A Quote by Jason Becker

In my first label Shrapnel Records I wasn't expected to do anything except the creative music that I wanted to do. I was my own boss, which is great. — © Jason Becker
In my first label Shrapnel Records I wasn't expected to do anything except the creative music that I wanted to do. I was my own boss, which is great.
They told me that they are starting a classic label, and wanted me to be the first artist. So I signed, and am producing myself, and writing my own music, but I'm their first artist on their classic label. And I have creative control.
I had every major label in the world - I mean, any label that dealt with rap music wanted to sign me. I ended up going with Jive Records because I liked everything about 'em.
The only place where any artist feels liberated is doing independent music. I have had great experience making music for The Dewarists and Coke Studio. No actor, producer or label is telling me what to do with my music. I'm the boss. It is my life, my expression.
When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.
I wanted to go back to writing for myself and my fans. I built my own recording studio, started my own label, and decided to use the Internet to sell my records.
We wanted to create an opportunity for people to share anything, on their own terms, revenue and all. Get away from the commerce side of music, which can be exciting and necessary but ultimately dilutes the creative impulse. The further and further you go down that path is sometimes the further you are from the reason why you started making music.
It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I wanted to have a label to not only release my own stuff but to also give young talent a chance to release their music without signing away their life. I had a great time with Spinnin', and the people I worked with were amazing, but the contract wasn't really for me. It wasn't what I wanted.
Yes, after I finished my primary school, I went to the Rock Academy. I was only there for one year. I wanted to focus on my own music instead of making music for the school. So, I quit and started my own label.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
When I was coming up in Miami, the music in the city at the time sounded completely different. I loved it, but it just wasn't the type of music I wanted to make. I wanted my wordplay to be more sophisticated. I wanted the sound to be more lush. I wanted my music to sound like who I was and aspired to be - boss.
People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
When I first started out in this music industry, I was most concerned with freedom. Freedom to produce, freedom to play all the instruments on my records, freedom to say anything I wanted to.
What made me want to become a recording artist; I was the first artist that was repeatedly asked by a label to record with them. That label was Def Jam Records.
I knew I always wanted to be my own boss. My mum would say I've been my own boss since primary school. It was probably always my destiny.
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