A Quote by Graham Parker
Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.
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If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.
Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.
Unfortunately, you don't get artist development anymore. Record companies have become a huge corporate thing. It used to be you'd meet someone [in the business] and they'd have a little history of music. Some people in the companies now don't even like music. It's just a job. So I miss the days when someone would go out on a limb and pick a band that was different. I just don't see that anymore. It's the same with the film industry.
Companies that I've been very involved with, that have had a very bad first hire in the first 3 or so employees never recover from it.
The situation is not good with the record companies. It's just not working out, so I don't plan to record until it's straightened out. In the meantime I'm happy doing my movies and writing the music for the theme songs, whether I sing them or not.
When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.
I’m wearing out this new Coal Men record. I think it’s masterful start-to-finish. Dave Coleman is one of Americana music’s great songwriters, and I hope this record gets the attention it deserves.
I was through as a manager. I did become involved late in the 1968 campaign at the national scene at the last minute. But I was through as a manager, and I've stayed through, incidentally.
Baseball is a simple game. If you have good players, and you keep them in the right frame of mind, the manager is a success. The players make the manager. It's never the other way. Managing is not running, hitting, or stealing. Managing is getting your players to put out one hundred percent year after year. A player does not have to like a manager and he does not have to respect a manager. All he has to do is obey the rules. Talent is one thing. Being able to go from spring to October is another. You just got caught in a position where you have no position.
I think I was just lucky to be brought up in a very musical family. My two older brothers were, and still are, very musical and very creative, and music was a big part of my life from a very young age, so it is quite natural for me to become involved in music in the way that I did.
In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.
I never thought of breaking a record. The only ambition I had was to become the fastest century maker for India, which I did when I broke Azharuddin's record.
Rick Rubin was able to do things that Dave Fortman could never do. I'm not trying to take anything away from Dave Fortman as a producer. He's extremely talented. He wasn't able to get nine people together on the same page and, to me, that's the most important thing in making a Slipknot record.
One thing that did get me into a lot of different types of music was when I was very young, the local record store went out of business and they were selling off all the vinyl. I remember going in - I was probably 16 or 17 and I'd just gotten a record player as a present. It was like hitting the jackpot: all these records for $3 apiece.
How did I get into the world? Why was I not asked about it and why was I not informed of the rules and regulations but just thrust into the ranks as if I had been bought by a peddling shanghaier of human beings? How did I get involved in this big enterprise called actuality? Why should I be involved? Isn't it a matter of choice? And if I am compelled to be involved, where is the manager—I have something to say about this. Is there no manager? To whom shall I make my complaint?
Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did 'Send In The Clowns' by Judy Collins. We did 'The Star Spangled Banner,' which came out on our third record.
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