Quotes About Albums

Louis 'Thunder Thumbs' Johnson was one of the greatest bass players to ever pick up the instrument, as a member of the Brothers Johnson, we shared decades of magical times working together in the studio and touring the world. From my albums 'Body Heat' and 'Mellow Madness,' to their platinum albums 'Look Out for #1,' 'Right On Time,' 'Blam' and 'Light Up the Night,' which I produced, to Michael's solo debut 'Off the Wall,' I considered Louis a core member of my production team. He was a dear and beloved friend and brother, and I will miss his presence and joy of life every day.

You know, if Kelly Clarkson wants to do country albums because that’s what inspires her, then let her do it. Look at Kanye West or Ludacris ... they aren’t rappin’ and cussin’ like they were on their first few albums, so what does that make them? It’s all in the eye of the beholder and the listener. We all use our outlet to grow ourself.

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.

I'm sick to death of people saying we've made 11 albums that sounds exactly the same, Infact, we've made 12 albums that sound exactly the same.

I see my albums as working diaries, as living scrapbooks of me and my life.

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.

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.

Every now and then it feels like it's just been a few days ago, a few weeks ago since we got started; but looking back through photographs and listening to the older albums and stuff, you can definitely feel some maturing and some distance in between the club days and where we are now

After putting out quite a few albums, there's a feeling of why make another? I was trying to make something that was an album experience.

I feel a lot more comfortable being me these days. I'm constantly told that my work is good. A lot of fans and a lot of other artists say my songs and albums mean a lot to them. Isn't that what's important?

For anyone approaching any one of the cast albums, if they don't like what they hear, it's not the performer's fault.

In 1994, I started touring again and I recorded two albums for Chesky Jazz.

The pirating thing is bad. The people it hurts the most are the ones you least think it hurts. It's not the big Britney Spears albums that are being pirated; it's the indie bands that don't have two cents to their name

Toasted Heretic should have been cherished and helped, rather than ignored or sneered at, or put down as "quirky band with an arrogant singer". So I certainly didn't help the band, but the virtues I had meant that we recorded albums when everyone else just listened to them. But, yes, if you could suffer from high self-esteem, then I certainly suffered.

On the first few albums the songs would grow into strange shapes.

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.

I'd love to develop and star in my own children's show, write children's books, do children's albums, movies, DVDs, etc.

If one artist sells five million albums, the tendency is for other artists to say, 'Maybe I should do a little of that, too.' That can be tough to resist.

I always try to give my own albums space in between so I have time to create a new sound and give time for people to miss me. You have to come out fresh and reinvent yourself.

I had BEEN making futuristic records way before a lot of the groups that came out, but now everybody is running to make their albums sound new, but it sounds too made up.

I never liked making albums.

Most every album - and especially metal albums these days - are made in a way that you can grow tired of them very easily: They're made to be dissected and played on radio, released as singles or stuck on at parties.

If you're 20 years old, you've grown up without buying albums.

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

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.

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.

Unfortunately, I made the mistake at one point of putting my address on the back of one of my albums, just to find out what would happen. I received a lot of disturbing mail and calls. Actually, I was living in a hotel, so it was easy enough to find the number. I got a kick out of it for a while. Then I realized what I'd done.

Of all the albums I've made, I still don't feel like I've made the perfect album. I've had ones that touch on this, and others that touch on that, but never one that's just perfect and fully relevant. I don't know if I'll ever make it, but I'm certainly trying every day.

I get very frustrated by this term 'genre exercise.' I mean, what exactly is that? Genre is not really relevant when you are writing a song; hopefully you are doing it to explore something, to create something, and I don't agree that any of my albums are genre exercises.

The worst thing about me is that I'll buy albums and put them away on the shelf and forget that I've got them.

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.

If I was on an island, just for melody, I would take albums by the Stones, AC/DC and the Beach Boys' Smiley Smile.

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

I write almost everything on my albums, all the hooks etc, but I can't sing them as I hear them in my head. I would struggle to write for just my own voice as it would be pretty limiting on what my tracks are capable of sounding like, so being open to collaboration is crucial for what I do.

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

I think a lot of times, artists and albums can become formulaic. You're known for a certain thing, and you continue to do that. You just change the subject matter, but it's the same song. And that's what you do.

There used to be a huge hole in my life that I wrote many albums about. I didn't realise it was a wife-and-daughter-shaped hole. They've plugged that gap. Everything I do, I do for them now. When daddy goes to work, it's daddy going to work, not Rob going to work. I feel like there's a purpose to everything.

I write a column for The Village Voice, which I've done since time immemorial, and occasionally - and books. And I occasionally write minor notes for record albums and occasional articles.

Working with other people, it's hard to get them to make it sound like what you have in mind. Also, it's really expensive to get your tracks produced, so I thought if I could learn how to do it myself, I could make five albums in a month and it would be free, it would be me, and it would be everything that I'm doing.

You know, albums are a funny thing. They're not like an intellectual decision. It's a collection of your kind of musings. Like it's a collection of your diary entries and you pick which one's gonna make the most sense together and you put out a record and you sort of live it.

In my dressing room, you'll definitely find some Starbursts and Skittles. I have a lot of candles that remind me of home, and a humidifier for my voice. I also have some digital Kodak albums where I have pictures of my friends and family.

I write songs simply because I get a kick out of making them exist. I'm also sort of addicted to the recording studio, and making albums is my idea of fun.

A lot of people don't listen to the albums. They just listen to the singles.

People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.

What really helps me is being able to record my albums at home - I have more fun experimenting that way, as opposed to working with an engineer, in which case I have to deal with the humiliation of doing take after take, and that can get frustrating.

A letdown is worth a few songs. A heartbreak is worth a few albums.

I got a chance to have my dream come true, and I wanted to make sure I made the decision as to when I dropped my last album. If I don't feel like this album is an incredible piece of work, then I'm cool with the albums I've done. I don't have to put out another album.

I like expansive stuff that has a lot of space in it, like some of the early Pink Floyd albums.