In this post, you will find great Records Quotes from famous people, such as Steve Martin, Afrika Bambaataa, Sean Combs, Jessica Simpson, Johnny Marr. You can learn and implement many lessons from these quotes.
Everybody’s just been spilling their guts all over records and talking about how hard it is to be an entertainer and how much we get hated on and what we have to go through. But I ain’t really got it that bad. I’m just happy to be here.
You know, punk bands now sell with one record – their first or second record – sell 10 times the amount of records than the Ramones did throughout their career with 20-something records. That’s why I go over to Johnny Ramone’s house and do yard work three times a week, just to absolve some of the guilt.
I love it when people say things to me in public and want to meet me, because I want to meet them! Early on, my manager told me, ‘If you want to sell 500,000 records, then go out there and meet 500,000 people.’
People are always coming up to me, thinking I’ve got some magic wand that can make them a star and I want to tell them that no one can do that. Making hit records is not that easy. But it took me time to realize that myself.
This is a very screwed-up business. Record labels don’t sign a lot of bands these days. We just want to find a home and stay there and make records and do our thing and not have to look over our shoulder.
I’ve got a collection of songs that I’ve had, I keep adding to and they’re all great Americancomposers. I wanted to showcase American composers and I’ve done that on a lot of my records and played things by American composers that I really respect.
There is some sampling on my records and a lot of what I call replays, where I’d have musicians come in the studio and replay the sample from the original record. But mainly, we’d come up with our own music.
I’m not one of those kind of people that likes to beat up the past to validate the present. Certain people think that it’s cool to make fun of MC Hammer. I’m like, ‘Yeah, but you owned all of his records.’
Gone are the days when Virgin Records was owned by Richard Branson, a fan of music. Now they’re all owned by some guy who bought it off some guy who bought it off some guy who wants a return on his investment.
I remember I heard it in an interview with MichaelJacksonone day, saying the art is gone, everybody makes records just to make a record. See, I always want the artist that try to build a whole body of music on one album, so you can enjoy it. So you could say, ‘I went with him here, I went with him here.’
And you have a record companybehind it, this is a key too, you need people to fight for your records, at least a little bit. So if you have a great song, it’s catchy, and you’ve got a little bit of help, I think that’s all you need. But there hasn’t been that in music.
Hip-hop is when you have crowd participation; when you chant at the audience and they chant back at you; when you wave your hands in the air like you just don’t care; or some breakdancing. Everything today is just low-beat, real bass-y, bass-y, good rap records.
Well when I was young, when I was very young, when I was a little boy I don’t remember the music I heard, but there was an article in the BrooklynDaily written by my Aunt about how I could choose phonograph records.
I like to sort through music and see whateverpops out to me or inspires me. If I could have a productionteam going and kind of mix records with me, that would be cool; to take the records and have them sound the way I want them to sound. But I’d rather sort though music to find them things.
I began by listening to my mother‘s collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at ageeight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
Even when I was 3 or 4 years old, I’d go out riding in the car with mom and dad, and I already knew all the songs off mom’s Hank Williams and George Jones records by heart. I remember just sitting in the back seat and singing them at the top of my lungs.
Geddy Lee and I went to the same grade school. He movedaway when we were still young, but I remember him like I do all my friends from back then. Then in 1982, DaveThomas and I were approached to do a record as the McKenzie Brothers on Anthem Records, the same label that Rush was on.
United Artists wanted to do records with me. I had no idea, what a rare thing that was… to make an album. And they put a guy with me working on songs, and I got busy with films. I just kind of let it slide. Isn’t that amazing?
The Beach Boys have always been a part of the ’60s spectrum, with The Beatles and that kind of thing. They were a part of the music business like everyone else. And they did quite well as a singing group, and I finished a lot of good records, and I’m very proud of them.
One of my first records that I heard was ‘Wish You Were Here’ by Pink Floyd.
I’ve been listening to jazzmen, especially saxophonists, since the time of the early Count Basie records, which featured Lester Young. Pres was my first real influence, but the first horn I got was an alto, not a tenor.
