A Quote by Dan Auerbach

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. — © Dan Auerbach
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.
Every girl is a singer. I wanted to learn the solos and play lead guitar. I would meticulously teach myself solos so when dudes were like, 'Oh, you're a girl, you can't play guitar,' I could rip these insane Telecaster blues solos and tell them, 'Yeah, I can burn up a fret board.'
Guitar solos, to me, should be a really articulate way to make fun of guitar solos.
Listening to as many guitar solos as possible is the best method for someone in the early stages. But saxophone solos can be helpful. They're interesting because they are all single notes, and therefore can be repeated on the guitar. If you can copy a sax solo you're playing very well, because the average saxophonist can play much better than the average guitarist.
Listen to the great guitarists of the Fifties. They didn't do that nasty sort of industrial distortion. They played musical compositions as solos - Scotty Moore, Cliff Gallup, Django Reinhardt. There wasn't a bad note in any of those solos. I listened to that and stayed with those rules.
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.
I was learning guitar as the band was beginning, at least in terms of being a lead guitar player. I could write songs, but I couldn't really play solos.
I used my Schecter for all my rhythms and most of my solos, certainly the fast solos.
The jam stuff doesn't appeal to me in general. My newfound love for the Dead came from Robert Hunter and Jerry Garcia's songwriting, not the elaborate guitar solos. I'm a song person. Once it starts to break out of that structure and become loopy, it's uninteresting to me.
It really shocked me just to hear of the fans' response to 'St. Anger' not having 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.
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.'
I would just like to say that Ritchie Blackmore did a bunch of great stuff guitar - wise. I'm happy to play the solo from 'Highway Star'. I always thought it was one of the most exciting guitar solos I'd ever played.
I don't really break into too many solos. But I've never been a super-big solo guy anyway. I like to make the main melody guitar lines of the songs as cool and interesting as possible without just strumming chords. I like to have chords intertwined with riffs here and there, but I'll do the riffs and the solos where the bottom will drop out. Basically, I do everything for the song, I don't do it for the solo glory. Kids aren't really into that anymore for some reason.
Not that I play guitar anywhere near as well as she sings, but I think I have always had a tendency to play solos the same way, in emotional relation to the structure of the song. I choose simple lines, and only play what seems emotionally relevant, and often express that emotion in time, that is in play or resistance to the set time of the song.
I don't even like doing drum solos live; to me, it's like, 'Ehhh.' It doesn't really interest me.
The only thing I don't write is the guitar solos, but even then I might suggest one or two things.
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