Album Artwork Quotes

In the Seventies, album artwork became really beautiful items. The whole process of doing an album sleeve, it became a very artistic thing.

Downstairs in my house, I have a museum room. I keep all of my awards down there, and childhood photos, and even all the clothes I've worn on tour, in videos and on album covers.

Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

I'm an audiophile and have been collecting records for as long as I can remember.

Right after we recorded 'Satanic Satanist' and 'American Ghetto' here in Boston, we decided we'd grow our hair out. This is - was - like the Beatles thing. I wanted to see these pictures later in life.

Making an album is a long process, but it's a fun process.

I was talking to my dad about the stuff he grew up listening to, and 'Operation: Mindcrime' is a record that he had always talked about around the house. He always talked about it as the 'greatest concept album of all time.' One day, I started listening to it, and it just hit me. I was like, 'These songs are all hits. They're all huge songs.'

I don't want to put 12 singles on an album. I want to make a story, a little movie.

My first record I ever got was 'Full Moon Fever.' My dad gave me a copy when I was maybe nine years old or something. And I listened to the heck out of that record. I loved that record.

I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.

My favorite album is 'Abbey Road.' I love 'Hey Jude.'

One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.

The record [American Idiot ] felt special to us, when we recorded it, with all of the artwork and the concept behind it and it being a rock opera, but we didn't really know where it was going to go. It's like I always say, you just follow the music. Not only was American Idiot a special moment for us, but it also led to Ordinary World, too.

Dream Theater music, there's a lot of background and context to the songs, as far as the subject matter and the albums they come from.

If we look at the fact that record covers are essentially advertisements for the music, we acknowledge a function and purpose to draw in the prospective buyer.

I'm constantly buying records.

It was so exciting to go to the record shop and buy a piece of vinyl and hold it, read the liner notes, look at the pictures. Even the smell of the vinyl.

If I have a rap album I'm dropping, then I want it to be the best rap album.

I think maybe what happened was the convenience of technology overshadowed the experience of holding an album in your hands, and sitting on your bedroom floor, and staring at a picture of John Lennon or Gene Simmons or Johnny Rotten. That tangible experience can sometimes become an even more emotional experience, because it's really happening.

I don't ever land on an album title until I know exactly what's going on the record, because you never know until it's all said and done.

It has been an honor to paint on stage and have my art grace the albums and stage sets of renowned musicians.

I grew up with vinyl records and remember the pleasure and the kind of buzz that I got from buying a beautiful vinyl record with the sleeve and the lyrics - all that kind of tactile experience that you could get from an old vinyl record.

I enjoy being involved in making the artwork for albums and stupid stuff like that.

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.