Album Quotes
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It was so simple in the old days. You put out an album, people promoted it, it got in the charts, and you had a hit.
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Live we're a lot louder and noisier on the album. I think for the album we took a lot of time for the songwriting and we wanted to make good pop music, and I think there's plus and minuses to doing pop music and noise.
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When it comes to making an album I take that very seriously. I am meticulous, overworked. That's my time to put everything under the microscope.
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The first Garbage record sounds bizarre, it's not a pristine sounding album. We ran everything through stomp boxes and through samplers and that definitely gave it a vibe.
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I'm into paradoxes. I wanted to make an album about them, but the group told me I was a pretentious fart. They were right.
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I’m always looking for a title to communicate something about the overall flavor of an album. And I like the covers to be symbolic-the naive quality of arms for the buoyant sound of Trust, the saxophone as a spine for the grittier edge of Backbone, a moth being drawn toward the light for the sexy sound of Seduction.
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It would be really nice to be able to put out releases that wouldn't be conditional upon an album format, and just put out music in different ways.
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I have a studio at home where I record all of my solo material from the beginning 'til the very end, thus also the ideas which later on will find their way onto yet another Mike & The Mechanics album.
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My hope is with each album I learn a little bit more about the songwriting process and I learn how to be more conversational and honest in my writing. Hopefully, all those things come through on this new album.
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If I'd known white people were going to buy my last album, I never would have recorded it.
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We started off making a full album with Brendan in his studio in Detroit and had nine or 10 songs done, then he got busy with his own record and we started talking to Jack and Meg about touring together. So we decided to do something for the road, and it turned out that the five completed songs made a kind of cool record, with this dreamier, darker mood than some of our other stuff.
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I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.
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I have my moments - usually twice every album - when I basically lose it.
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I feel like I always have to have a song on my album that people can use in their weddings.
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We've told people - every audience, every night - that we're definitely going back to do an album.
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When doing the mix, there's five different pairs of ears. We all hear it differently. We said we'll be mixing this album for the next three years if we don't let someone take charge. We let Mutt mix it.
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A good one was the album Adrenalize title. I wanted to call the album Dementia. I like the idea of having a trilogy of albums ending with 'ia'. Phil thought it was cool but wondered if it was a little contrived, like we were running out of good ia-sounding words. Joe hated it with a passion. After two and a half hours of discussion, he was so pissed off that we were still talking about this one word that he just turned around and said, 'Well, as far as I'm concerned, you might as well call the album BOB!!
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I had the honor of speaking with Asimov. The album ended up being something not directly related to Asimov, but related instead to the concept of the power of robotics.
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Look. I was a superhero in the '90s. I said so at the time. McCartney, Weller, Townshend, Richards, my first album's better than all their first albums. Even they'd admit that.
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We didn't have any goal set, but we knew we had to work with someone who had a complete, almost encyclopedic knowledge of music. We wanted to make an album that sounded completely different but still had the heart and soul of the band. It's still The Strokes, but it's a very different form of The Strokes.
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I think music is a very personal thing and it doesn't necessarily have to be experienced one way or another, but the album experience is a completely different thing than the single experience.
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When the time is right to release another Mike & The Mechanics album, the three of us get together and we start writing new material out of an acoustic setting.
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'Seven Turns' was a tough album because we knew that the critics would use it to determine whether or not we should have remained broken up.
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It's funny, when people talk about the 70s I can tell you the year of every album but when it comes to the later efforts I can't remember the exact years, it's funny isn't it?
