Record Quotes
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I didn't have to fit into a mold. You make the mold. People can smell a rat. If you're doing thing for marketing and for a record label, you're going to set yourself up to be called a phony. As long as it's true to you, you do it.
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I think that we are going to do various stuff like record live shows or put odd songs on the net so that people can download and say 'Oh I was there two nights ago, I was there'. I think technology's great if you can utilize it in the right way. It's good to be able to use all that stuff. I know I for one love all that stuff anyway. I love getting on the net and messing around. I think it's the way to go, its what people are into, its what we're into.
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I stay patient. I don't go out there and try to set a course record. That's probably one of my strengths and one reason I've been able to win major championships.
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I really want to work on a record of mine and I'm just getting inspiration from different sources like one of my favourite bands, Led Zeppelin, and Radiohead.
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I feel like every record I've ever made, on some level, is urgent.
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Remember that we're only on our third record, which is not really a lot. We live in the era of trilogies, and we definitely feel like the first three records mark the end of a phase for us.
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Ending EU migration rules will do nothing to reassure the hospitals that are already seeing record numbers of EU nurses leaving, or the companies struggling to recruit the staff they need.
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For the record, I Iike Jay-Z. That's my opinion.
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I'd like to do my first record I ever made, A Church, a Courtroom, and Then Goodbye.
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The industry has changed in that it is far more disposable than it used to be. When Boyzone came out, we were given a shot and the patience to record our singles and albums. Nowadays, the thought is if it is not working, then the artist will be dropped. The record companies will bail on the artists, and I find that sad.
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If I could make a record in two minutes and thirty seconds, I'd do it. I want the creativity, and I don't give a f - k about the snare sound.
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The funny thing about making this record and being away from the girls and on my own in LA is that it allowed me to reflect on how much we've accomplished.
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One of the most harmful things in the music industry is 'record-by-committee,' where 10 people from the label gather around, and they make you write a 100 songs and decide which one's a hit. That takes the inspiration out of it.
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Well, I think the first piece of music I ever heard that I really loved was 'Salome's Dances' by Richard Strauss. I played that 12-inch, 78 record, and I stood up on an ottoman to play it on a big Victrola and I'd just keep playing it and playing it.
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They've maintained their unbeaten record between the legs.
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I played 'Eruption' two times for the record, and we kept the one that seemed to flow ... there's a mistake at the top end of it whenever I hear it, I always think, Man I could've played it better ... but I like the way it sounds. I'd never heard a guitar sound like that before.
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I did write a letter to the archdiocese who'd banned the song, Only the Good Die Young, asking them to ban my next record.
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I made the record, and I sent it over to Jay Brown, who was working on Rihanna's album. He was like, "Send me that record for Rihanna."
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If you made a record, I'd probably pick out tracks that I like and download that. That's just how it is.
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Making that record was one of the greatest musical moments in my life.
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For Christmas when I was about four I got given 'Can the can' by Susie Quatro, so that was the first record I got. And I got Skyhooks "Ego is not a Dirty Word.... I was sorta listening to the Beatles and stuff the whole time since I was about ten anyway, then I started getting into Kiss and David Bowie at the same time.
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This idea has been in my heart for a long time. One always dreams of recording a song when they finish writing it.
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My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
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I loved the thing about Jamaican records, where they’d have a basement where they’d make the records and a pressing plant upstairs and, between the two, they’d have a shop. They’d record the thing, then the next day it’d be on sale as a white label. And Stiff had that vibe to begin with.
