic modus operandi:just experiment and try to get a half-decentsound on tape.

82 GUITAR PLAYER/JUNE 1980

Did you double-track any bass parts?No. We mainly did that with guitars.

Since we were a trio we had a basic way ofrecording: Put the rhythm section down, geta meaty guitar sound, and double it. Thenwe'd stick the lead guitar and the vocal on.Sometimes we doubled the vocals, too. Butother than that, it was all really simple, withno fancy production techniques, except anoccasional repeating echo. That was as fancyas we could afford to get. And soon afll:r.Rush was released in Canada, on MoonRecords.

How did you happen to end up Ull

Mercury Records?Someone sent a copy of the Moon album

to a radio station in Cleveland; they played itas an import, and found that they were

getting tremendous response from listeners.We were all freaked out. So we started gettingphone calls from record companies then. Wegot a real nice offer from Mercury, andsigned with them. That was really the begin­ning of our professional phase. We officiallybecame a concert band. We said goodbye tobars and started playing local Toronto con­certs. Then we got on a tour of the UnitedStates, and that was our big chance. But atthat time, we were having some problemswith our original drummer, John Rutsey,who'd been with us for five years-in the barsand through all the other work. Just when wewere getting our first big break, he was be­coming disinterested, so we decided to go ourseparate ways. And we were sitting there aweek before our first American tour withouta drummer. We were going out of our minds.So we held auditions, and we listened toabout six drummers; then Neil Peart walkedin and blew us away with his playing. Wesaid, "Okay, you're in; let's go." We re­hearsed for a week, and bing, we were off tothe States. We hardly even knew him, and wewere off on our first tour, backing UriahHeep. We were the first act of a three-actshow, and we had exactly 26 minutes toplay-it was a little tight.

Were you still using your Precision then?No. When we got our first advance, the

first thing I did was run out and buy a Rick­enbacker 400 I. I was a big fan of ChrisSquire [GP, Oct. '73] back then, and he wasusing one. He and John Entwistle, to me, hadthe most innovative bass sounds, althoughthey were very different. I always admiredthat, so I figured if I wanted to try for the typeof sound that Squire had, I'd have to get thatkind of bass.

Did you still have your Sunn amp?Yes. And I decided to go stereo onstage,

so I bought an extra bass setup: 2 Ampeg V­4B bottoms, and an SVT head. For my lowend. I would run the bass pickup through theAmpegs, and the treble went to the Sunn. Iwould always keep everything full up on mybasses-I still do-and just crank up thetreble on the amps. I have my low end direct­ly fed into the PA, while the speakers for myhigh end are miked.

Do you use any effects then at all?On the first tour I was still using just

straight licks. Seeing as we only had a halfhour at the most to play onstage, I justwanted to get a good bass sound that I couldset up quickly.

As the band's leading vocalist, do youfind any problems trying 10 balance yourconcentration between singing and playingbass?

Well, I have always been a singer. I justhappened to be the only one that could singin every band I was in, even before Rush. InRush I became more adept at both singingand playing bass at the same time. And asour material became more complicated, itwas naturally a little more difficult for me toget it together. But with practice, it allworked out. On our later albums, we'd start

Continued

GEDDY LEE

writing songs in the studio, and I'd put downthe bass tracks and then I'd overdub thevocals afterwards. Then, when it'd cometime to rehease, I'd realize, "Whoa! I've gotto do both of these things at the same time."So in rehearsals. I would always stick to thevery elementary playing whenever I wassinging. But eventually it got to the pointwhere I became very good at adapting. It allbalanced out pretty well. I can sort of splitmy head and think different songs-and itworks! It just takes a lot of rehearsing.

Did you record the secondalbum, Fly ByNight, immediately after you completed thefirst tour?

