Arto Lindsay Quotes

I don't really see a difference in independent and major labels. To me, it's pretty much the same. There used to be a difference between indies and major labels, but I don't think there is anymore.

I think these days, as an artist, you have to be slightly entrepreneurial. ...Nobody really sells records anymore.

I think Def Jam happened to be one of the labels that really didn't have a good grip on things that were going on. I'll say that - that's my political answer.

I came to music and knowing a little bit about life, and I came to music knowing a lot about business - and that's a real advantage. By the time I came to music, I had purchased real estate, opened restaurants, and been in the business world, so the music business didn't blindside me.

There are just as many dirt bags in independent music as there are in major labels.

One of the main reasons why it didn't work out for me and Aftermath is because I felt my music should sound one way, and they felt it should sound another. But, I learned a lot from watching Dre, and when I left California, I knew it was time for me to get my own label.

I wanted to have a label to not only release my own stuff but to also give young talent a chance to release their music without signing away their life. I had a great time with Spinnin', and the people I worked with were amazing, but the contract wasn't really for me. It wasn't what I wanted.

Yes, I'm really inspired by people like Jay-Z and 50-Cent to develop more business savvy.

I'm the first British artist to have two successive number ones on his own independent label.

Making your band your career just seems like a pipe dream when it's not happening, and when it does, it seems so surreal.

I don't think many people get second chances when it comes to the music scene.

Porcupine Tree is a band, and it's not up to me where the band goes - it's between the manager, our agent, and the band as a whole.

My first contract was in 1965. There were six of us in this band - my band before Deep Purple - six in the band plus management, and the entire royalty rate was three-fourths of 1 percent.

The reason for a lot of bands not making it is because they don't really understand that your job is sort of divided into two different things. It's one thing creating it... It's like being an architect but also a construction worker.

I had left the music business and became a conflict journalist. The conflict journalism started for me in the Gulf and the oil spill. When Skynyrd needed a new bass player, they knew me from the Black Crowes.

There are a lot of things that are part of the music business that I'm very bad at. Organization, being on time - the stuff you need in order to function in the regular world.

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.

I bring in the record label who distributes the music.

My band got signed in high school when I was 16, and we all dropped out of high school and went on tour. Then I quit the band because I was the manager, and I was doing everything, so I went solo.

For 10 years, I was my own label, my own promoter, my own PR. We borrowed money to print our CDs.

A lot of bands have an unfortunate past; we've dodged a lot of bullets when it comes to that.

Sometimes, I think the way the music business has been destructive and the way the fans are been put through it and try to navigate through it, so much is so foreign to what musicians would actually want to do or what would be natural to them.

It's very tough to give advice because it's tough out there for everybody but for a girl it's even tougher, because I don't think the glass ceiling has changed at all in the past 30 years. Otherwise the radio would be covered with girl bands, or girls in bands, so I don't think much has changed on that level. But I think that bands can still have a lot of success trying to go another route.

When a record company makes a mistake, the artist pays for it. When a manager makes a mistake, the artist pays for it. When the artist makes a mistake, the artist pays for it.

I think that once an artist has proven herself and you sell lots of records, you should be compensated.