We’ve collected the best Records Quotes from the greatest minds of the world: Martin Mull, Louis Stokes, Tito Jackson, Leon Russell, Al Jourgensen. Use them as an inspiration.
My girlfriend is rap. Music and albums and records and my kids.
I like to break the records, break the limits.
I don’t know why we sold a lot of records or why so many people came to see us. Like ‘Sabotage‘ – would you put that song on, like, ‘I’m gonna listen to that right now?’ It’s a weird choice.
There haven‘t been many credible electronic covers records.
I think some people record songs and make records a certain way to cater to radio. If you’re born to make commercial music that’s cool. But if you’re born to not make commercial records, maybe you’re meant to cater to another market.
My aspirations aren’t to sell millions of records, but to write really good songs.
I’m competitive, so I don’t like to feel marginalized by the people who sell a lot of records.
I want to have records on the field and do things on the field. That’s what this is about.
Little did we know it would be watched by millions of people and break viewing records.
God and Country are an unbeatable team; they break all records for oppression and bloodshed.
This hype word bothers me though It always sounds like an accusation, what does it mean, advertising, column inches in the press? Bands themselves are never really responsible for all of that. That is something that happens to you when you sell millions of records.
Our records, if you have a dark sense of humor, were funny, but our records weren’t about comedy. They were about protests, fantasy, confrontation and all that.
Remember the Stax label and how if you liked one record, you liked all the others as well? You don’t talk to a lot of people who tell you how much they love their record label. I don’t care how many records they sell.
I am always thinking about records I want to make.
I made a few records here and there by default, but I wasn’t ever comfortable in that role. I wasn’t comfortable on stage. We’ll see how it goes this time.
When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
Electronic medical records are, in a lot of ways, I think the aspect of technology that is going to revolutionize the way we deliver care. And it’s not just that we will be able to collect information, it’s that everyone involved in the healthcare enterprise will be able to use that information more effectively.
It never gets boring for me because there’s so many different things to explore in the studio. The studio’s become the sanctuary that people have come in and found new things out about themselves, as weird as that sounds. But it’s true, I’m no different. I’ve made some crazy hard records, and I’ve made a jazz album.
All I want to do is sing on other people’s records.
I remember I heard it in an interview with Michael Jackson one day, saying the art is gone, everybody makes records just to make a record. See, I always want the artist that try to build a whole body of music on one album, so you can enjoy it. So you could say, ‘I went with him here, I went with him here.’
Blackheart Records being 25 years old represents staying power and the fact that we weren’t able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
Some amazing records have this power to leave you with inspiration; you’re left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.
People get passionate about a song. It’s been my experience if you put out radio candy, something commercial, it doesn’t sell records.
For me, the creative process for me always starts in a personal place. I step away from my iPod or any records or CDs.
When Elvis was performing, you just tried to figure out a way to get there. I think he set all the records and anyone that has ever had the good fortune to see him, you know what it’s like to try to get in to see Elvis. It was impossible, practically.
Records are one thing, and obviously, without hit songs, you don’t have the opportunity to do your shows. But my live show has always been my selling tool.
Libraries have had a long history of dealing with authoritarian organizations demanding reader records – who’s read what – and this has led to people being rounded up and killed.
Bob Dylan continues to release odd and unsettling records, and to do odd and unsettling things on stage. So the term ‘still‘ seems meaningless to me. But the real answer is simple: I listen to Bob Dylan for pleasure more than I listen to anyone else for pleasure.
But when our first album came out, I didn’t think it was going to sell a lot of records.
At one time they’ve been the most important thing to me. So I can’t hear our records on the radio, I can’t stand it, because they sound so out of what everyone else is doing.
We have a way of dealing with information that has sort of personal – personally identifying information in it. But there are legitimate secrets – you know, your records with your doctor; that’s a legitimate secret. But we deal with whistleblowers that are coming forward that are really sort of well motivated.
There are a lot of musicians who are still desperately trying to pretend that it’s 1998 and by having a huge marketing campaign, they somehow believe that they can sell 10 million records. That’s delusional. No one sells 10 million records. The days of musicians getting rich off of selling records are done.
I had to make a drastic change at Sun Records and I didn’t really appreciate country music until I went there.
But some great records are are being made with today’s technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn’t have emerged when recording was more organic.
My records are borderline dance records. They’ve got a real electro-rock heart and soul, and the vibe of the sentiment is pop, but there’s a lot of people that were like, ‘This is a dance record.’
I’ve found that in now having experienced what it’s like to make records and just through growing up in general that you should be expressive about what’s affecting you instead of trying to sing about a subject just for the sake of other people getting something from it.
I’ve known the glory of the stage and the glory of the spotlight. I still crave it. I want to be on ‘American Bandstand’ and ‘Soul Train’ as a solo artist. As a producer, songwriter and arranger, I help other artists say what they want to say. But on my records, I say what I want to say.
In the Federal Government, electronic records are as indispensable as their paper counterparts for documenting citizens‘ rights, the actions for which officials are accountable, and the nation’s history.
The last two records I liked playing a lot.
Some people buy records just to dance to ’em. Some people buy records to listen to the radio. And there’s people that buy records ’cause they listen to every song.
I stopped beating up on myself. I stopped asking myself why I didn’t sell this number of records, why I don’t have corporate sponsorship. I just don’t buy into any of that anymore.
