A Quote by Laurieann Gibson
Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.
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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.
The industry has changed in that it is far more disposable than it used to be. When Boyzone came out, we were given a shot and the patience to record our singles and albums. Nowadays, the thought is if it is not working, then the artist will be dropped. The record companies will bail on the artists, and I find that sad.
I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.
Kickstarter is such an amazing platform, it really is. It's something great for independent artists of all kinds because every musician and every artist needs help to produce the record, make the record. It's like the modern day patronage. It's turning to your direct fan. It's a good motivator too.
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.
The first two major label records I did what I wanted to do. It wasn't a problem until after I finished my part. They didn't understand I was an artist, a capable artist. When you're the money dealing with the talent, you need to let that talent develop, your job is to figure out how to sell it.
Our society and media have lost touch with the job of the artist. The job of the artist has been subordinated to the job of the record seller.
I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.
If you're an artist, and you put out a record - most artists only have one or two hit records - that has 100 million streams, on certain services you only get paid on 75% of those streams. How's an artist going to live like that?
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
The old ways still apply. You can still send tapes to record companies, and there are record companies, you know, there are one or two of the record companies do declare proudly that they listen to every single one that comes.
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.
Over the years, El Perro del Mar became this artist that, every record that came out, I just loved it.
In the record business, if you sign an artist that don't really know too much about the business, you can really get over on them in a lot of different ways, so it's a lot of people that don't give artist the game because they're trying to make the most money in the fastest way off their artists.
The record companies don't give you a chance, like in the old days when they went, 'Here's a pile of money. Go make a good record!'
There's no diploma in the world that declares you as an artist—it's not like becoming a doctor. You can declare yourself an artist and then figure out how to be an artist.
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