Quotes About Album

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.

Im a hip-hop guy, and the first time I heard Eminem was in 96. He was on a record with Shabban Siddiq. I was like, Who is this guy? Hes dope! First album came out: awesome. Second album came out: awesome. Third album, I was like, Eh. He started to get really successful. He wasnt mine anymore.

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.

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.

When I first knew Bob Dylan, he lived in the Village. And for a man who, years after, would disdain publicity or any attempts at interviews, whenever I'd write something about him, he'd be on the street corner saying, `When's it going to run? When's it going to run?' But I must say that album that was - it was the second album he did, and though I've never been a fan of his guitar-playing, he did - I have to admit, he did catch the Zeitgeist of the time.

Most of the time I like to start an album abroad, not at home, just to avoid the pressure, to not wake up and think, OK, its the first of recording this album. I like to avoid that.

My favorite album would have to be Rocket To Russia. I feel this album has the most classic Ramones songs.

When I make music, I try to make something that is super colorful and something you've never heard before, so when you hear the whole album, it's a good feeling. Musically that's what I aspire to do whenever I'm making an album.

I met Quincy [Jones], he had heard my album, someone played the album and he flipped over it.

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.

That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.

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.

[Music From the Edge of Heaven] wasn't really an album at all. The band had made the decision to release an LP and then split up. We wanted to go out with a bang in Britain and the rest of the world by having a single that was four songs, not just one song. But we couldn't do that over here because we couldn't release a single without an album.

I think it says wonders about people that can write an entire album, and put out an entire album of great songs. I mean, the Brad Paisley's, Alan Jackson especially, even Taylor Swift - those people can really pen great stuff.

My first album deals with my anxiety. It wasn't like, to heal my anxiety and by writing an album I'm now healed. It was, here's a sound representation of what it feels like to be in an anxiety attack and that's it. I think we can say the same with image, people look at an image and see a billion different things.

Mixtapes, it's for everyone and you throw them in the trash quickly. While an album is an object that only your real fans take the trouble to buy and know you have prepared something special.

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

In '98, I locked myself in my house, went out of my mind and wrote 25 songs. I rarely bathed during that period of writing; I sent out for food, I didn't really venture out of my house in three or four months. It was a hell of an experience. The album is an overview of birth to now.

All my money comes from show money. You might get your deals, your advancements to do your album, but it wasn't in great abundance. Everybody's money in the '90s came from doing shows. That's a whole lot of show money, and that's it.

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

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.

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.

I'll probably do a lot of acting first, then go to singing. but I am going to definitely sing someday. So when I do start singing, buy my album!

I'm just going to keep going. For me, the most important thing is that I have fun. I've reached nearly everything already with Accept and U.D.O., so the most important thing is that I have fun touring and making albums. I'm still nervous when a new album comes out. I'm still nervous when we start touring. So as long as I have this feeling, I can't say when I will stop.

Some kid can say, "Hey, I really want you to play my town in Switzerland, or Sweden, or Latvia," and they could have a fun night at the show. On the other hand, all those kids could have a record that means something to them in a more personal way a couple months down the road. The live band is a really important thing for us, but my focus is on the album now.

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.

I don't want to give too much lugubrious thought to the gravitas of a coherent album. I don't want to develop a life of slavery to a large topic. I want to throw out some singles and that's what I'm doing, and they're not to be done in any other way.

I use the music to vent, and a lot of the stuff that I am writing about or was writing about contained a lot of anger and anxiety, stress and depression, so that's how the album came out so dark.

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?

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.

I love pop music. It's not easy to write a good pop song. It may be easier to put out a fake jazz album, as Sting does from time to time.

I tried to take some of the same records that were important to me on my album Full Speed that my fans really vibed with content-wise and just made sure that the production and actual sound was put together differently and wasn't rushed as much.

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

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

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.

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 don't own an ABBA album, and I never had the urge to go and buy one. If you're just talking about well crafted pop songs, they were fantastic.

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.

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.

I can never tell what's going to end up being on an album until it's all finished. I'm reading the news everyday, and sometimes I just have to be away from it. And that ends up writing the songs for me a little bit.

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

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.

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.

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.

I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.

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.

I never wanted to churn it out. Comedians tend to work all the time. They never put it down like musicians who might make an album then take three or four years off to recharge their batteries. Comedians tend to work straight through and they get stale because of that. Even when I didn't have a lot of money I never ever did it unless I had something new to say.