Top 1200 Good Record Quotes & Sayings - Page 2

Darwin's prediction of rampant, albeit gradual, change affecting all lineages through time is refuted. The record is there, and the record speaks for tremendous anatomical conservatism. Change in the manner Darwin expected is just not found in the fossil record.

For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.

Having solidarity is important and having conviction and sticking with it and also consistency. You can't just have one good record, or a couple of good singles, you have to continue making good music to be considered to be a great band. Having some degree of integrity, that's it in one word.

George Bush, Dick Cheney, every one of the speakers praised John Kerry's war record. No one said he was unfit. They said he has terrible judgment, and that's his record as a senator. Nobody questioned his military record.

A record is a commodity, but so is a hamburger. Just because I work at McDonald's doesn't mean I reap the benefits of that commodity. That's the reality with most artists in the record industry: They're getting paid a subsistence wage so they can keep producing a commodity for the record label.

I think I write very good songs. But I don't know if anybody could record my songs with as much fervor. They sound good sung by me, and they especially sound good with my band.

I have to work really hard to get the record deal - I have to spend years at it to get good. I have to practice to be good at guitar.

I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.

I'll be honest with you, one of the things that frustrated me the most out the record leak thing, it had nothing to do with record sales - I mean, that's a joke. Has anybody looked at how many records anybody sells anymore? If you're not Jay-Z, a record leaking isn't going to affect you. It was just really personal.

If I'm going on any trip, driving music is key. Road Hammers is good driving music. I don't mind listening to my own stuff. You record it for a certain reason. You fall in a love with a certain song at a certain time and how you record it is a labour of love. You better love it.

I got it into my head that I had somewhat neglected the guitar, and then I did a record called 'Arena,' and it was not a particularly bad record - it wasn't a bad record at all, but it was built around a certain concept, which is a guitar quartet, with a little bit of augmentation here and there.

It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.

I would give anything if it went back to analog age. I mean, music was so real, and you had to sing everything on a record; you had to play everything on a record. There was no cut-and-paste - you couldn't get the chorus right one time and then paste it every other time; you really had to be good at what you did.

I can make a record when I think I have a good one.

I have a proven record, a record of accomplishment, a record of cutting taxes, of shrinking the government, of reforming education, of challenging the status quo, eliminating career civil service protections, shrinking the government workforce by 11 percent, but leading the nation in job growth.

I have done six films with the Bhatt camp and I know that they are good at marketing, packaging the film and they are very good with music, a track record that they have proven since 25 years.

I don't think any of us felt like, "Oh, we need to put joke songs on the record." If we found something funny, we would record it, and if we wanted to, we'd put it on the record. It's not really something we spent too much time agonizing over.

A short story collection can be as exciting as a novel. It is a real complete experience, like when you listen to a real good recording, a Beatles record, and there are so many good songs.

I'd never record digitally. It's not because its' a horrible way to record, it's just not the best way to record my music, because my music is rawer, darker and a little more nostalgic.

I'm a big fan of a lot of prog music. As a record collector as well, I won't throw anybody or any band under the bus, but a lot of the records are fun to collect, are not necessarily very good. There are a lot of prog bands out there that it's a really cool record, but it's, like, not really there.

I think any songwriter or record, no matter how good it is, can become tedious if it's the same person's point of view. After four tracks, you start to get worn down no matter how good it is. It can be relentlessly good, but it's still going to wear you out.

Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.

I'm super happy to see the record doing its thing and for people to like it, but for me, I had a great victory just as a person. I overstepped countless obstacles by creating that record. And the record's a metaphor for the personal steps I [took] throughout the past year.

However, the radio and national media depend much more on the hype from a good record label, and from a " buzz " about a band, then from just one or two good shows. There are a lot of artists that have a ton of good press going for them, and still do not make it big in the US.

That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.

I'm usually going to make a record, finish a record, start a record or start a tour or between tours.

Making good records tastes good in your mouh. And when that record sells, it tastes even better.

I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way. That is what is fun for me.

I feel like the live record thing is something that I've been getting used to as the years go by and with this being my second one, I'm continuing to learn what works and what doesn't work. A live record is an example of that authenticity and that realness that you find in imperfection and you can hear that in this record.

The decision to change the name meant we were getting serious, because we couldn't make a record if some other band had the same name as us. I told the boys I was in a record store, thumbing though 45s, and I'd seen a record with the name the Warlocks on it. I've often wondered whether I hallucinated it, because I never saw the record again and I never heard a word about any band called the Warlocks.

That Rubio is an open-borders, Chamber-of-Commerce Republican is undeniable from his record, and when conservatives compare any candidate's campaign promises to his voting record, they believe the record, not the promises.