Yeah. We actually started writing mater­ial for that album while on tour. It was a realbig step up from the first album: We had 16tracks to record on, we'd already rehearsedthe material, and we had a drummer whocould really play. We were getting into somedifferent areas of music, too, like differenttime signatures. It was a real breakthroughfor us. And it was the first time we couldreally zone in on sounds and try to get goodtones.

What basses did you use on Fly ByNight?

I used the Rickenbacker on every track.On one song called "By-Tor And The SnowDog," a fantasy tune that featured a charact­er representing evil and a character repre-

senting good, I was given the role of By-Tor-the evil one. And I developed an interest­ing sound-there's a monster sound that sortof growls around during one really chaoticmusical segment. I put my Fender bassthrough a fuzztone-I can't remember whatkind-and then into the board. It was dis­torted all to shit, so we added phasing, andultimately put in everything but the kitchensink. I had all that sound going through avolume pedal, so every time the monster wassupposed to growl, I would lean on thevolume pedal. When we fit it into the song, itsounded like a real monster!

So did you spend more time on thesecond album than on the first?

Yeah. We had ten days to do it, but wewere working about 19 hours a day. So it wasmore time, in a better situation. We wereworking with Terry Brown, who is still ourproducer today, and it was a lot more con­trolled. It still wasn't the ideal recordingsituation, but it was miles better than the lastone.

After you switched to round-woundstrings, did you sometimes have problemswith poor intonation?

Yeah. It happens even now. But at thatpoint, the money wasn't really happeningyet, so I would be doing stuff like boiling mystrings to get them back into shape. Stringscost about 20 bucks or so, which was reallyexpensive back then.

Were you still opening upfor other bandson your second tour?

We backed up other people until abouttwo years ago. So, we were constantly tour­ing. We opened for Kiss. Aerosmith, BillyPreston-we opened for everybody! Wedidn't care; all we cared about was playingand touring. We were working real hard, andwere away from home for months at a time,but success was coming very slowly. We justseemed to have a sound that would do greatin concert but just didn't seem to have theright kind of push on a record. (tjust seemedso difficult to get ahead.

Did you ever consider disbanding?We went through a period after we re­

corded our third album, Caress Of Steel,where our music wasn't well-received at all. Itwas a pretty naive album in retrospect, butstill it was a very important one, because itwas the first time we actually had almost fourweeks to record. And we did a lot of experi­menting with sounds; I used a different basssound for every song.

What basses did you use on that album?( was just going back and forth with my

Fender and my Rick, trying them with differ­ent combinations of direct feeding andmiking the amp. That's when ( discoveredthat the best way for me to record my basswas to approach it as if I were playing on­stage: Use the direct bass from the low-endpickup, and mike the amp for the high-endpickup. I've just been refining that ever since.

And despite your efforts, the album waspoorly received?

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GEDDY LEERight. And there was a time when we

thought, "Well. maybe we should just hang itup and go home. ~ I remember we were on anovernight drive to Atlanta. Georgia. and wewere all real depressed. saying. "Oh, this isnever going to work! What arc we doinghere?" We were still getting a lot of pressurefrom people to commercialize our sound.But we always felt that if your music is inter­esting. people will like it. It's a very simplephilosophy. We didn't want to try to aim ourmusic at a lowest common denominator. Infact. we felt compelled to do the opposite:Try to make the music more interesting. Andtherefore. if it's more interesting. then it willsucceed.

So you thought your individuality wouldbe the key to your success?

Yes. We were growing. and we weregoing through changes, becoming a littlemore complex. No matter how raw yourmusic is in its original form. it seems onlylogical for musicians to want to make itbetter and more interesting. The more weplayed. the bettcr we got at playing: and thebetter we got at playing. the better we wantedto become. And that was basically the onlyway that we figured it was worth havingsuccess. And so we sort of aid. "Well. fuckevcryone else! We don't care if they want todo this. We're just going to do what we wantto do! So let's not pack it in: let's kecp going."Just after that tour. we went in and we did

our 21 12 album. which was our first real suc­cess. And the whole theme of the album wasbased around individualism- it was sort of apassionate statement saying. "Leave usalone. we're okay. we will still get along."

