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.

When I look out at the audience at some of our shows, I think we are reaching a younger audience... I see lots of people in their 30s and 40s, but I also see a lot of people in their young and middle teens, and that's definitely reassuring.

Rush has never been a spontaneous group. We may be spontaneous in our writing, we may be spontaneous as individuals in our day to day lives... certainly I think am and always have been, but I think when it comes to Rush and our presentation of our music it's quite controlled.

I think we're quite unique in that we do have our own sound and approach and we don't really care what's going on elsewhere... we've never wanted to be part of another trend or movement.

We've managed to have a long career that is still quite vibrant, yet we've never had to kow-tow to record companies who said we weren't commercial enough.

But when Neil called, I have to say that my heart soared. And the reason was, because it said so much about his recovery... that he was coming back to the world of the living.

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.

If there was any one achievement, it would be that we've have done it on our own terms.

And on top of that, when we work together we have a wonderful working relationship we push each other we challenge each other we laugh 80% of the time that we are together we're very fortunate.

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.

When we signed our deal in 1974, we'd already been together for six years. When they lowered the drinking age in Ontario in 1971 to 18 years, we went from playing two or three high schools in a month to playing clubs two or three times a week.

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.

I'd say we do reach somewhat of a younger audience, but I think for the most part that younger audience is picking our music up from a brother or sister or even parent, who is turning them onto the band.

Certainly after the tragedy in Neil's life, we were holding out hope for his recovery. It wasn't too promising at the time and obviously you get to the point of thinking that that is it.

I think that's given inspiration to other musicians. I know, particularly through the 90s, a lot of bands would cite Rush as an influence. I don't think it was so much our music, but more the way we really stuck to our guns.

I mean, you go to the internet and you can see all these conversations and arguments that our fans have about our music and that's wonderful to know, that people would take the time to be that involved.

At the same time, I've never been afraid of death or the concept of death.

You know, we have a long history of covering different periods of this band's development with a live record... a sort of live thing that would be done for three or four records, and that was the intention with this particular package.

'Tom Sawyer' could have been written eight months ago, with the kind of response it still gets.

I enjoyed art in school. I've always done little drawings and stuff like that. I don't really know what I'm doing with the painting, but I experiment.

I really consider myself more of a rhythm guitarist than a soloist.

I really don't feel the need to be in the Rock and Roll Hall of Fame because, at the end of the day, it's just somebody's Rock and Roll Hall of Fame. They have a particular process, and they're welcome to do it however they want to do it.

I'm not that fluid when it comes to scales and modes. I just pick up the guitar and play. It's all about exploration: just tune the guitar any way you want and start playing.

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.

Of any guitarist, Jimmy Page was my biggest influence. I wanted to look, think and play like him. Zeppelin had a heavy influence on Rush during our early days. Page's loose style of playing showed an immense confidence, and there are no rules to his playing.

One doesn't want to feel too contented; you have to feel challenged by the music.

People are getting away from the whole album experience, it's true. I think that's sad. Maybe I'm just saying that because I'm an old fart. But I can't help it - albums are what I grew up with, and I still love them.

The Stones were more dangerous than other bands of the Sixties. It looked like they had more fun than the Beatles - like they stayed up later.

When I sit down and play guitar, I melt into the instrument. I can play for hours by myself. Playing guitar has given me such a wonderful life, and I'm grateful for it.

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.

Men are often capable of greater things than they perform - They are sent into the world with bills of credit, and seldom draw to their full extent.

What the F.D.I.C. does is to put the full faith and credit of the United States government behind every savings account in the nation, up to a limit that has changed over the years and stands now at $100,000.

Over and over again, financial experts and wonkish talking heads endeavor to explain these mysterious, 'toxic' financial instruments to us lay folk. Over and over, they ignobly fail, because we all know that no one understands credit default obligations and derivatives, except perhaps Mr. Buffett and the computers who created them.

Until the control of the issue of currency and credit is restored to government and recognized as its most conspicuous and sacred responsibility, all talks of the sovereignty of Parliament and of democracy is idle and futile.

All the perplexities, confusion and distress in America arise, not from defects in their Constitution or Confederation, not from want of honor or virtue, so much as from the downright ignorance of the nature of coin, credit and circulation.

When you take a look at the problems our country is facing, debt is No. 1. The math is downright scary and the credit markets aren't going to keep on giving us cheap rates.

It's just that back then we didn't know that was considered being a coproducer. I would sit on the side and say what I wanted musically, but at the time we thought if you aren't the one playing it, you don't get the credit. Now you'll start seeing my name listed as producer.

Money is a poor man's credit card.

It is amazing what you can accomplish if you do not care who gets the credit.

You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?

No one ever taught me and I can't teach anyone. If you can't explain it, how can you take credit for it?

A leopard does not change his spots, or change his feeling that spots are rather a credit.

Soldiers generally win battles; generals get credit for them.

It is only the poor who pay cash, and that not from virtue, but because they are refused credit.

When women love us, they forgive us everything, even our crimes; when they do not love us, they give us credit for nothing, not even our virtues.

Once a nation parts with the control of its credit, it matters not who makes the laws.

I do think actually in this case the government does get credit for funding some of the basic research.

And I have to credit David Jacobs with the opportunities he gave me. He was totally into sharing the creation of characters. David put together a show that told the story of people over many years' time and that was greatly enjoyable. Though nowadays that is frowned upon.

He only seems to me to live, and to make proper use of life, who sets himself some serious work to do, and seeks the credit of a task well and skillfully performed.