A Quote by Rivers Cuomo
Most people don't really need to hear a six-minute guitar solo that modulates between five keys and time signatures. What they want is a good song.
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It grabs me, but not as much as it grabs some of the other people that rave about them. With the Black Keys, I'm missing crescendos with the sax, keyboard or guitar solo. It never comes to me. All my favorite music is rife with crescendo and I'm not hearing enough with them. If you can get the Black Keys to hear this, tell them I offer my crescendo guitar anytime they desire it.
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.
A great guitar solo is really a song within a song. You can always go off and do your pageantry, but it has to be structured.
I'm coming into places with some people who just want to hear what I did before, with some people who want to hear me with a band, but I am just at the moment sticking to my guns and saying, 'You know what? I want you just to hear this for a minute. I want it to be in the context of me and a guitar.'
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.
Lately I haven't been able to write for the guitar - it'll usually start out with a melody on the bass, and I'll layer vocals. I just can't really physically hear the guitar anymore, so I'll just go into GarageBand and play around with the keys. I'll sit on a melody or some lyrics for a really long time and just play with it.
Basically, I try to let the song dictate what guitar I use. If it's a really loud, crazy song, I'll pull out the cheapest, oldest guitar I own, one that feeds back easily. But most of the time, I just use whatever's around.
Women’s magazines will often ask me things like, 'All right, I need six five-minute happiness strategies.' And I say, well, there aren’t any five-minute happiness strategies. This is something you have to do kind of every day for the rest of your life. Just like if you want to raise moral children or if you want to advance in your career. It’s a goal you pursue your whole life.
The bottom line is fans just want to hear a good song. Some people will look underneath to see who wrote it, but they just want to hear a good song. And if they don't hear it, they're not going to buy it just because you wrote it.
The most important part of any rock song is the guitar solo.
The guitar player that I'm doing my solo tour with, Angel Vivaldi, he's been releasing incredible guitar albums and people just don't really know about them because instrumental guitar isn't really at the forefront of music these days.
I think a good guitar solo sounds so much better within the context of a good song.
If you're playing a one-minute game, I could squeeze in five to six games before anybody walked by my cubicle. So I got really good at blitz, one-minute chess games. But that's kind of like the cheap chess version.
Each member does whatever they want with the song and it totally changes it from whatever idea I hear around it. It turns it into a Sonic Youth song and completely away from it being a solo song.
Obviously, the good thing about golf, it's difficult to really, really blow it after five holes unless it goes really, really, really... really, really, really wrong. But you still have 13 to go, and if you have a good run, where you make five or six birdies, you can get it back somehow.
The first song on my first album is not a song - it's a guitar solo! It's called 'Frenzy,' and it's pretty much nonstop maniacal guitar playing. I had just turned 19, and I had some serious muscle then.
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