Long made it possible for me to get on records, so what little money he did take from me, if any at all, he was entitled to it. He didn’t take something from me.
We didn’t slow down, unlike the others, when we got to the moon because we needed its gravity to get back, so we hold the altitude record. I never even thought about it. Records are only made to be broken.
It’s nice to be recognized, but it’s not great to have it too conspicuously recognized, if you see what I mean. Gold records on the wall, or titles after your name, it’s just not something… I don’t feel that great about it.
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.
I don’t have the desire to just keep every record and put it out. That’s not what I do. I make records for people; that’s why I just continue to be consistent, where a lot of the other top writers, they kind of fell off because they started focusing on their own careers as artists. That’s not where my head is at.
A friend of mine once told me that I can’t screw up when I play my own music. I also take voice lessons, play other peoples’ songs out of music books, and occasionally figure out how to play other people’s music from records. This keeps my ears, fingers, and mind working.
I made a record in 1996 called ‘Animal Rights‘ that was a very difficult, very dark punk-rock record. Of all the records I’ve made, it’s my favorite one. It’s also the one that got the worstreviews and sold the worst.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredibledirectors that I respect and look up to.
I think Taeyang developed this image as a dancing singer, mostly because of records like ‘Only Look At Me,’ and ‘Where U At.’ To me, personally, I think Taeyang tried to make a change on ‘I Need a Girl.’ It gets a little mellower.
Everybody gets to a stage when it’s time to move on. I was bored, and the band wasn’t going anywhere, so I left. I did a couple of shows on Broadway and some other things. I was busy. I just wasn’t making records.
Well, it’s been an interesting career. Since I last appeared on ‘Top Of The Pops,’ I’ve been doing about 150 live shows every year. The live shows have always been well received and they consistently worked, it’s just the records that haven‘t been very good.
I consider myself a songwriter before anything else. The fact that I have been able to write both of my records and establishing myself as a songwriter is super-important to me. Some people have that gift, where they can take on anything and make people believe it. I like to do a song from personal experience.
I’m content with making records, but I don’t want to be doing the same thing all the time.
We tried to avoid, you know, records. We were told over and over that was probably the most seriousmistake and the reason was the system would never catch on, because we didn’t have records.
I think Freddie Mercury is probably the best of all time in terms of a rock voice. There was a vulnerability to it, his technicalability was amazing, and so much of his personality would come out through his voice. I’m not even a guy to buy Queen records, really, and I still think he’s one of the best.
How about no one’s ever going to outsell Michael Jackson at selling records because the record industry is over. Game over. There’s no more record stores. With no more record stores there’s no more pressingplants. With no more pressing plants, there’s no more charts.
I’ve made my records and I’ve done all the interviews. I’ve done lots of long tours. I’ve made stupid videos. I’ve done all that stuff and learned all the lingo and gone to radio stations and shmoozed with DJs on the air and met retail people.
The records that I like, they have life and warmth and soul in them. Like the slap back on Scotty Moore‘s guitar on ‘Mystery Train.’ You’re not gonna get that in a computer. You’re gonna want a live room, you’re gonna wannabounce the tape, you’re gonna want real musicians, in a room, vibin’ off of each other.
It’s about giving the people what they want. So many people have told me that they’ve made love to my records so what I’ve delivered this time is an album about sex. Pretty much every song has that theme. Straight no chasers, it’s booty music!
When it all started, record companies – and there were many of them, and this was a good thing – were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music.
I don’t particularly enjoy standing alone and recording my own voice or my own stuff. It’s sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
You can read all the textbooks and listen to all the records, but you have to play with musicians that are better than you.
Selling records is fantastic. But if you’re not loving what you do, and if everybody is throwingknives at you, it can get old very fast.
I’ve got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next – since The Police I’ve mostly made records with keyboards.
I don’t listen to my own records a lot. Once in a while – to check out my mistakes. Because you can always see a spot or two in the record where you could have done better. So you more or less study this way.
They don’t bother too much with the balance and things on blues records.
