Top 1200 Good Record Quotes & Sayings

When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.

When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.

It used to be that you made an album and then you went on the road to promote that album, hoping for good record sales. Well, good record sales basically don't exist any more, and the emphasis has been more on the live show.

I'm a believer in what your record is. I am what my record is - some of it good, some of it bad, some of it hard to tell.

I want to record many albums, have a healthy record label with talented artists, keep building my publishing catalogue, and maintain our culture with good music that will be remembered for years to come.

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.

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.

There's really not much conscious thought involved when I record. I just kind of record what feels good. I'm not trying to make it sound like anything.

I think the good thing about the Internet is to give something away and to sell something else. Get a business model like that because the old brick and mortar record stores are falling apart, and the big record companies are collapsing under their own weight.

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.

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.

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.

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.

I'd love to do a live record, I'd love to do an acoustic record, I'm already thinking about what I may want to do with the next studio record.

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.

A record for us that sells 50,000 is a good record, and 100,000 is a serious hit.

'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 just like making music. Record, record, record.

I walk away from writing what I consider to be a good song - with a good character, a good story in it - with all I'm gonna really get out of that song. My greatest pleasure is to create it, not to record it, not to hear anyone else play it, though that can be nice too.

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.

I did a record with a producer, and the good producers eat up the budget, so I didn't have any budget left to produce this record. I had to produce it myself.

Well, that's going to be up to the pundits and the people to make up their mind. I'll tell you what is a president for him, for example, talking about my record in the state of Texas. I mean, he's willing to say anything in order to convince people that I haven't had a good record in Texas.

Everybody tells me I have a good record. Sometimes I have to think that I have to keep building my record after going five sets.

I'm not really into the numbers game of, like, what position our record is. But you find out at the end, you know? You're like 'Oh, all right! That's good!' We had a Number Three record. That's crazy! What's that about? That's exciting to me! I think that's good.

The record companies don't give you a chance, like in the old days when they went, 'Here's a pile of money. Go make a good record!'

Eviction comes with a record, too, and just as a criminal record can bar you from receiving certain benefits or getting a foothold in the labor market, the record of eviction comes with consequences as well. It can bar you from getting good housing in a good neighborhood.

Beyoncé can handle any record you put in front of her. Any record that pushes her in that direction, it would have been good to be on the project.

You can expect a record that I put together for you to make you feel good, a record that I put together to make you think, a record to transport you into whatever mood you want to be in. I hope that people associate my name with the brand, and I hope that people associate that brand with excellence. So, you can expect an excellent record.

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

My come-out record, '10 Day,' was the thing people were supposed to hear and figure out 'he's good' or 'he's not good.' 'Acid Rap' is the comeback tape, and it asks way bigger and better questions than, 'Is he good at rapping?

I'm working on a proper rock record, a good, old-school rock record. Finally.

There are two angels that attend unseen Each one of us, and in great books record Our good and evil deeds. He who writes down The good ones, after every action closes His volume, and ascends with it to God. The other keeps his dreadful day-book open Till sunset, that we may repent; which doing, The record of the action fades away, And leaves a line of white across the page. Now if my act be good, as I believe it, It cannot be recalled. It is already Sealed up in heaven, as a good deed accomplished. The rest is yours.

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.

It's funny - some producers ask me, 'Man, how do you work on a Bieber record? That would kill my career.' I can work on any record there is as long as they are good records and you're pushing things forward.

I love good momentum. It makes everybody happy and in this time that we're living in, especially musically speaking, if you can make a record that has more than 4 or 5 songs deep and it has a good variety of songs. You don't frontload it with those first couple of songs. You continue the record taking the listener on a journey, musically speaking. I think you've really got something there.

Sometimes when a record's done, I'm satisfied and I won't listen back to it for a while 'cause I'm usually pretty tired of the songs. Then I've got to learn them again to play them live, and sometimes it takes a while to realise it's a really good record.

I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.

There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.

I love TV. I love being behind the scenes on a TV show but there's something about, I don't know there's something very special when you've signed an artist and that first record comes in and it's a good record. It is an indescribable feeling.

For 'Regulate,' I was at home, and I came up with it. I was listening to Michael McDonald's 'I Keep Forgettin'.' It was a record that I always loved, from being a kid and my parents playing it when they had their company of friends over. It was a record that just stuck in my head, and it just felt good.

Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.

My come-out record, '10 Day,' was the thing people were supposed to hear and figure out 'he's good' or 'he's not good.' 'Acid Rap' is the comeback tape, and it asks way bigger and better questions than, 'Is he good at rapping?'

I don't hear record companies coming up with any good ideas or suggestions. Historically, if it ain't their idea, it ain't no good, so you got that to contend with.

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.

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.

No - not other than making a record that I was satisfied with. That’s usually my only goal - to make it good enough to hopefully put out there. I just tried to finish what I started, as far as my ideas for the record. Hopefully I was able to do it.

You have to keep the recording process open. If you make too many decisions before you go in, you can lose out on those serendipitous moments that can really make a record, that I think are always required in the making of a really good record.

A good season for me is going to the playoffs and making a run for the Super Bowl and having a good record.

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.

What I say on a record and what I say off a record is two different things. And that's always been the case. There's a difference between confidence on a record and arrogance.

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.

The situation is not good with the record companies. It's just not working out, so I don't plan to record until it's straightened out. In the meantime I'm happy doing my movies and writing the music for the theme songs, whether I sing them or not.

But I think it's hard for me to only put out one record a year. Because I get too antsy. But it's good I'm learning to do that, because each record counts. And you should make it count.

Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.

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.

This record for the first time - feels like a record that really represents my whole entire life and instead of just a period of my life. And it is really kind of eye opening and it makes me feel really good to hear this record and hear all the years.

Kickstarter is such an amazing platform, it really is. It's something great for independent artists of all kinds because every musician and every artist needs help to produce the record, make the record. It's like the modern day patronage. It's turning to your direct fan. It's a good motivator too.

The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?

I had a good start. I did a record with Beyonce. I did a record with Lenny Kravitz. I put out my second collection of music and then my second collection of clothes.