Laurieann Gibson Quotes

Sometimes when you get in this game, you think that you're going to take off if you do a song with someone big. But that's not the truth. Everything with you got to be good - the visual, the push, the production.

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.

Shoot, there's a committee to tell you everything at a record label. You definitely have to know who you are if you want to look like you at the end of the process. We've all seen people get record contracts, and by the time they're spit out by the machine, we don't even recognize them.

I started my own record label.

A lot of very popular mainstream artists are products of record companies and marketing companies, and any time anyone can stand outside of that, that's interesting.

There's probably a bunch of Power Stripe floating through the Def Jam offices right now.

I've always wanted to push someone who's not really known but has mad talent. I don't know if I'm going to do a publishing company or a record label, but I'm interested in pushing artists in any sense.

I just wanted to have my own dynasty. I wanted my own Cash Money or Roc-A-Fella. Outside of that, I also wanted my own media company.

I don't want to release a CD; I want to release the real deal, so we're just gonna take our time.

As an artist development platform, we've proven that all the work done behind the scenes at American Idol, along with surviving the rigors of the intense live shows, can properly prepare a winner for a real-world music career opportunity.

I just think that any person who wants music to be their career shouldn't focus on a record label. I have seen friends who sign to a label too early in their career, and they lost control over their music, and their releases were delayed or never put out.

Manny Smith & Interscope CEO John Janick understand me and my vision for myself and also my label. Interscope gave me the opportunity to take over the game completely, and that's what I'm going to do.

My first record wasn't even with the Fugees. I was signed to Big Beat Records, so I was signed back in 1989 to the label that the Knocks are on now. You can always tell which generation had the pulse based on how they see things.

If you are the record label who owns Lady Gaga, and you have a new artist coming up, you can say, 'Let's have the artist play just before Gaga.' Now you've exposed the huge Gaga audience to the new artist. It's similar to showing a trailer before a movie. The hit creates a hit.

I always thought that if record companies didn't understand me, fine - I'd go and do it by myself.

A lot of artists feel it's not worth it to sign with a major label, because if you don't have a giganto hit, then you're not going to get a video made. You're not going to probably get much tour support. You're not going to get promotion. You're certainly not going to get a publicist who's going to pay much attention to you.

There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.

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.

We had an EP out and all of a sudden we find record companies are interested in us, and we're thinking, 'Oh, that's really nice, but we don't think we're ready for it.'

I miss how a record label can help spread the word that you have something out.

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.

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

Motown's policy was to build one act at a time or their favorites.

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