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When I was 13, I got my first guitar, and I could sort of play Ted Nugent songs, but I couldn't play the solos. But I could play along with entire Ramones songs.
Steve Van Zandt, the poor guy, doesn't get to play enough as it is with me hogging a lot of the solos. Steve has always been a fabulous guitarist. Back from the day when we were both teenagers together, he led his band and played lead and was always a hot guitar player.
I'm sure if Shakespeare were alive today, he'd be doing classic guitar solos on YouTube.
Guitar solos, to me, should be a really articulate way to make fun of guitar solos.
All the time I was playing the flute, the lines, the solos, the riffs, the construction, were based on my guitar skills. I did not play the flute to exploit its natural faculties, but I used it as a surrogate guitar.
On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.
With Zeppelin, I tried to play something different every night in my solos. I'd play for 20 minutes but the longest ever was 30 minutes. It's a long time, but whenI was playing it seemed to fly by.
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.
Guitar solos bore the hell out of me. Only a few guitarists interest me, and it's not about the solos they play, it's about the grooves they create.
It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.
It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'
Richard D. James
I love classical music; I love the way it's worked... all those chord sequences so I often use that sort of effect in my solos.
I don't like drum solos, to be honest with you, but if anybody ever told me he didn't like Buddy Rich I'd right away say go and see him, at least the once.
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?
I would have to say I'm bored with the standard rock, guitar solos, but I've done it for five albums now, and this time I wanted to go in a completely different direction. I wasn't interested in showing off any more.
It really shocked me just to hear of the fans' response to 'St. Anger' not having guitar solos.
I'll get up there and I'll do my guitar solos in one of those space outfits.
I've always done very 'composed' music and worked-out solos. But sometimes it's fun not knowing where you're going.
In the '90s, guitar solos were dead.
I try to look at most of my solos as a musical piece within the song, not, say, showing off.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
I didn't want to take the guitar solos down note-for-note, but more or less use them as a map, and keep all the hooks from the guitar playing, and let myself come through.
And I've also come to the conclusion that, as far as guitar solos and things like that are concerned, it's more important to complement the music rather than take away from it.
It wasn't a class system where I was the better guy and he was the second-rate guy. That was his role and my role was to play the solos. But he took great pride in his technique as a rhythm guitarist.
I don't like guitar solos that are like, 'Look at me, look at me!' I like guitar solos that are little songs within the songs.
A. P. J. Abdul Kalam
Martin Luther King, Jr.
Leonardo da Vinci
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Silence is the sleep that nourishes wisdom.
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