On February 19th, Dr. Collip found that he was unable to refine the extract by his method and was unable to keep up his supply to the wards. During the following six weeks, or longer, no extract was available for clinical tests. I believe the reason for this to be that Collip, wishing to keep his process a secret, had not kept careful records.
Most great records really start with the drums.
I wish records got made faster and looser with less thought in them, but since touring is so much more profitable than records, you spend so much time on the road that it's hard to work on them. And the records get further and further apart.
It's an unfortunate fact that in the male black population, a very significant percentage of them, more so than whites or other minority candidates, because of convictions, prison records, are never going to be hired by a police department. That's a reality. That's not a byproduct of stop-and-frisk.
You don't want to make records so you can win a Grammy. You make records because you want to be a musician.
Obviously, I want to sell records, but I do it because I find it therapeutic. In music I can be myself.
I never was a liner note junkie. I didn't know who produced records or there was such a thing as a straight songwriter. I always assumed that everybody that was singing a song wrote it or made it up.
You start out with your eyes wide open, and you've got dreams, and we worked really, really hard, and ours came true. So - and we're fortunate enough to keep putting out number one records, and we're fortunate enough to get out there and keep playing, and we truly have a blast.
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.
I put out records to this day that are not necessarily in a sequence of anything. Some could be written a while back, some not. There is no set pattern.
Actually, if you listen to the vocals on my grandfather's records, you will hear we sound similar. We both sound kind of dry. We have a dry voice, and we both love harmony - he was a man of harmony, I'm a man of harmony. I think it just runs in our blood.
The Righteous Brothers got so heavy because of the dramatic hit records like 'Lovin' Feelin.' Bobby and I just felt like we were a couple of Orange County guys who were just having a great time singing rock n' roll, and then, boy, it became something else.
When I was growing up in South Korea in the '70s and early '80s, the country was too poor to buy original records. Everything was bootlegged.
I'm not a machine that just comes up with records and can give them away easily.
We love to make records, and we love to tour.
There's a relationship between music and spirituality and inspiration and to a certain extent improvisation that draws me in, because I don't totally understand it. I know that those relationships have been telling me, since I started making records, where to go. What to write down.
I never sought out a record deal. It caught me with my pants down. I was just a musician doing my thing, I didn't even send my records out.
Some records are going to be bigger than others. You're always going to be compared to your biggest record.
All my records and videos were groundbreaking.
If you're an artist, and you put out a record - most artists only have one or two hit records - that has 100 million streams, on certain services you only get paid on 75% of those streams. How's an artist going to live like that?
To me, making records isn't work.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
If Nirvana had remained a small, underground punk rock band, Kurt Cobain would still be alive. And he'd probably be living in Seattle, getting kind of fat and balding, be relatively happy and producing records for other people.
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.
I'm really lucky because I found myself in a position where I can do whatever I want to do. I can make records, produce records, make movies, or I can do nothing. I'm not a slave to the dollar.
Employees who report receiving recognition and praise within the last seven days show increased productivity, get higher scores from customers, and have better safety records. They're just more engaged at work.
Hip-hop is all about impact, baby. You can sell records, you can be two-times platinum, you can be gold... but if you lame, you lame, man. We try to provide the exact opposite of that. It's style, individuality, confidence. We exude that.
I get nervous about gigs sometimes, but not with records - I always get excited.
Before I was 5, I did have a lot of time on my hands. I had no job and really no career, and I spent an awful lot of time listening to records. It was more the classical ones, really - Prokofiev, and I think there was some Mozart in there, and more impressionistic composers like Delius.
You know you're a hopeless record nerd when your time travel fantasies always come around to how cool it would be to go back to 1973 and buy all the great funk and jazz and salsa records that came out that year on tiny obscure labels and are now really rare and expensive.
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.
I do want to sell as many records and win as many awards as I can. The awards though, they don't necessarily determine if you're good or not. I know that now.
For a long time, I thought when you do a box set, you're giving up; you're saying, 'OK, I don't have anything left.' But now I've listened to some of the old stuff I haven't heard in 20 to 40 years with fresh ears. It's like, 'Oh yeah, I can see where people might want to to hear some of this stuff that didn't make it onto the records.'
The records in the house I really remember were, well, Glen Campbell's 'Wichita Lineman' and 'Galveston.' Even as a kid, I knew these songs were glorious. My dad also had records by Merle Haggard, Charley Pride, Waylon Jennings, and then there was also the Eagles and Don Henley. Anything Texas, which includes Don Henley, was big.
I've almost never played the 'Smiths' records, once they've gone out. I was always like that and probably always will be.
If you use a cell phone - as I do - your wireless carrier likely has records about your physical movements going back months, if not years.
