Top 1200 Record Stores Quotes & Sayings - Page 12

Apple has hundreds of stores around the world that are beautiful, and they have a distribution system and a staff of 40 or 50 people that will help you.

Traditionally the show must go on which is a stupid thing to say, but that in a nutshell is what's going on. We have a new record out; if we won't tour, the new record dies. It's reality - it's what business is nowadays. You just need to tour to sell your albums.

I don't just record to record.

My record producer [David Kahne] said the major record labels these days are like dinosaurs sitting around discussing the asteroid. They know it's going to hit. They don't know when, they don't know where it's coming from. But it's sort of hit already. With iTunes, and all of that.

Most of my records are never going to be commercial successes, and I don't expect that. It's just all a learning process to me. If something appears as a failure, fine. If there's success, fine. I like the record, and my friends like the record, and that's kind of all I can really care about.

You have to keep the recording process open. If you make too many decisions before you go in, you can lose out on those serendipitous moments that can really make a record, that I think are always required in the making of a really good record.

When I was a kid, I remember the fear of going into big brand stores. You didn't want to go in because you felt like you couldn't afford anything.

The record business. It’s exactly what it is-Record-Busin ess. You have to take care of both, or they won’t take care of you.

Andres Segovia, the great name for guitar, he put classical guitar on the map. He was the proponent of it, the best in the world. So I was listening to a record that he had made, and a little bauble happened in the middle of the record. A finger slipped, and I said, 'Wait a minute. He's not allowed to make mistakes,' - my mind.

I look back at a couple of games we lost that we shouldn't have lost that could have made a difference. But this is the reality. There have been a myriad of things that have led to our record. I take my share of the blame. We've had a lot of penalties and inconsistent execution on offense that has led to this record.

I started dressing and people used to ask, "Where do you get all that stuff?" I was going to thrift stores with my best friend Bianca Stewart.

I'm always going forward toward something, and that something is usually an album, because I like to record. I probably like to record more than I like to write.

Book stores drive me insane because I know that I will never be able to read everything I want to in my lifetime.

You have to separate the humanitarian impulse from the record of aid itself. We all want to help. Many people would say that it's the moral impulse of the rich to help the poor, but the record of aid has been terrible.

I record stuff all the time, like little vocal things. I write random things down... Sometimes I just get things stuck in my head and I record them, and that actually becomes a song quite a lot of the time.

Concerning iTunes, the deals have mainly been done with the record companies. But the artists, with some exceptions, haven't been very well-represented. This is partly because the record companies have largely been copyright owners.

In the dime stores and bus stations, people talk of situations, read books, repeat quotations, draw conclusions on the wall.

It's not my concern to make a commercial pop record. I want to make a record of music that I would listen to, that is lyrically rich and has songs that people can relate to - more along the Jakob Dylan route: people who create for the art of it and not necessarily the monetary rewards of it.

I'm a numbers guy, and I think numbers sometimes tell stories and sometimes they don't. When you look at the NBA, when teams shoot 45% or better from the floor, what is their record? And if they shoot under that what is their record?

I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I'd try and do it via an indie or somehow license it. I'm not having my music owned by those corporate bastards again.

I shop at thrift stores and consignment shoppes. I wear my clothes as is, and maybe get them dry cleaned whenever possible.

The 'Manipulator' record was really fun to do. It was far less heavy and draining, in an emotional way. It was just like making a rock record. It was just really fun.

Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.

No one has ever doubted Kevin Pietersen's abilities as a player, he has been a phenomenal player for England for a long period of time, his record stacks up to anyone's in English cricket and he should be very proud of his record.

President Obama is the kind of politician who puts promises on the record, and then calls that the record. But we are four years into this presidency. The issue is not the economy as Barack Obama inherited it, not the economy as he envisions it, but this economy as we are living it.

I didn't make my first solo record until 1981 so I don't have any 60's or 70's recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.

Sam Walton instilled ownership of the products in the stores into the collective consciousness of every associate regardless of what job they did for the company.

Though I still have no semblance of a life outside of Nine Inch Nails at the moment, I realize my goals have gone from getting a record deal or selling another record to being a better person, more well-rounded, having friends, having a relationship with somebody.

Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.

Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.

I grew up with vinyl records and remember the pleasure and the kind of buzz that I got from buying a beautiful vinyl record with the sleeve and the lyrics - all that kind of tactile experience that you could get from an old vinyl record.

