Quotes About Album

Softley's first album, Songs for Swingin' Survivors (Columbia), produced by Donovan's management team of Peter Eden and Geoff Stephens, is one of the three great solo folk albums released in Britain in 1965, alongside Bert Jansch's second, It Don't Bother Me, and John Renbourn.

They repeated the trick on Love, Death and the Lady (1970).

I think it'd be great if Prince made an album of just romantic, slow ballads.

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.

So I went out and bought Hard Again by Muddy Waters. That was a big learning curve. I listened to that album again and again and again. James Cotton was the harmonica player on that album.

When you start a new project, no matter if it's a movie like Enigma or an album like Goddess, you are always learning something. While I search, I find something new.

'Paul's Boutique' was a bust, right? That was a bummer. We didn't pause on it for a long time - we didn't go through therapy - but it was weird. And because it was a bust, we didn't go on tour.

A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.

'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.

When I made 'Who Needs Pictures,' my first album, I had been west of the Mississippi River one time in my life, and that was in fourth grade. We traveled to California for vacation and stayed with some friends of my parents. It was culture shock, and it was different.

When I started making music I wanted it to have a narrative and be conceptual, but as time went on I thought it was probably more practical for a first album just to have good music.

The first album didn't become successful until the second was practically written.

I wrote my first album almost as an entitled child. 'Taxidermy' is written by a much more precarious, untrusting adult.

I have no preconceived ideas; I gave that up a long time ago... The only thing we can do as musicians is make an album we like, and an album that we consider to be incredibly good.

I first thought maybe I'd do a banjo presentation record, where I'd play a couple of songs and get a bunch of other players to do the rest. Then I realized I had enough of my own songs to do an album of them.

On my debut album, I wrote a lot about women and their roles in society.

I definitely want to put together an amazing debut album with some really dreamy collaborations.

'Dangerous' is an album that I was very dedicated to. I wanted every song to be a hit.

An album takes a lot of work and energy and dedication to make.

I need to make the album that deserves attention. Everyone's busy. I need to really be saying something.

Pines' is a different kind of album for me. It was a different approach, everything about it, I just went at it as if I had never made a record before basically.

I would love to do some collaborations for my album - the more the merrier! It's fun to experiment and get to tap into different genres and sounds through collaborations.

A strong concept is the most important thing in creating a record. When you can listen to it and see a whole movie in your head, that's what separates an instrumental album from a beat tape.

Jaden Smith is a good friend of mine. We've got that song that just dropped on the 'Rich Forever II' tape, and we got a couple other songs that we have in the cut.