I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
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.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
The new artist is meeting the general public before they meet the record company. They're able to put the material on YouTube and have a million views before they even meet an executive at a record company, and get the deal based on that.
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.
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 was forced to be an artist and a CEO from the beginning, so I was forced to be like a businessman because when I was trying to get a record deal, it was so hard to get a record deal on my own that it was either give up or create my own company.
I always said, if I got a record deal, I'd want to record the best songs I could, whether I wrote them or not.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
My first record deal was an independent record deal back in 1995 or early 1996.
That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.
No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.
I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.
The American record company Geffen got so fed up with me that they said they weren't going to release my fourth record unless I gave it some title. So it was called 'Security' in America, and it had no title everywhere else in the world.
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.