A Quote by Marc Maron

When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records. — © Marc Maron
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
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.
When I was growing up, I had more comedy albums than musical ones. George Carlin, Cheech and Chong, Steve Martin, Richard Pryor - those were my main men.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.
Records have images. There are wet records and dry records. And big records.
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.
I've never had anybody produce my records. I've always produced my own records. I've worked with a guy for a while who was an engineer who helped me produce records, but I've always made my own records. I'm a control fanatic. I've got to control everything.
I can work with all these different kinds of artists and still be able to come up with huge records. Not just cool records, but game-changing records.
Yes; my brother Bobby used to distribute records at King Records. I had a job there, too, packing records up and shipping them off. But I always wanted to play sessions at Stax, so I figured out a way to do it.
I will sing their praises, I'll sing Donald's [Trump] praises and Marco's [Rubio] praises and everybody else's praises. But I'm going to keep the focus on substance and records. And there's a reason why they scream "Liar." Because when you point to their own records, their own voting records, their own words, they don't like their records because their records are inconsistent with what they're running on.
I was going to tape some records onto a cassette, but I got the wires backwards. I erased the all of the records. When I returned them to my friend, he said, "Hey, these records are all blank."
I'm a fan of records you get and you listen to them from beginning to finish - records where everything is there for a purpose. There was never any filler on those records - it was all well planned out.
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.
If you listen to 'Electric,' 'Entourage,' and 'Been With A Star,' all those records are records that I dug into the crates for to help me create that feeling of old funk. No one makes records like that anymore.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
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