Quotes of All Topics . Occasions . Authors
It's imperative that I continue putting together the best shows and take it to the next level. I'm talking to people about holograms, and my dream is to do the hologram drum solo with dad next to me.
I'm also performing regularly in Southern California with two bands. As a solo artist doing acoustic sets and a member of the Jenerators, my rock n roll band that has been around for a long time now.
It's very hard to find a pianist that's willing to play the so-called accompanist role on part of the program and yet be capable of being a great solo pianist that you would want for the big sonatas.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
The greatest benefit of being a solo performer is that it is seriously frightening, but at the same time very empowering. It's just you and the audience. All the weight is on you to deliver the songs.
Now that I'm staring down the barrel of the last act of my life, I'm less excited about control and solo effort, and I resent the way the business aspects interfere with my space for creative writing.
We are all connected. The pain and suffering of others is yours also, on some level, whether you choose to pay attention or not. The reason we can't achieve total bliss is because you're not here solo.
First time that I cried at a work of art was at a drum solo that I saw. A drummer named Winard Harper, part of the Billy Taylor Trio, gave back in - I would have been in high school - 2005 or something.
The first song on my first album is not a song - it's a guitar solo! It's called 'Frenzy,' and it's pretty much nonstop maniacal guitar playing. I had just turned 19, and I had some serious muscle then.
When I play solo, that's when I put it all together. I go through all of the songs that I've written wtih all of the different bands; that, for me, tells its own story, and the DVDs really enforce that.
I'd been virtually doing nothing in the country in 16 years of being a retired lady. Being busy walking my dogs - actually not doing anything very constructive. I made one little solo album in my garage.
I can be a little messy and wild and carefree with my creativity as a solo artist. In a group, there's a certain structure, and everyone has a part to play, and being a solo artist, I can do as I please.
The best slide solo I ever played was on... what's her name? That girl singer who used to be with that all-girl band? ... Belinda Carlisle of the Go-Go's! That's who it was. I played on one of her albums.
I knew I was destined to be a rock star. I just knew it, like I've always had the power of foresight. I feel right now exactly the way I felt after I finished mixing my first solo album 'New York Groove'.
I remember a song I did called 'If the Good Die Young' - I wanted to have a lead guitar solo on there, and the label flipped out! It was too rock and roll. They made us go back and put fiddle on the solo.
Herb Solo at that time was the head of MGM. I said, 'I want to live like Clint Eastwood.' Did I know at that time Clint Eastwood, to him, Heaven was a truck, a dog, and a picnic basket for food or something?
Do you know the solo at the end of 'Why Don't You Love Me Any More?' that sounds like a chainsaw breaking through? That is what I can't do with my voice. That's when you hear how painful this has been to me.
It hasn't always been easy, but you get to a point where you're not doing the solo stuff with any kind of expectation in terms of commercial or a business outcome, you're doing it because you believe in this.
There's something about the rawness of the live thing, there's no rhythm guitars behind the solo, nothing other than what you hear the people playing at that moment. It's exciting, it's about the performance.
When I was 23, I felt like I was further back than when I was 21. After two solo albums for this small indie label Just Music, they'd gotten no real profile. So I kind of turned away from the solo thing a bit.
That was the producer who produced a couple of my solo albums. He produced my second, third and fourth solo albums. It was his project and I just joined him on it. I sang on one and played bass on another one.
Frankly speaking, from day one, I've been offered solo leads, but I did not take up any of them. For me, it has to be the right script and the right director before I launch myself in Tollywood in a lead role.
There were many times during our career when he could've quit and done something else. But he knew that his power was with the Grateful Dead. He didn't want to go solo. Jerry was a groupist. He loved to group.
My friend once sculpted me a bust of Admiral Ackbar from 'Star Wars.' He's my favourite character in the films after Han Solo. He's that goldfish-type alien in the white costume. 'It's a trap!' I'm a big geek.
There's always been a lot of misunderstanding about Lando's character. I used to pick up my daughter from elementary school and get into arguments with little children who would accuse me of betraying Han Solo.
I didn't make my first solo record until 1981 so I don't have any 60's or 70's recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.
When I went out and started making solo records, I was determined not to, I guess, put my name on an album that sounded like Styx. I wanted to carve my own niche, so quite frankly I went in a different direction.
