Record Quotations | Page 3

The bottom-line message of history is that if you're doubling and tripling your money in record time, you're also more likely to lose it all.

I played the guitar and thought that was what I was going to do as a career. I still record music that is played in my restaurants.

It's my first record since my son is old enough to understand and I can't even show it to him. Yes, it's affected me, probably in the opposite of how anyone would have thought.

We have a very loyal fan base, the kind tat buys the record the day it comes out, sees every show, and that's fantastic, but what about the people who would never hear about our band?

Well the way I ended up with my own record is that I did this concert at Wesleyan University. It was just one night and we had no thought of making a record.

I knew I didn't want to make a country record just because that's not really what I would have ever made as a solo artist.

I've always thought that whether I'm writing or not, I've gotta pick the best songs, whether or not they're mine. I'm not gonna sing them just because I wrote them. I've gotta find the best songs to make the best record I can.

There's probably a little more creative freedom in cable versus network, a little less of a committee looking over everyone's shoulder, but it depends on the network; it depends on the show; it depends on who the head writer or show runner is and what track record they have.

The record Clef and I did was just sitting there. So I said, Clef, I got a record, hit a verse on it. He just went in, messed around and ended up doing the hook too.

I maintain that the past record of my race is a true index of the feelings which today animate them. They bear toward their former masters no revengeful thoughts, no hatreds, no animosities. They aim not to elevate themselves by sacrificing one single interest of their white fellow-citizens.

I'm not keeping track, but the record is there for someone to break.

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

There's the conventional wisdom, of which I have none, where you get a record deal, you get a publicist, you get a campaign, and you do the tour, but none of that adds up to things like nuance and subtlety and dynamic.

I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.

It's a very smart, progressive bunch, these people that make country music. They're not country hicks sitting behind a desk with a big cigar giving out record deals and driving round in Cadillacs with cattle horns on the front grille: it's a bunch of really wonderful, open-minded, great people down on Music Row that make this music.

There's a guy at the record company who's 30, and he says, I would not listen to these songs except in this context. Somehow the recording process, the arrangements, make it more accessible.

After we wrote The Wreckoning, our record label did listen.

For 'Narrow Stairs', the majority of the songs I brought in were guitar songs - songs we could sit in a room and just play. I can honestly say I had more fun and felt more inspired on this record than anything that we had done in a long time.

The human rights record within China seems to rise and fall over time, but it's very clear that in the run up to the 2008 Beijing Olympics and since then, there's been a greater intolerance of dissent and the human rights record of China has been going in the wrong direction.

You know what I'd really like to do? I'd like to record some white Chicago jazz.

I wouldn't mind working with Queens of the Stone Age, doing some guitar stuff on that. Even Arctic Monkeys. I'd like to do be a bit of guitar with them guys. I'll play on anyone's record to be honest with you.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

The whole process of this record was an education for me as a musician.

Because of things like iTunes and streaming and social networking, it's destroyed music. It's destroyed the motivation to go out there and really make the best record possible. It's a shame.

That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.

With all the negativity going on in the world right now, people need an escape. When you give them a hit record or a great record, it allows them to escape for at least three to four minutes. They're not thinking bills or economy or immigration or war when you create that kind of ambiance.

I'm the type of person that doesn't like to wait for people to do things for me, and I never want to feel stuck. Why sit around and be like, 'I wish my label would book me some studio time,' if I can just buy my own studio equipment and figure out how to run Pro Tools and record it myself?

I wanted to live in a house. I wanted to have a place where I could record at home - all of these things I'd wanted to do for years.

We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.

In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.

Even though the popularity and the fanbase is much much greater, and more people have heard about me through things like the Grammys and the Ivors and touring and word of mouth, it doesn't reflect in the sales of the record and doesn't go into my pocket.

I'm on the record for five losses or something like that, but the one guy who really whipped me was Muhammad Ali. And it taught me one big lesson. That no matter how big and strong you are, you're going to have to use your mind. You must think things out.

I had all the material for a long time, but I was just too busy. Sometimes we'd sit around at home and sing some of these songs at family things, and everyone always said I should record them.

Get in the habit of vetting your research as you go - particularly research conducted online. Verify facts from multiple reputable sources before you record them.

