Records Quotes
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I don't make my living making records. Maybe someday I will.
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We should look at the Twitter records of Andrew Fraser. Clearly, the ship was on remote control, because he spent all of his time on Twitter. He used to Twitter in the chamber. He used to Twitter at night. He used to Twitter probably in bed at home, but I am not going to go any further there.
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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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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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I like records. My favorite is Simon and Garfunkel.
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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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It's a sad state when more people retweet than buy records.
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I had to have the record literally taken away from me. I am such a perfectionist.
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The first records I heard were from Dizzy Gillespie and people like that.
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Turn over the pages of history and read the damning record of the church's opposition to every advance in every field of science. . . .
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Dad always says, 'The Yankees got all the records and we got the rings,'
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When I read John Cage's book Silence, I was growing up in Louisville, Kentucky. For me, records were a mode of time travel and geographic travel, interfacing with a much larger world. So it seemed antiquated and backwards that Cage would be so down on them.
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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 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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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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When people pay to see you live, they connect with you on a much deeper level than people who just buy your records.
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How lucky can one guy get? I was a runaway, and then I was in one of the biggest bands in the world. I've sold out every arena. I've sold millions and millions of 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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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 go by records and Bob Paisley is the No 1 manager ever!
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The scratches in Yoko Ono records are moments of relief.
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Making good records tastes good in your mouh. And when that record sells, it tastes even better.
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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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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.
