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Classic rock is a radio format which developed from the album-oriented rock (AOR) format in the early 1980s. In the United States, the classic rock format was originally developed as an oldies format featuring the British Invasion era music of the 1960s.^{[citation needed]} Classic rock stations re-create, in part, the sound of album-oriented rock stations of the 1970s and 1980s (although usually with a much more limited playlist) and appeal mainly to adults rather than teenagers. Despite this, many classic rock acts consistently attract new generations of fans.^[1][2] Some classic rock stations also play a limited number of current releases which are stylistically consistent with the station's sound, or from established classic rock artists who still produce new albums.^[1]

History[link]

The classic rock format evolved from AOR radio stations that were attempting to appeal to an older audience by including familiar songs of the past with current hits.^[3] In 1980, AOR radio station M105 in Cleveland, Ohio began billing itself as "Cleveland's Classic Rock", playing a mix of rock music from the mid-1960s to the present.^[4] In 1982, radio consultant Lee Abrams developed the Timeless Rock format which combined contemporary AOR with hits from the 1960s and 1970s.^[5] By 1986, the success of the format resulted in oldies accounting for 60–80% of the music played on album rock stations.^[6]

WYSP in Philadelphia became the nation's very first "classic rock" station in the spring of 1981, when Frank X Feller, then general manager, received a suggestion and a reel to reel tape with a sample of what the "Classic Rock" format would sound like from account executive Jim Sacony. The featured artists on the reel to reel were The Yardbirds, The Zombies, Young Rascals, Van Morrison, The Rolling Stones, The Beatles, Steppenwolf and The Byrds. Frank then directed program director and midday jock Dick Hungate teamed up with station consultant Lee Abrams to more effectively compete with two traditionally programmed and very entrenched competitors... WMMR and WIOQ. The actual on-air describer "classic rock" was thought of in a strategy session at WYSP's then One Bala Plaza offices, in which other adjectives such as "timeless" and "vintage" also were discussed by Hungate and Abrams. In this pre-PC age, it fell upon Hungate to create the universe of all-old-rock tracks based upon his previous Philly experience as MD of WMMR in 1978-79, e.g.: using metal file boxes and color-coded 3 X 5 index cards to manually rotate within each age/strength category the on-air playlist. WYSP would abandon that approach for all new hard rock, only to try classic rock once again a few years later (but, ultimately, to switch back to a current, hard-rock format once and for all).^{[citation needed]} WAOR in Niles, Michigan bills itself as the first AOR classic rock station in America.^{[7][not in citation given]}

KRBE, Houston was another early classic rock radio station. In 1983 Program Director Paul Christy designed a format which played only early album rock, from the 1960s and early 1970s, without any current music or Top 40 material at all. KRBE was the first station to use the term "classic rock" on the air.^[8] Classic Rock soon became the widely used descriptor for the format, and became the commonly used term for early album rock music by the general public.

Typically, classic rock plays rock songs from the mid 1960s through the 1980s. Some of the songs overlap with those played on oldies stations, but classic rock also focuses on bands and artists that aren't considered radio friendly and therefore are usually not played on oldies stations. Unlike AOR radio stations, which played all tracks from albums, classic rock plays a much more limited playlist of charting singles and popular album tracks from artists and bands. Some classic rock stations devote time to lesser known bands, album tracks and B-sides, paying homage to their AOR roots. Classic rock stations typically fit into one of three categories: traditional/early (60s-80s), late (70s-80s with some songs from the 90s and early 2000s) and active (a mixture of new songs with classic rock hits; these stations typically aren't considered classic rock). Classic rock is mainly tailored to a male, adult demographic, but also has a significant fan base in the female and younger (primarily teen) demographics as well.^{[citation needed]}

Classic rock in recent years has been expanded to include glam metal and progressive rock acts. These artists are often put on "late classic rock" stations (such as XM Classic Rewind) while the more traditional artists are put on "early classic rock" stations (such as XM Classic Vinyl). Even "late classic rock" stations, for the most part, have avoided playing 1990s rock such as early alternative rock and grunge because of the dramatic change in the tone of rock music during that time frame (Music Choice's "Retro Rock" is a notable exception to this, although even that channel separates 1980s and 1990s music into their own blocks).^{[citation needed]} At the same time, some classic rock stations have started focusing on classic alternative and modern rock hits as well as traditional classic rock songs (such as KLOS in Los Angeles), adding bands and songs typically avoided on classic rock stations such as Nirvana, Sublime, and Red Hot Chili Peppers.^{[citation needed]}