Now I'm at a point where I decided I'm going to be in the studio for a while, at least until I finish this record I'm working on now. I should have two, three, four of the sessions that I had that were similar to the sessions for Peace Trail before I have a complete record.

I was too shy, I think, to sing publicly. It takes a particular kind of person. And when I was young, I was not that person. In the first instance, when a record company said to me, do you want to try and make your record, my first reaction was, no, I'm not worthy - I couldn't possibly, and so on and so forth.

I don't know if I ever feel totally great about a record when I put it out. With every record that I put out, someone has literally got to come pry it from me because when I listen to my own music, I just hear flaws in it.

The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.

I was only halfway to the record and it seemed like it took me a long time. I feel like that one will never be broken. That record will never be touched.

If bumblebee leavings and stump paste are so good for you, why can't any of those guys (in the health stores) grow full beards?

I remember growing up in suburban New Jersey, and all the computer stores were like, 'Motherboard Mayhem' and all these cheesy names.

Well, I was making a record, and I had to choose a name, because they said, you know, you can't make a record under the name of Reg Dwight, because it's never going to - you know, it's not attractive enough.

If I won the lottery I'd start a charity that helped little family hardware stores, cobblers and fruit shops open in city centres.

The Republican party is not perfect, but if you put this party's record of achievements on one side of a balance scale and the Democrat's record on the other, the Republican side would slam the table.

Sometimes, I want to make a record that's so schizophrenic and so all over the place, and then other times, I want to make a record that's very coherent and very short and together.

I mean, all the record companies said no, you know, say 10 record companies, whatever. But one said yes, and it took only one to make The Go-Go's happened.

You know, when you're making a record, you come up with 15, 20 songs. Then they start to fall by the wayside as your interest wanes. It's kind of like a process of elimination to determine which songs wind up on the record.

I'm not really into the numbers game of, like, what position our record is. But you find out at the end, you know? You're like 'Oh, all right! That's good!' We had a Number Three record. That's crazy! What's that about? That's exciting to me! I think that's good.

I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs. Today, record companies are failing because they are putting their accent just on the young, and I think that's rather silly.

Here's the way the licensing works ... If you write a song, nobody can record your song before you do without your permission. But, once the song is recorded, they can get what's called a 'compulsory license', and they can record the tune, but they have to pay you royalties.

My favorite record shop was called Recommended Records, in South London near where I lived - they did all the original Faust reissues that came out in 1979, and they also did a lot of Sun Ra stuff. They were a great record shop.

Veterans have had a long record of leaning towards the Republican Party. I think that's changing. I think that President Obama has the strongest record with veterans among any president in my lifetime.

If I'm reviewing a record, man, I play that record to death, which is ironic in a way because if I review a concert I feel very confident in myself, certainly at this point, and have for most of my career. You're only hearing it once and then you go to your typewriter and you write the review.

I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.

I love charity thrift stores. Amazing one-of-a-kind pieces at terrific prices, and all the money you spend goes to a good cause.

If entertainment ran grocery stores, we'd NEVER get oil cured olives or blue cheese, it would be JUST Coke.

At the time, there was a great disagreement over 'The Wild and the Innocent,' and I was asked to record the entire album over again with studio musicians. And I said I wouldn't do it, and they basically said, 'Well hey, look, it's going to go in the trash can.' That's the record business, you know.

I had a good start. I did a record with Beyonce. I did a record with Lenny Kravitz. I put out my second collection of music and then my second collection of clothes.

I didn't make my first solo record until 1981 so I don't have any 60?s or 70?s recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.

As musicians, we are quite literally singing for our supper. Don't get me wrong, I love touring, but the reality is that our idols from the '70s and '80s never toured this hard. They'd do a record, have one big world tour, maybe two, then break to do another record.

In my own professional career, I've tried to establish my own identity and my own track record so that if I were to entertain a run for office, there would be my own track record for voters to look at.

Being a musician, especially at the major label where you work for so long, it becomes a cycle. Write a record, make a record, tour. It's just this cycle, and I don't think there's any life built into it with time to assimilate what's going on in front of you and what's going on in your head.

On every Bright Eyes record, there's some kind of sound collage that begins it. Some of them have dialogue, some don't. I like it because it can kind of slow down the attention span a bit. It's a way to draw you in to the rest of the record.