A Quote by Rivers Cuomo
It is cool to have a label head that is also a songwriter, in a band, and produces records.
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None of us went to university, none of us went to college, none of us played in a different band before, none of us done anything. We were the last great band to come out of nowhere, on an indie label. We've sold 50 million records. That's still the benchmark. Until someone does what we've done, I'll always consider myself the last big songwriter
We didn't have that big-label push. We weren't the kind of band that our label Warner Bros. Records was going to throw all this money at. Their idea was to support us on the road and see what happens. It was a very slow building process.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I produced the Buckcherry album and I just finished a band called American Pearl on Wind-Up Records. That's Creed's label. They're pretty rocking. Now I'm looking for another band to produce.
One overlooked great 1980s rock n' roll band, maybe punk rock - they were on SST Records, same label as Black Flag - is this band called the Leaving Trains.
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.
We have signed with Artemis Records. Originally they were our distributor for 'Group Therapy'. My former manager (Chip Quigley) started a record label (Recon Records) and had Artemis Records as their distributor. Unfortunately, the way the label was run meant that it didn't turn out the way that we thought it was going to be. We simply got into something that was different to what we initially thought
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
I like that band Get Hustle. They're cool live. I haven't heard their records, though.
In the late '70s, I had a band - the David Johansen band, for lack of a better name - and I started collecting, not records, but tapes from people I knew who had jump-blues records.
I've grown a lot as a singer and a songwriter, but also as a person. I communicate better with my band, and our relationships are stronger and closer.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
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.
If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength
If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength.
I can work with all these different kinds of artists and still be able to come up with huge records. Not just cool records, but game-changing records.
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