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Guitar World's Bass Guitar, Aug/Sept 2004
 Geddy Lee looks back at a few Sixties classics covered on Rush's new EP, "Feedback"
- "Crossroads" Recorded by Cream
Wheels of Fire (1968)
Bassist: Jack Bruce
"It's a very simple version of the song, quite unlike anything else on Feedback. We just set up and played the song live; afterward, I did just a single track of vocals. When' we mixed it, we even set up the stereo field so that the guitar is off to on one'side and the bass is off on the other side."
- "Summertime Blues"
Recorded by Blue Cheer
Vincebus Eruptum (1968)
Bassist: Dickie Peterson
"The song has been done by a lot of people, but the first version we all loved was by the Blue Cheer. In fact, we played a few Blue Cheer songs back in those days. They were our heroes because they were the loudest power trio in the history of power trios. We really dug that!"
- "7 And 7 Is"
Recorded by Love
Da Capo (1967)
Bassist: Ken Forssi
"One of the weirdest songs ever written. Pure surrealism. Alex and I loved this song when we were kids, especially the chord progression. The lyric is probably the goofiest thing I've sung in my life, We had some fun with it, because it's lightning fast, and Neil plays one single snare roll from the beginning of the song right to the end."
- "The Seeker"
Recorded by the Who
Meaty Beaty Big and Bouncy (1971)
Bassist: John Entwistle
"There were so many other Who songs that we wanted to do, but there was something about 'The Seeker' that we all liked, and I think it's because in our own songs we never play that slowly! We're always so hyper, and there's something about that song and that feel that's just so classic."
- "Heart Full Of Soul"
Recorded by the Yardbirds
For Your Love (1965) [webmaster note: "Heart Full Of Soul" appears on "Having A Rave Up" (1965)]
Bassist: Paul Samwell-Smith
"We changed it up a little bit. The verses are very simple, and the choruses kind of kick in with a block of harmony that I wrote. I think it's one of the best things we've ever recorded. As soon as it comes on, it sounds contemporary, but it sounds like the Sixties, too. It feels like there should be an Austin Powers movie running with it simultaneously."
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