HAG Records, is a company that I’ve owned. I’ve had a couple of gospel releases on it. We developed a pretty gooddistributionsetup there and we do have something to use in case they don’t want to sign us.
When the OutKast sound changed and I started producing my own records, I would mirror what I thought that character doing that music would look like. As the sound got a little wilder, freakier and funkier, so did the clothes. Then when the sound got more sophisticated, the clothes changed again.
I don’t really like to sit around the house listening to my own records. They’re not that good.
Composing is what I love most from what I do. Each genre has a unique expression that you cannot supplant with another. All the records co-inspire each other though they are not tied conceptually in any way to another.
My goal has always been to make classic records, classic albums. Sometimes the recording process and the era it was recorded in means the production leans in a particular way, but to me they are all part of the same process.
You know, we have a long history of covering different periods of this band’s development with a live record… a sort of live thing that would be done for three or four records, and that was the intention with this particular package.
Actually, there was another band where we were three girls, around ’84 when I met John Zorn, called Sunset Chorus. It was just bass and drums and guitar- we didn’t make any records but we played a lot of different clubs in New York.
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.
A lot of people felt I was getting work because I was Boy George. My response at the time was that there’s a lot of DJs making records, they’re not all making good records, but they have the right to do that.
Well, we promised our fans that we’d put out records faster, and that’s what we’re doing. We figured out a way to condense our cycle, so to speak, by… continuing to write, trying to keep the creative ball rolling as often as possible.
It’s a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that’s a good thing.
I think some people record songs and make records a certain way to cater to radio. If you’re born to make commercial music that’s cool. But if you’re born to not make commercial records, maybe you’re meant to cater to another market.
All records are riddles, and whatever you may want people to think it’s about, it may just be throwing them off. And you don’t want it to get in the way of what someone else’s understanding is. It’s not really about anything. At the same time, it will find some meaning.
Surface R&B doesn’t work any more. The whole heartthrob thing, songs about unrealistic love and tearing your shirt off every show – that’s not really where it’s at any more. It’s becoming harder for those guys to sell records, and harder for them to succeed.
I feel like that I’m learning all the time. I’m learning from new artists, from established artists… every time I listen to ’70s rock ‘n’ roll records, I’m learning. And I think that I’m just now starting to get a hold on what I do.
People always say ‘Etta, you know what your problem is? You’re neitherfishnor fowl. There is no place to rack you.’ When I would go in a record shop, you might find one or two records by me in different stacks.
I think you’ll do as well as most professionals. Most professionals don’t beat the market. Let’s not over-rate my industry. But if you have time, you can be in good mutual funds that have good records.
You can’t just walk away when somebody recognizes you. You have to take some time out and talk to them. It’s not a waste of time – I just love talking to people. And I don’t do this to sell records. The truth is, I do what I do because I love it.
Even though there’s no forum for me on the radio for the kind of music I sing anymore, I am still excited about having a career where I can sing the best music in the world, and people will come and hear me because of the hit records I’ve had in the past.
I liked blues from the time my mother used to take me to church. I started to listen to gospel music, so I liked that. But I had an aunt at that time, my mother’s aunt who bought records by people like Lonnie Johnson, Robert Johnson, BlindLemonJefferson, and a few others.
Everything changes all the time, and unfortunately, everyone who knows what you do by buying records only hears a small amount of what’s going on in your life.
The first sign of real obsession with music was with an old wind-up gramophone that mum had thrown out into the garage. My parents gave me three old 45s – two Supremes records and one Tom Jones record – and I used to come home from school literallyevery day, go out to the garage, wind this thing up, and play them.
My mom and I used to listen to records, read, and take train rides across the country in the summer. It was a very chill life. She didn’t expose me to anything that was ahead of my development, but she expected me to adjust to her world – she did not expect to adjust to mine.
I think a lot of it had to do with, you know, I was always a daddy‘s girl. I was always wanting to please him, and I think he was pleased when he’d walk past my room and I was listening to those records.
I took a private lesson, but it didn’t really work out, so I went back to playing along with records. That’s really the thing that got me into playing a lot – getting excited about playing along with my favorite bands like Zeppelin and Black Sabbath.