How was 2112 received by the public?It got more airplay than anything we had

ever done-it still wasn't tremendous airplayby a lot of people's standards and it didn'tell phenomenally well. but it sold well

enough to keep us afloat. It gave us the lever­age to tell the people who were on our backsto sort of go away. We were able to say,"Okay, look. We know what we're doing.

Get off our backs. ~Were any of the cuts on 2112 particularly

dijficult to play?The whole 2112 suite-side one-was a

real challenge for us. Parts of it were in oddtime signatures, and were very up-tempo.And it was the first time we ever attempted toplay for 20 minutes around one concept.without breaks. That was our first majorcpic. It was a challenge to play it properlyevery night. so it was real important for ourdevelopment as musicians.

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important albums?Well, 2Jl2 was the first album that we

achieved something that we felt resembled aRush sound; it was the first album that, whileyou could still see our influences, you knewthere was something else happening there­the beginnings of a sound that said, "This isus." With so many bands and so many stylesof music happening, I guess all you reallylook for is that little, tiny space-no matterhow small it is-so you can say, "Okay, thisis us. This isn't anybody else." It might havebeen made up of a sum of all the knowledgethat we accumulated from other people, but2Jl2 was the first time we sort of carved alittle niche and said, "Okay, this is a Rushsound, so let's develop that." The next albumwe did was live, so we had 18 months to justplay and get to know our instruments evenmore before we went in to do A Farewell ToKings. And when we did that, we broughtsome other instruments in the band, too. Istarted playing synthesizer, Taurus basspedals, and a double-neck Rickenbacker [4­string bass/12-string guitar].

Where do you keep your bass pedalsonstage?

Actually, I have two sets. One is right bymy mike; the other set is under all my key­boards. Both of them have interface systemsbuilt in, enabling them to control my Ober­heim 8-voice. This gives me a lot offlexibility.

So now I can step on a switch, and all of asudden I've got 20 oscillators at my control ifI want. It's great! The synthesizer has anOberheim 16-preset memory bank so that Ican log in all the sounds I will need before theshow. Then when I need one, alii have todois push a switch.

Do you have any other keyboards on­stage?

Yes. I have a Minimoog and an Ober­heim OB-I, which is connected to an Ober­heim Sequencer. I use the OB-I strictly forweird sounds and sequencing parts. And Iuse the 8-voice primarily to produce stringand horn sounds, as well as some naturaltypes of things. The Minimoog is for leadand melody lines.

Isn't it like ajuggling act, playing all thoseinstruments and singing?

It's really difficult to keep on top of it,and it was especially hard at first because itwas a departure from what I'd always beendoing. Playing bass and singing was just amatter of practice, and adding the basspedals was much the same story. So I had tolearn to carefully balance the things I wasdoing onstage. And some nights, thingswould go wrong until Igot the hang of it. Butit's been two years now since we started usingall those other instruments, and it's quitenatural. It's never easy, though, and I thinkthat's what makes it so challenging: I can'tjust walk out onstage and just float throughthe night.

You can't approach it nonchalantly.You can't be high, and you can't be too

anything, because you have to know exactlywhere you are at all times. Aside from justthe actual physical singing and playing, Inow have to coordinate a whole bunch ofchanges, as far as changing guitars and soforth. I have to set up my Oberheim 8-voicesynthesizer for the next song, which meansthat I have to switch this octave and changethese oscillators.... So as soon as I finish onetune, I'm already thinking about the nextone, and making changes for it. It's a con­stant chain of actions and reactions for me toperform and set myself up for the next song.

Did playing the keyboard give you muchdifficulty?

