Trevor Rabin Quotes

The choices for me now are completely creative. I know, when I'm going to make a record, it ain't going to sell.

Our first record, 'Huey Lewis And The News', was seen by no one - it sold 25 copies.

Sometimes when you have a record out, you think you're going to go in at No. 1 but you go in at No. 8. So your second record has to be better. That's how I treat it.

Well, the album 'Intuition' is out and just went platinum officially. So I think to have the music doing what it's doing right now, man, it's the ultimate. Nobody is really selling records out there but we are at a million records and we dropped it at Christmas, so we are just trying to get that thing to like two million, you know.

A year before 'Frampton Comes Alive!' we had released the studio version of 'Show Me The Way' as a single - it was on the 'Frampton' album - and it totally tanked. Nothing.

The first record blew up and sold really well. 'City of Black & White' didn't sell as well, and that's when you wonder, 'Did I peak already?'

I mean in recent years, I think you've only got to sell thirty or forty thousand to get a #1.

Our managers hadn't had that kind of success - the record company hadn't, we hadn't - and the feeling was that the next record had to be even bigger, and if it wasn't it would be some kind of failure.

My best country record only sold 200,000 copies.

You expect certain things. You build up in your mind how it's supposed to go down. When you get a record deal, you think you're supposed to get X, Y, and Z. It doesn't happen like that. You're like 'Oh, this isn't as exciting as I thought it was going to be.'

It really means a lot that I won the gold medal - but I woke up the next morning expecting to feel different. I felt the same.

It can be disheartening to see acts that don't necessarily have any input on their own material to do so well in the charts.

I was kind of bored playing drums in a band. Which was depressing, because playing in the band was kind of a golden ticket.

Obviously Spawn was at the top of the charts at that point so you get a lot of opportunities.

I would like to say when I turn the project over to the label that I have been successful. And that's truly the way I feel. But, in addition to the self-pride in 'making' a good album, to be honest, I'd love to have a hit record.

A writer starts out, I think, wanting to be a transfiguring agent, and ends up usually just making contact, contact with other human beings. This, unsurprisingly, is not enough.

Getting to No. 1 makes everyone feel better; of course it does. But it's swings and roundabouts with these things. Sometimes you make a great record, and it clicks with people. And other times it passes them by; there's nothing you can do. It's still the same record.

Nothing ever comes out the way I hope it will. That first vision, that initial vision you have of a book, what it's going to be like when it's done, it begins to go wrong the second you start to write.

It's always disappointing when your work is not received as you hope it would be.

When I left college, I though that I would be immediately embraced by the film world and instead found myself sitting in a squat for three years not knowing what to do with my life.

A record for us that sells 50,000 is a good record, and 100,000 is a serious hit.

When you're releasing an album, you never know how it's going to go. You never know how a critic is going to receive it or how much it's going to sell.

Actually, my career as a music director turned out to be a disappointment. I believed I gave good songs but the response and recognition from the industry was not great.

My family had this dream where we would meet producers and songwriters, and it was not what we thought it would be.

I mean, when we put out our first album, it was 'Gosh, we really hope it sells 100,000 copies. That was the innocence.