Top 228 Recordings Quotes & Sayings

I record a lot of stuff on my phone when I'm out and about and regularly use the recordings in my tracks.

I enjoy albums, not a song here and there. The recordings I like have been a soundtrack to a universe.

The memories you have are just recordings of things past, not chains to bind you.

I'm very conscious of the fact that I devoted my life to recording music, recordings and writing songs.

I never did anything with the early recordings I made, I felt they weren't worthy.

One of the greatest live recordings, I think, in the history of the world is Ray Charles in Atlanta... And they didn't even have a big mobile recording thing set up. The word on the street was they only had like two microphones, one for the band and one for him. Perfect recordings. I think it's mono.

The thing to remember when you're re-recording pieces from the past is that you have to have respect for the original performances, recordings, and arrangements.

I used to think that all great recordings happened at about 3 A.M.

I'll go through the budgets for tours and recordings, royalty statements... You have to wise up about it a bit more.

I really write at home on my own, and the demos themselves are very similar to the final recordings in a lots of ways.

A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music.

I like to stay home and listen to recordings.

I don't listen to recordings very much now, to be perfectly honest. I listened to them a lot when I was younger.

The government paid the family of Richard Nixon $18 million for papers, tape recordings and other materials seized after Watergate.

'Your Dog' I tried to re-record at my house, like, four times after the studio recordings were done.

I rarely get the time to watch cricket as I am busy with recordings.

I love hearing old Bob Marley recordings that he did before he made the versions everybody knows.

Performing is a thing in itself, a distinct skill, different from making recordings. And for those who can do it, it's a way to make a living.

I've loved Alfred Cortot's playing from an early age, and I never tire of hearing his recordings, particularly Chopin and Schumann from the 1920s and '30s.

The best live recordings capture elements of surprise onstage.

I learnt from Armstrong on the early recordings that you never sang a song the same way twice.

I listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.

I always dress up for recordings.

Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats. I was starting to learn the signifiers of production from the '60s, the '80s. We never re-recorded anything. All the record companies that wanted to sign us - except for one - were excited about the recordings that we had done ourselves.

Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.

I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.

There's something about live recordings now that's too hi-fi.

I work like every journalist works so I have recordings, I have notes.

I try and manufacture recordings to sound spontaneous. Then, some things are spontaneous.

We never got anything out of the recordings. I'm still as broke as I was when I was with the Mothers.

I realized I liked being in the studio and working on translating the ideas into recordings.

I love that [ late-50s Verve recordings] - to me, that's the epitome of vocal jazz. It's my favorite style and era of it.

Never have so many recordings of the great Masses and motets been in wider circulation.

I'm always on the prowl for the kinds of recordings that can inspire and potentially make a difference.

Well, in the sense that we do not tour or record together anymore - then I suppose not. But if our old recordings get heard more we shall be delighted.

I insist on a Steinway for my recordings, my concerts and my home. It is the only piano I want to hear my music played on.

I've come to realize that you live on through recordings; they're like a musical diary, a window into somebody's soul.

I like to collaborate with other people for studio recordings because I believe collaboration, in any form, makes music better.

If I think about the way I was drawn into the music, it was much more by recordings than by live performances.

The White House tapes, the recordings that Nixon made of his conversations in office, have long been recognized as a marvel of verbal incontinence.

There are a bunch of songs that I think are beautiful recordings, and I'm proud of them, but I've no interest in listening to them.

My grandmother got me recordings of the 'Goldberg Variations,' in addition to the 'Brandenburg Concertos,' the Mozart string quartets and Beethoven's 'Seventh Symphony.'

There is a definite difference between live shows and the recordings. The recordings are for all time, hopefully, so you do want to bring across layers of subtlety. But the live show is this primal experience that everybody's having at the same time, that the recording can at best try to imitate or duplicate.

My husband is a musician. He cooks and he's a chef but he also, he makes basement recordings. So many people in my life make basement recordings, so I feel very lucky, I'm surrounded by very creative people.

I love Arthur Rubinstein, especially his live recordings. I think his Chopin Mazurkas, his interpretation of the Polonaises, and the Concertos of Chopin are just incredible. When I was a child, I wanted to play more and more Chopin because of his recordings.

I've certainly developed as a vocalist. I find my early recordings very difficult to listen to.

To me, dance is so ethereal and elusive, so much of an illusion. After a performance, that's it. With vocals and music, you have good recordings.

As a kid, I was obsessed with Broadway cast recordings, and I would totally mimic and memorize every little choice that these actors made.

The whole time I was with 'The Temptations', I was accumulating my own solo recordings.

My dad documented my whole life on video and there are so many recordings of my sister and I dancing and singing along to Michael Jackson's music.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

We played with AC/DC. There are actual recordings of us doing 'Johnny B Good' together.

I'm very aware of what, say, electric guitar recordings in the '60s sounded like.

To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.

The books are recordings; that's what they have to be, recordings of the writing. They have to be happening to me.

I played cello on my early recordings, but that doesn't mean I'm a cellist, you know?

I made so many recordings with junky mics and crappy mixing consoles, you have to use what your tools are and in some ways that's been inspirational.

I don't listen to recordings of my songs. I don't avoid it, I just don't go out of my way to do it.

I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.