If you’re an artist trying to put out your own record on your own label, it’s hard to get a distribution deal because no one wants to sign a deal with one entity.
AIMEE MANNBetter take the keys and drive forever. Staying won’t put these futures back together.
More Aimee Mann Quotes
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I certainly understand that we’re all trying to make a living, but I’m not thinking about that when I’m making it.
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The moth don’t care when he sees the flame He might get burned, but he’s in the game And once he’s in, he can’t go back He’ll beat his wings till he burns them black.
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It’s not easy in this phosphorescent gloom telling waking dreams apart anyhow.
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People don’t buy records anymore. I don’t know how people can support themselves.
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What’s interesting to me is drama and conflict. Things aren’t interesting without conflict and resolution of conflict – or striving towards a resolutions of conflict.
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Telling what you feel, trying to talk about what’s important to you, does not make you weaker.
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The knock-out punch is always the one you never see coming.
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It’s more important for me to have a good record with good music and be part of a movie that’s good and where the music is used in a really great way. That’s the important thing. The other stuff you want to say about it, I don’t care.
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You know what, the drummer is my manager. He’s busy. And I’m busy. I don’t need the dough, though. But having said that, there’s a limit to how much bad music I wanna play.
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I thought everything was interesting. I wanted to go scuba diving and I wanted to learn how to surf.
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All the perfect drugs and superheroes wouldn’t be enough to bring me back to zero.
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Nightly you retrace your steps again to return to the scene of the crime. It’s uncanny how you hover in the air of the wreckage that you left behind.
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I’m really into boxing. I go to a gym and I’m friends with a trainer who’s a pretty famous boxing trainer and I train with him.
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It’s in the dictionary. And when I find what it is, I’ll write it down in case it comes up again, I’ll be certain to avoid it.
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Knowing record labels and knowing the kinds of things they would object to-they just object to everything that’s interesting.
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There’s a lot of music that sounds like it’s literally computer-generated, totally divorced from a guy sitting down at an instrument.
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You drew a bird that was here, a kind of sweet chanticleer. But with a terrible fear that the cage couldn’t tame
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I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I’m really working on him about that.
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They want to sign distribution deals with labels, who have lots of product, lots of artists.
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Everybody kind of understands, Oh yeah you take drugs and it does something to your brain and then you can’t stop.
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Anybody who cares less about wanting to be cool, I think, is more interesting.
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Everyone’s just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it’s a huge antidote to that to have a concept album.
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But I can’t confront the doubts I have. I can’t admit that maybe the past was bad, and so, for the sake of momentum I’m condemning the future to death so it can match the past.
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When things are really great, it just means everything’s in it’s place.
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At a major label you can start to feel that you’re working for them, and that any work you do, you’re never going to see any benefit.
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And if that’s your sole motivation, it’s going to reflect that narcissistic greed and you’re going to hear it in the music.
AIMEE MANN