The year 2000 saw the release of Geddy Lee's first and only solo album, My Favorite Headache. Lee's work in Rush brought his name and reputation as a (or the) top rock bassist to the world. On this solo project, Geddy shows us just how much of a melodic composer he can be... not that Rush hasn't been responsible for great tuneful songs over the years, but out on his own, Lee demonstrates a knack for catchy music without all the progressive trappings. A simpler approach in a straight-forward rock vein.
On this debut solo outing, Geddy shows a flair for both the technical and musical sides of recording. Not only did he co-produce and co-engineer the album with Ben Mink (of that other Canuck prog band FM), he also co-wrote all the songs therein with Mink. So ol' Ged expressed his talents in both the studio proper and the control room.
The title track kicks off the album with a splash... a lone heavy bass chugs through the intro, then is joined by a nasty gnarly guitar rhythm, aggressive drums, all accented by a spiraling guitar lead. Pleasant, lighter segments are achieved through Ged's piano, though he focuses more on the gritty and crashing sounds.
The Present Tense has a Lifeson-esque guitar sense throughout, and it's a solid rockin' affair. Window to the World isn't unlike that, too. Working at Perfekt is a heavier hitter with big, dense guitars and multi-tracked bass, though don't overlook the orchestral strings that add a dramatic flourish. Runaway Train is a busy and energetic exercise, layers of guitars and programming adding to the overall effect of a rocker with heart.
The Angels' Share is a slow-tempo track that, while intricate and layered, sort of plods along without much of interest for me. Not bad, just not great. Next tune Moving to Bohemia is bursting with bass riffage that rivals some old Rush faves. But again, there's a sameness to most of these songs. Not terrible, just not nearly as adventurous as listeners have come to expect of Rush... and even witnessed on guitarist Alex Lifeson's 1996 solo venture. Home On the Strange is a funky piece, a catchy shuffle bearing some entertaining lyrics. This just might be my favourite tune on the album.
Next track Slipping proceeds slowly yet with intention, a sort of ballad, if I may say so. S'okay. Then the following track Still continues that quieter, calmer mood. Again, s'okay. Grace To Grace engages the listener from note one... a forceful riff and drum tempo drive the verses nicely, and the contrast against the ethereal chorus creates a fun and inventive rock song. All right, maybe this is my fave song on Headache, with Home On the Strange a close second.
Overall, I feel this is a fairly solid recording. A couple of outstanding tracks plus a few more good ones anchor an otherwise unexceptional album of "okay" music. Lee has a lot to offer in the context of Rush, but on his own, or with Mr. Mink in the co-captain's chair, his songwriting is competent but a bit too "safe". There are moments of brilliance yet I hate to say there is a sameness that carries from one track to the next... with those few notable exceptions.
Sure, Geddy is the voice of Rush, but I'd say the band's democratic process tempered any one contributor's ideas with an evenness that avoided too much of any one thing. I'll concede that the introduction of keyboards in the 80's at first tamped down Alex's guitar, but in short order, Al evolved his sound and style to fit his six-string voice into the mix effectively. Here on Headache, though, Geddy locks himself into a mostly mid-tempo, plain Jane rock mode. Not terrible, just not all that exciting. Not the way Rush in their prime was. I think Lee's co-songwriter 'ought to have brought something more inspired and stimulating to the table, to bring a little more life to the party. Maybe next time?
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