Top 1200 Record Company Quotes & Sayings

For 'Regulate,' I was at home, and I came up with it. I was listening to Michael McDonald's 'I Keep Forgettin'.' It was a record that I always loved, from being a kid and my parents playing it when they had their company of friends over. It was a record that just stuck in my head, and it just felt good.

We had such a small budget making our first record, and the only way we could make it work was that the record company would find studio time in the middle of the night - literally, that was so cheap that we could afford to do it.

No one was more surprised that that first Boston record took off than the record company itself.

But I did mine through a production company. All the music I did, I gave to the production company. Then the production company would give the record company the album. I used to do all my albums like that. It was fantastic. But now, understand, I have never planned to do anything with these other tapes. The one that are released, like the Virgin Ubiquity you have there, I wasn't going to do anything with that music. One day, I was talking to this guy that owns BBE over in England, and I said I've got some tapes and stuff that you might be interested in, and he went berserk.

I'm out talking about this company (General Electric) seven days a week, 24 hours a day, with nothing to hide. We're a 130-year-old company that has a great record of high-quality leadership and a culture of integrity.

If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.

If we can have record high unemployment, record job loss, and just an absolutely anemic economic recovery because of Obama's policies, and he's not blamed for it, what makes anybody think he's gonna get blamed when an insurance company starts doubling their premiums?

The record company stay out of my way. Whenever the record is finished, they take it.

I don't want a record company, but I need one, unfortunately.

You don't need a record company to turn you into anything.

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.

That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.

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!

Record company execs eat their young, I swear to God.

It's always push and pull with a record company.

I love being a worship leader, but because I'm also a record company owner, a publishing company owner and a brand developer, I have an economic and a fiscal responsibility as well.

Beats is inherently different: the company is a consumer electronics company but also a media company; a packaged goods company but also an entertainment company.

It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.

I'm not into 'The Voice.' It's an affair between a television network and a record company.

My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.

Some record labels want to package you in a certain way and we didn't want that. Once the record company saw we had some substance and were not a one hit wonder. They got 100% behind us.

I'm developing a record company. I'm learning how to supervise music on a film.

The new artist is meeting the general public before they meet the record company. They're able to put the material on YouTube and have a million views before they even meet an executive at a record company, and get the deal based on that.

I don't have to worry about what the average record company person thinks because I am the record company person.

When you are doing music videos through the '90s, which I did, and the 2000s, you were put in the position, really, as an independent filmmaker. You were being financed by a major record company or a minor record company or whatever.

Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.

We have built a company with a business mix and operating system that will allow us to deliver record results in any foreseeable economic climate, ... We have just completed a very successful management transition and I've never been more confident about the company's future.

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.

As I look back, I understand what [the record company] was getting at. They were trying to market a record and make it as commercially acceptable as possible. It hurt me and my credibility with critics.

If the only common thread you have as an industrial company is the fact that you think you're well managed, you can still be a pretty good company, but you're not going to be a dominant company, a competitive company over time.

All through the kind of late '80s and '90s, every A&R record company man was saying, 'Now what we want is another record like 'Back in the High Life.' And, of course, that's not the way to make music at all. That's the tail wagging the dog.

Our managers hadn't had that kind of success - the record company hadn't, we hadn't - and the feeling was that the next record had to be even bigger, and if it wasn't it would be some kind of failure.

When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.

I won't necessarily make new music because when you make a record there are these great expectations on the side of the record company who are going to produce your record, promoters that are going to do your shows. They want you to do interviews, they want you to play shows. I mean, they want it to be a campaign.

I didn't need to borrow money from the record company, because if I had my own publishing company, and I had my own writers, I'd have enough to get and do whatever I wanted to do.

I'm a DJ, and I live in Williamsburg, and I run an independent record company.

I don't wait on the music industry to qualify me or give me my paycheck. I go about my business as an artist and I believe that my value is in my product and in my art form, and that's why I can't be stopped, because I began producing my record by myself, without a record company.

I was too shy, I think, to sing publicly. It takes a particular kind of person. And when I was young, I was not that person. In the first instance, when a record company said to me, do you want to try and make your record, my first reaction was, no, I'm not worthy - I couldn't possibly, and so on and so forth.

I was forced to be an artist and a CEO from the beginning, so I was forced to be like a businessman because when I was trying to get a record deal, it was so hard to get a record deal on my own that it was either give up or create my own company.

That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.

I see myself as the buffer between the band and the record company.

I don't like record company people very much, so I don't want to be one of them.

If you're part of a record company, you're a manufactured product. It doesn't mean that you're not talented.

No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.

I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.

Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.

Most of my relationships have been like that - with record companies. I've never had a legitimate business relationship with a company. I've always had a personal relationship with someone in the company.

Every person at a record company didn't want to be bothered with me because I was too smart. They knew if I recorded, they were going to have to pay me. They knew I wasn't going to be the artist that would just go in and record. I wanted to know about my royalties.

It's not like it used to be where everybody has a record company to belong to.

'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.

The record company has fought for themselves, never for me.

My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.

The American record company Geffen got so fed up with me that they said they weren't going to release my fourth record unless I gave it some title. So it was called 'Security' in America, and it had no title everywhere else in the world.

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.

I didn't need to depend on the record company to publish my records.

I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.

If you don't have a record deal, you've got to be a record company.

You know, I'm behind my company. My company has been a big part of my life. And it's not that I been buying a company or that my father bought a company and tried to do something out of it. You know, it's not the same thing. It's my name, it's my company, it's my signature.

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.

After my second No. 1, my record company, Warner Brothers, gave me a beautiful present - quite unique at the time - one of the very first Sony stereos which had speaker and radio included so I could record the radio and build up cassette tapes of music, gospel singing, adverts, evangelists.