Quotes About Albums

I have no idea how I do anything. I never have. You know I just started playing guitar and started singing and started working on this act that I would call "Don McLean" when I was probably in high school. And I have been doing this for 40 years, adding songs and writing things, cobbling together albums, doing live things, you know, albums and tours. And then I have records on the charts. I have no idea how this happened.

I hope that books don't go the way of albums and CD, large format albums, and physical product.

I've written 90 percent of the songs in my career, on all my albums.

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.

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.

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.

Don't get me wrong, I love my first two albums a lot.

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

I'm Here All Weak might be the strangest comedy album I have ever heard. But I've listened twice, which is more than I listen to 90 percent of all comedy albums, so I think I love it?

A lot of people put out albums with sort of crappy songs and a couple of singles because they know no one's going to listen to it anyway. We very much wanted it to be something that you do listen to from beginning to end and had a narrative that was important.

Album sales have collapsed, with few artists making money from albums; touring is more lucrative. But I'm 53 now and won't be able to tour forever, so a logical step is to get into writing film scores. Trouble is, you need to be somewhere which has a big film industry - another reason why I'm thinking about living in California.

I think that all my albums are different enough where I don't feel like I did this the last time.

Instead of writing songs for girls, I tend to write albums, which I guess is a bit weird.

One of the main things that differentiates them [artists of 70s] from artists before is that they made albums based on the fact that they didn't care about the band as a thing in its own right. They cared about manipulating the recording and that became the album.

I don't care what people do. I don't care how people remember my albums. I do them for my own reasons.

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.

I like albums that knit together, where the songs relate to one another and intertwine.

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.

I think this [Feels like Christmas] is one of the greatest, most unsung albums ever. It's Cyndi Lauper, and it's called Hat Full Of Stars. She's so underrated.

In the past, people were going to record stores and buying albums or CDs. And the label was exposing their artist as much as possible and maybe getting them picked up by a major. Now I tell people to cut a good tune and have it up in the marketplace the next day. You better be prepared to give it away, and people will come pay to see you.

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

In the age of camera phones and screenshots and Twitter.... At the end of the day, I want to share my life with somebody, you know? I want picture albums. I want to look back at our time together. And I also want kids. And if you want kids, then you want marriage.

I don't really listen to Radiohead. I listened to the albums and they just didn't move me in the way, say, John Prine does. His is just extraordinarily eloquent music.

I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.

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.

What I like about music is the songs you can remember the lines of in a single second. The Beatles, The Rolling Stones... You can remember every line to their songs. But today, how often do you remember any of the lines to songs? I mean, I know that one of the Lily Allen's last albums is called It's Not Me, It's You. But I don't know how the songs go.

When people would ask me what I’m addicted to, I always said ‘music.’ And while they’d laugh it off like it’s a cliché, I’m actually a complete shopaholic when it comes to records. I’d literally buy 10 albums a week for years, so when I went to that Virgin Records and it said ‘going out of business,’ my heart stopped.

I think the time in between albums, as much as it was not anticipated, it was much-needed, and very helpful, very useful. I've done nothing but hone my craft, and get better, and learn, and gather information in the process. So I'm grateful for it in retrospect.

My dad used to open up photo albums and stuff and you'd have to tell a story about the picture but you couldn't tell the truth so you had to make up a story about whatever you were looking at. He really taught us how to lie.

Im the eldest at 51, and if the Stones can drag themselves around once more, then theres a few more albums in us.

I use a combination of all my influences on my albums.

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

Metallica is going to be one of those bands you look back on in the year 2008, that people will still listen to the way I still listen to Zeppelin and Sabbath albums.

Most pop albums I was looking at as examples to point out production elements had a song that made you want to dance. I've been listening to electronic music forever and I just wanted to have something dancey.

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.

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.

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.

The only thing I can say, once again, is thank you, to all of you, to everyone who's supported us so far. From the people who first picked up the phone and voted on x factor, to the people who went into the shop and bought our albums and everybody in between. Thank you so much for a fantastic opportunity and helping me and the boys to where we are today.

Instagram is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos. There's a reason we don't allow you to upload photos on the Web as albums. It's not about taking all these photos off your DSLR putting them into an album and sharing them with your family. It's not about that. It's about what are you up to right now out in the real world, how can you share that with everyone.

I think you go through different phases when you do albums, and I think that they change according to where you are in your life and what you're inspired by at the moment.

I've done four movies. I've done seven albums. So I feel like music has always been a part of my life; acting is something I'm learning.

You want success on different levels. I wouldn't be honest if I said I don't look over there in the pop world and say, "Man, that's attractive" - Adele selling 100,000 albums a week. A week.

More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.

Well, Smoke n' Mirrors has very much a world music flavor and it doesn't park itself in one country. It borrows heavily from the Brazilian angle, which is dear to my heart, and I recorded several albums with that flavor.

Every time there's a list of the 100 greatest records of all time, all those albums were recorded in two days. Hardly any of them took a year, I'll tell you. In this day and age, I think it's important that people know that.

I play music as much as I can. I have a band called The Abiders. We've put out a couple of albums you can find on iTunes. We tour and all that stuff, so music is very much a part of my life.