Records Quotations | Page 5

You can now be a master of your own destiny. I'm not sure why you would sign up with a record label.

Employees who report receiving recognition and praise within the last seven days show increased productivity, get higher scores from customers, and have better safety records. They're just more engaged at work.

When somebody turned me on to a Coltrane record around seventh grade, I took up saxophone.

My original idea was to produce and not make records myself.

If I needed to record, I'd head to the coast or Nashville, one or the other.

I'ma continue to make records, continue to make hits, continue to be what I am, legendary.

People don't understand the kind of fight it takes to record what you want to record the way you want to record it.

One of my first records that I heard was 'Wish You Were Here' by Pink Floyd.

I've got to the point where I just get on with it and the content of what I put on the records is determined from what I learn from the audience, from what works live, from what I want to hear when I go to a club or what I'd like to play when I get home.

Good records - from my point of view, where I grew up which was Led Zeppelin and Jethro Tull... bands that were pushing the envelope a little - musically and in production.

No one really gets rich doing this. A couple people do, Black Sabbath does. We don't sell any records anymore.

The '70s and '80s were just the period during which the best soul music was created and the best records were done.

When I record something, I'll take a drive and just listen

I didn't grow up with Broadway music. My mother played Perry Como, while I listened to Andy Williams records. Later on it was Cream, Grand Funk Railroad and lots of R&B like the Isley Bros. and Parliament.

If it's a good LP, you'll get that tingle that makes you put it on again no matter what your initial reaction was. On the other hand, if you don't get that tingle, you'd better take it straight down to the record exchange.

The lack of sweat to get a win is probably a record for me.

So why sign your name in blood for more? It seemed like a sensible arrangement for me. I didn't sell large numbers of records and the record company paid advances they rarely recouped.

The Patriot Act unleashed the FBI to search your email, travel and credit records without even a suspicion of wrongdoing.

Rounder Records decided to call the album Move It On Over, much to my chagrin but they knew what they were doing. It took off and to this day I can't figure out why.

Artists were nurtured back in the '70s. Their music was developed by the record companies.

Somebody who knows what they're doing, who has a good track record, they come across as very articulate, bright and looking for a challenge - that's absolutely my kind of hire.

You know, the record business is much different than being artist on stage.

So, the point was to be able to have a medium that would record all the connections and all the structures and all the thoughts that paper could not. Since the computer could hold any structure in any form, this was the way to go.

Critics don't buy records. They get 'em free.

The lazy blogosphere has given up on journalism and now trolls Twitter for their on-the-record in-depth articles.

If people get to the end of the record, then that is a treat.

I guess I've been making records since I was 16, and even when 50 people bought them, I thought that was amazing.

So you know, my plan was that I was going to make records, and be a rock star. And that's really what I wanted to do. And I sang from the time I was very young.

We don't have to stand on a soap-box and preach because hopefully we're channelling it through the new record.

If one of us, any of us, any American is traveling in a town somewhere in America and a medical crisis hits them, for someone who is diabetic or perhaps has heart disease or some other problems, where do we get the records to determine what to do?

I recorded my first jazz record in the '70s.

My record label is treating me like I'm a new artist, which is exciting after all this time.

I'd always wanted to work in the studio and experiment with sounds. Things that I'm really influenced by and that I love are like The Beatles and Radiohead, and all those records by bands whose music is really involved.

I missed the final of the World Championships in 2009, but I told the coach I would break the world record in 2010. Which I did. Then in 2011 I won the World Championships and now in 2012 it is the Olympics. That is how I have been working.

The problem is that I don't want to add another record to the world that is not necessary to be published, except to make some business. There has to be a musical reason.

When you're young, the goal is to have a hit. You get a little older and the goal becomes to get to make another record.

There's no question that the next generation of terrorists, rather than going for small, little dramas, will go for the big one. They now understand that the way to get the world's attention is not strapping bombs to themselves in a pizza parlour, but to do something so horrific it gets you into the Guinness Book of World Records for terrorism.

Records that were the sound of somebody - more often than not, a she - speaking with a voice that had never been heard before. Somebody who'd never had the nerve to speak up before. I felt: 'I wanna meet these people.' Which is unusual for me: I don't usually want to meet the people who are making music that I like. But they sounded interesting.

I don't make records that way, where I'm trying to please the marketplace or anything. Not because I have anything against that, it's just never been a part of my aesthetic, even when I was with the Pixies.

Certainly, the Beach Boys and the early Beatles records were a huge influence on me lyrically.

I do want to sell as many records and win as many awards as I can. The awards though, they don't necessarily determine if you're good or not. I know that now.

I've always loved records, even when I was a kid, my parents would buy me records instead of a lot of the other toys kids got. That's what I wanted. I've been collecting records and DJing my whole life, and I thank my parents for that. They had a big record collection and really imparted the magic of it on me.

I'm on record as being understood to be a supporter of a reformed establishment, in which other Christian denominations, and other faiths, play a major part.

I tried to have more than one emotion on the record.

I have gotten more than I asked for. All that I ever wanted was to hear my voice on record and have a song among the Top 20.

I'm pushing ahead on my own - you no longer need a large record company to make you a star.

HAG Records, is a company that I've owned. I've had a couple of gospel releases on it. We developed a pretty good distribution setup there and we do have something to use in case they don't want to sign us.

