I try to mix the fashion with the music and what's going on at the time...at the time [when my uniform was black on black] I was putting together an album, my album was my name at the time; very minimal, very stripped down, very everything but it still had and have to have some level of pop.
In 2008 it's easy to get huge before you have an album out with the Internet. I think that's great and you see a lot of artists like that. It seems like it's becoming rarer to find a band that has been touring for six years, doing small shows and then breaking out.
I can't edit live as meticulously as I can for an album.
I make a living off of playing shows; the albums only make me a fraction of what I make off of shows, especially since I'm doing around 100 shows a year.
To get 300 songs to fit together on an album, it's not like I choose 300 songs and say these are the ones I wanted to pick. To get those 300 songs I sampled 1000's of songs and narrowed down the ones I felt worked the best musically.
When someone is buying a sample-based album, they are investing in the concept of that album. If they really like the original source material, they can go buy it.
I try to deliver because I don't believe that people are deliverin' the same quality of albums.
If you're making a time capsule you have to throw my album in there.
Just to be able to release an album back in the day when I came out was very gratifying. Most people were not given the opportunity.
I didn't really think that it would be as easy as this. I did believe that the album [Faith] had a chance, because I though the material was strong enough, but things have just gone like clockwork. It's been incredible.
Things that I was writing for Wham! were a strong indication of what my future album would be like. But most people got so lost in our image and found it pretty repulsive.
I'm looking back to a period of my life when I was badly hurt and then looking at another time when I felt I had things going for me again, so I suppose there is a theme [of the Faith album].
[Music From the Edge of Heaven] wasn't really an album at all. The band had made the decision to release an LP and then split up. We wanted to go out with a bang in Britain and the rest of the world by having a single that was four songs, not just one song. But we couldn't do that over here because we couldn't release a single without an album.
In the rest of the world we had had two albums that were successful, so those two albums' hits and this new four-single package made up an album called Wham! The Final, which is basically greatest hits. We couldn't have done a greatest hits over here, because we'd only done one hit album.
We had to create an album where there wasn't one. I never listen to that album [ Music From the Edge of Heaven] because it wasn't an album.
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
When I finally stopped [singing], he had been saying, like, the last day or so, he'd been saying, now, I think we should put this one in the album. So without him saying I want to record you and release an album, he kept - he started saying, let's put this one in the album. So the album, this big question, you know, began to take form, take shape. And Rick [Rubin] and I would weed out the songs.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
Everytime you put an album out with any producer you do the same thing.
I write a column for The Village Voice, which I've done since time immemorial, and occasionally - and books. And I occasionally write minor notes for record albums and occasional articles.
When I first knew Bob Dylan, he lived in the Village. And for a man who, years after, would disdain publicity or any attempts at interviews, whenever I'd write something about him, he'd be on the street corner saying, `When's it going to run? When's it going to run?' But I must say that album that was - it was the second album he did, and though I've never been a fan of his guitar-playing, he did - I have to admit, he did catch the Zeitgeist of the time.
If nobody wants to buy your album, who's going to buy your clothes?
Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.
The album ['A Seat at the Table'] really feels like storytelling for us all and our family and our lineage.
I just feel so much joy and gratitude that people have connected to it in this way. The biggest reward that I could ever get is seeing women, especially black women, talk about what this album ['A Seat at the Table'] has done, the solace it has given them.
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