| Nick Seymour of Crowded House:
FN: You really flipped out over the Geddy Lee Jazz Bass. In a good way …
NS: Yeah! Ironically, I have vintage Fender instruments in my studio …
FN: Yeah, didn’t we see you wielding a ’50s Precision back in the ’90s?
NS: A ’57 Precision is the one I played at the Sydney Opera House. I was playing that a lot toward the end of Crowded House and realizing that it was possibly in danger of being damaged and in fact being lost, you know, on airplanes. Neil lost a really valuable Gretsch® that way that was never found—they replaced it, but not at market value. This was Qantas Airways, I might add (grins).
Anyway, I tried out a lot of contemporary basses. I’ve got a Fender Jazz that is an American-made one; probably about four years old. It wasn’t until I tried that Geddy Lee bass that … (pauses) … it seems like it’s probably based on an anomaly of a bass that appeared in the early ’70s for Geddy Lee; and he’s just copied it and he’s got it right! He’s got it right—I mean, it feels like a really idiosyncratic, simple bass. Really easy to play. You just look at it and it plays (laughs). | 
