Quotes of All Topics . Occasions . Authors
I've always played around in my own mind with what a Wilburys tour could be. Would each person do a solo set and then do Wilburys at the end, or would we all go on right from beginning to end and make everything Wilburys? It's an intriguing thought.
I think a solo moves forward the way a song does, because it's reflective of the chords that I'm considering as I'm soloing, and at the same time I'm going as much out on a limb as Frank Zappa used to, in terms of just going crazy on the instrument.
I don't know what he wants to do musically, but at the end of the day, I love Mick Mars - he's one of the sweetest human beings you'll ever meet in your life - and anything I can do to help him with his solo record, I would be more than happy to do.
I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.
I don't have to ask anyone's permission to do anything. It's nice not have to get decisions out of three, sometimes four people, which can be like pulling teeth. So the amount of control that I have over what I'm doing is better for me as a solo artist.
One of the beauties about going solo was being able to start from scratch and say, 'What do I really want? What kind of band do I really want? What kind of live show do I really want to stage?' Without any of the baggage of being something with history.
Firstly, 'Dance plus' is the only dance reality show in India with an entire panel of captains who rose to fame through their dancing skills. The show will introduce audiences to new trends and evolved dance forms through solo, duo, and group performers.
Every so often, if I'm in a melancholy mood, I'll sing 'Desperado' in my shows. I'll sit alone at the piano and play it as a solo. The song feels like an old friend - except now it's saying, 'You were a desperado once, but you worked your way out of it.'
Back when I was growing up, gangs wasn't heavy. We was solo thugging. When we got money on our own, the hood got money. It wasn't about colors or a certain name when I was growing up. We wasn't doing no gangs. But as the generations change, things change.
The research side of academic life is often viewed from the outside as a solo and, at times, lonely activity. In fact, it is quite the opposite: a communal activity in significant part where interaction and interchange generate ideas and critiques of them.
When you see 'Star Wars', and you see Greedo hustle up to Solo, you know they have a history; you understand that there's a dude named Jabba the Hutt who's after him, and Greedo is going to try to shoot him and get the money. You get what's going on there.
I'm not a really good classical guitarist by any means, but what I learned from this is a way of working very slowly on solo pieces and I enjoyed working on these pieces of John's. They were not written for solo guitar but a lot of them were easy to adapt.
I had always sung in choirs. Even when it was something to be laughed at or made fun of, you know, in school. And I was always the kid who was picked at the Christmas concert to sing the solo, you know, while the other kids snickered in the front few rows.
It comes back to the same old question people are always asking me: 'When are you going to do a solo record?' Well, if I did, it would probably be similar to 'Baluchitherium,' meaning it would be Van Halen music - which I write anyway - but without singing.
The greatest compliment I ever got was when people called me an artist, and I understand that solo aspect of being an artist, when you're in there by yourself, trying to do something great, and people who don't even know you can come up and just dump on you.
It's really important to be free and be open and honest about the things you want to do. Just 'cause you want to make a solo record or another record with another band, it doesn't have to be an insult or a slight to the band you've been with for a long time.
I have a solo deal with Columbia Records. So it's about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what's the right timing? Do I have time to do it? It's all about questions.
I walked into Relativity Records as a musician who could not be taken advantage of. That's why I wound up owning all my own publishing and making a deal that was quite advantageous for a new solo artist. But I really didn't think of myself as an entrepreneur.
I did a lot of writing for a lot of different kinds of bands that I was in and out of during those five years and that left me with a little body of songs that I liked better when I played alone, so I ended up going out solo and very soon made my first album.
I would have loved to record with Paul McCartney on some of his early solo recordings, wonderful music. Playing some lovely organ, perhaps. I would have loved to record with John Lennon. He was a dear friend. I had lunch with him just two days before he died.
When it comes to being in a band or going solo, one is collaborative, and one is not. But generally speaking, when going solo, I am the boss. People can contribute ideas, but I am the boss. When collaborating, you make compromises and look for a common ground.
'Beautiful' was something that I kept really close to my heart, that I kept from a lot of people for years and years. It's my story. And I think that was the first impression I needed to give to people as a solo artist. This is who I am; this is what I'm about.
Me han dicho que eso de sentirse feliz sin felicidad solo funciona con cocaÃna. Por desgracia no es bueno para la salud. Además de muy caro. Hum, e ilegal, desde luego. Asà que mejor sigo siendo desgraciada y espero a encontrar alguna razón para poder ser feliz.
The emphasis in each piece is on building a whole, totally integrated structure. In doing this, we try to carry on - in ensemble as well as solo sections - the mood of a jazz soloist. I mean that principle of kinetic improvisation that keeps a jazz solo building.
