A Quote by Suzanne Ciani
When I first tried to get a record deal for my original music, labels didn’t understand what these instruments were meant to be doing
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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.
To see a lot of the smaller labels disappear or get gobbled up by the bigger labels, that's a shame. It was a bit of a shock at first to see the demise of the record stores.
To see a lot of the smaller labels disappear or get gobbled up by the bigger labels, that’s a shame. It was a bit of a shock at first to see the demise of the record stores.
There's definitely some sort of dissent brewing between record labels, publishing companies and artists [about the compensation they get from streaming services] Spotify is returning a HUGE amount of money [to the record labels]. If we continue growing at our current rate in terms of subscriptions and downloads, we'll overtake iTunes in terms of contributions to the recorded music business in under two years.
I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
I think, back in the day, when I was first starting to make music, all I wanted to do was to get a record deal.
The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.
I remember at a very early age ringing up record labels I found in the Yellow Pages, and asking them for a record deal.
I grew up in New York. We were all diversified, as far as music was concerned. I grew up liking just about everything. So I tried to incorporate that into my playing, although the original school where I came from was Afro-Cuban music. But I liked all kinds of music -- I tried to bring that into everything.
I'm confused that there is a lack of faith in listening to and deciding what is a great song and instead going for these formulaic, bad songs over and over again. But that's what happened when people from beverage companies bought record labels and radio stations as opposed to people who love music owning record labels.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
A famous violinist once said. Music transcends words. By exchanging notes, you get to know one another, to understand one another. As if your souls were connected and your hearts were overlapping. It's a conversation through instruments. A miracle that creates harmony. In that moment, music transcends words.
When I first got out of drama school, my original manager tried to get me to change my name because people were having trouble spelling it and saying it.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
I'm one of the few that comes from this vantage point: I never tried to get a record deal.
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