Eddie Vedder Quotes

How could they call him wacko? He's sold more records than anybody in history.

'If I Can Dream' is my all-time favorite Elvis song. It was a big record, but not as big as it could have been. It was one of those records where you'd think it sold 10 billion copies, but it didn't.

Johnny Ramone's autobiography is a no holds barred, straight-forward book written in a no-nonsense style that is Johnny personified. His story is written in his own actual words, so the reader gets an insight into what made him the unique, charismatic and exciting individual that he was. It also gives a great view of The Ramones from Johnny's perspective.

It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records.

I went to an arts high school and was surrounded by drama students who dreamed of working in the industry. I almost feel a sense of guilt, because I didn't go to acting school.

I have this first album that sells more than 100,000 copies in its first week, debuts at number two, goes gold, the single goes platinum, we're doing Madison Square Garden.

My first two albums, 'Silverbird and 'Just a Boy,' which had the single 'Long Tall Glasses' on it, were very well received. Then I did another one, 'Another Year,' which did miserably.

If I was going to sell out, I would do it for more than 10,000 records.

I've always considered myself a serious guitar player, but I haven't been really worried about whether the public thought I was. That never was part of my record sales strategy.

In Australia, our first album went four-times platinum. It was massive.

I was an underground artist, but the underground status was successful. Coming from where I came from to see where rap is now, now artists are selling from a million to eight million copies.

So, my records really didn't sell, but musicians started picking up on my sound and my songs and cutting my songs and that turned into a gold mine.

The one feeling that settled in and stayed there for a long while, and I still deal with, is guilt. I was there. I was a part of it. Why does it have to be like this? Was I responsible? Was I the reason Dale was in that position? I'd ask myself that question and look around at people and wonder if they were thinking that, too.

Let's face it - negativity sells records.

The record companies didn't want 'Stony Road,' and it ended up being a gold album. They didn't want 'Blue Guitars,' and we did 165,000 books.

Sometimes, people will fight over five, six percent, because if it's a smash record, that can mean a lot of money. I don't really care.

Our music is weird. It's not pop. I don't know why so many people buy our records.

If people really like your music but you're not selling so many records, I don't think it really matters.

People just want the hottest records. It's not really about all the names attached to the project. It's about the work.

In the beginning, because of the Pavement thing, we were able to sell a certain amount of records. We were able to sell not such a great amount of records, but enough to live on. So there was no incentive to do what didn't come naturally.

Raoul' sold a respectable 700,000 copies without a hit single. It didn't take off. If you don't sell 8 million albums or 4 million albums again, everybody deems it a big failure.

Just because you sell millions of records it doesn't guarantee bums on seats.

Anything can wait for a hit record. That, after all, is what everyone wants at the end of the day.

I don't really sell many records.

There is no one like Toto in history in that we were both successful as session musicians and also had a band that sold so many million records.