Records Quotes
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Comeback records always worry me, especially when they're made by one of my heroes, and I'd heard stories about Gil Scott-Heron recently, about drug arrests and prison terms and other troubles. I wasn't prepared for the ravaged shakiness of his voice on this record or the raw spoken word pieces or the dark electronic backgrounds.
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Yeah, the record for most titles was previously held by the Fabulous Moolah, she won it four times. And a few weeks ago, I won the title for the sixth time, which has never been done before.
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Usually my records are made trying to capture the essence of a band playing in a room.
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It's just a compulsion to create something new and stay busy. I don't know how to do anything else. It was never exactly right. Those records came out in spite of their flaws. And because of their flaws they were good.
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As long as we keep learning new music and getting better musically, there's a good chance that the record deal won't change anything.
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In the summer of '84, you just couldn't escape the Born in the USA record.
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Mansell is slowing it down, taking it easy. Oh, no he isn't! It's a lap record.
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The way I go about writing records is that I make a calendar date to start the new record, so I have nothing. I don't have a bunch of notes that I bring into the office, I start with nothing at all.
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As it turns out, it's really expensive to make movies, much more than records.
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I have no clue what my stats are. Records are for after the season.
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The day I was born songs were on records, phones were tied down, computers needed rooms and the web was fiction. Change the world. You can.
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No one wants to be some guy who puts records out about how good it is. That seems quite arrogant.
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I may not answer the questions that either the moderator or you want to hear, but I'm going to talk straight to the American people and let them know my track record also.
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You can't trust an artist that just makes good records.
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It's complementary. It's fairly clear where the boundaries are. When I start telling you the contents of his head, I am making it up. But I try to make it up based on what is on the record. So even my wildest speculations on Thomas Cromwell will have a root somewhere.
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I really believe that if I make records that are indispensable to my audience, they'll go out and spend money to buy them, even if they've already downloaded them. If they can afford it. If they can't, I'd rather they be able to download it than not get it at all.
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My bassist Jorgen Jorgensen opened up my life to a lot of great, obscure old soul records.
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We don't take ourselves seriously; we make the records for fun.
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They were marketing me as a teen idol, when the stuff on the record was not what teen idols were doing at the time.
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It's hard to think back. I didn't even know I was going to do it, make actual records. But I was always making up songs, once I figured out that you could do it. I think it's pretty much the same, but there's less urge to get it moving out there. There was a time when it seemed like it was really super important to the audience and now it's just medium-important for people to like us. But that's okay.
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Even a Menno sheltered from the world knows not to stick her tongue into the mouth of a boy who owns an Air Supply record. You might stick your tongue into the mouth of a boy who owned some Emerson, Lake and Palmer, but you would not date him on a regular basis, or openly.
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Hit records create slang, and if you create slang, you get into a broader conversation level.
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I'm an amateur at music and an amateur at most things. I like the idea of offering some music and some records and a website to people who feel perplexed.
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An artist always know everything he does, you know what I'm saying, all the record he starts and don't end up in the public and just sit on the harddrive.