Even though new bands sometimes mimic the classic rock sound (e.g. The Black Crowes), they are not considered a true classic rock band because they are in the wrong era (not early 1960s to early 80s). However, classic rock bands from the original era who still produce new music outside of that classic rock era (like The Rolling Stones) are grandfathered in and are still defined as classic rock (as long as their style hasn't changed).^{[9][unreliable source?]}

See also[link]

Music portal

• List of music radio formats
• Music radio
• Active rock - a mix of classic rock and modern rock, but trending closer to modern rock.
• Mainstream rock - a mix of classic rock and modern rock, but trending closer to classic rock.
• Adult album alternative

References[link]

External links[link]

Geddy Lee
Lee playing his signature Fender Jazz Bass on Rush's Snakes & Arrows Tour
Background information
Birth name	Gary Lee Weinrib
Born	(1953-07-29) July 29, 1953 (age 58) North York, Ontario, Canada
Genres	Hard rock, progressive rock, heavy metal
Occupations	Musician, songwriter, producer
Instruments	Bass, vocals, keyboards, guitar, synthesizers
Years active	1968–present
Labels	Mercury, Anthem, Atlantic
Associated acts	Rush, Big Dirty Band
Website	rush.com
Notable instruments
Geddy Lee Signature model Jazz Bass Rickenbacker 4001 Fender Precision Bass

Geddy Lee Weinrib, OC (born Gary Lee Weinrib; July 29, 1953)^[1], better known as Geddy Lee, is a Canadian musician, best known as the lead vocalist, bassist, and keyboardist for the Canadian rock group Rush. Lee joined what would become Rush in September 1968, at the request of his childhood friend Alex Lifeson, replacing original bassist and frontman Jeff Jones.^[2]

An award-winning musician, Lee's style, technique, and skill on the bass guitar have inspired many rock musicians such as Cliff Burton of Metallica,^[3] Steve Harris of Iron Maiden,^{[citation needed]} John Myung of Dream Theater,^[4] Les Claypool of Primus,^[5], Frank Bello of Anthrax,^[4] Juan Alderete of The Mars Volta^{[citation needed]}, and Tim Commerford of Rage Against the Machine.^{[citation needed]}

In addition to his composing, arranging, and performing duties for Rush, Lee has produced for various other bands, including Rocket Science. Lee's first solo effort, My Favourite Headache, was released in 2000.

Along with his Rush bandmates – guitarist Alex Lifeson and drummer Neil Peart – Lee was made an Officer of the Order of Canada on May 9, 1996. The trio was the first rock band to be so honoured, as a group.^[6] Lee is ranked 13th by Hit Parader on their list of the 100 Greatest Heavy Metal vocalists of all time.^[7]

Biography[link]

Early years[link]

Geddy Lee was born Gary Lee Weinrib on July 29, 1953 in Willowdale, (North York) Toronto, Ontario, Canada to Morris and Mary Weinrib (née Manya Rubenstein).^[1][8] Lee's stage name, Geddy, was inspired by his mother's heavily accented pronunciation of his given first name, Gary, and it later became his high school nickname before he adopted it as his stage name. In an interview written in Bass Frontiers Magazine, Geddy Lee explains; "My born name is Gary. My real name, now, is Geddy. Okay, it's like the same story of Leave it to Beaver. (laughs). The story goes: my mother is Polish and she has a very thick accent. When I was about twelve years old, I had a friend who, whenever he heard my mother pronounce my name, he thought she was calling me, 'Geddy'. He started calling me 'Geddy', and eventually, all of my friends started calling me 'Geddy', and eventually my mother started to call me 'Geddy', for real. And eventually, I changed my name legally to 'Geddy', so that's the story and that's my name, Geddy."^[9]

Lee's parents were Jewish refugees from Poland who had been survivors of Dachau and Bergen-Belsen concentration camps during World War II. In 2004, Jweekly featured Lee's reflections on his mother's experiences as a refugee, and of his own Jewish heritage.^[8] In an interview with Rob Tannenbaum of Maxim, Lee described the two most Jewish things about him as "[M]y nose and my sense of humor. I'm kind of a Jewish atheist: I bathe in the racial beauty of Judaism, but I don’t really see what that has to do with a belief in God. The only time I pray is on the tennis court."^[10]

Lee attended the same elementary school as comedian Rick Moranis.^[11] Geddy Lee also attended Willowdale Junior High School with Steve Shutt of the Montreal Canadiens.

Lee married Nancy Young in 1976. They have a son, Julian, and a daughter, Kyla.

