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I took temp jobs, recorded a demo in the evenings and eventually shopped a record deal. All I knew was that I wanted to write songs; thankfully, I also got to sing them.
I went to New York in 1974, to either try to get a record deal, get into the New York Art Student League, or be a dancer. So that was my plan. Some plan. And I had no money.
When I got my record deal, my mum was still struggling a little bit, so the entertainment industry took advantage of that. My mum needed money, and so she signed a contract.
I had pretty much raised my kids and my first wife and I were divorced, so I began, in earnest, to start my musical career again. Going for the big record deal and all of that.
Way before we got a record deal, we were playing clubs seven nights a week, three one-hour sets a night. Then we got the record deal, and we took off on the road and stayed out.
I had to get out of my record deal that I signed with my previous band and get a full solo record deal going so, with all of the paperwork that, that entails it did take a while.
We thought the hardest thing in the world was to get a record deal, then the hardest was to get a No. 1 record, and then the hardest thing is to stay at the top. It's a lot of work.
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.
I was in musical theater when I first started, so there was always both acting and singing. But as far as getting a record deal, that took time. The majority of that time, I was acting.
When I signed a record deal, I was always told by execs I needed to be like everybody else, that I had to show my midriff, things that would take away from who I want to be as an artist.
I couldn't get gigs because you need to be 18 in most venues. So I started doing videos. I wasn't thinking about getting a record deal, I just wanted to know if people thought I was good.
When I first got my record deal, I was like, 'I just want to sing,' and I never put much thought into what really goes into a record. But as I got older, I developed a passion for writing.
I made a CD in my dorm room and put it on the Internet, and my friends blew it up. Within a few months, I was doing shows across the country without a record deal, without a single, without anything.
I was very dramatic - very, like, 'It's never going to happen. My life is over at 16 because I'm not already famous. I'm not going to get my record deal. I'm not going to be able to sing for a living.'
I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.
I've never made a dime from a record sale in the history of my record deal. I've been very happy with my sales, and certainly my audience has been very supportive. I make a living going out and playing shows.
I don't think you need a record deal to write songs. You don't need any other reason than you want to do it. It's a far cry from why some people do music today. They make it to order, which is pretty horrible.
What's interesting is often people think life changes when you have a record deal and you do all kinds of stuff. Obviously your life changes, but nothing changes your life like getting married and having kids.
Yeah, back in 2003, I went to 'Australian Idol' the first day as a boy, and I got knocked out. So I went back the next day in drag and made it into the Top 12 and got a record deal and toured around Australia.
People think when you get a record deal all your problems will go away. We know that the bigger we get, the more problems we'll have. I guess Puff Daddy was somewhat - what's the word? - prophetic in that respect.
There's the conventional wisdom, of which I have none, where you get a record deal, you get a publicist, you get a campaign, and you do the tour, but none of that adds up to things like nuance and subtlety and dynamic.
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.
When I got into the music industry, I wasn't focused on being the most famous artist or even getting a major record deal. It was just to make music on my own terms or create my own image, do my own hair, do my own makeup.
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.
I think my issues with the Internet surround people who become 'overnight celebrities.' It's like, really? You put something on YouTube, and they Auto-Tuned it, and now you're a star, and you have a TV show, and you have a record deal.
When I left college, it broke my mom's heart, but I knew I had to be in Nashville. I knew that was the place you had to be in to become a better songwriter, and that's what I wanted to move there for and to ultimately get a record deal.
And it took me about 11 years to get a record deal, and I just had to work around and come to terms with the fact that what I was doing was going to be different, and I just had to wait until somebody was ready to jump on the bandwagon.
When I got my record deal at Atlantic, at the time, 'indie' wasn't a style of music: it was a kind of label. And I think, eventually, the bands that ended up on those labels began to be branded as 'indie bands,' and then it became a genre.
