I have an independent record label called Favored Nations on which I released an album by an artist called Johnny A, who plays an arch top Gibson through a Marshall, but the tone is all in his fingers.
I had taken some of my solo music into the record label. They didn't really care for the direction I was moving in and I found it really disheartening. They wanted a pop hit, which I understand in terms of making money. I get that. But what they were going to ask of me was something I wasn't prepared to deliver and I felt kind of trapped. I just stopped writing. I just stopped. It was stifling.
At my second record label, they told me and other female artists that some of us were going on the chopping block. I was 19... and it was devastating.
My record producer [David Kahne] said the major record labels these days are like dinosaurs sitting around discussing the asteroid. They know it's going to hit. They don't know when, they don't know where it's coming from. But it's sort of hit already. With iTunes, and all of that.
Nowadays, it's a lot more in the kids hands. You don't really need a record label. You can get the money together yourselves. You can just do it through Myspace. There are bands that are huge, without record labels today. Now, I think it's a lot more, in kids hands.
The majors, they have to control the distribution, the record outlets, the radio and, in some cases, even the venues. And downloading and pirating have also put pressure on the majors.
Even though were not the most punk rock band, the way weve done things is pretty punk rock. Just kinda say it with a big middle finger to the record labels and do it ourselves.
If a record label will sign you in order for you to be moulded into something that can make more money for them, then you should get out of there if you're that artist.
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'm really thankful to have my own record label. I've always looked up to people like Madonna when she launched Maverick Records. Even Jay Z and Sean "Puffy" Combs, who's a mentor and also gave me a shot when I was an independent artist in Atlanta. He came to my show, and he said, "I just want people to know about you."
When you become a commodity to a record label because you're making them millions of dollars, you can take all of your artistic integrity and throw it out the window.
I left my record label, Polydor, by mutual agreement, but I'm going to carry on with my singing career.
If you don't get substantially what you want, be ready to walk. And don't look back.
I don't get involved in record label politics.
I learned how to take other people's mechanisms of promoting their stuff through me as opposed to promoting my own stuff, as far as getting Snoop DeVilles, SnoopDeGrills, Snoop Doggy Dogg biscuits, Snoop Dogg record label, Snoop Dogg bubble gum, Snoop Youth Football League.
We drank quite a lot and Tony Harrington said, "We're thinking of starting a record label at The Wire; how about you do a solo record?" I said, "Well, how am I going to do that?" I thought about it, and I'd been working on a lot of music in the years before, and I was working as a journalist, full time, really, up until that point; in whatever little spare time I had, I was working on music. So I said yes.
It doesn't really matter to me what the rest of country is doing. I'm not caught up in trying to make a record that sounds like everybody else. That, to me, is a record label's absolute biggest downfall.
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