Quotes About Album

My album focuses on unrequited love quite a lot because I don't think it's spoken about enough in music. I've been through it myself and I found it hard to find songs that were about that, so I've definitely tried to make that a part of my album.

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 knew I was destined to do a solo album, but when I did that first album in 1978, I had no idea it was going to be that well received.

The idea of going around to somebody else's flat or house and sitting around in a comfy room and having a really good hi-fi system and listening to a whole album all the way through, then chatting for a few minutes, then maybe putting another album on . . . does that happen today?

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 have lots of records, quite a collection, actually, that I stole from my mom. I have the original 'Thriller' album and I have a really great 'Elton John's Greatest Hits,' and I also have a N.E.R.D. album. Records sound more original. They have more edge.

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.

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

My joke, which isn't really a joke, is that there will be one of two tours: the tour for the album that does well, or the tour for the album that stiffs.

Billboard called my solo album, 'Standing In The Spotlight,' a great party album and even said that my raps put the Beastie Boys to shame.

[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.

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 think on the first album, my aim was to write a good song and have a good melody, and I wanted lyrics that would connect with as many people as possible. On the second album, I took a lot more of a personal approach. I wasn't trying to make conventional, structured songs; I was really trying to get a lot of emotion and my own personal journey throughout it. I just focused more on being honest than getting the normal song structure down.

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

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.

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'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.

Obviously it always takes longer to finish an album than you think it will. That's always going to be the case. Everything takes longer than you think it will. Occasionally things happen fast.

I have absorbed my life now. I am ready for my music to unfold. I know time flies, but before the end of this year, the album will be out. Even if it kills me.

All the characters on the album are inside me, though none are me. They are sides of me or who I was.

Smoke Ring for My Halo was the first album I bought of Kurt's Vile, and when I first listened to "Peeping Tomboy" I was really depressed and unemployed. But the lyrics are, "I don't want to work. I don't want to sit around all day frowning." I was like, "Ah! Yes!"

When you're listening to my album, I want you to know that things happen and eventually you get over it

The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.

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.

I would say the main themes are love, loss and life. Although a lot of the songs represent hard times and situations I think my album is positive, the message is things will get better.

I grew up in an age where I loved going and buying a physical record. Things that were digital and all that stuff, it wasn't around. So I loved going and buying an album and looking through the inserts and reading stuff and seeing pictures.

My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.

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.

The album was very agressive. It kicks you right in the balls.

I think our fans are a bit like us — they’re very fun, like to have a laugh, like to party. I think that’s what comes across on our album as well. It’s very fun. It’s music that you could play at a party, but it also deals with teenage relationships.

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 have pictures of my daughter, in the hospital, at three seconds, six seconds, nine seconds, and then fifteen seconds, 'cause dumbass couldn't get the camera ready fast enough. Yeah, ha ha ha. She wrote that in the photo album.

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 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.

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?

I suppose listening to a double album is kind of like going to the chiropractor... It's pretty good for you but you can't force it on anyone else.

I don't think that bands that make it on their first album are as strong as bands that don't: there is nowhere to go but down.

A lot of what you do is about how you look. You're a good-looking guy who plays music, and you can't do anything about what happens because of that. If people say, "He's cute. I'm going to go buy his album," hopefully they'll like the music, too.

We never really set out to talk about California on the album ['California'], it was something that we noticed that was happening about three-quarters of the way through the recording process. We were looking at which songs we thought would make the record and we realised that there was this theme coming through. I think it's just a product of being in California for as long as I have.

Well being in Kiss is having a more limited spectrum. It's a smaller playground to play in because there are limitations. I'm the big bad wolf and I'm supposed to do this and that. There are rules, which are self imposed I must say, but there are rules. We break enough of them, but the truth is that being Gene Simmons in an album called 'Asshole' forged me the opportunity of just recreating myself. Very much Jekyll and Hyde. Mr. Hyde is the big bad guy and Dr. Jekyll has studied and both are connected.

The whole point of 'Acid Rap' was just to ask people a question: does the music business side of this dictate what type of project this is? If it's all original music and it's got this much emotion around it and it connects this way with this many people, is it a mixtape? What's an 'album' these days, anyways?

In certain cases I don't want to sell tracks individually; I want to only sell the whole album. With simple things like that I just don't get any response [from iTunes]. I don't want to kill iTunes - I just want to offer my own retail experience in my own tiny corner of the Internet.

It's always made me feel odd when I'd get a Dove Award for an instrumental album that has nothing to do with gospel. When I think of gospel music, I think of spreading the Good News with words. But maybe it's just because I was heralded once upon a time as one of theirs. The category of instrumental music seems sort of important to the big picture, but I felt a little embarrassed at the same time.

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've always been a fan of album covers with no writing on them and have used them a lot in my own groups.

I'm the only one that put out 200 songs, and [fans] listen to all of 'em. I don't care who you talk about down south, Boosie gonna win. I'm the only one to put out a whole album, with more songs, so I don't care who said what. The fans tell the truth. I got real fans - more fans than everybody, so Boosie gonna win.

I don't know if I have a problem expressing joy, but the difficulty is in making an album, a piece of music that really does reflect life rather than the one dimension. I have a problem in trying to make a complete trip record.

I would never be angry at someone for downloading the album. Sometimes people just wanna listen to it first to see if they like it and that's totally fair.