Quotes About Album

The interesting thing about doing press is that I learn what the album is about - I now know, a year later, looking back, what was on my mind at the time.

I just realized how long it was since the last album, and where did the time go? You know?

I had the pleasure of listening to Rickie Lee Jones' Flying Cowboys album on audio cassette, which had just come out at that time because I am an elderly man.

I'm a big hit at parties. Friends ask me to sing B-I-N-G-O all the time. I'm thinking, you know, of maybe putting out a Christmas album or something.

After playing so many songs in churches for eight or nine years, I've learned what songs people react to. Then I just had fun with the arrangements. That's how this album came together.

The album is a definite departure. I haven't written original material before, except for one song on my first album, but Elvis and I did six songs together on this one.

Why is the second novel by a breakout debut writer, or the second album by an explosively popular band, so seldom as good as the first? It's not, Or not entirely, because most artists only have one thing to say. It's because artistic success is an amalgam of talent and fortune, like everything else in life, and thus subject to regression to the mean.

When I first started, especially because I got the Critics' Choice before I'd released an album, there was a lot of scrutiny on what my character was, what my background was, what colour my hair was. I fought quite hard for the music to overtake the personality aspect.

There is a project that I did back in 2008 with a Norwegian guitar player, Jorn Viggo Lofstad, who plays in Pagan's Mind. We wrote a rock album, and we never released it.

If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.

I'm a huge Joe Nichols fan, and he put this song out an album called 'Real Things.' I was excited for Joe when I heard it, thinking 'that will easily be Joe Nichols' career song.' I was even more excited when they got out of that album and they never released it as a single, because then I was like, 'Now that's gonna be my career single.'

When 'Destroyer' was first released, we got a strong backlash from our hardcore fans. After six months, the album was dead in the water. The critics didn't think much of it, either.

A year before 'Frampton Comes Alive!' we had released the studio version of 'Show Me The Way' as a single - it was on the 'Frampton' album - and it totally tanked. Nothing.

Home' was a special album for very specific reasons. It is an homage to my father. And it is the first classical album I've released in over a decade. So it really felt like a kind-of coming back to my roots.

Releasing an album on a major label is like sending a package through Fed Ex. You know that it'll get there, and you know that it'll get there on time.

When you're releasing an album, you never know how it's going to go. You never know how a critic is going to receive it or how much it's going to sell.

There's not a great danger in releasing the first single from an album without a video because the momentum from the last album will cause large numbers of fans to buy it.

I feel really relevant and creative, and I don't think I would've made an album if I didn't feel relevant. I wouldn't have said a word.

Say what you want about Maroon 5 not making music like the kind found on 'Songs About Jane,' the fact remains that they know how to write a really good pop song that highlights lead singer Adam Levine's falsetto.

The fourth album encapsulated some remarkable music that was really groundbreaking. We were able to have something like 'When the Levee Breaks,' which, sonically, was very menacing. But then you had the flip side: something like 'Going to California,' which is really intimate.

I remember when the family album came out, people would just knock on our door because they thought they knew us, and that, of course, is one of the great hazards.

I remember when 'Nostalgic 64' first dropped, and it became popular, Shady wanted to sign me at one point.

'Meow The Jewels' was a nightmare of a promise I had to fulfill. We made a joke that if the fans gave us $40,000, we would remix our album using nothing but cat sounds.

One of the first records I bought for myself was a Keith Whitley record. I still love the 'L.A. to Miami' album. There were so many things on there - 'Miami, My Amy,' 'Ten Feet Away,' 'Nobody in His Right Mind Would've Left Her.' I can put that album on repeat and listen.