Quotes of All Topics . Occasions . Authors
I do love being solo because I can have more of my own creative input to every aspect of my career.
A lot of people are trying to get me to go solo. It's just a thing I have to deal with a lot. Record labels are always trying to get me to go solo.
In 'Solo,' I play a girl, who is full of life. Since it is a bilingual, the character has two names in two languages.
Rilo Kiley was a rock band, so I wanted my solo records to feel different.
It's better to have no cofounder than to have a bad cofounder, but it's still bad to be a solo founder.
I guess you can look at Fleetwood Mac as the 'Pirates Of The Caribbean' movies and my solo career as indie films.
When you're a solo artist and you're not doing well, it can be pretty tough. So when success does come, it feels like you've earned it.
Especially for my first album, I struggled with even the thought of being a solo artist.
Fewer people have successfully solo-circumnavigated the globe than have journeyed into space.
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.
When I play a solo I'm just expressing that moment. It can go horribly wrong easily enough.
I went to live in New York and released a solo album that I now know was very bad. Roland kept on with the Tears For Fears name. It was a bad split.
I wrote a whole solo album and recorded some of it, even did a little tour with Sara Lee and Gail Ann Dorsey.
My solo album is dead and buried. We had the funeral. It was sad and I cried a lot but it made such a beautiful corpse that we had an open casket.
I've parked my solo thing in a lay-by and jumped in another vehicle and I'm in that now.
I feel like there's something in me that desires to express myself even more and not be so afraid of a solo endeavor.
I can show my characteristics and musical colors both as a member of Bigbang and as a solo artist.
Whether I'm writing solo stuff, electronic stuff, or material for Motley, I just write to write. I come up with it and put things in different piles.
The other saxophones, except as solo instruments, really don't have much point in the orchestra.
Just because you know umpteen billion scales, it doesn't mean you have to use them all in a solo.
I can never understand how a solo could ever be 'uncool.' Play something good, and it won't be uncool, you know?
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.
There is something so different and empowering about travelling solo. It's a unique experience and one that is so self-educating.
To put my name on a track as a solo artist was a big deal to me. There was no band to act as a buffer.
As a singer-songwriter, a solo artist with a guitar, I can only write so many weepie little bedroom songs.
It was pretty frightening because as we all know, when large, famous groups breakup, a lot of the members don't survive in solo careers.
As a solo performer, it's total involvement. What I do is to break down the wall between audience and performer.
My dad is a huge rock and roll lead guitar fan. I didn't even really know that until recently. Everything has to have a guitar solo in it.
Billboard called my solo album, 'Standing In The Spotlight,' a great party album and even said that my raps put the Beastie Boys to shame.
By the time I did that third solo album, I'd finally learned how to do it, but I'd also learned that I liked being in a band.
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 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 never imagined that I would have a successful solo career, let alone one in musical theater.
During the whole time in Sonic Youth, I was happy to put my energy into that. It would have been very difficult to do a solo project.
I think playing solo is a second rate activity, really. For me, playing is about playing with other people.
Han Solo has always been - and I think for a lot of people, too - this iconic character who's the absolute definition of cool.
For me, if we're going to have a guitar solo, it needs to be over the top.
When you make a solo record, it's you. It's your name. It has to be the right songs for how you feel.
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.
The whole reason to make a solo album is to express what you can't express with the B-52s. The B's are so much about fun and partying and dancing.
I've got six solo albums. I've been round the world three times. I don't even think about the Roses.
I fix things all the time. Every time I do a solo, I re-check it and correct things that don't hit the mark.
I do some solo, acoustic stuff, but I also like plugging in my electric guitar and playing loud with a band.
I love the idea of stepping out of the band situation into a solo world with no boundaries, no expectations, where nothing is out of bounds.
It's hard to solo when you're walking around, especially when you're in Michael Jackson's presence. There are easier things in life to do.
The fact is, for the first 10 years I toured as a solo artist, I wasn't playing any of the songs I didn't write or sing.
I feel like the character of Han Solo is irreverent. A very serious, precious story about Han Solo would not be that enjoyable.
I've wanted to do a solo album since 2000 when I was writing songs for the 'Machine' record.
I'm solo, and I love being solo. I believe I went through the Roses so I could become a solo music-maker. That's what I believe.
As a solo artist, I just felt cemented in front of the mike stand. There was very little time to play with the audience and be a band member.