Records Quotes
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I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
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Every time I felt low, I just put on an Elvis record and I'd feel great, beautiful.
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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 don't make my living making records. Maybe someday I will.
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Those record companies don't know what's happening at all.
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I think it's important when you make a record that you know you're working with the people who are going to get the best out of you.
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The relationship with a producer and an artist is really special. It's got to be love and respect, amazing mutual respect for each other, because that's what makes a good record.
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At the end of the day, you're just phonograph records.
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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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I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
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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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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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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'm never argumentative for the sake of being argumentative, I don't think. And more than ever, I've had to be willing to fight just to get records released, or just to be able to walk away with a little bit of self-respect and pride.
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The day of judgment will be a day when the skeletons come out of the closets! And each of us will be standing there to face the record.
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I don't want people buying my records for this summer's hit. I want people buying them because they're interested in what Ministry will have to say in the future.
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I generally had a pretty good relationship with Siouxsie. She can have a pretty sharp sense of humour, but can also be quite playful at times. I liked playing records with her and especially talking about Mick Ronson. She reckoned that whilst everyone admired Bowie as Ziggy, Mick was sexier.
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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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We still play three or four hits every night. Now, we don't play them like the record. We try to find new ways to do it.
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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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I get off on hearing other people's voices. I like voices: they're my favourite things on records.
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I felt that making records in a traditional way - putting them out in the same way, wasting loads of money - was just a pointless exercise.
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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.
