A Quote by Curt Smith

Solo, you don't have compromise. It gets back to what's great when you're a musician. — © Curt Smith
Solo, you don't have compromise. It gets back to what's great when you're a musician.
A great solo does not make a great piece. Rather, a great solo in a great song - that's what makes a 10 out of 10. It's the combination of emotional feel and inventive ideas.
There are three ways of dealing with difference: domination, compromise, and integration. By domination only one side gets what it wants; by compromise neither side gets what it wants; by integration we find a way by which both sides may get what they wish.
Introvert conversations are like jazz. Each player gets to solo for a nice stretch before the other player comes in and does his solo.
I have no regrets for not having a solo career in Bollywood because when I joined the film industry I was 35 years old. Nobody gets solo leads when they start their career at this age.
Back when the powerful 19th-century senator Henry Clay was called 'the great compromiser,' achieving a compromise really was considered great.
Introvert conversations are like jazz, where each player gets to solo for a nice stretch before the other player comes in and does his solo. And like jazz, once we get going, we can play all night. Extrovert conversations are more like tennis matches, where thoughts are batted back and forth, and players need to be ready to respond. Introverts get winded pretty quickly.
If you do it first class and you don't compromise values, and you don't compromise quality, and you don't compromise service, and you don't compromise cleanliness, then everybody else who is the competitor has got to play catch-up.
I go back to what Mrs. Roosevelt taught me: 'Always compromise, but compromise upwards.'
I was in bands when I was younger, and that's a lot of the reason I started working solo - it was always a compromise.
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.
The experiences you gain by doing something solo - you have such a great work effort there as well, one we all have now - we can all bring it back to the group.
I'd have to say that "Mr. Crowley" in my most memorable solo... I had spent hours trying to figure out a solo for the song ... Ozzy came in and said "it's crap - everything you're playing is crap" .. he told me to get in there and just play how I felt. He made me really nervous, so I just played anything. When I came back to listen to it, he said it was great.
Pablo Casals is a great musician in all he does: a cellist without equal, and extraordinary conductor and composer with something to say. I have been profoundly impressed by all I have heard of his work, but he is a musician of this stature because he is also a great man.
I remember a song I did called 'If the Good Die Young' - I wanted to have a lead guitar solo on there, and the label flipped out! It was too rock and roll. They made us go back and put fiddle on the solo.
It's really nice to be able to do what I'm doing without having to compromise with another musician.
When I was 23, I felt like I was further back than when I was 21. After two solo albums for this small indie label Just Music, they'd gotten no real profile. So I kind of turned away from the solo thing a bit.
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