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.

...I got a call from a record company offering me a contract, I did not want to take it because the Lord had pointed me in the direction of spiritual activity...And then it was disclosed to me that I could do both spiritual and musical work. So for five years I executed that contract, and when it was finished, after I made the album Transfiguration, I didn't make another album until twenty-six years later. This new album, Translinear Light, came out of the pleading and constant appealing from my son Ravi Coltrane: 'Ma, please make a CD.' So I eventually agreed.

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.

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 didn't want to do an electro-class album or complex rap album. I wanted to do something that was kind of like a political statement, but also club jams. I wanted it to be dancy, but intelligent at the same time.

My mother kept asking me, "When are you going to do a gospel album?" And I've always wanted to do a gospel album. Everybody was going on about it, so mom started hounding me more.

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.

I have to apologize with one of my album because I called it Unleash the Dragon but I didn't really unleash - I kind of stayed in the Dru Hill vernacular, and that's why the album was so ballad-heavy.

When I get ready to do an album, that means I have something to say for the sake of words, and I listen back to all of the things I've been creating and pull things from out of the air to go with them. It's almost like I start creating the album before I even think about creating it.

People consider Black Star a great album, and I think it's a classic album. But the fact is, both me and Mos Def have made better albums since Black Star.

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

Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.

I just remember that when Jennifer Love Hewitt released an album a few years back, it was like 'Oh, why is Jennifer Love Hewitt releasing an album?' But if Queen Latifah, or Justin Timberlake, or anybody else wants to be an actor, it's like 'Yeah, I'll go check that out.'

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 people don't take some things into consideration. When they hear an album, they hear the artist or they hear the lyric or they hear the melody. But they don't really think about the environment in which it was recorded, which is so important. It's that thing that determines what the album sounds like.

I really love hip hop. My cousin Nas came out with an album Life Is Good, and I love that album, but I also love Maroon 5.

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

I don't know if I want to record together again. I go off and on it... In the old days, when we needed an album, Paul and I got together and produced enough songs for it. Nowadays, there's three of us writing prolifically and trying to fit it all into one album.

With a pop album you can listen to one or two songs from it, but a music album is really an experience. It's not something a whole lot of rock bands do.

A brilliant 1989 album, Oh Mercy; some career retrospectives; and two albums of American folk songs, with just Bob Dylan and his guitar and harmonica. All that culminated in the Grammy-winning comeback album, Time Out of Mind (1997). Once again, just as Dylan seemed to be out of it, he was back at the top of his game.

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.

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.

For the second album I look forward to doing a lot of serious collaboration and taking the experiences I've had over this last year, good and bad, and working it into the album.

When we worked on Ice Cube's Amerikkka's Most Wanted album. Before we talked studios, beats, or lyrics, I said, "Two rules: Only say what you're able to vouch for. Number two, never repeat yourself twice, because we makin' an album that people will play over and over.

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.

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.

Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.

If you put a Van Halen album in your record collection, it will melt all the rest of your records.

I've always loved playing in bands where there's like three or four people and we're all throwing out ideas and coming together to make an album.

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

I think pop culture is the greatest subject matter out there - 'Other People's Lives,' as we wrote about on the last Duran Duran album. Most ideas for great songs come from real situations, something your friend said to you the night before, the girl that just left, or something traumatic in your life.

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

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 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 feel like I introduce another level of my creative ability on every album.

When I was a kid I really didn't have my own opinions and then sort of transformed into this angel which is really Marilyn Manson and then the final stage is Antichrist Superstar which is the more nihilistic, totalitarian element in everybody's personality, that, is a real struggle on the album and in my life, between that power.

Through this album, Pain Medicine, I want single mothers to understand that pain is only weakness leaving the body and every blow that they may encounter on an everyday basis is only a bump in the road. Fighter's fight and winners win.

I hold 'Mi Tierra,' my first Spanish-language album, very close to me because that was all done in my native tongue and won me my first Grammy.

You can't control it once you turn it into the label, so there's the expectation that it'll leak a week before the album comes out. That's the world we live in.

Even though the album is an endangered species, can we try and make a coherent and good one, even if it's like making a horse and cart at a Nascar conference?

I really like my life right now. I have friends around me all the time. I’ve started painting more. I’ve been working out a lot. I’ve started to really take pride in being strong. I love the album I made. I love that I moved to New York. So in terms of being happy, I’ve never been closer to that.

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?

The Moment is an album that contains the best music I have ever produced.

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 would just think that I would remember modeling for the cover of an album with Tom Waits, who I've always loved.

I understand why some bands don't like test new songs, but for us it's been very helpful and it hasn't really backfired. I was nervous that our second record was - you know, you could hear the whole thing on YouTube before the album came out because we played it all live, but it ended up being something that people appreciated.