A Quote by Usain Bolt

I don't think about records. — © Usain Bolt
I don't think about records.

Quote Topics

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.
The main thing is that people see constant reports of break-ins on, on record systems and stolen financial data and social security records and so they'd think about you know what's going to prevent that happening with my medical records. And interestingly enough, patients are less worried about that than their doctors are.
The real amazing thing about all of this is I think I've maintained the mentality of a musician throughout it all, which I'm proudest of. And I'm still playing on people's records and singing on people's records.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
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.
Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.
People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
I think it's OK if somebody likes my music and likes Sam Hunt's music, too. And I think if we're both selling records, it's good for everybody. I think it allows other records to get made.
The fans are the end result of what we do. Sometimes I think we forget that those are the folks that mean it in this game. There's plenty of evidence to be found that you can have all the #1 records in the world, but if you really ain't touchin' them, you don't come home with gold records and platinum records. I'm very proud that we've only had one #1 record, but we've sold two and one half million!
I care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.
My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.
When I was standing there on top of the world, you become so humble, you do not think about breaking records anymore, you do not think about gaining scientific data. The only thing you want is to come back alive
I don't think, like, 'I've got to sell so many records here, or so many records there.' That's the record label's job. They've got to worry about how were doing in Kazakhstan or Germany. My job is just to write and sing.
Records have images. There are wet records and dry records. And big records.
You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?
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