A Quote by Grandmaster Flash
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
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I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.
The new artist is meeting the general public before they meet the record company. They're able to put the material on YouTube and have a million views before they even meet an executive at a record company, and get the deal based on that.
Even when I'm writing plays I enjoy having company and mentally I think of that company as the company I'm writing for.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.
We never let go. Ever. Even with punctuation. It's frightening. I can't see anyone from any record company ever writing an email to Neil and not getting it back, with corrections.
I don't have to worry about what the average record company person thinks because I am the record company person.
When you are doing music videos through the '90s, which I did, and the 2000s, you were put in the position, really, as an independent filmmaker. You were being financed by a major record company or a minor record company or whatever.
That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.
I started writing music when I was around twelve. My current record company saw a video of me performing at my school's talent show.
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
Writing can be a lonely business. But gradually your characters, or the scenes and peopl from your past, begin to rise up around you, and you find yourself writing your way out of loneliness, writing into your own company.
The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.
I won't necessarily make new music because when you make a record there are these great expectations on the side of the record company who are going to produce your record, promoters that are going to do your shows. They want you to do interviews, they want you to play shows. I mean, they want it to be a campaign.
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