Personal interests[link]

Lee is an avid wine collector, with a particular penchant for the Burgundies^[12] and a collection of some 5,000 bottles.^[13] He takes annual trips to France, where he indulges in cheese and fine wine.^[14] In 2011, a charitable foundation he supports, Grapes for Humanity, created the Geddy Lee Scholarship for students of winemaking at Niagara College.^[15]

Other hobbies he cultivates include hiking, long-distance cycling, tennis, collecting baseball memorabilia, art collecting, and travelling.^[16][17]

On June 5, 2008, Lee donated his entire collection of nearly 200 autographed Negro League baseballs to the Negro Leagues Baseball Museum in Kansas City, Missouri.^[18][19][20] Bob Kendrick, a director at the museum stated, "Some of these guys have been dead for some time, and we could not get these (signatures) before no matter what their significance was in the Negro Leagues."^[21]

Body of work[link]

The bulk of Lee's work in music has been with Rush (see Rush discography). However, Lee has also contributed to a body of work outside of his involvement with the band through guest appearances and album production. In 1981, Lee was the featured guest for the hit song "Take Off" and its included comedic commentary with Bob and Doug McKenzie (played by Rick Moranis and Dave Thomas, respectively) for the McKenzie Brothers' comedy album Great White North. The following year, Lee produced the debut (and only) album from Toronto new wave band Boys Brigade. On the 1985 album We Are the World, by humanitarian consortium USA for Africa, Lee recorded guest vocals for the song "Tears Are Not Enough".^[22] Apart from band contributions, Lee sang the Canadian National Anthem in front of a full crowd at Camden Yards for the 1993 All-Star Game.^[23]

Another version of "O Canada" in rock format was recorded by Lee and Lifeson on the accompanying soundtrack CD for the Trey Parker and Matt Stone film South Park: Bigger, Longer, and Uncut released in 1999.^[24]

My Favourite Headache, Lee's first solo album, was released on November 14, 2000 while Rush was on a hiatus due to tragedies in drummer Neil Peart's life.^[25] Lee appeared in Broken Social Scene's music video for their 2006 single "Fire Eye'd Boy", judging the band while they perform various musical tasks, and in 2006, Lee joined Lifeson's supergroup the Big Dirty Band, to provide songs accompanying Trailer Park Boys: The Movie.^[26]

Lee also plays bass on Canadian rock band I Mother Earth's track "Good For Sule", which is featured on the group's album "Blue Green Orange", released in 1999.^[24]

Lee has also been interviewed for such documentary films as "Metal: A Headbangers Journey" and "Rush: Beyond the Lighted Stage" as well as various episodes of the new VH1 Classic series "Metal Evolution".

Geddy, along with his band mates played and sang along with Max Webster on the song "Battle Scar" from the Universal Juveniles (1980) album.^[24]

Vocal style[link]

Lee's voice has been referred to as an "astoundingly high" tenor.^[27] During Rush's early period, Lee's voice was described as a "Robert Plant-esque wail."^[1] Beginning with the Permanent Waves album in 1980, Lee gradually changed his vocal style to a more restrained sound.^[1]

Lee has said that he maintains "a fairly strict diet" in order to accommodate the vocal demands of his music before and during tours. He avoids dairy products, certain spices, and "highly acidic foods like vinegars and white wines."^[14]

Equipment used[link]

Lee has varied his equipment list continually throughout his career.

Bass guitars[link]

For his first local gigs in the early 1970s and Rush's debut album, Lee used a Fender Precision Bass. From Fly By Night onward, Lee favoured Rickenbacker basses, particularly the 4001 model. It was during the making of A Farewell to Kings when Geddy began using a custom made Rickenbacker Bass/Guitar Double Neck, incorporating a 4001 bass and a 480 12-string guitar. This would become the 4080/12 model Double Neck, a later Rickenbacker production model. Geddy would use this double neck all throughout the "Kings" tour in 1977 – 78, until retiring it at the end of the "Moving Pictures" Tour in 1981. Soon after, Geddy began using the Fender Jazz Bass which was used on Permanent Waves, Moving Pictures, Signals and the supporting tours. In 1981, Lee began using the compact, headless Steinberger bass, which he occasionally used on the supporting tour for Signals and for several tracks on Grace Under Pressure. From 1985 to 1992, Lee used British Wal basses. He switched back to Fender Jazz Basses for the recording of Counterparts in 1993, and has been using them virtually exclusively since, heard on albums Test For Echo, Vapor Trails, Feedback and Snakes & Arrows. He used a Fender Jaco Pastorius Tribute fretless replica bass for the song "Malignant Narcissism" on Snakes & Arrows, and a Fender Custom Shop Jazz with an Alder Body and a Flamed Maple top in Transparent Red for songs in an alternate tuning during the last several tours. In 1998, Fender released the Geddy Lee Jazz Bass, available in Black^[28] and 3-Color Sunburst^[29] (as of 2009).^[30] This signature model is a recreation of Lee's favourite bass, a 1972 Fender Jazz that he bought in a pawn shop in Kalamazoo, Michigan. On all of his basses, Lee uses Rotosound Swing Bass 66 Stainless Steel round-wound strings (RS66LD). Lee once again used his Rickenbacker 4001 for the performance of "A Passage To Bangkok" on the 2007 and 2008 Snakes & Arrows Tour. For the 2010-2011 Time Machine Tour Lee added the alchemical symbol for "Amalgamation"^[31] to the body of his Fender Jazz Bass guitar.

