A Quote by Rafael dos Anjos

If you look at my record, I have a clean record. — © Rafael dos Anjos
If you look at my record, I have a clean record.
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.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
Look at my track record for showing up to fights. Look at my track record of finishing fights. Look at my track record of getting fight night bonuses. Ask yourself if you think that if the UFC decided to truly put marketing dollars behind me that they couldn't sell me or my fights.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
With a Grammy, if you're releasing your record with a major label, you have a chance with any record. You also have a very long shot with every record.
When I look at the record of President Obama concerning the major issue security I think it's a highly satisfactory record from Israeli point of view.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents himself, and then I know. I just follow dutifully while I'm being led.
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.
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.
'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.
As I look back, I understand what [the record company] was getting at. They were trying to market a record and make it as commercially acceptable as possible. It hurt me and my credibility with critics.
I just like making music. Record, record, record.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
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.
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