A Quote by Katy Perry
I just have so much love for my record label.
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Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
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.
In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.
My record label, which is a huge record label who represents massive, massive stars - they've never done anything like this before, and they were so excited about this idea of an animated character which is singing legitimate music. It's not a comedy record, it's a legitimate record. And they really jumped on board. So, we've got our Facebook page up, we'll be jumping on Twitter very soon, and sort of be creating Haley outside of American Dad.
A record is a commodity, but so is a hamburger. Just because I work at McDonald's doesn't mean I reap the benefits of that commodity. That's the reality with most artists in the record industry: They're getting paid a subsistence wage so they can keep producing a commodity for the record label.
The head of a record label sets up structures, but he also defines the sound of the label, which is to describe what is desirable, what fits and what is quality for that label and then to create an environment where that sound can thrive.
Sometimes people just see the overall success and it overshadows our true love for music and how much we love to record. I love to record music and I love to see the reception of it even more!
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry.'
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry,'
With a Grammy, if you're releasing your record with a major label, you have a chance with any record. You also have a very long shot with every record.
When the label came to me to say, 'would you like to do another record,' I said, 'Well I got these sixteen songs sitting here, so let's do it.' And that was pretty much it... I never stopped writing, it's just the way that the business is now; you just try to find a different model.
There's a Nina Simone record that I love, 'Live at Vine Street,' and she sings flat on it. I can imagine she might've told the record label, 'Oh, God, you're not releasing that!' But I'm glad they did.
It was three breakups going on at the same time. It was breaking up with my band, and my boyfriend, and right after that, my record label. I was arguing a lot with my record label during that whole time, so maybe they all affected each other. This record, Mondo Amore, came out of a time that was really heartbreaking and confusing, and that's why I switched the sound up a lot, to make it sound a little bit grittier and more raw.
Let's just cut a live record with three microphones in four days and talk about lizards and aliens. If I had taken that idea to even an independent label, I don't see a label out there that would've said, 'Oh yeah, that sounds great. We know how to market this.'
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