Records Quotes
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Of course whenever you make the playoffs it's an exciting time of year. All the past records go out the window, but at the same time it's a one-shot deal and you have to get it right the first time or else you have to go home for the summer. Every kids' dream is to make it to the state tournament. Our kids are no different from anybody else.
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I make hit records. I make hit records to motivate the people.
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It's funny, I don't really feel that nostalgic. I only recently started putting up some photos from some of the sessions I've done over the years and some of the Garbage sessions because my daughter, who's 10-years-old, when she was about 6 or 7 she was more curious about what I do. I have all these platinum records and stuff, they've all just been in boxes in storage for years but I started just digging through those things because I sort of want her to be aware of my past. I never really put the old recordings on and listen to them and go, "Oh that sounds great."
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I am terrified at the thought that so much hideous and bad music will be put on records forever.
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I wanted to talk about my life. There is so much. I was 18 when I made the record, and I had a lot to say.
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We went through the records and we found over five hundred of his patients who were alive and well five years after their treatment, with no cancer. And Dr. Burton didn't selectively give us these. These were "take what you want. Here are the patients I treated." So there was statistical improvement - more so than any cancer institution in the United States could show.
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Because my mother was in love with Bobby Darin, I grew up with his records playing in our house all the time.
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Taboo was kind of celebrating trash, the kind of records you secretly loved, like Yes Sir, I Can Boogie, by Baccara - things that you probably shouldn't like.
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We don't want to be as big as U2. I like U2. It's a band that still makes good records. We'd like to make a couple more good records.
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It is a discreetly sensual act of disclosure, showing their pieces together in public. And assembling these lacquers also records their assignations: the collection records their love-affair, their own secret history of touch.
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Sophomore records are historically really difficult.
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We always just go out there and do what we do. That's the way we approach all of our records.
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To me, a critic is someone who gets paid for their opinion, and they're entitled to that opinion but I don't really put a lot of stock into their opinion. I'm going to cut the kind of records and the kind of songs that I like, and the kind of things that I enjoy doing. If critics dig it, that's fine, if they don't, that's fine.
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I definitely didn't have a lot of money. I had been fired from a record store. I was just trying to get by. I was on unemployment. I didn't have anything going full-time.
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I'm developing a record company. I'm learning how to supervise music on a film.
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All I can do is just do stuff while I am alive and hopefully that track record will speak for itself.
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I wouldn't record any song that I didn't like.
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From the get-go, my musical influences come from hip pop, popular stuff. And then I backtracked into the blues, jazz and classical. I always had a pop sensibility. I mean I'm making records to sell em!
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I'm trying to make records where people don't feel cheated. Nashville has been guilty of insulting the Country Music audience for years and years.
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When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.
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When I’m Chad from Nickelback, then I have to wear one hat and I have to wear various others when I’m Chad Kroeger who is co-owner of 604 Records or someone who’s working on an independent project. At that point I want to know where the record is getting licensed, as well as absolutely every aspect of how we’re going to deliver a song to the public and how we’ll all get paid for doing so.
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What we're doing now, it's usually more based on records that I've bought or a projection of what I can do well now and the inner dynamics of playing with the people I'm playing with, Janet Weiss and Joanna Bolme, what we come up with. What works for us doesn't, like, have that much relation to the past.
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'Roxbury Drive' was the street I grew up on as a little kid, and it was the street that I first listened to records on, and where I actually really first fell in love with music.
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Records have images. There are wet records and dry records. And big records.
