Rush Quotes
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Danger plus survival equals fun. -From A Work in Progress
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The Seven Cities of Gold always fascinated me. Southwestern U.S. history especially fascinates me. The whole spur of the Spanish exploration of the Southwestern U.S. was the search for these mythical Seven Cities of Gold.
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With me, satisfaction is always very fleeting with our work. I always get a little restless with it.
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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.
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Playing a three-hour Rush show is like running a marathon while solving equations.
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But I think the credit has to go to Geddy... he spent a lot of time in the studio with Paul, I think he needed that kind of focus to be in there to be a part of the whole thing, and for the most part he made all the major decisions.
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I really consider myself more of a rhythm guitarist than a soloist.
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Throw off those chains of reason and your prison disappears.
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Too much attention and hoopla doesn't agree with my temperament.
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All the world's indeed a stage And we are merely players Performers and portrayers Each another's audience outside the gilded cage
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My parents got me a $25 Kent steel-string acoustic guitar when I was around 12. The following Christmas, my parents bought me a Conora electric guitar. It looked almost like a Gretsch. It cost $59, and my mom still has it.
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The shock of any trauma, I think changes your life. It's more acute in the beginning and after a little time you settle back to what you were. However it leaves an indelible mark on your psyche.
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I'm less comfortable in a gregarious social situation, and you can be introverted and still share everything. It just means that you're guarded.
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I dreamed of having a Gibson. I had a cheap Kent - you know, a Japanese guitar - and then a Kanora, a Japanese guitar. I borrowed a friend's Harmony for years. To have a Gibson was really, really my dream as a kid.
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For me, drum elements are like hieroglyphics - I think of a certain physical figure, and a little three-dimensional glyph will appear in my mind as I'm playing.
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The more I got into playing guitar, the more I enjoyed music, and the broader my listening became. The instrument itself became important to me, and I started messing around with classical guitar and took classical lessons.
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That is what intrigues me; songwriting and song structure and expression.
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A lot of '2112' was written in the back seat of a car and in cold dressing rooms while on tour in northern Ontario.
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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.
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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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You move me, you move me.with your buildings and your eyesAutumn woods and Winter skies.You move me, you move me.Open sea and city lights, busy streets and dizzy heights.You call me, you call me. - The Analog Kid (1982)
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Look in, look the storm in the eye. Look out, to the sea and the sky. Look around, at the sight and sound. Look in, look out, look around.
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I guess, we were people who just dedicated to trying to get better.
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I think, basically, the music industry is scattered and in a mess. I think you've got lots of people that are so-called 'experts' that have no idea where it's headed.