The main idea of it was to multiply everything, to have a bigger sound and grow venue size and grow fan base. As for a lyrical theme of the album [named "X"], it's just diary entries; it's just kind of like three years of my life in songs.
It's a pretty crazy thing in which I tried to make songs, real songs, not the quick stuff like on a tape. A dose of Kendrick Lamar, a dose of J. Cole... because it's got to be an album that goes [in the] club.
An album is a project with which you have to hit hard.
Mixtapes, it's for everyone and you throw them in the trash quickly. While an album is an object that only your real fans take the trouble to buy and know you have prepared something special.
Just because you can make an album on a laptop computer in your back bedroom doesn't mean it's going to be any good. Like any 'product', it has to come from a good original idea. There are no shortcuts!
There's very notable dynamics in all of the collaborations I've done. It's hard to say if one is more important than the other, but if I had to think of all situations and point to one band that I enjoyed most it would be when I was eight years old. I had a band with my little sister and the kid across the street. We sat around all day playing music and it was bliss. I didn't have any expectations or do it for anyone or worry about selling an album. That was really my favorite band. We were called Hot Chocolate.
I'm pretty much always planning two albums ahead.
I've sort of realized there's a definite pattern to my output at this point: there's an album that everybody sort of loves, that's a real balance between the old and new, like The Dreamer or No Beginning No End, like a blend of jazz and hip-hop, or r&b and soul and hip-hop.
There's a more experimental album that follows that, which is like Black Magic and While You Were Sleeping. Then there's a return to jazz, For All We Know and Yesterday I Sang The Blues. It wasn't like a planned thing, I just kind of realized it when I made a list of my albums. Like, oh wow, this is exactly what I did before.
I know I'm a very dynamic performer. Once you come to the show, you're gonna want to have the album. I think it's more about showing people that it's OK to share similarities, but it's more important to embrace your individuality.
When I start working on a new album, I kind of stop listening to a lot of outside stuff just so I can kind of focus.
I'm listening to a lot of Drake, and a lot of Frank Sinatra just because it's his centennial also. I'm going to be doing some tributes to him this year. I love that Beck album. It was funny to me because my two favorite albums of the year were definitely the Beyonce album and the Beck album.
If I played just one song from every album, I would be onstage for two and a half hours. No one wants a show that long.
On "Tonight" I think I was torn dreadfully between writing what I wanted to write, but keeping it in a style that would follow up what I had just done. That's where I feel I was untrue to myself as an artist . . . that album and, to a lesser extent, "Never Let Me Down."
I think a lot of that album ["Tonight" ] is still very good . . . the songs, but I think I was indifferent to the arrangements.
I think, when all bands start, when you're on your first album you have the benefit of hoovering up people who genuinely come across the music and really like it, but also those sort of 'floating voters' who just like pop music when they're young. And I think that when you get to your fourth album, those floating voters have dissipated and you're left with a core audience, and at that point you've really got to get your act together and move on to something else to keep afloat, or you'll just shrink with your core audience.
I am too conservative to use another studio than the one I am used to, so I "had" to travel all the way from France to Norway every time I wanted to record an album. That was about 3,500 km each way in a Lada Niva with a cruising speed of 90 kph.
I did LSD and peyote in the late Sixties, before I got into cocaine. That was concurrent with my change from a straight comic to the album and counterculture period, and those drugs served their purpose. They helped open me up.
The Class Clown album was done totally sober. I'd realized what a hell I'd made for myself and I cleaned up completely for three months. You can hear the clarity of my thinking and of my speech on that album.
By the next one [albom],Occupation: Foole, I was right back into the trip again. I'm more frantic, more breathless. You can hear how sick I am. If you want to see a cokehead, just look at the pictures on the Occupation: Foole album.
The rebellious mood of the country during those [60th] years allowed me to plug right back into my old hatreds. I could scream and holler, as I did on the albums, against religion, government, big business - all those assholes and their values. That hatred was very real.
When you start out as a band, you stake your claim and you go for it. And there's a part of you that dreams it and imagines it and does everything to get there, but you can't ever expect to sell 8, 10, 12, 20 million albums. It becomes this thing that you really have to figure out as you go.
I suspect by the time the Beatles were writing the White Album, they didn't go, "'I Wanna Hold Your Hand!' I wanna play that!" It's like if somebody asked you to put on the clothes you wore in high school. Well, no. No!
We're trying to teach artists that if you're smart enough to develop the material, then you're smart enough to market and promote the album too.
We have to be very clear about what we're doing to our music. We're giving away free albums. Now think about the psyche of the ordinary man, we don't respect anything that's free. Anything that we get easy has no validity.
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