Quotes About Albums

For a few years all I listened to was The Smiths, Things Fall Apart by The Roots, Love Is Dead by The Mr. T Experience, Nostalgic for Nothing by J Church, and the first Servotron album No Room for Humans. And that was it. For two or three years, those are the albums I listened to. I just fell into this very bizarre phase where my head shut down on me. I just obsessed over things and those albums happened to be in that rotation of me obsessing over things.

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.

My biggest hero when I was a kid was Will Smith. I used to watch 'Fresh Prince,' and I was a huge fan of his albums. I bought all of his albums when I was a kid. Now, he is the biggest movie star in the world.

Avril Lavigne sold a massive amount of albums and she has to top that with her next release. We have four great albums behind us, and it's not going to be as hard to live up to that.

Some people say we have thirteen albums that all sound the same. That isn't true. We have fourteen albums that all sound the same.

In general, the musicians we met that made the most sense just said to do what feels right and try not worry about what other people think. I know that sounds stupid and simple. I feel like Neil Young has done that and he's still making albums. He's one of the people I really look up to as someone who has kind of stuck to their guns their whole career. Just making music for music.

I want to find out more about how the Backstreet Boys get their incredible sound. I've got both their albums and I would love to cover one of their songs

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?

Each album has a different atmosphere. The third album and Houses of the Holy seem to be the two albums that people didn't get off on quite as strongly as the other ones. But I think they contain the basic ingredients for the further pursuance of what we're doing... the turning point to relieve the tedium of repetition.

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.

Look, you see those groups talkin' about negativity and anger, and they'd do that for two albums, and then you'd see them change up. I knew they couldn't do a Kurt Cobain on their whole career. You can't stay like that all the time. It's like when Hammer tried to go gangster. You can't be something that you're not.

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

My goals have changed throughout my life. At one time it was winning awards, selling out concert dates, selling more albums than anyone else. Now, my goals are to see my grandchildren grown, live a long and healthy life with my family and friends and travel 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.

The rebellious mood of the country during those [60th] years allowed me to plug right back into my old hatreds. I could scream and holler, as I did on the albums, against religion, government, big business - all those assholes and their values. That hatred was very real.

Maybe people would be surprised to know that I listen to old Neil Diamond albums from time to time. The man rocks. I defy anyone to prove me wrong.

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 enjoy making solo albums because over the years it's evolved into more of a genuine personal expression of story-telling and day dreams, and I work in a way that has more control.

I do question a band's longevity, because most of my favorite bands only made one or two good albums. After that, I didn't care about them anymore. Sometimes I wonder if people feel the same thing about us. The way I look at it is, if we can continue to inspire ourselves and write really beautiful music that we're proud of, I don't think there's any intention to stop.

I can't imagine ever not making music, making albums, writing songs, doing shows. That's all I really know, and that's all I really do.

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 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.

If someone asked me if I could have anything in the world, what would l want? If l could own anything, like owning a piece of art, l think it would be Elton John's publishing, on his first seven albums. I don't want the money. Being able to own those songs Is like owning a painting of someone you admire.

We've done every record on our own. Its produced by our guitar player and sometimes we'll have some help mixin' it and have some outside engineers but for the most part, it's done by the band and I think that's the reason why CKY sounds like no other band, 'cause we make our own albums.

I don't feel guilty about the music I love. If you feel guilty about something you dig, then you should stop feeling guilty about it. One of my favorite albums to this day is the 10th anniversary ensemble cast of 'Les Miserables,' the ultimate cast recording, and it is still something I love listening to top to bottom.

Born of the impossibly varied options we have to amuse ourselves, cutting-edge companies are finding innovative ways to tailor our entertainment choices to who we are, relieving us of the burden of finding the diamond in the rough of 500 TV channels or thousands of movies and music albums released every year.

There's a plaque on our wall that says we've sold over 65 million albums, and I don't feel I've accomplished anything. I feel like I'm just getting started.

I used to make albums because I wasn't touring, and so I thought, "This is the best way for people to find out about me.

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.

I mix up all styles on my albums because that is what music is about now.

For a Jewish guy, I've recorded a lot of Christmas albums.

I think getting stoned has made me buy a lot of bad albums, because when I'm stoned I think everything is amazing.

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 would have issues with directions songs were taking, but I never heard one of Carlos' [Dangler] basslines and said, "I don't like that, do something else." The same goes for the beat and the guitars. I think that's why we were able to make four albums together.

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.

I'm recording freely, and if I make a song, I release it immediately, so I'm more likely to believe in one song at a time as opposed to albums.

I'd done three solo albums in a row, and that's quite narcissistic.

Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.

I shot many scenes of Hamburg, albums full of postcard motifs, and I discarded almost all of them. I ride my bike through Hamburg every day. I go shopping here, I go to the doctor - and yet I no longer have the eye for telling stories about this damn city, even though I love it.