I would just listen to records and learn what I could, then just roll it over and over and over.
I’ve had a couple of guys that I’ve had co-produce records with me through my career, and it’s fun to work with a co-producer.
Composing is what I love most from what I do. Each genre has a unique expression that you cannot supplant with another. All the records co-inspire each other though they are not tied conceptually in any way to another.
But I’m after medals more than anything. Championships don’t get taken away from you but records do, so I think I’d rather have medals at every championships rather than times. A world record would be a bonus, but I’m still only 25 in 17 days.
I want people to feel what it was like in the ’40s. That’s when popular music in the United States was so beautiful. Frank Sinatra, the Pied Pipers, Duke Ellington, Fletcher Henderson, Tommy Dorsey, Billie Holiday. That’s when popular music had deeper values, to me. This was music that was selling millions of records.
My original idea was to produce and not make records myself.
I always turn to the sports pages first, which records people’s accomplishments. The front page has nothing but man’s failures.
I have 120 people in my payroll without any government giving me any money. We live off the tickets and the records I sell. That is very unusual.
We have a partnership deal with New Line Records, which is part of New Line Cinema, and… I worked on that.
Shady‘s great; I love Shady Records.
You know, when I put out records that may not work or connect with the audience, it’s because I’m pushing myself as an artist creatively, because I’m just bored doing what everyone wants me to do.
All of my style came from listening to records.
Doctors, dressed up in one professional costume or another, have been in busy practice since the earliest records of every culture on earth. It is hard to think of a more dependable or enduring occupation, harder still to imagine any future events leading to its extinction.
Imagine if you had baseball cards that showed all the performance stats for your people: batting averages, home runs, errors, ERAs, win/loss records. You could see what they did well and poorly and call on the right people to play the right positions in a very transparent way.
I knew that as a DJ from 1970 on up that I would eventually come with this sound. I brought out all these other break beats that you hear so much on a lot of these records.
I remember when I was in my late teens just getting rid of lots of records, realizing I only ever listened to them when I was reading, or watching TV, or doing something else.
I don’t believe that a lot of the things I hear on the air today are going to be played for as long a time as Coleman Hawkins records or Brahms concertos.
I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.
I’m a big fan of ’70s records where artists could draw on whatever influences they wanted.
Finally, my manager negotiated a deal where I got to produce my own records.
One of the most important improvements in the No Child Left Behind Act for migrant students was the requirement for electronic transfer of migrant student records.
I went out there to play my game for the fun of it and never based my career around records.
There hasn’t been one moment in my career where I felt I didn’t have any control over the creative aspects of my records.
What’s wrong with the ‘Laffy Taffys’ and the Soulja Boys? We need fun records. We gotta have dance music. We gotta have club music. We gotta have kids’ music.
The bands that have been the most important to me, and the records that have been the most important to me as a fan, have been records that surprised me for one reason or another.
Let’s be very clear, if you check the F.E.C. records you will see I am supporting George W. Bush.
I think Andy Kaufman is to comedy what the Velvet Underground was to music – it’s like, 80 thousand records sold, but everybody who bought one started a band.
I’m playing to the sort of people who like the same records.
There’s a relationship between music and spirituality and inspiration and to a certain extent improvisation that draws me in, because I don’t totally understand it. I know that those relationships have been telling me, since I started making records, where to go. What to write down.
I don’t mind The Boss. I think he’s an honest guy. I have some of his records, not all of them. I’ve met a couple of the E-Street guys, and they seem really cool.
When you listen to radio and hear the same 20 or 25 songs, you start hunting down your CD’s. Waylon Jennings’ records were always around to listen to.
I got a very good life. I sold plenty of records, I get recognized plenty, I can always have somebody call up and get me a fine table at a restaurant. What do you really need, ultimately?
I don’t listen to my own records a lot. Once in a while – to check out my mistakes. Because you can always see a spot or two in the record where you could have done better. So you more or less study this way.
Though, since the first record, I’ve dramatically changed my expectations for our records.
Even by the time I was four or five, I had Gene Autry records.
We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.
My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.
360 deals are the new things of the industry. It’s not about selling records; it’s about selling T-shirts, getting a piece of your publishing, getting a piece of your touring, and all these other kind of properties.
I got to play on a couple of records with the Rolling Stones, and that was really special to me.
Records and numbers are important, but there’s nothing better than a lot of people being happy through our music.
I don’t care how many championships you’ve won or how many records you’ve broken – if you’ve had a hand in pushing forward not only a game but women in sport’s movement, then I think that’s pretty darn good.
I was interested in variations in temperatures of the oceans over the past millennium. But there are no records of these changes so I had to find proxy measures: coral growth, ice cores and tree rings.
I’ve always loved records, even when I was a kid, my parents would buy me records instead of a lot of the other toys kids got. That’s what I wanted. I’ve been collecting records and DJing my whole life, and I thank my parents for that. They had a big record collection and really imparted the magic of it on me.
I’ve been obsessed with seeing life through music. My records, my relationship with records, my relationship with rock stars, everything that surrounds it, has been really one of the only ways that I ever started to understand the world.
We went for the best overall feel on each song. There are no musical overdubs at all. It’s a true live record; it’s one of the few true live records out there.
I have more perspective now, and am happier now. It’s not that I don’t want success, but I now know I can have success at a lower level and make much more money doing it by myself. I make $6 or $7 bucks a record vs. nothing off those other records.