When somebody like Elvis Costello comes along, anybody can make a good record with him.

What is there to be afraid of? The worst thing that can happen is you fail. So what? I failed at a lot of things. My first record was horrible.

I collect records. And cats. I don't have any cats right now. But if I'm taking a walk and I see a cat, I'm happy.

I just found out last week - my sister told me - that my father had some Beatles records. So I must have heard them quite a bit, but it never registered, really. Now I listen to them with new ears.

At 11, 12, I thought I was clumsy, ugly, a mess, an unappealing person, but I did have the gift of the gab. I had the school record at Haberdashers for consecutive detentions for simply speaking out of turn.

With 'Elect the Dead,' I learned how to make a rock record without a rock band and make the rock record I've always wanted to make.

I am in a business that's built on record sales and reputation and how your single is doing and where your song is on iTunes. But the kind of music that I do comes from my beliefs.

It really does take a lot of time to make records, to be in the studio and do all that stuff.

On that show, I did country and some rock, too, whatever record I had out at the time, I'd sing that.

I have problems with YouTube and things like that, when you catch it mid production. If I'm doing a show and I'm working on a bit and someone's there with a phone, they record it and put it online - it's not the finished product.

Obviously given good health, and a continuing audience and a record company that allows me to do music. So given those things yes, I'm introducing some new music that people haven't really heard me do in quite this fashion.

Today the kids that are out now they make a hit record and they put them right out on the stage with 10,000 people out there and they don't know anything about the business yet.

I realized that, for me, great records always moved me with the lyrics and the melodies. And so I said, 'I think I can do it now,' 'cause I found a team of people who understand I didn't want a record that was 'drop it, pop it, shake it' just 'cause I can dance.

A president aiming for 'Great' or 'Near Great' status must do more. He must give lots of interviews, make records accessible, and heap the flattery on academia - each of which Mr. Bush has signally failed to do.

I must tell you, to get started today must be very difficult 'cause whatever it takes today is very tough. They have to invest a million dollars in a video just to see if you have a hit record.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

The name 'The Beach Boys' is controlled by Brother Records Inc., which was founded by the original members of the Beach Boys and whose sole shareholders voted over a decade ago to grant me an exclusive license to tour as 'The Beach Boys.' With it, I've felt a great responsibility to uphold, honor and further our legacy.

I don't know how many records I'm selling.

I'd love to have a hit record. I don't believe anyone that says they wouldn't like that.

I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.

The totality of a record is usually beyond ones ability to imagine when you start working on it, but the component parts are, usually, fairly clear one way or another.

My father's record collection was all country. That's how I was exposed to it.

Well it's because the record companies are pumping away with their commercial stuff. I think it's a shame.

What I do and what I record only work for the moment.

I'd like to do my first record I ever made, A Church, a Courtroom, and Then Goodbye.

South Africa had a long record of studies in prehistory, going back to the end of the last century.

Because obviously the whole purpose of putting records out is purely and simply to make money.

My favorite Extreme records were the last two. I can't listen to the first one.

I have lots of records, quite a collection, actually, that I stole from my mom. I have the original 'Thriller' album and I have a really great 'Elton John's Greatest Hits,' and I also have a N.E.R.D. album. Records sound more original. They have more edge.

If you listen to a lot of old funk records, the drums are really small. But you don't perceive it like that because the groove is so heavy.

Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.

I'm a collecting maniac and I buy a lot of books and records. I have over thousand cds.

I don't want to record anything unless it can be great and genuinely interesting.

I set records that will never be equaled. In fact, I hope 90% of them don't even get printed.

The first time I heard a Billie Holiday record, I thought, 'What's so great about Billie Holiday?'

I wanted to get my recording and become a musician again, work; with other people, do that kind of thing because I kind of got away from that for a while once we started happening, you know, selling records, sold out concerts.

Most of the people I know in bands, all they are concerned about is getting to do the next record.

When I got involved with The Five Crowns who later became The Drifters, and we got this hit record, I still was looking at this as kind of a fun thing.

'Gorgeous' was one of those records that, as soon as I heard the beat, I was like, 'Man, this is the one. This is that 'This Can't Be Life' Kanye beat.'

I keep my ears open. The world can change overnight; that's what happens in this world. You never know. You have to keep your eyes and ears open. If you can't keep up, you ain't gonna catch up. I've been making records since 1953, and you just have to keep up.

I record all night and sleep all day.

My goal was never to sell many records.

I did not want to make the widow record. I still haven't made the widow record.

I got me a hit record and I ain't never made a cent from it.

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.

My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.

I have a very poor record at multiple choice questions.

If I went crazy and tried to make pop music, my band wouldn't record it! I love them too much to do that.

When a record company looks at me I'm very hard to market, I don't really fit anywhere, It's hard to get me on the air, and I'm hard to demography, but! because of that I'm not subject to trends like you pointed out.

And once the music is out there, when you're selling a record and selling music and people are going to do whatever they want with it, it's kind of hard to resist certain opportunities, especially in the record market now.

Even as a kid, if I would come across something cool in the record store, that would be how I found out about bands. It's kind of the same way these days. In a way even less because there are no record stores to go to anymore.

The thing I do, really, is a communication with audiences more than any achievement through records.

In the past, there has always been so much pressure about carrying a show and promoting a record.