It was one of the most exciting, perfect evenings of my life, my solo debut at Carnegie Hall. And knowing we were all there to raise money for Gay Men's Health Crisis made the evening an extraordinary experience.
There are right and wrong reasons for doing solo projects, and this album was done for the right reasons. At the time there was no Judas Priest and I certainly wasn't going to hang my hat up on my musical career.
One of the great things that I loved about doing solo - which I ended up doing because I was too shy to ever try out for bands back in the day - I could sit there with a list of songs and 'paint away' for the show.
It's like, on my solo stuff, every single person who buys the record, gets it. On the other stuff, the masses... when you have a hit on the radio, not everyone's going to get it. They are going to buy it for the hit.
The Eagles are four very alpha personalities. We've all done solo work, and we've all played with very good musicians, but when the four of us get together, it becomes something that's much bigger than any one of us.
On my first European solo tour, I was selling maybe 50 tickets a city until I showed up in Paris and heard the show was already at 150 tickets, which, at the time, really blew my mind and took me by complete surprise.
Like Russell, I enjoy the fact that when I'm playing solo, if I want to do something completely spontaneous, I don't have to worry about how I'm going to cue the other musicians, or if it's something that's rehearsed.
I'm definitely gonna do another solo record at some point. 'Flamingo' wasn't just me dipping my toes in the water. I really loved it. It was successful, and that helps, but I love those songs, and I miss singing them.
The idea of the mystic solo, meditating away on his own, is only one path of yoga. Very early on, I chose the path of Life. One path is austerity and isolation, the other is Life. But they both lead to the same place.
In 1993, I premiered my solo piece 'Hysterical Blindness and Other Southern Tragedies That Have Plagued My Life So Far' at the Hudson Mainstage Theatre. It then went to New York and ran for several months Off-Broadway.
Sometimes I feel like I'm taking on a role when I'm writing a song, and it doesn't always have to be true. I'm not sitting in my room crying with my guitar, writing a slow solo about a depressing breakup; that's not me.
I definitely have been nervous, but often I get more nervous performing with the corps de ballet than doing a solo. There's so much pressure doing a group number because if you muck it up, you've ruined it for everyone.
It's been a slow steady climb since my solo band got together almost 20 years ago. Me and my manager Blake were just talking about this, how every show has a few more people at it, every record has done a little better.
Working with the brothers can put pressure on my voice, so I choose to do my own solo thing so I can save my voice. I couldn't do both now. The Neville Brothers is a funk band; they play loud, and I have a strong voice.
I've always wanted to do a solo record, and in 1999, I went over to Japan and did a project called NiNa, where I co-wrote with Yuki from Judy and Mary. It just sort of unleashed this realization in me that I could write.
Being a solo founder allows you to move quickly - when you're going up against massive, entrenched competitors, you need to maximize speed and agility. Having just one person at the top allows for faster decision making.
The reason I decided to become a solo artist in the first place was because I always felt that the results that I got from working as a team where everyone had equal say... ended up with compromised, watered-down results.
There's nothing worse than bad scatting, except maybe bad mouth trumpet. Mouth trumpet may sound like a trumpet, but it's really more like playing a kazoo. The instant you do your solo, the audience has a bit of a chuckle.
When I was on the road with Billy Bragg, it was cool because I was doing the whole thing solo and travel a lot by myself, which I quite like. I mean, I love being with friends, but it's kind of nice having that alone time.
I didn't want to crash into the ocean, but from watching Han Solo navigate an asteroid field to watching movies like 'Perfect Storm,' it would always kind of get my adrenaline up, and I knew it was something I wanted to do.
It's interesting when you've been a partner with someone for so long. So now to sing solo and starting all over again I am learning that I am more bodacious than I thought. I don't know where it's coming from but I am glad.
I like collaboration because, first of all, I'm good at writing lyrics. I don't know how to make beats. I don't play instruments. I'm not a good singer. So even when you see a solo album of mine, it's still a collaboration.
It's like being in a trance, like I get this electric current through my fingertips. Sometimes I shake. People say I look like Hendrix when I'm about to rip a solo because I move my shoulders like he does and do the chewing.