Nobody ever sees this part,” I said. “It doesn’t matter if it’s pretty.” “So it’s like track six on an album,” Cole said.
There might be two or three songs I'm trying out. I've been singing these songs (on the new album) in the studio, but I haven't really done them live. It's intimate to sing them in a studio. Now, I've got to be on a stage and be in front of a lot of people.
The rest of the songs on the album [Mortal City ] have spare arrangements on them. Steve [Miller], really loved that. He'd just come off of a project with someone who basically had to mask the fact that there were no songs there with production. He said, "Oh, my God, you have real songs here!"
Mortal City was really influenced by geography. [The song] "The Ocean" is the Pacific Northwest. Southern California and New York also figure into songs, and Iowa. "February" is very much about New England. "Mortal City" is Philadelphia. The whole album is this anthropomorphized landscape where the metaphors live in this geography.
I've expressed my gratitude to my son many times. And his career is far from undistinguished, and it was a great privilege to have someone of this skill bringing this album to conclusion.
I'm really proud of the album. It's something I always wanted to do but I had to wait until I was ready. Shakespeare is a culmination of eight years of stand up experience and joke writing. I recorded two shows at the Upright Citizens Brigade Theatre in New York. The crowds were great and that's what really makes an album.
Anybody can have a great album in themselves but it's not until you bring it out and put it into tangible form and creating it and working on it in the studio that all of that comes to life you know what I mean?
This album [Give the People What They Want] has almost been in the making for almost three years now. When we first began on it, my mother was sick. When she passed away, I got on stage and played that night. The music helped take me away.
I'm in an odd position because I write across so many genres for so many people and they all influence me, and if I'm going to write as honest an album as possible, it's going to be layered.
I'm 18 in this album. I'm not losing fans, and I'm not disrepecting women, but you reach the maturity of taking it to the next level with a girl. It was only necessary for me to have at least one song like that.
My first album was me finding myself and my voice, finding how I sing. I was rolling with the punches because everything was new to me.
I don't wanna get into that space where a lot of guys now, their solo album is like eight or 10 songs with other people, you don't get an idea of who this guy is. I just wasn't interested in that.
Books don't live and die by awards. You don't listen to an Hector Lavoe album because it won some awards.
Ringo Starr may not have much of a voice, but when he sang a song on a Beatle album, it had its own special charm.
Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.
Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.
I wanted to make the album I always needed to make. I had to say the things I never could.
All tapes left in a car for more than about a fortnight metamorphose into Best of Queen albums.
My new album that I'm creating, which is finished pretty much, was written with this new instinctual energy that I've developed getting to know my fans. They protect me, so now it's my destiny to protect them.
In retrospect Hank I don't know why I spent four years writing this book when I could have just made a hit sing-a-ma-jig album.
I once lost five years listening to a Pink Floyd album.
I thought if we made an album that tried to change the world, or give it hope, it would really happen. But all people found was death and destruction and misery and self-hate. I learned that the world doesn't want to be saved, and it will f**king punch you in the face if you try.
There are some things I don't understand about Jess and never will. No wedding dress. No flowers. No photo album. No champagne. The only thing she got out of her wedding was a husband. (I mean, obviously the husband is the main point when you get married. Absolutely. That goes without saying. But still, not even a new pair of shoes?)
To all the boys who inspired this album: You should've known. ;)
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