Kiefer Sutherland Quotes

A lot of people see a Nissan ad and they see a finished product in a record store or on iTunes and that's the face of the band.

That would be awesome, to be totally making records whenever I want and to play a show and have a few hundred thousand people there at any city you go to because people know you and your music.

My most successful album happened back in the mid-'90s, pre-Internet times, with 'Songs For A Blue Guitar.' We were supported by Island Records; we toured a lot. Songs were licensed to TV commercials and movies.

As an artist development platform, we've proven that all the work done behind the scenes at American Idol, along with surviving the rigors of the intense live shows, can properly prepare a winner for a real-world music career opportunity.

A lot of artists feel it's not worth it to sign with a major label, because if you don't have a giganto hit, then you're not going to get a video made. You're not going to probably get much tour support. You're not going to get promotion. You're certainly not going to get a publicist who's going to pay much attention to you.

You need a platform upon which to release an orchestral record, otherwise it's just going to be an obscurity.

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

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

If your music is great, you will have fans, not because you have spent time chatting on social media.

I want to sell out arenas and make an album and work with some of the best artists in the world.

Radio is aimed at the 30-year-old market, so you have to have great music and appeal to get that age group. And you need a record company to believe in you. It's like a bit of the perfect storm.

We saw a need to develop a community for artists to get their music out to the masses. With MySpace, when they went out on tour, they could actually tour nationally. The band might have 20,000 friends on their list and send out a bulletin saying, 'I'm going to be in Austin on Tuesday night. Come see our show.'

Releasing a record is only the tip of the iceberg when it comes to the promotion of the product, but you have to play the game if you are to have a chance of competing in the market place.

Being a recording artist, selling music, selling concerts out, having a reality show, starting film; it's great, it's beautiful.

You can't sustain a fan base on a great catalog alone. You must take your music directly to the people.

I did my thing with Jive. I was a national recording artist, but I had run into a wall.

I remember telling the head of Warner Brothers that if they'd just make a video for 'Ol' Red'... and if it didn't work, they could drop me from the label.

Shady's great; I love Shady Records.

How does a band like System of a Down get big?

I think that there will always be artists out there who think they need to sign a major label deal in order to be successful. And that machine is what is going to work for them - there's tons of examples of pop stars who need that machine.

To remain relevant though, I think making great records is the key.

I don't think they like the idea that the people who are buying the record get to choose what goes out, because it's their job. The fans even pre-ordered stock to make sure that I had some sort of presence.

YouTube provides a unique opportunity for all musicians to market and promote their music and directly engage their fans.

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.

I'm hoping to become a recording artist and make albums and go on tour.