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Sometimes when a record's done, I'm satisfied and I won't listen back to it for a while 'cause I'm usually pretty tired of the songs. Then I've got to learn them again to play them live, and sometimes it takes a while to realise it's a really good record.
I remember the first time I saw the 'Sugarhill Gang' on Soul Train. I was 11 or 12. I was like, 'What's going on? How did those guys get on national TV?' And then, when I was a little older, a rapper from the neighborhood got a record deal. I was shocked.
If it hadn't been for record people like Ralph Peer, the Chess brothers, and Alan Lomax, then life would've been unbelievably dull, and I would've been sacking groceries somewhere and probably, at this point, running a little 7-Eleven down by the airport.
The Bullet Club keeps New Japan Pro Wrestling in the black. Far in the black. Because of me. I'm a part-timer in that company, and I hold the Tokyo Dome merchandising record and Osaka's. Funkos. Bucks on a career run. This Bullet Club may never be topped.
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.
If you have children and want to give your future self a present, record their laughter as toddlers. When they're older and away from you, you might find that clip in the middle of the day, and it will transport you as surely as if you had a time machine.
So that the record of history is absolutely crystal clear. That there is no alternative way, so far discovered, of improving the lot of the ordinary people that can hold a candle to the productive activities that are unleashed by a free enterprise system.
I just think that any person who wants music to be their career shouldn't focus on a record label. I have seen friends who sign to a label too early in their career, and they lost control over their music, and their releases were delayed or never put out.
I've had a different kind of career on the periphery of show business. I've never been on any kind of corporate timetable whereby every six months I have to pop out a record like a pulping mill. I've called my own shots. When I get tired, I take time off.
It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.
The standard way to record a meeting is to list people's names, the topics, and action items. The visual way is to doodle a rectangle (the table) populated by figures (the participants) sitting around the table with their comments as cartoon word balloons.
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 had to put me foot down with the first record company. It was about 1975, when singers were being given names like Gary Glitter and Alvin Stardust, so they wanted to call me Benny Santini just because me dad's an Irish-Italian with an ice-cream business!
There's a long record here of being wrong. There's a good reason for it. There are probably multiple reasons. Certainly proliferation is a hard thing to track, particularly in countries that deny easy and free access and don't have free and open societies.
When I did 'Tapestry' with Carole King, the record was spare and simple, like a demo. If someone had told me to go back and put horns on it, it would've been all wrong. If you're enthusiastic enough to sign an artist, let them do what got you enthusiastic.
The president's poking fun at himself over what goes down. I thought it was a good-natured performance. It made him look good. But he certainly doesn't disguise the record on weapons of mass destruction. And you feel like saying to people, Just get over it.
I have a natural instinct to feel guilty and that I've let people down. I've apologized in more songs than 'Back to the Shack.' Going back to our second record, the closing lines are 'I'm sorry, I'm sorry, I'm sorry.' It's definitely part of my personality.
What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the marketplace.
It's really important to be free and be open and honest about the things you want to do. Just 'cause you want to make a solo record or another record with another band, it doesn't have to be an insult or a slight to the band you've been with for a long time.
Hey bands, you're all welcome to fly me to some exotic location and I'll record you there, Y'know that right? You don't have to come to this God forsaken place. Hope I can visit you all in Australia one of these days that would be hot! We'll talk again soon.
I think the most-played record in our house was the 'Big Chill' Soundtrack - so Smokey Robinson, Aretha Franklin, the Temptations, Otis Redding. I think that's where I got my love for a good hook, a good soul hook - really smooth and warm and from the heart.
It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records.
You expect certain things. You build up in your mind how it's supposed to go down. When you get a record deal, you think you're supposed to get X, Y, and Z. It doesn't happen like that. You're like 'Oh, this isn't as exciting as I thought it was going to be.'
The radio stations strayed away from the raw hip-hop that they were playing in the early 1990s. We were like, 'All this watered down stuff is dominating the airwaves. We should make a record to make fun of that' and Guru's like, 'Let's call it 'Mass Appeal.''
