Grandmaster Flash Record Quotations

Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records.

The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.

Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.

All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.

What has happened is that to some degree they have taken an attitude where they don't listen to demos of diverse subject matters. They're looking for demos like the record the guy on the left just did.

Unfortunately we are arguing amongst each other so much when the bottom line is we don't own anything. We are offspring to a record label owner.

For instance, if you're playing a record with drums - horns would sound nice to enhance it so you get a record with horns and slip it in at certain times.

I needed a way to have the platter continuously spinning while I'm moving the record back and forth. I went to a fabric store. When I touched this hairy stuff - felt - I found it. I rubbed spray starch on both sides and ironed it until it became a stiff wafer. After that, I was able to stop time.

If there is a record I don't have, I haven't heard it yet. My collection is always growing, but I can't really play it anywhere - no promoter is willing to pay for my crates of vinyl to fly with me, so I have a team of people to digitise it all.

I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.