Without Metallica, I wouldn’t be doing what I am doing. I have every Metallica record, of course, and I would spend hours on drums in my parents’ basement with the stereo behind me, cranking those records and learning Lars’ drumbeats, beat by beat.
The sacred rights of mankind are not to be rummaged for among old parchments or musty records. They are written, as with a sunbeam, in the whole volume of human nature, by the hand of the divinity itself; and can never be erased or obscured by mortal power.
Records have never really been my strongsuit. I’ve always been a much better live act. I didn’t understand the language of the studio. You sing differently in a studio. The language, the craft – it’s just a whole different deal. I avoided the problem on my first record by doing a live album.
Obviously, there are moments that you look back at and cringe – things in the past involvingviolence or disrespect to women or disrespect to other people that are so far away from what I want to put out there now. But it’s actually a privilege to be able to change and be making records that reflect that change.
Rhythm and blues started even before phonograph records were being produced because black people entertained themselves. It wasn’t done for money. It was done for entertainment. Most white people didn’t know anything about this because prejudice kept them from ever seeing what was going on.
But some great records are are being made with today’s technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn’t have emerged when recording was more organic.
I already had top 10 records before ‘SunshineSuperman,’ with ‘Catch the Wind’ and ‘Colors,’ but this was a real breakthrough for me. It was a consciousness change for songwriting, as people are now saying I initiated the psychedelic revolution with this album, ‘Sunshine Superman.’
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.
We played together for so long and we got to the point where our stylesblended together. Even today, sometimes I’ll hear our records and I’m not really sure who played what. And we took a bunch of acid together too.
BobDylan‘s first couple of records in the 60’s weren’t considered cover records, but he only wrote one or two original songs on each album.
Films and gramophone records, music, books and buildings show clearly how vigorously a man’s life and work go on after his ‘death,’ whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death according to our view!
I achieved everything I wanted to achieve by being in the Rolling Stones and making records.
Well concerning the world records that I did, I think it helps a lot to me, yeah. I think it’s a very individual thing because I heard some people say, like, oh I don’t like it at all. But I definitely, for me it really made a big difference.
Inge de Bruijn
I wasn’t the kind of person that liked waiting for autographs or following them, I just liked to go to the shows, study their records, driving many, many hours to different states to go to concerts.
It was very hard to get any records, so the only source for us to really hear what was happening was listening to the Voice of America. We would be taping all the broadcast and then sharing the tapes and talking about it.
To actually put the time and energy into an album that would be better than Pull would be a hell of a lot of work, because I took that band really seriously, way more seriously than people took us. If you go back and listen to the records, you can hear it.
I have more perspective now, and am happier now. It’s not that I don’t want success, but I now know I can have success at a lowerlevel and make much more money doing it by myself. I make $6 or $7 bucks a record vs. nothing off those other records.
Because of the changes in the Padres team I played with last year, I felt like a veteranrecently when I worked out with Jason Kendall and he told me he’s liked listening to my records since he was a kid!
My family, although they’re very large on both my parents‘ sides, they don’t know much about their family tree. Occasionally, they try to dig, but they can’t get very far, and it’s baffling. In Dublin, it seems that so many public records were wiped out; it’s proven to be very difficult, so I know very little.
The sacred rights of mankind are not to be rummaged for among old parchments or musty records. They are written, as with a sunbeam, in the whole volume of human nature, by the hand of the divinity itself; and can never be erased.
I was living on the wrong side of the tracks in Evanston, Illinois, in a home for boys. We had these Jackson 5 records. I really related to their voices – they were about my age, but they were doing it.
Growing up going to Christian school and the concept that you’re born a sinner and you don’t really have a choice to change who you are has been hammered into my head and created the entire reason why I made art and made a band and made records called ‘AntichristSuperstar.’
I’m coming up on 40 next year, and after making so many records and doing music for so long, I’m looking for a change and a different perspective. And every now and then, I think I have something I want to say.
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.
