A Quote by Michael Franks

I started touring a little bit in 1973 in support of a record I made for an independent label. In 1975, when I signed with Warner Bros., where I remained happily ensconced for the next 24 years, my touring activity increased considerably.
Warner Bros. was a great label to be affiliated with. It's the best label out there, and the fact that I was with them for 20 years was just an honor.
I can't afford back up vocalists; they're so expensive. Because I'm independent - I'm not signed to a major label, which a lot of people don't know, and it doesn't matter anyway. I can't just have an eight-piece band touring. One day - definitely. That's like a goal.
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.
It's hard to say exactly when it all started or what show it was, but I started touring when I was 11. I played all over Dallas and Fort Worth, and eventually I was touring the whole state.
I've started a little independent record label called 'Six String Productions' and recorded a couple of tunes, and I hope to do some more with some future artists next year. It's a real passion project of mine.
I signal with an independent label, Continuum. After that I put out a totally independent record, sold fourteen thousand of them from my basement, bought a house, started raising my kid, made a decent living.
I think touring in America lives up to the myth, in all ways of what touring is. So many pretty cities, and it's pretty easy, compared to touring other places. I'm fascinated by America. Great crowds - people are very musical. I've been getting better throughout the tour in America, relating to people. At the start I was a bit stiff, and I'm starting to relax.
I’ve been making electronic music for twenty some odd years but, because I grew up playing in punk rock bands, when I started touring, I thought in order to be a viable touring musician I had to do it with a band. I would DJ or tour with a full rock band.
I was working with another major label after Warner Bros, and they were telling me who to hire as musicians, what kind of music to play, what producer to use. I mean, what's the point of putting me on the record?
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.
We'd been out touring for a couple of years before we signed with Sony and everything.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
You see a Clint Eastwood movie, and you might not know if it's from Universal or Warner Bros. or another studio. He has affiliations with so many studios now, but there was a time when you'd just look at a movie and think, 'Oh, that's a Warner Bros. film.'
Touring has been a new part of my life in a lot of ways. We've just been touring massively since the record came out and before. Learning how to write while all that is going on is a new thing.
Apparently I was a Billboard top touring act of 1973, but nobody told me.
I really don’t work a whole lot as far as touring, but I do stand-up every night of my life, no matter where I am. It’s really made the touring a lot less grueling.
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