Top 1200 Record Deal Quotes & Sayings - Page 18

I still have a great deal of faith in our political system and a great deal of faith in the American people and voter.

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.

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.

Christians can have doubts and they can have questions and the unhealthy way to deal with that is to keep them inside where they fester and grow and can undermine our faith. The healthy way to deal with it is to talk about it and be honest about it.

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.

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.

Christians can have doubts and they can have questions, and the unhealthy way to deal with that is to keep them inside where they fester and grow and can undermine our faith. The healthy way to deal with it is to talk about it and be honest about it.

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.

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.

Either you deal with what is the reality, or you can be sure that the reality is going to deal with you.

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 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.

The notion that we would condition Iran not getting nuclear weapons in a verifiable deal on Iran recognizing Israel is really akin to saying that we won't sign a deal unless the nature of the Iranian regime completely transforms. And that is, I think, a fundamental misjudgment.

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.

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.

All the songs that were written for that album are just all our first sophomore songs. So they're all from real life. Very sweet and very innocent. I think the theme of the album probably was just that it was our first record. ... Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.

There is something different between defence deal and deal in defence.

Time and movement became really crucial to how I deal with what I deal with - not only sight and boundary, but how one walks through a piece, and what one feels and registers in terms of one's own body in relation to another body.

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 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.

I have suffered from bullying in many ways, from bullying in school due to my disability in reading, to digital abuse that I deal with on a daily basis. I'd like to tell the kids that are being bullied that no one should have to deal with the abuse, ever!

We need a Green New Deal for Public Housing, as my colleague and friend Congresswoman Ocasio-Cortez has proposed. We need a Green New Deal for Cities, as my friend Cori Bush has proposed. And we need a Green New Deal for Public Schools.

Education is the thing. This black-white bit - I don't deal with people that way. I deal with it as if you are another individual. If you do something that perturbs me or aggravates me, I do not think you've done it because I'm black.

There is a synergy between the way Croatians approach life and the way Jesuits do. Croatians are very real about situations. We don't gloss over things. If there are issues to deal with, you deal with them.

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 am not a British isolationist. I don't just want a better deal for Britain. I want a better deal for Europe too.

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.

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.

Long before I ever got incarcerated, I should've been able to access services that help me deal with the grief and the loss of my son, that help me deal with the trauma, the abuse that I experienced as a child.

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 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.

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.

You can't tell me what we're doing right now is not working. The perception is, well, it's not. I don't deal in perception. I want to deal in reality. The reality of the matter is that the percentage of guys who are taking has gone way down.

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.

A lot of times, when you have a disability, one of the things you deal with is other people's projections of what your experience is and their fear about it, and not seeing the experience you're having. There's nothing horrifying about it to me. It is what I deal with. It is my reality and my life, but it's not horrible.

I don't take a great deal of interest in party politics. Social politics interests me a great deal more.

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.

I only became involved in politics when democracy returned to Bolivia. Then, unluckily in democracy, we ran into the inheritance of 20 years of military government, a great deal of debt, and a great deal of expense.

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.

We are not going to deal with the violence in our communities, our homes, and our nation, until we learn to deal with the basic ethic of how we resolve our disputes and to place an emphasis on peace in the way we relate to one another.

Probably Putin assumes that he's not going to be able to make a deal with me because it's politically not popular for me to make a deal. So Hillary Clinton tries a re-set. It failed. They all tried. But I'm different than those people.

Well, actually, if you can stay in your home that is a better deal for the neighborhood. It's certainly a better deal for the person that is in their home, rather than to be on the street and for that house to go into foreclosure and become a problem for the whole community.

I think we all have mechanisms that we use, each of us individually, to deal with pain that we've had or just dealing with life or whatever. Everyone's story is different, but we all have some kind of mechanism that we use to deal with stuff, that we create pretty young.

If the perpetual oscillation of nations between anarchy and despotism is to be replaced by the steady march of self-restraining freedom, it will be because men will gradually bring themselves to deal with political, as they now deal with scientific questions.

Remember, a small light will do a great deal when it is in a very dark place. Put one little tallow in the middle of a large hall, and it will give a good deal of light.

I know I deal with it, I'm sure a lot of other people deal with it: you have that little funny dig you want to give on Twitter or you want to put in your column. Don't do it. it always undermines your argument.

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.

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.

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.

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.

I used to take myself very seriously, now it's all just funny. You gotta laugh at yourself. You know, most of the time when something's a big deal for us, it's only become a big deal in the space between our ears.

I have learned a lot through defeats, and, until today, it's - I'm still haunted by defeats, and they do happen. Sometimes, a film of mine is rejected. And how do you deal with it? And you have to learn how to deal with it and survive anyway.

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'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.

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.

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.

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.

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.

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.