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.

We can now with Google Glasses record everything around us, and we can make sure that nothing is ever forgotten because everything is stored somewhere in Google servers or somewhere else.

At the beginning, at my shows, there were a lot of press and people from record companies. Now there are people who are there to just listen to the music and are genuine fans.

I conduct very few interviews with veterans. The contemporaneous, or near-contemporaneous, record for WWII is so spectacularly deep that latter-day recollections are largely unnecessary for a historian. Of course, in considering any account, I'm looking for additional sources that can confirm or enlarge that version of events.

Americans do not have a good track record when it comes to preparing for disasters, unless they see a clear possibility of personally being in harms way.

Salazar's record is one of weakness; he hasn't been a good attorney general.

I tend to write and record things quite quickly. You can tamper with things for years, and it's artistic laziness sometimes.

My only real hobby is playing music. I write a lot of music on guitar and keyboards and hope one day to make a record or maybe even write the score for a film.

I think that's the problem in a lot of music. We've got these record labels.

That's the great thing about music. You can find some '60s pop record and feel completely invigorated by it, even though it's so old.

I'll put my record of service up against anyone, bar none.

I'm sure I'll go back again and record in the digital process.

I've never seen America as being one place, but I think the record industry people I've spoken to - although they will acknowledge that the cities are completely different from each other - I think they still handle it as being one territory.

I suppose my Iranian identity is one of the driving forces for being a writer: I want to set the record straight about who I really am.

I write and record all the time; it's my hobby and my passion.

I want to record the name of Chen Guangbiao in Chinese history.

The Guinness book is a very elitist organization. There's nothing scientific about what they do. They just have an office full of people who decide what is a record and what isn't.

It's not like, I don't know, if Madonna has a new record out, then everybody from Bangkok to Birmingham knows what its called and can buy it the same week. But our stuff is not in that mass market.

I found with this record I had to really be strong-willed, because in the past I've tended to tinker and add a thing or take a thing away, and nearly always been wrong.

It was rehearsing in the studio, at which point they were setting up the sound, and once we'd got the thing together they'd actually record it, without us knowing sometimes!

I would hate to think of the theatre world without critics. Without them, we'd not have the record of each season.

I think the digital camera would record that information too fast for me.

I would have loved to record with Paul McCartney on some of his early solo recordings, wonderful music. Playing some lovely organ, perhaps. I would have loved to record with John Lennon. He was a dear friend. I had lunch with him just two days before he died.

I really didn't have any plans to record prior to doing My Own Best Enemy.

There were only 170 neurologists in Britain then and, whether spoken or unspoken, there was this insidious feeling. How can Bannister, a mere athlete, probably spoilt by all the publicity and fame, dare aspire to neurology? But I'd done a lot of research, and my academic record was very good.

There's certain songs that you're gonna record that you hope to touch people and change lives, and there's certain songs that you know that are not going to be that serious.

It is past time for Republican leadership to answer for record deficits and reckless spending, both in Iraq and in the U.S. It's time for a plan to bring our troops home.

History does not record in its annals any lasting domination exercised by one people over another, of different race, of diverse usages and customs, of opposite and divergent ideals. One of the two had to yield and succumb.

The record was only released in the UK, and then when the idea for the remixed album came about, which was an idea that I've had for the longest time, I said this would be great song to remix as well, and so we did it.

I wanted to make a record that worked against the hypnagogic paradigm, for sure.

When I first started playing the banjo and miraculously fell into a record deal in Nashville, TN, there was a period when I didn't go to China. It hurt. Like a pain in my gut... that pain you feel when you know it's time to connect with your parents or your God or your child or your past or your future... and you don't do it.

When I listen to my own records, I always think, 'Oh, I could have sung that so much better.' But you have to finish something and turn it in. If I didn't have folks who say, 'Come on, we need the record now,' I probably would never finish one.

We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.

Some of my favourite record and album covers and stuff have all been the singer, and they create a character, and they dress up a little bit.

Andres Segovia, the great name for guitar, he put classical guitar on the map. He was the proponent of it, the best in the world. So I was listening to a record that he had made, and a little bauble happened in the middle of the record. A finger slipped, and I said, 'Wait a minute. He's not allowed to make mistakes,' - my mind.

