Recording Contracts Quotes

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

Today they forget you in five years. They give an artist nowadays four or five years and that's it. Some of them don't have that. They get a couple of releases. If you don't sell two million copies, you're gone, you're out of here.

I think records are irrelevant, but I'm being approached about it all the time. If I could avoid it, that would be great.

I don't do much recording anymore, but before I really stopped, I was glad to get five, five cent a record. That's why when I see people today and they complain about what they get, and I picked cotton for $2.50 a day.

Seeing how those companies operate, it didn't amount to a massive vote of confidence in their artists. There was talk of me going to Columbia after that, but nothing happened. I got disillusioned, and I pulled back.

I remember talking with Arcade Fire after their first record, when they were getting all kinds of offers from major labels, and I don't think I gave them any advice. They survived that whole onslaught pretty well anyway without me.

I'd had it as a member of a group. I sang with the Moonglows for two years, and that was enough.

When you record for a label, they own that material in perpetuity, meaning that they can release, chose not to release , or repackage it any way they so choose... with or without the permission of the artist.

This is a very screwed-up business. Record labels don't sign a lot of bands these days. We just want to find a home and stay there and make records and do our thing and not have to look over our shoulder.

If there was ever any truth to the trickle-down theory, the only evidence of it I've ever seen was in that period of 1960 to 1965. All of sudden they were handing out major label recording contracts like they were coming in Cracker Jack boxes.

Every musician in the known universe has signed a bad piece of paper, myself included. But it's really very simple. You're the artist. It's your picture that's going on the CD cover, nobody else's. Protect yourself. Get a good lawyer. You'll kick yourself later if you don't.

My first song was Hula Hoop Song, in 1955. It was a novelty song. I had to find someway to reach out and it was with a novelty song. Now, all of my recording obligations have been taken care of. I made 14 albums for Warner Brothers. Five for United Artist before that.

The wage for most musicians is a modest amount, and that includes me some of the time.

The eighties turned the whole system upside down. They would sign three groups and give them five or ten million dollars each to make three records. Out of those three records maybe one would be a hit. The economy changed, and that's why the music changed.

If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.