Top 1200 Record Companies Quotes & Sayings

The industry has changed in that it is far more disposable than it used to be. When Boyzone came out, we were given a shot and the patience to record our singles and albums. Nowadays, the thought is if it is not working, then the artist will be dropped. The record companies will bail on the artists, and I find that sad.

Several record companies had rejected my song 'Owner of A Lonely Heart' on the grounds it was 'too left field.' I never create to make a hit just to satisfy some record company executive's quarterly profit statement.

Like the vast majority of my constituents, I continue to be concerned about record profits reported by petroleum companies at a time when consumers are paying record high prices for gasoline.

I think the good thing about the Internet is to give something away and to sell something else. Get a business model like that because the old brick and mortar record stores are falling apart, and the big record companies are collapsing under their own weight.

When certain bootleg companies started off and they would take maybe ten per cent of whatever they got and help fuel new bands, which I'm cool with, I think that's a good idea. Most of the record companies are not doing that.

Concerning iTunes, the deals have mainly been done with the record companies. But the artists, with some exceptions, haven't been very well-represented. This is partly because the record companies have largely been copyright owners.

The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.

Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.

Records used to be documents, but now record companies want product.

I'm confused that there is a lack of faith in listening to and deciding what is a great song and instead going for these formulaic, bad songs over and over again. But that's what happened when people from beverage companies bought record labels and radio stations as opposed to people who love music owning record labels.

Those record companies don't know what's happening at all.

'Love Tattoo' I recorded without a record company. I'd gotten turned down by the record companies - they said they didn't get me, which is fine, I suppose.

Publishers and record companies love a broken heart.

I used to run record companies, and I went to the advertising business at 29 years old.

Corporate America couldn't be more excited about the demise of the record companies.

People weren't buying as many records. My record company did not want me. I went through three record companies, went on tour at the wrong time. It destroyed me.

The intentions of record companies are not good, from the musician's perspective.

I understand quarterly billing, how the record companies run.

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

You used to make records, record companies sold them, and people went to record stores and bought them. That's all gone now.

I think record companies are criminals.

The music pot is broad. It's just unfortunate that the record companies cry the blues as frequently as they do.

The record companies don't give you a chance, like in the old days when they went, 'Here's a pile of money. Go make a good record!'

When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.

A lot of very popular mainstream artists are products of record companies and marketing companies, and any time anyone can stand outside of that, that's interesting.

I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs. Today, record companies are failing because they are putting their accent just on the young, and I think that's rather silly.

The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!

I'm a fan of music documentaries and I always love seeing what goes on behind the scenes. In kind of the new era of record companies and record releases and that sort of thing, there has to be way more content for the audience.

Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.

Executives are rarely comfortable speaking on the record, particularly in secretive Silicon Valley companies.

Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.

The situation is not good with the record companies. It's just not working out, so I don't plan to record until it's straightened out. In the meantime I'm happy doing my movies and writing the music for the theme songs, whether I sing them or not.

Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.

Indeed one streak in our economy, we're missing the big oil companies. We're missing other big energy companies. We're missing the big picture, and I have a record of trying to go at the problems that actually exist, and I will continue to do that.

When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.

When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music.

Record companies are not unique. Artists are. Period!

Record companies, they're just like lemmings.

The only thing the record companies put out now is 'Best of,'

Trust-me companies are companies whose financial results gallop ahead of their businesses, companies with seemingly perfect control over their quarterly sales and profits. Companies whose financial statements are loaded with footnotes: companies that short-sellers often attack but rarely dent.

Artists were nurtured back in the '70s. Their music was developed by the record companies.

Well it's because the record companies are pumping away with their commercial stuff. I think it's a shame.

I always thought that if record companies didn't understand me, fine - I'd go and do it by myself.

I think bands will actually make more money without record companies; a much bigger share of the money will go to the bands. You won't have record shops taking 40 percent of the money. You won't have record labels taking 40 percent of the money. So they don't have to sell as many albums as they used to in the past. So it's not necessarily a bad thing if record companies disappear.

I mean, all the record companies said no, you know, say 10 record companies, whatever. But one said yes, and it took only one to make The Go-Go's happened.

Sometimes you are at the mercy of record companies or publishing companies.

Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.

You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.

You have to be talented and you have to be lucky. Record companies are not signing classic rock groups anymore.

The greatest thing that ever happened to (my career) was the breakdown of the record companies, because there were no more stupid questions about how many hits are on the next record. It was very liberating.

Since the decline of record companies and music sales, I've always played live.

One startup I dream of funding is the one that kills the record companies.

There are no record companies in Waikiki.

You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money, so they see social media as the free marketing... So... 'Billy, light yourself on fire and stand upside down, and that'll market the record.'

I don't think that old-fashioned idea of record companies exists any more.

The old ways still apply. You can still send tapes to record companies, and there are record companies, you know, there are one or two of the record companies do declare proudly that they listen to every single one that comes.

In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.

In general though, if you look at the track record of pivots, they don't become big companies.

Record companies worrying more about market share than developing artists - I hear there was a time when if your first record didn't sell 8m copies, you were still given a chance to grow as a songwriter.

The record companies are interested in the kind of sales they can get from the rock groups.