[Carnival Ride] is part of a line from my favorite song on the album, "Wheel of the World." It sums up everything that's happened to me. It's nuts to think of where I was a couple of years ago.
I had a couple albums out that sold well for who I was at the time and the type of music I played. People started recognizing my name and face and it helped sell bigger venues. I had a bigger spotlight and I had to live up to it but I thrived under that challenge. It expedited the creative process. If I was on stage in front of 300 people instead of 30, I had to work harder at my performances because I had a greater responsibility. It was very exciting, but creative too.
I play the same album over and over until the people in my house are ready to kill me.
I love albums that have guest performers that the audience will be happy to hear. It's really a bonus!
I got an album coming out with Bibby (No Limitations) we gone do a joint album our first-ever joint album together officially since we started that's coming this year 2017.
I think most albums deserve a documentary because [an album] is a visual book. You don't have to read up on it because you can listen and watch the whole story. I would love to see lots of albums [become films.]
When you do an album about Africa, you can't be too superficial.
We all make choices. Believe me, I would like to write the hit of the world. It's not like I have any desire to be in the shadows. My vision isn't marketing. Some people want to sell 6 million albums. There's nothing wrong with that. It's just not what I do. I'd rather look at a piece of work and say it's great rather than it's successful.
I still pinch myself, I'm touring with Cormega you know what I'm saying, a few years ago I'd be sitting in my room doing whatever and listening to Cormega's albums on repeat and knowing all the words.
All my albums always go with the times.
It wasn't necessary to speak on the recession, you know what I mean, but I just though it made a lot of sense. I was like, "okay, cool," I'm going to go with this approach for the name of the album [ The Recession].
There were a lot of songs that I still wanted to put on the album but it worked out. I can only fit 18 [tracks] on the album, I would put 30 if I could.
The melody is French. But that's the end of the record. I named it "Jean Pierre Then There Were None," you know, because of the big explosion. You'll like it. It's a nice album.
I'm the only one that put out 200 songs, and [fans] listen to all of 'em. I don't care who you talk about down south, Boosie gonna win. I'm the only one to put out a whole album, with more songs, so I don't care who said what. The fans tell the truth. I got real fans - more fans than everybody, so Boosie gonna win.
I gave the album [You're Under Arrest] to Quincy Jones and he loved "D Train". We couldn't call it "D Train"; it's called "MDI/Something's On Your Mind/MD2". That's on the album.
Lionel [Richie] said, "Yeah, I learned chords and stuff playin' against your albums."
The title [of the album 'The Big Revival']alone fit what I was feeling. It defined what I was going through. That year off was a time to revive, to reset, to reclaim, to revitalize and to re-focus. It was a revival of how I made music, how I presented it and my connection with the fans.
I wish more artists would do that sort of thing - just focus on one sound on a record instead of "Here's my club banger, here's my metro booming track, and then here's my Americana song." I like albums to feel like a world. That's just me.
I hate album covers where people are just smiling so big. It's like a neon sign that says PLEASE COME BUY ME.
I can't see going onstage wearing a long-sleeve shirt in the dead of summer. I work out hard during the day with a trainer who monitors everything I put in my mouth when I'm on tour. When I first got a record deal, you can tell by my early album covers that working out wasn't that much a part of my life.
Normally I don't listen to my songs. I hear when I'm in the process of creation, of course, but not when I come home, for example, and I listen my album, and this is different.
It's a different world now: Stars come and go quickly, and there are so many of them. I read a statistic that all the record companies combined used to put out around 3,000 albums in a year. Now they put out something like 30,000!
I feel like I have re-created myself on every album. I try to do that. It's like playing a game with yourself, trying to compete with yourself.
The [2012 covers album] 2120 [South Michigan Ave.] was different. We covered a lot of classics there. But most of the time when we did it I always prided myself on digging up obscure songs that no one knew of.
When I was producing the first solo album, i just wanted to convey some messages through it. The message was 'no blood will come out even if I am pinned' However, after trying out different kinds of music activities, I started to change and wanted to convey my real emotion that I have in my everyday life. I want to express the feelings that everyone has felt at least once, in music so I think people will feel/understand my songs.
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