I think an album is all about the songs you've worked on and the journey it's taken to get there.
It got to the point where I couldn't afford to borrow any more money to lose. Know what I mean? That was just before 'Frampton,' my fourth album. As we were recording it, I was very down and depressed.
When you do mixtapes, a lot of times your fanbase can say, 'We've been getting this for free for so many years, his new album is about to drop, we've listened to it, and we're not going to buy it. We'll download it for free.'
Our first album was kind of simple, but it had that fire, that energy that we have to have.
An album is a project with which you have to hit hard.
My whole team, it wasn't about putting the album out, it was about getting off the record company and going independent or going to another label. To the point we were like, 'Listen, just take 'Lasers.' You can have whatever percentage off the next ten records I do for the rest of my life. I just do not want to be here anymore.'
Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.
I saw Kiss on 'The Dick Clark Show' in, like, 1980 or something, and 'Kiss Alive!' was the first record of theirs I had.
Major labels act as banks in terms of how they produce and release your album. No major label is really good or bad; they just 100 per cent operate as a business, which makes sense... no hard feelings.
When we recorded our first album sixteen track machines were the thing.
I'm continuing to produce and will start a new record soon, as well.
My first album was completed in three months.
When you record an album in six days, you don't have time to work out a lot of stuff.
'Europe '72' came out right around the time that I started going to see the Dead, and it had a huge impression on me.
I'm not really rocking with mixtapes no more. EPs and albums - that's it.
My most successful album happened back in the mid-'90s, pre-Internet times, with 'Songs For A Blue Guitar.' We were supported by Island Records; we toured a lot. Songs were licensed to TV commercials and movies.
The reason why I play around with the word legend is because this is my 7th CD and a lot of artists don't even make it that far. Many artists don't even pass three or four.
Every time you go in and make a record it is like a calling card, not so people can come and hear you live or are interested in your catalog.
'Dirt on My Boots' was pegged as the second single from 'California Sunrise' from the get-go, and we felt like it was just a fun song to go with.
There was never going to be a right time for a band that was still recording and had health in its environment, had made a very good record and was playing well.
There is time to play and then there are times to work hard and get my fans an album.
I really want to make a great record, like my 'Rumours' or 'Thriller.'
When you work on an album for three and a half years, you're kind of ready for it to get out there. To have your songs reach people.
When you're releasing an album, you never know how it's going to go. You never know how a critic is going to receive it or how much it's going to sell.
The Re-Up Gang mixtapes are going down in history, man. I still listen to them in my car, and the 'Hell Hath No Fury' album. I tell people all the time that I'll never make another album like that one again. Never!
