A Quote by Jessica Mauboy

We have incredible record labels in Australia, but sometimes they have a preconceived idea of how to do things. — © Jessica Mauboy
We have incredible record labels in Australia, but sometimes they have a preconceived idea of how to do things.
People don't know how to reach record labels, and a lot of time labels don't listen to stuff that's sent in randomly.
I was always looking to record, but how much I actually pursued it was another thing. The major labels weren't that interested in me, and the smaller labels didn't have any money to do anything.
Its very sort of spontaneous and organic, not a preconceived sort of jamming. Now we record everything, cause sometimes you'll forget, you know, 'what was that thing again?' So we record everything.
It is impossible to devise an experiment without a preconceived idea; devising an experiment, we said, is putting a question; we never conceive a question without an idea which invites an answer. I consider it, therefore, an absolute principle that experiments must always be devised in view of a preconceived idea, no matter if the idea be not very clear nor very well defined.
Sometimes, there's a preconceived notion of how a scene or how a work should be delivered. And I see young performers sometimes try and deliver that, and it's not really true to their voice or who they are.
I try not to assign labels to myself. Sometimes I shop in the plus section, and sometimes I don't. I feel we attach too much significance to labels, and ultimately, it doesn't really matter.
I got fed up with the idea of partnering with labels on a major scale because of how they have to deliver things. They get gun-shy.
I'm confused that there is a lack of faith in listening to and deciding what is a great song and instead going for these formulaic, bad songs over and over again. But that's what happened when people from beverage companies bought record labels and radio stations as opposed to people who love music owning record labels.
The fossil record is incredible when it preserves things, but it's not a complete record.
I had always been fascinated by the whole idea that Australia was this different ecology and that when rabbits and prickly pears and other things from Europe were introduced into Australia, they ran amok.
If you look at something like Spotify, many record labels are investors in the company. So from that standpoint, the money is all going back into the labels.
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.
The big labels have less of a stranglehold on artists and how they record and where they go.
There's definitely some sort of dissent brewing between record labels, publishing companies and artists [about the compensation they get from streaming services] Spotify is returning a HUGE amount of money [to the record labels]. If we continue growing at our current rate in terms of subscriptions and downloads, we'll overtake iTunes in terms of contributions to the recorded music business in under two years.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
We live our lives by the water and if you don't know how to swim in Australia, it's like not knowing how to cross a road. It's an incredible survival thing that you really must learn when you're a child.
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