Rush Quotes
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Now I lay me down to sleep, I pray the Lord my soul to keep.
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Extroverts never understand introverts, and it was like that in school days. I read recently that all of us can be defined in adult life by the way others perceived us in high school.
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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 really consider myself more of a rhythm guitarist than a soloist.
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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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With me, satisfaction is always very fleeting with our work. I always get a little restless with it.
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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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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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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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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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Playing a three-hour Rush show is like running a marathon while solving equations.
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Too much attention and hoopla doesn't agree with my temperament.
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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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Throw off those chains of reason and your prison disappears.
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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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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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'Tom Sawyer' could have been written eight months ago, with the kind of response it still gets.
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In September 1968, Rush played for around 20 people at a small hall in a church basement. We played songs like 'Spoonful,' 'Fire' and 'Born Under a Bad Sign,' and got paid $10. Then we went to a nearby deli and ordered Cokes and French fries and started planning our future.
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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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I guess, we were people who just dedicated to trying to get better.
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Both Neil and I had done solo projects where we were the boss and I just thought that if he was willing to get into it, it would really be a good experience for him.
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That is what intrigues me; songwriting and song structure and expression.
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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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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.