Top 1200 Record Labels Quotes & Sayings - Page 5

Voice of the Spirit' was a project I'd been talking about for a long time. It began as an Appalachian record. But it's a record of all pure Southern gospel.

My favorite record, growing up, was 'Songs of the Haunted House,' a Disney record that was just wackiness. It's still one of my favorites, actually.

I think basically lables were more interested in a Richard Page record than a Mr. Mister record.

When I heard Charlie Parker the first time on a record, it had seemed like an old, scratchy kind of record and I didn't get it.

Music was so important to the culture when I was growing up in the Sixties and Seventies. We just expected that Bob Dylan was going to make a great record, and it was normal. It was like, 'Okay, here's another great record by Bob Dylan; here's another great record by Led Zeppelin.'

Things like 'Lucky Man' were never written to even be a record, let alone a hit record.

There's a natural tendency for children to, in some sense, inherit the cultural values of their parents. I'm not against that, that's fine, that's wonderful. What I am against is labelling. Nobody ever labels a child a cricketer because his father is a cricketer, but they do label a child a Catholic because his parents are Catholic. I think it's more or less unique. Nobody ever labels a child a socialist or a conservative or a liberal because that's what their parents are.

I always said, if I got a record deal, I'd want to record the best songs I could, whether I wrote them or not.

R.E.M.'s 'Automatic for the People' - that's probably one of my favourite records - Michael Jackson's 'Thriller' - that's some record - Crowded House's 'Together Alone' - that's brilliant, fantastic record.

There's really not much conscious thought involved when I record. I just kind of record what feels good. I'm not trying to make it sound like anything.

It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."

Hillary Clinton cannot run away from her own record of incompetence or from the Obama record of abject betrayal.

I think it would be wrong to consider 'Ashes and Fire' a love album. The record is obsessed with time. I believe that there is a kinder view of the self on this record.

I never thought of breaking a record. The only ambition I had was to become the fastest century maker for India, which I did when I broke Azharuddin's record.

The most important record is the wins record that I have.

For the record, we’re not friends. (Stryker) For the record, I don’t care. (Savitar)

We made 'Wretched and Divine,' and as much as I love it, it's a pretty sparkly record - it's a record that could be done as a play because it's very theatrical with no grit.

The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.

Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.

I just wanted to make a record that wasn't escapism. Like, I didn't want to write another record that was devoid of meaningful content.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real.

I won't necessarily make new music because when you make a record there are these great expectations on the side of the record company who are going to produce your record, promoters that are going to do your shows. They want you to do interviews, they want you to play shows. I mean, they want it to be a campaign.

I put a song on Soundcloud, and Annie Mac made it record of the week, and a month later, I signed my record deal.

Some people I've talked to have had really an interpretation of this record as being nostalgic. But in some ways, when we were writing Stay Positive, I was really obsessed with age. I kept saying it was a record about trying to age gracefully. This record, I think actually was us aging gracefully.

The record companies don't give you a chance, like in the old days when they went, 'Here's a pile of money. Go make a good record!'

We never threw a record together. Each record was done really seriously, as if our life depended on it.

When I look at the record of President Obama concerning the major issue security I think it's a highly satisfactory record from Israeli point of view.

Riding a horse and using a phone camera is tricky but if you don't take pictures or record the moment, you lose it. You want to have a record of it.

I bring a record home, and it connects with me like nothing else. In my ideal situation, somebody will do that with my record.

I'll put my conservative record up against anybody's record. I have a 10-year career in public service, and I'm proud of the things I've been able to accomplish.

I try to make music with emotion and integrity. And authenticity. You can feel when something's authentic, and you can feel when it's not: you know when someone's trying to make the club record, or trying to make the girl record, or trying to make the thug record. It's none of that. It's just my emotions.

When I work on someone else's record, I'm happy to alter the way I approach it, if I happen to like who they are and I'm interested in their music. But I know it's their record.

