Geddy Lee, the frontman and bassist of Rush, possesses an extensive body of work that unquestionably establishes him as one of the premier masters of the four-string in the realm of rock music. He skillfully combines technical prowess with songwriting acumen. And his fretboard embellishments during the band’s emergence in the 1970s set a remarkable standard that all subsequent players strive to reach.
Geddy Lee is an intriguing player because of the way his unique sound combines elements from many, frequently incongruous musical genres. This all encompassing philosophical foundation created a stylistic breadth that facilitated the skill of Rush’s other two members, guitarist Alex Lifeson and drummer Neil Peart. The band was fan of The Who’s John Entwistle, the melodic work of Paul McCartney in The Beatles, and the soulful sensuality of Motown’s James Jamerson, two very different approaches.
Geddy Lee’s playing served as the cohesive element that unified Rush’s swiftly shifting components. It is indispensable in all of their finest compositions, ranging from popular tracks like “Tom Sawyer” to the avant-garde instrumental piece, “La Villa Strangiato”. While never overshadowing his bandmates, Lee also refrained from undervaluing himself during these standout performances. His ability to combine the finest aspects of contemporary bass playing into a single piece was evident.
One bassist, Chris Squire of prog pioneers Yes, was a defining influence on Lee in shaping his approach to the instrument. Another virtuoso, his work on Rush classics like “Roundabout” and, more specifically, their previous album “No Opportunity Necessary, No Experience Needed,” encouraged Lee to emphasise the bass so much in the band’s sound. He demonstrated his dominance in the instrument’s story by doing this.
In 2020, Geddy Lee talked about his favourite bassists in Rolling Stone. Lee recalled the first time he heard Yes and the unique playing of Chris Squire. He said that he was completely enthralled with his sound and has been a “die-hard” fan ever since.
The Rush frontman recalled, “When we were in junior high school, a friend of mine and I used to constantly skip school and go to his house. We shared an infatuation with music. And he would introduce me to numerous genres I had never heard of, including progressive-rock bands. We went to his house one day after skipping class, and he played this record. Indeed, it was a word, a time. And the bass playing of Chris Squire just blew me away.
“I mean, it was so upfront,” he went on. Again, it had that aggressive quality that made me think of John Entwistle. But the music was far more daring and multilayered. The song No Opportunity Necessary, No Experience Needed was the one I heard for the first time. That song has a very bold opening that sounds almost like a classical intro when you play it. The bass then suddenly and unbelievably kicks in. It was amazing for a young kid who played bass. It really amazed me. And for the next umpteen years, I developed a strong devotion to him. I became a a die-hard Chris Squire fan.”
