Quotes of All Topics . Occasions . Authors
I suppose listening to a double album is kind of like going to the chiropractor... It's pretty good for you but you can't force it on anyone else.
It's important to show the new generation that soundtracks can be just as exciting as traditional albums if put in the hands of the right curator.
In 1999, I just came out of putting out the song 'Vivrant Thing' and 'Breathe and Stop' off the 'Amplified' album. Clive Davis signed me to Arista.
I have over 150 or 200 records recorded. We have so many EP's and LP's. It's just picking the best records to put the best possible album together.
Back in the day you wanted your albums to have a theme, and 'Sports' theme was really a collection of singles. It was really a record for its time.
In the past, I've been a bit diffident about my own albums, almost excusing them for some reason, even though deep down I felt strongly about them.
It would be really nice to be able to put out releases that wouldn't be conditional upon an album format, and just put out music in different ways.
Music needs a visual element to make it tangible. So, naturally, there's gonna be a synergy between high-level art direction and high-level albums.
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.
I've recorded 25 or 30 albums. I know that sometimes when you work with producers who are kinda dictators, it doesn't help you make a better record.
I knew that when it came time for me to finally make my own album, it wasnt going to be about being a jock. It had to be more personal and intimate.
I think the work is always personal. This album differs. It seems to be a lot more positive. It seems to have a certain amount of optimism about it.
You know, I've made my money. If no one buys my album, cool. It's fine. I've got a house, and I've got dogs that I love. I don't need anything else.
I hope that the next time you go to a concert, the band doesn't play the song you wanna hear! And instead, they just play songs off their new album!
Music is a big part of my sleep routine. I listen to peaceful and calming music every night, and have my go-to playlists and albums I play at night.
I could probably spend the next five years reworking an album from ten years ago, if given the chance, to make it better - make it best, so to speak.
I like the freedom of being able to just use the live show as an opportunity to more so deconstruct what's going on in the album than to recreate it.
I always try to put something personal on my albums just to give people out there a little piece of my history and how I got where I am and who I am.
I just want to make good music that, you know, appeals to all people, man. I want to branch out and you know just have a lot of multiplatinum albums.
50 Words of Snow just didn't seem to have the complications that quite a lot of albums have. It felt to me like it had this very good flow of energy.
A lot of times, people have forgotten about an album by the time it's released, because it leaked three months earlier. Very strange days we live in.
It was like finding some weird tribe in the middle of the jungle and, you know, they all come out and go: "Fear of the Dark. Favorite Album." What?!?
What I love about making albums in the 21st century is that so few people buy albums! I can make an album without any commercial concerns whatsoever.
I feel like my best work is in front of me. I'm in the studio now, and I'm having an amazing time making this new album. It's something I can't help.
The live show is different from the album. It's different every night depending on where I am and how many months have gone by since I last performed.
My uncle was a music producer and even he'd tell me to get a proper job. I tried to get him to give me five grand to make an album - it didn't happen.
Hip-hop don't have no fresh energy, none at all. It's money driven, everybody tryin' to make that cheque, nobody putting art in their albums any more.
If you look at my career, doing albums with Norah Jones, Justin Timberlake, Gucci Mane and Lil Wayne or KRS-One and Jean Grae, I can't be pigeonholed.
Any time that you can give the consumer more of what they want, it's a good thing. I said from Day 1 that the unbundling of the album is a good thing.
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.
I want each album to say something different and be accepted better than the last one but I don't have any point to outdo any particular album of mine.
I feel like there's a lot of albums that are like 'woo! we're young, let's have fun' and there's a lot of albums that are abstract, with mature lyrics.
There were a lot of songs that I still wanted to put on the album but it worked out. I can only fit 18 [tracks] on the album, I would put 30 if I could.
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.
I look at other artists who have had fabulous first albums, and you don't know what they're doing today. Who's to say I'll be an exception to that rule?
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
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.
So when a music artist puts an album out that can only be streamed, not downloaded, what happens? In Kanye West's case, apparently it gets pirated a lot.
Audioslave was something that I felt had become a career decision. It became three albums over a period of years touring with a specific group of people.
The only time that I've adopted characterization again since that point, for my own albums, has been an album called "Outside" that I did with Brian Eno.
I make a living off of playing shows; the albums only make me a fraction of what I make off of shows, especially since I'm doing around 100 shows a year.
["A Deal with God"] was the first single off Hounds of Love. I'd put a lot of work into putting that album together and I wanted it to have every chance.
When you look at the Lady Gagas of the world, or the Jay-Zs, or the Black Eyed Peas, these are people who have one album release and it's a worldwide one.
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.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you.
Before our albums are released I feel like we still own it, that we have control over our music. But once it's out there in the world it's no longer ours.
I did like seven songs on Michael Jackson's Invincible album, but I might have done 60 songs to get to those seven. You don't know what's going to happen.
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'm free to do what I please, I'm probably not going to do albums. Just because I think releasing tracks as singles is a better way for me to stay topical.
You need an audience to help you figure out what's working and what's worth putting on your album or your special - or even just what's worth touring with.