Records Quotes
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The young people at the shows are all singing them right along with me, so I know that they have the records, they're bringing 'em out for me to sign.
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Those record companies don't know what's happening at all.
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Records are one thing, and obviously, without hit songs, you don't have the opportunity to do your shows. But my live show has always been my selling tool.
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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?
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I had to have the record literally taken away from me. I am such a perfectionist.
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My favorite recordings are the ones that feel like there were no middlemen in the creation. That's the biggest problem with most films and records being made today - too many people involved. I think it dilutes the artist's intent and inspiration.
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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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Palaeontologists cannot live by uniformitarianism alone. This may be termed the Phenomenon of the Fallibility of the Fossil Record.
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What I'd have liked would have been the money and the hit records without the fame.
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We were just hoping 'Prayin' for Daylight' wasn't a complete flop. Selling a million records wasn't even in our wildest thoughts.
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I try and make little stories. Whether it's with a pencil or with bits of records, it's really the same thing.
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You go through that stage where you're coming up with the concept, ideas and all that you need to make a record. It always feels like hard labor.
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We all love to see women on top, and as the record shows, this next powerful woman is always on top. She does it all by living for love.
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Of course you want to keep making good records, but I think there were certain aspects to the indie rock situation at that point where we were pushing the envelope a little bit too far. We weren't happy with the distribution we were getting, and a few other things. So for a lot of ways it made sense for us to jump to a major label right then, and it made sense in terms of challenging ourselves to put ourselves in new situations.
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You can't hold the record forever, and I know that. I'm not stupid.
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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.
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Nobody sells records any more, and the only way you can actually do anything is to go out and play live.
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The thing I do, really, is a communication with audiences more than any achievement through records.
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I didn't earn that much in record royalties. You've only got to look at my sales in 1980 to figure that one out.
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Certainly our records could be found in most of the mom and pop indie stores, but we still found there were a lot of major stores that weren't on the tip of knowing what was happening and weren't stocking our records as readily as they were stocking, you know, Guns 'n' Roses or Billy Joel or whatever the hell. That certainly changed, and it changed rapidly after Nirvana's rise, that's for sure.
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The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
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I'm a Top 40 record guy. I remember the hits and don't remember the flops. Something in my brain blocks them out.
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It's one of those records that will stand forever. I really can't imagine anyone touching it.
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When the audition for 'Cats' came up, even though I'd been making pop records, it felt like something I was attracted to.