It's a pretty great thing to have a record that at the end of the day you're not totally sick of and you're actually proud of. We're pretty lucky, because a lot of bands come out with their first record on a label and they're forced to make decisions they might not stand behind because someone's telling them it's a good idea. We didn't have to do that. I think that's one of the things I'm most thankful for.

I don't believe in good music and bad music anymore. I'm through with that phase of my life. Sometimes I just wanna feel good, so I put on a good record. But mostly I'm more of a businessman than a music fan, so I'm listening to music in terms of, is this effective or not effective?

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.

I wish I could sing. I don't technically have a terrible voice, but it's certainly not as good as most of my friends. Whenever I hear myself on a record, it just reminds me I'm not a very good singer.

I always tell the story of 'Irreplaceable.' I initially wrote 'Irreplaceable' with myself in mind, with plans of it being my record. I love that record; however, what I realised about that record was that though given the circumstances of that situation - men and women are not that different - when you sing about it, it changes things, you know?

I just continue to look for different material, great material, as good as I can find, and try to go in there and do as good a job as I can do in making it a record. That's all you can expect. That's all that you can do.

Rap is good for politics because when you make a rap record, you put good music on a track and people listen to you. It's easier than trying to preach.

Al Gore wanted to tell people what they could listen to and what they couldn't, what they could record. It was basically coming down to the idea that he wouldn't let anybody record any music that he didn't think you should be doing. There was going to be an organization that would tell you what you could and couldn't record.

When I listen to and play the songs from 'Narrow Stairs' now, that record feels like a record where we had established a style that arguably was more our own than it was in the beginning. Going into that record, I felt a lot more confident in my songwriting. It was a fairly prolific time for me.

I have a relatively good track record.

I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"

I waited, and I’m sure Elvis did too, for each Ricky Nelson record like we would a Chuck Berry record or a Fats Domino record, to see what was going on. I used to say to some of the guys that Ricky Nelson learned to sing on million selling records.

Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.

When you're making a record - and I've never said this to anybody, but it's true - when you're making a record, and you go, 'Man, this might win a Grammy!' you feel that level of confidence when you're making a record.

However, the radio and national media depend much more on the hype from a good record label, and from a ' buzz ' about a band, then from just one or two good shows. There are a lot of artists that have a ton of good press going for them, and still do not make it big in the US.

I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.

If it's a good record or a good recording, then word of mouth will build for that reason, not before the fact, not before anyone's heard it, not because of MySpace or the label.

Of all the human evils, of which we have thousands of years of record and our own contemporary experiences, the most horrible evil of all is hypocrisy. It's this idea that there are those who do bad and there are those who do good, when, in fact, even the people who supposedly do good are saying they do good to mask the fact that they do evil.

My manager came up with the idea of taking a Pro Tool rig out on the road to record every night and I thought it was a great idea. I felt like it would be good to record over a certain period of time and then take the best performances of that collection of recordings. It appealed to me that it wasn't going to be from just one location.

My record label, which is a huge record label who represents massive, massive stars - they've never done anything like this before, and they were so excited about this idea of an animated character which is singing legitimate music. It's not a comedy record, it's a legitimate record. And they really jumped on board. So, we've got our Facebook page up, we'll be jumping on Twitter very soon, and sort of be creating Haley outside of American Dad.

The old ways still apply. You can still send tapes to record companies, and there are record companies, you know, there are one or two of the record companies do declare proudly that they listen to every single one that comes.

Intimacy is really good. But then again, the first disk on the record is not intimate in the least. It's a really good CD.

When I was growing up, you would put on a KISS record or a UFO or Aerosmith record and listen to it from the first song through the last song. It's been so long since a band has put out a record like that.

I think my science career had an arc to it that peaked in, let's say 2003/2004. I was in hog heaven, working in a corporation, getting paid pretty good money and doing really exciting research. And we had just done the Cool To Be You record, and I said well, we'll put this record out, but I can't tour it because I just want to do science. That's my gig, my future.

People don't understand the kind of fight it takes to record what you want to record the way you want to record it.

I've played death metal, punk rock, hardcore, funk... I've done it all. And all there really is music and at the end of the day, anybody who has a record and puts out a record that's basically the same song 13 times over on one record; to me they're just cheating the fans.

My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.

I wrote half the record in 2002, which basically concluded with us releasing "Baby's Got A Temper," the last single. I think after the disappointment of that record for myself with the lack of energy and the way the record came out, I would say that was probably the low point of The Prodigy.

If you'd have asked me two years ago, I'd have been like "No, anything and everything. Go for it." Now, I want to focus on doing the best I can each time. 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.