Top 1200 Recorded Music Quotes & Sayings

Like Noel Brown and Scotty, they recorded as the Chosen Few, and I recorded as Dennis Brown then.

I believe it's possible to have hit songs and popular music that's recorded by human beings.

I'm constantly revising and updating a piece until it's finally recorded. Once it's recorded, then it's over.

I have one piece of music, since 1997, and I don't see it having lyrics. Where does it go in this world? So I haven't recorded it.

It's an amazing privilege to perform for an audience paying to hear the music that you've recorded.

The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.

I just do a random roulette wheel version of what I've recorded or sometimes tunes I haven't recorded. It's a collection of whatever happens, happens.

The Shades never recorded anything, Little Daddy and the Bachelors recorded a couple of records, ya.

Recorded music has always been in a sense promotion for live performance, and some artists have discovered that giving it away is as effective as trying to sell it.

In New Zealand, we have a one-party disclosure system, where if one of you knows you're being recorded, it's completely fine. It doesn't matter if the other person doesn't know. Look, I'm not breaking new ground by recording people who don't want to be recorded.

Technology has altered the way music sounds, how it’s composed and how we experience it. It has also flooded the world with music. The world is awash with (mostly) recorded sounds. We used to have to pay for music or make it ourselves; playing, hearing and experiencing it was exceptional, a rare and special experience. Now hearing it is ubiquitous, and silence is the rarity that we pay for and savor.

I was 16 when I recorded 'Flashlight.' I produced it, made the beat, wrote it, recorded it.

Music gets recorded usually in one format, and when you have to take it out and perform it there are other applications and things like that that are better for the live performance.

The choice that I made was from my best music, for the songs that I knew that the public liked. Then, when I recorded my new songs I found that my old material had not faded, it was still current, the music was good and the songs were great. I sat in my house and listened, got the chills, and I thought, how great is that? It hasn't dated, it hasn't gone anywhere, and it's great.

When I lived in the U.K., I recorded a lot of ska and rock-steady styles of Jamaican music. But people there weren't accepting it. So I began using a faster reggae beat.

I do think music sounds better when it's on tape and more simply recorded.

I've just built a studio in my mama's old bedroom, which I thought was fitting; she died last year. We've recorded nine songs recorded in there already; we're sort of just chipping away.

Music has become something different from the past, when it was one hundred per cent live. Throughout the twentieth century, it was recorded, and the medium adjusted.

I sing for the joy of music... when I go back home with the satisfaction that today I recorded a good song or the whole crowd was singing along with me when I performed on stage.

When I was a kid, there was so much talent outside of recorded music.

There's one song that I recorded called 'Saviour' and every single sound from that song was actually recorded in a shipyard on my iPhone.

I'm always looking for older equipment and ways of recording, but you can't escape the fact that it's all going to be digitized and reduced. I do think music sounds better when it's on tape and more simply recorded. I've been arguing with people for 10 years about tape versus digital, and I believe tape is absolutely essential in getting the sound that's conducive to the enjoyment of music. I wonder if it's going to go back to that. Sometimes I think it has to. As music becomes more computer-based, it's lost some emotional impact.

Almost everything I've ever recorded, I recorded myself at the desk, in my house.

The music that I wrote and recorded is music that I really enjoy listening to. It's just dumb luck that a lot of other people do, too.

I've made music for grownups most of my life as a singer/songwriter - often with my band, Nine Stories - recorded many albums, and 10 years ago I started recording kid's music, too.

Since the traditional recorded-music business models have drastically changed, there is truly diminished income derived from recorded music by artists - both current and catalog. The touring industry has become much more important as a majority revenue stream and the ancillary fan experiences and promotions that may be derived from it.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

Whatever my recorded output is, it's a reflection of a general love of music.

Great music can come from anywhere around the globe. And there has always been a music business. It just wasn't recorded, nor was it centered in New York, London, Los Angeles or Nashville but rather St Petersburg, Vienna, Berlin, Milan and Paris.

One performer whose band played my music better than I could myself was Art Farmer. He recorded 'Sing Me Softly of the Blues' and 'Ad Infinitum'.

