A Quote by Wilson Pickett

I had recorded a song 'If You Need Me' for the Correc-Tone label, but it was a small label and distribution was a problem. — © Wilson Pickett
I had recorded a song 'If You Need Me' for the Correc-Tone label, but it was a small label and distribution was a problem.
I had the most frustrating thing happen when I was trying to find a label. I sent my album to this indie label, and they were like, 'We already have two girls on the label. I'm so sorry, we just can't take your project.'
People often need to describe things quickly and so they use a shorthand. The problem is that after they use a label, they begin to think only in terms of the label instead of the totality of the experience a novel provides.
A Name Is A Label, And As Soon As There Is A Label, The Ideas Disappear And Out Comes Label-Worship And Label-Bashing, And Instead Of Living By A Theme Of Ideas, People Begin Dying For Labels... And The Last Thing The World Needs Is Another Religion.
I remember in 2016 when I got signed to my record label Good Soldier, which is a very small indie label. They took a big risk on me because ballads were the furthest thing from cool at the time.
I think anyone who's willing to be brutally honest with who they are and express themselves is always going to get the oddball label, the pyscho label, the twisted label. That's what happens.
To go indie is a thing. But to put an album in the stores, you need a distribution label.
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.
I had every major label in the world - I mean, any label that dealt with rap music wanted to sign me. I ended up going with Jive Records because I liked everything about 'em.
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.
I'm really happy with Elektra, I don't have anything bad to say about them at all. I always knew a major label was the right place for me to be. I never really had an opportunity to go to an independent label anyway.
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.
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.
National Geographic contacted me about getting on their label, and I was like, 'Wow, I want to be label mates with the sharks and lemurs!'
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.
I had been with the label since I was 21. The label wanted shiny pop but I didn't. I found a little independent and we've got all these great reviews in England and now it has gone gold.
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