Wayne Static Quotes

We make sure we have total artistic control with our albums. We were working with Interscope Records, and they had a hard time with us having all the control. So when we signed with Warner Bros., we told them we would be working hands-on with our producer, and they were cool with it.

My whole team, it wasn't about putting the album out, it was about getting off the record company and going independent or going to another label. To the point we were like, 'Listen, just take 'Lasers.' You can have whatever percentage off the next ten records I do for the rest of my life. I just do not want to be here anymore.'

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

I had knockback after knockback before I got anywhere. After I got my first record deal I thought that was it, then Gut Records went into liquidation. I was 20. I had no idea what that meant. I had a few days to get myself out of that contract or my work would be owned by someone else.

When I first signed to RCA, I was sort of excited and shocked that it was happening. But over the next couple of years, it really started to feel like that game you play when you're a little kid - the one where you put your nose on a bat and then spin around and try to walk.

I'm not just going to get a deal; I'm going to get the deal. And in my deal I got by signing with No I.D. to Def Jam, I got full creative control, the money was great, the contract was good, and I got to create the album that I wanted.

I've been offered things from alot of different labels and stuff like that, but it's just like, it has to be perfect. I'm not going to sign my life away.

A development deal is an in-between record deal. It's like, a guy saying that he wants to date you but not be your boyfriend. You know, they don't wanna sign you to an actual record deal or put an album out on you. They wanna watch your progress for a year.

When I came back to it, we amicably separated from Warner Bros. I just picked up where I left off, trying to write the rest of this record. It took awhile to get out.

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.

I was forced to be an artist and a CEO from the beginning, so I was forced to be like a businessman because when I was trying to get a record deal, it was so hard to get a record deal on my own that it was either give up or create my own company.

I am in discussions with a label. We are talking about doing something.

I guess I've learned that there's really no such thing as a bad label, there is only a bad contract.

There isn't a single artist out there, I'm sure, who wouldn't take the most perfect record deal. If the right record deal came along, like, the perfect deal, we'd definitely take it.

The opportunity to record the song came when Phil Collins' record label, Atlantic, was doing a tribute album to him and they asked all these different artists to do renditions of his songs.

It was a lot easier to write songs before I had a record deal, because the record labels and the industry doesn't mean to put pressure on you, but they do. They don't realize that they are, but you end up having a pressure there that you feel. At times I feel myself wanting to say, 'Just let me do what I do.'

There was a bidding war between Epic Records and Jive - now RCA - which was bittersweet. Just having labels bid over me was really cool, but I ended up going with Jive because it felt better over there, and they have my favorite artists like Usher, Chris Brown, and Justin Timberlake.

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.

I have a solo deal with Columbia Records. So it's about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what's the right timing? Do I have time to do it? It's all about questions.

I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.

I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

My girlfriend at the time convinced me to send these songs to Cavity Search. When they wanted to put out my record I was totally shocked.

After we wrote The Wreckoning, our record label did listen.

It became a question of do I want to be on a label where it could take three years to put out a record instead of putting out three records over the same period of time on my own.