Albums Quotes - Page 30

My grandfather was Bob Shad, one of those legendary jazz and blues producers - he worked with Charlie Parker and Dinah Washington, and he produced Janis Joplin's album [1967's Big Brother & the Holding Company]. He always owned small labels as well - he had a label called Mainstream Records in the 70s.

I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.

I made my new album 'Colour Me Free!' in a week with my own money.

I don't ever land on an album title until I know exactly what's going on the record, because you never know until it's all said and done.

I'm pretty much always planning two albums ahead.

When I start working on a new album, I kind of stop listening to a lot of outside stuff just so I can kind of focus.

I think in the future I will end up doing a gospel album.

I'm not too embarrassed to say I'm the definition of the target audience. This is my generation, the one of exalting music in album form.

So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.

'Call Me' is not an exceptional Al Green album, but it is as solid as a rock at its center.

Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.

The only criticism heard with any frequency of Elton John's first American album, 'Elton John,' was that the production was too grandiose. The melodies were superb, and lyrics frequently very good, and the performances flawless.

For me, I want to create a environment for the songs to live in. So one song by itself only tells a piece of the story, but in the context of the album, more of the colors are revealed.

I think my favorite album was probably Realization.

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.

There's so much music out there, and so many different styles that I've been influenced by, so each album reflects some of that knowledge or influence that I've had.

If a few people decide not to buy my album it's really not going to change my life that much.

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.

It's my intention to make something stand outside the realm of album art, but it also feels comfortable to me to be in it. It's tricky and definitely a requires striking a delicate balance.

The process of touring is always so weird to me. Once you've made the album, that's over, you move along.

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

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'll probably never put out another album because I'm a tough critic of my work, and I don't think I could come up to those standards any more.

I once lost five years listening to a Pink Floyd album.

I definitely listened to Lauryn Hill - her's was like the first album I bought myself. Brandy's Never Say Never and Lauryn Hill's The Miseducation of Lauryn Hill were always in rotation for a couple of years.