Growing up I really loved Mazzy Star, The Cranberries, Fiona Apple, Everything But The Girl. I listened to a lot of really random things too that I would find by myself. I would find Minnie Riperton albums that I would fall in love with, also, a lot of old country records.
And ultimately the people who produce my records, they know that they’re here to serve the purpose of me expressing who I am at this period of time and augmenting that or pulling it forward and I love that process.
I wanted to be able to talk with people who have trade jobs and make records with them. I want to do more records with carpenters, electricians, people who specialize in even more bizarretrades that are off the beaten path.
With ‘Bangarang,’ I didn’t make any announcement, no campaign. I just put it on my Facebook and some other places. That’s how I’ve done everything with my previous records. I’ve always kept it organic.
I hardly ever watch my own work. I just end up picking myself apart! I can’t even stand to hear myself on voicemail. the sound of my own voice is like nails on a chalkboard. The same goes for my records.
People get passionate about a song. It’s been my experience if you put out radio candy, something commercial, it doesn’t sell records.
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?
So happy that Broken Bells is a thing in my life and really cool in so many ways. Not only, like, as something to sell records and be a band and whatnot, but just to give me an outlet and give me a fresh approach on things.
With Celine Dion, we were selling 25 million records a pop. ‘Pop’ stands for ‘popular.’ It means we’re plugging into the masses.
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.
I wrote and produced millions and millions of selling records, so my publishing company alone was worth millions of dollars. I didn’t have to work anymore in life because when the rappers started sampling… I’m the most sampled artist in history.
I love country music, blues, and punk, and one day I might make those kinds of records.
I made records for 20 years, I lived off it. But people would say I made so many mistakes, I did so many things you’re not supposed to do. I had a band name nobody could say. I didn’t play live. I never practiced, I never got better at my instrument.
If the record was picked up by Dot Records, I would imagine that they would have wanted both sides of the record to be something by Lou alone which would account for the dropping of ‘So Blue’.
Remember the Stax label and how if you liked one record, you liked all the others as well? You don’t talk to a lot of people who tell you how much they love their record label. I don’t care how many records they sell.
People have said to me, You can’t write songs. You can’t play an instrument. But I’ve got 10 gold records.
I was running track early in my years and I was breaking track records in sprint running. I was training and I wanted to be in the Olympics. I thought I was going to be able to win a gold medal, and my mind was pretty much set on ‘this is what I want to do’.
I think I’ve been lucky to work with so many lovely people. But there’s Joshua Bell, who’s the world’s greatest violinist. We worked together live and once, for his record, but I really would want to work with him on one of my records.
I grew up not far from where Motown was founded, maybe 300 miles from Detroit and I’ve always liked – I used to like the way they made records. I still do, I just haven’t had a chance to hear as much. They used to entertain me.
Normally, what I do for fun is just nothing. I try to just relax. Normally, it involves just relaxing and reading and maybe going out and meeting up with a friend. I live a very simpleexistence. I would much rather just sit around and listen to a couple of records and read the paper.
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’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.
Barbra Streisand is without a doubt one of the most honest people I have ever known. There is no doubt in my mind that she will not be doing any more concerts. Of course, she still will be making records and starring and directing in movies.
You could have a zillion Facebook followers. Those people don’t buy records. It’s about a hundred to one…Record companies, they don’t have any money, so they see social media as the free marketing… So… ‘Billy, light yourself on fire and stand upside down, and that’ll market the record.’
Bob Dylan continues to release odd and unsettling records, and to do odd and unsettling things on stage. So the term ‘still’ seems meaningless to me. But the real answer is simple: I listen to Bob Dylan for pleasure more than I listen to anyone else for pleasure.
The first memory I have was my sisters dancing to the radio when they played records by BennyGoodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called ‘Boogie Express,’ and it was boogie-woogie. Really, it was on fire, and that got me.
I grew up with vinyl records and remember the pleasure and the kind of buzz that I got from buying a beautiful vinyl record with the sleeve and the lyrics – all that kind of tactile experience that you could get from an old vinyl record.
