Record Quotes
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And then in life, you always have to try, and today, I may not have succeeded, but I am happy to have tried to beat my record.
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It's what's on the record not what labels on it. You know, that's like getting a box of cornflakes and eating the cardboard.
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I welcome a scrutiny of my entire record.
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I really try to be aware of the purpose of each song. There are songs on my record that I want people to have sex to, and songs people can listen to when they're pissed off.
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I write songs in batches and then record them and then can't write again for ages. I try and build one song upon another, they may not obviously look inter-related but often one song acts as a springboard into another.
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It's pretty cool that people will pay for something even though they don't have to. It's totally different now to back in the day. Now you're paying for a record because you believe in the band. In the future that will be the only time people will pay for albums, because there's some kind of connection.
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I am still young. I have a lot of time. And if someone breaks my records in the future, I won't cry. That's sport.
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'Europe '72' was a super influential record full of fantastic songs and amazing experimental musicianship. I always valued both of those aspects in what Sonic Youth has done through the years - being able to get very abstract and very concrete within the same song.
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I think the ultimate result of it is you can get inside the record.
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When you go into the whole realm of creating your own music and seeing the project through, it's increasingly difficult because nowadays a lot of people are making music all on their own - the individual instead of the band. And when you have such a solid vision and you spend so much time working on one idea and allowing it to manifest in your mind through a record, and then you have to go and find people to help you see it through live, it gets really overwhelming, to have to project and really clearly state what you're trying to do and how you want them to do it.
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I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.
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Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.
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People have been introduced to our band in so many ways. Whether we were playing at their college or we were the record that entertained their kids with.
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Tax cuts were not going to be effective at creating jobs, and the job creation record is lousy.
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The thing is, in America, it just seemed ridiculous - I mean, the idea of having a hit record over there, ... It was just something you could never do.
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I do enjoy talking about how everything's changed and I'm fascinated by it, and I can spend my time worrying, like, "Are we going to appeal to teens?" But then, if I were to try to make a record for teens, I'd be doing exactly what I said I didn't want to do. That'd be posturing. And I'm watching other people trying to do that, and they all look stupid. But for some of them, it's working, so cash in.
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One of my friends once saw another guy's (criminal) record and said, 'Look, this guy is a born troublemaker, just a loser.' I had to tell him, 'No, that's my record - and it doesn't include my juvenile history.'
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It is a maxim among these lawyers, that whatever hath been done before, may legally be done again: and therefore they take special care to record all the decisions formerly made against common justice and the general reason of mankind.
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The record is definitely a musical journey. It's kind of all over the place, which I like.
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Reading my own words embarrassed the hell out of me. I mean, what a pendejo. I had to be the world's biggest loser, writing about hair, and stuff about my body. No wonder I stopped keeping a journal. It was like keeping a record of my own stupidity.
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You're just these kids from a small town. You get a record deal, and everything just goes so fast. In the span of five albums... in a way, the band that you started in your bedroom, or your basement or your garage, kind of becomes not your band anymore. It becomes something bigger than you could have known. No one really prepares you.
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Everyone wants to be loved, generally. If you released a record and nobody said anything, if you didn't get any feedback from people you don't know, i.e. the press, you'd be sort of upset. To me, any press is good press.
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As far as the people that have inspired me, they're the people that I have played with the most. For example, the record that I made called Virtue, there was a wonderful band and a wonderful drummer by the name of Ludwig Afonso and a wonderful bass player by the name of Armando Gola.
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Rich as we are in biography, a well-written life is almost as rare as a well-spent one; and there are certainly many more men whose history deserves to be recorded than persons willing and able to record it.
