Record Quotes
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I think most musicians know if they make the same record twice, even if they say they don't.
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The extreme rarity of transitional forms in the fossil record persists as the trade secret of paleontology.
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I don't quite know what a record is anymore. I don't quite know how to describe it. Don't know how to define it yet, so I'm just letting it gestate, and grow and see if maybe I'll get a better sense of what a record is.
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You have to search the absolute demons of your soul to make a great record.
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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.
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Cecilia was made in a living room on a Sony. It was like a little piece of magical fluff, bur it works. El Condor Pasa a Los Incas record that I love. Bridge is a very strong melodic song.
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Go to a graduation party, put out a fish bowl, and you have a gold record.
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I've written more songs for this record than I ever have in the past so I'm trying to give it a lot of special attention to be sure my ideas really get translated right.
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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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When you get your first record deal, you will do anything, because you just want to sing.
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We have nothing to crow about, our home record has been atrocious, we've got a long ways to go before we feel we're on top.
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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 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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Record stores are great because it's good to physically get your hands on the music instead of downloading. It's always better to get the artwork too.
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If I didn't love it, I would not record it.
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For the record, I Iike Jay-Z. That's my opinion.
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I'm more interested in what I'm going to leave behind me than in making a big hit record. I've refined what I do for a long time. If getting better at it means it goes over the heads of those who only wanted to party, then so be it.
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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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You could put this record on and not get jarred half-way through. I wanted it to be all cut from one cloth, and that was the way we took it through the whole production process.
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When you're in a band with three writers, three great writers, you only get one third of the writer thing. So that's the whole reason that I did a solo career. And that's, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.
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Don’t Tell a Soul was our least honest record and we made it under duress.
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Every record is a portrait of the band at that time.
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When I was 14 years old, I used to record stuff off the radio and do mixes with the pause button on my cassette player. I’ve always loved doing mixes. I never liked sport or anything like that. Mixing tunes together was just what I always wanted to do...
