A Quote by Nate Dogg
You can be more creative when you're not feeling like a slave. When you're on a record label, they have you like that.
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I think it gave us the freedom to be more creative and do things the way we wanted to do them, so if a label liked it that was cool and if they didn't like it fine. Ultimately it was up to us to sink or swim and there was nobody telling us what direction to go in. I think that made the entire record more diverse.
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.
It's the worst feeling, going into your record label when you haven't got a hit. It was like: 'Maybe you've lost it.' And, once you're done, that's it. There's no support, or anyone to help you.
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.
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.
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.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
I think I've always had that struggle my whole life, of feeling a little bit more gender-neutral, feeling more comfortable as a creative person when I'm dressed like a boy, when I'm dressed more masculine.
Willow [Smith] started making music first. I was like, "My younger sister is, like, 4, and she's making all these fire songs. What's happening?" Willow was doing all these things, about to have record label deals at like the age of 6, and I was like, "I feel like I'm underachieving."
I like feeling like I'm discovering something new. That's really a special feeling and also, you don't have it that often. At least, I don't. Maybe I'm not creative enough.
I tried to bring in the live orchestra like Bjork does. I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.
Being in a band is very much like a startup. You start in a garage. You hope to get interest from investors, like a major record label.
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.
The label's going great, because we're not idiots. We're not trying to sue everyone that downloads everything. We try to give the fans a bunch of free stuff, and then have them buy the record. Without buying the record, it doesn't support your artist. These idiots like Radiohead and Sharon Osbourne that are like, "Free Ozzfest!", "Pay what you can for a record!" - Radiohead's already got their yachts and mansions. Sharon Osbourne already has her empire.
Finally I'd found this way where I didn't need a record label; I didn't need to wait for some phone call to tell me, 'Go and do it'. It's like, I'm going to get up with a bag of CDs and an amp and my guitar and make it happen for myself. That was such a liberating feeling, and I think it was the start of everything.
I'll dabble here and there in different forms of the art, but the label has me locked down like a slave so, of course, I'll be doing albums during this time.
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