Growing up, I really liked ‘Star Wars.’ Han Solo would’ve been really cool to meet. But my stuff was real low-brow. I was watching ‘Bugs Bunny.’
In order to make my solo shows as interesting as possible, I moved songs onto very different instruments so that I was moving instruments quite a lot during the set.
I didn’t have the confidence to leave the band because of a solo career, or anything like that. I just wanted to grow.
I’d like to release solo songs on a regular basis, but it’s pretty difficult for me to finish them.
When I did my solo album, I put on a song that I’d planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.
‘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.
If everybody wanted to follow the left side of the pallet like I had on ‘Tusk,’ there would have been no need for me to do solo work.
I remember in the early days when we played six nights a week for a month and I was doing my long drum solo every night. My hands were covered in blisters.
I’ve always wanted to pull off ‘No One is to Blame’ by Howard Jones. I’ve done that a couple times in solo shows, but I can’t figure out how to do that with a full band and make it work.
I never wanted to be a solo artist. I always wanted to be in a band.
I am touring in Europe. I am putting together a trio and a quartet. I am playing solo concerts with my symphonic sounds. I am very much engaged back to playing and recording and everything.
Songs that are just a vehicle for a guitar solo are very empty, just an excuse for a guitarist to show what scales he practiced last month.
To deal with radicalism and extremism, we need to deal with economic inequality. This is what I learned from my experience in Solo and then in Jakarta.
I mean, in the course of an evening, people will take a solo here and there, but generally it’s all about the rhythm of that music. Dealing with the rhythm with everything. That’s essentially at least my concept of what that group is.
The only time I travelled solo was when I did a 40-day trip visiting America for the first time.
One time, I pranked my sister: I put red solo cups in her room on her floor and filled them with water. Then I put string all over so you couldn’t get anywhere.
People don’t realize you’re blowing over changes, time changes, harmony, different keys. I mark a point in my solo where it’s got to peak at point D I go to A, B, C D then I’m home.
The solo break or the small break, it’s… one of the most glorious ways to win a bike race. It’s pretty damn impressive in my mind.
When you’re really young, dating girls, and trying to explain Kiss, they just look at you like you’re kind of crazy. I think they got so big in the Seventies and were such a phenomenon – they did the ‘Kiss Meets the Phantom of the Park’ movie, the solo records – some people only know the merchandising stuff.
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.
I have a very solo career. I only write with people that I really adore.
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.
Zelda is the best solo game; Mario Cart is the best group game.
I am so blessed to do what I love to do, but becoming a solo artist terrified me!
If I wished to do something, even if I couldn’t find anyone who wanted to make the effort with me, I would go out solo climbing. I did find solo climbing very challenging and a little frightening. You knew that you were completely on your own, and you had to overcome all the problems and possible dangers.
If I play anything that sounds like a solo, it’s gonna sound like a lyric.
It’s archaic to think about films as a solo lead or multi-starrer.
Now I’m fortunate to have a good band in CA, and play many solo gigs as well. My point is that I stopped playing in bands and played solo for four years, to get back into the groove and pulse of writing and singing and who I am on stage.
There is a solo on ‘Spiders,’ albeit a kind of a non-traditional solo, but that’s what I love.
I like Mike D. We kept trying to get him to go solo. He wouldn’t do it.
My first solo was in church when I was five.
I really want to only put out three projects from Kevin Abstract as far as solo bodies of work.
I wrestled when I was a kid. That started me off with the discipline, because making weight was my responsibility. It is a team sport, but it is also a solo sport.
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 can show my characteristics and musical colors both as a member of Bigbang and as a solo artist.
You don’t know that you’re not a solo artist or standup comedian or drag cabaret artist until you try it.
I remember thinking that the rest of my life would be solo. I wasn’t weepy when I thought that – it was just a realization that I had gone this long being self-sufficient.
If I were to do a solo movie, I’d like to try another genre so that people can see another side of me, since I’ve been doing mostly rom-coms and drama.
The reason I started drag in the first place is because I felt like I never really fit in, and I still don’t feel like I fit in to any of those places: the drag world, the circus world or the burlesque world. I’m kinda this combination of everything, so it made sense to me that I’d set out to do my own solo show.
By going solo I could lose a fortune but money is not important.
When I’m playing live, I’ll rip out a ballad from my album, and I’ll play that solo on the piano, which feels really good because it kind of takes me back to when I was younger.
I enjoy making solo albums because over the years it’s evolved into more of a genuine personal expression of story-telling and day dreams, and I work in a way that has more control.
I’m not a solo artist. I love to collaborate.
I might do a solo album, maybe do covers, or do an acoustic thing. No Sex Pistols tours, nothing!
‘Fragile,’ of course, was a very successful album for us, especially here in the States. It had a lot of solo pieces on it, though.
There were certain things I couldn’t do with New Order without upsetting the rest of the band, so I started to write some solo stuff.
Actually, when I was in elementary school, I saw a saxophone. A band came to my school, and I saw this guy get up and play this solo. And I said, ‘Oh man, what is that! That must be fantastic!’
When I was a kid, I used to pretend I was Han Solo all the time. Running around with my fingers pretending they were a blaster.
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.
It was never the goal to be a solo performer. It was just something that made the most sense at the time.
Becoming a solo singer is like going from an eau de toilette to a perfume. It’s much more intense.
Even when I’m making my own solo records, I’m collaborating with people. It keeps things interesting for me.
I’ll play with a hundred pieces or do a solo job.
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.
Now my main goal is my solo career, so I want to keep doing that.
Lauren Hill, I always have her solo CD nearby. I have Coldplay, Radiohead, just a mix.
It’s the group sound that’s important, even when you’re playing a solo.
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.
You want a solo to be structured, a song within a song, but you want it to sound like it’s the first time you’re playing it, too.
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.
Playing solo with an audience for an hour and 30 minutes without a break means I have to, as the jazz cats say, get into the shed and work on my chops.
I knew exactly what to do in The Seekers but I didn’t know what it would be like to be a solo artist.
I never had this idea, ‘I wanna be a solo artist.’
When you’re in a band with three writers, three great writers, you only get one third of the writer thing. So that’s the whole reason that I did a solo career. And that’s, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.