With tens of thousands of patients dying every year from preventable medical errors, it is imperative that we embrace available technologies and drastically improve the way medical records are handled and processed.
I wasn’t aware that Track Records were interested in the Bonzos.
My first two records are so simply constructed. The reason isn’t because I wanted to make simple music. It’s because I don’t really have the chops.
I already had top 10 records before ‘Sunshine Superman,’ with ‘Catch the Wind’ and ‘Colors,’ but this was a real breakthrough for me. It was a consciousness change for songwriting, as people are now saying I initiated the psychedelic revolution with this album, ‘Sunshine Superman.’
When you got a group like G-Unit… we sold millions of records, we got a lot of egos.
I was tempted my junior year to go out of college and forgo my eligibility. I had broken several world records. I did have a lot of people telling me that I should go pro.
My mother liked Jim Reeves. I hated his records. He was unbearable.
I look in music magazines now and see things on Luther Allison, and my name’s getting out there more, thanks to all the good people at Alligator Records and at my management company.
I don’t think people buy records because of anything that happens on Facebook. They buy records cause they’re friends say ‘I bought this record and I love it.’
They don’t bother too much with the balance and things on blues records.
I think sometimes I guess you see records, say you want to get there and use that as motivation. In a way, it’s kind of cool if there is a possibility to rewrite history and be up there with the greats of Olympic history.
Aly and I went through just a long period of time where we just didn’t feel creative musically. And, you know, we went through the whole writer’s block thing, and we went through having two pretty successful records and figuring out how we want to transition as adults.
I was signed by L.A. Reid on Arista Records when I was 16. He understood me and believed in me. Arista folded and I got put on RCA or whatever, then there were new people there, and every six months it changes and more new people come in.
I have lots of records, quite a collection, actually, that I stole from my mom. I have the original ‘Thriller‘ album and I have a really great ‘Elton John’s Greatest Hits,’ and I also have a N.E.R.D. album. Records sound more original. They have more edge.
Some people make records that are defined by their sexuality, but mine really are not.
Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man.
So at 16 I got a job at the local radio station. And I was working after school and weekends. I did the news; I did everything. I did – played records.
We used to listen to all the marvelous operas on records. Music was a very important part of our lives.
If you’re successful in what you do over a period of time, you’ll start approaching records, but that’s not what you’re playing for. You’re playing to challenge and be challenged.
When we’re rapping on these records, we’re either rapping about our past lives or things our people are going through right now in the struggle. It’s not necessarily what we’re going through ourselves.
I don’t believe in the philosophy of stumbling across hit records.
When I’m done with something, I’m done. I don’t go back and listen to and pine for my old albums, or the Lollapalooza days, or ‘Psalm 69’ selling millions of records. Maybe I’m really just getting old and mellow.
If memories were indeed like what a camera records, they could be forgotten, or they could fade so that they are no longer clear and vivid. But it would be difficult to explain how people could have memories that are both clear and vivid while also being wrong. Yet that happens, and it is not infrequent.
You know, punk bands now sell with one record – their first or second record – sell 10 times the amount of records than the Ramones did throughout their career with 20-something records. That’s why I go over to Johnny Ramone’s house and do yard work three times a week, just to absolve some of the guilt.
I’ve got time, I hope, to make lots of quiet records. So quiet you won’t be able to hear them.
I think I’m going to be making country records for as long as I can see into the future. It’s much more down-home and real.
Critics don’t buy records. They get ’em free.
Any band on their first couple records is just trying to keep up with their inspiration.
Bono is my inspiration – not only as a rock star but as a humanitarian. We aren’t just put on this earth to sell records. Maybe it’s because of my upbringing, but I do consider myself a moral guy.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver – I used to scratch records on it – and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom’s record or Pop’s record, and they had their names on each and every one.
The Beach Boys have always been a part of the ’60s spectrum, with The Beatles and that kind of thing. They were a part of the music business like everyone else. And they did quite well as a singing group, and I finished a lot of good records, and I’m very proud of them.
I’m friends with Carla Olsen and she’s doing a lot of producing these days. She’s getting quite a little collection of records that she’s produced. She’s real busy.
This was during a period when I was producing Brazil ’66 records and got infected by Brazilian music.
I don’t release records to be anything but enjoyable.
Every time you go in, it’s like starting over. You don’t know how you did the other records. You’re learning all over. It’s some weird musician amnesia, or maybe the road wipes it out.
I learned so much about recording and about singing on records from Ken Nelson.
I think we have very steady records of President Putin, who inherited the country with democratic values.
I always say this to people: ‘If Shaq can be in the NBA for 19 years and dominate for 19 years using his body, why can’t I be in the music industry for 50 years using my brain when my brain is way stronger than anyone’s body?’ I have to have a successful record company, more hit records. I want to dominate the game.
I had this old wind-up phonograph when I was a kid, and I’d listen to records. And the radio.
No one in this world, so far as I know – and I have searched the records for years, and employed agents to help me – has ever lost money by underestimating the intelligence of the great masses of the plain people.
A president aiming for ‘Great’ or ‘Near Great’ status must do more. He must give lots of interviews, make records accessible, and heap the flattery on academia – each of which Mr. Bush has signally failed to do.
The two records are very different. I guess, on the second record, that’s more where I was at. Its not that I’m more well-adjusted or anything, it’s just that what I wanted to sing about maybe was more the way I wanted to feel.
