Top 1200 Records Quotes & Sayings

I see myself as real. Like I mean if I was the President I would have a responsibility, because people put me there. Nobody put me here. They just buy my records. They wouldn't buy my records if my records wasn't good. I'm being who i am in the record.

My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.

I kind of decided that doing music is enough because I'm already running a couple small businesses. I'm a part of Bikini Kill Records, Le Tigre Records, and Digitally Ruined Records. In dealing with my health and everything, my ability to do that? I wouldn't be good at it.

When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.

You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?

If you listen to 'Electric,' 'Entourage,' and 'Been With A Star,' all those records are records that I dug into the crates for to help me create that feeling of old funk. No one makes records like that anymore.

I got archives of records. I have records from when I was 17 that I still think are pretty dope.

My favorite records are not easy - they're not records that reveal everything to you the first time out.

I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.

Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.

There are a lot of musicians who are still desperately trying to pretend that it's 1998 and by having a huge marketing campaign, they somehow believe that they can sell 10 million records. That's delusional. No one sells 10 million records. The days of musicians getting rich off of selling records are done.

Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.

It was always in me to just put records out. I don't like holding on to records.

I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.

People will always have the desire to make rock and roll records, and they'll always have the desire to sell rock and roll records. Most of the people making these records do it because it is a business, and if someone says, "You can't do this", they won't complain. They'll just keep making records, but they'll get blander and blander. There'll still be rock and roll, but compared to what it really could be or ought to be, I don't think it'll be all that terrific.

I just have to sell enough records to continue financing making more records.

I started listening to classical music when I was in my early teens. Prior to that, I listened to pop records or band records.

I've never had anybody produce my records. I've always produced my own records. I've worked with a guy for a while who was an engineer who helped me produce records, but I've always made my own records. I'm a control fanatic. I've got to control everything.

I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.

History records endless struggles to enlarge those realms, inspiring ones; it also records painful reversals and setbacks.

I was going to tape some records onto a cassette, but I got the wires backwards. I erased the all of the records. When I returned them to my friend, he said, "Hey, these records are all blank."

I can work with all these different kinds of artists and still be able to come up with huge records. Not just cool records, but game-changing records.

I'm a fan of records you get and you listen to them from beginning to finish - records where everything is there for a purpose. There was never any filler on those records - it was all well planned out.

I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.

My brother gave me my first records when I was about 3 or 4 years old, because he bought a lot of records. And he was very nice because he gave me the records he thought I'd like more.

People still come up to me and ask me to sign their records. That's right, records! Man, they don't even make records no more!

I own records that have the power to make me cry. Records to be by or with - truly precious possessions. It is the ambition of the Midnight Runners to make records of this value.

All my records have been written to be records, rather than writing a group of songs and seeing if they fit together.

I guess the revival of vinyl records is not helping the environmental problem. Although, in some ways, people don't throw records away - I mean, I still have records from when I was 5. So it doesn't seem quite so wasteful. But maybe I'm just lying to myself.

I don't make records to win awards. I make records to make records and hopefully make the records as good as they can be.

To my knowledge there are no good records that have been built by institutions run by committee. In almost all cases the great records are the product of individuals, perhaps working together, but always within a clearly defined framework. Their names are on the door and they are quite visible to the investing public. In reality outstanding records are made by dictators, hopefully benevolent, but nonetheless dictators.

I don't sell millions of records. As a matter of fact, I'm not even interested in selling millions of records. I enjoy MCing. I make a decent amount of money. I can feed my kids. I keep a roof over my head. I don't have to sell a million records to maintain my lifestyle.

Heavy Metal fans are buying Heavy Metal records, taking the records home, listening to the records and then blowing their heads off with shotguns? Where's the problem? That's an unemployment solution right there, folks! It's called natural selection.

Most of the time I don't force records. I'm not one of these guys that put records out every nine, 10 months. I'm pretty long between records. I've only had a few in my career. I kind of wait until I feel I have really strong songs. I don't know if they're going to change the world or not, but I dig 'em, and if I dig 'em we make a record.

For us, selling a million records in 2005 is the equivalent of selling 2 to 3 million records (five years ago). Rock records aren't flying off the shelves like they used to. Hip-hop and pop are so huge. (But) everything's on the upswing for us.

I wish records got made faster and looser with less thought in them, but since touring is so much more profitable than records, you spend so much time on the road that it's hard to work on them. And the records get further and further apart.

The thing about Shaggy's records are those records are very timeless.

The program grew out of a desire to address a gap identified after 9/11 ... The program does not involve the NSA examining the phone records of ordinary Americans. Rather, it consolidates these records into a database that the government can query if it has a specific lead - phone records that the companies already retain for business purposes.

The majority of my records that become big records are usually done in one day.

All the records I've made have pretty much been big club turntable records. You need to feel the rhythm.

I'll keep making records until I don't have more ideas for records.

Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.

Records have images. There are wet records and dry records. And big records.

I will sing their praises, I'll sing Donald's [Trump] praises and Marco's [Rubio] praises and everybody else's praises. But I'm going to keep the focus on substance and records. And there's a reason why they scream "Liar." Because when you point to their own records, their own voting records, their own words, they don't like their records because their records are inconsistent with what they're running on.

I care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.

I keep on calling them records because they will always be records to me.

The godfather of rap, that is what I am known as, and the king of party records, the records I do.

If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.

I make records all the time. But making records is not quite the same as getting them to the audience.

I've always loved records, even when I was a kid, my parents would buy me records instead of a lot of the other toys kids got. That's what I wanted. I've been collecting records and DJing my whole life, and I thank my parents for that. They had a big record collection and really imparted the magic of it on me.

The fans are the end result of what we do. Sometimes I think we forget that those are the folks that mean it in this game. There's plenty of evidence to be found that you can have all the #1 records in the world, but if you really ain't touchin' them, you don't come home with gold records and platinum records. I'm very proud that we've only had one #1 record, but we've sold two and one half million!

I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.

I want to keep making records as long as I can and that's the beginning and end of my concern about selling records.

My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.

Guru's like Tupac. He just records and records and records.

To be truthful, Jay-Z wouldn't have a quarter of the records sold today if it wasn't for the white people buying his records.

Yes; my brother Bobby used to distribute records at King Records. I had a job there, too, packing records up and shipping them off. But I always wanted to play sessions at Stax, so I figured out a way to do it.

I love the idea of making records that people can use, records that have a sense of utility.