I don't regard myself as a soloist. It's a color; I put it in for excitement. It's not great loss if a solo has to go. We've made songs without solos.
My part in AC/DC is just adding the color on top.
The interesting thing about improvisation is you're making something up in front of the audience. Now music helps you out a little bit because you have an instrument that'll separate you from the audience.
I think my favorite medium is music, with my main tools being my voice and a guitar. But I do find every other medium extremely fulfilling and useful in helping everything I do. Sometimes I need to make a song just for a comic. All of the art and mediums are connected for me.
We've always had a very strong focus on the instrumentation, and our approach to our individual instruments.
This is one of my favorite things to do, working with a symphonic accompaniment, because I don't sing - and this is as close as I will come to singing.
We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.
I enjoy singing with a band playing behind me.
With my voice and my band, I can do anything.
They don't bother too much with the balance and things on blues records.
I sang and played keyboard, so I was virtually a statue at the back of the stage. I'm not complaining about that; I enjoyed that role.
I was already writing poetry, so I transitioned from writing poetry a cappella to writing over beats, and it was way more exciting to me that way.
It feels like my job is to support people. I support great artists. When I worked with a symphony, I sat in the third chair, not the first chair.
I tried to connect my singing voice to my guitar an' my guitar to my singing voice. Like the two was talking to one another.
I thought there couldn't be a better backdrop for some kind of powerful music than a big orchestra. My wish to hear how a guitar would sound in front of an orchestra has always been there.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
I had no idea what those cords were in the bridge of 'Prisoner In Disguise' when I wrote them. I had to go over to Don Gorman, the piano player, and ask what in the world I was playing.
I always try, when I'm singing songs, to interpret them the way that I would've arranged them. I think about the melody first, and then I pull out my guitar and start singing it.
And then, I was thinking of doing a record just like starting with voice, because I did this one song that was just kind of a cappella, and I did it for this art piece I did where people could come and play music to go with a voice.
It's really hard for me to sing and play bass. Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.
It's been fun to just play bass in a band and play live but be in the background.
The song came out to be a gem, just came out to be a really, really interesting rendition of it.
I can sit on a chair with a score and give myself a wonderful performance.
My harmonies on 'Me & My Dog' are a little extra.
I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today.
