I don't think that anyone was trying to keep me from writing the first album. It's just when you're on 'American Idol' or a TV show like that, you wanna capitalize on that momentum, and you want to use that to your advantage, obviously, so the best way to do that is to get the music out as fast as possible. And there's no time to create, really.
The great thing about Gospel is that you don't have to have an album every year in order to keep working.
Prince, you never knew what to expect from him from one album to the next. Miles Davis was like that. You know, once you get used to one style, boom, he switched it and, you know, switched gears on you. So those artists are very exciting to me, very exciting to follow their path, you know, and their journey.
The first album didn't become successful until the second was practically written.
Music is also a part of who I am so I'm thinking about recording an album.
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.
Being in a band is far more than playing an instrument. It's surviving. It's getting an album together.
It's a shame in a way that people come and go with one album.
'Mr. Misunderstood' - that whole album is incredible and just has amazing songwriting.
The 'Dangerous' album has producers like Tiny, who to me is very special. Also, Luny Tunes, Nesty La Mente Maestra, Nelly La Arma Secreta, Haze, and El Ingeniero. I wanted to use everyone who makes music in Puerto Rico and beyond to have variety.
I made a Christmas album a couple of years ago and just put it out on my Web site. It kind of smacked of this flavor. All of the reviews said it was Western swing even when it was Christmas standards.
My first album is like a terrible John Hammond album, with drums.
My favorite model of success is when people say, 'Nobody bought that first Velvet Underground album, but everyone who did started a band.'
On the other hand, I'm very tolerant as well. I expect that everybody can play what they want. I'm only not tolerant when it comes to myself and what is presented on my album that I have to listen to for the rest of my life.
People get jaded in every profession, but for some reason, I feel as passionate as when I was 13 years old and just released my first album. I feel the same amount of adrenaline in my blood, and the same amount of curiosity as well. Curiosity about why I'm different.
Yes it was we, are a few years back parted from our record company and took the album that we were making with them and released it independently in the United States had a number one Independent debut in the United States.
Of the 25 songs we've recorded there were 24 that we wanted to have on an album. That wouldn't have worked. So when one of our wise managers suggested the idea of considering two different album, it cleared the way for us.
I have a solo deal with Columbia Records. So it's about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what's the right timing? Do I have time to do it? It's all about questions.
I'll never totally get away from being who I am, which first, to many, is the daughter of Nat King Cole, which became even more intensified with the 'Unforgettable' album.
You make your first album, you make some money, and you feel like you still have to show face, like 'I still go to the projects.' I'm like, why? Your job is to inspire people from your neighborhood to get out. You grew up there. What makes you think it's so cool?
Kinda when I stopped eating was on our second album, just as it felt like everything was so out of control.
Every time I do an album, I say, 'That's the last one.'
It's a classic album. If it ain't better than 'The Truth,' it's right there with it. I wouldn't say it if I ain't think so, 'cause 'The Truth' was my baby. That's the pure album.
When I do an album I try to find a producer that's excited about something that they want me to sing, and I check with the record company to find out what they think they can sell - which is their No. 1 priority.
A dream collage is pictures of your goals. It is like your future photo album.
I want to communicate through my music. If you want to know Geri Halliwell listen to my album: it tells you more about me than a documentary ever could.
I think the theme of the album probably was just that it was our first record.
The world has accelerated to the point that, as far as the album as a form, I don't know if it's going to last that much longer.
I think my most famous was 'Poco's Legend.' It's a white album with a simple line drawing of a horse. It almost has a Picasso feel to it. I remember that Rusty Young, the lead singer of the band, said, 'I want you to draw a horse for the song 'Legend,' which is about a phantom spirit horse. I want you to do it in several lines.'
I don't want my album coming out with a 'G' rating. Nobody would buy it.
Yeah, I came in at the end of the Notorious album, played on about five tracks and then we went on a tour. Then we did another album, Big Thing, and then we started writing songs together in 1989.
I don't know what's more embarrassing, these musicians and actors talking about politics in interviews or the media actually giving them credibility about it. It's absurd that a celebrity could speak out on the economy or politics with no more justification than a hit album or a movie.
I want to build up the most hype around my album. I wouldn't just throw it away.
That's part of the reason I called the album 'Shoot From The Hip.' I did feel it was time to open up more.
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 was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.