I’m the one who has made all the sacrifices. Those are my American records, not the country’s.
After you pay your E-ZPass bill, there is no reason for the government to keep records of your travel.
I am overwhelmed with gratitude, and my heart is full. ‘American Sniper’ has broken records, which follows such an honest path of Chris’s life.
People out there maybe know who Junior Parker is and some of those Sun Records blues guys.
As far as I’m concerned, I’m now in the business of making spiritual records and using my voice for that purpose. I’m not going to be singing songs that I made in the past. I closed the door on that incarnation of Sinead O’Connor.
I think Freddie Mercury is probably the best of all time in terms of a rock voice. There was a vulnerability to it, his technical ability was amazing, and so much of his personality would come out through his voice. I’m not even a guy to buy Queen records, really, and I still think he’s one of the best.
All my records have been written to be records, rather than writing a group of songs and seeing if they fit together.
Al and Tommy and I sharing the biggest laugh because it was predicted by everything we did in the first three or four records in my career. It was predicted in the grooves that we would be here sometime later on down the road.
With those people, I’m very far apart, because I believe that government access to communications and stored records is valuable when done under tightly controlled conditions which protect legitimate privacy interests.
I was in a little punk band and we put out a few punk records that weren’t very political, at all.
The thing I do, really, is a communication with audiences more than any achievement through records.
All record companies want big-selling records, and my music is a little too raw for commercial success.
So why sign your name in blood for more? It seemed like a sensible arrangement for me. I didn’t sell large numbers of records and the record company paid advances they rarely recouped.
I was in Tower Records in San Francisco a few weeks ago, buying some cassettes, and a couple of people recognized me and ran up with albums, and I just wanted to cover my face and have a seizure or something. I want people to just go away.
I’ve just tried for all of these years to find the best records, the best songs that I could find that fit me, and I’ve had great people to work with all these years.
We know that the far left and their media allies can’t beat us on the issues, so instead they’ll distort our records. Let’s not do the job for them, OK, Republicans? OK, independents?
Anybody who says they don’t want to be seen on a show which has millions of people watching it at one time when they’re in the business of selling records is a bit silly.
In the past, so many of my records, really, have been sketches for records that never really got made.
When I first started out in this music industry, I was most concerned with freedom. Freedom to produce, freedom to play all the instruments on my records, freedom to say anything I wanted to.
In America, the photographer is not simply the person who records the past, but the one who invents it.
I achieved everything I wanted to achieve by being in the Rolling Stones and making records.
Any time I need to get a serious attitude adjustment, I put on one of their records, and there are examples there for all time to keep us honest and keep us reaching; they’ll never be eclipsed.
I think maybe people see bands and musicians as some sort of superhero unrealistic sport that happens in another dimension where it’s not real people and not real emotions. So, I grew up listening to Beatles records on my floor. That’s how I learned how to play guitar. If it weren’t for them, I wouldn’t be a musician.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn’t understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
I’m not trying to sound pretentious, but we did sell 12 million records on the first album, so we did get paid a little bit.
When I die, just keep playing the records.
I used to play on Phil Spector’s records, and he liked to use three pianists.
All records are riddles, and whatever you may want people to think it’s about, it may just be throwing them off. And you don’t want it to get in the way of what someone else’s understanding is. It’s not really about anything. At the same time, it will find some meaning.
Our attitude is that we want to cross over. You can’t go on making records just for your own hometown.
If I have any talent at all it’s from God, and my mom, who was on Capitol Records also.
I’ll be writing records until I’m dead, whether people like it or not!
Brooklyn is where I primarily developed. I had an opportunity to make records and perform in clubs here and there, and I started networking with the right people in the right places.
There are so many ingredients that are contained in ‘The Wall’ that were not necessarily contained in other Pink Floyd records, particularly following on from ‘Animals,’ which was very spare and sparse. Production on it was much more massive, the complexity of the recording was much more intense.
My records are basically a litany of complaints against the world, and I’m quite like that in real life as well.
Well, we were originally called Huey Lewis and the American Express. But on the eve of the release of our first record, our record label, Chrysalis Records was afraid that we’d be sued by American Express.
We didn’t sell a lot of records, but somehow we left an impression.
Really the only thing holding a lot of records together is the personality of the singer, and the will to write all of these different things.
Growing up, we had folk records.
People still come up to me and ask me to sign their records. That’s right, records! Man, they don’t even make records no more!
I’m always happy when I hear about people selling records or selling books or selling movies. It makes me proud of them.
I think rock records tend to be very expensive.
Simon Hale, the British arranger, does all string and wood arrangements on my records.
You can read all the textbooks and listen to all the records, but you have to play with musicians that are better than you.
The records that I like, they have life and warmth and soul in them. Like the slap back on Scotty Moore‘s guitar on ‘Mystery Train.’ You’re not gonna get that in a computer. You’re gonna want a live room, you’re gonna wanna bounce the tape, you’re gonna want real musicians, in a room, vibin’ off of each other.
The house is in turmoil with records on every space. In the kitchen and in the dining room is covered with records. I don’t have a big enough house to accommodate everything.
If you put all the songs together that I’ve written on band records, and put it up next to my solo record, there’s definitely a different kind of feel than Billy’s songs.
I still look good. I’m trippin’, but people tell me that all the time. So check it out, I’m 63, and still kicking. I’ve been putting records out every year.
