You have to remember now, I was not being terribly successful at going solo.
I write each song individually and each one calls for individual musicians, You sit around and wonder who can we get to play a Neil Young solo, and then you realize there`s a good chance you can get Neil himself.
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
I do enjoy my solo time ... I want to stay home and do soundtracks and watch TV in my underwear with a keyboard on my lap and just be a couch potato.
I've been a solo act, a columnist and worked from home, only relying on myself. Now I'm part of a team, a leader, and I have to fit in at a big corporation and deal with all the moving parts, all the different personalities. That has been a challenge, to be quite honest, that I've embraced.
I did exactly what I wanted to do. It was always my intention to put a band together and be a band and not be about the solo pop guy. That was never me. All of the musicians that made me do what I wanted to do were bands. I didn't see it any other way.
I may be prejudiced, but I believe that jazz music has the strongest healing potential, and it's not just because I play it and love it so much. I feel that it's the improvisation in jazz that makes it so strong as a healing tool, what each individual gives to a tune from their heart and their soul when they take a solo. It's all spontaneous, and it's all love, and from the heart.
I learned a lot about lead; you don't have to blow your cookies in the first bar. It is much harder to be simple that to be complicated during solos.
A lot of the other things in my life like making music, you know that's a very collaborative thing so I work on comics because it's not something that's a solo activity.
After an initial solo album in which the young [Bob] Dylan was just finding his voice (i.e., reinventing himself from the middle-class Robert Zimmerman into a pseudo-hobo Woody Guthrie), Dylan put out two acoustic albums that forever changed popular music.
You become a character in a meta-drama into which your own dramatizing has pitched you. The rewards can be fantastic, the punishments dismal; it's a zero sum game, and its guarantor of value, its marker is that you pretend you play it solo, preserving the myth that you alone are the wellspring of your creativity.
I'd stopped doing music all of a sudden, and because of Chill and Jay and B, I got half of my album on a solo project. Then I get a call a week later and Jay is like, "Yo, Janet [Jackson] likes one of the records. We'll take five but are you cool with giving Janet one?" I was like, dude, we can do whatever you want to do.
I've never had any big ideas about being the solo.
I think everybody has a dream of flying at least once in their life. For me, it's been over and over a recurring dream. It's mostly that. That desire to be as free as the birds, to be unhindered. I started off as - and am still - a free solo climber. So being in the air is a huge fear of mine. So there's a combination of going toward my fear as well as being fascinated with the air.
A lot of people confuse free climbing with free solo. Free climbing is when we use ropes, but we only make upward progress with our bodies.
Being a solo artist is what I do. It's what I've been doing for the last 20 years and a bit before then.
My main objective with a home studio - I could get into doing full band demos - but my first objective is to cut things like guitar tracks and solos at home.
We drank quite a lot and Tony Harrington said, "We're thinking of starting a record label at The Wire; how about you do a solo record?" I said, "Well, how am I going to do that?" I thought about it, and I'd been working on a lot of music in the years before, and I was working as a journalist, full time, really, up until that point; in whatever little spare time I had, I was working on music. So I said yes.
The music industry is not what it used to be. Being in a good band is great, and I've been lucky to be in great bands. I've done solo stuff, and that's been great. I also produce rock bands and I do co-writes, where I write with different singers in bands and songwriters.
The new solo album sounds like me: I'm singing about bad business transactions, bodily fluids, and courage.
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
Now, I'm a dad, I'm an adult. I've been solo for 25 years; I've been in other people's groups but I'm solo [in a broader sense]. I stopped comparing myself to other people's maps when I was maybe 24, really. The trajectory that I've gone on is not one that I can compare with anybody else.
I think my dream would have been to be a solo artist. But it didn't work out like that, and I also love to sing lots of musical stuff; I was really good at that, I've got a big voice. I dropped into musical theater and really enjoyed it and I sang for about nine years of my career.
If I have more creativity that I want to get out of me, I try to find other ways than pursuing solo records so much.
When I was growing up, my idea of Led Zeppelin was all epic lasers, castles, and ten-minute drum solos - that sort of thing.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: