Quotes About Album

The first artist whose music I really got into was Paolo Nutini. When his album 'Sunny Side Up' came out, I think I listened to it on repeat for, like, six months.

'Trilogy' was more of a claustrophobic body of work. Before it was released, I hadn't left my city for 21 years, and I had never been on a plane, not once. I spent my entire life on one setting; that's probably why pieces of the album feel like one long track, because that's what my life felt like. It felt like one long song.

The promotional cycle's this staging area for failure. I hate it! Why bother when everyone's either gonna steal the album or copy it?

In 1970, my label decided I should do a Christmas album and I put a bunch of tunes together. We couldn't decide what to call it and so I said 'Why not just say Merry Christmas in Spanish? Feliz Navidad.' They said, 'That's cool, Jose, but we need a title song.' So I just sat down and started to play.

But thankfully, my first album, 'Wide Screen,' was sort of a critics' darling - everyone raved about it, but no one bought it. They only manufactured 10,000 copies; I wasn't even in the running for failure!

A song of mine called 'I'll Take Care of You' was on that 'Wide Open Spaces' Dixie Chicks album.

Rock and Roll Over' was the first Kiss album I heard, but I was totally oblivious to their whole image and the makeup and all that. I was so out of touch with the wider world.

My wife even thinks our next album should be recorded in our house, and we should move all the furniture out to the garage. I'm not sure how many spouses would be supportive of that, much less come up with the idea.

At the time, there was a great disagreement over 'The Wild and the Innocent,' and I was asked to record the entire album over again with studio musicians. And I said I wouldn't do it, and they basically said, 'Well hey, look, it's going to go in the trash can.' That's the record business, you know.

The reaction to this album has just been fabulous around the world... and I've had offers to perform from around the world and I'm tempted to do it. I've got itchy lips.

The first album I ever bought with my own money was 'Ten.' Every single song reminds me of my childhood.

If I cut an album now and sell it for ten bucks, I can put seven dollars and fifty cents in my pocket.

My whole team, it wasn't about putting the album out, it was about getting off the record company and going independent or going to another label. To the point we were like, 'Listen, just take 'Lasers.' You can have whatever percentage off the next ten records I do for the rest of my life. I just do not want to be here anymore.'

My debut album is like a collection of work over the past nine or ten years that I've been writing since I was 18-years-old, and when you've had that long writing music you get to select the music that has worked really well.

My first album is like a terrible John Hammond album, with drums.

At the moment we're trying to keep what we've learnt. Because we learnt a terrific amount with 'Deep Purple In Rock,' it took six months to make that album: we think it paid off, really. I can honestly say that it's the first album we've been 100 percent satisfied with; it gave us a hell of a lot of confidence.

I was really scared to make this album and to make this song. Because I didn't want to talk about it. For me, it's even deeper than just '1-800.' 'Everybody' as a whole... I was terrified.

Would Revolver have become the album toward which every superlative was hurled had it been released under the same conditions that Sgt. Pepper was? Without a doubt.

His mama is so stupid she thinks Meow Mix is a dance album for cats.

Singing is my dream and, while it may have not been a commercial success, critically I was thrilled with the reception my first album got.

I would definitely want a hit record, but I still want the success to be around the album. Only the music can help me.

Painting a picture of 'Loup' for Melody Maker in late November, it was clear that Paul considered the jam to be a highlight of Wings' yet to be issued album.

Jimi Hendrix selected one of her photos for the cover of Electric Ladyland.

But the experience was also fulfilling: Paul's new album had the variety that was his hallmark, with ballads and rockers, acoustic tracks, and high-energy electric cuts. But most importantly, where each of his post-Beatles releases had tracks that Paul knew were throwaways—throwaways that he liked, or that struck him as having a personality that earned them a place on an album, but throwaways all the same—Band on the Run had an energizing consistency, track for track.