I am not that thrilled about the way our records sound anyway. Don’t get me wrong, I work hard on them and I want them to sound fantastic but I’m happy to have another interpretation of them anyway.
Long made it possible for me to get on records, so what little money he did take from me, if any at all, he was entitled to it. He didn’t take something from me.
I’ve never chased records.
When we were making vinyl records we had a lot of time limitations for each record so songs were left off for a number of reasons. Now, with CDs, much more music can be included.
Both my parents worked, so I was home alone a lot, and I would listen to their records. They belonged to the Columbia House record club, so they had records!
We were not given any statistics as to how many records were pressed on the blue label. I used to ask Bob Shad how we were going to get paid from record sales and what I got for an answer was not to worry about the business end of the deal.
My goal has always been to make classic records, classic albums. Sometimes the recording process and the era it was recorded in means the production leans in a particular way, but to me they are all part of the same process.
I buy records – vinyl. I have a record player at home.
Lessons didn’t really work out for me, so I went to the old school, listening to records and learning what I wanted to learn.
My kids love vinyl, I had to teach them how to put the needle on the records. Now they’re worried about scratching the records, but it’s incredible!
How could they call him wacko? He’s sold more records than anybody in history.
I believe God’s keeping the records, and I believe you will be rewarded even in this life. Somehow, some way, God will make it up to you. It may be He protected you from an accident you never knew. You can’t give God something without God giving you more in return, whether it’s peace or joy or satisfaction.
We’ve sold over 100,000 records so far, and we’re an independent label.
For us, the pressure comes from internal matter of having recorded eight records.
You know you’re a hopeless record nerd when your time travel fantasies always come around to how cool it would be to go back to 1973 and buy all the great funk and jazz and salsa records that came out that year on tiny obscure labels and are now really rare and expensive.
I love it when people say things to me in public and want to meet me, because I want to meet them! Early on, my manager told me, ‘If you want to sell 500,000 records, then go out there and meet 500,000 people.’
It’s hard sometimes to capture magic when it comes to live records.
I wrote and produced millions and millions of selling records, so my publishing company alone was worth millions of dollars. I didn’t have to work anymore in life because when the rappers started sampling… I’m the most sampled artist in history.
I’d always wanted to work in the studio and experiment with sounds. Things that I’m really influenced by and that I love are like The Beatles and Radiohead, and all those records by bands whose music is really involved.
Making records should be fun.
I need to let people know who I am and instead of just trying to make great records, just be honest and make it more personal and make it more passionate, to make records with emotion and not be afraid to express that.
The Athletic Association competed against the University. So there was an event. You cannot break world records unless it is an established event, and you have three timekeepers, and the whole thing is organized.
Geddy Lee and I went to the same grade school. He moved away when we were still young, but I remember him like I do all my friends from back then. Then in 1982, Dave Thomas and I were approached to do a record as the McKenzie Brothers on Anthem Records, the same label that Rush was on.
All of my records have been very personal, just writing more and more songs, you get better at being able to say what you feel.
It went from Bob Newhart to Flip Wilson to Bill Cosby to Richard Pryor to George Carlin to Cheech and Chong. I had all these records.
That Mississippi sound, that Delta sound is in them old records. You can hear it all the way through.
And as a nurse, I know very well the importance, for example, of electronic medical records.
None of the records I make are ever a deliberate construction – they’re always an expression of who I am at the time and where I am in my life.
Effortlessly, I feel like my records have longevity.
I produced Run DMC. I produced some early records, lots of records early on.
Let me tell you – when I was standing there on top of the world, you become so humble. You don’t think about breaking records anymore, you don’t think about gaining scientific data – the only thing that you want is to come back alive.
Barbra Streisand is without a doubt one of the most honest people I have ever known. There is no doubt in my mind that she will not be doing any more concerts. Of course, she still will be making records and starring and directing in movies.
All my records feel like a diary of the time and headspace they were made in and ‘Black Sands’ documents this in real time for me. A transition of falling in love with beatmaking again. An appreciation of a place and time and an anticipation for what was going to happen next.
I’m jamming ‘Black Sabbath Vol. 4′ all the time. Zappa’s ‘Cruising With Ruben & The Jets.’ A lot of Gong lately. Some Hawkwind. The Residents‘ ‘Duck Stab’ is amazing. Some Fugs. Lots of stuff, man. I’m pretty schizophrenic with records.
I remember the first time I dropped a couple of house records, someone threw an Air Force One in my face.
My whole goal is to make good records and keep myself inspired and able to accomplish what I need to accomplish.
It must be quite mysterious to some people why I bother to carry on. Because, you know, I don’t sell that many records.
It is not that I don’t like contemporary country music because I do. I love it. I have recorded a lot and have had great success recording records that have not been very traditional country records.
Yeah; I’m a much better blues player than anybody knows, but being in the kind of group I’m in, we were always trying to make popular records.
My goal was never to sell many records.
I just found out last week – my sister told me – that my father had some Beatles records. So I must have heard them quite a bit, but it never registered, really. Now I listen to them with new ears.
Wynton told us that Miles sold out, just wanted to make more money, just wanted to sell more records. I don’t believe that Miles sold out but I’m not in a position to say.
I’ve fought everybody without ducking anyone. I have beaten 10 undefeated guys, and I never was comparing myself to the greatest in the sport. I was not thinking of breaking any records. I’m just enjoying my time in boxing.
