Record Quotes
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Looking back on the production of 'Nevermind,' I'm embarrassed by it now.' It's closer to a Motley Crue record than it is a punk rock record.
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When I was 13, I told my dad I needed to record myself because I sounded awesome, even though I didn't. By 18, I was a lot better. Then I got a publishing deal, so I was writing songs for other people professionally.
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After leaving Evanescence, I dealt with a lot of sh--, then being diagnosed as bipolar, and my heavy drug use and rehab ... this record went through all that with me, so making it was a complete catharsis, ... I'm focusing on me and getting the unhealthy things out of my life, which isn't always an easy thing to do, but that's been my main focus right now. I'm still on a journey, you know, but I'm a lot happier now. I can sleep easier.
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I jumped off the wheel of fortune because I wanted to simplify things. Now I've fulfilled my obligations to myself by making my new record. I'd like it to sell millions of copies, but my self - worth is not based on chart positions.
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Every record we do, we do one song we didn't write.
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You have to pretend that you're not bothered by your record leaked early. So that's the tack that I'm taking. It's like if you're working in a store and people come and openly shoplift from you, and you're not allowed to say anything about it. Instead, you're supposed to smile and go, "Hope you enjoy that!" I'm not going to complain about it, I don't get to make the rules. It's just really funny how that works.
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I remember that Martin Hannett once had an idea of making a record and burying it in his garden so that one day someone would dig it up, like a time capsule.
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Do you ever think about when you outta here? Record deal and video, outta here!? Mercedes Benz and Range Rover, outta here!?
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Denver and Boulder are good record-buying cities. I don't know why.
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The human race has susceptibility to harm but Mr. Zuckerberg has attained an unenviable record: he has done more harm to the human race than anybody else his age.
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We were feeling desperate, We started writing songs; Question Mark would record everything we practiced. I came up with some chords, and Question Mark started singing Too Many Teardrops.
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I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then – because they got fired – the record company wouldn't do anything for me.
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Have I ever made a mistake? I am sure. Do I think I can stand on my record? I do.
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I only back people with track record who can execute ruthlessly and flawlessly... Real killers...no matter the industry or company geography.
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This record is quite a bit more personal than the last record was.
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I went and took it to the label, and they loved it, so we put it on the record.
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In Utero is a testament to the artistic vision of Kurt Cobain. It's kind of a weird record, and it's strangely beautiful at the same time. And if you look at Kurt's paintings and his drawings - he even did a sculpture for me - it's a rising, tortured-spirit person. It's kind of weird. It's done well, but it's like what Dave was saying about having your own sound. Kurt was a great songwriter. He knew he had a good ear for a hook [and was] a great singer, great guitar player, and In Utero is a good representation of what he liked in art and how he expressed himself.
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I'm a bad pessimist. I don't think about how successful any record I've ever done is going to do before it came out.
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This time around was different. Daron brought a song in and we had to record it the next day. I just wasn't about it and I didn't do it perfectly. It took some time, or I wanted to play it a different way and the song had not been developed yet. I had to get it. It was more work-oriented and less about a vibe and art.
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I'm all for bootlegging. A record costs $20 . . . who can afford that?
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Initially, I was very much concerned with having absolute control. But as time has gone by, I'm not. I mean, the whole first record was really just how I spent my free time: stoned and drinking coffee in my house, spending three hours on a song.
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Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.
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If you listen to bands like Public Enemy or A Tribe Called Quest, you can hear in the samples that the snare would sometimes go very dull - like on one snare. So, to replicate that, we’d record a drum break and Geoff would get it on vinyl, then he’d chuck it on the floor and kick it around, so it was a bit crackly, get it on his deck and just scratch on the snare drum bit to make it go dull. That’s the sort of attention to detail that made the record.
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For the spell is older than experience. For the tale is older than the record.
