Top 1200 Record Companies Quotes & Sayings - Page 19

I don't want to make a record like in the '50s or the '60s or the '70s. I want to make a record like today, that`s right now.

Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.

Even as a kid, if I would come across something cool in the record store, that would be how I found out about bands. It's kind of the same way these days. In a way even less because there are no record stores to go to anymore.

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.

I'm not one of those artists who doubts that they made dope-ass records. From the first record to now, each record has gotten better. I started dope, so I've just gotten doper and doper and dopest and super dope.

I come from the school of hip-hop where you just buy records and sample records all the time. Doing that is tough sometimes, because if you get a placement on a major record, your record could get shelved because of clearance issues.

In a certain respect, in a movie, you inevitably have a lot of people doing a lot of different jobs because that's the only practical way to get it done. When you make a record, you can still be an auteur, because you can make a whole record without anyone's help if you want.

We were poor [with my mother], and we didn't have too much. So we sat on the floor and we had a record player, and that's all we had in that room in the apartment. But we had whatever we had. Six records and a record player and it seemed like magic. Seven or eight years old, you know.

The first record I bought was a Carl Perkins record, because I saw him at The Festival at Sandpoint, Idaho. I loved Elvis and I found out that he wrote 'Blue Suede Shoes'... so connecting that experience of going to see him play was pretty awesome. That's when I realised I wanted to play guitar.

I think we make too many records. One record a year is crazy to me. But some people have to sell tickets. The label has to meet their quarterly number: 'We need a record a year.' All of a sudden, the tail's wagging the dog. It's not the music; it's everything else making the music. That's just backwards. It's wrong.

There isn't a single artist out there, I'm sure, who wouldn't take the most perfect record deal. If the right record deal came along, like, the perfect deal, we'd definitely take it.

The 1996 welfare reform law, for the first time, connected welfare benefits with an expectation that recipients would work or participate in training. That work requirement led to record increases in employment and earnings and a record decrease in poverty and welfare dependence after it was enacted.

I think record stores play a huge part in discovering new music. When I was growing up I would spend hours going through all the bins looking for something new that seemed interesting to me and that could relate to what I was listening to at the time. This is why I want to support National Record Store Day.

Under the current U.S. policy, because of this power struggle, American oil companies can't do business with Iran. So I think the ultimate goal of the U.S. administration in Iran is regime change, to put into power a pro-Western government that will eliminate the strategic challenge to U.S. interests and, at the same time, allow the lifting of sanctions and allowing American oil companies to do business with Iran.

Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.

Like, when we did Parliament and Funkadelic and Bootsy, it was actually one thing. But there were so many people that you could split them up into different groups. And then, when we went out on tour and they [the record companies] would see us all up there together - we had five, six guitars playing at one time, not including the bass! -, they said: "Wait a minute, that's just one whole group, selling different names!" But it wasn't - we had enough people in the group that each member would have a section to be another group. So now we're finally starting to get them to understand that.

After my second No. 1, my record company, Warner Brothers, gave me a beautiful present - quite unique at the time - one of the very first Sony stereos which had speaker and radio included so I could record the radio and build up cassette tapes of music, gospel singing, adverts, evangelists.

Companies are actually much better than governments and other bureaucracies at organizing in a holistically efficient way the extremely complex path from the examination of molecules all the way to the delivery of medicines to patients. Already in the conception and selection of research projects, companies would anticipate all the challenges down the line that they will need to overcome in order to achieve actual health impact. Bureaucratic organizations, by contrast, are notoriously bad at this sort of optimizing.

I'm not critical of the people who do psychotherapy. The therapists in the trenches have to face an awful lot of the social, political, and economic failures of capitalism. They have to take care of all the rejects and failures. They are sincere and work hard with very little credit, and the HMOs and the pharmaceutical companies and insurance companies are trying to wipe them out. So certainly I am not attacking them. I am attacking the theories of psychotherapy.

Every person at a record company didn't want to be bothered with me because I was too smart. They knew if I recorded, they were going to have to pay me. They knew I wasn't going to be the artist that would just go in and record. I wanted to know about my royalties.

All I can focus on right now is playing that record as best we can each night on stage, and that every article or radio spot that I do gives the best depiction of what we're trying to say with this record. The next door will open when it's time to open, and hopefully I'll be lead into the right one.

The fans reaction to the record (Red) is incredible. Taylor has been reading many tweets lately and wanted to thank her fans with what they ask for the most. We're planning to record the 10 Minute Version of All Too Well and a music video. She's busy with touring right now but we will find some time.

I tried to bring in the live orchestra like Bjork does. I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.

My mom had wild records, like Luther Vandross, Michael Jackson and the Whispers. But the first record I bought was 'Rapper's Delight.' It had a sky-blue cover with a rainbow. My aunt gave me money to get it, and I played it over and over on the record player.

Tech stocks were the cubic zirconium of the market. They looked good and were sexy, but they just were a way for the company selling them to make money. That's always going to be transient in terms of the stock market. What's real is that companies have to compete. Technology used well is a great tool to enable that if only because most companies dont use technologies well.

I hear my own daughters talking about big companies polluting the environment, and then I realise they are talking about companies of which one I am running. But when I tell them to read the things we are doing, then they realise we are doing good things. But millennials are really a great lot.

The spirit of Burzum never changed, but my ability to make music changed dramatically when I was imprisoned. It is more or less impossible to record music in prison, and the only music I could record was electronic music, when I was allowed to have a synthesizer for a few months in 1994 or 1995 and in 1998.

