Top 1200 Records Quotes & Sayings - Page 2

Brass bands are part of my upbringing. Brass band records were among the first records I listened to.

A lot of people make records where there are a couple songs worth listening to and you skip through the rest, and I don't want to do that because those records bore me pretty bad.

When you listen to early Leonard Cohen records or Joni Mitchell records, you feel like a window is being opened into someone's life.

I've got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next - since The Police I've mostly made records with keyboards.

It's always cool when you get immortalized on records. I am just happy that I have gotten to the level where rappers who can actually rap say my name in records, regardless if it's a diss or not.

I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.

In rock n' roll, we don't sell records at all like we used to. Yet the artist still has to pay to make records. So you've just got to get out on tour and be smarter about your merchandising.

The good thing about songwriting is you don't have to delineate between what's true and what's fiction; records aren't put on the shelf that way. Books are, movies are, but records aren't.

My mother knew how to read music and everything. But I just kinda learned off of records. And so, I was listening to records and I'd play 'em over and over.

Some people buy records just to dance to 'em. Some people buy records to listen to the radio. And there's people that buy records 'cause they listen to every song.

I find with records, they become what they're going to become. They take on a power and a direction of their own. Part of making records is to honor that and not try to force it.

I'm so excited that my label Rocker Records has partnered with Cleopatra Records to put out this collection of RARE and UNIQUE kick ass rock !!!

In the past, so many of my records, really, have been sketches for records that never really got made.

We tried to avoid, you know, records. We were told over and over that was probably the most serious mistake and the reason was the system would never catch on, because we didn't have records.

I learned how to play guitar by playing along to Jane's Addiction records and Smashing Pumpkins records, things you can totally hear if you listen to my guitar.

No one sells records anymore. It's all about touring. It's all greatest hits records and box sets. And even those don't sell. People just go online.

The sports page records people's accomplishments, the front page usually records nothing, but man's failures.

If I can go through what I've been through and do a television show with my son and then be a boy from the hood making records for the people I make records for, that's reality.

The mutability of the past is the central tenet of Ingsoc. Past events, it is argued, have no objective existance, but survive only in written records and in human memories. The past is whatever the records and the memories agree upon. And since the Party is in full control of all records, and in equally full control of the minds of its members, it follows that the past is whatever the Party chooses to make it.

Both my parents worked, so I was home alone a lot, and I would listen to their records. They belonged to the Columbia House record club, so they had records!

I let my team pick what order the records go. I don't pick my own records. I'm a fan of my music regardless so you have to think outside of the box.

I've been around for such a long time. My first hit record was over 20 years ago and the people who bought my records then are married now and they probably still play these records and their children like them.

I make an embarrassing amount of money for a borderline Marxist, just by selling 100,000 records. I don't sell millions of records, and I don't need to.

I want all that dirt and grime and life-sauce. A lot of my favorite old soul records have it, but you don't hear it on country records anymore.

I do have a collection of mid-century, small-press science fiction and fantasy hardcovers that is my most focused and dedicated collection. Everything else I tend more to acquire or amass than collect. I have vinyl records I listen to all the time when I work. But I don’t collect records. I just buy records where the price seems right and it’s music I actually listen to.

When something happens in Africa, an artist will sing about it and stuff. We have all the records; we have everything. Free Mandela records and all that.

I get most of my inspiration from older records and older production styles, and that ends up rearing its head in the records that I make.

Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!

The government's collection authority, under the Patriot Act, is basically limitless. They can get the medical records and financial records, gun purchase records. And it also becomes part of another important issue that relates to the FISA court and the rest of the debate. It almost becomes a secret law, like there are two Patriot Acts. The one you read on the laptop essentially leads you to believe that there's some connection to terror .

As far as hip hop, I ain't even gonna front, it was 'Rapper's Delight.' That was the first thing I heard where I was like, 'Whoa.' You take that beat and do something over it. I started collecting records after that, old records.

