To come in and win three races already this year and maybe set a record by winning four is pretty unique. But guys like Mark Martin, Rusty Wallace and these guys are not wanting that to happen.
If we are going to be serious about enforcing the law, we have to have a background record check system to make sure that people don't get weapons who shouldn't.
I have a little dictaphone and if a sound takes my fancy or if a lyric comes to me in the middle of the night I'll just record it there and then.
It was always important to me that I made a record where I really sang well, and I don't think it's happened yet. There's always a possibility with each album that I might not record again, and I wanted to produce one that I could feel was mine.
Though just biographical record will touch the failings of the good and the eminent with tenderness.
Self-reflection is so healthy. Journaling works for me - when I record the details of what I'm going through, whether it's a relationship issue or negative thoughts, I can look back and see how far I've come. It makes me proud to see my progress and how I got through a bad situation.
I explain this not for publicity, nor seeking to win an argument of right or wrong, I explain so that the record is clear as to my thinking and motivations in bombing a government installation.
I love the classic crooners, but I got that from my mother - she worked in a record store.
Bob Dylan did the first really long record - Like A Rolling Stone - I think it was four minutes.
I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
One of the ideas behind doing this acoustic record is that I didn't want to have to produce it by committee.
In 1940 I came across a record by Jimmy Yancey. I can't say how important that record is. From then on, all I wanted to do was play the blues.
I used to record but just in my own studio or in my friend's back when I toyed with the idea of being a rapper.
My record at the University of California as an undergraduate was mediocre to say the best.
I don't know why records are treated different than books. I don't know why an Eminem record is different than a Stephen King movie.
Everything about my life was culturally rich, and all the people I met sort of reinforced the wackiness that was normally inside of me. No one said, 'You can't do that,' until I got to real record companies, that is.
I was always looking to record, but how much I actually pursued it was another thing. The major labels weren't that interested in me, and the smaller labels didn't have any money to do anything.
Music was so important to the culture when I was growing up in the Sixties and Seventies. We just expected that Bob Dylan was going to make a great record, and it was normal. It was like, 'Okay, here's another great record by Bob Dylan; here's another great record by Led Zeppelin.'
So, the point was to be able to have a medium that would record all the connections and all the structures and all the thoughts that paper could not. Since the computer could hold any structure in any form, this was the way to go.
If someone wants to sticker a record for whatever reason, that's fine. But once it affects someone's opportunity to, you know, get that record, then I have a problem with it.
Record contracts are just like - I'm gonna say the word - slavery. I would tell any young artist... don't sign.
Everything on this record is what I really wanted to say, and I'm back to being the poet I always thought I was.
When you start out without a record nobody knows you, but if you have a record it's a lot easier.
After all those days in the cotton fields, the dreams came true on a gold record on a piece of wood. It's in my den where I can look at it every day. I wear it out lookin' at it.
On that show, I did country and some rock, too, whatever record I had out at the time, I'd sing that.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
Well, in the sense that we do not tour or record together anymore - then I suppose not. But if our old recordings get heard more we shall be delighted.
At the end of the day, you sign a record deal and you understand where it could go if you had the right song.
It's glorious to be able to go onto the Internet and hear any kind of music anywhere, from anywhere, and get it instantly. But there's also something glorious about having a record with a sleeve and looking at the artwork, putting it on the turntable and playing it, there's still something romantic to me about that.
I would be content if I had nothing but a tape-recorder. I could still write songs and record them.
So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.
My mother and father are very involved with music. It's completely part of their soul. They have an incredible record collection, all vinyl, of some of the best artists, in my eyes, that you can come across.
My mother was an opera singer and my grandmother a concert pianist, and they only liked classical music. If I put on a pop record, they would tell me to turn it off, so I only listen to classical.
Sometimes when you're trying to do a record too close to home, you can get really distracted.
I hate record labels. They think they know everything. I want to hear them try to sing it.
But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.