I don't quite know what a record is anymore. I don't quite know how to describe it. Don't know how to define it yet, so I'm just letting it gestate, and grow and see if maybe I'll get a better sense of what a record is.

Drug companies spend more on advertising and marketing than on research, more on research on lifestyle drugs than on life saving drugs, and almost nothing on diseases that affect developing countries only. This is not surprising. Poor people cannot afford drugs, and drug companies make investments that yield the highest returns.

Many companies believe incentives, financial incentives, are the answer to every problem or issue. But people are motivated by much more than money. In particular, people like to feel good about themselves and maintain their self-esteem. If companies spent more time working on people's feelings of self-worth, they wouldn't have to try, often unsuccessfully, to bribe people to do work.

Do we want to be successful, or do we just want to make noise just to make it? Or just to put something on the record? I'll be honest with you, I'm tired of putting stuff on the record. I'm ready to see some real transformation and change.

I remember 'The Shepherd's Dog' record being not necessarily a political record, but a reaction to socio-political situations in America. And it didn't manifest itself as protest or propaganda songs, but there's a lot of surreal imagery that was born out of really me being surprised Bush got re-elected in '04.

Once you say you're going to have to tax them coming in, and our politicians never do this, because they have special interests and the special interests want those companies to leave, because in many cases, they own the companies. So what I'm saying is, we can stop them from leaving. We have to stop them from leaving.

With 'Elect the Dead,' I learned how to make a rock record without a rock band and make the rock record I've always wanted to make.

The reason for backing tracks is to not veer off too far from the record and have what the fans actually want to hear. Artists use backing tracks just so they can stay close to the record and what the consumer heard for the first time. It's not to be confused with lip synching or anything like that cos that's not happening at all.

Good people have always been at the heart of the Virgin business, and that's largely because we have tried to keep our business small, and our management teams tight-knit. I feel that small, compact companies, are better run. That is partly because people feel more connected in small companies.

Some musicians make and record music; other musicians play in a band... I just make and record music, and I don't feel a part of anything in any music business.

I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.

Things go in waves, and I might make a record every three years. That's enough for me, that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one. There's other stuff out there for them to listen to.

Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.

The other dynamic keeping the stock market up - both for technology stocks and others - is that companies are using a lot of their income for stock buybacks and to pay out higher dividends, not make new investment,. So to the extent that companies use financial engineering rather than industrial engineering to increase the price of their stock you're going to have a bubble. But it's not considered a bubble, because the government is behind it, and it hasn't burst yet.

When I worked at Microsoft, I got to go and visit a bunch of different companies. Probably a hundred different companies a year. You'd see all the different ways they'd work. The guys who did Ventura Publisher one day, and then United Airlines the next. You'd see the 12 guys in Texas doing Doom, and then you'd go see Aetna life insurance.

The not-quite-sort-of lie works here too - often an ad will announce that "Congressman Johnson voted for a bill that gave tax breaks to companies like Enron." True - although the bill allowed all companies to accelerate depreciation of copying machines. Yes, Enron benefited, but Enron also benefited from the revolution of the Earth around the sun. Hardly an argument to freeze the planet in one spot.

'Moonwalking with Einstein' refers to a memory device I used when I memorized a deck of playing cards at the U.S. Memory Championship. When I competed in 2006, I set a new U.S. record by memorizing a deck of cards in one minute and 40 seconds. That record has since fallen.

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.

People who work for me are working for what I believe in. The leaders who run our companies do so on the basis of those who came first and who said, "A company is its people." I hope my companies are run on the basis of praising their workers and looking for the best in them, not criticizing them. In the same way that you water a plant and it sprouts leaves, people flourish when you praise them.

It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.

Now the Japanese companies are more focused on that. To have two independent directors - I think it's good to have outside people look at you and think of what you could be doing better. Those are voluntary, but most of the companies told me they're going to do it. And I think it's good for them to say our returns on equity, for example, should be higher. Also, I think some could be more ambitious.

The first memory I have was my sisters dancing to the radio when they played records by Benny Goodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called 'Boogie Express,' and it was boogie-woogie. Really, it was on fire, and that got me.

In Spanish, I record a lot of single-voice tracks, and in English, I 'stack' a lot of voices, so it's very different, and I think I got so used to recording in Spanish for six years that it was really refreshing and challenging to get in and record 'Double Vision' in English.

I'd always wanted to make a record with Jim Dickinson, and I'd known about his boys for years, ... He reminded me that when they were 13 or 14 years old they had a punk rock band and I'd called him and wanted to make a record with them then.

Some years ago one oil company bought a fertilizer company, and every other major oil company practically ran out and bought a fertilizer company. And there was no more damned reason for all these oil companies to buy fertilizer companies, but they didn't know exactly what to do, and if Exxon was doing it, it was good enough for Mobil and vice versa.

Yes, it's a very difficult thing to do, to promote a record, do television shows, and to still want to remain private, it's really quite difficult to explain to people what you're trying to do. I mean I'd actually quite like to be a recluse, but you know, you've got to promote the record as well.

Now, a lot of people are challenged by the fact that a record number of people in their sixties have living parents, and a record number of people in their sixties have kids who may still depend upon them.

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 Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.

I had success. I had a number one record. I had a number one album. I have to make this kind of record again or else I'm going to lose it all. That's how you end up making the same song over and over.

A development deal is an in-between record deal. It's like, a guy saying that he wants to date you but not be your boyfriend. You know, they don't wanna sign you to an actual record deal or put an album out on you. They wanna watch your progress for a year.