Records Quotes
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I started buying records in the '80s. I listened to everything new wave, disco, funk synth-pop, rock, but in my house we were listening to bossa nova, tango, and folk.
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I'd come to the point where I wasn't really putting out creatively. I didn't seem to have anything to say in that period of time after the '74 tour. There was nothing definite that I wanted to record.
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You can't hold the record forever, and I know that. I'm not stupid.
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I do a lot of conferences, and I did a campaign with the Cerebral Palsy Foundation called "Just Say Hi." They get celebrities to record little messages about how you start a conversation with someone who has a disability, which is to "Just say hi."
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Some records with drum machines on them sound phony and plastic. It all depends on how you use the tools.
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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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What I'd have liked would have been the money and the hit records without the fame.
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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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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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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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Songwriters tend to make records instead of talking to people.
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I get off on hearing other people's voices. I like voices: they're my favourite things on records.
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To me, making records isn't work.
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There's not a platinum record hanging in my house anywhere. It doesn't exist here. I'm over it. They're all in the garage, wrapped up in bubblewrap.
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In itself, I spent a year writing, you know all these different songs and when it came to recording the record, I just pulled out all the tracks I liked the most.
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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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I deal with everything in my life in music - everything that ever happens to me just finds its way into a song or onto a record. I need it. It's like my life jacket. If I didn't have that way of processing those feelings, I'd probably be a murderer.
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The first records I heard were from Dizzy Gillespie and people like that.
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I'm spinning records and I look across the restaurant and I see somebody who looks Asian. And I'm like, "Yo, that looks like Yoko Ono." I'm like, oh, I can just meet - that's going to be great. Then I look carefully and I'm like, "That's not Yoko Ono, that's Bruno Mars." And it was Bruno Mars. That just happened recently. I was bugging out. Because that was totally not Yoko Ono at all.
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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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I'm trying to make pop records for the middle-class, lower-middle-class - pop for the 99 percent.
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If I'm writing for a particular artist, I definitely think about their past records, pay attention to the type of tempos that they like. If I have the privilege of actually being in the session with the artist, I just like to have a conversation with them.
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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.
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We dropped records off in stores in Flint, and they were getting sold out. We didn't really even know anyone in Flint.
