Top 1200 Record Labels Quotes & Sayings - Page 7

I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry,'

If you look at my record, I have a clean record.

I used to be a record collector. Mark Ronson, Questlove and I used to be part of, like, a record-trading crew.

I went through UFC with five title defenses. Jonny 'Bones' Jones beat my record, so I'm trying to beat his record. That's my goal. That's what I want to do.

A record for us that sells 50,000 is a good record, and 100,000 is a serious hit.

You used to make records, record companies sold them, and people went to record stores and bought them. That's all gone now.

I wish I could make multiple records, stylistically. The way that I'm gonna remedy that is to make a diverse record with a lot of different styles on one record.

It's just dumb: how you can have the number 1 record in Los Angeles and not have the number 1 record in New York? It's crazy.

If someone doesn't like Saudi Arabia's human rights record, that doesn't mean that you are in any way attacking Muslims. You're attacking a government's policies and track record.

I could wake up six in the morning, go downstairs and record. I learned how to use ProTools and everything. Whenever I felt it, I could record.

Sometimes, I record rough patches of tunes and take them to directors. They choose to retain my voice. Personally, I don't like my voice, and never want to record.

I don't know if the record is going to happen. I don't really think about the record. There are other things I worry about.

I bought a self learning record to learn Spanish. I turned it on and went to sleep; the record got stuck. The next day I could only stutter in Spanish.

I want to record many albums, have a healthy record label with talented artists, keep building my publishing catalogue, and maintain our culture with good music that will be remembered for years to come.

Our habitual experience is a complex of failure and success in the enterprise of interpretation. If we desire a record of uninterpreted experience, we must ask a stone to record its autobiography.

To me, 'Crash Love' is the most stripped-down record that we've made since the early Nineties, and I would say that 'I Hope You Suffer' is indicative of the overall tone of this record in being the opposite of that.

What I will say is that there is no governing body in strongman. There's no federation. There's no group of people or person that overlooks the sport, or says that this is a world record, or 'we'll count this as a world record.'

My favorite record I've ever done is Rock Salt and Nails. It was recorded in '68-'69 and released in '69. There's something about that record I really like.

The first act of insight is throw away the labels.

For instance, if you're playing a record with drums - horns would sound nice to enhance it so you get a record with horns and slip it in at certain times.

If someone wants to sticker a record for whatever reason, that's fine. But once it affects someone's opportunity to, you know, get that record, then I have a problem with it.

I am purely a technocrat and I reject all ideological labels.

I'm not chasing a hit record - that's why I can make a hit record. It's not forced at all; it just happens. It's off of vibes.

I guess my life has been a series of flukes in the record business. The first thing I ever did, was the biggest record that I'll ever have.

I would give someone a record so they could love the record, not so they would always know that I gave it to them.

If California is any indicator, I'm proud that the public here saw right through it and registered in record numbers and voted in record numbers.

Once I started looking for a record deal, I had a trainer. And the trainer told me that I would never sell a record if I didn't lose weight.

The greatest thing that ever happened to (my career) was the breakdown of the record companies, because there were no more stupid questions about how many hits are on the next record. It was very liberating.

I’m wearing out this new Coal Men record. I think it’s masterful start-to-finish. Dave Coleman is one of Americana music’s great songwriters, and I hope this record gets the attention it deserves.

I hate genres. I think they're just marketing labels.

Romney was an excellent businessman with a strong record as a public servant - whereas Trump inherited wealth, went bankrupt more than once, created nothing of value, and had no governing record at all.

A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.

I was so broken when I did the first record. I was living in my parents' basement, I didn't know anyone. I was broken-hearted and writing this really dark record. I was at the bottom of a well.

I'm not going to say that every record I've put out was the greatest record in history, but I'd stand by even the bad ones. Don't make excuses, make hits.

If you have a book to write, write it. If you want to record an album, record it. No need to wait for someone in a cubicle halfway across the country to decide if you're worthy.

I know what labels and artists need, along with the consumer.

That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.

As far as my solo record, I don't want a gold record or anything, I'm happy to be small and to have the people appreciate the music who really like me for being me.

They say that being humble leaves you out of the record books. I want to be in the record books.

I feel like the 'Supernova' record, those songs are very me. It's a more honest representation of me than any record I have made prior to that.

I'm a fan of music documentaries and I always love seeing what goes on behind the scenes. In kind of the new era of record companies and record releases and that sort of thing, there has to be way more content for the audience.

Major labels don't play with samples not being cleared.

'Society's Child' was a real hard record to start with. That's all you want is for you to put your first record out and have people screaming at you in the streets. But it taught me right away that what I was doing was valuable and important.

You want to put out a record that you feel is exactly as you want it. Nobody wants to tour for two years on a record they don't like.

A producer gets the whole vision done from top to bottom, to making the record to having the record delivered to the world. That's a producer.

I made the record, and I sent it over to Jay Brown, who was working on Rihanna's album. He was like, "Send me that record for Rihanna."

I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry.'

I think there's a green side to John Kerry, if you like, that he's an environmental activist. His record on the environment is as best as you have on a pro-environment record of anybody in the U.S. Senate.

I'm working on a proper rock record, a good, old-school rock record. Finally.

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... Now, record companies are run by lawyers and accountants.

I couldn't imagine a list of 10 records that didn't contain a punk record - that didn't contain a Clash record.

...the possibility of circular reasoning arises-that is, using the temperature record to derive a key input to climate models that are then tested against the temperature record.

I know the history of the record business so well because I followed Billie Holiday into the record studios. It was so primitive compared to the sophisticated business today.

Yeah, early '71 is when I got my record contract. I had a record come out by August of '71. Things happened really fast.

Society's Child' was a real hard record to start with. That's all you want is for you to put your first record out and have people screaming at you in the streets. But it taught me right away that what I was doing was valuable and important.

I guess that my life has been a series of flukes in the record business. The first thing I ever did was the biggest record that I'll ever have.

I have to believe that I know what's best for me. For instance, I choose all my songs. I never record anything I don't want to record. No one tells me what concerts to do.

Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.

You are trying to do a more difficult thing than record folk songs; you are trying to record life.

My first record deal was an independent record deal back in 1995 or early 1996.