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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.
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.
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'll get up there and I'll do my guitar solos in one of those space outfits.
I'm not into solos, I'm into lyrics.
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.
In the '90s, guitar solos were dead.
I don't like piano solos.
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 would be a dream come true if I could just go from studio to studio and play solos.
We don't really have more than acouple of solos. It's just the way our music is put together.
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.
Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.
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.
World Play is very '70s arena rock, very raw and in your face, and that's what we wanted. We recorded it in a very off-the-cuff manner and didn't really plan out how we were going to play. My solos are first takes.
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.
I try to look at most of my solos as a musical piece within the song, not, say, showing off.
That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.
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.
I'm not technical. When I listen to music, I gravitate more toward the sonic aspect of it. The technical stuff of it, I get bored with it. These long solos? OK, already. You know your scales, big deal. I know it, too, but I don't want to do that.
You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
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.
In high school, I was Mr. Choir Boy. I had solos, I was helping out the tenors with their parts and our choir teacher would ask me what songs we should do.
I don't dictate the solos and I don't dictate the vocal harmonies.
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
He was very much concerned with logic and function, he always worked his solos out before playing them.
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.
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.
Nowadays I get complaints about long drum solos, but in those days they wanted me to keep on going so they could go over to the bar and have a drink.
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