A Quote by Vince Gill

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. — © Vince Gill
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.
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.
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.
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.
In the past, so many of my records, really, have been sketches for records that never really got made.
All the records I've made have pretty much been big club turntable records. You need to feel the rhythm.
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.
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.
I wish records got made faster and looser with less thought in them, but since touring is so much more profitable than records, you spend so much time on the road that it's hard to work on them. And the records get further and further apart.
Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.
To my knowledge there are no good records that have been built by institutions run by committee. In almost all cases the great records are the product of individuals, perhaps working together, but always within a clearly defined framework. Their names are on the door and they are quite visible to the investing public. In reality outstanding records are made by dictators, hopefully benevolent, but nonetheless dictators.
I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.
Good rap records don't get too far, but rap records that are made for crossing over to white audiences do go a long way.
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.
I've got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next - since The Police I've mostly made records with keyboards.
Records have images. There are wet records and dry records. And big records.
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