Quotes About Albums

I hate albums that are really happy. When I am really happy, I don't like to hear happy albums, and when I am really sad I don't wanna hear happy albums... and I tend to gravitate towards the lonely and isolated anyway when I write.

The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.

I think that with albums these days, as long as you are moving forward and not trying to re-create things and looking back, albums are like living breathing things. They change, they evolve and it's this big thing that you are trying to get out to people. To me, whatever you can do to get it out there, do that.

I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.

My father was able to play a number of musical instruments and I fell in love with classical music in my teens and I allowed it to influence me. I like to think I took and still do from classical music and various techniques, I have made classical albums and recorded seven different pieces of Bach on different albums and its all music too me.

I'm not like a voracious hoarder who has 50,000 albums of vinyl stacked in a storage space in the San Fernando Valley. But I do have albums from the last 40 years of my life.

My solo albums were each like a half-finished puzzle; they represented only the beginning of a full picture. Simply put, they were inadequate and incomplete.

If you dont tour, you cannot expect to sell a huge numbers of your albums either. It was both a business - and an economical decision and we wanted to play anyway. We just wanted to get out for the tour when it was safe enough for us.

Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.

We just did three albums in a row of shaking our fists in the air and yelling about George W.Bush and the government. I didn't think I was going to have to do three, but the idiot kept getting reelected. I just wanted to remind people that Ministry is actually a good rock band. We can do some party stuff, too.

I'm not the 'rappity-rapper' type dude. All my music is really true. I can't just rap about nothing, just metaphors and putting words together. I can't just smash out material like other guys. I just want my albums to be crazy every time I drop one.

My audience are the same people who bought my albums years ago. These people are now married, with their own homes, their own families. If I'm in concert, I get people now who bring their kids.

I grew up listening to albums by Pink Floyd, Led Zeppelin and Jimi Hendrix, and they all worked on that multi-layered level.

Taylor is a musician who does things under her own name and tells her own stories-her songs and her albums are her.

Nothing has really changed. We had bootleg albums in the '60s and today we have Internet file sharing. They just found a better way to do it -- get music for free. What's great about today is an artist has an opportunity to go direct to their audience without dealing with a middleman. People can go directly to the web for CDs, DVDs and downloads. I think that's the best thing that's happened, that people's music is being flashed around the world.

Enclosure, upon its completion, was the record which represented the achievement of all the musical goals I had been aiming at for the previous 5 years. It was recorded simultaneously with Black Knights' Medieval Chamber, and as different as the two albums appear to be, they represent one investigative creative thought process. What I learned from one fed directly into the other. Enclosure is presently my last word on the musical statement which began with PBX.

I don't know why it is, but I just love soul music and all that old country stuff. I guess somehow my heart mixed them both together as I made my albums.

I love albums that have guest performers that the audience will be happy to hear. It's really a bonus!

[Kids today] think "Grease" is just one long music video. So they watch it over and over again the way we, when we were kids, we listened to albums.

I'll be a nun, raise my daughter, and make albums.

I think I've always approached making albums pretty much the same way. I'm just looking for a mixture of songs and topics that aren't the same thing over and over.

I was very conceptual about what I was doing; I had the first five albums planned out, and all the songs on every album, and the artwork. I always had these ambitious musical projects in mind.

My first four albums covered the usual youth problems - looking for love in all the wrong places - while the next five are basically about being in your 30s.

I have nothing against bombastic music, but when it comes to making albums, I'd prefer to make music that has a sort of vulnerable subtlety to it.

I really enjoy writing and producing for other artists. Some people save their best songs for their own albums. I'd rather give another artist one of my songs. At the end of the day, it still represents me.

Don’t play that game with me, Acheron. Tell me what I need to know! (Xypher) Nice tone. We should rent you out to record Halloween albums. (Acheron)

If youre going to reach for it, reach all the way for it. Albums like Purple Rain and Thriller and those kind of records, you had to reach far above the din of cynicism and modern living to get to that place, against all the odds.

If I would get an album out every eight months and if I would write songs that were more up-tempo and try to focus more on making singles, then I could probably get more attention. But I don't think the albums would be very fun to listen to, and it would be a drag for me.

I've been connected to the most culturally important albums of the past four years, the most influential artists of the past ten years. You have like, Steve Jobs, Walt Disney, Henry Ford, Howard Hughes, Nicolas Ghesquière, Anna Wintour, David Stern.

I've put out kind of a lot of albums and people seem to like it and the crowds keep getting bigger and bigger, so I think maybe I could make a life out of it.

Over the last 10 years, there have been so many incredible albums created in bedrooms by people who never would've gotten an album deal. People keep thinking of professional music studios like they've always been this way for hundreds of years, but they're very much a child of the 70s. Even the interior is very 70s. Everything's brown and it's wood - somebody told me the wood panels are all by the same company. We're always mourning things that have died. It's a bit much sometimes. These studios have no fresh air, and there's this unwritten rule that they don't have windows, either.

The Band never really played big concert tours. We never sold millions and millions of albums.

The beauty of Billie Holiday is that she gave every singer after her the license to interpret and perform music in ways that were unique to each of us. Her uniqueness was very much a part of the way she sang the songs, the story she wanted to tell through the songs. I didn't really have a full understanding of Billie until I left home -- until I'd lived a little, shall we say. At different seasons of my life, when I'd sing her songs or listen to her albums, I'd hear things I didn't hear before. Wherever you are in life, you'll hear different things in her songs.

I'm free to do what I please, I'm probably not going to do albums. Just because I think releasing tracks as singles is a better way for me to stay topical.

I try to structure albums in a pattern, like in a way where there's a motif that runs throughout or some kind of conceit that informs it in a general way. Maybe it's in a harmonic key. I like to go metastructural sometimes, like look at more than the three-minute passage and how that interacts with other pieces. And I've been increasingly interested in false starts and fraudulent beginnings, and things that don't reach their implied conclusions. I take an album and I kind of start moving things around like Jenga.

I started in a band called Timbiriche, we toured the world when I was 8; I have 23 albums.

Family photo albums are so powerful in that they make kids feel valued, cherished and respected.

I feel like I'm only in the beginning of my career. I've only made five albums. It's not a lot.

I write for myself; I release the albums to connect with everyone else.

I enjoy listening to the albums of my youth as much as ever.

I haven't had a perfect career. I've put some albums out that, looking back, I'm not super proud of, but there's also a lot of stuff that I am very proud of.

Before our albums are released I feel like we still own it, that we have control over our music. But once it's out there in the world it's no longer ours.

I think you can really gauge my state of mind by listening to my albums.

All these non-singing, non-dancing, wish-I-had-me-some-clothes fools who tell me my albums suck. Why should I pay any attention to them?

I'd become very involved in the production, so the albums were taking longer. So it was never a deliberate decision not to do live shows. A few times, I've thought about doing them again, but it's just kind of never happened. I've just sort of gone the path of becoming a recording artist I guess.

I know a lot of people who are 12 and doing things they shouldnt be doing. Whether youre an actress or a singer, its always the sexier ones that are selling more tickets or selling more albums.

Probably 90 percent of my albums have polka medleys.

I've made a few albums in such an autonomous way; it often has been exhausting. It's almost difficult to enjoy the process when you take on so much.