Scooter Braun Quotes

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.

The hits I had in the '80s - I made those deals directly with American companies.

The whole industry evolves around a great song.

I have been skeptical and not trusting of traditional models of the entertainment industry. I never got a manager.

As far as being on a major label, some labels get it and get what they have to do, and some labels don't. I don't think the label I'm on necessarily gets it, but I think over time they're gonna have to.

When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.

Someone told me there was a publisher that could find a good home for my songs, but I didn't want to give up my pursuit of a career in the business as an artist.

I really believe in finding new ways to distribute my music.

You have major labels that are willing to take unconventional approaches because the old model is crumbling in front of us.

I'm developing a record company. I'm learning how to supervise music on a film.

I once worked at a record label called London Records. The company was owned by Roger Ames, one of the most successful figures in the British music industry. Roger always placed a value on loafing, on holidays, on not being in the office all the time.

I signed with Big Yellow Dog and have been with them for years. The president of the company is a woman named Carla Wallace, who is an amazing publisher who just has a knack for female artists.

The music business used to be filled with people who love music.

I'm so glad I didn't go into the big-music industry until I was 19 or 20.

I've probably represented almost every major artist in the world, either directly or peripherally, at one time or another.

When I was 17-years-old, I was in the music business.

Getting a record deal is a meaningless thing now.

Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.

I left the entertainment industry part of my life behind in 1983, when we decided not to work with major record companies anymore.

The new independent spirit at Warner Music is a perfect fit for a stand-alone label like Maverick.

The BBC were not playing the music that was happening on the street so we did an independent production because we knew we had an audience. Then we licensed the album to EMI.

I started my music career at 18 and for a long while I let other people handle my affairs.

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

I have had the good fortune to experience both the limelight and the traffic light as a musician. I did my first recording on my own and it was available at concerts. The second to seventh were released on small and then large labels. My eighth to 14th were done under my own steam once again, but with the benefit of the Internet.