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My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
Music is very similar to comedy: It's all about texture, timing, context, vocabulary, performance. When someone's onstage doing a solo, essentially it's the same thing as what a comedian does. They're in the moment. They're listening.
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.
There's art in rhythm playing. Just find it. Make your own art. Find your place, and when it's your time to solo, it's your time to shine.
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!'
I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.
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.
If I'm going to go out to be a solo artist, it's because I want to do something different without having to wait on someone else's schedule or hobbies or be limited by other people's prejudices. I'd be kind of stupid not to exercise that.
The greatest compliment I ever got was when people called me an artist, and I understand that solo aspect of being an artist, when you're in there by yourself, trying to do something great, and people who don't even know you can come up and just dump on you.
I love festivals because they seem like more of an artsy, supportive attitude - which benefits a more theatrical performer sometimes with having theater and other non-club venues, as well as the audience being filled with other artists. It's nice to be with other comics, as usually at other road gigs, I'm solo for the most part.
The expectation on me as a solo artist is very different to the audience's expectation of a Pink Floyd show.
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.
People have become less discriminating listeners, which is tragic, really. There's a lot of emperor's new clothes out there, whether they're female or male solo acts. That bothers me. It's hard to break through, and it's like climbing Mount Everest if you actually do.
I had just left Yes and had done a concert at Crystal Palace, South London, with a choir and orchestra playing my solo album 'Journey To The Centre Of The Earth' when I had my heart attack. That day, I hadn't been to bed for four days. I don't remember much. I felt very numb during the day and airy, which is the best way to describe it.
After all my years of doing instrumental music I still like just a simple instrumental song with a nice catchy melody and an opportunity to play a solo over a harmonic structure.
When I recorded my solo album, 'Keep It Hid,' in 2008, I'd gotten more interested in songwriting, inspired by reading Charles Bukowski and connecting with unfancy, interesting language.
I think anything we do outside of Gym Class Heroes still falls under the Gym Class Heroes umbrella. There's really no method to the madness. With Gym Class, it's more of a democratic process, and when I'm working on solo stuff, it's just me, either working with producers or sitting in a room by myself. They balance and complement each other.
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.
That was the producer who produced a couple of my solo albums. He produced my second, third and fourth solo albums. It was his project and I just joined him on it. I sang on one and played bass on another one.
I didn't make my first solo record until 1981 so I don't have any 60's or 70's recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.
You are a dear soul who plays polo, and I am a poor Pole who plays solo.
Ignacy Jan Paderewski
Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?
It was one of the most exciting, perfect evenings of my life, my solo debut at Carnegie Hall. And knowing we were all there to raise money for Gay Men's Health Crisis made the evening an extraordinary experience.
It's good fun, making a solo album, because there's perhaps songs that wouldn't get used for the Stones or any other kind of outfit that I'm working with. It's just nice to be the boss.
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.
John F. Kennedy
Martin Luther King, Jr.
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