Quotes About Album

What novel - or what else in the world - can have the epic scope of a photograph album? May our Father in Heaven, the untiring amateur who each Sunday snaps us from above, at an unfortunate angle that makes for hideous foreshortening, and pastes our pictures, properly exposed or not, in his album, guide me safely through this album of mine.

A really humbling experience that we've had was touring on Post-Nothing, was having people come up to us and tell that story about Post-Nothing. Especially as the tour went on, people saying, "I listened to your album when it first came out and I listened to it every day for the summer of 2009. That was my album for that summer; that was my album for this time in my life." When somebody tells you that, it's a pretty amazing feeling, and very humbling.

Before MTV, if you put out an album that sold 50,000 copies, your band could afford not to have day jobs for a while. That meant you could stick around, put out another album or two. Maybe it would be the second or third album where you'd make the statement you'd been trying to make all along.

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!

A lot of people do talk about the demise of the album, but I still believe that if an artist tries hard to make a great album, people will buy it and listen to it as an album, rather than just a collection of random songs.

We went to South America on a trip and all I had was a Robert Johnson album. So that's a definite influence on the album. My bandmates John [Stanier, drummer] and Henry [Bogdan, bassist] were interested in expanding their roles as writers, so that had a positive impact on the record.

I think Taylor Swift is a really good artist. I feel like her personality shines through everything she does, her music, her fashion, her style. She won Album of the Year, and she’s a really good writer. I’m a song writer so I respect artists who write their own songs. She won Album of the Year when she was 18 or something like that so, I think she’s dope.

I didn't want to do an electro-class album or complex rap album. I wanted to do something that was kind of like a political statement, but also club jams. I wanted it to be dancy, but intelligent at the same time.

The irony is that I don't think we took a step backwards to make 'Group Therapy'. I think we took a step forward because it's a lot more complicated to make that kind of album. I think that album was far more produced than 'American Apathy', and it had a lot more harmony vocals and lots of intricate parts musically speaking.

I gave the album [You're Under Arrest] to Quincy Jones and he loved "D Train". We couldn't call it "D Train"; it's called "MDI/Something's On Your Mind/MD2". That's on the album.

I like to think that I've gotten better at what I do. I spend more time and pay more attention to detail album after album. But pretty much it's stayed the same.

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.

The Class Clown album was done totally sober. I'd realized what a hell I'd made for myself and I cleaned up completely for three months. You can hear the clarity of my thinking and of my speech on that album.

I've met so many amazing fans in the couple of weeks since the release of my second album, and everyone keeps telling me they feel so connected to the record. I think as an artist, all you really want out of your album is to feel like you're not alone.Because you wrote it for a reason. You wrote it because you're feeling some kind of emotion that you had to get out in the world. And if fans say, "that makes me feel like I'm not alone", then you get to say back to them, "Well, you telling me that makes me feel like I'm not alone either".

I try to explain that to my kids - the experience of going to a record store, flipping through racks and finding that album cover that intrigues you - but my kids don't want to know about it. They download the one song on the album they like, and pay their 99 cents.

The only band that I can see that made changes over the years with success was The Beatles. They were able to change album to album and still be just as good or better. I didn't feel that we were able to do that. The Beatles were in a class by themselves.

Imagine someone so infatuated by a band that they have every different pressing of every album the band made. Most of the time, the only difference in the album is the matrix number or a different 'made in' notation on the back cover or label. This is enough to make some people extremely excited. Actually, much more than excited.

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 recorded this album in a windowless room in Brooklyn by myself. I think Chamber of Reflection sums the album up better than Salad Days to tell you the truth.

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

When you put an album out, you can't do any material from the album if people are paying to see you.

I remember we were out on the road when the album finally came out in February 1973. I listened to it in my hotel room and just got this really big smile. I was thinking, 'It's amazing, we're really pulling this off'. The album was very, very unique and very, very different. I was really proud of the songs, especially 'No More Mr Nice Guy', 'Billion Dollar Babies' and 'Generation Landslide'.

The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.

I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.

I don't tend to have a favorite album; I tend to have favorite tracks. There are flaws in every album that spoil it for me.

I always wanted to make a cover album consisting of obscure psychedelic music from the 1960s - all re-shaped and customized, Ulver style.

Nobody loves me. No, everybody wanted me to do this one by myself, and I wanted to do it by myself. So, this is sorta like my first solo album. I didn't pull any tricks out of my hat, and just went with the natural flow of the film.

The only thing I ever really wanted was a Strat .. I started playing guitar after seeing Jimi Hendrix on TV the day he died...then I got Deep Purples' Fireball album which was also a big influence .. I have a collection of more than 200 of them that includes Strats from every year since March 1954 - the first month the Strat was made

Sometimes when you record an album in the end, there are things here and there you regret production wise or in composition.

I feel like I haven't started yet. I'm looking forward to the ninth album, the thirtieth movie.

After putting out quite a few albums, there's a feeling of why make another? I was trying to make something that was an album experience.

Of course I am stressed after I finish working on an album about what an audience will think, if it will be successful or not.

Then we did what we called basically I suppose a club tour in England, which was the time I think that our second album came out, we club toured around the whole country where the venues were hold to five hundreds upwards to that sort of thing you know.

The first Van Halen album makes Johnny Rotten out to be what he really was and still is: a hairdresser.

You realize that the first Bryan Ferry album was pretty good although at the time it seemed a bit cheesy.

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.

Well, I suppose I could do a solo album, but my god, it would be terrible!

That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.

It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leader.

In five years' time I'd like to be a mum. I want to settle down and have a family, definitely sooner rather than later. I'd like to have finished my second album too, maybe even my third. I'd like a sound that sticks around that other people are inspired by and that people know is me.

I don't want to put 12 singles on an album. I want to make a story, a little movie.

It was quite nice to get an opportunity to introduce on the second album something a bit fresh for us. For the rest of the world, perhaps it's not, because guitar is quite ubiquitous, but for us it's exciting to just have guitar on the record.

I wanted to make a very cohesive-sounding album. Anyone who has listened to me and brought me into their living rooms and their bedrooms - I am making this for them.

I don't care at all about the mainstream; I don't care about popularity contests; I don't care about who's got the biggest-selling album; and I don't care about glossy production.

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.

One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.

United Artists wanted to do records with me. I had no idea, what a rare thing that was... to make an album. And they put a guy with me working on songs, and I got busy with films. I just kind of let it slide. Isn't that amazing?

Making a Christmas album is looked upon by some people as the thing you do when you are heading towards retirement.