We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.

The label doesn't do anything but put your record in the store, that's all they do. And tell you, you don't have a single... and tell you, it's not gonna sell... that's what the label does.

There's this idea of a star, and this person is very aloof and writes all the music, and they don't talk to anyone unless they go through the record label. And I always felt very uncomfortable about that.

I can travel with music. I close my eyes, and I can travel all over the world with music. And one after another, stories come to me, and I just record them.

Commodity prices are at a record high. In 1933, the world's population was just over 2 billion people. Today, there are 7 billion mouths to feed - many of them depending on American agriculture.

I went to a record store and asked for 50 cent. They kicked me out for pan-handling.

I am taking a break, but not a huge break because the Maiden record is actually happening right now, and I am recording it as we speak, well not right as we speak, but close.

As opposed to touring for three years and then going into the studio and writing an album, I think this record is representative of a lot of everyday people.

My home studio is my private instrument for me only. It's not intended to record anyone but me.

I thought I would be governor of Massachusetts. I stood on a pile of my old albums and said, 'I'm the only one with a record to stand on.'

I certainly have gotten caught up in the music business at various times in my life, mostly because you want to get along with whatever record company you're dealing with. I don't want to be flaky. I don't want to be some temperamental, hard-to-work-with musician.

Congressmember Weiner has shown just a pattern of reckless behavior, an inability to tell the truth, and what New Yorkers deserve is a mayor with a record of delivering for them, of vision, and a level of maturity and responsibility.

There's a whole bunch of unfinished stuff. Then I've got books of lyrics. I find it frustrating to finish a song and not be able to record it... so I don't write a million songs.

I think when you're 17 and you're angry, you're angry about very short-term things. And there's nothing wrong about writing that record. It's a very real record to write; it's the realest record I could write when I was 17. The problem is, when you're 28, it's not the same thing; it can be a put-on.

You know, we opened a record number of stores last year.

Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.

The events of the day's march are now becoming so dreary and dispiriting that one longs to forget them when we camp; it is an effort even to record them in a diary.

I have visualizations where I'm living in a really cool place - probably outside of town - with a really dope studio where I can record music or film things. Just have my own mini production house. That's really the thing I'd love to end up with the most and only do gigs when I needed to and also amass a little bit of a crew around me.

The music I heard growing up, since there was no TV or cinema or record covers, I didn't know if it was black, white, hip, square, male, female... whatever. I'd hear melodies and things and got intrigued on that level.

I never made beats to make beats; I only made them when there was a record to make them for. That's one of the things that has changed in hip-hop that's made me like it less. It feels much more like it's a producer-driven medium, where there are all these tracks that are completely interchangeable.

Writing this record let me recapture who I am. It is summed up in the title Be Not Nobody. You need to feel comfortable in your skin and do whatever you need to do for yourself, to heal or to grow.

If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.

I think everyone should sell whatever product they want to sell for whatever price they want to sell it for, but ultimately the market will dictate what it is and people will have to charge less money for everything. Record companies have been overcharging people for way too long and now this is the trouble that they're in.

Sir Gordon Richards was the most successful jockey - flat or jumps - there's ever been: champion jockey for 26 years. He set a record of 269 winners in the season 55 years before I broke it. That was my greatest achievement.

The record business has always mystified me. Sometimes there are reasons why things sell or don't sell that can't be understood by mere mortals.

My responsibility is to the artist first. There's something that artists intrinsically know about their music and their fanbase that neither the record company nor the producer really knows.

They say the music you listen to in your formative years stays with you and leaves an impression for the rest of your life. For me, the things that I fell in love with happened in the '70s, when artists were nurtured by record companies and it wasn't about singles.

We were ready to launch Barry White, but the record company wouldn't put it out. Said it wouldn't sell.

I like to sing because my mother was a singer. She sang to me all the time, so I learned to love singing. I did have a career as little 10-year-old George Benson. I made my first record as a vocalist, but I've been playing guitar since I was 9.

To set the record straight for the God knows millionth time, we certainly didn't sign to Atlantic just for the money.

I wrote probably my phattest banging record with Knife Party: 'Pile Driver.'