Quotes of All Topics . Occasions . Authors
Some of the music I made for 'Fantastic Damage' I thought I was making for the Company Flow album, but the majority of it was post-Company Flow.
Working on this album has been very emotional and super personal, and creating this character 'Cry Baby' helped me deal with my own insecurities.
From the first album I'm playing bass on a lot of the tunes, and piano on a lot of 'em, and drums, and guitars. I did that on almost every album.
Joshua Kirk, the YouTube kid with the glasses who looks directly into the camera - I really love his album reviews. He's been doing it for years.
Every time I bought someone's album, it was about the connection. I was loving everything, from their raps to their style. I wanted to meet them.
'Some Kind of Monster' is a challenge, and 'Through the Never' is an extension of that. Even the album we made with Lou Reed, it was a challenge.
'Straight Outta Compton' is the album I'm least happy with. I threw it together in six weeks so we could have something to sell out of the trunk.
The second 'Postal Service' album is threatening to become the 'Chinese Democracy' of indie rock. It will come out eventually, or maybe it won't.
If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.
You can't have 12 records on your album and none of them sound alike. You gotta kind of have something to make them say, 'That sounds like Rakim.'
The whole reason to make a solo album is to express what you can't express with the B-52s. The B's are so much about fun and partying and dancing.
My love of Seagal is ridiculous. Like, I love this man. I love how ridiculous he is. I mean, he made an album called 'Songs From The Crystal Cave.'
I want to make an album my grandma and my fans are going to like. I want to make my grandma understand a drop and make club fans understand a song.
The main thing with my shows is that I'm professional but not highly polished. I don't like people to think they're just seeing an album in person.
I buy DVDs almost every week. I'm more of a film buff, so I usually buy more DVDs than CDs, but if I like someone's album, I will buy the CD of it.
'The White Album' is a record I can go back to time and time again, and always find something different that I never noticed or appreciated before.
'Hairdresser Blues' was written when I was deep in a ten-year depression that I escaped shortly after recording that album. I don't like that album.
I am sorry, but recording an album is just hard work; tedious, repetitive, and not very fun at all. Mixing is a bit better, but still pretty boring.
I liked Bruno Mars from way back before he even debuted. I thought he had a beautiful voice and became a huge fan after listening to his first album.
If I can put on my album in a car or on my headphones and listen to the whole thing and love it, that's what I'm going to be happy putting out there.
For my first album, I thought it was most important for people to hear my voice and to not let it be drowned out by too many lasers and other sounds.
If you want to be taken seriously and gain credibility, you really do have to try and write yourself. I don't want to do an album of covers and stuff.
I feel like if you do one album, you don't give people the chance to judge you twice. If they judge you once and that legacy goes on, you'll go viral.
In the past, when Jay-Z did 'Best of Both Worlds' with R. Kelly, I thought it was a great album, but the campaign went south because of personalities.
Last I checked, the album was #82 out of the top 200 on the Billboard charts thanks to you all. I pray that keeps moving up and with your help it will.
We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.
I've never heard anything like 'Whatever People Say I Am, That's What I'm Not.' The Arctic Monkeys are my favorite band, and that is my favorite album.
But I've got to think of myself as the luckiest guy. Robert Johnson only had one album's worth of work as his legacy. That's all that life allowed him.
Releasing an album on a major label is like sending a package through Fed Ex. You know that it'll get there, and you know that it'll get there on time.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.
There will be some tracks on the next album which that will consist of mostly noise and feedback, whereas others may just have guitar parts and samples.
I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.
I want to communicate through my music. If you want to know Geri Halliwell listen to my album: it tells you more about me than a documentary ever could.
That's why it's called Sebastian Bach. I mean, it's a permanent band, pretty much, but if I jam with other people, it just makes a better album, I think.
But for the first time, we haven't made a huge leap forward in sound from our last album. Fans who own Kid A should be able to get their heads around it.
My joke, which isn't really a joke, is that there will be one of two tours: the tour for the album that does well, or the tour for the album that stiffs.
The focus is on melody: If you get it right, and it connects to the mass audience, it doesn't matter if it's a studio album or played on the dance floor.
If your album sells, that's cool, more people find out about you, more people get turned on to what we're really about-which is a live rock and roll band.
Producing a dark Christmas album in the middle of the summer is a very interesting process, especially if you are doing it by the turquoise Caribbean Sea.
All my writing takes place during the recording of the master tapes. I never do have songs when I start up an album. I actually write them while I record.
But the approach to recording this album was kind of an organized, chaotic approach where I wanted to maintain and preserve that wild abandon to creating.
I'd met Dr Dre, he was thinking about his next album, we talked a little and he said, 'Let me give you some of these loops and see what you come up with'.
I'm not gonna ever announce that I'm going to do an album again. Waking up with that on your head almost doesn't allow you to make the best album you can.
People consider Black Star a great album, and I think it's a classic album. But the fact is, both me and Mos Def have made better albums since Black Star.
We were contracted to make a soundtrack album but there really wasn't enough new material in the movie to make a new record that I thought was interesting.
A good producer brings out the best in the artist he's working with. You shouldn't be able to listen to something and say, 'So-and-so produced this album.'
An album, for me, is not just a commercial product. It's about presenting a world to people, for them to explore and enjoy. How they do that is up to them.
I always say the new album is the best one yet. I always feel that - I really do, because it's the latest and it's the newest and it's a little bit better.
Every time you come out with an album or a song, you want to feel like you're growing a bit in what you are and giving people something that they can feel.
I named my first album 'The Sound of Revenge' because I wanted to get revenge on everyone who doubted me. But when I finally got revenge, I didn't enjoy it.