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For my birthday this year, my girlfriends - who knew I'd just inherited my dad's turntable - gave me a carton of albums like 'Blue Kentucky Girl,' by Emmylou Harris, and 'Off the Wall,' by Michael Jackson. It's all stuff we grew up with. I mean, you can't have a music collection without Prince's 'Purple Rain' - it just can't be done!
I'm sick to death of people saying we've made 11 albums that sounds exactly the same, Infact, we've made 12 albums that sound exactly the same.
When you do rap albums, you got to train yourself. You got to constantly be in character.
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.
All these non-singing, non-dancing, wish-I-had-me-some-clothes fools who tell me my albums suck. Why should I pay any attention to them?
I don't feel guilty about the music I love. If you feel guilty about something you dig, then you should stop feeling guilty about it. One of my favorite albums to this day is the 10th anniversary ensemble cast of 'Les Miserables,' the ultimate cast recording, and it is still something I love listening to top to bottom.
Live albums are very important for Rush, and they became sort of a closing chapter for us.
The pirating thing is bad. The people it hurts the most are the ones you least think it hurts. It's not the big Britney Spears albums that are being pirated; it's the indie bands that don't have two cents to their name.
It's depressing when you're still around and your albums are out of print.
On the musical side, I always wanted to kind of carry on Pink Floyd's sound. You know, Pink Floyd always had such an original, creative and masterful sound, but there are no new albums. My thought was that there's a way to keep their sound alive.
Hip-hop don't have no fresh energy, none at all. It's money driven, everybody tryin' to make that cheque, nobody putting art in their albums any more.
I enjoy the collaboration. I always envied people in bands who got to have that interaction. I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.
I enjoy staying home with friends more than going out. The other night, for example, my girlfriends and I stayed in listening to some '90s rap - my favorite kind. We were in the Hamptons and made it an all-Biggie weekend, all of his albums on repeat. I loved it.
The issue I had with the Lightspeed albums was that usually the main purpose with them was to fulfil really dorky musical goals, like, 'I wonder if I can do that,' and it was all very personal. It was more that once I'd finished the goal of what the song was, I was kind of done. It was like ticking boxes.
I've seen composers work on 30 films at one go. So, eight or even 10 albums in a year is no big deal.
There's just no great rock albums anymore. There's a lot of rock music out there, but it's very bland and disposable.
I'm not into albums that are meant to sound perfect.
One of the things that make Liars so fascinating after five albums, each one so completely different from the others, is that even though they play around with all the classic tropes of art-damaged angst-noise perv-rock, they exude a totally cheery and boyish enthusiasm onstage, goofing around with their keyboards and beatboxes.
It was weird - my parents would let me have some Green Day albums but not all Green Day albums.
Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.
My mother, a very eclectic listener, had the first Doors album and gave it to me when I expressed interest in the band. It was one of the first records I ever had. As the years passed, the babysitters who used to look after me would bring their Doors albums to the apartment, and that's how I got to hear their later work.
Amy Winehouse was not a person I ever met, and I can't say that I am overly conversant in all of her music. I do have her albums, and years ago, when I first heard her sing, I thought she was extraordinary. The tone of her voice, her phrasing, her raw appearance - these qualities were extremely captivating to me.
I get letters from young people telling me that they're broke and download my albums for free. They ask me what I think about that. I now have a standard line. I tell them, 'I would rather be heard than paid.'
On my albums, it's as though the parental advisory is built in.
A letdown is worth a few songs. A heartbreak is worth a few albums.
Martin Luther King, Jr.
John F. Kennedy
C. S. Lewis
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