Quotes About Album

...I got a call from a record company offering me a contract, I did not want to take it because the Lord had pointed me in the direction of spiritual activity...And then it was disclosed to me that I could do both spiritual and musical work. So for five years I executed that contract, and when it was finished, after I made the album Transfiguration, I didn't make another album until twenty-six years later. This new album, Translinear Light, came out of the pleading and constant appealing from my son Ravi Coltrane: 'Ma, please make a CD.' So I eventually agreed.

With my solo music, I really try to step out of the box and do stuff I don't get to do with the boys. I wanted it to be fun, rock-infused and try some new things while going back to my roots. "All American" the song is one of my favorites from the album, which is why I chose to title the album after it. To me, it's the perfect song to represent the feel of the album.

I got a chance to have my dream come true, and I wanted to make sure I made the decision as to when I dropped my last album. If I don't feel like this album is an incredible piece of work, then I'm cool with the albums I've done. I don't have to put out another album.

I probably could have gone in depth about a lot of things, but then the album would've been longer. You can't have a short album when you're talking about suicide and cocaine. That's not going to be a short album.

I grew up in the era of the concept album. What I do now is pick up on singles, and they are their own complete stories; you don't necessarily have to hear the rest of the album because I don't think albums are created like that anymore. They get songs from all over the place.

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.

It was 22 years of work in a row, right up until 1987. Twenty-two years in a row-either on tour, writing an album, or recording an album. It wasn't until 1987 that I was able to take a breath.

I wanted to reexamine the idea of the album for generations of people who are not my age, who love music or learning about music or are finding this band called R.E.M. or have just previously heard "Losing My Religion" and "Everybody Hurts" as their elevator music. I wanted to present an idea of what an album could be in the age of YouTube and the Internet.

I could have taken the easy life and just done classical, but I felt very strongly about the album, my first pop album, the first time that I'd fused so many influences. I was very proud when it was in the charts in 25 countries at once.

The album is a definite departure. I haven't written original material before, except for one song on my first album, but Elvis and I did six songs together on this one.

I was really inspired while I was pregnant and I wrote a whole album for my baby. I wanted to write a kids album that didn't annoy parents. I used The Beatles 'Rocky Raccoon' as sort of a starting place for my writing.

Comedy is a live art, and the only way to record a comedy rock album is to do it live. The audience and their laughter is just as much a part of the album sound as our music. No retakes, no room for error.

So I went out and bought Hard Again by Muddy Waters. That was a big learning curve. I listened to that album again and again and again. James Cotton was the harmonica player on that album.

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.

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.

When someone is buying a sample-based album, they are investing in the concept of that album. If they really like the original source material, they can go buy it.

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 had just finished a run of shows in the States and went to NY to work with BenZel for a couple weeks, mainly as a different focus to touring. I didn't have any expectations or pressures with what would come out of those two weeks, and think 'Tough Love' sums this up. It was me experimenting with my voice and having fun with it. It just felt right and kind of dictated the route of the next album, much like 'Devotion' did on my first album

I did a pop album, 'Sogno,' in 1999. I think it's important to record another pop album because many people love pop music. By this kind of repertoire, some people can later discover classical music.

I'm really proud of the album. It's something I always wanted to do but I had to wait until I was ready. Shakespeare is a culmination of eight years of stand up experience and joke writing. I recorded two shows at the Upright Citizens Brigade Theatre in New York. The crowds were great and that's what really makes an album.

With our last album ("No Time To Bleed"), we recorded most of it in New Jersey. And with being on the road 9 months a year, recording an album on the other side of the country- it just wasn't a good experience for us. All I wanted to do was go home and see my daughter, so for us to only be a couple hours away was huge- I could go home if I needed to.

If I have a rap album I'm dropping, then I want it to be the best rap album.

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.

By 17, I had a whole band that would go in and play. It was called Spontaneous Inventions, after a Bobby McFerrin album.

I never intended to write poems, nor to be a photographer, nor to be a film-maker. I just took many, many pictures and I would put them in an album, and then some years later I decided to show them and suddenly I was called a photographer. Same thing with my poetry. They're notes that I'd written in a book and it may be considered poetry.

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.

I can't wait until the record label feels like it's time for my album to come out, and then just disappear.

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

I never stopped writing music, I just stopped writing songs. I've been writing music continually ever since the last album of original tunes, "River Of Dreams" in '93.

I grew up in a very musical household. My brother had KISS and Van Halen records, but my parents loved country and show tunes, so I had all of those records when a kid. I pretty much knew exactly what I was going to do at a young age. I loved album covers, I loved listening to a record and staring at the art while listening to it. When I got older and discovered paining, drawing and PhotoShop, I was able to do both simultaneously; I enjoy making both.

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.

I had the pleasure of listening to Rickie Lee Jones' Flying Cowboys album on audio cassette, which had just come out at that time because I am an elderly man.

By the next one [albom],Occupation: Foole, I was right back into the trip again. I'm more frantic, more breathless. You can hear how sick I am. If you want to see a cokehead, just look at the pictures on the Occupation: Foole album.

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.

When we came out, the kind of music that was popular was Nirvana, Soundgarden and Alice In Chains, all that stuff. That was when we released our second album, 'Images And Words', and it was something people werent used to hearing maybe, and it sort of rose above all that somehow, being progressive, or whatever.

Kenny G has a Christmas album out this year. Hey, happy birthday Jesus! Hope you like crap!

The best way to listen to the album is to put it on, get some Moet, lay back with your boys, and kick it.

I didn't want to become a personality, I wanted to be a musician, but because I didn't have an album to stand by yet it was hard for people to see that. But now, two albums in, I'm happy with things.

There seems to be something pure in pulling from a place in time that's "innocent" and untouched by outward opinion. I wanted this album to have threads of my past to enrich the topics I wanted to address about aging.

I don't want to do a gimmick. It's a bummer that that's how it is. I would say, personally speaking, consuming music now is harder than it was before. It's like being stuck in a slot machine. There's just so much noise. It's just constant noise. It's harder to clear your head and give the time to music that a lot of it really deserves. It's really crazy how different your relationship to an album or music becomes, even if it's digital, if you spend the $7 to $10 on it. It forms this relationship where you're not just going to throw it away.

My first album was me finding myself and my voice, finding how I sing. I was rolling with the punches because everything was new to me.

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 didn't to be like, "I have to write a new album. I need to get creative."

With his new CD 'Tactiles' Liberty Ellman emerges as one of the most intriguing, albeit unorthodox, guitarists on the New York scene today. An album of original, esoteric compositions marked by dense polyrhythms, dissonant, angular lines and an organic logic that ties the whole thing together in brilliant fashion.

Putting out my album on my own label has been a great experience for me. It's been very inspiring. It's like a new start for me and having all this creative freedom is so liberating and exciting.

The Moment is an album that contains the best music I have ever produced.

Johnny Rivers...returned to L.A. to accept a lucrative offer from Elmer Valentine to open at his lavish new nightclub based upon the popular European discotheque concept. Johnny Rivers at the Whisky A Go-Go turned Hollywood upside down. His first Imperial album, "Johnny Rivers At The Whisky A Go-Go," (produced by Lou Adler) was high in the charts for 45 weeks in 1964.

What happens with Mad Men, its like an Elvis Costello album; Ill watch it, and then I immediately have to watch it again. AMC will play it back-to-back. I have a tendency to yell at it when my wifes not around because if she catches me yelling at Mad Men, then it gets weird.