Jimmy Somerville Quotes

Having a solo career is a funny thing.

When you're in the music business, every day is the same. If you work 9 to 5, you can't wait for the weekend, but in the music business, you don't know one day from the next. It's always the weekend.

I was actually signed at a very young age - I was 12 - and one thing led to another, and I ended up in a mutual split from the label. But it was probably the best thing that could have ever happened, because I was able to kind of leave the industry side of it for a minute and focus on the independent side.

I knew that it was my only shot to be taken seriously in the recording industry, because it's fast and broad.

I even have nephews who make music, my daughter makes music. I don't know what advice to give them these days. It's really a tough industry to break into.

I want to let everyone hear my music and enjoy it, but just as long as it's fun. I'll go as far as until it gets too much like a day job.

I was working so hard at music and trying to do this whole 'industry' thing and realised that it wasn't for me.

I'm not with a label, so I haven't ever felt pressure to be a certain way. I've got a cool team who just love music.

I was so moved by music that I wanted to create it as well, but once you decide that's what you want to do with your life, to be successful, you have to be business-minded, too.

I always knew, that in some way, I'd be connected to, and involved in, the music business.

When I was young, I was offered my first recording contract in 1971 and was offered quite a bit of money if I would change my character and be a '70s version of Cher.

All of them had so much to offer us as far as, you know, knowledge in the music industry, and especially Randy and Paula because, you know, they've been artists.

That's one of the problems with making music your business, it becomes a business. You're no longer just this kid who is a fan and going to see every show. I've been in a bar every night for the last 15 years. Going to see bands for me is work.

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

I was kicked off a record label and didn't get picked up again. It was devastating at first because I thought, 'Oh my God. My career is over. What's gonna happen? What am I going to do?' Once I got that I could have a career, a very good career, without having a hit record, then I changed.

When I got into the music industry, I wasn't focused on being the most famous artist or even getting a major record deal. It was just to make music on my own terms or create my own image, do my own hair, do my own makeup.

I knew what I wanted to be, but I didn't know exactly how to get there. I thought you move to Nashville, you sing downtown, and someone discovers you, and you become a country music star. I had no idea.

I've never worried about how a new release will be received. I simply try to do the best I can and leave the rest to the gods. The music industry in those terms is something I loathe and detest. It conjures up images of a gigantic factory spewing out parts of the machine.

At 13 years old, I realized I could start my own band. I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.

First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.

I've been working in the music industry since I was 15 years old, and I feel like I've always been ahead of my time.

Anything I do has to have integrity, so if you just want to make music, it's not difficult finding support. The hard part for a publicist or manager is making a star.

Since I was 17, I had been just making records and promoting them.

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.

Artists are very young, and say, Um, ok, to these industry dudes.