Anybody I have spoken to who has held a record says 'Records are meant to be broken.' They get excited when somebody has an opportunity to break one of their records and take the sport even further.

I look at my career as a body of work, not just Queens of the Stone Age records. I'm in Eagles of Death Metal, I'm in Them Crooked Vultures; I make records with other people.

I don't think people buy records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it.'

We have signed with Artemis Records. Originally they were our distributor for 'Group Therapy'. My former manager (Chip Quigley) started a record label (Recon Records) and had Artemis Records as their distributor. Unfortunately, the way the label was run meant that it didn't turn out the way that we thought it was going to be. We simply got into something that was different to what we initially thought

I'm very proud of my records, but my most natural creative tendencies have been in live performing. There's a beautiful element to recording and making records, but I've always felt a little shy with it.

It is not that I don't like contemporary country music because I do. I love it. I have recorded a lot and have had great success recording records that have not been very traditional country records.

The best bands kept making records and had this evolution, where by the end, by their commercial phase or sellout phase, the records are from outer space.

Tower Records is like a temple to me. I'll stay there for hours. Nobody can shop for records with me. It drives them out of their minds.

I have over 150 or 200 records recorded. We have so many EP's and LP's. It's just picking the best records to put the best possible album together.

The house is in turmoil with records on every space. In the kitchen and in the dining room is covered with records. I don't have a big enough house to accommodate everything.

The most important thing is how you program and how you choose your records. That really does sort out who is a good DJ and who is just playing records.

It feels awesome to be a Guinness World Records title holder and to be the first artist to achieve this with Billboard. I remember being in elementary and middle school and looking at the books for all of the records, and I can't believe my name gets to be in there now.

The real amazing thing about all of this is I think I've maintained the mentality of a musician throughout it all, which I'm proudest of. And I'm still playing on people's records and singing on people's records.

I inherited this collection of vinyl records, which at that time numbered 6,000, and I've since continued to collect music. As you know, vinyl records can be very heavy, so every time I have to move into a new house, I need to build a complete new wall of shelves to put all these records, which is a nightmare for the architect.

Well, almost everything is open - the political documents, the (unintelligible) of cabinet meetings. What has been opened now and what had been closed are things that many governments still close, and that is police files and trial records, trial records of the special courts set up by Vichy. And especially interesting are the trial records of the Purge Trials after the war.

Sometimes I'd hear things on other people's records and I say I wanted it on my records, but Leslie Kong said, no, it wasn't right and that it wasn't my style.

People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.

Good rap records don't get too far, but rap records that are made for crossing over to white audiences do go a long way.

The only reason why I made solo records was because I got so obsessed with politics, and that is quite personal. I don't really philosophically believe in solo records.

My kids love vinyl, I had to teach them how to put the needle on the records. Now they're worried about scratching the records, but it's incredible!

I used to carry a bag of records down to my friend's house every Friday, and we'd sit down and play all the records I loved, and we'd look at the album covers.

A lot of those early blues records and soul records were pretty much live. It was what it was, and they had goofs and mistakes, but it still kept its charm. We have to remember to keep the feel. It's so important.

We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.

I am calling on all citizens with access to unreleased records pertaining to illegal, unconstitutional, or immoral government activities to return those records to their rightful owners, the American people.

I'm not interested in artistic records for the sake of making artistic records where they're so cool no one listens to them.

I don't think, that all my stuff could've been records. Some, maybe. The ones that I really wanted to be records, those are the ones that are going into the box.

Bob Dylan's first couple of records in the 60's weren't considered cover records, but he only wrote one or two original songs on each album.

I've been doing instrumental records now for a long time and built up this little fan base, which is worldwide, and it's incredible how big it's gotten. People really enjoy these records.

We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.

I'm really lucky because I found myself in a position where I can do whatever I want to do. I can make records, produce records, make movies, or I can do nothing. I'm not a slave to the dollar.