A Quote by Lou Reed

When I record an album I'm trying to get as close as possible to that perfect moment. — © Lou Reed
When I record an album I'm trying to get as close as possible to that perfect moment.
I'm not trying to write a perfect record. I'm just trying to nail a moment in time.
For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.
You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.
If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.
I think happiness really happens when you least expect it: it's when you're not really thinking about it, when you're not trying to achieve it, when you're not trying to get the perfect holiday, the perfect life, the perfect body, the perfect existence.
Rookie year you get out there and want to make as many plays as possible, then second year you want to be perfect, and then you kind of find a combination between the two - making a lot of plays and trying to be as perfect as possible.
Sometimes when you're trying to do a record too close to home, you can get really distracted.
To record the perfect album. That is my dearest wish.
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.
And, of course, there are the perfect day, perfect moment, perfect life dreams that come sometimes and make a person hit the snooze button for hours, trying to go back to sleep and make the perfect moments last.
We are honest about our methods and our mistakes. We are not perfect - it isn't possible to be perfect - but we are trying to go in the right direction and in those circumstances, it's best not to mystify what we are trying to do.
I hope to record the perfect album, my masterpiece, before I die.
I love the way I make hip-hop and I refuse to make pop-rap. I don't refuse to make mainstream music, which is why I did a soul record. There was no reason why soul music couldn't get played on the radio and I still wanted to have a relationship with my record label. So, I really enjoyed doing the Strickland Banks album. But there's no point in my trying to release underground hip-hop music on a major label. That part of my talent, or part of my art, had to live somewhere else and feature film was the perfect vehicle for it.
I think on the first album, my aim was to write a good song and have a good melody, and I wanted lyrics that would connect with as many people as possible. On the second album, I took a lot more of a personal approach. I wasn't trying to make conventional, structured songs; I was really trying to get a lot of emotion and my own personal journey throughout it. I just focused more on being honest than getting the normal song structure down.
Missing You' almost didn't get on the No Brakes' album, because the record company said, 'The album's finished. We don't need any more songs.'
I don't know if I want to record together again. I go off and on it... In the old days, when we needed an album, Paul and I got together and produced enough songs for it. Nowadays, there's three of us writing prolifically and trying to fit it all into one album.
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