Top 1200 Good Record Quotes & Sayings - Page 16

In hip-hop, what you have is you have a lot of formulaic-type bands or rappers that come up. They saw something on the radio, and they want to mimic that formula. And that's just boring. I don't wanna record something just to make money; I want to record something to enjoy it and have fun because I'm a music lover.

People have always said that I could have been a highly successful pop artist, if only that were my intention. It never was. My original intention was to be a kind of behind-the-scenes participant in music, to just be a record producer and engineer. And I made a record for myself just so I could have an outlet for my musical ideas.

When certain bootleg companies started off and they would take maybe ten per cent of whatever they got and help fuel new bands, which I'm cool with, I think that's a good idea. Most of the record companies are not doing that.

I'm working at trying to be a Christian, and that's serious business. It's like trying to be a good Jew, a good Muslim, a good Buddhist, a good Shintoist, a good Zoroastrian, a good friend, a good lover, a good mother, a good buddy - it's serious business.

I would have loved to record with Paul McCartney on some of his early solo recordings, wonderful music. Playing some lovely organ, perhaps. I would have loved to record with John Lennon. He was a dear friend. I had lunch with him just two days before he died.

There are two economic realities in America today. There's been a record six straight years of job growth, and new census numbers show incomes have increased at a record rate after years of stagnation. However, income inequality remains significant, and nearly half of Americans are living paycheck to paycheck.

Ever since I can remember I’ve had positive and negative fan reviews. And whether it was positive or negative it wasn’t always based in reality or what my perception of the music was. But judging from playing these new songs live and my feelings on the record [Scream] – and it’s a great record – there is definitely an audience for it. Also, I don’t really go to clubs so I don’t know what sounds are made there.

In a funny way I think social media is making people less rather more experimental. People are too worried about looking good all the time. When I grew up you could get it all horribly wrong and it didn't matter, there was no record.

Somewhere around the fifth, sixth album, we got this little formula together where we knew how to record Too $hort songs. You need the bassline, a good drum pattern, call in the keyboard, the guitars - it's just a way we mixed it all together.

My main intention is to inspire people. [Let] kids know that you experience things and it's okay to voice them and express yourself. Be an individual. If my record moves five people, that's good enough. I feel like I've done my job if it just touches somebody.

Someone gave me Roman Candle from Cavity Search when it came out. I was just starting to do A&R in the record business, and I remember being in my Volvo 240 in Silverlake, which is every bit the cliche it sounds like, sitting in front of my house playing the songs over and over again. It was the punkest record I had heard in so long.

There were only 170 neurologists in Britain then and, whether spoken or unspoken, there was this insidious feeling. How can Bannister, a mere athlete, probably spoilt by all the publicity and fame, dare aspire to neurology? But I'd done a lot of research, and my academic record was very good.

I have watched independent record stores evaporate all over America and Europe. That's why I go into as many as I can and buy records whenever possible. If we lose the independent record store, we lose big. Every time you buy your records at one of these places, it's a blow to the empire.

'Something/Anything?' was kind of a different record, since I'm playing everything myself. A lot of the songs on there have a particular kind of instrumentation that is much like a guitar quartet, and in some ways, it's an exceptional song on that record because so much of the writing on 'Something/Anything?' is piano-oriented.

Peter Moores has been very popular in the England dressing room. He's got a very good record of developing players, but I felt that there are some areas in international cricket where he is a little bit exposed, for me personally around tactics and strategy.

One day I decided I would like to put a record into my system. So I picked up a record that was lying on the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in my system and I played with it.

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.

When I look at someone like Andrew Symonds, I see a player who has done phenomenally well with the bat, as his record shows. He certainly has the ability to be a very good all-rounder, but I think to be a great one, you need to be able to turn a game with the bat or the ball.

We'd lie on the floor, turn the lights out, put two speakers on either side of our ears, and try to blow our minds with music. I know that I want to make a record that does that yet a record that, if it was played on the radio at twelve in the afternoon, the guy making the wall - the guy cleaning the motorway - he's got a melody to hang on.

