The big labels have less of a stranglehold on artists and how they record and where they go.
I got out of that immediately was that now, all of a sudden, rock music had become a spectator sport, that corporate labels and their bands were the new establishment, and punk was there to fight them the way the activist hippies must have fought what the establishment must have been ten years before. And it was interesting to see the reactions in different parts of the country.
The hardest thing to do in this business is to still be around. When music changes, when labels' resources have dried up, it becomes harder and harder to continue to make a living at this.
So my doctor told me to watch what I'm eating - to read food labels. I'm in the store reading the Fig Newtons label: I've always liked Fig Newtons. I'm reading the label to make sure everything's fine: fat content. I looked at the serving size; two cookies. Who eats two cookies? I eat Fig Newtons by the sleeve: two sleeves is a serving size. I open them both and eat them like a tree chipper; Fig Newton shavings coming off the side.
At 13 years old, I realized I could start my own band. I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.
What makes the Kingdom come is heartfelt compassion: a way of tenderness that knows no frontiers, no labels, no compartmentalizing, and no sectarian divisions.
Whatever the label on the parties, or the war cries issuing from the demagogues who lead them, the practical choice is between the plutocracy on the one side and a rabble of preposterous impossibilists on the other.
You would think that anyone on a major label would be doing something, but when you speak of major label that means something to maybe a big pop star that might be getting some sort of benefit from the major. But we still don't get anything.
Actors are responsible to the people we play. I don't label or judge. I just play them as honestly and expressively and creatively as I can.
I tell you why I like Chanel so much: when I started off, no one wanted to give me clothes to wear. Absolutely no one! All the labels said, 'Who is she?' But Chanel believed in me from the very beginning.
When we started OD2 in 1999, we were really expecting to work more with independents and so on because the major labels were spending millions on their own Pressplay and equivalents online, which haven't been very successful.
I decided to start my own label because so many people with talent come to me wanting to know how they can get in the music business.
I have so many plans! Sometimes it's hard to keep up because at this point it's just been me and the little bit of help my label gives me.
Before I was not in the television cameras every 5 minutes, I wasn't as visible, but this year I plan on being more visible to ensure that Virgin Rap Division does not lose. Although I am a very low key person, I am competitive, and with every ounce of my spirit, I will ensure that this label is taken seriously.
It takes so many people to make a success story like that. It starts with the song and the songwriters, then Mark Wright's producing, all of the players that played on it, me singing, the marketing department, the promotion department at the label... It takes a lot of people to make a hit like that.
Labels don't mean anything to me. I'm trying to play as passionately as I'm able to. If they want to call that cool, that's fine. Just spell the name right, is the formula.
Yazoo is the name of an old blues label and also a town in America. I like it because it doesn't mean a thing, it has no immediate connotations. That's what I hate about so many names today - they're so obviously fashionable.
I'd like to make music for a long time, and all different types of music. Maybe I'll start my own label to get other artists off the ground.
I left my record label, Polydor, by mutual agreement, but I'm going to carry on with my singing career.
Yeah. When I was 14, my Dad had a radio show with really cool people from Ghent, our hometown, in it. The people who started the R&S techno label, they did a show, and a very well known Techno DJ called Frank de Wulf who was from around there, he did a show, and everybody could do what they wanted. They all started up there.
Some record labels want to package you in a certain way and we didn't want that. Once the record company saw we had some substance and were not a one hit wonder. They got 100% behind us.
I think it's because we're not purists, we're open to all kinds of music. We're not afraid to take chances and we work really hard, and we gig relentlessly, we've been very active in the studio, we're active with the record labels that we have. So I think it's like a full-on assault. We've stalled in many different directions and it kept us in the limelight for so many years.
We have signed with Artemis Records. Originally they were our distributor for 'Group Therapy'. My former manager (Chip Quigley) started a record label (Recon Records) and had Artemis Records as their distributor. Unfortunately, the way the label was run meant that it didn't turn out the way that we thought it was going to be. We simply got into something that was different to what we initially thought
I think ultimately what you really want is a few people within any label that are into the band enough to really work on it every day for a long time and to actually try a little bit. But obviously, the major labels have more money to spend, so if they feel like spending it, they have bigger resources there when you need them. It doesn't always necessarily translate into them doing a better job for a band, but I think especially if you're playing the game of commercial radio and making videos and stuff like that, that's sort of an expensive proposition.
I've been rapping and writing since junior high school, just having fun with it as a hobby. Then I got signed to a label Poe Boy Entertainment four years ago, I started taking it serious about a year and a half, two years ago.
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