That’s one reason why it’s pretty worthless, I can’t totally buy it, if you think about it, it’s things like the Phil Spector records. On one level they were rebellion, on another level they were keeping the teenager in his place.
I wouldn’t say I’m underrated, but more reserved. Only time will tell, but I’ve been good so far in being consistent and making hit after hit writing for myself and other artists, from rap to R&B, and being able to make those different records.
I always thought my records were number one; it’s just the charts didn’t think so.
If you’re successful in what you do over a period of time, you’ll start approaching records, but that’s not what you’re playing for. You’re playing to challenge and be challenged.
I try and make little stories. Whether it’s with a pencil or with bits of records, it’s really the same thing.
So people think I’m lying about my age all the time? It’s the records that are wrong. I’ve never told anyone how old I am. The minute they ask me, I say ‘That’s none of your business.’ So that means I’ve never once lied about my age. Now that’s true!
Food fighters in Japan think of themselves as athletes. They have a higher recognition of the game and are constantly thinking about records. I probably won’t continue for long because it puts pressure on the body. But I am at the age where I can perform my best.
Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It’s something I will always do.
I am just glad that I can take the music to the people who want to hear it. I love my audiences. I am deeplyindebted to them for giving me the chance to sing my concerts, make records, and do what I love. Whatever people call it, it is great to have a voice!
Oh, I will always be honest with my music. The records are black boxes for me. Like if you want to know who I am, my views, my perspective, things I love, things I hate, my convictions, my anthems. I’ve never let people’s opinionsaffect the way I write.
To my ears, jazz sounds better in warm weather and after the sun has gone down. While I will listen to some of my favorite jazz records in cooler weather, it’s the warmernights that really make them come alive. Something about those sounds and the heat of the night really makes it happen for me.
All the records are the results of our fans, BLINKs, and their unconditional support. Every day we try to acknowledge how grateful we are, but more than the pressure, we are ready to give them back as much as they gave us.
I don’t care how many championships you’ve won or how many records you’ve broken – if you’ve had a hand in pushing forward not only a game but women in sport’s movement, then I think that’s pretty darn good.
I know when I started I would have been happy to sound like the Beatles or Joe Tex or whoever. You want to sound like most bands, you want to sound like their records and that’s how you learn your chops.
The AthleticAssociation competed against the University. So there was an event. You cannot break world records unless it is an established event, and you have three timekeepers, and the whole thing is organized.
When Elvis was performing, you just tried to figure out a way to get there. I think he set all the records and anyone that has ever had the good fortune to see him, you know what it’s like to try to get in to see Elvis. It was impossible, practically.
All I knew about Ethiopia was from a few records that I like, as well as what I read about the famine. But you get there and it’s another world. It’s filled with art and music and poetry and intellectuals and writers – all kinds of people.
That is our first amendment, freedom of speech. But I also believe that we have an obligation to the youth to be somewhat responsible in what we say on records. But I think that comes with age. I think that comes with artists growing up and becoming assured of who they are as people.
Sooner or later a rider will emerge who will win more Tours. In every sport we have seen how the records eventually get broken and cycling is no exception.
I’m always amazed to hear of air crashvictims so badly mutilated that they have to be identified by their dental records. What I can’t understand is, if they don’t know who you are, how do they know who your dentist is?
I was signed by L.A. Reid on Arista Records when I was 16. He understood me and believed in me. Arista folded and I got put on RCA or whatever, then there were new people there, and every six months it changes and more new people come in.
I was in Tower Records in San Francisco a few weeks ago, buying some cassettes, and a couple of people recognized me and ran up with albums, and I just wanted to cover my face and have a seizure or something. I want people to just go away.
I did write more mainstream stuff with DK. But you could always tell the records that I wrote in contrast with everybody else‘s because the format was a bit different. The harmonies were used in a different type of way. Way more metaphors in the mix.
Well that’s true, and what is actually happening now is that there are accusations that those records contain conspiratorial information that has been concealed from the American people and that is a dangeroussituation that just cannot be tolerated.
I never stopped making pictures. There were times when more of my income was coming from other sources, and I had to devote more time to television and movies and records.
