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Records Quotes

To bring together the records of the past and to house them in buildings where they will be preserved for the use of men and women in the future, a Nation must believe in three things. It must believe in the past. It must believe in the future. It must, above all, believe in the capacity of its own people so to learn from the past that they can gain in judgment in creating their own future.

I had a year-round Christmas tree with nothing but colored vinyl 45s hanging on it, like, old Elvis records and stuff.

I live for playing live. All my records are live, since After the Gold Rush, with the exception of Trans and the vocals on Landing on Water.

Because the record companies, in their ultimate wisdom, seeing what a great thing digital was, they sold all the places where they made records. Now people want records and they haven't got a facility to make them in, so it takes months and months and months to get vinyl. Vinyl is ultimately much better.

I think I'm going to be making country records for as long as I can see into the future. It's much more down-home and real.

I want my records to represent who I am, and I'm so fucking many things. And I also never wanna do anything that feels humble, because that would be performative.

I've thought about every single word on this album for two years; I'd think about a tweet for 20 seconds. My album's gonna go out to, what, 10 million people, but a tweet could go out to a billion. The maths doesn't work out. I'll die on the hill of my records, but I won't die on the hill of my tweets. It's better to say good things less than to say average things more.

If fidelity really mattered, 'Loveless' wouldn't be one of the best records of all time.

I feel like I'd like to continue putting out records and start putting them out more rapidly than I have until now and for me if I can keep selling the records to the fans that already like me that's fine.

I wanted to sell a million records, and I sold a million records. I wanted to go platinum; and I went platinum. I've been working nonstop since I was 15. I don't even know how to chill out.

It's about you putting in the work, practicing every day, and hopefully one day you write the song the whole world wants to get down to. And one day you're going to be sitting next to Ellen DeGeneres talking about how you broke records and rocked the Super Bowl!

I have records in gold, in platinum, I have two Oscars, I have Grammys and so on.

I do like Britney Spears. I think she's cute. I think she's fun. And I like her records. You know, I'm not a pop snob whatsoever. I think she makes great pop records.

When I first started out in this music industry, I was most concerned with freedom. Freedom to produce, freedom to play all the instruments on my records, freedom to say anything I wanted to.

The bootleg records, those are outrageous. I mean, they have stuff you do in a phone booth. Like, nobody's around. If you're just sitting and strumming in a motel, you don't think anybody's there, you know . . . it's like the phone is tapped and then it appears on a bootleg record. With a cover that's got a picture of you taken from underneath your bed and it's got a striptease-type title and it costs $30. Amazing. Then you wonder why most artists feel so paranoid.

I've always wanted the sound of Muddy Waters' early records - only louder

I'm a Loser,' 'Help,' 'Strawberry Fields,' they are all personal records. I always wrote about me when I could. I didn't really enjoy writing third person songs about people who lived in concrete flats and things like that. I like first person music. But because of my hang-ups and many other things; I would only now and then specifically write about me.

I love it when people say things to me in public and want to meet me, because I want to meet them! Early on, my manager told me, 'If you want to sell 500,000 records, then go out there and meet 500,000 people.'