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.
With The Fugees initially, and even with 'Miseducation', it was very hip-hop - always a singing over beats. I don't think people have really heard me sing out. So if I do record again, perhaps it will have an expanded context. Where people can hear a bit more.
I was bashing Israel in the past because nobody else was exposing its true record. Many people are doing it now, so I switched hats from a critic of Israel to a diplomat who wants to resolve the conflict. I have not changed, but I think the spectrum has moved.
Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.
Some people choose to go on 'American Idol' or another singing contest, and some people choose to beat down barrooms before anyone even knows who they are, in order to get a fan base, so when they do get a record deal, they have that to put in front of a label.
You're either on team Republican or team Democrat, and it's the idea that one of these sides has a perfect record of being correct and is worth supporting on 100% of the causes. I find that kind of thinking extremely dangerous and very intellectually dishonest.
As I was sitting there, the deejay was playing music and talking over the music, and the kids were going crazy. All of a sudden, something said to me, 'Put something like that on a record, and it will be the biggest thing.' I didn't even know you called it rap.
I had basically been shelved by the record label for two years and I was writing songs every day. I made two albums that just never came out, and that was just a really big knock to my confidence, because everything I sent seemed like it just wasn't good enough.
I won't say I'm not fascinated by the way advertising works. I like the sleekness. But a picture in advertising doesn't last too long. They have to work for 30 seconds. And I'd like to reach at least two minutes. This is my goal: to break that two-minute record.
Breaking the world record in '92 was a very special personal moment, but I'd say my favorite moment as a decathlete was winning the Olympic gold medal. It was a lot of years of work, and when I won it, it was more a sense of relief than jubilation or exaltation.
When I was growing up in the early '70s and really getting into music, waiting outside the record store for that 45, waiting for a single from The Dead, The Clash, David Bowie, or T-Rex or something to be there. There was something about that that was so special.
When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
I admire someone like Beyonce. She has amazing commitment. I needed to accept that I probably did not fit into that forum. Doing that 'The Cherry Thing' record was a big part of finding that place where I belong, where I may shine, but I never doubted it was there.
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.
These 'free' applications ask for permission to read your emails, your text messages, listen to your phone calls, record video from your phone. Why else would someone spend millions developing an application which they then give away? Kind-hearted, maybe? Get real.
The 'Downward Spiral' album was a record all about beating everybody up - and then 'Hurt' was like a coda saying maybe I shouldn't have done that. But to make the song sound impenetrable because I thought it was a little too vulnerable, I tried to layer it in noise.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
Today, we have two Vietnams, side by side, North and South, exchanging and working. We may not agree with all that North Vietnam is doing, but they are living in peace. I would look for a better human rights record for North Vietnam, but they are living side by side.
If we can have record high unemployment, record job loss, and just an absolutely anemic economic recovery because of Obama's policies, and he's not blamed for it, what makes anybody think he's gonna get blamed when an insurance company starts doubling their premiums?
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 pressing plants. With no more pressing plants, there's no more charts.
I didn't feel the need for anonymous affection, for people in the dark applauding. To me, it would be like writing a novel and then getting up every night and reading your novel. Everything I did is on the record and, if you want to hear it, just listen to the record.
My attempt has been really to, beyond making a record of contemporary life, which is what you inevitably do, is trying to make beautiful books - books that are in some way beautiful, that are models of how to use the language, models of honest feeling, models of care.
The pressure is all self-imposed, and it's to live up to the expectations of people who are going to shell out their hard-earned cash to listen to the music. It's actually more than that, though. I wouldn't want to make a record that didn't live up to my expectations.
I've got a really long record around progressive politics, especially when it comes to the economy. Voted against the Bush tax cuts. Voted against the Trump tax cuts. Believe in investment into lifting people up, closing the opportunity gaps that exist in our society.
After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.