Musical Independence Quotes

I'm always writing my own music, recording my own music, even if I am 9/10 of the time recording stuff for other people. I'm still working on my own creative endeavors.

I have to be my own artist. I need the world to know who I am, especially for music. When it comes to acting, that is a whole other story. I have no complaints; that's a team effort. It's not just me, it's everyone. But when it comes to music, it is solo; that's all me.

When you're in a band with three writers, three great writers, you only get one third of the writer thing. So that's the whole reason that I did a solo career. And that's, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.

I have a hard time working with other people with my own songs because I have a pretty complete idea of how it should be. It's usually just me multi-tracking which is better than coercing someone into doing my idea.

I began to realize that some of the things Ornette Coleman had said about things being played three or fours ways, independently of each other, were true because Bach had also composed that way.

I've accepted the fact that Limp Bizkit is my band, one that I'm a part of, a band that I've built from the beginning. It does me no good to be in somebody else's band playing their music, like Marilyn Manson or Korn. Being in Limp Bizkit allows me to be myself.

It's really nice to be able to do what I'm doing without having to compromise with another musician.

Basically I just had to say, 'Screw everyone around me - from now on I'm just gonna play what I think is important to me and our music.' So I gave the big finger to all the current trends in technical wizardry, and just went off and did what I felt was best for the songs.

Not really interested in covering other bands songs to be honest.

One of the biggest misconceptions was, after I left Dream Theater, I went off and did, like, five different bands and side projects. Everyone was like, 'We thought you wanted a break.' And it was like, well, I didn't want a break from making music; I just needed a break from the Dream Theater camp.

I feel like I've established myself as a music maker in my own right.

The freedom you feel when you're actually in control of your own music is fantastic.

I don't dictate the solos and I don't dictate the vocal harmonies.

The whole reason to make a solo album is to express what you can't express with the B-52s. The B's are so much about fun and partying and dancing.

The solo album is really my way of branching out and doing my own thing. I'm mostly known for playing other people's music, so this is a way to just do something that is purely from my heart and my creativity. So it's really exciting.

I always saw myself as a singer-songwriter, a solo-artist, that's why working with other artists was never satisfying for me.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

In independent music, you are the badshah and there are no restrictions, which allow you to embrace your true music. Whereas in playback, your first obligation is to your music director and then to your sensibilities.

In fact, a lot of critics seemed to consider R.E.M. the first American music since the '60s to break out on its own and develop a stand-alone sound.

My goal the whole time has been for people to see me as a stand-alone artist. I came out with Young Money, the biggest hip-hop label in the world at the time. And then it was, 'How do I branch away from Lil Wayne?'

I don't care what studio I'm in, I don't care what producers is producing it and I don't care what song it is because they taught me those things I feel so protected wherever I go as far as music.

I have always thought it was important to maintain some connection for myself to what it takes to make a song work by myself, to put a song across to an audience by myself.

I think the thing that I got most from working with Frank Zappa is that I was able to see someone who completely independent. The most beautiful thing about Frank was that he was completely in the moment and present and eternally creative.

As much as I love Slipknot, I don't want that to carry over into what I do for Stone Sour. I want both bands to stand on their own.

I have different sounds... I don't want to be just that girl that sings reggaeton or trap music.