Quotes About Album

A concert is a concert is a concert is a concert. An album is an album is an album is an album. Musically, both have nothing in common.

My sister Suga Tee is doing conscious rap. She speaks to the youth. She has an album coming out soon. She got saved but she is still doing her thing. She still spits good game. She's talented. She sings. I don't know if a lot of people know this but Suga Tee has a beautiful voice. So ya'll look out for her album you dig? And look forward to a future Clique album.

So we are not doing the traditional album, tour, album, tour, album, tour anymore. We're going to tour when we want to, regardless of whether we've got a record out.

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.

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.

In those days it was pretty cut and dry. If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.

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.

I find myself using music metaphors all the time, but this is too perfect, I feel like. Digital downloading is like photographs online. It's great, they're available, you can see lots of different work, but it's a limited experience of the form. A book is like an album. You don't have to have a million dollars to be able to buy it, you have to save some money, you have to buy your album, then you take it home, and you put it on your turntable.

In the rest of the world we had had two albums that were successful, so those two albums' hits and this new four-single package made up an album called Wham! The Final, which is basically greatest hits. We couldn't have done a greatest hits over here, because we'd only done one hit album.

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.

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.

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

A good album can make your day. A great album can change your life.

All the songs that were written for that album are just all our first sophomore songs. So they're all from real life. Very sweet and very innocent. I think the theme of the album probably was just that it was our first record. ... Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

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.

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.

I always wanted to make a cover album consisting of obscure psychedelic music from the 1960s - all re-shaped and customized, Ulver style.

One of those things that I find hard to dispose of is my attitude to album sequencing, the layout of the pieces.

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.

I always hated the Grateful Dead. Never even bought a Led Zeppelin album.

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.

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

I was always an album guy, not a greatest hits kind of guy, not so much a radio guy. I'm not saying one is better than the other but... It was like reading a novel but shorter than that. You go into a world for an hour and you absorb yourself into it rather than just passively listening and flipping through this and that.

I'm always excited to make the next album because I definitely get sick of my work the second it gets out there.

I called the album 'The Chemo' because it seems like the industry and music overall is dying slowly.

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.

In 2008, we had barely put our first album out and a lot of people were unsure about us on that tour. But the crowds were insane to say the least.

I wanted to make an album that I wanted to put on myself and could listen to again and again. In the past I've done these records that are very in-depth. I love them and I'm very proud of them but I've always found it hard to listen to them again and again...they're very demanding.

I know acts and I'm not going to name names but these people sold ten million copies the first time and the second album sells three million and it's considered a failure and they're dropped and that's really a shame.

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.

Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.

It was quite nice to get an opportunity to introduce on the second album something a bit fresh for us. For the rest of the world, perhaps it's not, because guitar is quite ubiquitous, but for us it's exciting to just have guitar on the record.

It was more about getting together with other musicians and playing live. I needed to suss out a full set [for the Last Summer tour], and I didn't want to play Fiery Furnaces material. So half of our set was new songs that we ended up recording for this album. And that made such a huge difference - going into the studio after playing a song for two years, knowing it inside-out and having sung it millions of times, and then recording it is a totally satisfying experience. You're suddenly in this controlled environment and you can make it sound exactly as you've been imagining it.

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 can write songs, but I'm not gonna really feel good about the song unless it feels like me, and I'm not gonna release a song or put it on an album or play it in concert unless it really feels like me.

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.

The main idea of it was to multiply everything, to have a bigger sound and grow venue size and grow fan base. As for a lyrical theme of the album [named "X"], it's just diary entries; it's just kind of like three years of my life in songs.

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.

If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.

If you've ever seen album covers for Arab female pop stars, it looks like the designer was paid five dollars to make them, and the extreme femaleness is astounding.

But we're still rehearsing and planning to make a new album next year. We have some really good new songs that we've already been playing on that last tour that we just finished.

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.

When we came along there was only Decca, Philips and EMI who could really produce a record for you. You had to go through the whole bureaucracy to get into the recording studio. You were in such a humble position, you didn't have more than 12 hours to make a whole album, which is what we did in the early days.

For the 'Load' album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For 'Hero of the Day', I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp - again, they're all blended.

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?