Zitat des Tages über Alben / Albums:
We were in the same band, but we're two completely different people. People have asked me to make comparisons with our albums, and I can't, because there's no comparison. Her album's okay. I don't think she's the best singer on Earth, but she's okay.
Well, you know, back then there wasn't many albums, it was the singles. You sold singles.
When I want to check out how my life's been, I go through my albums. They steps in my life.
I once took a ride to the beach in L.A., and all along the shore there were all these so-called jazz places. And I saw these college guys and session players playing this fusion Muzak stuff. It was just a lot of notes, and the more notes they played, the more it kept them from expressing anything. So I came back home and got out my Zeppelin albums.
We got a little waylaid along the way. The whole problem started about 10 years ago with management and legal battles, then still trying to make albums while I was doing all of that.
For me, none of the albums after 'Tusk' quite had it. I think we lost something after that.
I'm a fan of Rihanna. I have all her albums. I love her music; she's a great performer. We've both gone on to great things. It's all love.
With albums like 'Rodeo,' 'Days Before Rodeo' and 'Owl Pharaoh,' I was really tuned into wanting to get people to understand my conscious and who I was mentally and who I am mentally.
When I began making my own albums, the songs became funkier. They were more about the streets.
I think you can really gauge my state of mind by listening to my albums.
Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.
So many people I know are like, 'Nobody listens to Mumford and Sons anymore.' But you know what? I love Mumford and Sons. And I will listen to those albums, and I love 'em.
I'm not into albums that are meant to sound perfect.
If you are a musician who has released albums, it would perhaps be morbidly interesting to know how much you would be owed if everyone who now has your music had actually bought your record.
I only do solo albums when songs are screaming at me to be let out of my mind.
Hip-hop's always reached out to kids. If you look at the last 10 big albums it might seem ironic. But when I look at the history of this music it's always had a lot of positivity.
Before our albums are released I feel like we still own it, that we have control over our music. But once it's out there in the world it's no longer ours.
Most of the albums that have taken long have been related to illness and fatigue or producer problems.
Metallica is going to be one of those bands you look back on in the year 2008, that people will still listen to the way I still listen to Zeppelin and Sabbath albums.
Aerosmith's 'Rocks' is on the list of my top favorite albums of all time.
I'm dead serious about my craft and just really serious about making music in itself. I take pride in making songs and albums where no two songs sound alike. That's the challenge and that's what it's all about, to keep it original and fresh and funky.
I'm not a big reggae dude. I have maybe two other reggae albums.
There's 40 or 50 songs that nobody's heard that I've done in between albums. There's a whole evolution from Midnite Vultures to Sea Change that's never been released.
I feel like I'm only in the beginning of my career. I've only made five albums. It's not a lot.
Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.
The pirating thing is bad. The people it hurts the most are the ones you least think it hurts. It's not the big Britney Spears albums that are being pirated; it's the indie bands that don't have two cents to their name.
It's frustrating to do albums that you think are worth listening to, but it's just so difficult to cut through.
MTV made a huge impact. Heavy rotation took you from selling 1m albums to 20m albums, and that meant a lot of dough.
I think it would be nice to sell 15 million albums as a solo artist. I'd have to deal with all the repercussions of that, but that wouldn't be too bad.
More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.
I've appeared on some other people's albums.
A lot of people give in to those pressures and let others influence the process on their second albums because they want to achieve the success they had with their first again, but they don't know how to do it.
What really helps me is being able to record my albums at home - I have more fun experimenting that way, as opposed to working with an engineer, in which case I have to deal with the humiliation of doing take after take, and that can get frustrating.
Traditionally with debut albums, labels insist on a face, so people know who you are.
You don't make solo albums to have hits.
I think that I've got some pretty bad reviews on albums or songs that later proved themselves.
