Alison Moyet Quotes

Slow, Deep And Hard was a great album, even though it was probably our least selling record.

I'm a huge Cure fan. I love the Cure. The scales being tipped to when they weren't on a major label compared to when they were seems pretty meaningless. I had the good fortune of having them go before me and seeing their careers, musically at least, lose something. Like a novel written by a dead hand.

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.

I actually don't think that I'm gonna sell a lot of records.

We were at Pye Studios for half an hour so we set the gear up and we did two tracks. A month later we found out it was selling thirty thousand copies a day.

Columbia was a wonderful label for me. Wonderful. The records I made there garnered me an audience. I won a number of polls during the years that I was at Columbia. The Downbeat Jazz Poll. Leonard Feather, who was a huge critic back in the day, different polls that he had. The Playboy poll, a number of polls. So the music was great.

You look at what One Direction has done and just say, 'That is just lucky;' it is not. It is happening because they are talented boys, good looking lads; and yes, their songs might not be the typical songs that lots of radios want to play, but they are great songs, pop records, that are massive across the world selling in huge numbers.

I should be the one to say what I do. It's just not done that way anymore in Nashville, and I can't do it the other way. That's how our record label came about.

Even an independent label is looking for a hit, they're not looking for a record that's not gonna do well.

I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I'd try and do it via an indie or somehow license it. I'm not having my music owned by those corporate bastards again.

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.

The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.

I think we'd sold a couple hundred records with our first album, maybe 1,000 at the most.

We always thought if 'Beauty and the Beat' sold even 100,000 copies, we'd be real happy and a successful group, so when it reached a million... Hey, we just laughed about it.

Being a pop-leaning, female artist, you'd think that I'd have my record company breathing down my neck and trying to control everything I'm doing. Actually, they've just kind of let me take the wheel.

It's a great feeling being with a label that respects what I do.

The 'Frampton' album sold better than all of the other solo records that I'd had, put together. It was over 300,000 copies, so that was a good signal that we were poised for my first gold record.

The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?

Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.

It's not difficult getting into the charts in Sweden. It's a very different musical climate, and in a very good way, I think, because artists like Jose Gonzalez or The Knife can actually get on the charts.

People talk about the pop part - they don't talk about me being an independent artist. I made it look easy, that's the problem!

We didn't want to be tied to that damn teenybopper market. We tried to convince our record company that we could do more than silly AM hits, but they wouldn't listen.

If we'd had a Svengali manager and done what we would have been told, maybe we would have had a bigger, more hugely successful career.

We have access to more resources in general, and they are not going to force a situation on us, whether its the producer, or the cover, or what songs we have to play. And it's a small enough company that it seems like the people there care about music and not just about business.

I'm trying to give people the chance to put out their music without the bullshit pressures of other labels.