Well, it was sort of a revelation at thatpoint, because for years I'd been thinking interms of the fretboard, and all of a sudden Ihad to deal with a keyboard-all the notesare laid out differently. It was a real educa­tion, and my all-around musical sense reallyhad a shot in the arm because I could listen tothings and write from a different perspective.So, rather than just write a bass riff, I couldthink in terms of composing a melody. I'd goover to the synthesizer and work out amelody, transpose that to bass, and have amore interesting bass line to work with. Andcoordinating my bass work with a footpedalsound makes the rhythm section a whole lotmore complete. So before the guitar even

Continued

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GEDDY LEE

comes into the song, there's Neil and I, put­ting down the basic rhythm tracks. Andthere's all kinds of melody happening, creat­ing sort of an ambience'and a subterraneanrhythm. It's almost like having anotherperson sometimes. Then when Alex comesin, he can just lay his solo on top ofwhatevermelodies and rhythms are already there; itgives him a much freer hand, especially sincewe're only a trio.

Do you still have your original Precision?Yes, although it was modified a couple of

years ago---<:ut down into a teardrop shape.It was refinished so that it now looks like a'57 Chevy. It was nicely done, but unfortun­ately it changed the tone.

Why did you have it trimmed down?I wasn't using it, and it was very beat-up

from all the years that I'd used it. So Ifigured, "Well, I'm going to do somethingwild with it." I also had teardrop-shapedinlays put in the fingerboard, and had aFender Jazz Bass pickup added. So it turnedout to be stereo, in order to be used with mystage setup.

Do you still use it in concert?No. Just my Rickenbacker 400 I and two

Rickenbacker double-necks. One has a 6­string guitar and a bass, and the other has a12-string guitar and a bass. The double­neck's bass has a really nice tone because ofthe larger body size. There's so much woodthat it's got a better low-end response than

the standard 400 I. I really like Rickenbackers.But because of the wear and tear I put onthem, they must constantly be refinished andrebuilt: I put a lot of miles on all of them.

What other basses do you have besides

your 4001s?I have a 4002, which has low-impedance

pickups and a beautiful ebony fingerboard.It has Schaller tuning pegs on it, and I've had

Continued

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should be, and it's just fine now.Do you wipe your strings between songs?No. They're cleaned quite vigorously

before each show, and that's enough. I thinkthey use Finger-Ease on them. It takes all thegrunge off, and keeps them nice and slippery.And although I usually wait until after fourshows to change them, 111 replace them ifthey sound like they're getting a little toodull. Now, I don't change the strings on my12-string as often, because I only use it ontwo songs a night, "Xanadu" and "PassageTo Bangkok." They seem to retain theirsound a lot longer than bass strings.

Do you have a pedalboard of basseffects?

No. I don't use any effects on my bass,except for a Boss Chorus on perhaps onesong in the course of a concert. Sometimesthe sound engineers will add a little bit ofdigital delay or Harmonizer in the mix, too.

Are you still using separate high-end andlow-end amps for bass?

Yes, but now I have a whole differentbass setup. I have two BGW 750 poweramps-one for highs and one for lows. I alsohave two Ashly [1099 Jay St., Rochester, NY1461 I] preamps. And I also have two newhigh~nd cabinets that I believe are based onan Electro-Voice design. It's a pretty simpleconfiguration-just two front-loaded 15sbuilt into each cabinet, with a separationbetween the two speakers. For the low end, Istill use two Ampeg V-48 speaker cabinets. Isplit them up, though, so that I have a

GEDDY LEE

a Badass bridge installed. I sometimes use the4002 in the studio. I also have a 300 I, whichhas a single low-impedance pickup and athick, heavy body. It's got a really meatysound. I haven't found too much use for it inrecording, and I don't use it live, but at homeI use it a lot for writing and jamming.

Do you have any Gibson basses?No, but I recently lucked out and found a

'69 or 70 Fender Jazz Bass in a pawnshop foran unbelievably low price of $200.00. SomeJazz Basses have chunkier necks, but this oneis thin and smooth. It was in beautiful shape,and I just love it. In fact, I used it on abouthalf of Permanent Waves.

