Records Quotes
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You can't hold the record forever, and I know that. I'm not stupid.
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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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The thing I do, really, is a communication with audiences more than any achievement through records.
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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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I used to play my records aloud until one night my mother was like, "This is too loud. I'm not having it," and so I put on headphones. But the headphones didn't stretch all the way to my bed from the record player, so I had to sleep on the floor in order to hear the records. I slept on the floor right next to the record player until I was probably 19 years old.
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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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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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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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But I'm not here just to make records and money. I'm here to say something and to touch other people, sometimes in a cry of desperation: "Do you know this feeling?
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Will Smith don't got to cuss in his raps to sell records. Well, I do, so fuck him and fuck you too!
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This is what I wanted to do from the very beginning: write songs and make records and tour them with a good live band.
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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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I think my records will always tend to be approachable.
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Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.
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It's a sad state when more people retweet than buy records.
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I grew up not far from where Motown was founded, maybe 300 miles from Detroit and I've always liked - I used to like the way they made records. I still do, I just haven't had a chance to hear as much. They used to entertain me.
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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.
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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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We dropped records off in stores in Flint, and they were getting sold out. We didn't really even know anyone in Flint.
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To me, making records isn't work.
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Most Americans don't even understand what I'm saying in my records, but they pick up on the vibe, the vibration.
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Even if someone doesn't have birth or health records we enroll them, ... Everybody is doing everything they can to support these evacuees because they are homeless.
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We've all got to earn a living. And writing songs is what I do. But when I've done a record, it's not that I think it's better or worse than anyone else's, but if I think that nobody else would have done it if I hadn't, well then that's ok.
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I did a record with a producer, and the good producers eat up the budget, so I didn't have any budget left to produce this record. I had to produce it myself.
