We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.
People weren't buying as many records. My record company did not want me. I went through three record companies, went on tour at the wrong time. It destroyed me.
I told the record company I didn't feel the need to be at red-carpet events. I wanted a career. But I wanted to keep myself intact as a person.
We were ready to launch Barry White, but the record company wouldn't put it out. Said it wouldn't sell.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
I suddenly realized that in order to do what I wanted to do, I had to become that which I hated - which is the head of a record company or a digital media conglomerate - and just do whatever you want.
A lot of record company people, even though they're our age, want to be perceived as young hip guys, and they're hurting the business.
That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.
It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.
I don't see people. I don't see men and women at all. When I see them, I see... their mothers and fathers. I see how old they are inside. Like when I look at the president, or anybody in a record company, or a store owner, I may see a little boy behind the counter with the face of an old man. And that's who I talk to.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
I don't think the record company is aware of it. Because they just bury my albums and don't release them.
If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.
I'm developing a record company. I'm learning how to supervise music on a film.
So why sign your name in blood for more? It seemed like a sensible arrangement for me. I didn't sell large numbers of records and the record company paid advances they rarely recouped.
I was too shy, I think, to sing publicly. It takes a particular kind of person. And when I was young, I was not that person. In the first instance, when a record company said to me, do you want to try and make your record, my first reaction was, no, I'm not worthy - I couldn't possibly, and so on and so forth.
I was wildly out of style when that television theme song suddenly pushed its way onto the Top Ten. It was certainly not the record company trying to make that happen.
A record company used to be a very good thing, but they ended up soul-destroyingly trapping people in the accounting department. And you couldn't get any further, and the heads of each department were changing all the time, so you couldn't have any permanent relationship within the corporation.
The record company stay out of my way. Whenever the record is finished, they take it.
Radio is aimed at the 30-year-old market, so you have to have great music and appeal to get that age group. And you need a record company to believe in you. It's like a bit of the perfect storm.
In those days it was pretty cut and dry. If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.
It's always push and pull with a record company.
There's timing. And then there's also certain people at the record company who worked incredibly hard and were incredibly enthusiastic about what I was doing.
I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.
Obviously given good health, and a continuing audience and a record company that allows me to do music. So given those things yes, I'm introducing some new music that people haven't really heard me do in quite this fashion.
Yes it was we, are a few years back parted from our record company and took the album that we were making with them and released it independently in the United States had a number one Independent debut in the United States.
I see myself as the buffer between the band and the record company.
When I do an album I try to find a producer that's excited about something that they want me to sing, and I check with the record company to find out what they think they can sell - which is their No. 1 priority.
My responsibility is to the artist first. There's something that artists intrinsically know about their music and their fanbase that neither the record company nor the producer really knows.
You don't need a record company to turn you into anything.
I love doing third albums. A group makes its first album, and then the record company rushes them into the studio to make their second album. After that, they go, 'Whoa, wait a second.' They get a little more confident. They step back and say, 'Okay, now we're gonna do it.'
I didn't need to depend on the record company to publish my records.
It's so hard to pick a 'single.' I always want it to be whatever my favorite tune is, but often the record company and the person whose job it is to take it to radio have different ideas.
My record company had to beg me to stop filmin' music videos in the projects. No matter what the song was about, I had 'em out there.
The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.
My guitar survived Kosovo, then I went to visit a record company back in London and fell off my motorbike with it on my back, smashing it to bits. I was travelling at two miles per hour.