A Quote by Shirley Manson
I wanted to put out a solo record because I was stuck on a major label and sick of it.
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I remember a song I did called 'If the Good Die Young' - I wanted to have a lead guitar solo on there, and the label flipped out! It was too rock and roll. They made us go back and put fiddle on the solo.
We're so humbled and lucky to be in a position where we've been a four-piece for over 15 years. We're signed to a major label. We're on our fourth record on a major label. We've won a Grammy. We've toured the world.
I've been on a major label for 14 years. I've always wanted as many people as possible to hear my music, and it definitely made sense for the majority of my career to be on a major label, on a distribution level, to be in people's faces and be out there, and have access to major labels' incredible machine, even though they have not understood or haven't been invested in what I was doing.
It's a pretty great thing to have a record that at the end of the day you're not totally sick of and you're actually proud of. We're pretty lucky, because a lot of bands come out with their first record on a label and they're forced to make decisions they might not stand behind because someone's telling them it's a good idea. We didn't have to do that. I think that's one of the things I'm most thankful for.
When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.
When I first was a part of 'The Monster,' I really wanted to put it out under my name, but no record label thought it was good enough - until Eminem liked it.
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.
With a Grammy, if you're releasing your record with a major label, you have a chance with any record. You also have a very long shot with every record.
I've experienced a lot of creative freedom because I'm on a family label. It was nice to put out what I wanted to say and do what I wanted to do.
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 love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
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.
That's why I made my record before I had a label. I put it out independently - in a way, out of fear - because I didn't want anyone to change it.
I have to have the reasons to make the record. There are just too many records out there, especially when it's something as audacious as a solo percussion record with solo drumming music on it. There better be a reason behind it.
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
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