A Quote by Roy Ayers
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
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But I did mine through a production company. All the music I did, I gave to the production company. Then the production company would give the record company the album. I used to do all my albums like that. It was fantastic. But now, understand, I have never planned to do anything with these other tapes. The one that are released, like the Virgin Ubiquity you have there, I wasn't going to do anything with that music. One day, I was talking to this guy that owns BBE over in England, and I said I've got some tapes and stuff that you might be interested in, and he went berserk.
When you are doing music videos through the '90s, which I did, and the 2000s, you were put in the position, really, as an independent filmmaker. You were being financed by a major record company or a minor record company or whatever.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
I think for us, we don't feel like the future of music is in the act of being a record company. We feel like the future of the music business is in empowering artists to have better and better tools to communicate with their fans. We want to be people who are saying to artists, "Look, you don't need that company over there to release your album. You can do it this way." Almost more of a band partnership than a label-artist relationship. Not about ownership of content, but about empowerment.
Artists and the traditional record company model are at odds. The music business has notoriously taken from the artist. That shouldn't be the narrative.
All through the kind of late '80s and '90s, every A&R record company man was saying, 'Now what we want is another record like 'Back in the High Life.' And, of course, that's not the way to make music at all. That's the tail wagging the dog.
I once worked at a record label called London Records. The company was owned by Roger Ames, one of the most successful figures in the British music industry. Roger always placed a value on loafing, on holidays, on not being in the office all the time.
No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.
I own a mortgage company and a real estate company funded by the music. Florida is a kinda gold mine.
Bob was chosen by my record company to help with my vocals, and our relationship developed through the music.
I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.
My responsibility is to the artist first. There's something that artists intrinsically know about their music and their fanbase that neither the record company nor the producer really knows.
Once a company develops out of its consumer base, you will often see a well-funded multinational company come in and take over that space. The black-owned company either stays a niche company or just disappears. This is something we don't want to happen.
I don't have to worry about what the average record company person thinks because I am the record company person.
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
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.
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