The two records are very different. I guess, on the second record, that’s more where I was at. Its not that I’m more well-adjusted or anything, it’s just that what I wanted to sing about maybe was more the way I wanted to feel.
I believe God’s keeping the records, and I believe you will be rewarded even in this life. Somehow, some way, God will make it up to you. It may be He protected you from an accident you never knew. You can’t give God something without God giving you more in return, whether it’s peace or joy or satisfaction.
I’ve looked at pictures that my mom has of me, from when I was four years old at the turntable. I’m there, reaching up to play the records. I feel like I was bred to do what I do. I’ve been into music, and listening to music and critiquing it, my whole life.
The music that I’ve had out so far was obviously very pop, but when I signed with Hollywood Records, I was like, ‘I know that’s the music you’re familiar with, but that’s not what I want to sing. I want to do country.’ They were on board with it!
We have a way of dealing with information that has sort of personal – personally identifying information in it. But there are legitimate secrets – you know, your records with your doctor; that’s a legitimate secret. But we deal with whistleblowers that are coming forward that are really sort of well motivated.
I’m friends with Carla Olsen and she’s doing a lot of producing these days. She’s getting quite a little collection of records that she’s produced. She’s real busy.
We certainly strive for trying to make a quality record throughout, and I think that’s true of all of our records.
What’s wrong with the ‘Laffy Taffys’ and the Soulja Boys? We need fun records. We gotta have dance music. We gotta have club music. We gotta have kids’ music.
I remember when I was coming up, the music stores where you could get guitar strings was where I got my records from. Now the place where you get your records from is where you can get your DJ mats and your mixers.
Jam Master Jay
If it was all about me, I’d do a whole lot of pop records, make a whole lot of money, just rake in the dough. But it’s never been all about me. It’s all about being a voice for the voiceless. People who can’t speak for themselves, who don’t have a mic, don’t have a say.
Second records aren’t usually very good. Even Bob Dylan’s was a bit disappointing.
I don’t know if there are artists out there who love their own records. I haven’t met any, and I’m kind of extreme in the other direction, but therein lies the impetus to keep working and keep making new songs and new records.
I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.
Change is inevitable with the evolution of technology. In the ’70s, we had records. In the ’80s, we had CDs, and now we are living in the digital age. You can say it’s sad or unfortunate, but the reality is you’ve got to roll with the times and the technology.
I would sell 2 million records, a million went to teenagers and a million went to the adults. So, when The Beatles became so popular, I lost a million to the teenagers, but I was still selling a million to the adults.
My grandmother worked at one of those Bel-Air mansions, and we would go – not too often, but every now and then – to pick her up. Hollywood was probably 12 miles from my house, but it might as well have been a million miles away. The only time I saw that world was on TV. Until I started making records.
I’ve known the glory of the stage and the glory of the spotlight. I still crave it. I want to be on ‘American Bandstand’ and ‘Soul Train’ as a solo artist. As a producer, songwriter and arranger, I help other artists say what they want to say. But on my records, I say what I want to say.
Narada Michael Walden
No, if it was up to me every record would be brand new studio material but Atlantic records asked me to put out a full live record because my tour really did do well last year.
It seems when I put together records, as Henley used to say, they’re just like movies. They should have action, tension, love scenes, places to relax.
Blackheart Records being 25 years old representsstaying power and the fact that we weren’t able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.
I like doing things in a very minimal, unconventional way as a personal way of saying, ‘Look, I made a career out of carefully and craftfully, though unconventionally, making records on laptops and blownspeakers.’
Some amazing records have this power to leave you with inspiration; you’re left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.
The Gun Owner Privacy Act protects the right to keep and bear arms by preventing the Feds from collecting data to monitor and log gun ownership in America. This legislation will give Americans legal recourse and the ability to sue the Feds and collect damages for records illegally stored.
We went into that knowing that we were never going to sell a major record ’cause we didn’t sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.
I’m very proud of my records, but my most natural creative tendencies have been in live performing. There’s a beautiful element to recording and making records, but I’ve always felt a little shy with it.