When you are studying jazz, the best thing to do is listen to records or listen to live music. It isn’t as though you go to a teacher. You just listen as much as you can and absorb everything.
More labels should be like that. Instead of putting these records out myself, I should have just signed with them, but they probably don’t like my music (laughs).
My only expenses are probably guitar strings and records.
The main thing in measuring integrity is someone’s motive and intent, not how many records they sell. Our intent in Ministry was never to be big. We just wanted to make enough money to live and to buy a studio, which we have done in Austin.
In 20 years I had sold more records for RCA than any artist except Elvis Presley.
John Dalton’s records, carefully preserved for a century, were destroyed during the World War II bombing of Manchester. It is not only the living who are killed in war.
My mom and I used to listen to records, read, and take train rides across the country in the summer. It was a very chill life. She didn’t expose me to anything that was ahead of my development, but she expected me to adjust to her world – she did not expect to adjust to mine.
I signed my first publishing deal when I was 14, and it was from two records I put on MySpace.
I’ve been DJing since before I could read the labels on the records.
Once you start collecting records you learn more and more about jazz and blues.
I love the road. That’s always been my goal. I’ve said that to many record labels. I want to make records. The road is my favorite. Some people hate the road, I love the road.
Every generation of rock musician will understand that we wouldn’t be anywhere without the support of teenagers buying the records.
During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.
I started recording because I was always complaining about the records that I was getting of my songs. At least if I did them and messed them up, I wouldn’t have anyone else to blame.
I always thought records were there to be broken.
I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.
I was very pleased to find that once I had records out music videos were starting to happen, so I directed some of my own music videos and got to experiment in other areas of expression.
I’m hyperactive, and I went in the studio and I would just start making records, for no reason.
It’s so funny: whenever there’s a new technology introduced, there’s always this fear it’s going to end entertainment as we know it. When records came around, they were going to be the end of live music. Nobody would ever want to go see live music again.
I think I’ve done a pretty fantastic job, but of course I want to sell millions of records.
Sometimes I’d hear things on other people’s records and I say I wanted it on my records, but Leslie Kong said, no, it wasn’t right and that it wasn’t my style.
Records became much cruder in the last 20 years. Let’s put it that way.
The films that I really liked and the ones that really blew my mind when I was younger were independent films. They’re like great records to me.
You know, I did records by myself and I always will say the Isley Brothers, and featuring Ronald. I won’t, you know, just, I won’t try to deviate from the Isley Brothers, because that’s what the family dream was all about.
Hip-hop is when you have crowd participation; when you chant at the audience and they chant back at you; when you wave your hands in the air like you just don’t care; or some breakdancing. Everything today is just low-beat, real bass-y, bass-y, good rap records.
I don’t particularly care how many records we sell any more because we’ve kind of bought all the equipment we want to buy.
Only a certain number of people go to a store over the period of a year. When a person sees my record on the shelf, it eliminates someone else’s record from being sold. It’s about continuing to try to find new ways to sell records.
I think you’ll do as well as most professionals. Most professionals don’t beat the market. Let’s not over-rate my industry. But if you have time, you can be in good mutual funds that have good records.
I don’t like listening to records a lot after they’re done. There’s just no real nourishment there for me.
Rhythm and blues started even before phonograph records were being produced because black people entertained themselves. It wasn’t done for money. It was done for entertainment. Most white people didn’t know anything about this because prejudice kept them from ever seeing what was going on.
World records are only borrowed.
If I was just in one band, I would have a problem with the amount of time between records because I don’t want to wave one flag. I just want to be part of something cool.
Bands that say they don’t care about how their records sell are liars.
Records are always meant to be broken.
I think records and music are more appropriate and more respectful of the human soul than the churches are. And more respectful of the needs of humans to communicate with the aspects of themselves that are neglected by language.
I never thought I’d be doing records a year after I started – I had no idea it would last as long as it did.
We were excited when we sold our first 10 records. I always felt that if we could get the music out there, and if people became accustomed to it, then a substantial number of them would enjoy it.
I had just lost my dad and I remembered all the songs we used to go and hear at concerts, and the records around the house and sometimes we’d play together.
I generally sell my records online or at the show. You can undersell the distributor and the stores, and people know what they’re getting cause they’ve just seen you live.
The Beatles, they brought a whole new dimension to pop music. Of course, the psychedelic period is much more interesting to me, starting with ‘Rubber Soul’ and on to the ‘White Album.’ Great, great records. I was such a Beatles fan. I was very sad when they broke up.
I’m not ashamed of selling millions of records. I’m very fortunate to be in that position.
I want to make 20, 30, 50 studio records.
People are always coming up to me, thinking I’ve got some magic wand that can make them a star and I want to tell them that no one can do that. Making hit records is not that easy. But it took me time to realize that myself.
I don’t think about records.
The first records I heard were from Dizzy Gillespie and people like that.
The sacred rights of mankind are not to be rummaged for among old parchments or musty records. They are written, as with a sunbeam, in the whole volume of human nature, by the hand of the divinity itself; and can never be erased.
You know, I’m a fan of Laurie Anderson. One of my favorite records is ‘The Ugly One With the Jewels,’ a spoken-word record. It’s an extraordinary album.
Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.
I’m a huge fan of Geffen records. Everything about them – their artists, their videos, their marketing.
