I was not ever hitchhiking alone. I've done solo train trips but I've never driven myself alone.
My father was a racing driver, his name is Don Halliday. I grew up with it all around me. I have always been into fast, dangerous sports, even as a child. As soon as I got in a car I knew it was for me and that I would enjoy racing and competing. My mother was also involved in Solo One. She always said I was like my father and would want to compete one day.
When you make a solo record, it's you. It's your name. It has to be the right songs for how you feel. It just took me a really long time to get to a place where I felt comfortable with the material and the recording.
Stand-up is probably the most solo performance in art.
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've won a lot of times with my wife and son here, and I've won solo. I don't think there's a formula for when the come out and when they don't I'm simply happy to win.
I don't want any production credit. I think producers are overrated. They're for people who, first of all, don't know anything about music or arranging and have no ear for their own doings. They can't tell a good solo from a bad solo, stuff like that.
Practice? I never practice. I just write songs and take solos.
Some-one called my style 'sense of urgency' guitar playing and I've always admitted I often don't know where I'm going when I solo. But that desperation is what makes it exciting.
I've parked my solo thing in a lay-by and jumped in another vehicle and I'm in that now.
[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.
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.
There are times when I've been feeling something and played a solo that I've never been able to repeat.
Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.
I once asked Ozzy Osbourne, truly one of my favorite people in the world, if he was cool with singing Black Sabbath songs year after year, whether he was performing with Black Sabbath or out on a solo tour. He said it was great.
The amazing thing about Sweets [Edison] was that he exactly spoke the way that he played! He was really unique, the one and only. He was one of the greatest Blues players that I ever heard and played with. Nobody can play like Sweets man, nobody! Most of us, musicians, frequently quote Sweets' phrases in our solos. Like Lester Young, Sweets had a big influence on us musicians, especially when we play some Blues.
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
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