If you’re fortunate to get a first album that sells 10 million you have nowhere to go but down. I’m just going to be honest and your measuring stick is so high that haters are licking their chops because you can’t do nothing but fail.
I just always want a new producer. I’m going to have a new producer on the next one. Because I’m the same person, and I feel like, I know I’m going to bring to it a certain sensibility that’s me, and I want to have something different coming out on each album.
An album is a thing you take time out and go work on.
I hadn’t been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album’s contents could be.
The early ELP albums were pioneering in a way.
I have my moments – usually twice every album – when I basically lose it.
Before our albums are released I feel like we still own it, that we have control over our music. But once it’s out there in the world it’s no longer ours.
When you’re on your fifth album, you are going to be judged against all your previous work and expectations.
I personally really like getting a proper album with artwork and everything.
Even though the album is an endangered species, can we try and make a coherent and good one, even if it’s like making a horse and cart at a Nascar conference?
The only time that I’ve adopted characterization again since that point, for my own albums, has been an album called "Outside" that I did with Brian Eno.
[David] Bowie had a genius for continual change himself, reinventing his sound and his image throughout the decades. Each album seemed to find Bowie in a different persona, with a new sound to match his new look.
I think a lot of that album ["Tonight" ] is still very good . . . the songs, but I think I was indifferent to the arrangements.
[David] Bowie’s last album "Blackstar" featured him backed by a jazz quartet.