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."

With my solo music, I really try to step out of the box and do stuff I don't get to do with the boys. I wanted it to be fun, rock-infused and try some new things while going back to my roots. "All American" the song is one of my favorites from the album, which is why I chose to title the album after it. To me, it's the perfect song to represent the feel of the album.

I grew up in the era of the concept album. What I do now is pick up on singles, and they are their own complete stories; you don't necessarily have to hear the rest of the album because I don't think albums are created like that anymore. They get songs from all over the place.

It's not really a conscious decision to do a quiet album or a noisier album. It's just something that happens, I guess.

God built the Earth in seven days and seven nights, that's how I'm going to approach doing the album. So when it's time for me to actually finish up the album and do final cuts of everything, I'm going to line it up in seven days and seven nights. I'm going to document it, out the footage out, show people it's not a fluke.

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.

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

I'd had my whole life to write my first album. I had my No. 1 and my third single out, and they go, 'Hey, guess what? We need to start recording the next one.' I'm like, 'Uh oh, I got to write another album. Well, how am I gonna write 'Should've Been a Cowboy' and 'Ain't Worth Missing' and all that again?' It took me forever to write the first one.

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.

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.

To create an album of love, I really had - I thought it was going to be easy, because I've always written love songs. But I thought if I really want to make a love album that contributes, that actually means something, I've got to go deep.

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

I did an instrumental jazz album. That was my first album.

I really just like breaking down the barriers, whether it means doing an album with Linkin Park, an album with R. Kelly, or playing at the Brandenburg Gate with Bono.

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.

Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.

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.

When I started out in this business, I was a performer before I was a songwriter, I was a performer before I was recording. Performing is the roots. That's where it all came from. You didn't start out doing it because you wanted to make an album.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.

In short, if we adhere to the standard of perfection in all our endeavors, we are left with nothing but mathematics and the White Album.

As a drummer my job is to reproduce what made the people bop their heads when they first heard the album on the radio, or when they watched the music video.

I listened to my first comedy album in 6th grade. It was Bill Cosby. My brother and I would play it over and over on a Fisher Price record player. A friend in high school also introduced me to Richard Pryor. I wasn't writing material back then, but I would say funny stuff. I was good at making fun of people's moms. If I knew something personal about you, it would be used against you.

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.

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.

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'm one of a dying breed who goes out and tours all the time. Labels don't spend the money to send people out to play before they become famous, but we did do that so the fans we have are word of mouth fans who have been travelling around with us for years, and they buy the albums, but they are also the ones who go out and get the bootlegs. I don't discourage bootlegging, I like playing live, I don't think it hurts my album sales at all if there are bootlegs out there. Who cares?

Different phases of your life have different levels of deep, traumatizing heartbreak, and in this period of my life, my heart was not irreparably broken. So it’s not as boy-centric of an album, because my life hasn’t been boy-centric.

I feel like I have re-created myself on every album. I try to do that. It's like playing a game with yourself, trying to compete with yourself.

If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.

It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leader.

An album is a thing you take time out and go work on.

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.

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

If your album sells, that's cool, more people find out about you, more people get turned on to what we're really about-which is a live rock and roll band.

I think that the creative process, especially in the beginning of making an album, I'm feeling very fragile, so to speak, because you are trying out so many different ideas, and if you are listening to it from the outside, it would sound horrible!

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.

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

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.

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.

Our album 'Show No Mercy' came out in late '83, and we did three or four shows in San Francisco after the release. That was our first experience with stage-divers, crowd-surfing, people walking on people across an entire crowd.

I know Busta Rhymes for about a year now and we did a song together and we got an album together which is called "Godzilla vs. King Kong", which is going to be me and Busta. That was really the first time we rocked together on stage.

I never wanted to churn it out. Comedians tend to work all the time. They never put it down like musicians who might make an album then take three or four years off to recharge their batteries. Comedians tend to work straight through and they get stale because of that. Even when I didn't have a lot of money I never ever did it unless I had something new to say.

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?

The Photo Album is the weakest record. For the first time in our careers, we found ourselves with an economic incentive to be on the road and to be making albums. We had cut ourselves free from the security of day-job life. The goals became primarily financial, at least for a while. That was the roughest time we had ever had as a band, because that was the first moment we realized that this was for real. We were not goofing around anymore. We all threw everything we had into this in a way where we all found ourselves really far from home, and we were stuck with each other.

I've never done an album like this. With Biophilia, I was being like Kofi Annan - I had to be the pacifist to try to unite the impossible. Maybe that was a strange, personal job between me and myself, to show how overreaching I was being as a woman. The only way I could express that was by comparing it to the universe.

On the last album, I didn't want to disturb the melody with too many stories. This time, I wanted to know if I was able to create images with words, with the sound of words.(...) I think that’s a good thing when the one who is listening, is feeling it in a different way that the one who creates. We are all listening with different perspectives.(...) I don’t want to impose my subjectivity to the listener.

I think fans get bored of the pre-roll. I also think they don't care about the pre-roll, they just want the album.