If you look at the history of unexplained phenomena that was first explained by spiritual, mystical forces, the track record is not very good for the mystical, magical explanations to survive against more quote "mundane" physical explanations.

For this very reason I refuse all the tricks of the trade and professional virtuosity which could make me betray my career. As soon as I find a subject which interests me, I leave it to the lens to record it truthfully. Look at the reporters and at the amateur photographer! They both have only one goal; to record a memory or a document. And that is pure photography.

It takes a lot of money to make music and get it to people. It takes a lot of time to make a record sound good.

I moved from New Zealand to Melbourne when I was 17. I'd planned to go to university to study French, but I was offered a contract to write and record an album that was too good to pass up. Looking back now I think that was pretty young but, at the time, I was ready to have an adventure.

I've always felt you are only as good as your next album or next show. What you've done is done. When you get a gold record, you hang it on the wall, and then it's like, 'Yeah, next?'

I don't recall what the first record I bought was, but I definitely remember hearing Creedence's 'Born on the Bayou' and going out and buying it. The guitar and drums in that band were really good. I loved the words to the title track, and Fogerty's voice sounded just great.

That was the coolest thing about 'Baby Got Back.' The establishment didn't embrace the song, which is what kept me from being the next pop guy to fizzle out and get laughed at, get dissed on TV. That helped save me. The fact that MTV banned the record made the record, in a weird way.

By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.

Nowadays, it's a lot more in the kids hands. You don't really need a record label. You can get the money together yourselves. You can just do it through Myspace. There are bands that are huge, without record labels today. Now, I think it's a lot more, in kids hands.

I think music piracy is forcing many people to look at the live aspect of the record industry as an income and in many ways that's what sets apart good music and musicians from the fly by night pop sensations.

I most definitely wanted to make a record out of it. Due to the fact of the negativity and things that transitioned over the years, I just wanted to give [Chris Rivers] his space. I had this record "Danger" which Free Smith produced the beat. It was one of the first beats I got when I started recording again and one of the first I sang to.

Let's be honest here - 99 percent of MMA fans haven't got a clue what's going on. They don't understand the game enough to comment on any of that. They don't know how easy it is to have an impressive record. I could have 10 guys in my gym tomorrow, beat them all up, and there's 10 wins for my record. It is that easy. It is that easy to be 10-0.

I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."

Everyone wants to be loved, generally. If you released a record and nobody said anything, if you didn't get any feedback from people you don't know, i.e. the press, you'd be sort of upset. To me, any press is good press.

We all have known good critics, who have stamped out poet's hopes; Good statesmen, who pulled ruin on the state; Good patriots, who, for a theory, risked a cause; Good kings, who disemboweled for a tax; Good Popes, who brought all good to jeopardy; Good Christians, who sat still in easy-chairs; And damned the general world for standing up. Now, may the good God pardon all good men!

I record at the same place [Toe Rag or FatSounds Studios in London], with the same people [Liam Watson at Toe Rag and Ed Deegan at Fatsounds], every time. It makes it effortless, and another reason for the vast output when I do go in and record stuff.

I've been using Steinberg's Cubase exclusively to record and mix my music since the very beginning of my career. It's no exaggeration to say that Cubase has been my partner in bringing my music and message to the world, and, now, they are helping to bring my story to the world as well, as I record the audiobook of my novel.

From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.

My view is that "A Small Oak Tree Runs Red" is about putting people 'on the record,' who otherwise would have been forgotten, as a result of their bravery and love for one another. These characters demand justice, and they got punished for it. If we can correct that record in our artistic expression, in a poetic form such as this play, then that is our entire purpose and greatest benefit.

If you ever want to know why I'm not on a record label, look at 'The X Factor!' Honestly, of all the people that strive to break barriers in music and do good things and write great lyrics, not one of them would ever pass the first round on any of these competitions.

You have total freedom. It's like, if you do a solo record, there are no restrictions and you can do whatever you want, good or bad. You can have these passing fancies where you go in to the studio one day and you want to do something like what you did on the way in. That's dangerous. You have to have some sort of focus.

