Quotes About Album

I wanted to record an album that moved through the body's chakra energy system.

I don't consider myself to be a great musician, but my first album was a record hit in Pakistan.

There's no more record companies, so I have to get on the Internet and let people know the album is out there. I don't know if we're working for it, or if it's working for us.

We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.

When I do an album I try to find a producer that's excited about something that they want me to sing, and I check with the record company to find out what they think they can sell - which is their No. 1 priority.

We had a nightmare on our first album, and went through two producers. I decided, on the second album, to take the money that we were supposed to use for pre-production, and we went into a studio and cut the album with no producer. We finished the whole thing without telling the record company.

You sign your life away, basically, when you sign a record deal, and if you have a platinum album, then you go back in and renegotiate.

When I had a record deal in the '90s, that was my dream - to make an album like Barbra Streisand's Broadway album - and they laughed me out of the room. Broadway wasn't cool. But artists like Michael Buble and Josh Groban have brought the classic genre back to the forefront, so I'm trying to find my way inside that market.

I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.

I bring in the record label who distributes the music.

People don't go to the record store anymore. It's crazy. The culture used to be so much stronger. People would go and support you, and go pick up the album. Not just for the music, but for the liner notes, for the artwork, just for the whole thing and to have it, and be able to say, 'I have this album.'

I focused on the saxophone ever since high school. It wasn't until my album 'Poetica,' which I recorded in 2006, that I went back to the clarinet. It felt like it was waiting for me!

I do wish we recorded the early stuff we did, because we basically had an album.

In 1966 I recorded my first bolero album. I was about 18 years old then and I recorded it because I wanted my parents to know that I hadn't lost my identity of being Latino.

I have recorded with a 60-piece orchestra, and it gives me satisfaction to have done an album entirely with acoustic instruments.

When you're recording a ninth studio album, you can't fail. You don't really have any fears. You just make the best record that you like. You hope your fans are gonna like it, but if they don't, they have eight other ones to listen to.

I began the process of recording myself seriously in the fall of 1999. If I could finish an album of my own music, I would. Five years later I am happy to say I have.

Music is also a part of who I am so I'm thinking about recording an album.

Well, when you're recording an album, artists have what they feel like is good music, and the label, they're trying to sell the album. So those two ideas clash sometimes, but in the end it always works out. When you put the two together, that's a good thing.

I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.

'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.

It got to the point where I couldn't afford to borrow any more money to lose. Know what I mean? That was just before 'Frampton,' my fourth album. As we were recording it, I was very down and depressed.

We just weren't a hip band. I mean we recorded our second album in Bath at a time when everyone else was recording in New York or Los Angeles.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.