Hozier Quotes

I've had offers to sign a record deal, but the people I've talked to have wanted to package me and have me meet with songwriters who've written stuff for Whitney Houston, that sort of thing. That's not at all my style.

Well, I tried to get a record deal in 1966 or '67, and everyone thought I was too eclectic.

I got offered publishing deals to write country music, but it was not what I wanted to do.

When you're 17 and a record label says, 'Hey, do pop,' you listen.

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.

First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.

If you're a pop singer, you don't need to evolve. You just get a set together, have some hit songs and play them over and over.

A lot of people who were writing when I came through originally as a singer-songwriter have disappeared.

I think, back in the day, when I was first starting to make music, all I wanted to do was to get a record deal.

After two years in the songwriting world, I wrote 'All About That Bass.' L.A. Reid heard it and signed me as an artist.

I took temp jobs, recorded a demo in the evenings and eventually shopped a record deal. All I knew was that I wanted to write songs; thankfully, I also got to sing them.

Yeah, man I am going to be writing a book soon. The reality of being in a rock band in the music business'.

I was initially signed to a German label a few years ago.

They're hit writers. They're gonna write me a hit whether I wanted it or not you know? I could have put out a single a year ago with the Neptunes and maybe been writing now on top but that was not the path that I chose.

I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.

I've just signed a contract to make records in Nashville. It won't amount to much at first, but after a year or so, I will really be in the money.

By the age of 17, for me, we had got an recording contract, and, boom, I was gone.

When I first got into the major label system, they were like, 'Hey, you're great - now write with a million people so we can get songs.' That was something I hadn't done before, and the songwriters I was working with had worked on some massive numbers - like 'True Colours.' One of the guys wrote 'Livin On A Prayer.'

It's actually one of my dreams to have my own album. My music genre is dark pop.

In my music career, I never was interested in working and writing and creating songs based on what kind of rewards I could receive in return - a hit song, per se, is what most contemporary artists have to deal with when they deal with a label.

Being promoted as a bubble-gum type artist that has one hit and it's all over is not something I want to do. I want a long career. I want to continue to play guitar and have as much guitar in there as possible in a commercial song without being too indulgent.

I'm not desperate to sign, like, a record deal. I'm very hungry, but I'm just not desperate for it.

The Roots - we signed our first record deal when I was about 19 years old.

I actually got signed when I was 14 with Sony Sweden. Things didn't really work out with that, but I'm glad I had the opportunity to be exposed to the industry at a young age.

To me, Def Jam put my career on hold. I was used to making 13-14 songs a year, and they trickled that down to nothing.