Bass guitar amplification[link]

Lee's amps in the early days were arena-ready Sunn and/or Ampeg models. By 2112, he was using two Ampeg SVTs, one which ran into 2 Sunn 215 cabs, and one which ran into 2 Ampeg V4b 215 cabs. For Hemispheres, his backline had evolved into a configuration of Ashly preamps, BGW power amps, Ampeg V4b cabinets, and Thiele design cabinets which were run in stereo with his 4001 bass. The neck pick-up was sent to one amp and set for a clean, bass-heavy tone, which then ran into two Ampeg V4b 215 cabs, while the bridge pick-up was sent to the other amp which was set with an exaggerated treble boost, and extra gain in the preamp and was sent into two Thiele 215 cabs. This defined Lee's bass sound from 1977 to 1982. On the Grace Under Pressure tour, Lee removed his Ashly preamps and switched to Furman PQ-3 preamps, and changed cabs to custom made 215 cabs. This set up stayed until the Counterparts tour, where he switched to Trace Elliot Quatra 4VR amplifiers, GP12 SMX preamps, with two single 18 speaker cabs and two 410 speaker cabs. On the Test for Echo tour he used the same set up but added a Palmer PDI-03 speaker simulator, and a SansAmp PSA-1.

Beginning in 2002, Lee dispensed with using a single bass guitar amplifier in favour of a chain of amplifiers and DI units, which allow the bass guitar to be connected directly to the stage and front-of-house mixers without involving microphones. Lee began using in-ear monitors at this point.

At the beginning of the 2002 Vapor Trails tour, Lee revised his previous setup. His bass signal is sent via a Samson wireless unit to an Avalon U5 DI. From there it is split between a Trace Elliot Quadravalve all-tube power amplifier and a SansAmp RBI rackmountable preamp. The speaker-level signal from the Quadravalve is sent to a Palmer PD-05 speaker emulator, which provides adequate load for the tube amplifier and attenuates the signal down to line level. The signals from the U5, Quadravalve/PD-05, and RBI are all sent to the monitor and front-of-house mixers and blends of the signals are changed on a song-by-song basis. Typically the Quadravalve/PD-05 signal makes up the low end while a balance of the U5 and RBI make up the high end, with the RBI providing the "top end" distortion in Lee's sound.

For the 2007 Snakes and Arrows tour, Lee swapped the SansAmp RBI for a new unit by Sansamp, the RPM. During preparation for this tour a feature on bassplayer.tv with his live bass tech, Russ Ryan, was filmed, detailing Lee's live signal path.

For Rush's 2010 tour, Lee is using 2 × Orange AD200 bass heads together with 2 × OBC410 4x10 Bass Cabinets.^[32]

Keyboards and synthesizers[link]

Over the years, Lee's keyboards have featured synthesizers from Oberheim (Eight-voice, OB-1, OB-X, OB-Xa), PPG (Wave 2.2 and 2.3), Roland (Jupiter 8, D-50, XV-5080, and a Fantom X7 starting on the Snakes & Arrows Tour), Moog (Minimoog, Taurus bass pedals, Moog Little Phatty^[33]), and Yamaha (DX7, Yamaha KX76). Lee used sequencers early in their development and has continued to use similar innovations as they have developed over the years. Lee has also made use of digital samplers. Combined, these electronic devices have supplied many memorable keyboard sounds, such as the "growl" in "Tom Sawyer" and the melody featured in the chorus of "The Spirit of Radio".

