Even when I be telling people like I’m only dropping one album, they be like, ‘Nah, bro, you gotta keep going.’
But I’m always trying to plan ahead too and in doing so, and in working on this album, I’ve met a lot people that I hope to be involved with, on their records and in their situations.
With us, people caught on to something on our third album, and that will never be repeated. Basically, I don’t really have any complaints about the way that Beach House has grown. I feel like we’re still in control of what we’re doing, and it’s a great time in our existence.
I finished the rough draft of ‘Crying in H Mart’ in July of 2020. My editor had it for five to six months, so I was free from it for a little while. I decided to take that time to start working on a new album.
I was obsessed with ‘The Velvet Rope’ for a year straight, letting Janet Jackson’s confessional lyrics lull me to sleep and comfort me when I felt lost. I felt that the album was the vehicle onto which Janet finally expressed her full self.
Joshua Kirk, the YouTube kid with the glasses who looks directly into the camera – I really love his album reviews. He’s been doing it for years.
A circumstance that I was dealing with when recording my second album was I was diagnosed with multiple sclerosis.
I have lots of records, quite a collection, actually, that I stole from my mom. I have the original ‘Thriller’ album and I have a really great ‘Elton John’s Greatest Hits,’ and I also have a N.E.R.D. album. Records sound more original. They have more edge.
There’s no tour plans, no reunion, no new album… nothing.
I don’t care at all about the mainstream; I don’t care about popularity contests; I don’t care about who’s got the biggest-selling album; and I don’t care about glossy production.
I have a solo deal with Columbia Records. So it’s about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what’s the right timing? Do I have time to do it? It’s all about questions.
I don’t think that bands that make it on their first album are as strong as bands that don’t: there is nowhere to go but down.
If everything gets too serious for me on the album, I get kinda bored. I’ve got to have some kind of jovial things in there.
They said I was a married mother of two but the record sounded like an indie album and they didn’t know how to market it! This country is incredibly sexist, as is the music and media industry.
I wanted to make the album I always needed to make. I had to say the things I never could.
In five years’ time I’d like to be a mum. I want to settle down and have a family, definitely sooner rather than later. I’d like to have finished my second album too, maybe even my third. I’d like a sound that sticks around that other people are inspired by and that people know is me.
The album was very agressive. It kicks you right in the balls.
I want Prince to see something I do and call me and ask me to be on an album or if I want to dance!
I think somewhere in the back of my mind I’ve always wanted to make a whole swing album.
I did Albert Hall, I got to play the Hall of Fame with Prince. So I’ve done that kind of stuff for ages. It wasn’t until after we finished working on Brainwash, my dad’s album after he died, then it was like ‘That phase is over in my life now, now we can get on with our music, with our band.’
I have recorded nine tracks for a new album which I financed myself and am looking for a home for.
I would love to make a real jazz album someday because I never have. But that’s something I’m not in a rush to do.
Nothing is more frustrating to me than putting a song on an album and regret putting it on there. I’m excited that there are no songs on ‘Tailgates & Tanlines’ that I’m iffy about.
As long as Elton John can bring forth one performance per album on the order of ‘Someone Saved My Life Tonight,’ the chance remains that he will become something more than the great entertainer he already is and go on to make a lasting contribution to rock.
I’ve always wanted to make a bluegrass album.
Everybody who know Rick Ross know that, for one, I love creating music, and one of the biggest impacts we have on the game was the fact that when we came into the game, artists was waiting two to three years to put out albums. I was one of the few that put out an album every year along with two or three mixtapes.
I was in high school and I had an independent album out, and we kept sending that out, and I was doing shows. No one really dug it. It was very Americana and had a lot of folk elements in it.
I think everybody knows my sound because I’m me, you know? But, on your fourth album, I think you’ve definitely gotta show growth because I definitely don’t plan on being one of those cats that fade off. It’s always about growing with me; I grew up over the years.
With this new album, I prepared for it a long time, and I was happy with the songs and the production. I felt that I proved myself with the first album, and with this new album, I just want to share some of my music. And that was always my feeling and my intention.
I was still in school after I dropped my first solo album.
To record an album is cathartic, or at least it was with ‘Belus,’ but to make music is more fulfilling than anything else, I think.
I continue to believe, contrary to the given wisdom, that it’s more interesting to have an album – or, indeed, an individual song – which has variety rather than homogeneity.
We fought during ‘The Wall,’ which was an album Waters wrote, based on his family story, we clashed long before that, during the period of the Dark Side and ‘Wish You Were Here.’ Actually, we never got along.
I don’t think the label cares about an album… People just want their number-one record.
I also wanted to make a record that was about other things than romance, yeah, after two years on the road singing all the songs from the first album, I got kind of tired of that.
It’s a blue album, but it’s not a blues album. I’m not pretending all of a sudden now I’m blues.
I’d met Dr Dre, he was thinking about his next album, we talked a little and he said, ‘Let me give you some of these loops and see what you come up with’.
When I first started, especially because I got the Critics’ Choice before I’d released an album, there was a lot of scrutiny on what my character was, what my background was, what colour my hair was. I fought quite hard for the music to overtake the personality aspect.
Every time I bought someone’s album, it was about the connection. I was loving everything, from their raps to their style. I wanted to meet them.
I knew I was destined to be a rock star. I just knew it, like I’ve always had the power of foresight. I feel right now exactly the way I felt after I finished mixing my first solo album ‘New York Groove’.
I have never taken more than two weeks to record an album throughout my career.
Van Morrison is probably, at this point in time, my biggest influence as a vocalist. When we were making our last album I had a vinyl copy of ‘Veedon Fleece’ in the vocal booth in front of me, in the dorky sense. I think there were candles around, which is really tacky, but hey, I needed to channel Van the Man!
I’m a church musician. I play gospel music; that’s what I do. I never had a chance to produce gospel music, and I did a full album with Lecrae that’s the number one Christian album. It’s super-big for me.
I know I am old-fashioned, but I don’t want to bring out a fashion line, I don’t want to bring out an album. I just want to do the work as best as I can, and if that effects change for somebody, then that is great. I don’t want to change the world.
The concept of ‘Blue’ is to transport its listeners to a different world with music. And I chose to release a full-length album because it enables me to experiment with many different production styles, not just a single sound, and take listeners on a journey.
Last I checked, the album was #82 out of the top 200 on the Billboard charts thanks to you all. I pray that keeps moving up and with your help it will.
No, every album is something like a snapshot. It only shows one moment in time. It shows what we feel and think right at that point in time, nothing more and nothing less.
My wife has them all in a vault… a copy of every album.
I don’t really think about what the subject of my next album will be. I just know that I’m going to make another album.
One of my favorite songs from the album is a song called ‘For Better or Worse,’ and it’s basically about unconditional love, which is, I’d say, an ongoing theme in my personal life.
I think the best post-breakup album is The Strokes’ first album. It’s just fun.
I was in Ann Arbor, and I was told that this singer-songwriter guy wanted to meet me. It was Kurt Cobain. Nirvana had just made ‘Bleach.’ Kurt interviewed me on a college radio station. It was very strange. He was a fan of mine, and he gave me his album.
The whole point of ‘Acid Rap’ was just to ask people a question: does the music business side of this dictate what type of project this is? If it’s all original music and it’s got this much emotion around it and it connects this way with this many people, is it a mixtape? What’s an ‘album’ these days, anyways?
But thankfully, my first album, ‘Wide Screen,’ was sort of a critics’ darling – everyone raved about it, but no one bought it. They only manufactured 10,000 copies; I wasn’t even in the running for failure!
