Top 1200 Record Deal Quotes & Sayings

I was never supposed to get a record deal - that's one in a million.

I always knew I wanted to do music, but it took me a long time to figure out how to exactly do that. With my first record deal, everything kinda fell apart. I wasn't ready for it, I didn't know how to handle the business side at all. I thought as soon as I got a record deal, everything would fall into place and I wouldn't have to really do any work anymore. I could just make music, and be successful. Well that was not the case and everything fell apart for a period of time.

I remember at a very early age ringing up record labels I found in the Yellow Pages, and asking them for a record deal.

A record deal is my dream.

The first record we made in three days. We literally stayed up for three days making the first album. It was crazy, crazy, crazy for us to do that. We couldn't believe anyone would give us a record deal. I look back on that record fondly but with just the slightest bit of a cringe.

My first record deal was an independent record deal back in 1995 or early 1996.

When I was 19 I had a record deal.

I put a song on Soundcloud, and Annie Mac made it record of the week, and a month later, I signed my record deal.

You don't need a record deal. You'll have the industry begging for you, when you build your buzz.

When you're young and you're comin' up, and you dream of gettin' this record deal, and then you actually get it, and, you know, its apples and oranges from everything that you pictured. The line was pretty self-explanatory to me: once I got in my major label agreement, I definitely couldn't deal with it. It was drivin' me crazy, givin' me gray hairs at an early age.

Getting a record deal is a meaningless thing now.

I always said, if I got a record deal, I'd want to record the best songs I could, whether I wrote them or not.

I was turning 20 during my first record. Those decade birthdays always kind of cause me, it seems, to reflect, look back, and then look forward. I just was closing this period of my life where I was living in a car and scrambling my whole life to then signing a six-record deal with Atlantic.

I've been able to experience so many things since I've had my record deal.

I made my living as a theater actor before I got my record deal.

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.

Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did 'Send In The Clowns' by Judy Collins. We did 'The Star Spangled Banner,' which came out on our third record.

Before I ever had my record deal, I just had a publishing deal over at Sony ATV. I had that title, 'Flatliner,' and just the idea of a girl stopping everybody's heart - just kind of a fun idea.

When you get a record deal, you got to be pretty headstrong, know your direction.

Back in college, when I got kicked out of school, I was still in school, I'd just written the song that got me my record deal. If I hadn't gotten kicked out of school I wouldn't be where I am now. Three months after that, I got my record deal and the rest is history.

I'm Taylor, I'm 11 and I want a record deal.

I got a publishing deal with BMG, they were supportive, and some money to record demos.

I didn't sign a record deal; I didn't do any of that. I made my record independently, and I went out and hit the road in a van.

Way before we got a record deal, we were playing clubs seven nights a week, three one-hour sets a night. Then we got the record deal, and we took off on the road and stayed out.

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.

A development deal is an in-between record deal. It's like, a guy saying that he wants to date you but not be your boyfriend. You know, they don't wanna sign you to an actual record deal or put an album out on you. They wanna watch your progress for a year.

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.

When I first got my record deal, I was like, 'I just want to sing,' and I never put much thought into what really goes into a record. But as I got older, I developed a passion for writing.

Once I started looking for a record deal, I had a trainer. And the trainer told me that I would never sell a record if I didn't lose weight.

We thought the hardest thing in the world was to get a record deal, then the hardest was to get a No. 1 record, and then the hardest thing is to stay at the top. It's a lot of work.

I had a publishing deal way before I had a record deal.

I've never made a dime from a record sale in the history of my record deal. I've been very happy with my sales, and certainly my audience has been very supportive. I make a living going out and playing shows.

I dropped out of law school when I got my record deal.

Nine Inch Nails was born out of Cleveland, Ohio, with me and a friend in a studio working on demos at night. Got a record deal with a small, little label, went on tour in a van, and a couple years later found that somehow we touched a nerve, and that first record resonated with a bunch of people.

Though I still have no semblance of a life outside of Nine Inch Nails at the moment, I realize my goals have gone from getting a record deal or selling another record to being a better person, more well-rounded, having friends, having a relationship with somebody.

Well, I had a record deal since I was 18, and it got me where I am.

Because I'm not in a record deal, I don't have to operate in an album format.

Why do I, Mandy Moore, get a record deal?

Back in the Nineties, I was in an R&B group. I signed my first record deal when I was 12.

I don't have a record deal, I'm not looking for one, I don't have a manager, I'm not promoting anything.

I had a record deal with Sony in the beginning of the 90s, and I was rapping and singing in my band.

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. They want to sign distribution deals with labels, who have lots of product, lots of artists.

It was actually really hard to get a record deal after 'American Idol.'

I had to get out of my record deal that I signed with my previous band and get a full solo record deal going so, with all of the paperwork that, that entails it did take a while.

So you have to just be really careful and make sure that when a deal comes along, that it's like the right deal for you... not necessarily the most money, because you have to pay the record label that back in like record sales and stuff.

I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.

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 think [Iranian deal] was the worst deal I've ever seen negotiated. The deal that was made by the [Barack] Obama administration. I think it's a shame that we've had a deal like that and that we had to sign a deal like that and there was no reason to do it and if you're going to do it, have a good deal.

I'm one of the few that comes from this vantage point: I never tried to get a record deal.

I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.

Andrew [Ridgeley] and I had demoed a couple of our songs very cheaply, and we weren't expecting any kind of record deal. We just walked around with our demo tape, trying to find someone to give us the money to demo properly. Instead of that, we got a record contract. It was just an incredibly lucky break.

I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.

Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.

It was a lot easier to write songs before I had a record deal, because the record labels and the industry doesn't mean to put pressure on you, but they do. They don't realize that they are, but you end up having a pressure there that you feel. At times I feel myself wanting to say, 'Just let me do what I do.'

I can assure you Mr. Zureikat never gave me a penny from an oil deal, a cake deal, a bread deal or from any other deal.

There isn't a single artist out there, I'm sure, who wouldn't take the most perfect record deal. If the right record deal came along, like, the perfect deal, we'd definitely take it.

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

Wayne's my man. I'm proud of him, he worked hard. You know with a lot of people, Wayne's been doing this for years. Wayne had a record deal before I had a record deal, you know what I'm saying? Even though Cash Money been our for 12, 13 years so you know, for him to come up for where he came up, it was all them, B.G, Juvie, Turk, everybody. To see him excel from all that and become one of the hottest people in the game, 10, 12 years later, I'm really proud of him. That's my lil' man.

A lot of people really didn't expect for me to have a record with Kendrick, but I proved them wrong. It's not easy to get Kendrick on a record, so it was a huge deal for me to have him featured on the song.

Everytime we put a record out, we lose people that can't deal with the growth.