I know acts and I'm not going to name names but these people sold ten million copies the first time and the second album sells three million and it's considered a failure and they're dropped and that's really a shame.
But thankfully, my first album, 'Wide Screen,' was sort of a critics' darling - everyone raved about it, but no one bought it. They only manufactured 10,000 copies; I wasn't even in the running for failure!
What ends up in your scrapbook? The pictures where you look like a good guy and a good family man, and the children look adorable - and they're screaming the next minute. I've never seen a family album of screaming people.
We fought during 'The Wall,' which was an album Waters wrote, based on his family story, we clashed long before that, during the period of the Dark Side and 'Wish You Were Here.' Actually, we never got along.
If you don't tour, you cannot expect to sell a huge numbers of your albums either. It was both a business - and an economical decision and we wanted to play anyway. We just wanted to get out for the tour when it was safe enough for us.
You're always frustrated, you don't have the chance to do a song on the album, like the Beatles did with Ringo and George, or like Led Zeppelin, where everybody was given a chance to contribute. There never is a chance with the Stones.
I think we all attract troublemakers; I don't think it's particularly about anyone. I had it actually as an album title, and I thought it would be really cool to write a song about a girl that's a bit of troublemaker.
When you spend two to three years working on an album that I feel very happy with the end result, there is nothing I would change. Musically, I have achieved what I set out to do.
It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leade...
I hope that what you take away from my album is not just the music - which I did want to be fun, and I did want it to be about individuality, but please also take away from it that there's no dream that's too big.
I always try to put something personal on my albums just to give people out there a little piece of my history and how I got where I am and who I am.
Now I'm having to live with sales of around 50,000 per album - but I'm pretty content with my place in the general scheme of things, even if it's meant I don't drive a fancy car and can't afford grand vacations.
Now that I have a thousand albums in my car all the time, I listen to more music. I was too lazy; I always had the same five discs in there. I'd never think to change it.
The No. 1 best-selling Christmas album of all time is from Kenneth Bruce Gorelick, the Jewish smooth-jazz legend Kenny G. American Jews have always produced a lot of holiday music, just not Hanukkah music.
So we're considering doing a new Christmas album, because there's been Christmas episodes since then, and maybe finally do the version of 'The Most Offensive Song Ever' with lyrics intact.
I enjoy making solo albums because over the years it's evolved into more of a genuine personal expression of story-telling and day dreams, and I work in a way that has more control.
All my success seems to come straight away, and it's not until later that I get to appreciate it. Like with 'Popstars,' I won the competition, and now I look back and go, 'God, I was lucky to have number-one singles and albums.'
It's a spirit that was given me and the relationships and meeting all these great people, Duke Ellington, Louis Armstrong; through Max I met a lot of people too. My first album was with Benny Carter.
The great music for so many artists - the Beatles, the Rolling Stones - was always at the moment when they were closest to pop. It would be easy for U2 to go off and have a concept album, but I want us to stay in the pop fray.
The record was only released in the UK, and then when the idea for the remixed album came about, which was an idea that I've had for the longest time, I said this would be great song to remix as well, and so we did it.
On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.
