Top 1200 Good Record Quotes & Sayings - Page 8

I did not want to make the widow record. I still haven't made the widow record.

I would have to say that my very first encounter with the arts was when my mother bought me my first record player when I was six years old as well as a Karen Carpenter record.

'Supermodel' was a hard record for me; it was an emotional record to write. I was purging a lot of stuff with that album, and I think the one thing I didn't really consider, that I'd be supporting it for two years and living in that state of mind every night.

This 'Pighammer' record is supposed to be a side project. And it just so happens that at the same time I'm recording this record, our contract was up with Warner Bros., so it's time for Static-X to re-sign.

Sometimes the media highlight a record for me that I did not know anything about but setting a record at a prestigious tournament like the World Cup makes me happy.

I kind of, I have quite a clear idea of what I'm trying to do with a record. A Super Furry Animals record is always an adventure, because there's five members of the group and everyone is a producer, we all throw in ideas, and regardless of who writes the song, the songs always get pushed around and shape-shifted to fit everyone in the band. So when I start a record with Super Furry Animals I can never predict how it'll turn out.

My father would make record after record, and he'd be so surprised at what would sell and what wouldn't.

In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.

Atheists have an excellent longevity record because we have no place to go after we die, so we take good care of ourselves and our world while we are here.

When I first was a part of 'The Monster,' I really wanted to put it out under my name, but no record label thought it was good enough - until Eminem liked it.

I thought my second record was good, but it didn't have that smash hit we did on the first one that somehow found its way onto tons of formats of radio stations.

It's just fun to go out and compete. It doesn't matter what your record is or what the other team's record is. You're playing in an NFL game, and you are out there competing with great players.

When you talk about world record times, you have to understand that everything must be perfect the weather, the course, the temperature. It is not always enough to be in good shape.

With streaming services, the walls have come down a bit on genres. So I never really set out to make a country record or a pop record. I just wanted to make it mine.

It feels real good to look at some of the guys who have played before me, then come in and break a record. But records are made to be broken.

I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.

Somebody who knows what they're doing, who has a good track record, they come across as very articulate, bright and looking for a challenge - that's absolutely my kind of hire.

People are lying when they say that their record being broken is good for the development of the event. I would like mine to remain as long as possible, please.

If I wanted to contribute to the hyphy movement, what good is it making a hyphy record that isn't embraced by that community?

'Epicloud' is the first record that I felt confident enough to include all those things on one record, so it goes between melodic hard rock to schizophrenic heavy metal to country to really ambient stuff, and it's all in one place.

I can produce a rock record; if you want me to produce a street record, I can do that as well.

Philly's busy enough. There are tons of record stores and record-head friends and plenty of D.I.Y. shows. It's a place where people pass through and bands don't usually skip on tour. There are lots of music resources, but it's not too over the top.

When I wrote 'Marvin Gaye,' my whole intention was to make a record that people would put on a record player... and just instantly make out with each other.

I think 12 songs is too much to listen to all at once. When I buy a record, I get to the fifth song, and then I don't get to really hear the rest of the record.

People weren't buying as many records. My record company did not want me. I went through three record companies, went on tour at the wrong time. It destroyed me.

I sort of feel I'm only as good as the last record I made. I was on as soon as I finish it I immediately put it aside and move on to the next project.

I wanna write a classic metal record, a classic rock record, in 2013.

Basically, a band's first record is them coming together and really learning everything, and then, after they're on the road and really become a unit, the next record slams.

When we finished the tour we had been writing together for a year. We moved forward from there and have just now finished our record. We're having a new record out in the Spring.

We've always used that as a goal - the record that literally every single track on it could be a hit. A record that breaks doors down, that opens up new opportunities to us, that helps you achieve true immortality as an artist.

I think that every new record is a chance to... I think what it is for me is my heart and soul at that moment in time... I've always felt that just being able to make a record is a privilege.

The reality is people are going to steal the record instead of buying it. It's kind of a cancer in the industry where people will just use a streaming service and then won't buy the record.

I've got a good record, but maybe, for whatever reason, it's not built up by people. I wouldn't say I'm hard done by. But it's true that I sometimes don't get the praise.

I know New Yorkers are gonna vote for a candidate - me - who has the longest record of delivering for them. They want a mayor who can deliver for them. And I'm the only one - I don't care who gets in - who has that record.

You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.

I'm trying to keep a good record and do interesting movies with interesting filmmakers.

I hate that my opinions are gonna be on record... that my opinions of other artists are going to be on record.

You don't have to wait for a record company to tell you that you're good or to sign you. You can put your music out on itunes, youtube, soundcloud, so it's kind of a plus, I think.

I don’t need the money. I don’t care if I make a dime on this. Let me make a good record.

I thought my singing and songwriting were good, but nothing different. Then you're presented with this picture image that contradicts the impression you get from listening to the record.

I wanted to put jazz on the record, all the loves of music that I had on the record, so I could show people I was ahead of my 19 years. It may have been over the heads of some people.

Part of it is, I think, just to let people know you've got a record out there and that you're still alive requires more work than it used to, because the traditional radio, bug chains of record stores, all of that, that doesn't exist anymore.

For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.

I grew up loving Vince Gill. That guy sounds just like his record - or better than his record. I've always been such a fan.

When Sinatra was alive and singing, he was constantly changing orchestrators from one album to the next because he said he didn't want every record to sound like every other record.

If you listen to a Deadmau5 record or a Skrillex record, I really enjoy that stuff because, as aggressive sounding as the Skrillex records are, they're still musical, and that's why they have such a broad appeal.

You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.

Making a record with 'Depeche Mode' is not a simple process. It's quite complicated and long. We have the luxury of time. I'm not sure that's such a good thing when you're being creative.

I just write... if it's really good, it's going on the record. If it's average, it's going in the trash.

We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.

So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.

I'm always nervous before starting a record because I can never sleep. I'm like, 'I have no good ideas, everyone is gonna see through me.'

I have to have the reasons to make the record. There are just too many records out there, especially when it's something as audacious as a solo percussion record with solo drumming music on it. There better be a reason behind it.

We have a record for Nawaz Sharif but not the others. And judging by the record, it's pretty hard to be optimistic. His [Sharif's] previous governments were very corrupt and regressive in the policies pursued.

When I first got my record deal, I was like, 'I just want to sing,' and I never put much thought into what really goes into a record. But as I got older, I developed a passion for writing.

There are people who've prepared their whole lives for real heavy success and bask in it. They're so good at it and they obviously love it. I'm just happy to be making a record.

Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.

I never really got into any records purely thinking of them as a breakup record. I mean, honestly, for me, listening to a breakup record whilst dealing with one seems counterproductive!

I was listening to this record by Paul Desmond called First Place Again. It's incredibly gorgeous. There is nothing better that you would want to get from music than you get from that record.

It was three breakups going on at the same time. It was breaking up with my band, and my boyfriend, and right after that, my record label. I was arguing a lot with my record label during that whole time, so maybe they all affected each other. This record, Mondo Amore, came out of a time that was really heartbreaking and confusing, and that's why I switched the sound up a lot, to make it sound a little bit grittier and more raw.