I'm very sassy. I want to show people in my album I'm not like my characters on TV.
When you're making an album, it's, like, exciting every night you make something new, but you're the only one who gets to hear it.
I don't listen to Nirvana plugged anymore. I think there's a whole group of people who have semi-forgotten that Nirvana used electric guitars because of the 'Unplugged' album. It's so great.
I like 'Bewitched' off the first album because it's one of the happiest songs I've ever written and, as any writer will tell you, happy songs are a million times more difficult to write than sad songs.
I think every time, before we do an album, we have a discussion where we sort of consider the idea of doing something radically different.
'What's Going On' is one of the greatest albums ever made. I definitely wasn't aiming to make my 'What's Going On,' you know what I mean? That album is definitely deep in my DNA. I've probably listened to that more than maybe any other album ever in my entire life.
I think it was probably down to the fact that we weren't together personally as a band. We weren't pulling in the same direction. I always feel if you're having a good time in the studio it actually comes across on the tape and that was a bit of a miserable album for us.
To actually put the time and energy into an album that would be better than Pull would be a hell of a lot of work, because I took that band really seriously, way more seriously than people took us. If you go back and listen to the records, you can hear it.
Very similar experience happened last year when we released this album, North. It was on Deutsche Grammophon, it was very, very honest. It was the most honest record I've ever written.
I have lots of records, quite a collection, actually, that I stole from my mom. I have the original 'Thriller' album and I have a really great 'Elton John's Greatest Hits,' and I also have a N.E.R.D. album. Records sound more original. They have more edge.
For every album, I look at where I'm at in my career and think of a title that kind of represents that. And for me, 'Night Train' was kind of a metaphor for where things have gone, from being on one bus with 12 other guys, pulling a trailer my first few years on the road, to now. We're out here with six or seven buses and eight or nine semis.
I always wanted to have my own album recorded and released before I graduated high school.
The way I perceive an album to sound and the way I put out mixtapes are two different energies. There's a different focus; there's a different sound.
The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur.
When I tour with the new album, I still do the classics, and I love the atmosphere it creates with the whole audience singing along.
But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that.
I have my moments - usually twice every album - when I basically lose it.
If I like it, it's gonna be on my album. You can't please everyone.
I don't know if I have a 'Greatest Album Ever.' I really liked 'The Blueprint' by Jay-Z. The production on that album was really great. 'All I Need' was the first song I used for walk-on music in 2002 for my second time ever on stage, so that means a lot to me.
A concert is not a live rendition of our album. It's a theatrica! event.
I'm a singer and working on my second album. I write and produce. There is so much more that satisfies me. So there's not just this one ambition to become an American movie star. Because I will never become an American movie star.
The first Van Halen album makes Johnny Rotten out to be what he really was and still is: a hairdresser.
It wouldn't bother me at all not to play on my own album.
The Re-Up Gang mixtapes are going down in history, man. I still listen to them in my car, and the 'Hell Hath No Fury' album. I tell people all the time that I'll never make another album like that one again. Never!
I don't see why women have to get naked to sell an album. It's crazy.
I hope that what you take away from my album is not just the music - which I did want to be fun, and I did want it to be about individuality, but please also take away from it that there's no dream that's too big.
From the first album, we've had songs like 'The Jack' that are blues based. We also did it in 'Ride On,' where we went into the blues.
I'm not trying to sound pretentious, but we did sell 12 million records on the first album, so we did get paid a little bit.
I didn't know how well my first album had done; it was enough to get me to do the second album, which was a continuation of the music I'd worked on and perfected.
Well, we didn't have our original drummer on our last record. And most of that album was not played as a band in the studio. It was mostly the world of computers and overdubs. There was very few things played live or worked out as a band.
Being a purely instrumental album, it makes a musical statement, not a religious one, and I hope that people can feel the emotion of the great melodies, even without the words.
I wouldn't think a blues album would be that commercially successful, but I don't really care. I'd do it for the love of blues, not for the money. I've got plenty of money.
There's a lot of demand to hear the new Kanye West album before it hits the streets. There's much less demand to read the new Phillip Roth novel.
Then we did what we called basically I suppose a club tour in England, which was the time I think that our second album came out, we club toured around the whole country where the venues were hold to five hundreds upwards to that sort of thing you know.
If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.
We knew we wanted to put a lot of melody into it - a lot more than what we did on our first album.