My whole thing is, haters are gonna hate, but haters are also going to click on your YouTube video just to watch it, so I don't really care. You helped me break the record. Even if you were watching just to hate on me, and now I hold the record, so I win.

When I put out a record I don't really like to do covers as much, but I don't mind playing them. I do them mostly for my friends. When a friend's like, 'Man I really like that song,' I go 'hahaha' and I go home and I record it.

President Bush, yes, spent money like a drunken sailor, and left the nation with a record $400-billion deficit. President Obama, however, is spending far more money than Bush, with a record $1.8 trillion deficit projected for his first year.

In a sense, I like to think of the live performance as something different than the record, not necessarily looking to exactly recreate the record. Sometimes Matt and I just do duets folk-style. Part of the fun of seeing a live show is having it be different from the way that you hear it in your bedroom or wherever you listen to music.

The main things to rebel against - over-production, too much technology, overthinking. It's a spoiled mentality; everything is too easy. If you want to record a song, you can buy Pro Tools and record four hundred guitar tracks. That leads to overthinking, which kills any spontaneity and the humanity of the performance.

President Obama clearly cannot run on his record. All he's offering is more of the same. That's not good. Look at the economy. It's stagnating. And so, what they're now going to try and do is bring this campaign down to little things, distractions, distortions, smear, fear, anger, frustration.

I'm working at trying to be a Christian, and that's serious business. It's like trying to be a good Jew, a good Muslim, a good Buddhist, a good Shintoist, a good Zoroastrian, a good friend, a good lover, a good mother, a good buddy: it's serious business.

40% of homicides go unsolved. You know, it's not a very good record. And, also, 95% of convictions in America come from plea bargaining, which is often coerced. It's like we have the worst of both worlds. We don't convict the guilty enough, and we coerce the innocent too much.

I was turning 20 during my first record. Those decade birthdays always kind of cause me, it seems, to reflect, look back, and then look forward. I just was closing this period of my life where I was living in a car and scrambling my whole life to then signing a six-record deal with Atlantic.

If there is a good musical reason, I think it might draw more attention and sell, though it is not guaranteed. To make a record without a musical reason, you have to either be a pop star who sells automatically or just be lucky.

When you love what you do, you just really fall in love with it. Sometimes you record a lot more songs than the album will even hold. You record like 300 songs and only 12 songs go on the album. It takes time. But if you love what you do, it works out.

I don't know why we play better on the road. I really don't. Chalk it up to coincidence, I guess. I don't think we care where we play, which is a good thing. But you'd like to see our home record be a little better than it is.

So, being a good man is not an exam or a qualification, it changes, and it incorporates being a good friend, a good father, a good employee, a good boss, a good neighbour and a good citizen.

I had a record on the Terror Squad album "My Kinda Girls", and then I had a record on the second Terror Squad album and was featured all over it. I wasn't really introduced into the game until about late 2000 where people got to see where I look like.

You can't listen to what people who aren't musical have to say. When Anytime was released, I had bad reviews, and at first I was hurt. Your songs are like your children. You don't want to hear, 'Your kid is ugly.' But I knew the record was good and it would sell.

There are two economic realities in America in 2016. There's been a record six straight years of job growth, and new census numbers show incomes have increased at a record rate after years of stagnation. However, income inequality remains significant, and nearly half of Americans are living paycheck to paycheck.

I still felt we had some really good music on that record, but it's a shame that we couldn't make it better. And the tour was a total mess. We just had no life, no energy, and I felt we were going through the motions.

Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did 'Send In The Clowns' by Judy Collins. We did 'The Star Spangled Banner,' which came out on our third record.

Even if a financial institution rejects an initial application by an individual using a synthetic identity, credit bureaus create a record from the transaction based on the fraudulent credentials. Consequently, the record can be used repeatedly by a fraudster to establish a fake identity used to commit financial and other types of fraud.

Berklee played a huge role in shaping my music. On an academic level, I learned a lot about vocal technique and culture. Since my major was Music Production and Engineering, I got a good handle on the technical and creative aspects of making a record.