A Quote by Enya

I do understand that not everyone is going to sit and listen to an Enya album. When someone says it's not their cup of tea, it's not their kind of album, that's fine by me.
Albums tend to dictate what they need. Every time I have made an album it sort of feels like it is decided for me how that album is going to sound; it is not really a cerebral decision where you sit down and decide that you are going to make an album that sounds like 'this.'
We had to create an album where there wasn't one. I never listen to that album [ Music From the Edge of Heaven] because it wasn't an album.
I'm singing 'English Tea' from my new album 'Chaos and Creation in the Backyard.' I have a cup of tea in the morning, so it's something good to wake up to.
It's hard to get someone to sit down and listen to an album in its entirety.
Everybody else goes out and plays a show as if it's their album, which is boring. I'd rather sit at home and listen to the album, because I hate to be in a smoke-filled, loud room - that's not enjoyable for me at all...I always look up to guys who can sit and do dinner music...they're singing in tune and playing somebody else's music, and I don't think I could do that...it's the shittiest job in the world.
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.
I make up cassettes all the time - to take on the road with me - a song from this album, a song from that album. That's the way I listen to music; it's like one of those K Tel things: it's from all over. I listen to Fred Astaire, I listen to African folk music, I listen to Talking Heads.
I wanna do a God album, a positive album so the kids and everybody will understand what's going on.
One thing I've learned best from my mom is to be yourself and not everyone will get you and that's okay. I try to bring that into everything that I do and just understand that I will not be everyone's cup of tea and that's fine.
There's this Method Man album called 'Tical.' It's his first album. I would just listen to that every day, because the album feels like, if it were a film, it would be black and white. It feels like there's a war percolating throughout the album itself. It's dark, and it has a nice forward pace to it.
If someone says, hey, you know, this long weekend, let's go skydiving - I would say, no, are you nuts? I'd just as soon sit down and have a cup of tea.
A lot of people do talk about the demise of the album, but I still believe that if an artist tries hard to make a great album, people will buy it and listen to it as an album, rather than just a collection of random songs.
'Love Letter' is a concept album, and whenever I do a concept album - and I love doing concept albums more than any other kind of album - it allows me to get dressed, in a way, musically.
If someone says, 'Hey man, I love your album, it really got me through a breakup, but I downloaded it for free,' I'll be like, 'Good! That's good!' Maybe he didn't have the money for the album, but if he still listened to it, and it's an important part of his life, that's all I can ask for. I don't want his twenty bucks.
I read the reviews sometimes, but I don't let it really affect the next album because, for me, when I approach an album, it's usually coming to me pretty naturally. It's not like I set out, like, "Okay, I'm going to write an album this month." It's more like I'm just always writing songs and eventually I start to realize that a group of songs sort of fits together, and I go from there in putting together the album and themes and artwork and things like that.
I grew up in a house full of musicians, and my mum really taught me that when you listen to an album, you respect that it's somebody's art, and that the B-sides are just as important as the singles, and we should really listen to the album all the way through the way it was intended to be listened to.
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