There's such a magnitude of record taking. It's so exhaustive. Bandwidth and hard drive space are able to accommodate limitless capacities to take a record of anything and everything.

Everybody tells me I have a good record. Sometimes I have to think that I have to keep building my record after going five sets.

Looking back on the production of 'Nevermind,' I'm embarrassed by it now.' It's closer to a Motley Crue record than it is a punk rock record.

'Love Tattoo' I recorded without a record company. I'd gotten turned down by the record companies - they said they didn't get me, which is fine, I suppose.

I think when you're 17 and you're angry, you're angry about very short-term things. And there's nothing wrong about writing that record. It's a very real record to write; it's the realest record I could write when I was 17. The problem is, when you're 28, it's not the same thing; it can be a put-on.

If you ignore somebody's record and only focus on something that happened 25 years ago when all they were doing even then was trying to stand up for a minority group that felt excluded and discriminated against, then I don't - I think that is a distortion of a person's record. I mean, a person's record is full, not just the parts that you want to use against them.

If you don't have a record deal, you've got to be a record company.

When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.

Even Disney - off the record, but on the record - knows that I have the power. They love me because of that. I don't act like it. I'm not walking around all cocky, but the tables have turned.

People say, "I have heart disease," not "I am heart disease." Somehow the presumption of a person's individuality is not compromised by those diagnostic labels. All the labels tell us is that the person has a specific challenge with which he or she struggles in a highly diverse life. But call someone "a schizophrenic" or "a borderline" and the shorthand has a way of closing the chapter on the person. It reduces a multifaceted human being to a diagnosis and lulls us into a false sense that those words tell us who the person is, rather than only telling us how the person suffers.

The quicker we get rid of the lobby system the better for all of us. I don't think in this day and age it is tenable to have these nods and winks, and on-the-record and off-the-record briefings.

I've always been in bands writing songs with friends in order to play shows or record a future record.

I like to record something pretty much as soon as I have an idea for a song, but I'm on so many buses, I have to record on my mobile.

The live thing is separate from the record for me. I have to figure out a way to make the songs work live. It's always going to be different than it is on a record, because every record I've made, there are people playing parts on there that are not going to be coming on tour with me. As much as still feeling connected to it, it's more like rediscovering.

In 1940 I came across a record by Jimmy Yancey. I can't say how important that record is. From then on, all I wanted to do was play the blues.

Well the way I ended up with my own record is that I did this concert at Wesleyan University. It was just one night and we had no thought of making a record.

I hate labels.

When I was up in New York, the first record my parents bought me was the Terror Squad record with 'Lean Back.'

I don't like labels.

When I was 13 I'd record myself on my karaoke machine and if I didn't like it I'd record it again. I'd do that for hours, making sure each line sounded just right.

I consider us to be one of the first Internet-based bands, especially because we basically started our entire band via the Internet. Before MySpace Music even existed, we had a band MySpace page. We were one of the first fifty bands on PureVolume(.com), and we really built everything from the Internet. That's how we started talking to record labels, that's how we booked our first tours. Without the Internet social networking, like Twitter, we definitely wouldn't be where we are today. It is a huge part of the band.

That last record I did, I think I played every guitar on the entire record. I want to do something more fun and exciting.

All I know is record, record, record, record.

Record industry's not so much against artists, but certain people are just wicked people that sit up in the industry who go against the artist. The thing is, if you're in the recording business, where's our health benefits? Where's the royalties from when you put stuff on labels in different countries? And now, with all these 500 cable channels, you want your mechanical royalties, your licensing. There's so much technology that you've got to stay on top. They always try to tell you, "Oh, don't worry about the business side, just do the music."

I was the youngest producer to have a No. 1 record when Kris Kross first came out, and that was a record I held for I don't know how long.

In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.

Looking back on the production of 'Nevermind,' I'm embarrassed by it now. It's closer to a Motley Crue record than it is a punk rock record.

I made this record without a record label.