Quotes About Albums

I've made over 25 studio albums, and I think probably I've made two real stinkers in my time, and some not-bad albums, and some really good albums. I'm proud of what I've done. In fact it's been a good ride.

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 felt I had nothing more to say. Everything would have had to be a replay of the previous two or three albums, and that decided me to stop. What bothered me most was not playing guitar at all anymore. I felt I had no more contact with the instrument. It was just a piece of wood to me. I even thought music had definitely left me. After fourteen albums, there may be an overload phase, a sort of lassitude.

Everybody is looking for a hit single but what the artists really need is an executive producer to help put better albums out.

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

When you do rap albums, you got to train yourself. You got to constantly be in character.

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 have a bunch of albums I would love to get re-released.

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?

We got a little waylaid along the way. The whole problem started about 10 years ago with management and legal battles, then still trying to make albums while I was doing all of that.

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?

I guess, a lot of people think is a long time between albums. It was needed for me. I went through a lot to get the album ["Wild Things"] finished. I actually went through a lot to even get the album started.

My first song was Hula Hoop Song, in 1955. It was a novelty song. I had to find someway to reach out and it was with a novelty song. Now, all of my recording obligations have been taken care of. I made 14 albums for Warner Brothers. Five for United Artist before that.

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.

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'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.

If you are not going to produce albums then you are not going to produce new fans. It's impossible. I'm a huge believer in putting music out as quickly as early as possible, touring hard and then working on putting the next one out. I don't need to break. I just need to put a record out.

Most of my albums have a concept. They all have some kind of theme, some kind of feeling. I really take pride in that.

Hendrix inspired me, but I was still more into Wes Montgomery. I was also into the Allman Brothers around the time of those albums.

Basically every song on modern metal albums follows a formula and you get that formula in between one to three tracks.

I'm very proud of all the bluegrass-oriented albums. It just reminded me and my fans that I should always record acoustic music and country records, along with anything else that I might want to do.

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.

I recently realized that Television has influenced a lot of English bands. Echo and the Bunnymen, U2, Teardrop Explodes - it's obvious what they've listened to and what they're going for. When I was sixteen I listened to Yardbirds records and thought, "God, this is great." It's gratifying to think that people listened to Television albums and felt the same.

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)

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.

I don't know what type of music my son will want. By the time he starts listening to music, really, at like 15, 16, I'll probably have 10 albums out by that time.

And one's wandering proved as sterile and pointless as the excitement produced by a close study of pornographic albums.

They don't encourage quality today. When I was coming along, Columbia Records would sit with you and assume it would take two or three albums to get the act where it needed to be. Then the company would structure its promotion based on one, two or three years. They encouraged quality and innovation - that's why groups like the Beatles would use sitars, string orchestras and so forth.

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.

Erykah Badu projects don't even sound like Erykah Badu projects. I don't even have one album that sounds like another one of my albums.

What I've heard from younger women and women my age is that the albums changed their lives or it was the first time they had heard feminism that they could relate to. So that's great.

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

If you go to Japan, they're still buying vinyl, and they want the education. They know who's playing on what tracks from the '60s and the '70s - who the guitar player is, who the drummer is, who the producer was, what studio it was recorded in. That's how I grew up listening to music. We bought albums. We read the liner notes. It was important to know the whole history behind it.

I get letters from young people telling me that they're broke and download my albums for free. They ask me what I think about that. I now have a standard line. I tell them, 'I would rather be heard than paid.'

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

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.

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

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.

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

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.

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 think that I've got some pretty bad reviews on albums or songs that later proved themselves.

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.

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.

Close to the Edge, Red, One of a kind, Discipline, Earthworks, The Sound of Surprise, all seem to me to be albums that captured the essence of the intention.

I don't know of too many double Christmas albums, so it is something that's new, and hopefully will be fun, and there's plenty of stuff out there to cut.