A Quote by Alex Lifeson

I think the whole '2112' album took somewhere around a week to do. — © Alex Lifeson
I think the whole '2112' album took somewhere around a week to do.
I think somewhere in the back of my mind I've always wanted to make a whole swing album.
The irony is that I don't think we took a step backwards to make 'Group Therapy'. I think we took a step forward because it's a lot more complicated to make that kind of album. I think that album was far more produced than 'American Apathy', and it had a lot more harmony vocals and lots of intricate parts musically speaking.
On the 'Escondido' album, I think it took us a month to make that album.
The album for Fiddler really took off. I think it was a combination of John Williams and the score. It was a very classy big album.
The idea of going around to somebody else's flat or house and sitting around in a comfy room and having a really good hi-fi system and listening to a whole album all the way through, then chatting for a few minutes, then maybe putting another album on . . . does that happen today?
I got to see Jack White. I love his new album. There's a song on the album called 'I Think I Should Go to Sleep' that my son loves. We play it on a loop around the house, and he just bounces around.
If I sample a song, I usually make samples out of the whole album. Then I move on after that. Doesn't mean I'm going to release that whole album, but I do that.
It was the 'Gaucho' album that finished us off. We had pursued an idea beyond the point where it was practical. That album took about two years, and we were working on it all of that time - all these endless tracking sessions involving different musicians. It took forever, and it was a very painful process.
I think with the 'Get Weird' album, it was the hardest album we've ever made so we had no idea what sound we wanted to go for, we didn't really know what we wanted to write about... and so it took a lot of time.
Live we're a lot louder and noisier on the album. I think for the album we took a lot of time for the songwriting and we wanted to make good pop music, and I think there's plus and minuses to doing pop music and noise.
One week you may be an actor, and the next week you had to be nimble enough to be a TV host. And the week after that, you might have to do some stand-up or be in an improv company or write and sing a song somewhere.
I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept.
If you took a child in London and took their iPhone and took them somewhere else in the country, they'd probably not be able to find their way back. That's a shame.
I should think you could be gladder on Monday mornin' than any other day in the week, because 'twould be a whole week before you'd have another one!
I love playing three, four times a week. That's what I've always wanted to do. In college we played Friday, Saturday, then had the whole week to think about it.
I'd had my whole life to write my first album. I had my No. 1 and my third single out, and they go, 'Hey, guess what? We need to start recording the next one.' I'm like, 'Uh oh, I got to write another album. Well, how am I gonna write 'Should've Been a Cowboy' and 'Ain't Worth Missing' and all that again?' It took me forever to write the first one.
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