My primary lesson, however, was that I'm a solo writer, happiest when I'm making all the executive decisions. I've always been willing to rise or fall on my own merits.
When I was 25, Abba was formed. After Abba I made three solo albums. Maybe I have been productive enough.
I knew I was destined to do a solo album, but when I did that first album in 1978, I had no idea it was going to be that well received.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.
The chords in 'Light My Fire' are based on [John] Coltrane's version of this song. He just solos over A minor and B minor, which is exactly what we did. Coltrane had played with Miles on Kind of Blue and took the idea of modal soloing over one or two chords farther out than anybody. He was a real pioneer - he just kept evolving, going where no one had ever gone. He could always attain this state of ecstasy when he played. Live, there was so much energy, you couldn't believe it. He would play for hours. It was indescribable.
How could I resist? Look, I love that record and have nothing but great, great memories of my time with BLACK SABBATH . Tony was really busy but got his solos to me at the last minute as he promised and they are just fantastic. I think BLACK SABBATH fans will be over the moon when they hear what he's done. As for Roger and Ian , well, they just sound great on this song so it really did become 'Black Purple'. Personally, I love the irony of it all.
Life is a guy trying to play a violin solo in public, while learning the music and his instrument at the same time.
I think a solo moves forward the way a song does, because it's reflective of the chords that I'm considering as I'm soloing, and at the same time I'm going as much out on a limb as Frank Zappa used to, in terms of just going crazy on the instrument.
Working on solo material is something I had always dreamed of doing, and I'm incredibly happy with the results. 'Everything To Me' is a very personal song to me lyrically; it is such an upbeat and optimistic record, perfect for the summer. I can't wait for people to hear it!
If I'm honest, I thought Westlife would keep going for longer than it did - we all did - but it sort of came to a natural end. When we decided we were going to split, I thought, 'If I'm going to sing, I'm going to have to do it solo.' Also, financially I was broke, so the decision was ultimately made for me.
I didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the results were pretty good.
For me I'm actually doing what I normally do when I do my solo thing and the other thing is actually more new to me.
But in my mind I've always been a solo artist- I've just been working with a lot of great people like Kanye and Alicia Keys and Jay-Z.
My deal will always be one solo performance-nominated or not. Not some thrown together rock tribute.
In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.
My earliest musical memory was getting to watch my dad play drums in a local band. He's a banker by trade, but a drummer at heart. I remember seeing the guitar player do the solo from "Werewolves of London" with his teeth, and that was the moment that had me hooked.
Nobody loves me. No, everybody wanted me to do this one by myself, and I wanted to do it by myself. So, this is sorta like my first solo album. I didn't pull any tricks out of my hat, and just went with the natural flow of the film.
A lot of solos I hear sound so incredible, but they sound like somebody practicing. They sound a bit soulless - fiery, but at the same time, lacking in spirit and soul.
I believe that Fairport, in all its incarnations, has almost single-handedly been responsible for and has written the book on the history of the evolution of folk-rock in the UK. Over the years Ashley Hutchings, with his Albion Bands and Richard through his solo work have carried the torch to another level.
Before I joined Kraftwerk in 1971, I played guitar in a band called Spirits of Sound, whose members included (at times) amongst others singer Wolfgang Riechmann (Sky Records released his only solo album Wunderbar shortly after his death in 1978) and drummer Wolfgang Flür (later on Kraftwerk, now solo). The music of S.o.S. in the mid 60's first was the English pop and rock music of the times (Beatles, Kinks, Rolling Stones ).
I tend to prefer the band thing. I think playing solo is good for about 45 minutes. I remember when I was on my solo tour that I got a chance to play with Martin Stephenson of the Daintees. He's now refashioned himself as almost a delta blues guitar player and he's got all the technique, all the persona and the charisma on stage. I think I do too, but I'm more of a first position strummer guy with a little bit of filigree work. I could listen to him for hours; I could listen to myself playing solo for about half an hour!
In the '90s, guitar solos were dead.
I had a solo career before Van Halen. My fan base filtered through Van Halen with me and came right on out the other side with me.
I knew I was destined to be a rock star. I just knew it, like I've always had the power of foresight. I feel right now exactly the way I felt after I finished mixing my first solo album 'New York Groove'.
I'll get up there and I'll do my guitar solos in one of those space outfits.
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