Quotes About Album

Any album that you pick up of mine, you know it's an Akon album. The guests are very limited and you get to really feel the experience. You get the Akon experience when you get the albums. I always want to make sure that stays the way it is. I don't want to flood the album to where you lose focus on why you bought it.

What can you think when one review says "this album is brilliant, and all the songs flow into the utmost brilliant song 'The Upside-Down Cross'" then another review says "this album is brilliant, except for that horrible and pointless song 'The Upside-Down Cross'," and another review will say "Jeffrey really sounds confident and relaxed on this new album", the next reviewer says "Jeffrey sounds more depressed and awful than ever" - these totally contrasting reviews happen all the time!

Back in the day, we sampled Portishead on Nocturnal, that song "Proud" we sampled Portishead. And we used to have the [Dummy] album, 'cause Da Beatminerz put me onto the album. I had the album, every time I played it, I had this dude like, "Yo man." He thought I was so ill 'cause I listened to Portishead. "You're different, man."

My reaction to Radiohead isn't as simple as jealousy. Jealousy just burns; Radiohead infuriate me. But if it were only that, I wouldn't go back and listen to those records again and again. Listening to Radiohead makes me fell like I'm a Salieri to their Mozart. Yorke's lyrics make me want to give up. I could never in my wildest dreams find something as beautiful as they find for a single song - let alone album after album.

I know six years is a big break. But I never walked away from music. I never released an album because I wanted to do a different album, something I have never done before.

God built the Earth in seven days and seven nights, that's how I'm going to approach doing the album. So when it's time for me to actually finish up the album and do final cuts of everything, I'm going to line it up in seven days and seven nights. I'm going to document it, out the footage out, show people it's not a fluke.

After 'Sports' came out in the fall of 1983, everything changed for me. Four of the album's singles became top-10 hits, and by the end of June in 1984, the album was No. 1 on the Billboard chart. It was quite a ride, and for the first time I had enough money to live the way I wanted.

My first introduction to African music was by my mother, who bought the 'Pata Pata' album by the great Miriam Makeba when it came out. Now that is an album. What a voice.

I have lots of records, quite a collection, actually, that I stole from my mom. I have the original 'Thriller' album and I have a really great 'Elton John's Greatest Hits,' and I also have a N.E.R.D. album. Records sound more original. They have more edge.

You could be Top 5 on iTunes, but for people to buy an album, they've got to have a connection with an artist. Every time I bought someone's album, it was about the connection. I was loving everything, from their raps to their style. I wanted to meet them.

What happened was I was a songwriter on Quincy Jones' publishing company, Qwest, for two and a half years before I gave him the song for Michael Jackson. He had a meeting with the songwriters. I think there were about six of us on the West Coast and we all had a meeting at his house where he sort of gave us an outline of what he wanted. To finish this BAD album Jones needed one more song to round out the album. I took notes and then I then took my notes to my writing partner Glen Ballard.

I try to mix the fashion with the music and what's going on at the time...at the time [when my uniform was black on black] I was putting together an album, my album was my name at the time; very minimal, very stripped down, very everything but it still had and have to have some level of pop.

It is definitely much easier to feel that an album is disposable - to dismiss an album or delete the tracks you don't like or to just throw it into shuffle or whatever.

I've done gospel singing. I have a gospel album and country album.

A brilliant 1989 album, Oh Mercy; some career retrospectives; and two albums of American folk songs, with just Bob Dylan and his guitar and harmonica. All that culminated in the Grammy-winning comeback album, Time Out of Mind (1997). Once again, just as Dylan seemed to be out of it, he was back at the top of his game.

Billboard called my solo album, 'Standing In The Spotlight,' a great party album and even said that my raps put the Beastie Boys to shame.

I really just like breaking down the barriers, whether it means doing an album with Linkin Park, an album with R. Kelly, or playing at the Brandenburg Gate with Bono.

I realized at a young age that sequence in an album is almost as important as the songs that are on the album.

Obviously, this is our first album [Begin], so this is our first big body of work that's out there in the world and it really represents our journey, from where we started to now and all the music we created, our range, and all the things that we definitely shared, but weren't able to show our range on a full-scale until this album.

