The most important part of any rock song is the guitar solo.
I like working solo and it was a lot of fun joking around with the audience, saying things. I'm only just learning how to do certain things.
Although I have started my solo activities but this doesnt mean I'll give up my roots, SS501 is my root .
I was never the one that really wanted to be a solo artist, I was always in groups.
I feel like the songs that I write are best when they are performed by an ensemble, rather than by one solo instrument.
I wasn't really writing anything that I felt was worth it at the end, but then certain things sparked me as a solo writer - to be able to try new things and experiment, and ultimately challenge myself as a performer and as a songwriter and just to commit to ideas, and not be afraid to be myself.
I love a lot of the young, new artists who are coming up, including Adele. I suppose anybody would freak out to work with her. To be able to play a saxophone solo on one of her songs would be the most ultimate thing ever.
I went solo because I could do much better what I wanted to do. I didn't have to ask or discuss things and ideas that are already shaped in my head.
It's too heart-wrenching doing the solo thing. I throw myself into it and get so excited, and then 2000 people buy it and you're, like, 'Oh. I guess it's not that good after all.'
The expectation on me as a solo artist is very different to the audience's expectation of a Pink Floyd show.
Touring isn't traveling. Everyone should know that. And I would absolutely recommend a month of solo touring - that is, no driver, no merch person, no tour manager - to anyone in the position to do such a thing. But just once. You grow a lot in those situations, like when you spend a Christmas alone (which I also recommend). But, again, only once. That will be enough.
At a label, you are confined to the team you have, but I did all my solo work myself, and that makes you more agile and able to go into weirder corners.
[After playing Indiana Jones and Han Solo] hero image concerns me a little, though not for my sake. All it means to me is that I have a responsibility not to get caught doing anything terrible and thereby jeopardise my credentials. Not that I do terrible things, like running over dogs or anything like that. It just makes you think twice before you say or do things in public.
Solo concerts are murder, I find; I don't like doing them.
Church was the thing for me. The fellowship and the message that was given and singing in the choir and singing the solos and really listening to the words that you were singing and seeing how it affected people was huge for me.
I always had this dream to make a solo record. I told my mom when I was 7 years old, but I just ended up being in bands. I'm a free spirit. I follow my heart, and it's led me to where I am.
My solo album is different from the Black Eyed Peas albums because I'm a singer first and foremost. There are more ballads and more intimacy between me and the listener because sometimes when you're in a group you don't have space to air out your dirty laundry.
I think everything happens for a reason and all of my choices have led me up to my solo album and made me stronger, not only as an artist but as a person. I want to do more the Black Eyed Peas albums and more of my own albums. I'm in this for the long run.
But I really do have a soft spot for the solo shows. Any musician who writes and sings will tell you that's the center of it, that is it. It's almost like there's something church-like about it and you gotta go back there, if you're a songwriter that sings your material.
Miles Davis was a part of my life from 1947 on. I was born in 1941 and I first heard him in 1947 on a 78 rpm. And then I followed his career, starting with his first solo album in 1951. He was an icon and inspiration and a mentor to me.
Jam Cruise is actually a comfortable place for me. My jamming skills and my improvisational skills have improved immensely as I've gone more solo, because I've had this opportunity.
I'll play with a hundred pieces or do a solo job.
Our future begins on January 1 1999. The euro is Europe's key to the 21st century. The era of solo national fiscal and economic policy is over.
I used to try to play like [Miles Davis], and Miles caught me copying him one night at Birdland. He said, 'Hey man, why don't you play some of your own stuff.' So, I finally did, because I had copied all his solos.
Don't make the mistakes I made of not taking care of myself. Please, keeps your chops cool and don't overblow. If you are going to play hard, be sure to warm up. I'd get carried away trying to stay right with the momentum [of Art Blakey and the Jazz Messengers]. I used to try and play like Coltrane and solo for 30 or 40 choruses. It all caught up with me.
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