Top 1200 Good Records Quotes & Sayings

Nobody heard records of you playing whatever the melody was on those low strings. It worked out good, you know, about 25 or 26 million records later. I guess it worked out alright.

If you listen to 'Electric,' 'Entourage,' and 'Been With A Star,' all those records are records that I dug into the crates for to help me create that feeling of old funk. No one makes records like that anymore.

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.

If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.

I was going to tape some records onto a cassette, but I got the wires backwards. I erased the all of the records. When I returned them to my friend, he said, "Hey, these records are all blank."

If history records good things about good people, the thoughtful hearer is encouraged to imitate what is good; or if it records the evil of wicked people, the godly listener or reader is encouraged to avoid all that is sinful and bad, and to do what he knows to be good and pleasing to God.

I own records that have the power to make me cry. Records to be by or with - truly precious possessions. It is the ambition of the Midnight Runners to make records of this value.

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 care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.

The most direct path to success is a good job, but the road to employment for those with criminal records is often riddled with barriers. Removing those barriers would allow those with records to leave the past behind, support their families, make a positive future - and improve our economy.

I'm just trying different styles and switching it up, but getting back to rap and the essence and the swag that I brought to the game from records like "Rack City" and "Faded," records like that. I got some good collaborations that people are gonna be excited about.

Records have images. There are wet records and dry records. And big records.

Until House came along I don't think the English made very good dance records, you know, there were very few really good English Rap records, whereas once House came along all of a sudden we started and now I think we probably lead the world, and have overtaken America in dance music.

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.

My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.

I will sing their praises, I'll sing Donald's [Trump] praises and Marco's [Rubio] praises and everybody else's praises. But I'm going to keep the focus on substance and records. And there's a reason why they scream "Liar." Because when you point to their own records, their own voting records, their own words, they don't like their records because their records are inconsistent with what they're running on.

I think it's OK if somebody likes my music and likes Sam Hunt's music, too. And I think if we're both selling records, it's good for everybody. I think it allows other records to get made.

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.

The program grew out of a desire to address a gap identified after 9/11 ... The program does not involve the NSA examining the phone records of ordinary Americans. Rather, it consolidates these records into a database that the government can query if it has a specific lead - phone records that the companies already retain for business purposes.

I can work with all these different kinds of artists and still be able to come up with huge records. Not just cool records, but game-changing records.

People still come up to me and ask me to sign their records. That's right, records! Man, they don't even make records no more!

There are a lot of musicians who are still desperately trying to pretend that it's 1998 and by having a huge marketing campaign, they somehow believe that they can sell 10 million records. That's delusional. No one sells 10 million records. The days of musicians getting rich off of selling records are done.

The good thing about songwriting is you don't have to delineate between what's true and what's fiction; records aren't put on the shelf that way. Books are, movies are, but records aren't.

Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.

I see myself as real. Like I mean if I was the President I would have a responsibility, because people put me there. Nobody put me here. They just buy my records. They wouldn't buy my records if my records wasn't good. I'm being who i am in the record.

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.

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.

I know most of my records are real good but I know that there are definitely things I would've changed at the end of the day. I work on things forever, and there are things I wish I didn't do, but ultimately I know the records are good. I kind of let go of big expectations, maybe because hopefully that means if I don't have them, that it'll do really well, but you just never know.

Very good records exist about the Trail of Tears. Journals and other records kept by Cherokees and non-Indians tell such things as which people were where on which day.

I've learned after doing a couple records that if it feels good and it's easy, then that's usually a good sign. And that feeling sorta went with us to Nashville - everything was just natural.

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.

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.

Hip-hop and R&B are especially fertile bases of collaboration. It always makes good records and good music.

I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.

Guru's like Tupac. He just records and records and 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.

I guess the revival of vinyl records is not helping the environmental problem. Although, in some ways, people don't throw records away - I mean, I still have records from when I was 5. So it doesn't seem quite so wasteful. But maybe I'm just lying to myself.

It's good to listen to lots of different stuff, just whatever you like. The first two records I ever bought were Alice Cooper, Killer and Jethro Tull, Aqualung. That's two weird records to begin with, but I think they hold up well.

The fans are the end result of what we do. Sometimes I think we forget that those are the folks that mean it in this game. There's plenty of evidence to be found that you can have all the #1 records in the world, but if you really ain't touchin' them, you don't come home with gold records and platinum records. I'm very proud that we've only had one #1 record, but we've sold two and one half million!

Yes; my brother Bobby used to distribute records at King Records. I had a job there, too, packing records up and shipping them off. But I always wanted to play sessions at Stax, so I figured out a way to do it.

For us, selling a million records in 2005 is the equivalent of selling 2 to 3 million records (five years ago). Rock records aren't flying off the shelves like they used to. Hip-hop and pop are so huge. (But) everything's on the upswing for us.

I've always loved records, even when I was a kid, my parents would buy me records instead of a lot of the other toys kids got. That's what I wanted. I've been collecting records and DJing my whole life, and I thank my parents for that. They had a big record collection and really imparted the magic of it on me.

I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.

I kind of decided that doing music is enough because I'm already running a couple small businesses. I'm a part of Bikini Kill Records, Le Tigre Records, and Digitally Ruined Records. In dealing with my health and everything, my ability to do that? I wouldn't be good at it.

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 don't make records to win awards. I make records to make records and hopefully make the records as good as they can be.

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.

Heavy Metal fans are buying Heavy Metal records, taking the records home, listening to the records and then blowing their heads off with shotguns? Where's the problem? That's an unemployment solution right there, folks! It's called natural selection.

I was never good at scratching, but I was good at collecting old records. Florida was a great place for that, because it's where people go to die.

Some amazing records have this power to leave you with inspiration; you're left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.

You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?

My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.

I've sold a lot of records. I've sold, like, 150 million records, and I don't think I've had that many good reviews. It's one of those things that when you're really successful, critics hate you just because you're successful.

A lot of people felt I was getting work because I was Boy George. My response at the time was that there's a lot of DJs making records, they're not all making good records, but they have the right to do that.

I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.

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.

The most important thing is how you program and how you choose your records. That really does sort out who is a good DJ and who is just playing records.

My brother gave me my first records when I was about 3 or 4 years old, because he bought a lot of records. And he was very nice because he gave me the records he thought I'd like more.

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.

I don't sell millions of records. As a matter of fact, I'm not even interested in selling millions of records. I enjoy MCing. I make a decent amount of money. I can feed my kids. I keep a roof over my head. I don't have to sell a million records to maintain my lifestyle.