Musical Projects Quotes

I basically was in charge of the Jackson 5 - all their creative, when it came down to the studio, and all their musical endeavors.

I'm a working musician, so it's what I do. I kind of always have lots of plates spinning, and it's the ones that keep spinning the longest that I end up doing.

Nothing that Robert Plant does will ever equal Led Zeppelin, but that doesn't mean he's going to stop being creative. Jimmy Page has so many incredibly cool projects, but it's not Led Zeppelin; there will only ever be one Led Zeppelin.

There was a period after my first solo album came out that about 50 per cent of my work was with symphonies and big bands. We did the Captain and Tennille as well, but it ended up being about 50-50.

I wouldn't mind working with Queens of the Stone Age, doing some guitar stuff on that. Even Arctic Monkeys. I'd like to do be a bit of guitar with them guys. I'll play on anyone's record to be honest with you.

I'm always writing something. I've got so much stuff, I don't know what to do with it. Some of it will be Strokes, some of it will be I don't know what - stuff for pop singers. TV themes. I've got a jar stuffed with songs, all these ideas that are just me humming into a recording device.

My life is a glorious tornado of musical projects!

We loved Andy, so we wanted to keep him. He was in both bands, but Nerve Agents broke up.

I write all the time, and I write a lot of songs, but before I started putting out records, those songs always just ended up on stuff that I did with The Babies.

That's what I tend to do - get into a band, and then it gets busy… and you want to get away from it all again. That's what happened with the Moodies and Wings.

Now that that album's done [TModern Vampires of the City], I have time to revisit things that I was working on earlier, previous to it. I actually found it very helpful to be working on some music on my own.

Mike Patton is my mentor, and he releases two to five records a year with many different bands, and he gets stuff done.

With every musical project, I ended up feeling more enriched by the experience.

I hope we [with Patrick Leonard] can come up with something orchestral with some spoken material. And I also, God willing, hope that perhaps another record of songs also might emerge, but one never knows.

I thought about what I wanted to do besides playing violin and singing backup in a band. Don't get me wrong, playing and singing in That Dog was really fun, but I wanted to work on other musical projects and sing more. So I started a vocal project, i.e. Imaginaryland.

I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents himself, and then I know. I just follow dutifully while I'm being led.

I really want to only put out three projects from Kevin Abstract as far as solo bodies of work.

One thing that I have thought ever since Temple of the Dog is that I would never say no to an interesting collaboration, and that's partly where Audioslave came from.

I was very conceptual about what I was doing; I had the first five albums planned out, and all the songs on every album, and the artwork. I always had these ambitious musical projects in mind.

Well, this is shortly after the idea was put to me because it wasn't my idea to do a Christmas record. We can talk about that a little bit, if you like, later on. But I wrote that song actually about two days after the idea was put to me.

In a soundtrack, you are in a way always relating with... a combination of different languages. It has to have the same path and same rhythm. Sometimes it's a polyphony of languages that have to work together in some way. With musical projects alone, you can be more free.