Wayne Static Quotes

If I start trying to make a record for what I think could possibly get played on radio, I'm dead.

I went through a string of A&R men who all thought I should be doing something different. One thought I should be a dance diva; another thought I should do Rock n' Roll; and one thought I shouldn't even be singing at all!

I just want to keep saturating the market and radio with as many hit records as I can.

I never, ever had it in my mind that I wanted to be in the record industry, because I still contend that the record industry is an insidious affair. It's this terrible collision between art and commerce, and it will always be that way.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

My original idea was to produce and not make records myself.

I certainly don't want to be a record label guy.

Well, I tried to get a record deal in 1966 or '67, and everyone thought I was too eclectic.

We try and stay out of the corporate side of it. The band has never compromised. At some point in our career we could have made a certain type of record and sold millions of units, as they are called.

I made this record without a record label.

It's typical of record companies. They sign you because you're unique, and then they want to put you in a mold so they can sell records.

I was very disenchanted in the industry for a long time before I met GaGa. Everyone wanted a 'Single Ladies' for their artist, or a Puffy move.

I think that there will always be artists out there who think they need to sign a major label deal in order to be successful. And that machine is what is going to work for them - there's tons of examples of pop stars who need that machine.

Shoot, there's a committee to tell you everything at a record label. You definitely have to know who you are if you want to look like you at the end of the process. We've all seen people get record contracts, and by the time they're spit out by the machine, we don't even recognize them.

I started my own record label.

Our managers hadn't had that kind of success - the record company hadn't, we hadn't - and the feeling was that the next record had to be even bigger, and if it wasn't it would be some kind of failure.

I should be the one to say what I do. It's just not done that way anymore in Nashville, and I can't do it the other way. That's how our record label came about.

If you want to put out a million CDs and sell them and get them played on the radio, and even videos, or whatever, if that still exists, that kind of muscle can only come from a label like Columbia.

Of course, I want to sell records, and of course I want to get played on radio, but it has to be about making the record that I'm proud of.

Bob Hurwitz, the president of Nonesuch, the company that releases my records, is a mentor. He taught me how to assemble a script to record an album.

I have to write pretty songs; that's what gets them on the charts.

I've always wanted to release records in America. That's where I believe the music belongs, and the style and the eclectic musical mix that we put together kind of belongs here.

Jimmy Iovine signed me personally to a million-dollar contract, and I lost my identity for a long time. That system is so predicated on making a hit, or you're out of here.

All record companies want big-selling records, and my music is a little too raw for commercial success.

I just wanted to have my own dynasty. I wanted my own Cash Money or Roc-A-Fella. Outside of that, I also wanted my own media company.