Look, as long as we can make records and sell enough so we can do some shows, that’s all I want. You know what? I just want to play guitar and be in a band. Same as I always did.
I try and make little stories. Whether it’s with a pencil or with bits of records, it’s really the same thing.
I’m content with making records, but I don’t want to be doing the same thing all the time.
Profile has half the publishing and they control and administer the publishing and distribute and own the records, so our group is a 10-point crew. But we got a lot of money off of the shows.
So you know, my plan was that I was going to make records, and be a rock star. And that’s really what I wanted to do. And I sang from the time I was very young.
In the late ’70s, I had a band – the David Johansen band, for lack of a better name – and I started collecting, not records, but tapes from people I knew who had jump-blues records.
I think right now, you’ve seen these artists pop up over the last decade who’ve flirted with branching together a lot of different kinds of music. Some of them have been huge, and sold millions of records. And I think over time it’s become a little bit of what the industry can be.
Records… a record just shouldn’t be that important.
I let my team pick what order the records go. I don’t pick my own records. I’m a fan of my music regardless so you have to think outside of the box.
Tower Records was a place to meet your friends, your co-workers or a place to meet new friends who shared a common love of music, literature and all things cultural.
I do like Britney Spears. I think she’s cute. I think she’s fun. And I like her records. You know, I’m not a pop snob whatsoever. I think she makes great pop records.
I’ve almost never played the ‘Smiths’ records, once they’ve gone out. I was always like that and probably always will be.
I have been an XL fan of Devo since I was in high school in the 1970s. Their records only sound better with time.
I think the greatest records we’ve ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.
I used to buy records in high school. Mainly dancehall: Super Cat, Buju Banton.
Everybody’s just been spilling their guts all over records and talking about how hard it is to be an entertainer and how much we get hated on and what we have to go through. But I ain’t really got it that bad. I’m just happy to be here.
Records are just moments of achievement. They’re like receipts for work done. Time goes on and people keep playing music.
Once you get to 22 or 23, you’re already old school. It’s the bubblegum ones that buy records, have fun, party. You get older, you get sophisticated, and you don’t go buy no records too much.
I never race for records. The motivation to try to beat the record is not enough to continue. You have to enjoy it.
I spent a lot of time in Tower Records. I’m a huge music nerd, and Tower was instrumental to me when I was growing up.
The real violence is committed in the writing of history, the records of the legal system, the reporting of news, through the manipulation of social contracts, and the control of information.
Fortunately I own a vintage brain, and I am alive and well in the 21st century, still making records, still working at an intense pace and most of all, still having fun doing it.
At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.
In Van Halen there were moments, like in some of the ballads, I put my heart and soul into those records. Those lyrics when I sang ’em, I gave myself goosebumps.
I listen to my old records and I think, ‘How did I ever get on the radio?’
You can’t just walk away when somebody recognizes you. You have to take some time out and talk to them. It’s not a waste of time – I just love talking to people. And I don’t do this to sell records. The truth is, I do what I do because I love it.
A friend of mine once told me that I can’t screw up when I play my own music. I also take voice lessons, play other peoples’ songs out of music books, and occasionally figure out how to play other people’s music from records. This keeps my ears, fingers, and mind working.
For ‘The Grace of Kings,’ I read Han Dynasty historical records in Classical Chinese, which allowed me to get a sense of the complexity of the politics and the ‘surprisingly modern’ reactions of the historical figures to recurrent problems of state administration.
I worked with John, but I had enough sense to walk just a little ways behind him. I could have made more records, but I wanted to have a marriage.
I’ve got nothing against records – I’ve spent my life making them – but they are a kind of historical blip.
I knew I would be running with so many people watching all over the world because of him. People love Bolt. He has many fans out there because of his great achievements and breaking world records in Olympics. I’ve done the same and it’s a great honour. I’m happy and I’m happy for him.
What is normally called religion is what I would tend to call music – participating in music, listening to music, making records and singing.
No one really gets rich doing this. A couple people do, Black Sabbath does. We don’t sell any records anymore.
World records at 19. I don’t want that. Later, yes. And when it comes, I’ll learn to live with it, but it won’t be my first love.
So in my mind I own a lot of house records still.
I’ve been there and done all that, sold millions of records, and that doesn’t bring you peace.
My music is going to be true. I’m not out to sell records. I’m experiencing something, and it’s what I feel.
I think the narratives on ‘Trans,’ ‘Plans,’ and ‘Narrow Stairs‘ moved away from the way I wrote on the first couple of records, which was a lot more impressionistic. I was writing those songs in my early 20s, so I thought I was being more clear than I actually was.
I’m coming up on 40 next year, and after making so many records and doing music for so long, I’m looking for a change and a different perspective. And every now and then, I think I have something I want to say.
But we will lose the millions of records being created daily in a dizzying array of electronic forms unless we find a way to preserve and keep them accessible indefinitely.
Some of my favorite records growing up were Christmas albums. The ones I liked best were the albums that you could listen to from start to finish. You could put them on while you’re decorating the tree or driving around looking at Christmas lights.
We asserted ourselves as a music community, and showed legislators that music is positive. Especially if you’ve sold 300 million records worldwide and pay taxes.
I’m not a gay-basher, because gay people buy my records. Why would I be offended by your sexual preference, unless I’m in the closet? If ya like boys, go get all the boys ya want.
