A Quote by Dean Wareham
My favorite Luna disc is our third, 'Penthouse,' a sparkly, moody album that works from track one all the way to track 11. Tom Verlaine of Television and Laetitia Sadier of Stereolab make guest appearances. I am also fond of the final Luna album, 'Rendezvous.'
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For every album, I really try to make an album that you hopefully will listen to from the first track to the last track. I personally really like if there's a - maybe not a story, but there's a natural flow.
When I did my solo album, I put on a song that I'd planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.
I'm track 3 with fabulous French dialogue on the 'Star Is Born' album. I'm track 3 'NASA' on Ariana Grande's album. From 'All Stars 3,' went to 'Drag Race' three times, never won. Three is my lucky number.
Normally doing an album you go from track to track and go, 'Let's not work on this one today, let's go work on the other one,' and I think you tend to get more self-indulgent that way.
Mistletoe," said Luna dreamily, pointing at a large clump of white berries placed almost over Harry's head. He jumped out from under it. "Good thinking," said Luna seriously. "It's often infested with nargles.
I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.
I am more interested in how people interpret the phrase 'Elect The Dead' than what I may or may not have intended. I named the album after the track, which is a spiritual song about love, life and death and is the heaviest song on the album without having any heavy instruments.
Our third album, 'Grown.' On that album, some of us had the opportunity to have hands-on experience into songwriting and production. The project itself taught the members how to create an album ourselves while grabbing guidance from the producers we worked with.
It's really boring if you make an album where every track sounds the same.
If you listen to the left track on their album, if you get The Best of the Mamas and Papas, you listen to the left track, you can still hear a little bit of my voice. My son discovered that once.
I listen to a lot of different kinds of music and rather than just doing one thing when I make an album, the challenge to myself is to write all these diverse tracks, but to make them work. It's like a jigsaw because if you've got a lyrical track going into a hard rock track... it's got to work. You've got to write things that will work together.
I think most bands probably peak on their first album. We peaked on our third album. On the first album, I feel like I wish the production was a little better. I'll always hear a song I don't like. I look for what I could have done to make it better. It's always difficult for me to listen.
When we recorded our first album sixteen track machines were the thing.
Before MTV, if you put out an album that sold 50,000 copies, your band could afford not to have day jobs for a while. That meant you could stick around, put out another album or two. Maybe it would be the second or third album where you'd make the statement you'd been trying to make all along.
I did a track with Khao, out of Atlanta, who's worked with T.I. Did a track with Maylay, who did a lot with John Legend's album. I got in the studio with Kanye West; we did a song. The dedication for the career takes a lot of work, but if you love it, it's worth it.
A funny thing happened on the way to utopia: We've turned into this surveillance society and become a race of spies, where we track our kids and we track our spouses and we track our friends. I think very soon there will be an obsolescence of trust, because it's much easier to access a person's location than it is to ask - or to trust.
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