Britt Daniel Quotes

Traditionally with debut albums, labels insist on a face, so people know who you are.

["A Deal with God"] was the first single off Hounds of Love. I'd put a lot of work into putting that album together and I wanted it to have every chance.

As soon as you start making a record, things start getting lined up: the promotion, possibly even a tour.

Well, we were originally called Huey Lewis and the American Express. But on the eve of the release of our first record, our record label, Chrysalis Records was afraid that we'd be sued by American Express.

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.

We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.

So many people release albums before Christmas and they get lost in the Christmas rush.

I've done two albums for Concord Records; one was with Al Jarreau and it did very well for us. The second album was called 'Songs And Stories,' and it had good songs and good performances, but I promised them I would do an album that was more jazz-oriented.

Rounder Records decided to call the album Move It On Over, much to my chagrin but they knew what they were doing. It took off and to this day I can't figure out why.

With *NSYNC, we shopped our deal for a year in America, sang a capella in everybody's office, then moved to Germany for almost two years and became popular there. A guy representing a rock band came to our show in Budapest, saw 60,000 people get excited for a band from America that nobody in America knew, and told someone at RCA.

Having a successful first album is one thing, but a successful third is another.

I know if I don't tour people will forget the record and you run a high risk of the record failing.

We were a very popular live band in London, packing in 6,000 people a night, and the record companies that came after us wanted us to be the flavor of the month.

I wouldn't say that 'Wowee Zowee' was a success. We probably had a chance, had I focused a little more, to capitalize on the attention the band got for 'Crooked Rain.'

We wanted to do something different and have a surprise release. At first, naturally, the label was getting a little scared about that, because they wanna sell records, and a surprise release means it might not go as quickly.

If I were to give advice to someone that just started a band and how to get someone's attention, you've gotta have a central hub. For us, it was Columbus, Ohio.

There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.

There are problems with the single already. I don't want to put out the first single, Hit the Freeway.

You do a little more of a record album these days. See I just wanted to put a few songs in Beaches and we did very well. The album of Beaches went gold.

[The producer told me:] "We can try one more record, and we'll see how that one does." Those records never did anything. My music never got mentioned. My color got mentioned.

I'm signed to Atlantic through 300 Entertainment [Lyor Cohen's label]. That is my only contractual relationship.

I suppose one thing that's always fascinated me is that thing where you're a band and you want to start recording and you get a label and a producer, and then there's that pressure to go out there and really toil.

Just six days after its release on iTunes, a record-breaking 33 million people have already listened to the album.

In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.

The best part of being signed by a major label was having the support of a big company behind me and the ability to meet new artists and producers.