I have always wanted a solo career, deep in the darkest pit of myself, but I didn't dare admit it to myself even. It took me a long time to confront my fears.
I grew up when the whole Motown thing was huge. The charts in those days were dominated by groups more than solo artists at one point.
Chano Pozo created the role of the conga soloist in the modern band, somewhat th way Coleman Hawkins created the solo tenor sax.
The thing for me is I never had this burning desire to do a solo record my whole life.
I don't wanna get into that space where a lot of guys now, their solo album is like eight or 10 songs with other people, you don't get an idea of who this guy is. I just wasn't interested in that.
I'm not going to do any more solo touring.
My goal has been to encourage jointness, to push people to think of affiliations rather than to operate as solo entrepreneurs.
I’m just so glad that I have other members. If I was a solo artist, I don’t think I would have been able to make it this far, nor would I have been able to handle it. The members are my energizers, my vitamin, my strength.
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.
I don't like piano solos.
I get a little sick of myself as a solo artist. I get a little bit bored.
For a long time I didn't want to do a solo thing, but there comes a point where everyone else is going outside of The Strokes and The Strokes filtering process.
Invariably, guitar players that go solo make really bad records.
When I play a solo I'm just expressing that moment. It can go horribly wrong easily enough.
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've actually thought very little about solo work up until just very recently. Most of it is because in my band, Incubus, it is very much a collaborative effort. I do what I do in the band, and everyone plays their respective parts, but in the end, we are sort of a democratic process.
Surrender. That's an interesting term. We tend to see all forms of surrender as negative--war, sports, highway on-ramps. You'd never hear us describing a relationship as a type of surrender. But maybe we should. Is it wrong to cede the solo to the duet. Surrender doesn't mean you lose, only that you no longer wish to fight.
As long as I know what key the solo is in, I try to kind of empty my mind and not think about anything. I just play without thinking.
Guitar solos bore the hell out of me. Only a few guitarists interest me, and it's not about the solos they play, it's about the grooves they create.
I've performed solo for 20 years now, but I don't do much of it, because if you only play alone, you go crazy and out of tune and play foolish music.
'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
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.
On June 14, 1998, I pushed off under quiet gray skies from Nags Head, N.C, in the American Pearl, a 23 foot long boat made of plywood and fiberglass. I planned to row 3,637 miles across the North Atlantic to France. I was alone. There were no chase vessels. No one planned to drop food or equipment to me along the way. The physical goal was easy to explain: I was attempting to do something no American and no woman had ever done - to row solo across an ocean.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
By going solo I could lose a fortune but money is not important.
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