Lp Record Quotes

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Mr. Scott Fitzgerald deserves a good shaking. Here is an unmistakable talent unashamed of making itself a motley to the view. The Great Gatsby is an absurd story, whether considered as romance, melodrama, or plain record of New York high life.
L.P. Hartley
Wooing you? I haven't 'wooed' a chick since before my first record deal.
LP Maxa
My parents used to play music when we had gone to bed, especially on Friday and Saturday evenings. Often it was the last thing I heard before I fell asleep. Every now and again he played records when he was alone in his study. Steinar had told me once that he had brought a Pink Floyd LP into the classroom and played it. He had said this with awe in his voice.
Karl Ove Knausgård (Min kamp 3 (Min kamp, #3))
Noah held his hand out. She accepted it - it was bone-cold, as always - and together they turned to face the huge room. Noah took a deep breath as if they were preparing to explore the jungle instead of stepping deeper into Monmouth Manufacturing. It seemed bigger with just the two of them there. The cobwebbed ceiling soared, dust motes making mobiles overhead. They turned their heads sideways and read the titles of the books aloud. Blue peered at Henrietta through the telescope. Noah daringly reattached one of the broken miniature roofs on Gansey's scale town. They went through the fridge tucked in the bathroom. Blue selected a soda. Noah took a plastic spoon. He chewed on it as Blue fed Chainsaw a leftover hamburger. They closed Ronan's door - if Gansey still managed to inhabit the rest of the apartment, Ronan's presence was still decidedly pervasive in his room. Noah showed Blue his room. They jumped on his perfectly made bed and then they played a bad game of pool. Noah lounged on the new sofa while Blue persuaded the old record player to play an LP too clever to interest either of them. They opened all the drawers on the desk in the main room. One of Gansey's EpiPens bounced against the interior of the topmost drawer as Blue withdrew a fancy pen. She copied Gansey's blocky handwriting onto a Nino's receipt as Noah put on a preppy sweater he'd found balled under the desk. She ate a mint leaf and breathed on Noah's face. Crouching, they crab-walked along the aerial printout Gansey had spread the length of the room. He'd jotted enigmatic notes to himself all along the margin of it. Some of them were coordinates. Some of them were explanations of topography. Some of them were Beatles lyrics.
Maggie Stiefvater (The Dream Thieves (The Raven Cycle, #2))
The catechism of the vinyl LP involved a complex series of rituals over sleeves, sides played, needles, fluff and cloths, that were only enhanced by the scents of the record (rather waxy) and cardboard (woodlouse dampish, if anything) that mingled with the actions like incense.
Travis Elborough (The Long-Player Goodbye: The Album from Vinyl to IPod and Back Again)
We go in and sit on the sofa by the fire to dry out, and she plays her favourite records, lots of Rickie Lee Jones and Led Zeppelin and Donovan and Bob Dylan - even though she was sixteen in 1982, there's definitely something very 1971 about Alice. I watch as she jumps around the room to 'Crosstown Traffic' by Jimi Hendrix, then when she's out of breath and tired of changing records every three minutes she puts a crackly old Ella Fitzgerald LP on, and we lie on the sofa and read our books, and steal glances at each other every now and then, like that bit between Michael York and Liza Minnelli in Cabaret, and talk only when we feel like it.
David Nicholls (Starter for Ten)
Inside McClintic Sphere was swinging his ass off. His skin was hard, as if it were part of the skull: every vein and whisker on that head stood out sharp and clear under the green baby spot: you could see the twin lines running down from either side of his lower lip, etched in by the force of his embouchure, looking like extensions of his mustache. He blew a hand-carved ivory alto saxophone with a 4 ½ reed and the sound was like nothing any of them had heard before. The usual divisions prevailed: collegians did not dig, and left after an average of 1 ½ sets. Personnel from other groups, either with a night off or taking a long break from somewhere crosstown or uptown, listened hard, trying to dig. 'I am still thinking,’ they would say if you asked. People at the bar all looked as if they did dig in the sense of understand, approve of, empathize with: but this was probably only because people who prefer to stand at the bar have, universally, an inscrutable look… …The group on the stand had no piano: it was bass, drums, McClintic and a boy he had found in the Ozarks who blew a natural horn in F. The drummer was a group man who avoided pyrotechnics, which may have irritated the college crowd. The bass was small and evil-looking and his eyes were yellow with pinpoints in the center. He talked to his instrument. It was taller than he was and didn’t seem to be listening. Horn and alto together favored sixths and minor fourths and when this happened it was like a knife fight or tug of war: the sound was consonant but as if cross-purposes were in the air. The solos of McClintic Sphere were something else. There were people around, mostly those who wrote for Downbeat magazine or the liners of LP records, who seemed to feel he played disregarding chord changes completely. They talked a great deal about soul and the anti-intellectual and the rising rhythms of African nationalism. It was a new conception, they said, and some of them said: Bird Lives. Since the soul of Charlie Parker had dissolved away into a hostile March wind nearly a year before, a great deal of nonsense had been spoken and written about him. Much more was to come, some is still being written today. He was the greatest alto on the postwar scene and when he left it some curious negative will–a reluctance and refusal to believe in the final, cold fact–possessed the lunatic fringe to scrawl in every subway station, on sidewalks, in pissoirs, the denial: Bird Lives. So that among the people in the V-Note that night were, at a conservative estimate, a dreamy 10 per cent who had not got the word, and saw in McClintic Sphere a kind of reincarnation.
