Album Quotes
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When I'm picking songs for an album I always want a song that I can relate to and that I have experienced. There's nothing worse than watching an artist try and sell a song that isn't believable coming from them.
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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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A lot of people just send me beats, and I pick the ones I like. See, once I said I was doing my album - because I know everybody and they mama - everybody just got in touch with me.
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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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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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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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The main idea of the album was to translate different styles with just one sound. It was really hard to do that. It’s exactly the same when you see a guy – he’s one guy but he can have several different emotions. That’s the best way to explain it.
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A lot of times, people have forgotten about an album by the time it's released, because it leaked three months earlier. Very strange days we live in.
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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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I ain't the greatest thing since sliced bread, but I've dedicated my life to music since I was 7 and my dad bought me a guitar and the 'Meet the Beatles' album.
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I think the one that resonates the most with a lot of people is from The Scream album - 'Father, Mother, Son.'
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Hearing the Evanescence album you can obviously tell that David and Ben have a real passion for that big kind of background and I have a big voice and I like the music to match it, so it was a real dream team, ... They're both so different from each other and so different from me, but I think the three of us getting together just created such great songs.
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The album didn't even make the upper reaches of the chart
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I want to reach out to everybody with my music and my album, but you're never going to please everybody. Someone's going to say something because, you know, it's an opinionated industry.
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Every album is difficult. If it was easy, we'd make one a month.
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I feel like it's not a bad average for every album I've got in the United States to be nominated for something off the album.
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My fans have supported me in concerts around the world regardless of how well my current album was selling.
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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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There was no working title for the album. The record-jacket designer said `When I think of the group, I always think of power and force. There's a definite presence there.' That was it. He wanted to call it `Obelisk'. To me, it was more important what was behind the obelisk. The cover is very tongue-in-cheek, to be quite honest. Sort of a joke on 2001. I think it's quite amusing.
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At sixteen I was like: "I need to get an album out now!" - even though I was only sixteen. I was always in a little bit of a rush to be an adult.
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When I think about my new CD, the word 'joy' comes to mind. I sincerely hope that each listener will feel the earth, spirit, and aggressive creativity emanating from this album.
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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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Yeah exactly, so if anyone's bummed that The Mars Volta record's too simple or too pop, they can buy that album and it'll take them right back to that kind of sound. It's one of my favourite things I've ever worked on. It's pretty much a Mars Volta record, just without Thomas, Ikey, and Marcel. With Volta [Octahedron] was just our acoustic record that turned into our pop record.
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That's what's interesting: When you release an album, everyone hears it their own way.
