Louise Jameson Quotes

It's a tough thing to know that when you're making your album, you're going to end up collaborating with, say, Wal-Mart, on your artwork. That just sucks. And the pressure behind getting the numbers real fast is, to me, dizzying.

Creativity is much better when it's free. Someone can take it and sell it if that's what it needs, and from that standpoint, you have to have a label. If you could make your music and just give it away and somehow make a living - that would be the best scenario.

In general, I don't feel artists should need producers.

Political reasons have not the requisite certainty to afford rules of judicial interpretation.

Forty-eight hours is a long time in politics

People send me records, and if don't like them, I won't do them; I don't care how much money you offer.

At the time, there was a great disagreement over 'The Wild and the Innocent,' and I was asked to record the entire album over again with studio musicians. And I said I wouldn't do it, and they basically said, 'Well hey, look, it's going to go in the trash can.' That's the record business, you know.

I find it so funny how people that don't write the music, and have no involvement in it, can make such huge decisions on behalf of artists.

I think a lot of what I loved being a studio executive was the variety and freedom. But now, as a producer, you're much more able to enjoy those two things. What I loved about it doesn't necessarily exist anymore.

When I was working on 'Coloring Book,' I knew that I wanted it to be a beacon for independent artists and music makers with their own agenda.

From its conception and that one and only meeting, 'HITNRUN' took about 90 days to prepare its release. If that's what freedom feels like, 'HITNRUN' is what it sounds like.

There's this sort of model that exists in Nashville that we think we have to abide by: You put out a record, and in two years you have to put out another one and have three or four singles. There are all these rules that I've just sort of thrown out the window.

My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that. That's my goal.

I'm really excited because Interscope is really focused on artists. They've been working side by side with me creatively and allowing me to make a lot of the creative decisions, which you don't always hear about. That's why I didn't want to sign originally with a major label.

I suppose we'll make money off our album and our singles and stuff, but, like, they were made as we wanted them, exactly with what we had to say, and done exactly how we wanted them, right? And, like, we didn't put them out to make money. We put them out because we wanted to do them, do you know what I mean?

It's great to be able to find a way to release your music and do what you want to do artistically and not have to just worry about being accepted by the major label industry.

The pressure is only from the producers and the labels. No composer, no singer would ever want to sing a remix.

I just wanted to do my own albums where nobody could tell me what to do. Roc Nation was the perfect fit because I could do what I wanted to do.

I'm so into making music and being behind the scenes. I'm such a visionary person that I don't see myself being the person in front of the camera or the person in front of the mic.

People come to me to write songs that will be successful for them, and they allow me the freedom to do so.

Attention, it just comes and goes. Since we don't have a major label, it's like, what are we gonna do next? You have to make your own decisions.

I still consider myself a liberal in the Enlightenment sense of the word. But I have to admit that being a liberal these days is confusing.

On my first album nobody asked me for a lot of advice. It was a producer's album. We were sent the same type songs with stock melodies. It was my first album and I was happy to do about anything they'd ask me.

You can be more creative when you're not feeling like a slave. When you're on a record label, they have you like that.

As a session player for so many years, I have found myself in rooms looking around going, 'Is this for real?'