Quotes About Albums

With The Pogues, at least the first three albums I'll stand by completely, yeah? Because I was in artistic control then, yeah? And the last couple of albums I'll stand by anything that's got my name on it, yeah? But I'll stand by anything that is on The Popes' albums, you know? I wouldn't put stuff out that I didn't like. I don't put out bad music. And I can tell the difference. I know that.

Just as not all popular albums are wonderful, not all wonderful albums are popular.

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.

I listen to all the top 20 songs, and top 20 albums, even the rap albums. But I don't like negative messages. If somebody is putting a lot of ego out there, I don't like it. When I make my records I want it to be sincere.

Albums aren't even selling anymore and there's a reason for that. Record companies are just signing single and ring tone deals and it doesn't seem like they're focusing on albums.

A lot of people considered my career as an artist largely over. Two albums got shelved. But I've made music since I was a little kid, and for the majority of that time, I wasn't paid for it. So I will always be making it.

One day when I was like 9, I heard the Beatles on the radio, and I asked my dad who they were. He told me they were the best band in the world, and I became obsessed. He started giving me their albums in sequential order, and I listened to them - and only them - until I was probably in high school.

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.

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'll dabble here and there in different forms of the art, but the label has me locked down like a slave so, of course, I'll be doing albums during this time

Second films are, you know, like 'difficult second albums', so it's a tricky position to be in but I think he's made a highly accomplished film.

We just wanted to make albums where every song stands out and is different. It must not be the same track from one to 12.

Even a fellow with a camera has his favourite subjects, as we can see looking through the Kodak-albums of our friends. One amateur prefers the family group, another bathing scenes, another cows upon an alp, or kittens held upside down in the arms of a black-faced child. The tendency to choose one subject rather than another indicates the photographer's temperament. Nevertheless, his passion is for photography rather than for selection, a kitten will serve when no cows are available.

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.

I'll always have songs with a farm connotation on my albums. It's in the fabric of my music, and I plan to keep it that way.

The electro scene is all over the clubs now: groups like Duck Sauce, Empire of the Sun, even MGMT. But I get inspiration from everywhere. I'll go to the gym and put on old albums - Guns N' Roses or old Jay-Z.

It's depressing when you're still around and your albums are out of print.

It's a double-headed coin, because technology is a convenience but it's stifled our attention spans. At one time, albums had songs that were like ten minutes long, with different variations and chord progressions and changes.

I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.

After three albums, you should shoot your producer

Someone told me once that Lucinda Williams takes six years between albums, and that's what stuck to me; it's like, you really are a factory. You don't do things to make them, on your own time.

Of course, the world is different now. There's a glut of comedians with specials, so it's just not possible to make an impact the way Bill Cosby: Himself did. It's like, The Beatles were amazing, but it also helped that not many bands were putting out albums then.

There's 40 or 50 songs that nobody's heard that I've done in between albums. There's a whole evolution from Midnite Vultures to Sea Change that's never been released.

Check out the albums, ... Check out the live performances. That's the reality of it all. Music is such an energizing thing.

Grammys, American Music Awards, successful albums, I'd pick my kids any day over any of it.

Any album that you pick up of mine, you know it's an Akon album. The guests are very limited and you get to really feel the experience. You get the Akon experience when you get the albums. I always want to make sure that stays the way it is. I don't want to flood the album to where you lose focus on why you bought it.

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.

Every project is different. When I'm working on my albums, I've worked with different producers and they've all had different personalities. The recording studio sets the vibe, and that changes as well.

If you are a musician who has released albums, it would perhaps be morbidly interesting to know how much you would be owed if everyone who now has your music had actually bought your record.

All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.

I've always had a bazillion songs in my archive, but I want to play people stuff they know. Now that I have two albums' worth of material, that gives me freedom to compose a set that's more well-balanced and build a show rather than just a recital of some songs.

What we try to do with all of our albums, is live out our musical fantasies in the most honest fashion we know how...We want to include songs that lyrically cover subjects ranging from the heaviest things we've ever done to light-hearted experiences that can best be presented through sentimental bluesy ballads that are usually good for a chuckle or two.

All of my favourite albums have this incredible amount of conceptual glue to them, even if they are not telling a story.

Cheers to the albums written fortunes earned lives touched in the millions and generations defined by one lonely person placing an ad in the back of a free paper seeking a guitarist, bassist, and drummer just looking to jam.

When young groups put out albums, they're always forced to go through this cycle of touring and talking and flaunting and posturing and peacocking. Nobody makes me do that anymore.

A lot of my albums that Ive done, a lot of the songs have been the first take. Its before you mess with it too much - you can take away all the spontaneity and the emotion of something by trying to make it sound perfect.

Well, since I produce and pay for my own albums, it is the ultimate freedom.

When I first got married to my husband, he had boxes full of photos of my two stepsons, ages 5 and 8 at the time, and I put them together in some little albums and wrote notes about how happy I was that they were a part of my life.

'In My Hands,' the title track, is my very first vocal attempt, and I'm not a singer as such. But I've always wanted to express myself vocally on my albums, and I don't really have much of a capability for singing. The strength is in, I think, the lyrics and just speaking. It just comes from inside.

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 hate negative songs; I won't sing them. It doesn't matter if it's sold 2 million more albums.

Every time I work on something, fun comes first. Whatever it is I think if you have fun doing it, the other things will follow. Albums sales or ranking on charts aren't important.

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 spent five years, at least, working with Miles. Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you; each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.

Now everything is available at the push of a button, and that thrill of the search is gone. With vinyl albums and special edition releases, I feel like that's coming back.

I'm just so happy and proud of everybody and what everybody's doing. From Curren$y doing decent numbers with the independent, digital release; from Asher selling 1.1 million-plus on iTunes with the single and almost at 200,000 [albums sold] now; Cudi got almost 4,000 BDS's a week; Mickey Factz doing the Rock The Bells tour; Blu signed a deal shortly after; Ace Hood had two very successful singles, another album getting ready to drop. Everybody's doing their thing, man.

I'm growing as an individual, but your always growing. All of my albums are snapshots of where I am artistically.

It's frustrating to do albums that you think are worth listening to, but it's just so difficult to cut through.