I'd gone from being this art student messing about with music to this girl with a record deal, magazine front covers and all this hype. In many ways, it was everything I ever wanted, but when it happened all I felt was total, paralysing fear.
I was really from the streets, and I really did hustle in a major way. When I got my record deal, I left the streets alone as far as hustling. I never, ever hustled again. I said, 'I'm gonna change my life, I'm going legit. This is where I'm at.'
When I lost my record deal, and my phone wasn't ringing, I realized that I had to reassess who Vesta was and figure out what was going wrong. I knew it wasn't my singing ability. So it had to be that I was expendable because I didn't have the right look.
We played nightclubs for seven years solid before we got a record deal, and then 'Cowboys From Hell' and 'Vulgar Display Of Power,' we toured non-stop four years for those records, and we developed the most brutal, loyal fan base on the face of the earth.
But now it's kind of a given that a 15-year-old would have a record deal and sell a quarter of a million records. No one's expecting her to answer any deep theological questions. And I'll tell you, I was asked some deep theological questions from the git-go.
'The Voice' ignited a fire in me to be an artist and to be a country singer, but not winning ignited an even bigger fire, because I was just like, 'First of all, I know that I want this'; now I wanted it even more, 'cause I didn't know if I had a record deal.
Though I still have no semblance of a life outside of Nine Inch Nails at the moment, I realize my goals have gone from getting a record deal or selling another record to being a better person, more well-rounded, having friends, having a relationship with somebody.
Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.
I advise wannabe singers to form a band, practise in your garage if you have to, but do as many charity or open mic shows as possible to get experience. I sang for seven years before getting a record deal, and I was already loving what I was doing. I just got lucky and got discovered.
There's a system in place in Nashville, and for a long time, I was trapped in this idea that the only way to do it was to come to town, get a record deal, and do it the way they say. And that system works. But it caters to a specific kind of artist, and I didn't necessarily fit that mold.
Nine Inch Nails was born out of Cleveland, Ohio, with me and a friend in a studio working on demos at night. Got a record deal with a small, little label, went on tour in a van, and a couple years later found that somehow we touched a nerve, and that first record resonated with a bunch of people.
When I lost my first record deal, my wife and kids and I lost - I wouldn't say friends, but - we lost a lot people around us. They just vanished! They were nowhere to be found. I couldn't get a break, and I couldn't get people to even respond to my emails about songs, no matter how good something was.
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.'
I put a list together. It was like: Get health insurance, get a car, get a bigger apartment, travel more, get a record deal, get a publishing deal, sell 10,000 units, be a part of a No. 1 album, make a million dollars. I got to check off 90 percent of the stuff last year. I hit some serious landmarks in 2015.
It's a sense of pride, a sense of you set out to get a record deal, and we got that. We set out to get a No. 1 record, and then we got that. Then you say, 'Wow, that was impossible and now even more impossible is to stay No. 1 and stay current and put out new records that people care about,' and we really stuck to that.
When I had a record deal in the '90s, that was my dream - to make an album like Barbra Streisand's Broadway album - and they laughed me out of the room. Broadway wasn't cool. But artists like Michael Buble and Josh Groban have brought the classic genre back to the forefront, so I'm trying to find my way inside that market.
When I first started playing the banjo and miraculously fell into a record deal in Nashville, TN, there was a period when I didn't go to China. It hurt. Like a pain in my gut... that pain you feel when you know it's time to connect with your parents or your God or your child or your past or your future... and you don't do it.
Education was a given, only because of the way I was raised. Truth be told, I thought, at 15 years old, I should go and get a record deal and drop out of school, and my parents would have had none of that. I'm grateful now that my parents were pushing me in that way, because I wasn't mature enough on so many levels to do that.
I played at Sony, Warner Bros., Universal, Big Machine, Capitol... after I played every one of those places, everyone offered me a record deal. I was just like, 'Who am I? Why do I even deserve this?' There are people busting their butts on Broadway doing this hardcore, playing three hours a night for tips, and I didn't even ask for it.