What kind of bass strings do you use?Rotosound Swing Bass, long-scale. I

change them every four dates. This is usuallyas long as the tone lasts. This tour I had areally weird problem, though. I hadn'tbroken a string in about two years, and onthis tour I broke about six in just the first fewweeks. After about three weeks we found outwhy: the bridge was placed wrong. You see, Ihad Badass bridges put on all my basses, butthey put one on about a half-inch closer tothe neck that it should be. The strings wereresting on the saddles in the wrong place,placing undue tension on the weaker part ofthem-the section of the strings with the redfiber covering. Besides causing my strings tobreak, this was cutting down on my sustain.So I had the bridge moved back to where it

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92 GUITAR PLAYER/JUNE 1980

high/ low setup on my side of the stage, andAlex has an identical setup on his side so thathe can hear what I'm playing. I have one ofhis Hiwatt cabinets on my side so that I canhear him, too.

Do you plug your bass pedals and syn­thesizers directly into the PA?

They're all direct. I have my own moni­tors onstage that I use for getting the righttones that I need for the songs.

Do you have a separate amp for your 12­string guitar?

Interestingly enough, the Rickenbackerdouble-neck has only one set of tone andvolume controls that must be shared by thebass and the guitar. So there's an inherentproblem: Do I have to use the same amp forthe guitar as for the bass? I don'{ think thatthe l2-string sounds too good through a basssetup, so I had to have a special relay systembuilt. Whenever I want to use my l2-string, Istep on a footswitch, and a relay re-routes mysignal to a Fender Deluxe Reverb amp. Ithen have the Deluxe's tone controls set forthe best sound for the l2-string. I use theBoss Chorus with the l2-string all the time,so whenever I want to use the chorus with mybass, 111 be using the Fender amp as well.

When you write songs, do you use pri­marily bass or guitar?

I use guitar a lot for chordal and melodicthings, but if I'm working on a riff to a song,then I will usually choose the bass. Andsometimes now I use the keyboards. So itreally depends on what I'm looking for. It

feels more natural that I should pick up thebass because I'm obviously more adept atthat instrument. If I'm having trouble gettingan idea across to Alex, I1l grab my bass.When it comes to guitar, though, I'm just abasic rhythm player, so it takes me a longertime to convey the same idea. Nevertheless,guitar is very helpful for writing verses,choruses, and melodic things.

Do you generally pluck the strings closeto the bridge?

I move around. I usually rest my handtowards the back, and place my fingersbetween the bridge and the treble pickup.Occasionally, I1l work up a bit more towardthe neck, depending on what kind of sound Ineed. Also, I sometimes rest my hand on theE string and pick with my nails. I use them alot, in fact. My nails extend just over the endsof my fingers, so if I want a pick-like attack, Ican get it with my nails, rather than having touse a pick.

Do you put anything on them to keepthem from breaking?

No, they're pretty tough after all theseyears of using them like that. I used to breakthem all the time, but now they seem muchstronger.

When do you play harmonics?It depends on the tune, but often when

Alex is playing acoustic guitat. There's onesong on the new album called "DifferentStrings" in which harmonics become quitean integral part of the piece. The bass partwas very simple-a punctuating sort of

rhythm-but in between the notes I poppeda couple harmonics on two strings at the 5thfret.

Are chords often employed in your bassplaying?

I use a lot of double-stops: roots andthirds, and those kinds of things. SometimesI will use full chords to fill things out. Outsidethe band, I've been playing around with apiece of music by [guitarist] John Abercrom­bie [GP, Feb. 76] called "Timeless" [fromTimeless, ECM, 1047]. When you figure itout on bass, you find that it's full of inter­esting chords and intervals. I haven't beenable to work that kind of playing into ourmusic yet, but it's something I practice on myown, nonetheless.

