Published on Jun 17, 2004
[Editor’s note: Portions of this review appeared
previously on houseofshred.com.]
“What do you want from me?” Geddy Lee asks on the title track of
his solo debut
My Favorite Headache. That’s an easy question to answer,
Ged. For many years Rush fans everywhere have been spreading rumors
and speculating about a Lee solo album. I can remember as far back
as 1980 hearing that question asked by fans on call-in radio shows,
and it’s a common topic on Rush-related discussion boards. After
more than 25 years with Rush, we got our wish and the result is
well worth the wait.
Supporting Lee and co-producing is a lesser-known Canadian
legend, guitarist/violinist Ben Mink, who has spent the last few
years producing (and getting Grammy’s for) country crooner KD Lang.
In a previous life, Mink fronted the prog-rock band FM and guested
on Rush’s
Signals album. Mink delivers understated yet complex guitar
and strings, and shares writing credits with Lee on all eleven
songs. The violin and viola provided by Mink add fantastic layers
of texture to many of these songs. On drums is Soundgarden and
Pearl Jam veteran Matt Cameron. Lee, of course, plays bass as well
as piano, guitar and percussion.
From the outset Geddy makes sure you know exactly who you’re
listening to. Opening the disc is the title track with a thumping
bass done in Geddy’s inimitable style. Lee, however, does not use
this record as a stage for bass acrobatics, though he does do some
very cool stuff with multiple bass lines (as many as four on some
songs). It’s kind of like Lee knows he’s the Godfather of the Bass
and doesn’t need to prove anything on that front. The real
showpiece here is Geddy’s incredible voice – arguably one of the
most distinctive and well-known voices in rock music today. After
almost 3 decades his awesome pipes sound as strong and fresh as
they did when Lee screamed “Oh Yeahhhh!” on the opening track of
Rush’s first album in 1974.
Without a doubt, immediate comparisons will be made to Rush’s
music. Will Lee’s album be just a Rush clone? It’s definitely not.
Granted, there are a couple of songs that would fit easily in with
the last two Rush albums. All in all, this is a unique collection
of songs and styles, propelled by catchy rhythms and tasty hooks
that will be stuck in your head from the first listen.
Lee’s songwriting skills are excellent, despite him not really
having been a lyricist for nearly 20 years (Rush drummer Neil Peart
is the band’s lyricist while Lee and guitarist Alex Lifeson write
most of the music). Displaying a dry wit and a keen observation of
the world and its strange inhabitants, Lee writes about what he
sees around him. He is part wide-eyed kid and part jaded
curmudgeon. Mostly as an observer, Lee seems to be more spectator
than participant. He tells of the pitfalls of complacency on the
song “Runaway Train” asking “Who’s the fool, where apathy rules?”
and of the futility of hindsight on the disc’s closer “Grace To
Grace.” He warns us of the dangers of obsessive behavior on
“Working At Perfekt”: “But when it’s right it’s right as rain, and
when it’s right there is no pain and when it’s right you start
again…”
One track that stuck in my head from the outset is the hard
rocking “Moving to Bohemia,” a tale of escaping the boredom of
suburbia for the less pastoral pleasures of urban life: “Where the
airs’ not clean, where the water’s glowing green, where the dogs
are mean.” With its groove-infected guitar/violin melody and
sing-along chorus, this song will stick with you.
Another great track is “Home on the Strange,” a narrative about
a guy that could very well be a Gen-X Tom Sawyer. Tom, like Lee
himself, is 20 years down the road from his appearance on Rush’s
Moving Pictures, eyes not so wide as they once were, and a
little more wary of the world and the constant changes around
him.
Honestly the only negative thing I can think of to make is the
lack of spectacular solos from either Lee or Mink, either of whom
is more than capable some high-octane shredding. Fortunately for
us, the superb playing and lush arrangements more than make up for
the lack of instrumental acrobatics. Every song is generously
layered with creative musicianship; without ever falling into the
trap of being musical filler. Mink’s violin meanders in and out of
the mix, subtle keyboards and multiple bass and lead lines weave in
and out of each song and make for a full, rich tapestry of
sound.
The songs range in style from straight ahead rockers to serene
ballads. The instrumentation and arrangements are superb, showing
the great artistic sensibility that has become a trademark of Rush
albums over the years. Combined with Lee’s intelligent lyrics, this
record will please Rush fans and fans of great music alike.