Levon Helm Quotes

Well, I have a band, Sadie and the Hotheads, and we have an album that is already out that is available on our website.

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.

It's very easy for people to put out music.

In the beginning, Barry and I couldn't decide if we were going got go forward with the name of the Bee Gees or just as Barry and Robin. Now we've decided to continue as the Bee Gees because we feel we can, and Maurice would have wanted it.

I grew up with the Pack. When they released 'Vans,' it was a seeing-is-believing moment.

I would like to confirm that Perri Reid was the only person who ever suggested that Chilli leave TLC.

An album represents an artist or a band or a group of musicians at any given moment in time. You just produce the music that you feel good about and hope that the audience shows some interest in it.

When I did 'Ephorize,' I didn't know that later on I'd be releasing another album. It just came.

Like everything at Big Machine Label Group, the music comes out when it's ready.

I love the creation process [of music] of it and then sharing it, so I think that was the shift. I never thought I was going to be on a label in general, I was like 'Oh, I wouldn't do that,' and then we ended up on the same label basically.

I started out as a duo with Mis-Teeq's Sabrina Washington, and we worked for four or five years before signing a record deal. I had no money, and I was taking part-time jobs just to earn the train fare to get to rehearsals.

A lot of times in a record company environment, it's, 'All right, go out on the road, go get some experience, come back in six months, and we'll see where we are.' I've erased that. Now it's, 'This is what we're working on today. I expect you to come in tomorrow and address this and be better.'

I wanted a label that reflects the times... a center for artists who want to express themselves. That's what makes Interscope unique. It's about freedom.

When I got to the second album, there was an expectation, because we'd sold nearly seven million albums on the first record, that this would do eight or nine.

It doesn't make sense for me to try to be, like, a dance dude who only releases two 12-inches a year and then plays every weekend. Making an album, you get to put out a body of work that shows a lot of different sides of you. And you get to work on it for an intense period of time and promote that album. And then you get to move on.

I still get the bus into town, still do all the things I used to before I was signed.

If I had a nickel for every time someone asked, 'When are you doing an album?' My career is way too transparent to do say, 'Guess what - I've got 16 tracks you've never heard!'

Even though I haven't released a song since 2010, I have still performed, so I don't feel I have been completely away from music. I have been away on a mainstream level, of course. But releasing a single this way - on my own independent record label - is more fun.

We're not the corporation of Foster the People. We're a band.

I'm aware that I have a career. But, if I was the hottest in the game, songs all over the radio - let's say whoever produced made me super big. Like, that would be cool, but there would be something in me that goes, 'You only wrote the raps. You didn't make the beats. You didn't direct. You didn't do all that.'

We were a band way before we ever did anything with Disney.

Moving from a first to a second album is an incredibly transitional time for any band because you never get to make one in a vacuum like you did with your debut.

As a fan of music, I don't like that artists release one body of music a year and then disappear because it's hard to relate to that. I wanted to be able to bring my fans along on my journey and have them really feel like they're living my life with me.

We have recorded songs on the same day that were released years later in other albums.