Do you do any warm-ups or practiceexercises before you go onstage?

It really depends on how I feel at the time.I got into a habit of working out a lot beforewe went onstage, but I found that because wedo such a long show-over two hours-Isometimes started getting aches in my handsabout three-quarters of the way through. Alltogether, with my warmups and the show, Iwas actually playing for three-and-a-halfhours. So now I don't warm up before thegig, except in the sound check, which onlylasts about 45 minutes. Now I no longercramp up, and my fingers are a lot fresherand I have more enthusiasm for the show.

Who are your favorite bassists today?I really like Jeff Berlin-he's about my

Continued

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JUNE 1980/GUITAR PLAYER 93

GEDDY LEE

favorite right now. His playing on GraduallyGoing Tornado [by Bruford, Polydor, 1­6261] blows me away. I listen to Jaco Pastor­ius, and Chris Squire is still a big thing forme. I also like Percy Jones, the bass player ofBrand X. He's great.

Do you have any favorite jazz bassists?No, not really. My introduction to jazz is

strictly through rock. People like Jeff Berlin,Brand X, and Weather Report sort of dabblein rock and jazz, and fuse the two. It's a realinteresting way for me to get into jazz, andit's something I'd like to get into heavier. Butmy background is strictly rock, so the intro­duction has to come through rock.

Do you think lessons are a necessity?I think they're very helpful. I mean, there

are lots of things I wish I would have done interms of learning the language of music. Inrock music it's not necessary to know all theterms and theory, but it certainly doesn'thurt. Once again, it all boils down to thelanguage of music. Once you know it, it's alot easier to talk to another musician and sitdown and say, "Let's do something together. n

Rather than picking up your bass to showwhat you mean, you could just sit their andexplain it. So, it's a time-saving measure, andit's a communciation form that I wish I wouldhave learned at one point. It never hurts, butobviously it's been proven time and timeagain that it's not necessary for everyone.

Can you suggest any shortcuts that might

help a young bass player become successful inthe rock field?

That's a difficult question that a lot ofyoung musicians ask me. There's really noformula for success. Everyone's got to findtheir own speed and realize their abilities. Ithink that the important thing is to realizewhat you want to accomplish, set that goalfor yourself, and just go for it any way youcan. I don't believe that shortcuts are possiblewithout a sacrifice of some of your musicalintegrity. IJ

LETTERScontinul'd from page 4

I am a young female guitarist and wouldlike to correspond with other women playerswho are willing to share their experiences.

Kelli Taylor90 Kimball Hill Rd.Hudson, NH 03051

I am a lady who plays lead guitar andbelieve me, I know how hard it is to beaccepted into the male-oriented Australianmusic scene. I recently discovered records ofa women's group from the '4Os, sometimescalled the International Sweethearts ofRhythm. Under the leadership of Rae LeeJones, these musicians managed to record

some brilliant work. The guitarists-JuneRotenburg, Vicki Zimmer, and Mary Os­borne-play the most beautiful jazz lickswith flowing speed and style. Any informa­tion on these players, however small it mayseem, would be greatly appreciated.

Dee DesperateBowen St.Narooma

N.S.W.2546Australia

On December 3, 1979, two guitars andsome equipment were stolen from my home.Taken were a 78 wine-red Gibson Les PaulDeluxe, serial #00134504, and a 3-pickup,white '79 Gibson SG Custom, serial #73178246. Both guitars had Grover Imperialtuners. Also stolen was a Pignose amp,#36162, an MXR Phase 100, serial #705993, and a DeArmond volume pedal. Ifanyone can help me locate this equipment,I'd really appreciate it.

Joseph M. Masi331 St. Lawrence PI.

Buffalo, NY 14216

I have a problem. I've been incarceratedfor almost seven years now, and I'm a guitar­ist. Because I taught myself from books, Ihaven't progressed nearly as far as I wouldlike to-I've been at it for 15 years. I want to

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