I get most of my inspiration from older records and older production styles, and that ends up rearing its head in the records that I make.
Yeah, you know, I’m always into cassette. At least they seem to be the longest-lasting medium we used to have. I don’t play cassettes much anymore, but I play records all the time.
Consider this: I can go to Antarctica and get cash from an ATM without a glitch, but should I fall ill during my travels, a hospital there could not access my medical records or know what medications I am on.
The fact is that a bill allowing any employer to deny insurance coverage based on a moral objection – along with giving an employer permission to ask for medical records showing why a woman is taking birth control – opens up a set of problems that I’m sure its sponsors have not fully considered.
Shakespeare did not consider himself the legislator of mankind. He faithfully records man’s problems and does not evidently propose to solve them.
But I’d play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great.
Second records aren’t usually very good. Even Bob Dylan’s was a bit disappointing.
It is curious to reflect, for example, upon the remarkable legend of the Philosopher‘s Stone, one of the oldest and most universal beliefs, the origin of which, however far back we penetrate into the records of the past, we do not probably trace its real source.
The alternate media are becoming important and viable alternatives to playing live. Records, videos, that kind of thing. They’re going to start to count for something. Because there’s only a limited amount of us-time available to us.
I am evidence that you don’t have to sell a lot of records or succeed in the usual way to have a big audience and a job.
I feel like I’d like to continue putting out records and start putting them out more rapidly than I have until now and for me if I can keep selling the records to the fans that already like me that’s fine.
My dad’s sense of humor was direct and sometimes surreal – his quick wit is well known amongst our family and friends. He raised me on Spike Jones records and W.C. Fields movies, and his sense of humor fell somewhere in between.
The day I run out of ideas is the day I stop making records.
We live in a world of increasing dependence on electronic records and retrieval, unprecedented security and preservation concerns, and insufficient attention to civic and democratic education.
The first rule of rock and roll is it’s all about live. Then you have to learn a second craft, which is making records. It should go in that order.
I never listen to Led Zeppelin. But, I mean, I don’t think Robert Plant or Jimmy Page listen to Led Zeppelin, either. We all probably obsessed over the same old blues records growing up.
The music industry is a strange combination of having real and intangible assets: pop bands are brand names in themselves, and at a given stage in their careers their name alone can practically gaurantee hit records.
With ‘Bangarang,’ I didn’t make any announcement, no campaign. I just put it on my Facebook and some other places. That’s how I’ve done everything with my previous records. I’ve always kept it organic.
When you write a song you have an idea of how it should be sung but it doesn’t work out that way if someone else records it.
Oh, I will always be honest with my music. The records are black boxes for me. Like if you want to know who I am, my views, my perspective, things I love, things I hate, my convictions, my anthems. I’ve never let people’s opinions affect the way I write.
All records are not made to be broken.
Bitcoin was created with security in mind. The Blockchain is Bitcoin’s public ledger that records every transaction in the Bitcoin economy.
I first fell in love with music when I was a little boy. When I first heard music, I felt the beauty in it. Then, being able to tap along on a table top and box was great, but my favorite thing to do was to watch records spin. I would almost get hypnotized by it. These things are what drew me in initially.
I make records with an open mind, I always have.
The first memory I have was my sisters dancing to the radio when they played records by Benny Goodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called ‘Boogie Express,’ and it was boogie-woogie. Really, it was on fire, and that got me.
I have to make rock records occasionally.
People aren’t taking their time with the music no more. There’s less quality in the records.
I respect the people who buy my records and come to my concerts. It’s only fair that I always try to give them the very best that’s in me. After all, I need them more than they need me.
The Fourth Amendment is quite clear on the notion that search and seizure must not be unreasonable. It is difficult to think of something more unreasonable than searching the private phone records and digital information of citizens who are suspected of nothing.
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.
Most great records really start with the drums.
We went into that knowing that we were never going to sell a major record ’cause we didn’t sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.
If you don’t think drugs have done good things for us, then take all of your records, tapes and CD’s and burn them.
Stevie Wonder’s records introduced me to ’70s soul when I was 12 or 13.
When I make records, I never listen to stuff after it’s done. Ever.
I never had lessons. Used to try to play to records, which I hated doing. Still can’t play to them.
Most people learn to improvise on their own, listening to records, endless hours of noodling on their instrument in the bedroom with all their spare time. That’s traditionally how people learn.
I don’t make records that way, where I’m trying to please the marketplace or anything. Not because I have anything against that, it’s just never been a part of my aesthetic, even when I was with the Pixies.
I liked blues from the time my mother used to take me to church. I started to listen to gospel music, so I liked that. But I had an aunt at that time, my mother’s aunt who bought records by people like Lonnie Johnson, Robert Johnson, Blind Lemon Jefferson, and a few others.
My bassist Jorgen Jorgensen opened up my life to a lot of great, obscure old soul records.
I wouldn’t say I’m underrated, but more reserved. Only time will tell, but I’ve been good so far in being consistent and making hit after hit writing for myself and other artists, from rap to R&B, and being able to make those different records.
The name ‘The Beach Boys’ is controlled by Brother Records Inc., which was founded by the original members of the Beach Boys and whose sole shareholders voted over a decade ago to grant me an exclusive license to tour as ‘The Beach Boys.’ With it, I’ve felt a great responsibility to uphold, honor and further our legacy.
My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.