Major Labels Quotes

I truly believe, as an institution, most major labels should just die.

Major labels act as banks in terms of how they produce and release your album. No major label is really good or bad; they just 100 per cent operate as a business, which makes sense... no hard feelings.

I'm sure that, on some level of the major-label and old-establishment industry, there are execs and agents who think homosexuality is a liability.

If you're a priority artist, then you get an amazing amount of exposure and money thrown. If you are more niche, then it's not necessarily the way forward. If you want Instagram followers and fame, then the major labels are still really great for that.

Artists don't always know. Almost every song I ever recorded that was a hit at the majors that the promotional people picked I didn't think it would be a hit. I was wrong every time!

I didn't expect major labels would embrace MySpace, and the original idea for music on the site was the unsigned bands, the independent bands.

When I first got into the major label system, they were like, 'Hey, you're great - now write with a million people so we can get songs.' That was something I hadn't done before, and the songwriters I was working with had worked on some massive numbers - like 'True Colours.' One of the guys wrote 'Livin On A Prayer.'

Major labels don't want to take chances on cooler, indie kind of things. People only know, unfortunately, what they're being spoon-fed.

People from major labels were afraid to go to Black Flag gigs throughout most of the band's existence. They treated our gigs as something threatening. I'm sure that it probably was. They probably had reasons to be scared.

Major labels didn't start showing up really until they smelled money, and that's all they're ever going to be attracted to is money-that's the business they're in- making money.

With Napster and the sharing of music, of course, there are going to be people who exploit it. Greed has no end. But there's a lot of good that could happen. We shouldn't let the economic concerns of the major labels infringe on our freedom to share music.

After coming from a major label, I realized the entire business has been decimated, and you can't look to labels to try to figure it out because they don't even use the technology, and they're oblivious to how people consume music these days.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

Major labels have always been around our band since the beginning, and we just waited. We knew we had to do some things, and we needed to grow as a band before we made that step. We needed to do it our way and not do it how it works for other people.

It's a radical time for musicians, a really revolutionary time, and I believe revolutions like Napster are a lot more fun than cash, which by the way we don't have at major labels anyway, so we might as well get with it and get in the game.

The only thing that deeply frustrates me is the slow speed [of major labels]. The more people involved, the slower the pace.

There's no difference in dealing with the music business with the majors than any other competition. The music business is way more cutthroat than any other business.

I was always looking to record, but how much I actually pursued it was another thing. The major labels weren't that interested in me, and the smaller labels didn't have any money to do anything.

I thought it was a prank. There is no way six different major labels trying to reach out to me. But it was actually happening.

Major labels don't play with samples not being cleared.

Basically we just created our own label, but again we just did it to document our own music and create our own thing, so the major labels were just always out of our picture, we're not interested.

I want to be in control of how my music is released and how I create it. What people don't talk about when they talk about major labels is how many artists get dropped or funding gets dropped when they don't recoup quick enough.

I now believe that major labels can only work with people who care more about fame and money than the quality of the art they produce.

When we started OD2 in 1999, we were really expecting to work more with independents and so on because the major labels were spending millions on their own Pressplay and equivalents online, which haven't been very successful.

You have major labels that are willing to take unconventional approaches because the old model is crumbling in front of us.