Quotes About Album

The only thing I can think of is my favorite album at the moment by this guy called Father John Misty, and the album is called I Love You, Honeybear. It's just brilliant. It's the album I'm currently obsessed with. It is original, and the lyrics are fantastic and [it's] brilliant. So that's blowing me away.

We had to create an album where there wasn't one. I never listen to that album [ Music From the Edge of Heaven] because it wasn't an album.

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.

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.

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.

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.

Usually bands would make a song to record for an album, but what happens with the deejays you say "Well the album is everything we need. Thanks band. You can go away now."

Some of the albums I like best in the whole world are considered psychedelic albums. A psychedelic album is an album that when you put it on, if you listen to both sides, when it's over, your perceptions have been changed and I think that our record can do that.

To create an album of love, I really had - I thought it was going to be easy, because I've always written love songs. But I thought if I really want to make a love album that contributes, that actually means something, I've got to go deep.

I named my first album after my dad because I wanted to find him. My second album was named after my mom because I felt like I learned all my creative talents I learned from her.

I think, when all bands start, when you're on your first album you have the benefit of hoovering up people who genuinely come across the music and really like it, but also those sort of 'floating voters' who just like pop music when they're young. And I think that when you get to your fourth album, those floating voters have dissipated and you're left with a core audience, and at that point you've really got to get your act together and move on to something else to keep afloat, or you'll just shrink with your core audience.

There's an album by Antonio Carlos Jobim - the album with 'The Girl From Ipanema.' That's the most seductive music ever.

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.

There were a lot of songs that I still wanted to put on the album but it worked out. I can only fit 18 [tracks] on the album, I would put 30 if I could.

Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.

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.

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'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.

In short, if we adhere to the standard of perfection in all our endeavors, we are left with nothing but mathematics and the White Album.

I do a lot of curiosity buying; I buy it if I like the album cover, I buy it if I like the name of the band, anything that sparks my imagination. I still like to go to record stores, I like to just wander around and I'll buy whatever catches my attention.

I listened to my first comedy album in 6th grade. It was Bill Cosby. My brother and I would play it over and over on a Fisher Price record player. A friend in high school also introduced me to Richard Pryor. I wasn't writing material back then, but I would say funny stuff. I was good at making fun of people's moms. If I knew something personal about you, it would be used against you.

It would be really nice to be able to put out releases that wouldn't be conditional upon an album format, and just put out music in different ways.

This way, if I did the album myself, and I produced it myself with my own label, it was going to be done the way I wanted to do it. If people like it or don't like it, it doesn't matter; I got something that means something to me.

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

I would have found something because I love to entertain people. I had the option to take the rest of the year off. But I said the songs on my last solo album, '24 Karat Gold,' mean so much to me. I need to get out there and sing them.

A digital download is not as visceral as buying a CD, removing the shrink-wrap, putting the disc in your player, and pouring through the booklet of lyrics and liner notes. The digital age has removed us from the tactile experience of what it meant to listen to an album.

It is a great pleasure to be performing with a big band. Those people took part in a group that played the music from the Kino Kultura album i.e. the soundtrack music I've been doing. It is difficult to organise them all and to have those people for a certain date since they all have their own obligations and arrangements. It is a great privilege to gather all those musicians at one place, especially these that I work with, since they perform regularly abroad, at weddings or are working somewhere else.

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.

Over a year before I started recording Salad Days, so I finally sat down and was like I have to do this. And it did feel like a chore. I was looking at it in a completely wrong way, trying to one up myself. Just the typical sophomore album bullshit. The main thing I got out of it is I eventually gave up on all that stuff. I had to re-learn why I liked making music in the first place, why I liked recording in my room all the time. Because it's fun. It's fun for me.

I've never been the type of person to jump up and throw out the album without it being what it's supposed to be.

I don't want my album coming out with a 'G' rating. Nobody would buy it.

I resent the fact that a parental warning sticker has to be included on an album as cover art. To me that's censorship.

The happening and telling are very different things. This doesn’t mean that the story isn’t true, only that I honestly don’t know anymore if I really remember it or only remember how to tell it. Language does this to our memories, simplifies, solidifies, codifies, mummifies. An off-told story is like a photograph in a family album. Eventually it replaces the moment it was meant to capture.

I'm not trying to be cosmic, it's just that everything's on a roll and that's how it is. The songs within the album discuss that very condition.

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.

In many ways, I think I'm a good person for it. I mean, I'm not a musical theater dude. Or rather, I don't watch everything, and love everything, and have every album. The ones that I love - like I've seen The Wizard of Oz a hundred times. West Side Story I love. I love Singing in the Rain, I love White Christmas. I love the Dennis Potter ones like Singing Detective and Pennies from Heaven. I love Sondheim.

Just because you can make an album on a laptop computer in your back bedroom doesn't mean it's going to be any good. Like any 'product', it has to come from a good original idea. There are no shortcuts!

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.

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.

As a producer, I'm an objective observer, helping a band form their ideas into a cohesive album. It's a step back from the intimacy of creation.

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.

I was going through some emotional turmoil. You can tell by the tunes on the album that I was going through a break-up of my marriage. It was the only way I could express myself.

I was trying to learn how to deal with the freedom that I had away from home for the first time. 'Long Black Train,' the song and the album, are very special to me. It was just one of those things that I felt like God gave to me for a purpose, and I've been out here promoting that purpose.

I heard this album as finished, I heard it in dreams . . . It was like the revelations of John the Baptist or something.

I want to sell out arenas and make an album and work with some of the best artists in the world.

The hardest part was knowing that I would have to talk about the album when I released it. I think the hardest part was waiting to see how long it would take for me to be able to get through the questions people would ask me.

My solo album is different from the Black Eyed Peas albums because I'm a singer first and foremost. There are more ballads and more intimacy between me and the listener because sometimes when you're in a group you don't have space to air out your dirty laundry.

I don't want the big flashing lights and red carpet, like, "Here comes another Bon Iver album!" I just want it to be my bedroom-y thing. But that'll take a while to figure out.