I build duets into bigger works. I like to see people working together. What we call a giant solo in my company is about four bars long while twenty other people are doing something dynamically. I like the charge that is set up by a lot of people doing something.
As a boy soprano in the high school choir, I later sang a solo during the carol service at Canterbury Cathedral, but I was too young to secure the Freddy Eynsford-Hill role in our production of 'My Fair Lady' - and far too timid to have thought to audition for it.
There were a number of false starts where I was trying to make solo albums. They would get constantly folded into group efforts. In retrospect, I can say fair enough, that you call yourself a band member, and you've got to step up to the plate when the need arises.
Woke Up Today' is a number of different sections compounded together. There's the melodica solo section which is three divisions; there's the really funky thing in eleven before that, there's the chorus and verse and there's the ending which slows down and speeds up.
I've always been afraid to do a solo show. When I go to see the great solo shows of Liz Callaway or Christine Ebersole, they have so many incredible stories to talk about, and their material and lives are so rich. I've always worried that my life was not rich enough.
I was going to record a solo album when I was 15 on a four-track. I started working on it, but then Fall Out Boy happened. The band was awesome and took me in a totally different direction. I don't regret it at all, but the band delayed the record I had been planning.
When I was four, we had to choose a musical instrument to play at school, and I chose the cello. I played until I was 18, and although I found it nerve-racking to play solo, I loved playing in an orchestra. When I left school I didn't carry on with it, which I regret.
People have become less discriminating listeners, which is tragic, really. There's a lot of emperor's new clothes out there, whether they're female or male solo acts. That bothers me. It's hard to break through, and it's like climbing Mount Everest if you actually do.
After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.
Rock guitarists usually do not wish to think trains of thought about anything but their own guitar playing during a long solo, and I could not play this way if I were not able to divide my attention between my ever changing musical environment and my instrument itself.
I'm looking forward to some more solo acoustic dates. That's a lot of fun for me, because I get to be alone with the song. And I get to hear every little nuance; if my instrument does something that I wasn't expecting, I get to chase that. Chase that down a little bit.
I have to be my own artist. I need the world to know who I am, especially for music. When it comes to acting, that is a whole other story. I have no complaints; that's a team effort. It's not just me, it's everyone. But when it comes to music, it is solo; that's all me.
On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.
For 35 years, I've said, 'I'll never go solo.' But after a period of time - and this isn't just for an artist, but for anybody - all the things you never wanted to do eventually become the only things left that you haven't done. So they start looking pretty interesting.
I think it took me until - my twenties were really a time of exploration and experimentation with different groups and different types of music. Then I kind of developed the sound, which first appeared, I guess, on my first solo album 'Englaborn,' which came out in 2001.
Over the years, I was never really driven to become a solo artist, but I was curious to find out who I was as an individual creative person. It's taken some time, but now I feel I've truly paid my dues. I guess I'm at a point now where I'm more comfortable in my own skin.
Working on solo material is something I had always dreamed of doing, and I'm incredibly happy with the results. 'Everything To Me' is a very personal song to me lyrically; it is such an upbeat and optimistic record, perfect for the summer. I can't wait for people to hear it!
I didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the results were pretty good.
My solo playing utilizes the deployment of suggestive psychic rhythms. I'll state these throughout a given piece and play thematic improvisations on top of that. I like to suggest that rhythmic movement without always playing it. I like to create openings that I can step into.
Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?
'Free Solo' has got nothing to do with politics, so to speak, but why are audiences responding to it in the degree that they did? I think it's because we give people an opportunity to see someone. Also, he's able to connect when you don't think he could connect. It's a respite.
At a festival, a lot of people came to see other artists, so you have to put on a signature set and performance: 'This is what I do, this is why I'm here.' At solo gigs, I'm a DJ - I'll play two-and-a-half hours, and not just my own music, also my favorite songs by other artists.
I went to UCLA and studied studio art. I thought I was going to be a gallery painter, photographer, or ceramicist. Then, when I graduated, that didn't happen immediately. I didn't suddenly get solo shows in Chelsea, and I realized that is actually kind of difficult to break into.
I would much rather have watched Jill Clayburgh in 'An Unmarried Woman' than 'Star Wars.' Even though I saw that movie when I was 11, I related emotionally to being left and thrown in a trash can on the side of the road. Her damage - I got it. I didn't understand Han Solo at all.
The first 'Star Wars' film was enormously important. I grew up right smack-bang in the sweet spot of all of those. It's true cinema magic. It's fair to say that, as a kid, I would have been very happy to be Han Solo, and I would have been happy to have gone out with Princess Leia.
The first thing you realise very quickly when you decide to do an acoustic version of an electric song is your solo either becomes either very truncated, very different, or non-existent, because even if you play a clean solo, it's different with the Kryptonite... with the acoustic.