Aimee Mann Quotes

In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.

When a record co. finds a guy now, they want to own everything. They want to own the rights to market that person's particular name. They want a piece of the action all the way through.

When you make a lot of money for a record company, they don't want you to evolve. Growing older, you naturally do.

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

I wanted to put out a solo record because I was stuck on a major label and sick of it.

It's typical of record companies. They sign you because you're unique, and then they want to put you in a mold so they can sell records.

It's always push and pull with a record company.

I started my own record label.

When you are signed to a major label, everyone wants to have a say in who you are and what you are doing.

It's been awesome going indie. I don't need to be on a major label. I love not having to walk into a specific radio person's office to try to convince someone to play my songs. At the end of the day, it's more work, but I've discovered that I like to get my hands dirty.

It's really tough - if you're on a major label and they want you to have a number one song, you need to do what they say.

Obviously, my label would want me to be on the radio all the time, but that's not my personal goal.

There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.

My experience working with a major label was not all bad, I was blessed to go through that experience, and I know what to do during the next time around.

You know, I didn't have enough money to quit my day job... the myth of the major label deal. Nowadays, you have a tour bus and a stylist and all this stuff. But back then, no way.

I never, ever had it in my mind that I wanted to be in the record industry, because I still contend that the record industry is an insidious affair. It's this terrible collision between art and commerce, and it will always be that way.

When I was young, I was offered my first recording contract in 1971 and was offered quite a bit of money if I would change my character and be a '70s version of Cher.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

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

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

The independent route was the best move for me. But I think I've maximized everything I could do independently. I've done everything out the mixtape market. I think getting the big machine behind you is the next stage when you've maximized the independent level.

The record company stay out of my way. Whenever the record is finished, they take it.

We try and stay out of the corporate side of it. The band has never compromised. At some point in our career we could have made a certain type of record and sold millions of units, as they are called.

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

We'll look at a bunch of deals that are being offered to us, and we decide where to go and continue on I guess. It's not too early to start considering our options with other labels.