With 1993's Counterparts, Rush reduced most keyboard- and synthesizer-derived sounds in their compositions, and they continued to do so with each successive album. In 2002, the band produced an album—Vapor Trails—that was completely free of keyboards and synthesizers, featuring only voice, guitar, bass guitar, drums and percussion. With the release of 2007's Snakes & Arrows, Lee sparingly adds a Mellotron and bass pedals to the instrument line-up. However, it does not mark a return to a "synth" sound for the band. Much like Vapor Trails, the music is primarily recorded with multiple layers of guitars, bass, drums and percussion.

Live performances: special equipment[link]

Recreating unique sounds[link]

Newer advances in synthesizer and sampler technology have allowed Lee to store familiar sounds from his old synthesizers alongside new ones in combination synthesizer/samplers, such as the Roland XV-5080. For live shows in 2002 and 2004, Lee and his keyboard technician used the playback capabilities of the XV-5080 to generate virtually all of Rush's keyboard sounds to date, as well as additional complex sound passages that previously required several machines at once to produce.^[34]

When playing live, Lee and his bandmates recreate their songs as accurately as possible with digital samplers. Using these samplers, the band members are able to recreate, in real-time, the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" that are familiar to those who have heard Rush songs from their albums.

To trigger these sounds in real-time, Lee uses MIDI controllers, placed at the locations on the stage where he has a microphone stand. Lee uses two types of MIDI controllers: one type resembles a traditional synthesizer keyboard on a stand (Yamaha KX76). The second type is a large foot-pedal keyboard, placed on the stage floor (Korg MPK-130, Roland PK-5). Combined, they enable Lee to use his free hands and feet to trigger sounds in electronic equipment that has been placed off-stage.^[34] It is with this technology that Lee and his bandmates are able to present their arrangements in a live setting with the level of complexity and fidelity that fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member.^[35]

Lee's (and his bandmates') use of MIDI controllers to trigger sampled instruments and audio events is visible throughout the R30: 30th Anniversary World Tour concert DVD (2005).

From the Snakes and Arrows tour onwards, Lee used a Roland Fantom X7 and a Moog Little Phatty synthesizer.

Unique stage equipment[link]

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Rush live in concert, with rotisseries and chef in background.

As of 1996, Lee no longer uses traditional bass amplifiers on stage, as he prefers to go direct into the venue's FOH console which helps the sound reinforcement during the concerts. Faced with the dilemma of what to do with the empty space left behind by the lack of large amplifier cabinets, Lee chose to decorate his side of the stage with unusual items.

For the 1996–1997 Test for Echo Tour, Lee's side sported a fully stocked old-fashioned household refrigerator. For the 2002 Vapor Trails tour, Lee lined his side of the stage with three coin-operated Maytag dryers. Other large appliances appeared later in the same space. For visual effect they were "miked" by the sound crew, just as a real amplifier would be. Rush's crew loaded the dryers with specially designed Rush-themed T-shirts, different from the shirts on sale to the general public. At the close of each show, Lee and Lifeson tossed these T-shirts into the audience. The dryers can be seen on the Rush in Rio DVD and the R30 DVD. For the band's R30 tour, one dryer was replaced with a rotating shelf-style vending machine. It too was fully stocked and operational during shows. The vending machine can be seen on the R30 DVD.

The Snakes & Arrows Tour prominently featured three Henhouse brand rotisserie chicken ovens on stage complete with an attendant in a chef's hat and apron to "tend" the chickens during shows.^[36] For the 2010–2011 Time Machine Tour, Lee's side of the stage featured a Steampunk inspired combination Time Machine and Sausage Maker.

Awards[link]

Rush portal

• Bass Hall of Fame – Guitar Player magazine
• 6 time winner: "Best Rock Bass" – Guitar Player magazine
• 1993 – "Best Rock Bass Player" Bass Player readers' poll

• 1994 – With Rush, inducted into the Juno Hall of Fame
• 1996 – Officer of the Order of Canada, along with fellow band mates Alex Lifeson and Neil Peart
• Best Album for Bass (Snakes & Arrows) – Bass Player magazine
• "Coolest Bass Line in a Song" (for "Malignant Narcissism") – Bass Player magazine
• "Best 2007 Cover Feature" for "Northern Warrior" – Bass Player magazine
• 2010 – With Rush, "Living Legend" – Classic Rock Magazine

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Geddy Lee

• Rush official website
• A colourful Geddy interview, w/ Nardwuar the Human Serviette
• Geddy Lee Interview on The Hour with George Stroumboulopoulos
• Geddy Lee Interview in SPIN
• Order of Canada citation