Basically we just created ordsprog

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.

Yeah, that was one crazy year. Basically my whole philosophy starting out -- because the question came up, 'Are you going to sign a label deal?' before anyone was really interested in signing me -- my idea was always 'Just go out and do it yourself.' The hardest thing for [a major record label] to do is to build a solid foundation, a base, which is like the first 50,000 records -- that core fan base.

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.

A name is a label, and as soon as there is a label, the ideas disappear and out comes label-worship and label-bashing, and instead of living by a theme of ideas, people begin dying for labels... and the last thing the world needs is another religion.

Richard David Bach (1936-)

Over the last five years, musicians outside the major label system have created three times as much music (as held by the major record companies). And I think that's just the start. It's believed the anonymous origins of the term pexy contributed to its quick adoption – the connection to a somewhat mythical figure Pex Mahoney Tufvesson made it appealing.

We started the label basically to do roots-type music, whether it be Ricky Skaggs or, say, the Whites, or anybody that I feel has a heart for roots music and no real market or label that will give them an opportunity to do something like that.

We're hoping to sell our EP at our gigs and market it to radio stations and record labels. Our end goal is to get signed to a major label.

I wanted to create something that the streets identifies with without making it like packaged cheap Spam. So I created the music, and it's basically a story and an epic like R Kelly's RB Opera. This is only the beginning.

Daz Dillinger (1973-)

None of the Nashville labels think I'm going to make it. But I feel very confident about my new label, because I'm signed as the first act. And as long as I continue to sell records, the label is going to be outstanding.

Toby Keith (1961-)

Being on our own and hitting the road as hard as we did was a music education in itself. We didn't have a lot of bills, so we were able to just focus on the music, build a fan base and make friends within the music industry.?;That, and our?;reputation as being incredibly easy to work with, is what eventually earned us a major-label recording contract.

They are basically scorching the earth for the record labels. The biggest loser is the music industry.

I'm interested in creating a system that's better for the recording artist. Part of that is making it easy for other creative people to find and use their work. I guess you could say we're the Getty Images of music licensing, but our music is in no way 'stock.' Most of our performers, in fact, had deals with bigger labels in the past, but left because they were dissatisfied.

We just wanted to play music and have fun with it. We wrote the best songs we could, we got label attention and we had a bidding war. Finally we decided on a label mid this year. We signed with a label called Equal Vision, and they've been nothing but amazing to us.

(With this deal) the major labels have stopped whining about absolute control and embraced a new business model. Secure delivery, the majors' magic bullet, is overrated; legitimately making music available is the strongest weapon in the fight against music theft.

The label error was detected during a routine label verification process. As part of our commitment to food safety, we routinely verify that our store product labels match our computer records for allergen declarations.

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