A Quote by Mary Chapin Carpenter

You know, I didn't have enough money to quit my day job... the myth of the major label deal. Nowadays, you have a tour bus and a stylist and all this stuff. But back then, no way.
My problem was never with the major label, it was with the guy who we put our trust in and then wouldn't take my phone calls once we'd signed to a major label, who then quit.
The only way the band could make any money was by going on tour. But going on tour meant we had to get time off from our jobs, and we couldn't get enough time off to make enough money from touring to survive, so the only way to try was to quit our jobs. None of us had a job that was so wonderful that we were just dying to keep it.
I remember having to quit school and quit my job. I just sort of moved all my stuff into other people's places. Within, like, six months, I was able to earn enough money from touring to rent a place again.
So you have to just be really careful and make sure that when a deal comes along, that it's like the right deal for you... not necessarily the most money, because you have to pay the record label that back in like record sales and stuff.
My ultimate goal was to make the music that I wanted to make, and give shows. I was never going to get a major label deal - I never wanted a major label deal - so I was really free to express myself.
I think ultimately what you really want is a few people within any label that are into the band enough to really work on it every day for a long time and to actually try a little bit. But obviously, the major labels have more money to spend, so if they feel like spending it, they have bigger resources there when you need them. It doesn't always necessarily translate into them doing a better job for a band, but I think especially if you're playing the game of commercial radio and making videos and stuff like that, that's sort of an expensive proposition.
I've put projects out on my own label twice now and been very successful which shows you don't need a major label to back you in this day and age.
When I sold my first book, 'A Conspiracy of Tall Men,' it was part of a two-book deal. It wasn't hugely lucrative, but it was enough money for me to quit the paralegal job I had in San Francisco.
I don't really like living in a very small space, like a tour bus, even though I have an amazing tour bus, and I've had multiple tour buses. It's still not a lot of room.
When you're young and you're comin' up, and you dream of gettin' this record deal, and then you actually get it, and, you know, its apples and oranges from everything that you pictured. The line was pretty self-explanatory to me: once I got in my major label agreement, I definitely couldn't deal with it. It was drivin' me crazy, givin' me gray hairs at an early age.
Of course you lose track of where you are sometimes, as you finish a show and ride in a tour bus from anywhere from 3 -12 hours and wake up in another city, and check into a hotel. So, I woke up after a few hours, packed all my stuff up and headed for the bus to depart for that day's show. I get to the lobby and our production person looked at me and said, "where are you headed?" - It was a day off!
And then before going back for my sophomore year, I decided to change my major to arts and sciences, and my dad cut a deal with me: He said if I'd quit school he'd pay my rent for the next three years, as if I were in school.
I remember sitting on the back of the bus on the first day of the Social Experiment tour with my face in my hands. I emptied out my bank account, and before I did that tour, that was the number one thing I said I'd never do. I'll never empty out my savings.
If you're on an indie label, you're not getting enough money. And if you're on a major, you're not getting enough support.
I trained and trained and went up against Kurt, then being a world champion in '94, and after that I did Tommy's tour and then my tour and all this stuff and just trying to deal with it all. And now, I've just kind of backed off a little.
In one week, I went from being a girl who owed a guy thousands of dollars - my manager Anthony was paying for my outfits, paying for my food; I was sleeping in his parents' basement - to taking meetings with every major label in America. The next morning, I had a record deal and wrote him a cheque to pay back all that money.
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