Recorded music is more a marketing tool than a revenue source.

The very first music I recorded by myself, when I was 17, I said it was by King Tuff.

Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.

In 1966 I recorded my first bolero album. I was about 18 years old then and I recorded it because I wanted my parents to know that I hadn't lost my identity of being Latino.

My father was able to play a number of musical instruments and I fell in love with classical music in my teens and I allowed it to influence me. I like to think I took and still do from classical music and various techniques, I have made classical albums and recorded seven different pieces of Bach on different albums and its all music too me.

So, in the course of events, I had an opportunity to come in contact with Colin Matthews, through the Rex Foundation sponsoring recordings of various music that was being recorded over there.

I was trying to actively get away from music, I guess. But I recorded a whole bunch of instrumental piano songs.

I'd experimented with so many different types of music. I had these folky songs I'd written and recorded, but something wasn't quite right.

One of my favorite songs I've ever done is "Who Says," and I was 17 when I recorded that song. It was just so exactly what I felt, during that time. That's when I knew how powerful music is.

When we recorded 'Iowa,' we jammed, we went through the songs, we played as a band and we recorded as a band.

I don't subscribe to the view that only puja numbers recorded during the '60s-'90s are enjoyed by the present-day listeners. Definitely the songs of that period are very popular even now, but the songs recorded afterwards are equally lapped up by the audience.

Now, one can often get away with playing music by ear when it is not being recorded, but writing is another matter; its mistakes are not forgotten because they are still there to confuse us.

I have always been interested in incorporating real places into the music I make. Bringing the outside into the controlled world of recorded sound just gives life and physicality.

People around me are always an inspiration due to their love of the music and they help me to generate ideas for music. But it's really the passion and drive I have for my music that keeps me connected. I recorded my first song in the studio at 8 years old and I've taken it seriously since then. Making music is fun to me so I aim to translate those feelings into the music.

In Jamaica, the music is recorded for the sound system, not the iPod. It's about experiencing music together, with other people.

I love synthesizers and I love electronic music and I love the avant garde and I always want to try and have some kind of element of that in the music. So once the music is put down and recorded, that's when I start to tinker with it using synths.

You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted. I've seen the scores of my things and they don't resemble the music in any way. If you give them to somebody who has never heard the music and say, "What does this sound like to you?" they'll play you something that has no relationship with the music it derives from. Notation simply isn't adequate.

Records can ruin you. That's why it's important to be as intimately familiar as possible with the history of recorded music, I guess. In a way, it's an argument for record collecting.

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.

I wrote, recorded and produced everything myself. I played the guitars and keyboards while the drums were programmed. As a producer, I think music technology has reached a point, where the results that can be achieved in this way, allows me to create the music and sounds I envision.

Live is best. You have movement, and I think we should do as much as we can to put that sense of movement in the recorded music.

It seems all worlds of music - rock, blues, R&B, soul, hip-hop and others - are able to point to impromptu get-togethers as proud moments in their timelines, encounters that were recorded and created music of lasting impression. In the jazz tradition, there are a few, but none that has been revered for as long as Jazz at Massey Hall.

Since the dawn of recorded music, every generation has felt shocked by the musical tastes of the next.

In a way, all recorded music is reduced to the same level, no matter what it is. You find it in the store, you put it on and, "Oh, that's not cool. That's gangsta rap. That's white supremacist punk." But in a way, the content is removed from the intention of the people that made it. That's the commercial level of music.

I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.

I never recorded the music because I wanted to be a millionaire. I recorded it because I love music.

Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.

We're always looking for ground where we can experiment, where we can do something that's relevant but that hasn't been done before. Can it be in recorded music? Can it be in the field of a tour? These can take any kind of forms.

Before I did comedy, I'd freestyle with all of my friends. In high school and into college, I recorded songs with my friends, not to perform but just to play for them. So I've had interest in music for a while. Early on, I'd host a lot of music open nights or hip-hop nights, so a lot of my early experience performing was around music.

Being a man of taste and sophistication, the 80s were objectively, quantifiably, empirically, diagram-it-on-a-blackboard the worst decade in the history of recorded music.