Top 1200 World Records Quotes & Sayings - Page 3

We'd take records you'd never hear in clubs and make them into club tracks. We were doing B-sides on records that had nothing to do with the songs, and calling them Masters at Work dubs.

I like how our records go from super poppy to heavy then electronic, and next I'd like to make a bunch of records where each of them has a distinct vibe to it.

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 do love the Nat King Cole stuff, the classic Christmas records. There's something about putting those records on and hearing his voice at Christmastime that brings back a lot of great memories of growing up.

A lot of people do records, and they get hit records, but we were blessed with a lot of monsters. 'Oh Carolina' was a very monstrous record in 1993; so was 'Boombastic,' 'Angel' and 'It Wasn't Me.'

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.

In the commercial music world, the folk world, we sell records and concert tickets - this is the way I make a living. You go out, you make your art and hopefully people will put their money down for it. But it's getting hard. I have to be on the road so much to keep the lights on.

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.

There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.

The streets buy records, but they don't really buy records in incredible numbers.

I learned to play piano in a rock n' roll context or band context from country records - you know, Floyd Cramer - and from the Beatles and the Rolling Stones and Stax. And none of those are keyboard records.

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.

Argentina is my country, my family, my way of expressing myself. I would trade all of my records for the World Cup trophy.

If somebody wanted to go and find songs of mine to fill an iPod, that aren't on any records. They could probably find dozens of songs besides the ones that are on records.

Bob Dylan is quite a songwriter, and a great singer and musician. I won't bother with comparing myself to him, but I will say that I heard his records at a very young age and I still listen to all his records.

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.

I feel like records are moments in time, a modern moment that feels right then and it found its way to us then, that minute. We can all try and repeat records we have made that had success, but it's not possible.

One of my favorite things to do is sit around and listen to old records... You're forced to listen to the whole thing. And it's so cool digging through the bins trying to find them. I get giddy about records.

I always want people to expect the unexpected, to hear me in records that have nothing to do with bachata. 'Golden' is the golden opportunity for them to appreciate me on other records.

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.

The whole having records and selling records and being on TV, that was something that I didn't ever think would be for me. I thought that would be for other people. All I wanted to do was make a living playing the drums.

I'm a record collector. I've got over 2000 records. It's so nice for me to have records that are me. That's me on there.

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

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.

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.

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.

As long as I've got that urge and that fight and fire inside of me I'll continue and records will come and records will be broken. But the day I don't feel that kind of stuff I'm happy to walk away.

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.

World records at 19. I don't want that. Later, yes. And when it comes, I'll learn to live with it, but it won't be my first love.

A lot of people felt I was getting work because I was Boy George. My response at the time was that there's a lot of DJs making records, they're not all making good records, but they have the right to do that.

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.

My records are borderline dance records. They've got a real electro-rock heart and soul, and the vibe of the sentiment is pop, but there's a lot of people that were like, 'This is a dance record.'

I’ve never intended to make religious records or records that preach some kind of point of view... If you’re involved with imagination and the creative process, it’s not such a difficult thing to believe in a god. But I’m not involved in any religions.

My records are basically a litany of complaints against the world, and I'm quite like that in real life as well.

Very good records exist about the Trail of Tears. Journals and other records kept by Cherokees and non-Indians tell such things as which people were where on which day.

I do see a lot of young artists who write records or sacrifice records, because there are a lot of older artists who are preoccupied; they don't have as much time as they used to to be in the studio.

Not only my favorite producers, but those are actually brothers, they're part of our We The Best family. To me, they're the biggest guys out, and the music they produce and the records they put out are phenomenal records.

I don't make as many records as other people do because I prefer the live side of it - and my records are so big that they keep me touring for years upon years and years.

We were up for a Grammy, we sold millions of records and we toured the world I don't know how many times. It was insane.

I think it's ridiculous to try to sell records to teenagers, because teenagers don't buy my records. And there ain't that many teenagers out there in the marketplace.

I'm buying records a lot, like, every week I'm just buying old reissues or old originals or new records that I have heard about.

I project stronger. If you notice the old records - they're much lighter - vocally much lighter in sound than the records that I'm doing today.

The worst thing was being in the car and hearing someone else do your show. Three records in, 'She's still not here.' Four records in, 'She's still not here.'

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.

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.

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.

I'm the world 'Guinness Book of Records' holder of 1,749 hugs in one hour. My arms fell off.

If a regular law enforcement agency wants your phone records, all they have to do is issue a subpoena. But now the intelligence agency is not able to quickly gather records and look at them to see who these terrorists are calling.

What defines greatness is when you hold all the records and what you mean to your fans, on and off the field, because that is who ranks you as the greatest receiver of all-time. The guy that holds all the records, the guy that has set the stage for all of us, you have to give it to Jerry Rice.

If you study the history and records of the world you must admit that the source of justice was the fear of injustice.

With my records, it's just a matter of trying to create something fresh for myself in a very finite context, which is the pop song. I don't know anything about the people who buy my records, and what, if anything, they get out of them.

There's no question that the next generation of terrorists, rather than going for small, little dramas, will go for the big one. They now understand that the way to get the world's attention is not strapping bombs to themselves in a pizza parlour, but to do something so horrific it gets you into the Guinness Book of World Records for terrorism.

I love listening to old records. Stuff from the '70s, even disco and funk records and a lot of early rock albums - what's great about those recordings is that you can actually hear the true tones of the drums themselves.

Some amazing records have this power to leave you with inspiration; you're left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.

I was 16 years old, and I was just flailing around, looking for an interest. I heard, you know, these jazz records. They were modern records, at the time in the '50s, and I realized that I didn't fully get what was going on. But I liked a lot of what I heard.

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.

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.

I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.

No one really buys records anymore. You can look at sales and do that math real quick. Unfortunately, it's fast food in the music industry. People don't ingest full records anymore.

You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.