Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.
It breaks my heart to see these young, really talented bands getting chewed up into the system. I remember a time if you'd signed to a major label it was such a sell out! But now... unless you've signed to a big label, you're a failure now.
There was a moment, a few weeks after I signed, that it actually hit me. I was signed to a major label.
When I was 13, I was saying that I wanted to be signed to a label. I was begging my dad to get me signed with somebody.
Fat Joe is signed to Fat Joe. I have a distribution deal for my label. I'm independent. I'm very happy with that.
I can't afford back up vocalists; they're so expensive. Because I'm independent - I'm not signed to a major label, which a lot of people don't know, and it doesn't matter anyway. I can't just have an eight-piece band touring. One day - definitely. That's like a goal.
I started touring a little bit in 1973 in support of a record I made for an independent label. In 1975, when I signed with Warner Bros., where I remained happily ensconced for the next 24 years, my touring activity increased considerably.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
For new bands, I think a major label is the safest place to be. Independent labels are the ones getting away with murder. A lot of them are hobbyists who rip-off young bands, taking advantage of people who would never get signed to a major.
I was actually signed at a very young age - I was 12 - and one thing led to another, and I ended up in a mutual split from the label. But it was probably the best thing that could have ever happened, because I was able to kind of leave the industry side of it for a minute and focus on the independent side.
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.
We're so humbled and lucky to be in a position where we've been a four-piece for over 15 years. We're signed to a major label. We're on our fourth record on a major label. We've won a Grammy. We've toured the world.
I remember in 2016 when I got signed to my record label Good Soldier, which is a very small indie label. They took a big risk on me because ballads were the furthest thing from cool at the time.
I had been with the label since I was 21. The label wanted shiny pop but I didn't. I found a little independent and we've got all these great reviews in England and now it has gone gold.
My problem was never with the major label, it was with the guy who we put our trust in and then wouldn't take my phone calls once we'd signed to a major label, who then quit.
Let's be honest: the label of model-daughter-of-celebrity mother is... you know, I don't want to have that label. It's not who I am. It's not my values to go off someone else's name and to be pigeonholed as that. So in a way, that has really pushed me to be more independent.