Roy Wood Quotes

We'd been out touring for a couple of years before we signed with Sony and everything.

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.

I have started to record some demos so hopefully in the near future I can play live.

There's a big difference between doing the odd gig and actually having a record out and your name being on the ticket.

I went to America and got into a band, had success, had hits in Australia.

Some people choose to go on 'American Idol' or another singing contest, and some people choose to beat down barrooms before anyone even knows who they are, in order to get a fan base, so when they do get a record deal, they have that to put in front of a label.

When I first signed to RCA, I was sort of excited and shocked that it was happening. But over the next couple of years, it really started to feel like that game you play when you're a little kid - the one where you put your nose on a bat and then spin around and try to walk.

Instead, of worrying if something will be a hit, bands need to go out and make good music, get a following, play live. That's how you make a career these days.

Success happened for me when I dropped my first major label album for Def Jam, 'Live From The Underground.'

We want people to see us live before we continue on and call ourselves recording artists.

There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.

I want to be in the best band in the world again.

The song This Kiss was definitely my breakthrough song. After that, Breathe was my breakthrough album.

So there was a way for you to get promoted and survive as an artist without worrying about AM radio hits.

In 1994, I started touring again and I recorded two albums for Chesky Jazz.

To come out in the music business, you only really get one shot. A lot of people get to play small gigs first, and build up that way, without anyone really seeing them.

The 'Daryl's House' thing has made me into a live musician even more than I ever was, and even in the way I record.

It took us two years to get our first real gig. That was a big dream. We ended up booking a lot of our own gigs and putting on a lot of our own shows. We were trying to get our actual music across, trying to make a connection there.

Bad Religion took a long time to develop into gold-record-status artists. Along the way we learned and applied our knowledge, and Atlantic helped us every step of the way, since 1993.

After two years in the songwriting world, I wrote 'All About That Bass.' L.A. Reid heard it and signed me as an artist.

I understand the rock star deal having been one and still going out strapping my guitar on and performing. Now, I probably do 30 or 40 dates a year and I get to relive how I felt at 19 when I played in some really bad bands.

Fame came quickly. I was only 19 when I secured my initial recording contract and my first two hit records - 'Are 'Friends' Electric?' and 'Cars' - were number ones.

Starting in the mid-'80s, I played in a band called Meat Joy, and we made our own record, toured.

I started The McCoys in 1962, so I'm approaching my 40th year in the entertainment business.

In 1972 through '74, right before we hit it big, we were hauling our own equipment into the club and setting up and playing for, I don't know, a hundred bucks a night.