Laurieann Gibson Quotes

I'm developing artists for my new record label, my son's band, Intangible, being one of them.

I will be developing artists for my new label. The rest is in God's Hands.

Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.

I would love to continue working behind the scenes in music - to produce and manage up-and-coming musical talent would be a dream!

If it wasn't for the TLC story, many artists would not have smartened up, and you wouldn't have the Lil Waynes and people with their own labels.

I know it is common nowadays for artists to start labels but this is a thoroughly constructed vehicle for inspired talent. This is a market that we've been living, breathing and eating for our entire lives - one where a huge void currently exists. Favored Nations is a long-term commitment.

I have an independent record label called Favored Nations on which I released an album by an artist called Johnny A, who plays an arch top Gibson through a Marshall, but the tone is all in his fingers.

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.

Bob Hurwitz, the president of Nonesuch, the company that releases my records, is a mentor. He taught me how to assemble a script to record an album.

I want to have a publishing company and a record label, and I want to manage five artists... eventually.

When I was 17-years-old, I was in the music business.

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

This is a very screwed-up business. Record labels don't sign a lot of bands these days. We just want to find a home and stay there and make records and do our thing and not have to look over our shoulder.

I don't believe in the philosophy of stumbling across hit records.

My original idea was to produce and not make records myself.

If you're part of a record company, you're a manufactured product. It doesn't mean that you're not talented.

I certainly don't want to be a record label guy.

My function at Verve was that of a genuine producer in artists and repertoire.

There are people who are genetically made to start record labels, and I'm not one of those people. People just have it in their blood and are good at it. Corey Rusk from Touch and Go and Ian MacKaye. These are people who have made their own labels.

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

Today the kids that are out now they make a hit record and they put them right out on the stage with 10,000 people out there and they don't know anything about the business yet.

I was signed by L.A. Reid on Arista Records when I was 16. He understood me and believed in me. Arista folded and I got put on RCA or whatever, then there were new people there, and every six months it changes and more new people come in.

I've been part of running a label since I was a kid, so I understand how it works. But the more and more I learn about it, the less and less interested I am in it.

I just have so much love for my record label.

I remember talking with Arcade Fire after their first record, when they were getting all kinds of offers from major labels, and I don't think I gave them any advice. They survived that whole onslaught pretty well anyway without me.