It's easy to mock a man who has founded a religion based on John Coltrane, who considers 'A Love Supreme,' whatever its merits as a jazz album, to be holy scripture.
I realised that the only time I really enjoyed music was when I was in the studio writing. So even though it was a six album deal, they saw quite early on that I wasn't enjoying it as I should be. I didn't feel there was anything behind it.
Every Shania Twain interview ends with someone asking, 'Which Beatles album have you always wanted to cover, given the chance?'
Every weekend we've been trying to go out of town, to let people know about this album. I've been trying to host parties. It's hard, because it's a lot of work to do both.
I'd like to do a Christmas album. I've never done a Christmas album.
I do love dance music, but at the same time, I'm not looking to put out a big pop album. You've got to be the best you can be.
Each album has its own cycle. We wanted to capture all those feelings and moments for this touring cycle.
I've done a lot of albums and I kinda know when I'm onto something that was inspirational for me to record and create, and this was one of those projects where I really enjoyed making the album.
Album 1 is proving that you're worth listening to, album 2 is proving that it wasn't a fluke, and album 3 is the most authentic thing I've ever done.
I feel that after all those horrible reviews and jokes, I wasn't crazy all these years to stand up for the music I believe in. This album has proven that somewhere in the human race, the human heart is still racing and breaking and I am so grateful.
The first 'Charlemagne' album is metal, of course, but what I sang was more symphonic.
I worked a lot on our album cover, and I didn't just want to post it on our website one day and move on. We wound up breaking it into 18 pieces and hiding them on fan sites all over the Internet and then posting clues, so fans could put together the puzzle.
This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.
My whole team, it wasn't about putting the album out, it was about getting off the record company and going independent or going to another label. To the point we were like, 'Listen, just take 'Lasers.' You can have whatever percentage off the next ten records I do for the rest of my life. I just do not want to be here anymore.'
I want to go to Nashville and get cracking on this album.
By the end of the writing process, which is about 80 songs per album, I look at the material and think, what's going to make a difference in someone's life.
For me to be here at album number six, it's kind of a way to say, 'Thank you for allowing me to be here... to still be around.'
I got to live out my 11-year-old fantasies - I got to go on stage with Green Day. Billie Joe called my name from the stage. 'Dookie' was the first album I ever bought. I covered the whole of 'Nimrod' and he'd heard it. That was like the 11-year-old girl dreamed.
My first album is playful.
I was talking to my dad about the stuff he grew up listening to, and 'Operation: Mindcrime' is a record that he had always talked about around the house. He always talked about it as the 'greatest concept album of all time.' One day, I started listening to it, and it just hit me. I was like, 'These songs are all hits. They're all huge songs.'
I asked my friend Greg Andersson to introduce me to people that can distribute my album.
I made the first Feist album in '98. So at that point, it was my nickname. It was as far as with my circle of friends, and just felt more accurate than two names.
I just realized how long it was since the last album, and where did the time go? You know?
Living in the past is a Jethro Tull album, not a smart poker strategy.
You can't get the visual thing on the record as much as you'd like to. We produced this album, and we'd never done that before, except when we produced singles for ourselves.
I know acts and I'm not going to name names but these people sold ten million copies the first time and the second album sells three million and it's considered a failure and they're dropped and that's really a shame.
I was still in school after I dropped my first solo album.
I always want to make an album that lets people immerse in it, kind of like you get caught up in a good movie.
I think my first album opened a lot of doors for me to push the freedom of speech to the limit.
Generally, when a record label suggests album ideas for you, you smile politely, and then proceed to shoot it down, because it's never what you as an artist feel is right for you.
In the '80s, I was putting out an album virtually every year, I think mostly based on fear - that if I didn't, people would soon forget about me.
I have absorbed my life now. I am ready for my music to unfold. I know time flies, but before the end of this year, the album will be out. Even if it kills me.
In fact, I wouldn't really call this a Gospel album, I call it more an inspirational album.
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 definitely don't subscribe to the theory that more instruments, or more vocal tracks, harmony, or double tracking the voice, is a good thing. People do their early albums very stripped down, then each album becomes bloated.
I know when I've written a good song when I can imagine the video. If I can't imagine the video straight away, I'm not gonna put it on my album.
