A Quote by Cory Monteith
I have a solo deal with Columbia Records. So it's about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what's the right timing? Do I have time to do it? It's all about questions.
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When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.
I have to go into the studio to make my second album knowing I'm making an album. When I first started making songs I didn't have an album in mind, that's why a lot of them I like - I'm talking about how I haven't got a deal, how I'm living, you can never really top the first time, but we'll see how it goes.
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.
If tomorrow I want to release a rock album or I want to release a bachata album, nobody can tell me anything - why can't I?
We titled it, 'You Should Be Here,' for one, because just how special that song is, and I think it kind of sets the tone for this album. I've established that I like to have fun, but this is a little more than that - this album has got some fun stuff, but it's also got topics that I haven't gotten a chance to touch, and I'm so excited about it.
I'm gonna stay an album guy. In fact, concept albums are really blowing my mind right now, because if you want to promote an album, think about it - a concept album might be the way to go.
Back in the day, fans wrote letters to groups - you'd get them, although it could take a while. Now, artists can go online and there's discussions about what you should and shouldn't be doing. The minute you announce that you're recording an album, thousands of people are telling you what that album should be.
... Aqualung was a difficult and very tense album to record... while I was playing the solo, Jimmy Page walked into the control room and started waving, I thought, should I wave back and mess up the solo or should I just grin and carry on ? ... I just grinned
Making an album should be an honest experience. It shouldn't be about trying to gauge where popular music is today; it should be about artistic expression and putting down what you want to put down.
The only album that I listen to upon recording a new one is my 'Cry' album, because sonically, I think it's my best album to date. But other than that, I've never listened to my records, ever.
Home' was a special album for very specific reasons. It is an homage to my father. And it is the first classical album I've released in over a decade. So it really felt like a kind-of coming back to my roots.
I arrived in Tokyo in around '81. Around that time, I visited London for about two months - it was the period just before Malcolm McLaren released his solo album Duck Rock. I'd met him when he came to Japan, so I visited him in London and spent one evening with him and his girlfriend over at his house. He told me, "London is boring right now. You should go to New York." So he called a friend in New York, who I think was an old assistant or someone who helped him record early hip-hop stuff over there.
I'm ruthlessly picky when it comes to the crafting of an album, the choosing of musicians, the right mikes, the right studios. There was a time when it was, 'whatever you want.' Then, as you learn a little bit more about your tastes, I don't give in to that kind of thing.
I took a lot time to do the first album, and I was really happy about that album. I co-wrote the songs and it was a learning process. When I was working on that album I realized, for the first time, that I could write my own songs.
I probably could have gone in depth about a lot of things, but then the album would've been longer. You can't have a short album when you're talking about suicide and cocaine. That's not going to be a short album.
We really wanted to create an album that had no boundary or limit to it. There's nothing to say that we couldn't release a song that belongs on 'The Stage' 20 years into our career. We want it to be an album that constantly grows with what we want to do, and that's what we did.
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