Darius Rucker Quotes

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.

By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.

Def Jam, they've shown nothing but love as far as supporting my records. We haven't missed yet, radio-wise, and every song that they've actually tried to support has been No. 1.

When I got signed to the 'Fader' Label, they got really excited about having me as their new artist. They were promoting my music everywhere. Pharrell was one of the producers who wanted to work with me, so I was really lucky to be one of those people who got to work with him.

For the first six years of my career I was independent. I got on to a major and did my thing there. I had platinum and gold records and all that.

When I was nominated for a Grammy, my label dropped me - I have a wariness about trying for a hit.

I met Ne-Yo in London. I sang for him and he said, 'I want to sign you.' It was amazing - it meant my name was buzzing around the industry and I got to meet lots of different labels.

I came to California and got signed at a young age. And it's not like you see in the movies, where you start rubbing shoulders with Timbaland and Pharrell, and you become a giant pop star.

My girlfriend at the time convinced me to send these songs to Cavity Search. When they wanted to put out my record I was totally shocked.

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

What made me want to become a recording artist; I was the first artist that was repeatedly asked by a label to record with them. That label was Def Jam Records.

I'm overjoyed and honored to become a member of the Hollywood Records family. I've admired the careers they've made and can't wait to see how my musical path is paved out.

Having a first single is such a great opportunity for any artist... I'm very appreciative of the support country radio's given 'Could It Be.'

When we signed Taylor Swift, people said, 'You're signing a 15-year-old female country artist? Good luck!'

The career high would be putting out a Kids of Widney High CD on my label, Ipecac Recordings.

I'll always work with Stones Throw, but I'm trying to start my own label to release my old material and sign new artists. I want to do everything from rock, to jazz, to electronic, to noise records and movie sound tracks. Both sampled and original music.

The 'Frampton' album sold better than all of the other solo records that I'd had, put together. It was over 300,000 copies, so that was a good signal that we were poised for my first gold record.

I put a song on Soundcloud, and Annie Mac made it record of the week, and a month later, I signed my record deal.

When I was doing 'Hot Shot,' I didn't even have an album deal.

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

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

I'm really thrilled and excited about my first single with Dhvani Bhanushali.

I always look at Akon as inspiration, and the fact that at one point Lady Gaga was signed to Konvict Muzik.

When people see that we're signed to Def Jam, the perception has changed.

When we started Allman Brothers, Atlantic Records kept telling us there was no way it was going anywhere.