Charlotte Caffey Quotes

A lot of artists feel it's not worth it to sign with a major label, because if you don't have a giganto hit, then you're not going to get a video made. You're not going to probably get much tour support. You're not going to get promotion. You're certainly not going to get a publicist who's going to pay much attention to you.

I can work my butt off and create an album that's wonderful, but if it's never played and never given the outlet, it won't succeed.

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.

Every song I put on a record could be a single and I just pack my bags for it... and the minute it takes off, I'm not gonna be home for a while.

How does a band like System of a Down get big?

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

A No. 1 record is hard to come by.

Now that I'm with RCA, they were able to get radio on board, and it's just really awesome to see their support and 'What Ifs' going to No. 1.

We're so humbled and lucky to be in a position where we've been a four-piece for over 15 years. We're signed to a major label. We're on our fourth record on a major label. We've won a Grammy. We've toured the world.

We never set out to be this punk rock band that's going to stay small and tour in a van forever. We wanted to take our band to a level where we could do everything we want to do.

It's a sense of pride, a sense of you set out to get a record deal, and we got that. We set out to get a No. 1 record, and then we got that. Then you say, 'Wow, that was impossible and now even more impossible is to stay No. 1 and stay current and put out new records that people care about,' and we really stuck to that.

I know a lot of bands that will make their first record and get to a certain level, and then when the second record comes out, they can start where they left off as a headlining act playing in front of a certain number of people, or they can go back out and make a lot less money and open for people.

If we waited for a hit record to tour, we would never have toured.

I still get the bus into town, still do all the things I used to before I was signed.

It was so simple in the old days. You put out an album, people promoted it, it got in the charts, and you had a hit.

You know, I didn't have enough money to quit my day job... the myth of the major label deal. Nowadays, you have a tour bus and a stylist and all this stuff. But back then, no way.

I was the only person I'd ever met who had a record contract. None of the E Street Band, as far as I know, had been on an airplane until Columbia sent us to Los Angeles.

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

It's a songwriter's dream to have a song recorded and run up the charts.

We call 'Ain't No Mountain' the golden egg that landed us at Motown.

I want to sell out arenas and make an album and work with some of the best artists in the world.

Releasing a record is only the tip of the iceberg when it comes to the promotion of the product, but you have to play the game if you are to have a chance of competing in the market place.

I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.

I don't want to get too involved in marketing budgets, online promotions and download set-ups because it would be a bit like Gertrude Stein mapping out a TV campaign. I want to sing. I want visibility. I am essentially Al Martino, not Seymour Stein.

I take pride in being one of the most successful producers in hip-hop history, having the most successful record in hip-hop history, I have the most number ones.