Album Recording Quotes

What excites me is the idea of doing a record that's pretty clean and focused on songs. I've rushed a lot with previous albums and there's not a rush now - it's not a race.

Bob Hurwitz, the president of Nonesuch, the company that releases my records, is a mentor. He taught me how to assemble a script to record an album.

If I didn't start singing in the cabarets and on my albums, I could have never even tried something like 'Capone.'

I've wanted to do a solo album since 2000 when I was writing songs for the 'Machine' record.

It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leader.

'I'd Rather Go Blind' was a song I did on an album with Joe Bonamassa called 'Don't Explain,' and I've always been such a huge, huge Etta James fan.

I block out a good amount of time - could be 6 or 8 months - and I just write. I do a lot of traveling, and I do a lot of co-writing with different writers just to start getting ideas out and kind of get a little bit of direction as far as where I'm going to go with the album.

I actually enjoyed making 'Tango In The Night.'

Yeah I'm still writing. I've got about 14 tracks now. But we've been on tour so we haven't had time to get back to a rehearsal place.

Yazoo was Vince's sound ultimately. At the time Vince and I got together he had only recorded one album with Depeche and Depeche were to go on to greater things.

'For Unlawful Carnal Knowledge' took a year to record; that's why the playing on it might sound somewhat labored. 'Balance,' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.

I went along and basically learned a few of the songs they were doing at the time, which were quite a few of the songs we ended up doing on our first album.

I've made music for grownups most of my life as a singer/songwriter - often with my band, Nine Stories - recorded many albums, and 10 years ago I started recording kid's music, too.

I'm not very good at the accordion. If I played guitar, I wouldn't be on anyone's album. But because I play the accordion and no one else does, I end up doing strange things.

I play drums and guitar. My best instrument is definitely drums, so I'm featured a lot on the album drumming. It's pretty futuristic as well.

I probably had the most fun recording For Richer For Poorer in Nashville.

I think the whole '2112' album took somewhere around a week to do.

When I was working with David Cassidy at the Rio, I made an album of updated versions of some 1970s disco tunes. I had a blast.

When I recorded my solo album, 'Keep It Hid,' in 2008, I'd gotten more interested in songwriting, inspired by reading Charles Bukowski and connecting with unfancy, interesting language.

I always wanted to do my solo album in English, because I grew up listening to a lot of pop artists and English-based songs.

I don't want to be daft and say I had some spiritual awakening or something, but I really did come of age in Los Angeles, where we recorded the album. I had my own little house and my own little circle and I really got to feel how the city ticks.

The best slide solo I ever played was on... what's her name? That girl singer who used to be with that all-girl band? ... Belinda Carlisle of the Go-Go's! That's who it was. I played on one of her albums.

Recording 'Ten,' we probably did 'Even Flow' 30 times.

From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.

I focused on the saxophone ever since high school. It wasn't until my album 'Poetica,' which I recorded in 2006, that I went back to the clarinet. It felt like it was waiting for me!