Quotes About Album

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.

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.

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."

This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.

When I was growing up, I would listen to a different album almost every night. I would do the full album experience before I went to bed and that's how I would discover a lot of music. I would kind of go into another world with my headphones on.

Each album has a different atmosphere. The third album and Houses of the Holy seem to be the two albums that people didn't get off on quite as strongly as the other ones. But I think they contain the basic ingredients for the further pursuance of what we're doing... the turning point to relieve the tedium of repetition.

I guess, a lot of people think is a long time between albums. It was needed for me. I went through a lot to get the album ["Wild Things"] finished. I actually went through a lot to even get the album started.

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 just put out a hardcore double album. Next I'm gonna put out an introspective album.

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.

The thing about being an artist is that you evolve so quickly, you grow, you learn, you change, you find yourself hating work that you made months prior. That's the hard part about making an album, but every couple days I fall asleep listening to my album front to back and I lay there feeling so proud of what I did.

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

Everybody else goes out and plays a show as if it's their album, which is boring. I'd rather sit at home and listen to the album, because I hate to be in a smoke-filled, loud room - that's not enjoyable for me at all...I always look up to guys who can sit and do dinner music...they're singing in tune and playing somebody else's music, and I don't think I could do that...it's the shittiest job in the world.

We're not going to get into how many deals I've had. I don't think there is a label that I was signed to that we didn't deliver an album. Every time the album got ready to be mixed and mastered, it was always a situation. That's neither here nor there, because Tony Sunshine is a different guy now, a different entity.

Just like a Led Zeppelin album stands up today, we hope our album stands up in 10 or 20 years.

You sing songs hundreds of times over and over, but certain ones just morph and naturally, as you age and get life experience, take on a different form as well. When I was looking at songs for the album, I thought, "Which are the ones that connect with me the most? What do I think would work in album form?" Almost all of them I've done in shows.

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.

Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.

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

My scrapbook albums are about capturing and saving the everyday joys of my whole family. In fact, in lots of ways, it's every bit as important to get the pets we love into an album or something that's going to keep them with us forever. There's not a pet owner out there who hasn't felt the loss of a treasured friend. An album lets us hold onto the good times. I've seen some incredible, touching, adorable books put together for pets - because clearly they deserve it. These are unconditional, lifelong friends.

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.

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.

'Captain Fantastic' was the first album in history to enter the (American) album chart at number one. We did it for a second time after that. Now that's not a boast, that's frightening.

It's a blue album, but it's not a blues album. I'm not pretending all of a sudden now I'm blues.

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 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.

My goal is to always contribute a part of myself to my music that will result in it sounding authentic, timeless, and real. I feel that this truly comes across in my new album, which is in the Rock genre.

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!

Michael Giles the first drummer of King Crimson, never agreed to the name King Crimson. But then, if you'd knew Michael, you would know he didn't agree to the album cover either. So maybe Michael didn't agree to the point of definition with many things.

I'm into paradoxes. I wanted to make an album about them, but the group told me I was a pretentious fart. They were right.

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.

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.

From day one when you're singing, you're dreaming about making that first album and making your break into whatever music you want to break into.

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.

I don't ever land on an album title until I know exactly what's going on the record, because you never know until it's all said and done.

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.

Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.

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

I never listen to any of my music after it comes out, unless I hear it in a cafe or whatever. I'll think, "I forgot how it was so slow or how minimal it felt compared to how it's become live," because you start having a relationship to the songs live. After an album is finished, I really let go.

I've been following him since Space Oddity. And I've followed him from all those albums that didn't sell, like The Man Who Sold The World and things like that. Above all, apart from all the glamorous rubbish, the music's there. Ziggy Stardust is a classic album.

I lived in Brooklyn for a year and I moved out to Rockaway Beach. I've been living here for two years now. I put my address on the album, so I have a lot of visitors all the time.

In an odd way I thought I was lowering the bar for myself, in saying, well, I'll make a pop album. But in a way it's kind of harder to make pop music. It's like the more abstract you get with music, you get into that emperor's new clothes thing, where you can go anywhere, and just claim that your audience may not be prepared to go with you. But with pop music, I think everybody understands the form, everybody knows what it's meant to do. So I would say it's harder to write that kind of music.

I played lead guitar in a band called The Federal Duck, which is the kind of name that was popular in the '60s as a result of controlled substances being in widespread use. Back then, there were no restrictions, in terms of talent, on who could make an album, so we made one, and it sounds like a group of people who have been given powerful but unfamiliar instruments as a therapy for a degenerative nerve disease.

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 still play the same kit that I used on the very first album. It's an old Tama Superstar that I bought in 1983.

There's very notable dynamics in all of the collaborations I've done. It's hard to say if one is more important than the other, but if I had to think of all situations and point to one band that I enjoyed most it would be when I was eight years old. I had a band with my little sister and the kid across the street. We sat around all day playing music and it was bliss. I didn't have any expectations or do it for anyone or worry about selling an album. That was really my favorite band. We were called Hot Chocolate.

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