Thomas Pynchon (Inherent Vice)
the LP sleeve acquires the same scuffs, knocks and wrinkles as its purchaser. It engenders the same affection as the ageing groove. Reflective
Richard Osborne (Vinyl: A History of the Analogue Record (Ashgate Popular and Folk Music Series))
Renbourn recorded his great second LP Another Monday in the makeshift studio at Bill Leader’s Camden Town flat.
Rob Young (Electric Eden: Unearthing Britain's Visionary Music)
Meic Stevens, influential in his home country for founding psychedelic labels Sain and Wren and singing mystic troubadour songs in his native Welsh tongue. In autumn 1969 Stevens took part in an event playing alongside the ten-piece Indo-Jazz Fusions, and the following year the group’s sitarist Diwan Motihar and tabla player Keshav Sathe recorded parts on the Welshman’s Warners LP Outlander,
Rob Young (Electric Eden: Unearthing Britain's Visionary Music)
The boys were, in fact, so animated in person that Martin was actually considering recording their first LP live at The Cavern. “If we can’t get the right sound there,” Martin had confided to the New Musical Express’s correspondent, Alan Smith, “we might do the recording somewhere else in Liverpool... or we might bring an invited audience into the studio in London. The Beatles work better in front of an audience.”[373]
Jude Southerland Kessler (Shivering Inside)
Psychosis, it seemed to some, was in the air. One unhappy host played Phil a copy of Marshall McLuhan's 1968 LP The Medium is the Massage, an audio collage inspired by the resonating global echo chamber that McLuhan believed formed a new electronic form of “acoustic space.” When the recording began, Dick clapped his hands over his ears and screamed, “Turn it off! Turn it off! It sounds like the inside of my head when I go mad and have to go the hospital.
Erik Davis (High Weirdness: Drugs, Esoterica, and Visionary Experiences in the Seventies)
A passive observer to Paul’s working methods during the group’s time recording Wild Life, Alan Parsons noticed a similar pattern developing during sessions for Wings’ second LP, only McCullough was less willing to play sideman than his fellow guitarist. “Denny was very much manipulated by Paul,” noted Parsons, “being told what notes to play. He hadn’t got a lot of freedom, musically. I think Denny had a lot of respect for Paul, but he was like a puppet on a string at that time.
Allan Kozinn (The McCartney Legacy: Volume 1: 1969 – 73)
38 Paul was still thinking of singles and albums as he did during the Beatles’ days, and as many British groups (and record labels) did in the 1960s—as separate releases, with no crossover. With few exceptions, when the Beatles released a song as a single, it was removed from consideration as an album track. They explained this as a value-for-money issue: fans who already bought a single should not have to buy those tracks again on the next LP. It was different in the United States. Singles were considered teasers for albums. Record executives like Coury considered albums more marketable when they had hits on them, and American consumers considered it a convenience to have the songs they knew as singles on albums as well. In the Beatles’ case, because Capitol LPs typically included 12 songs, compared with
Allan Kozinn (The McCartney Legacy: Volume 1: 1969 – 73)
Stop worrying about your twin, son. He needs to learn to stand on his own two feet. And you need to hold onto what makes you happy.
L.P. Maxa (Loyalty (RiffRaff Records #4))
You’ll never be free. As long as you keep lying, you’ll never be free.
L.P. Maxa (Loyalty (RiffRaff Records #4))