A Quote by Scott Borchetta
My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.
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In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
Both my parents worked, so I was home alone a lot, and I would listen to their records. They belonged to the Columbia House record club, so they had records!
Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
I have watched independent record stores evaporate all over America and Europe. That's why I go into as many as I can and buy records whenever possible. If we lose the independent record store, we lose big. Every time you buy your records at one of these places, it's a blow to the empire.
I've always loved records, even when I was a kid, my parents would buy me records instead of a lot of the other toys kids got. That's what I wanted. I've been collecting records and DJing my whole life, and I thank my parents for that. They had a big record collection and really imparted the magic of it on me.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
I like to record records in Los Angeles. It's less distracting than New York, where I was based.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
Most people assume that a record shop's success lies in selling records. In fact, Virgin's success both in mail order and the record shops lay in skill at buying records.
For me, promotional thing about some new album coming out destroys a lot of the excitement of making records. Records, movies, books - they're not supposed to be like math books. The purpose of them is to kind of take us out of ourselves and give us some sort of alternate experience or respite. To try to maximize the relationship of listening to a record through promotion is like experiencing driving a car by reading about stimulus programs. It kind of defeats the purpose.
The fans are the end result of what we do. Sometimes I think we forget that those are the folks that mean it in this game. There's plenty of evidence to be found that you can have all the #1 records in the world, but if you really ain't touchin' them, you don't come home with gold records and platinum records. I'm very proud that we've only had one #1 record, but we've sold two and one half million!
I come from the school of hip-hop where you just buy records and sample records all the time. Doing that is tough sometimes, because if you get a placement on a major record, your record could get shelved because of clearance issues.
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