A Quote by Chely Wright
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.
Related Quotes
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!
Heath Ledger was supposed to put our album on what would have been a new record label. I still feel a little dead after losing him.
The things that have always been important: to be a good man, to try to live my life the way God would have me, to turn it over to Him that His will might be worked in my life, to do my work without looking back, to give it all I've got, and to take pride in my work as an honest performer.
It's an album that is a little bit different and probably isn't easy to get out. It's not likely that a major label would have picked it up and said that they had a smash hit record.
I listened to my first comedy album in 6th grade. It was Bill Cosby. My brother and I would play it over and over on a Fisher Price record player. A friend in high school also introduced me to Richard Pryor. I wasn't writing material back then, but I would say funny stuff. I was good at making fun of people's moms. If I knew something personal about you, it would be used against you.
I had the most frustrating thing happen when I was trying to find a label. I sent my album to this indie label, and they were like, 'We already have two girls on the label. I'm so sorry, we just can't take your project.'
I think it's not really difficult to write about love. We've been saying the same thing over and over for so many years. But it depends on how honest it is and how good you make it feel. You can say 'I love you' in a trillion ways, and it can always sound different or feel different.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.
I think for us, we don't feel like the future of music is in the act of being a record company. We feel like the future of the music business is in empowering artists to have better and better tools to communicate with their fans. We want to be people who are saying to artists, "Look, you don't need that company over there to release your album. You can do it this way." Almost more of a band partnership than a label-artist relationship. Not about ownership of content, but about empowerment.
I think it would be wrong to consider 'Ashes and Fire' a love album. The record is obsessed with time. I believe that there is a kinder view of the self on this record.
When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.
Good short-story collections, like good record albums, are almost always hit-and-miss affairs - successful if they include three or four great tracks, wildly successful if they have five. And that's as it should be.
That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.
Well, when you're recording an album, artists have what they feel like is good music, and the label, they're trying to sell the album. So those two ideas clash sometimes, but in the end it always works out. When you put the two together, that's a good thing.
Willow [Smith] started making music first. I was like, "My younger sister is, like, 4, and she's making all these fire songs. What's happening?" Willow was doing all these things, about to have record label deals at like the age of 6, and I was like, "I feel like I'm underachieving."
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