Albums Quotes
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My features & my shows 10 times your pay 50k for a verse no album out
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Gil didn't know us well, which was good. It made us step up and really make an effort. We had only made albums with one person in ten years. It helped to have an outside perspective.
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To compare the albums is like trying to compare apples and oranges.
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Now everything is available at the push of a button, and that thrill of the search is gone. With vinyl albums and special edition releases, I feel like that's coming back.
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Mormons aren't gonna buy my album but, you know, what are you gonna do?
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My solo albums were each like a half-finished puzzle; they represented only the beginning of a full picture. Simply put, they were inadequate and incomplete.
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The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.
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I was going through a break up. I was depressed... I really did need to do something. Recording an album was a great escape. I don't know what would have happened if I wouldn't have started to work.
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The worst thing about me is that I'll buy albums and put them away on the shelf and forget that I've got them.
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U2 albums never get finished. They just get released.
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So I went out and bought Hard Again by Muddy Waters. That was a big learning curve. I listened to that album again and again and again. James Cotton was the harmonica player on that album.
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I embrace my body, and I embrace everything about myself. Coming full circle is a celebration of freedom and happiness because that's what [my new album] 'Lotus' is representing. I'm embracing everything that I've grown to be and learned to be.
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I think one of the greatest compliments I've ever received was when a young kid came backstage at Joe's Pub, when I had the "Bronx In Blue" album out. He said, "What Jimmy Reed did for you, you do for me."
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I know six years is a big break. But I never walked away from music. I never released an album because I wanted to do a different album, something I have never done before.
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Music needs a visual element to make it tangible. So, naturally, there's gonna be a synergy between high-level art direction and high-level albums.
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Any album that you pick up of mine, you know it's an Akon album. The guests are very limited and you get to really feel the experience. You get the Akon experience when you get the albums. I always want to make sure that stays the way it is. I don't want to flood the album to where you lose focus on why you bought it.
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I like the freedom of being able to just use the live show as an opportunity to more so deconstruct what's going on in the album than to recreate it.
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I've had albums out since the 1970s. I was in a musical, 'The Boy Friend,' directed by Ken Russell, and I was on Broadway in 'My One And Only' with Tommy Tune, so I've always been a singer, but I suppose people think of my modelling more.
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I think when you're making an album, as the songs are piling up, one of the good things about it is that you will often write the song that you need.
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Some of the demos we do are better than a lot of people's albums.
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For me, the challenge is just making great albums, because talent - and writing in general - is not tangible. There's no expiration date on it. At the same time, you might wake up tomorrow and be unable to write music.
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Everytime you put an album out with any producer you do the same thing.
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Straight from the heart, I represent hip hop I be three albums deep, but I don't wanna go pop Too many candy rappers seem to be at the top Too much candy is no good, so now I'm closing the shop.
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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.