The collectability of music is something lost in the age of MP3s and album downloads. Holding an album in your hands and having the full-sized artwork reconnects the artist and the listener.

I only wrote one song in jail. But I'm writing new album - you're going to feel the entire 11 months of what I went through on this album. I'm venting my anger.

I'm definitely obsessed about artists and the type of music and the playing and the tone and all that kind of thing - I'm not obsessed about what the best Beatles album is. I just think if The Beatles are great, they're great.

You know what, I'm very interested in acting, but right now I'm busy promoting my album and going on tour because that's my first love, but I'm very interested in doing some parts that may come my way. I've been offered a few movie parts so far, but I have to really concentrate on singing. But it's something I'm interested in doing eventually. I haven't been offered a part that truly inspires me to take time off, though.

I tend to write pretty much by myself. I always did that anyway. I used to write with Ron Strykert 'cause he was the only guitarist and we played well together. We lived in the same place. I would play a certain style and he would kind of dance around what I did, in a sense. I learned from him and also vice-versa. With this band, I think I bounce ideas off everybody. Perhaps on the next album they'll be more collaborative stuff, but for the last 2-3 years, I've been pretty well writing by myself.

In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.

It was definitely in my mind to do a solo album, but I didn't know it would take this long.

I am trying to change hip-hop music because I do feel there are places people can go with production and the structure of an album that they haven't gone yet. But, like I said, I don't have any delusions of grandeur. I just want to make music that doesn't make me bored.

As a drummer my job is to reproduce what made the people bop their heads when they first heard the album on the radio, or when they watched the music video.

I picked and co-wrote the songs that if I was a guy who would be spending my hard-earned money buying an album I would want to hear.

It was always a great challenge: how can I make a dreampop album that's still very Alcest, but not a ripoff - how to keep the core.

Buy our album, were Nirvana, a garage band from Seattle. Well, it sure beats raising cattle.

I thought it was time to get a group together and the first person I thought of was Wayne Shorter. I called Wayne and in the meantime, Wayne called me to make an album with him, which was Super Nova.

I was always an album guy, not a greatest hits kind of guy, not so much a radio guy. I'm not saying one is better than the other but... It was like reading a novel but shorter than that. You go into a world for an hour and you absorb yourself into it rather than just passively listening and flipping through this and that.

I have been singing since I was two years old, my parents tell me, and started to write songs when I was fifteen. Eventually, my friends and my parents knew that this was something I liked to do. They also knew I had a dream of making my own album. They have always been encouraging me to do something about it, and so I did. So I went to a local radio station in Tromsø, and there I got to record a couple of songs.

When you're listening to my album, I want you to know that things happen and eventually you get over it

The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.

I'll put out an album, and people review it, and some people love it, and some people tear it apart. By nature of the project, I've always wanted this to be something where people react strongly to it.

I wanted to make an album that I wanted to put on myself and could listen to again and again. In the past I've done these records that are very in-depth. I love them and I'm very proud of them but I've always found it hard to listen to them again and again...they're very demanding.

An album is a thing you take time out and go work on.

When I was producing the first solo album, i just wanted to convey some messages through it. The message was 'no blood will come out even if I am pinned' However, after trying out different kinds of music activities, I started to change and wanted to convey my real emotion that I have in my everyday life. I want to express the feelings that everyone has felt at least once, in music so I think people will feel/understand my songs.

This album was designed to touch your soul.

The second album of Black Mages is currently in the process of recording and the basic tracks have already been completed. Hopefully sometime in the future we will be able to have a concert.

If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.

There is always a bit of pressure to do a good album - to do good work, period. I really put a lot of pressure on myself, more so than other people. But I try not to let that overwhelm me to the point where I can't even do good work. I just put it aside and do the best that I know that I can.

For me, I want to create a environment for the songs to live in. So one song by itself only tells a piece of the story, but in the context of the album, more of the colors are revealed.

For the 'Load' album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For 'Hero of the Day', I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp - again, they're all blended.

At the end of the day, I want to spend time with my daughter, and this schedule enables me to do that while still having fun hosting '106 Park.' I'm not really eager to get back into music just yet; I'm really eager to get into another movie before I put out an album.

I think my first album opened a lot of doors for me to push the freedom of speech to the limit.