A Quote by Ali-Ollie Woodson

The whole time I was with 'The Temptations', I was accumulating my own solo recordings. — © Ali-Ollie Woodson
The whole time I was with 'The Temptations', I was accumulating my own solo recordings.
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.
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.
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?
There is a definite difference between live shows and the recordings. The recordings are for all time, hopefully, so you do want to bring across layers of subtlety. But the live show is this primal experience that everybody's having at the same time, that the recording can at best try to imitate or duplicate.
If I look at my own recordings, I think generally there is a focal point within the song and often it's the instrumental bridge or a guitar solo where we try to do something unexpected, something beautiful or weird, or beautiful because it is weird. And of course I fail half the time, but yes that is the goal, to create even a few seconds of bliss, or sadness. The electric guitar is a great instrument for doing this because it is capable of surprising you. There are so many different sounds available.
Well, it's a nice quiet time for Iron Maiden, and I'll be releasing a new solo album next year, so this is a really good time for the managing out my solo career, which is quite well.
The biggest challenge was the whole learning curve of being solo artist. I've been in bands for so long that being a solo artist was completely new thing.
There is no man who will not be grieved at the time of his chastisement; and there is not man who will not endure a bitter time, when he must drink the poison of temptations. Without them, it is not possible to obtain a strong will. When he has often experienced the help of God in temptations, a man also obtains strong faith.
The books are recordings; that's what they have to be, recordings of the writing. They have to be happening to me.
With the '60s era and Motown, my grandparents actually introduced us to that when I was younger, so I grew up listening to the Jackson Five, Aretha Franklin, The Temptations, The Supremes and Diana Ross' solo stuff. I just loved it.
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 don't want any production credit. I think producers are overrated. They're for people who, first of all, don't know anything about music or arranging and have no ear for their own doings. They can't tell a good solo from a bad solo, stuff like that.
The emphasis in each piece is on building a whole, totally integrated structure. In doing this, we try to carry on - in ensemble as well as solo sections - the mood of a jazz soloist. I mean that principle of kinetic improvisation that keeps a jazz solo building.
Accumulating love brings luck, accumulating hatred brings calamity.
Mature people must find their own ways to cope with their own temptations.
Some temptations come to the industrious, but all temptations attack the idle
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