I think it's a Blondie tradition that all of our albums sort of have a wide spread of styles.
When I'm done with something, I'm done. I don't go back and listen to and pine for my old albums, or the Lollapalooza days, or 'Psalm 69' selling millions of records. Maybe I'm really just getting old and mellow.
I never download anything; it's crazy! We must keep buying albums and DVDs.
You can't just sit around and make protest albums all your life; eventually it comes to the point where you have to do something.
We don't pump out albums eight months apart from each other.
There's something extraordinary about selling millions and millions of albums.
I don't care what people do. I don't care how people remember my albums. I do them for my own reasons.
As a musician, you want the music in as many hands as you can get it into. More importantly, I want people to get the music for the fairest price, and in the most convenient way. And that's really turned into iTunes when you're talking about selling albums.
There's plenty for me to do. There are more albums. I'll record as long as I can and as long as my voice works as well as it does now and for as long as people want to hear me.
The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.
I'd done three solo albums in a row, and that's quite narcissistic.
I used to love, love Steve Martin. I still do... I would get these albums, and I would just listen to them all the time. I would stand in my room and pretend that I was delivering his comedy routine... And I don't know if that planted any kind of seed, but I wasn't raised going to the theatre.
We always started these albums as making demos, that went right on until Scary Monsters.
Playing albums in sequence can be awesome, or it can be very limiting.
I didn't want to play it boring and safe. I also didn't want to innovate too much. Second albums, man, they're even scarier than first ones.
I've done so many hip-hop albums already I got tired of just hip-hop.
As a musician, I have always strived for my albums and live performance to render a sound as close as possible to perfection.
I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.
A letdown is worth a few songs. A heartbreak is worth a few albums.
As I grew up, I wasn't a great buyer of albums, but I really liked 'The Jam.' I like good musicians and loved the energy of their songs.
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.
We are a business, and you do a little of what you think's right, pay your bills, and attract... a single record attracts attention to your concerts and your albums.
My shows are always a mix of songs from all my albums with some rocking covers thrown in for fun.
Wherever I went, crowds appeared again, and I started making solo albums for the first time in my career.
All these non-singing, non-dancing, wish-I-had-me-some-clothes fools who tell me my albums suck. Why should I pay any attention to them?
I remember having a lot of Josh White albums. Johnny Cash. Elvis. I loved the Coasters.
I'm rarely grabbed by anything the way I was when I was 10 years younger. About the only relatively new artists whose albums I own are Beck, and They Might Be Giants.
I did 'Love Letter' and 'Write Me Back,' and those were fun albums for me to do because they took me back to music I love.
I don't do something because I think it will sell 30 million albums. I couldn't care less. If it sells one, it sells one.
Like all bands, the first two albums are always the ones most written about, and the most covered. When a band gets to their third of fourth album, the story of the band has already been told.
I want to be an all round entertainer, I want to act, make films, make albums, do whatever I can.
However, there's no theme or concept behind Heathen, just a number of songs but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.
Most of my albums have a concept. They all have some kind of theme, some kind of feeling. I really take pride in that.
I've got my interests and my life experiences as I'm putting lyrics together. And if you start looking at patterns, you start thinking, 'Well, what am I really singing about here?' A lot of it seems to be a battle for some freedom against oppressive forces. That seems to be a theme in a lot of the albums I've done.
I guess the idea of doing albums in their entirety, in sequence, appeals to people. I guess it's the memory of being able to hear the music in the way it was originally presented.
Those albums are so important to me because, for the first time, I was making my own music, paying for it, finding strengths in it, and going through the process of finding the right music for the record.
