A Quote by Duncan Sheik

I got a publishing deal with BMG, they were supportive, and some money to record demos. — © Duncan Sheik
I got a publishing deal with BMG, they were supportive, and some money to record demos.
I got a publishing deal with BMG, they were supportive, and some money to record demos
The short story and the truth is that I was taking vocal lessons here in New York... One day, instead of my lesson, the piano player and I went into a studio... and we put down some demos... Those demos got to Quincy Jones through an agent... He listened to them, he called me, and we started to record.
What has happened is that to some degree they have taken an attitude where they don't listen to demos of diverse subject matters. They're looking for demos like the record the guy on the left just did.
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.
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.
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.
When I got my first publishing deal, I felt some responsibility to try to write with the people that they were asking me to write with.
I don't make demos. I don't have the interest or the energy or the time. Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.
When I was 13, I told my dad I needed to record myself because I sounded awesome, even though I didn't. By 18, I was a lot better. Then I got a publishing deal, so I was writing songs for other people professionally.
I started as a writer and when I sent my demos out everyone wanted to know who was singing and if that person wanted a record deal.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
The Internet obviously changes things; we've seen that in the music industry above all else. As an author, I'm now having to deal with the fact that it's happening in the publishing industry as well. And publishing is going through a very difficult time. Some view it as positive, some negative, but nobody really knows how to deal with it. If you're an author it looks very challenging because your work can be pirated so easily and there's very little you can do about it.
Back in college, when I got kicked out of school, I was still in school, I'd just written the song that got me my record deal. If I hadn't gotten kicked out of school I wouldn't be where I am now. Three months after that, I got my record deal and the rest is history.
I have started to record some demos so hopefully in the near future I can play live.
Profile has half the publishing and they control and administer the publishing and distribute and own the records, so our group is a 10-point crew. But we got a lot of money off of the shows.
I had a publishing deal way before I had a record deal.
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