Quotes About Album

When creating an album, one of the first things you have to think about is what you want your production style to be.

I've got a lot of energy at my shows, I'm very performative; that gave me the idea, I want to try to translate that into a musical project, having the same energy I have onstage and on my album.

I also don't like to make really big records, because I feel then that the songs don't get enough space to be themselves, so I would never want to make a record that's like seventeen songs.

I have complete artistic control, and I just do my best album every time and trust it to fate.

I made a Christmas album a couple of years ago and just put it out on my Web site. It kind of smacked of this flavor. All of the reviews said it was Western swing even when it was Christmas standards.

My favourite piece of music is actually 'The Dark Side Of The Moon' as a whole. For me, it's the most perfect and brilliant example of rock song writing.

If I had a label, everything would have been easier. But it wouldn't have been the same album, from the cover art to the songs on it.

Nothing is more frustrating to me than putting a song on an album and regret putting it on there. I'm excited that there are no songs on 'Tailgates & Tanlines' that I'm iffy about.

I grew up the biggest fan of the Cure. Knew every lyric, had every album, B-side, single, poster, everything. Then cut to fifteen years later, and we're working on songs together. Ridiculous.

When I think about putting together an album, the process of listening to hundreds of songs each time and picking out the best 10 or so that will go on the record, it really sinks in as to just how many songs I've listened to all these years.

'Aqualung' marks the point at which I had the confidence as a songwriter and as a guitar player to actually pick up and play the guitar and be at the forefront of the band. It's also the album on which I began to address religious issues in my music, and I think that happened simply because the time was right for it.

A lot of new artists sign their deal and then go into a development stage for a year or two or sometimes never get out of it. For me, because I had been a working songwriter in town, I had a collection of songs that I was ready to make into an album. At the time, I didn't realize it was becoming an album, but it was.

'Mr. Misunderstood' - that whole album is incredible and just has amazing songwriting.

Insatiable,' the album, was more of a project, really... it was more like a songwriting excursion and an exclusive deal that hadn't really ever been done that often before... me being like, 'ooh I'm an entrepreneur,' rather than 'this is my singing career.'

I love pop music. I listen to it; I think you can hear it in my songwriting and my album. I'd definitely say it's country-pop music, but it's country first.

The thing is, I feel like it would defeat the purpose of being a musician if I let any kind of fear of failure affect my songwriting or making an album or whatever.

Our third album, 'Grown.' On that album, some of us had the opportunity to have hands-on experience into songwriting and production. The project itself taught the members how to create an album ourselves while grabbing guidance from the producers we worked with.

My first album, 'Get Lifted,' was a hip-hop soul album that had some of its roots in the church, as far as the sonic choices, in the way that I sing and write songs. I have always had that as part of my background and part of my influence when I am making music.

'Angel Of Death' was a big problem. I remember getting a phone call after the album was done: Sony wasn't going to release it.

I did a lot of writing for a lot of different kinds of bands that I was in and out of during those five years and that left me with a little body of songs that I liked better when I played alone, so I ended up going out solo and very soon made my first album.

Lion Face Boy' is the first single from Seabear's sophomore album, 'We Built a Fire,' and it's a perfect display of the band's knack for constructing mountains of instrumentation on a simple idea.

One of my biggest fears with 'Coloring Book' was that it would be labeled. I hate labels. I never sought out for people to recognize it as a gospel album.

Anyone born in the year 1950 who grew to fancy themselves as a soulful 18-year-old bought 'Songs of Leonard Cohen' upon its original release in 1968. For many of them, it was the beginning of a lifelong friendship.

I'm not a fan of the sound quality of our first album, because there's a noise in my head.