Quotes About Album

When I finally stopped [singing], he had been saying, like, the last day or so, he'd been saying, now, I think we should put this one in the album. So without him saying I want to record you and release an album, he kept - he started saying, let's put this one in the album. So the album, this big question, you know, began to take form, take shape. And Rick [Rubin] and I would weed out the songs.

I guess every musician looks forward to a point where they can just kind of make an album that truly is like a nice art album.

Obviously yeah, but our first album took us five years to put together, to get signed and to put it out, we had a lot of time to think about what we were doing. Black Sunday was like a whirl wind, we had to rush back to the studio after touring, but the last album we had a little longer, what like eight months?

You know, your first album is about really amazing things. Your first album is always about coming of age, first love, first loss, usually you suffer a first loss of someone that you love to death, even, you know, really big life lessons, things you learn from your parents' divorce or from the travels that you took.

I’m very proud of Seungri. I worked over a year for my album, but one day YG told Seungri to make an album and he made one in just 2 weeks. Ah, maybe 3 weeks. He’s a true genius. I’m jealous of his propulsion.

So many times nowadays it's about having two good songs on an album and a bunch of filler, and I wanted to make something that I felt every song on the album was fun for everybody.

Karl Agell sang for our Blind album which was our second best selling record. He's a great guy and as a matter of fact, before Mike, Woody and I really got going on touring on the old Animosity stuff, Karl & I did about a dozen shows performing the Blind album from start to finish. He's still a good friend of mine and is now in a band called Lead Foot that's more Rock and Roll but they're fantastic, kind of Thin Lizzy or MC5 sounding.

I want to leave an album behind that is classic, that people in 50 years will refer to and pass on to their children. An album that you never bored of.

Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.

This album is my life, and my life's really not that interesting. It's not "not interesting," but I'm just some dude just like everyone else. But by recording it in an album format, it becomes a product. That's the idea of Built on Glass; it's the relationship between my personal life and the music I make.

For every album, I really try to make an album that you hopefully will listen to from the first track to the last track. I personally really like if there's a - maybe not a story, but there's a natural flow.

I don't know if I want to record together again. I go off and on it... In the old days, when we needed an album, Paul and I got together and produced enough songs for it. Nowadays, there's three of us writing prolifically and trying to fit it all into one album.

The one album I can't live without is called 'Cumbolo' by a band called Culture. Every song on their album is deep, but there's one in particular called 'This Train.' I have a tattoo of the lyrics on my left arm.

I definitely consider 'Poses' - the whole album in fact - to be kind of a miracle. Like the last breath of that moment when decadence is healthy, 'Poses' encapsulates that feeling. It's a kind of song and a kind of album that I'll never be able to repeat.

But when you hear the complete album, it gets dark, really straight-up rock, with some really intimate moments with just me and the piano. It's not completely me because there are parts of me that aren't on that song, that are on the album.

Back in the day, fans wrote letters to groups - you'd get them, although it could take a while. Now, artists can go online and there's discussions about what you should and shouldn't be doing. The minute you announce that you're recording an album, thousands of people are telling you what that album should be.

I'm a singer, not a politician, and I think you don't want the two to get confused. It's not OK to be on CNN talking about people starving and then tell the interviewer that your new album is coming out in six months.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.

One of those things that I find hard to dispose of is my attitude to album sequencing, the layout of the pieces.

I think pop culture is the greatest subject matter out there - 'Other People's Lives,' as we wrote about on the last Duran Duran album. Most ideas for great songs come from real situations, something your friend said to you the night before, the girl that just left, or something traumatic in your life.

Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?

I'm always excited to make the next album because I definitely get sick of my work the second it gets out there.

I'm one of a dying breed who goes out and tours all the time. Labels don't spend the money to send people out to play before they become famous, but we did do that so the fans we have are word of mouth fans who have been travelling around with us for years, and they buy the albums, but they are also the ones who go out and get the bootlegs. I don't discourage bootlegging, I like playing live, I don't think it hurts my album sales at all if there are bootlegs out there. Who cares?

I grew up in an age where I loved going and buying a physical record. Things that were digital and all that stuff, it wasn't around. So I loved going and buying an album and looking through the inserts and reading stuff and seeing pictures.

