Albums Quotes

I wanted something that had the feel of a complete band and a variety of instrument. Apart from doing the album for musical satisfaction, I felt it was an important statement for other women - showing you don't have to rely on other people to do things for you.

No one can get really drunk on a novel or a painting, but who can help getting drunk on Reethoven's Ninth, Rartok's Sonata for Two Pianos and Percussion, or the Reatles' White Album?

I hate it when bands do that; they're so proud of their new album, they have to play all of it and a couple of golden oldies.

Just as not all popular albums are wonderful, not all wonderful albums are popular.

A long time ago, I made the commitment to dedicate at least one song per album to God. He has been very good to me, and never for one minute do I want Him to think I've forgotten, because I haven't.

People often forget this - a vinyl album could only contain a maximum of 20 minutes per side!

I've been connected to the most culturally important albums of the past four years, the most influential artists of the past ten years. You have like, Steve Jobs, Walt Disney, Henry Ford, Howard Hughes, Nicolas Ghesquière, Anna Wintour, David Stern.

This album is moments that I haven't done before, like just my voice and drums. What people call a rant - but put it next to just a drumbeat, and it cuts to the level of, like, Run-D.M.C. or KRS-One.

The first album is a classic record and I think the prototype of a sound that no one else does.

I titled the album Reflections because I am reflecting on my music career.

Even though everybody's lives are different, in general we're all human beings, and we go through the same things: disappointments, the pleasures of life, life and death. That's always been a really big part of the show to me, making sure the audience feels connected, and that carries through to the album.

I hold 'Mi Tierra,' my first Spanish-language album, very close to me because that was all done in my native tongue and won me my first Grammy.

The thing about being an artist today is you get to develop right in front of people's eyes before you even put out an album.

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'm growing as an individual, but your always growing. All of my albums are snapshots of where I am artistically.

You can't get the visual thing on the record as much as you'd like to. We produced this album, and we'd never done that before, except when we produced singles for ourselves.

Im the eldest at 51, and if the Stones can drag themselves around once more, then theres a few more albums in us.

Ive had about 140 albums released, and Ive done everything I wanted to do.

I never liked making albums.

I have a bunch of albums I would love to get re-released.

I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.

I like to make great albums.

More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.

I only do solo albums when songs are screaming at me to be let out of my mind.

I've always thought live albums were cop-outs.

You don't make solo albums to have hits.

The early ELP albums were pioneering in a way.

When you get to the 35-year mark in your career, you make albums for your fans to love you more, so they don't forget about you.

'American Horror' goes for a very specific kind of Seventies suburban downer ambience - 'Flowers in the Attic' paperbacks, Black Sabbath album covers and late-night flicks like 'Let's Scare Jessica to Death.' It even has 'Go Ask Alice'-era urban legends.

Michael Giles the first drummer of King Crimson, never agreed to the name King Crimson. But then, if you'd knew Michael, you would know he didn't agree to the album cover either. So maybe Michael didn't agree to the point of definition with many things.

I can't see going onstage wearing a long-sleeve shirt in the dead of summer. I work out hard during the day with a trainer who monitors everything I put in my mouth when I'm on tour. When I first got a record deal, you can tell by my early album covers that working out wasn't that much a part of my life.

I don't have an album cover with me on a broomstick.

The mystical poetry of William Blake's artwork also forms the basis for the album cover.

I hate album covers where people are just smiling so big. It's like a neon sign that says PLEASE COME BUY ME.

I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.

I do a lot of curiosity buying; I buy it if I like the album cover, I buy it if I like the name of the band, anything that sparks my imagination. I still like to go to record stores, I like to just wander around and I'll buy whatever catches my attention.

The rebellious mood of the country during those [60th] years allowed me to plug right back into my old hatreds. I could scream and holler, as I did on the albums, against religion, government, big business - all those assholes and their values. That hatred was very real.

That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.

Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.

How many pictures have you torn up because you hate them? What ends up in your scrapbook? The pictures where you look like a good guy and a good family man, and the children look adorable - and they're screaming the next minute. I've never seen a family album of screaming people.

I lived in Brooklyn for a year and I moved out to Rockaway Beach. I've been living here for two years now. I put my address on the album, so I have a lot of visitors all the time.

...I got a call from a record company offering me a contract, I did not want to take it because the Lord had pointed me in the direction of spiritual activity...And then it was disclosed to me that I could do both spiritual and musical work. So for five years I executed that contract, and when it was finished, after I made the album Transfiguration, I didn't make another album until twenty-six years later. This new album, Translinear Light, came out of the pleading and constant appealing from my son Ravi Coltrane: 'Ma, please make a CD.' So I eventually agreed.

Enclosure, upon its completion, was the record which represented the achievement of all the musical goals I had been aiming at for the previous 5 years. It was recorded simultaneously with Black Knights' Medieval Chamber, and as different as the two albums appear to be, they represent one investigative creative thought process. What I learned from one fed directly into the other. Enclosure is presently my last word on the musical statement which began with PBX.

We were not always 70, or rather our 70 is an accumulation of all the other ways we were. Our 5-year-old selves became our 10-year-old selves, and so on and on; and if we unpack our selves, the full album appears. Every moment is a part of the following moment, and we are all a continuum.

There's a plaque on our wall that says we've sold over 65 million albums, and I don't feel I've accomplished anything. I feel like I'm just getting started.

There are so many things to think about when you make an album. Like, who am I trying to impress? Am I going to get respect, critical acclaim? Or am I going to sell lots of records?

By the time I actually recorded Bitter Tears I carried a heavy load of sadness and outrage; I felt every word of those songs... I expected there to be trouble with that album, and there was.... when it was released, many radio stations wouldn't play it.... The very idea of unconventional or even original ideas ending up on "country" radio in the late 1990s is absurd.

Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play.

Love is composed of a single soul inhabiting two bodies.

Two minds with but a single thought, two hearts that beat as one.