Top 1200 Record Stores Quotes & Sayings - Page 7

'Supermodel' was a hard record for me; it was an emotional record to write. I was purging a lot of stuff with that album, and I think the one thing I didn't really consider, that I'd be supporting it for two years and living in that state of mind every night.

I grew up loving Vince Gill. That guy sounds just like his record - or better than his record. I've always been such a fan.

'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 have memories - but only a fool stores his past in the future.

When Sinatra was alive and singing, he was constantly changing orchestrators from one album to the next because he said he didn't want every record to sound like every other 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.

Personal shoppers in big department stores are seriously under-used.

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.

I was listening to this record by Paul Desmond called First Place Again. It's incredibly gorgeous. There is nothing better that you would want to get from music than you get from that record.

The reality is people are going to steal the record instead of buying it. It's kind of a cancer in the industry where people will just use a streaming service and then won't buy the record.

'Epicloud' is the first record that I felt confident enough to include all those things on one record, so it goes between melodic hard rock to schizophrenic heavy metal to country to really ambient stuff, and it's all in one place.

The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?

Sometimes the media highlight a record for me that I did not know anything about but setting a record at a prestigious tournament like the World Cup makes me happy.

I did not want to make the widow record. I still haven't made the widow record.

I would have to say that my very first encounter with the arts was when my mother bought me my first record player when I was six years old as well as a Karen Carpenter record.

It's just fun to go out and compete. It doesn't matter what your record is or what the other team's record is. You're playing in an NFL game, and you are out there competing with great players.

You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.

We have a record for Nawaz Sharif but not the others. And judging by the record, it's pretty hard to be optimistic. His [Sharif's] previous governments were very corrupt and regressive in the policies pursued.

For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.

I kind of, I have quite a clear idea of what I'm trying to do with a record. A Super Furry Animals record is always an adventure, because there's five members of the group and everyone is a producer, we all throw in ideas, and regardless of who writes the song, the songs always get pushed around and shape-shifted to fit everyone in the band. So when I start a record with Super Furry Animals I can never predict how it'll turn out.

I've made up so many stores about my name, I can't remember.

I never really got into any records purely thinking of them as a breakup record. I mean, honestly, for me, listening to a breakup record whilst dealing with one seems counterproductive!

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.

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

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.

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.

We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.

People weren't buying as many records. My record company did not want me. I went through three record companies, went on tour at the wrong time. It destroyed me.

In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.

So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.

If you listen to a Deadmau5 record or a Skrillex record, I really enjoy that stuff because, as aggressive sounding as the Skrillex records are, they're still musical, and that's why they have such a broad appeal.

The neighborhood stores are an important part of a city child's life.

When we finished the tour we had been writing together for a year. We moved forward from there and have just now finished our record. We're having a new record out in the Spring.

At Bonobos, we believe that human beings are tired of shopping in stores.

In fashion, we don't often know the prices. We don't have time to go into the stores.

I wanted to put jazz on the record, all the loves of music that I had on the record, so I could show people I was ahead of my 19 years. It may have been over the heads of some people.

Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.

Basically, a band's first record is them coming together and really learning everything, and then, after they're on the road and really become a unit, the next record slams.

I think that every new record is a chance to... I think what it is for me is my heart and soul at that moment in time... I've always felt that just being able to make a record is a privilege.

I know New Yorkers are gonna vote for a candidate - me - who has the longest record of delivering for them. They want a mayor who can deliver for them. And I'm the only one - I don't care who gets in - who has that record.

I hate that my opinions are gonna be on record... that my opinions of other artists are going to be on record.

When I first got my record deal, I was like, 'I just want to sing,' and I never put much thought into what really goes into a record. But as I got older, I developed a passion for writing.

It was three breakups going on at the same time. It was breaking up with my band, and my boyfriend, and right after that, my record label. I was arguing a lot with my record label during that whole time, so maybe they all affected each other. This record, Mondo Amore, came out of a time that was really heartbreaking and confusing, and that's why I switched the sound up a lot, to make it sound a little bit grittier and more raw.

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

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

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

I don't look very much at magazines or go to vintage stores.

I have to have the reasons to make the record. There are just too many records out there, especially when it's something as audacious as a solo percussion record with solo drumming music on it. There better be a reason behind it.

You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.

I think 12 songs is too much to listen to all at once. When I buy a record, I get to the fifth song, and then I don't get to really hear the rest of the record.

I can produce a rock record; if you want me to produce a street record, I can do that as well.

I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.

When you think about it, department stores are kind of like museums.

Actors wait tables, directors work at video stores.

I wanna write a classic metal record, a classic rock record, in 2013.

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.

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.

My father would make record after record, and he'd be so surprised at what would sell and what wouldn't.

When I wrote 'Marvin Gaye,' my whole intention was to make a record that people would put on a record player... and just instantly make out with each other.

This 'Pighammer' record is supposed to be a side project. And it just so happens that at the same time I'm recording this record, our contract was up with Warner Bros., so it's time for Static-X to re-sign.