Sharon Van Etten Quotes

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

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.

I love producing. I have been producing some acts and starting a label.

I decided to combine my musical background, business education and creative abilities - and go into the record business.

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 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 wanted to produce Nancy LaMott's albums, so I created my own record company.

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.

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

Jimmy Iovine has been telling me since 2012 that I needed to start my own label with my own artists. This was when he first met me and 'Bandz a Make Her Dance' was first taking off.

Roc was only supposed to be our distributor, but then they ended up recruiting me as the label's artist. They said they really liked my album 'Everything You Wanted.'

In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.

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.

After giving countless hit songs, I felt saturated. I decided to do music only for my own films and music albums. And so, I decided to start my own music label.

Jive is a good label, but they're R&B'ed out.

I'm looking at EarDrummers like a boutique label, like an Interscope or a Def Jam.

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

You need a platform upon which to release an orchestral record, otherwise it's just going to be an obscurity.

I always wanted to be a part of a New York-based label, so I've worked really hard to try and network with people that I felt would put me in the right place.

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

We turned what is virtually a glorified independent label into one of the powerhouse labels in the town.

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

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