I remember seeing the song in some diners on the selection gadget that plays records at the table while you were eating. We were never told if the songs ever got on any charts.
For me, great jazz records really feel like everyone in the room is playing together in a zone - and all the musicians are completely in sync with each other.
When I think of the artists I admire and seek out musically. It's because I'm curious about where they're going to go the next time they have a chance to put a record out. It's not about where I find them on the radio dial, or how many records they're selling.
I wasn't aware that Track Records were interested in the Bonzos.
I don't want to live on past records.
There are definite reference points to older Depeche Mode records.
The Shades never recorded anything, Little Daddy and the Bachelors recorded a couple of records, ya.
I'm always amazed to hear of air crash victims 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?
Little did we know it would be watched by millions of people and break viewing records.
You know, when I put out records that may not work or connect with the audience, it's because I'm pushing myself as an artist creatively, because I'm just bored doing what everyone wants me to do.
It's like, how do you continue to make records that are representative of who you are that your fans will recognize as your band, while still trying to push things forward and present new sounds for people.
It's also ironic that in the old days of tape and tape hiss and vinyl records and surface noise, we were always trying to get records louder and louder to overcome that.
Tower Records is like a temple to me. I'll stay there for hours. Nobody can shop for records with me. It drives them out of their minds.
I'm at a point where I don't have to wait for the income from the record to survive, so I'm in a comfortable zone, but I'll make rap records as long as I feel I have something to rap about.
I actually don't think that I'm gonna sell a lot of records.
People send me records, and if don't like them, I won't do them; I don't care how much money you offer.
I used to collect comic books. I had a substantial collection. I collect records also, but those have gone the way of the world.
We were excited when we sold our first 10 records. I always felt that if we could get the music out there, and if people became accustomed to it, then a substantial number of them would enjoy it.
But we will lose the millions of records being created daily in a dizzying array of electronic forms unless we find a way to preserve and keep them accessible indefinitely.
At one time they've been the most important thing to me. So I can't hear our records on the radio, I can't stand it, because they sound so out of what everyone else is doing.
We hear so many records these days that are done with click tracks, as opposed to a drummer.
I put together amazing records, whether that's finding the beat or putting the right hook on there, and picking the right artists on the record. That's me being an A&R. And I'm making sure that they give me their best.
Every country I've had different hit records, so we have to change the set to fit the country.
My real passion is for opera. It was born and developed by listening to records, and my dream as a child was to record entire operas when I grew up, and this dream came true.
Occasionally, I hanker for the time when I sold more records, but I don't sit and drool about it. When I do look at early footage of Talking Heads, I realise I was just a wreck.
I have a solo deal with Columbia Records. So it's about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what's the right timing? Do I have time to do it? It's all about questions.
I have a feeling a lot of the records I grew up listening to and the records I still like, as hard as musicians worked making them, I feel like they were really enjoying what they were going through. They weren't just going through the process. You can tell that with certain things that you listen to.
My favorite records are, like, The Pretty Things' 'Parachute' and 'S.F. Sorrow' and The Mothers of Invention's 'We're Only in It for the Money' and The Kinks' 'Village Green Preservation Society' - these records that have a story - even if it's not a literal story - because of how they're sequenced and flow. It's like a novel with sound.
I wound up becoming an A&R man at London Records in the 1990s, during the boom of Britpop, the last great gold rush of the music industry. I saw incredible greed and terrible behaviour. I was greedy and terribly behaved.
This is the thing about hip-hop music and where people get it most misconstrued: It's all hip-hop. You can't say that just what I do is hip-hop, because hip-hop is all energies. James Brown can get on the track and mumble all day. But guess what? You felt his soul on those records.
There is nothing like a Bach fugue to remove me from a discordant moment... only Bach hold up fresh and strong after repeated playing. I can always return to Bach when the other records weary me.
I was very laced with drugs myself, but Fred seemed to be even more so than me. That might have had something to do with it. That might have had something to do with nobody wanting to play my records, too, I don't know.
I love making records; I love making music; I love writing songs.
I want to write, direct, produce, but in steps. I want to take steps. I don't want to just jump in because I sold a lot of records and just feel like I can jump into the movie world. Naw, I want to learn the movie world like I learned the music world.
It's not essential for me to have a big debut week; it's not essential for me to have big radio records.
It's a pleasure playing your big hit records and it's a real joy to see the audience.
