Sebastian Bach Quotes

I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn't, so in the end they just released it themselves.

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

I used to cold call labels and pretend I was one of their artist's attorneys. I'd say, 'This is Jay-Z's attorney, we need to speak with Craig Kallman,' you know, owner of Atlantic, and they'd say, 'Right away,' and then I'd be like, 'Please just listen to my demo tape!'

We were ready to launch Barry White, but the record company wouldn't put it out. Said it wouldn't sell.

In the mid-1970s, I even decided to make my own country album. I put the idea to my record company, thinking we'd just go into the studio in the U.K. and make a novelty album. But instead, they suggested I go to Nashville. I was flabbergasted. I hadn't expected that at all.

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

If I could have stayed independent from the jump, then, maybe, things would have been different. 'Return of 4Eva' would have been an album instead of a mixtape.

I don't make my living making records. Maybe someday I will.

Every time you go in and make a record it is like a calling card, not so people can come and hear you live or are interested in your catalog.

Releasing an album on a major label is like sending a package through Fed Ex. You know that it'll get there, and you know that it'll get there on time.

My dad had two, sometimes three jobs. Besides running the Commodore Music Shop in Manhattan, he did jazz concerts, and he ran this great jazz label, Commodore.

I can say that my big records and my success have been due to the backing which Atlantic have put behind me.

Major labels act as banks in terms of how they produce and release your album. No major label is really good or bad; they just 100 per cent operate as a business, which makes sense... no hard feelings.

If you become famous and don't have a live show to back it up, they're not going to pay you any money.

The American record company Geffen got so fed up with me that they said they weren't going to release my fourth record unless I gave it some title. So it was called 'Security' in America, and it had no title everywhere else in the world.

A development deal is where they're giving you recording time and money to record, but not promising that they'll put an album out.

There is no point in putting out 'The Complete BBC Sessions,' and someone's growling that you missed something.

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 ended up performing one time at BET. I performed my record, like, four times, and the crowd was going super crazy. And Busta just happened to be there; he pulled me to the side and asked, 'Are you signed to anybody?' So we went to the studio a few days later, spoke, and then became business partners.

I've always wanted to push someone who's not really known but has mad talent. I don't know if I'm going to do a publishing company or a record label, but I'm interested in pushing artists in any sense.

I did my first album with my own record label.

We believe that the Internet is the live concert promoters best friend although it might have crippled the record label business.

Sometimes when you get in this game, you think that you're going to take off if you do a song with someone big. But that's not the truth. Everything with you got to be good - the visual, the push, the production.

Roc was only supposed to be our distributor, but then they ended up recruiting me as the label's artist. They said they really liked my album 'Everything You Wanted.'

Four months after we released 'I Don't Want to Be Funny Anymore,' the album came out on EggHunt. Three months after that, we officially signed with Matador. That's not a very long time: half a year between the first flood and the final signing.