My uncle was a music producer and even he'd tell me to get a proper job. I tried to get him to give me five grand to make an album - it didn't happen.

I've only had one platinum album, and it's 'Red River Blue'.

I've never listened to an album once I've finished it. All I hear is what I should've done different. I beat myself up over it.

Everything that came later... the roots are all there in the first album.

I think our fans are a bit like us — they’re very fun, like to have a laugh, like to party. I think that’s what comes across on our album as well. It’s very fun. It’s music that you could play at a party, but it also deals with teenage relationships.

I think my favourite song on the album [Second Hand Rapture'] is 'Head Is Not My Home', I love the vocal melody and it's such a power hit of a track. Every time it pops on I like listening to it, I'm really drawn to it.

Once I finish one album I know where to begin again.

It was more about getting together with other musicians and playing live. I needed to suss out a full set [for the Last Summer tour], and I didn't want to play Fiery Furnaces material. So half of our set was new songs that we ended up recording for this album. And that made such a huge difference - going into the studio after playing a song for two years, knowing it inside-out and having sung it millions of times, and then recording it is a totally satisfying experience. You're suddenly in this controlled environment and you can make it sound exactly as you've been imagining it.

It's like the iPod playlist has killed the way we think of the normal album, so let's think of this as just saying you go into your record store and all those categories and all those different ways of segregating music have been thrown out the window, so the difference between myself in real life in that is that I'm the opposite.

So like what I want to do is connect all of my albums and make it tell a bigger kind of story. So the first album is very focused on her family life and her love life.

I am too conservative to use another studio than the one I am used to, so I "had" to travel all the way from France to Norway every time I wanted to record an album. That was about 3,500 km each way in a Lada Niva with a cruising speed of 90 kph.

Right now, when it comes to making an album, we really want to give our fans just Linkin Park. We don't want to water it down with anything else or confuse it with anything else. Meteora is just us and that's where our focus has been. So hopefully the fans can enjoy that.

So many people didn’t want to touch the project with a 10-foot pole. Literally, I had people laughing and saying, ‘You’re making an album? Good luck.’ … But if you sit down and talk music with me for 10 minutes, you know that’s my passion.

You're always frustrated, you don't have the chance to do a song on the album, like the Beatles did with Ringo and George, or like Led Zeppelin, where everybody was given a chance to contribute. There never is a chance with the Stones.

Of course, we wrote the songs accordingly and performed and recorded them that way. At that time, we really thought it was right, but you know, seen in retrospect, it made the album sound forced, and not really great.

I don't write all my stuff. Everybody always thinks that. But in just about every album I've ever had has been about 50-50 songs I've written or co-written and other people's songs.

I suppose listening to a double album is kind of like going to the chiropractor... It's pretty good for you but you can't force it on anyone else.

There's so much music out there, and so many different styles that I've been influenced by, so each album reflects some of that knowledge or influence that I've had.

On the last album, I didn't want to disturb the melody with too many stories. This time, I wanted to know if I was able to create images with words, with the sound of words.(...) I think that’s a good thing when the one who is listening, is feeling it in a different way that the one who creates. We are all listening with different perspectives.(...) I don’t want to impose my subjectivity to the listener.

In an artistic and spiritual sense I'm really not that concerned about what happens after the album is done.

So we're considering doing a new Christmas album, because there's been Christmas episodes since then, and maybe finally do the version of 'The Most Offensive Song Ever' with lyrics intact.

Yeah. It's all in the music first. The music is like women to me. It's like how you pick your music: everybody got their own different way how they pick their women and their music, and I guess that's what the album becomes.

A dream collage is pictures of your goals. It is like your future photo album.

Most helmsmen would’ve been satisfied with a pilot’s wheel or a tiller. Leo had also installed a keyboard, monitor, aviation controls from a Learjet, a dubstep soundboard, and motion-control sensors from a Nintendo Wii. He could turn the ship by pulling on the throttle, fire weapons by sampling an album, or raise sails by shaking his Wii controllers really fast. Even by demigod standards, Leo was seriously ADHD.