Good Records Quotes

The human race does not have a very good record of intelligent behavior.

I'm just trying to make a good record that my fans will dig.

If it's a good record or a good recording, then word of mouth will build for that reason, not before the fact, not before anyone's heard it, not because of MySpace or the label.

You can't trust an artist that just makes good records.

There was never going to be a right time for a band that was still recording and had health in its environment, had made a very good record and was playing well.

Making good records tastes good in your mouh. And when that record sells, it tastes even better.

I didn't worry about it because I kind of felt I left a good message and memory with the people in terms of my work, and I always felt with a good record, I could always come back.

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.

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

The relationship with a producer and an artist is really special. It's got to be love and respect, amazing mutual respect for each other, because that's what makes a good record.

I don't think we have very good records about what they were thinking except, as I pointed out earlier today, that they did invent our political system.

I hate the technological rip-offs that pass for music formats these days, and go back to vinyl to hear a good record because the sound is always so much fuller. I don't even like listening to music in the car.

[I]n America, at least, we have a pretty good record for behaving in a fiscally responsible fashion, with one exception - namely, the fiscal irresponsibility that prevails when, and only when, hard-line conservatives are in power.

It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.

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.

The United States does not have a very good record in the Middle East. I think they have the best of intentions but I think the problem is that it's very difficult from Washington, or from Iowa or Nebraska to understand what is happening in this crazy part of the world. In some cases US diplomacy has been somewhat naive.

I don’t need the money. I don’t care if I make a dime on this. Let me make a good record.

I have a pretty good record of winning in court.

Well, that's going to be up to the pundits and the people to make up their mind. I'll tell you what is a president for him, for example, talking about my record in the state of Texas. I mean, he's willing to say anything in order to convince people that I haven't had a good record in Texas.

Having solidarity is important and having conviction and sticking with it and also consistency. You can't just have one good record, or a couple of good singles, you have to continue making good music to be considered to be a great band. Having some degree of integrity, that's it in one word.

Hip-hop and R&B are especially fertile bases of collaboration. It always makes good records and good music.

However, the radio and national media depend much more on the hype from a good record label, and from a " buzz " about a band, then from just one or two good shows. There are a lot of artists that have a ton of good press going for them, and still do not make it big in the US.

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.

I wanted to make good records. But my problem is I've got a low boredom threshold, so I wanted it to look and sound different with each album, which is really tantamount to suicide, cause people lose it, they lose it - they say: 'I like that, and that's not this.'

I often say to people that producing is the best paid form of cowardice. When you produce things you almost always get credit, if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work.

To my knowledge there are no good records that have been built by institutions run by committee. In almost all cases the great records are the product of individuals, perhaps working together, but always within a clearly defined framework. Their names are on the door and they are quite visible to the investing public. In reality outstanding records are made by dictators, hopefully benevolent, but nonetheless dictators.

I love TV. I love being behind the scenes on a TV show but there's something about, I don't know there's something very special when you've signed an artist and that first record comes in and it's a good record. It is an indescribable feeling.

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.

40% of homicides go unsolved. You know, it's not a very good record. And, also, 95% of convictions in America come from plea bargaining, which is often coerced. It's like we have the worst of both worlds. We don't convict the guilty enough, and we coerce the innocent too much.

I don't believe in good music and bad music anymore. I'm through with that phase of my life. Sometimes I just wanna feel good, so I put on a good record. But mostly I'm more of a businessman than a music fan, so I'm listening to music in terms of, is this effective or not effective?

My music is so mine, it's hard to turn it over to someone else. I have to be really involved in the production. It's like someone else taking care of your kids - if they don't treat them well, you're going to be pissed off. I'm actually co-producing [Backwoods] with my guitar player of 20 years, Kent Wells. We make a good combination... I think we're going to have a real good record.

It used to be that if you had a pretty good record, you could stop by a station in Little Rock or Atlanta and let the DJ listen to it. No way something like that can happen now.

It used to be when a good record was about to drop you heard it out of every car and every kid with a boom box was playing it 3-4 weeks before it came out. Now it's not like that you just see ipods left and right and there's no anticipation factor. I have yet to see something drop with the anticipation that Illmatic had or that Ready 2 Die and Cuban Linx had. Those records had real anticipation factors.

Oh God almighty, another Detroit monster is Chad Smith of the Chili Peppers. Their music is intoxicating between Flea and Chad Smith. They're contemporary because they're still making good records, but I don't think there's anything new that has a groove and soulfulness. The Chili Peppers just stink of soul-and that's the ultimate compliment. They continue what James Brown created.

Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.

I've always felt that maybe one of the reasons that I did well as a student and made such good grades was because I lacked confidence. Lacked self-confidence, and I never felt that I was prepared to take an examination, and I had to study a little bit extra. So that sort of lack of confidence helped me, I think, to make a good record when I was a student.

I wrestled and played football in high school and in my last year, I started as a wrestler and actually had a fairly good record. But I hated to lose. I always gave it everything I had which, unfortunately, was not as much as I'd hoped for. But keep in mind, I feel like I got the most out of my ability. One moment that was special above all the rest was winning my last bout at the Naval Academy to finish the entire summer undefeated. That was thrilling, but what's more, it helped me in prison because the first time I got knocked around by the Vietnamese, it did not come as a total shock.

I think that poets can say, "What we want is for everybody on earth to wake up free from fear and with access to medicine and clean water and education." But I don't think poets have any special insight on how to get there. And the 20th century is a pretty good record of that because so many of the great poets were Stalinists: Vallejo, Neruda, Eluard, Aragon, etc. They wrote their odes to Lenin and Stalin. They glorified some of the most violent and grotesque dictatorships of the 20th century. And a lot of the ones who were not Stalinists were fascists or fascist sympathizers.