Music Management Quotes

I'm always going to talent scout and try to find new artists to work with.

My first record wasn't even with the Fugees. I was signed to Big Beat Records, so I was signed back in 1989 to the label that the Knocks are on now. You can always tell which generation had the pulse based on how they see things.

When I was managing Boyzone and Westlife there were screaming girls every night. If there wasn't a high-piched screaming, it was a bad gig. I got used to it.

There are thousands of great artists that wouldn't be doing the same kind of work if there were no music business machine. The ones who are popular would be doing much different work, too. Michael Bolton would be pumping gas.

I review all the riders for my music clients and make sure there's healthy food and snack options, like strained yogurt, fresh berries, and lean protein.

We had the hardware expertise, the industrial design expertise and the software expertise, including iTunes. One of the biggest insights we have was that we decided not to try to manage your music library on the iPod, but to manage it in iTunes. Other companies tried to do everything on the device itself and made it so complicated that it was useless.

If it wasn't for Al Kooper, there might not be a Lynyrd Skynyrd. He's the one who found us at Pinocchio's in Atlanta, Georgia, and signed us to Sounds Of The South through MCA, brought the band to attention.

When I was 17-years-old, I was in the music business.

I never thought that was even possible, to have your friends working with you. In the music, yes, in the creative side, yes, but in the business side, I need people who take me fully seriously.

I'm developing a record company. I'm learning how to supervise music on a film.

With my previous record deal, it'd be like, 'OK, so I have this track then, EMI - do you know any singers, maybe? Do you have any singers on your little label there?' And funnily enough, they didn't. But I prefer finding unknown singers myself anyway.

When I'm writing a song, it's just me and the songwriters. Then when the song is done, there are publishers that hear it, then people in my management, then my wife and my boys and my friends, and if they're all lovin' it, it's kind of withstanding all the criticism I need.

My future definitely lies in the music business.

The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?

You know what, the drummer is my manager. He's busy. And I'm busy. I don't need the dough, though. But having said that, there's a limit to how much bad music I wanna play. I did it when I was young, and some of the music was OK, but it wasn't great.

We were always told we were one step behind Deep Purple, one step behind Led Zeppelin, one step behind everybody. Our manager didn't want to let us know how popular we were. It's only after we did Ozzfest that people started telling me stuff. I thought they were taking the piss. People would come up to me and go, "Respect."

David Bendeth was introduced to me by an entertainment lawyer friend.

I started my career as an assistant for Wu-Tang Clan, then transitioned into urban marketing.

I thought I could get myself into the music business by doing paralegal work. I was just trying to get in any way I could.

Well, it's a nice quiet time for Iron Maiden, and I'll be releasing a new solo album next year, so this is a really good time for the managing out my solo career, which is quite well.

When we formed Bad Company, I looked around and asked, 'Who is the biggest rock band in the world?' The answer was undoubtedly Led Zeppelin. Peter Grant was their manager, so we got him to work with us. That made the difference for Bad Company.

I'm so hands-on and involved in my own music that I feel like if I put the same effort into another artist, then I can definitely cultivate something great.

I made a joke with my sister... I said, "I don't know what's more nerve-wracking, job insecurity or job security." There's opportunities and things you compromise with both. When I had endless freedom of schedule, or when I commit to a movie for two months, then I could manage my music and go on the road.

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

My brother started in the music business, and I was an actor - we were both in the entertainment industry, but doing separate things. Then he went over to New Line and started their soundtrack department, that's how he got his foot in the door.