Quotes About Album

I grew up on a street called Cedar Wood Road and by coincidence my best friends that are around the age 10 became a guy called Bono and another guy called Guggi. It was music again. The fact that pulled us together. They found me quite interesting because I had the right albums underneath my arm. Those days where you carry the latest David Bowie album or Roxie music album as you go to school. I mean you can't play an album at school but you were being cool just showing, "Look what I got."

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 had no album title, and the album is like a journey in that it's a complete body of work. It's not just a couple of catchy songs and filler, so I felt that I needed to capture the essence of the album.

What can you think when one review says "this album is brilliant, and all the songs flow into the utmost brilliant song 'The Upside-Down Cross'" then another review says "this album is brilliant, except for that horrible and pointless song 'The Upside-Down Cross'," and another review will say "Jeffrey really sounds confident and relaxed on this new album", the next reviewer says "Jeffrey sounds more depressed and awful than ever" - these totally contrasting reviews happen all the time!

The only album that I listen to upon recording a new one is my 'Cry' album, because sonically, I think it's my best album to date. But other than that, I've never listened to my records, ever.

We went to South America on a trip and all I had was a Robert Johnson album. So that's a definite influence on the album. My bandmates John [Stanier, drummer] and Henry [Bogdan, bassist] were interested in expanding their roles as writers, so that had a positive impact on the record.

My reaction to Radiohead isn't as simple as jealousy. Jealousy just burns; Radiohead infuriate me. But if it were only that, I wouldn't go back and listen to those records again and again. Listening to Radiohead makes me fell like I'm a Salieri to their Mozart. Yorke's lyrics make me want to give up. I could never in my wildest dreams find something as beautiful as they find for a single song - let alone album after album.

I guess every musician looks forward to a point where they can just kind of make an album that truly is like a nice art album.

Obviously yeah, but our first album took us five years to put together, to get signed and to put it out, we had a lot of time to think about what we were doing. Black Sunday was like a whirl wind, we had to rush back to the studio after touring, but the last album we had a little longer, what like eight months?

Whether you hear me come out with another album or whether you hear any one of the Clan members, we're always going to involve everybody. When I look at 'Only Built 4 Cuban Linx, Part II,' I look at that as a Wu album. You feel me? Even though it was my brand and my thing that I done, I had my dudes on it.

My first introduction to African music was by my mother, who bought the 'Pata Pata' album by the great Miriam Makeba when it came out. Now that is an album. What a voice.

I don't have any regrets about the album [Veedon Fleece]. But it's the same old story - an album is basically 35 or 40 minutes of what you do. It's 'part' of what you do.

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.

The only band that I can see that made changes over the years with success was The Beatles. They were able to change album to album and still be just as good or better. I didn't feel that we were able to do that. The Beatles were in a class by themselves.

Things like, people saying the new album would debut at number one on the Billboard Charts in the U.S. and I said, "No it's gonna be number Three." Because Number 3 is a very powerful number on the album. It's repeated quite often. Then it did chart an Number 3. Was it a coincidence you decide. If your in touch with your subconscious, you can really use it to your advantage

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.

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.

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 album for Fiddler really took off. I think it was a combination of John Williams and the score. It was a very classy big album.

I recorded this album in a windowless room in Brooklyn by myself. I think Chamber of Reflection sums the album up better than Salad Days to tell you the truth.

I didn't set out like, "I'm gonna do this album, and I really want a #1 album." So it wasn't even on my mind like a goal to accomplish... but as soon as it sunk it that it was an accomplishment, I realized I gotta start acknowledging milestones [I've] accomplished because sometimes you get so caught up in the bigger picture that you gotta stop and notice the steps you take to get to the bigger picture.

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.

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

[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.

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.

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.

I only wrote one song in jail. But I'm writing new album - you're going to feel the entire 11 months of what I went through on this album. I'm venting my anger.

I'm just trying to unite the western crowd and the bluegrass crowd a little more. ... I get to do that again on my new album, Tall Grass and Cool Water.... This is the first time I've had every song on an album be a Bluegrass and Cowboy Song at the same time.

My musical style has changed dramatically from my first album until now. That's the real developmental shift. But my clothing has pretty much stayed the same. The important thing is to be real.

I find it so funny that for the first time in history, people have access to this great equalizer in the Internet, which grants everyone the same knowledge base, and we use it to read album reviews and watch kitten videos... not to put those two things in the same light!

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.

Whenever I'm done with an album cycle, I still wanna write music. If I'm bored when I'm at home, which never happens, my first instinct is to go to the piano and bang something out.

We on the internet. That's such a small community. We think we're so huge. If you went up to people on the street and asked them about it, they'd probably be like, "You had a album coming out?" Let alone it leaked.

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.

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.

The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur.

I LOVE RIHANNA. I LOVE THAT SHE IS HERSELF WITH NO APOLOGIES. HER SENSE OF STYLE AND SELF IS UNIQUE. I LOVE HOW SHE TRANSFORMS HERSELF WITH EACH ALBUM, EACH CAMPAIGN. ALWAYS EVOLVING. A TRUE ICON.

Like, in retrospect, this whole Mini-Album is about itself, and the process of letting go of the fear of what people will think about the music or of me or whatever and just putting it out there. But none of that was intentional at all.

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

Our first album was a stupid mistake by the record company. They tried to sell us as an alternative act. A big mistake!

I like to challenge myself, to see if I can actually write a pop album that people can connect with lyrically. Musically, it's very accessible - or, at least, I hope so.

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.

I don't want to put 12 singles on an album. I want to make a story, a little movie.

I'm working on my new album right now. Hopefully to get that out at the top of 2005, January 2005.

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.