A Quote by John Ritter
My father would make record after record, and he'd be so surprised at what would sell and what wouldn't.
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It would be really nice to make a record that would be super-fun to play live - a record that would be funny, with a little bit of heart.
I'm not anti single. I'm not one of them niggas that say "Aww record sales ain't everything." No. I wanna sell good. I would love a platinum record on radio and charts.
James Cotton is a real blues guy, and he played with Muddy Waters, and it surprised me that they would want me to make a record with them, that he called me to do this record. I'd never done anything like that before. But I love blues, so I was very happy.
Once I started looking for a record deal, I had a trainer. And the trainer told me that I would never sell a record if I didn't lose weight.
I wrote half the record in 2002, which basically concluded with us releasing "Baby's Got A Temper," the last single. I think after the disappointment of that record for myself with the lack of energy and the way the record came out, I would say that was probably the low point of The Prodigy.
If the record was picked up by Dot Records, I would imagine that they would have wanted both sides of the record to be something by Lou alone which would account for the dropping of 'So Blue'.
When I wrote 'Marvin Gaye,' my whole intention was to make a record that people would put on a record player... and just instantly make out with each other.
Mitt Romney, who is on record saying that he would not waste money going after bin Laden, and on record saying he would not violate Pakistan's border to get bin Laden, this week said, 'Of course I would have gotten bin Laden.' Even his Etch-A-Sketch went, seriously?
My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.
Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.
'Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
I would give someone a record so they could love the record, not so they would always know that I gave it to them.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
When I was growing up, my mother would always say, 'It will go on your permanent record.' There was no 'permanent record.' If there were a 'permanent record,' I'd never be able to be a lawyer. I was such a bum in elementary school and high school... There is a permanent record today, and it's called the Internet.
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