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Records Quotes

“Comeback records always worry me, especially when they're made by one of my heroes, and I'd heard stories about Gil Scott-Heron recently, about drug arrests and prison terms and other troubles. I wasn't prepared for the ravaged shakiness of his voice on this record or the raw spoken word pieces or the dark electronic backgrounds.”

“As I write, Johnny Rotten's first moments in "Anarchy in the U.K." - a rolling earthquake of a laugh, a buried shout, then hoary words somehow stripped of all claptrap and set down in the city streets - I AM AN ANTICHRIST - Remain as powerful as anything I know. Listening to the record today - listening to the way Johnny Rotten tears at his lines, and then hurls the pieces at the world; recalling the all-consuming smile he produced as he sang - my back stiffens; I pull away even as my scalp begins to sweat.”

“My father urged Alan [Lomax] not to repeat the mistakes of the European folklorists who, a century ago, had collected these peasant songs and then arranged them for part choir and accompanied them on piano, and then told the young people of their country, "Don't change a note, this is our sacred heritage." Father said, whether it's a fiddle tune or a gospel song, learn it right off the record from the people who grew up with it. Don't just learn it from a piece of paper.”

“I'm a curious guy. I can't turn away from an investigative story, when it comes to the forensic analysis. I've done 33 dives, to the titanic wreck site. I've spent over 50 hours piloting robotic vehicles at that wreck trying to piece together what happened during the disaster. How the ship broke up, comparing the historical record with the forensic record. Documentaries are kind of my new life. I love documentary filmmaking.”

“Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time”