Top 1200 Record Label Quotes & Sayings - Page 17

I was with PolyGram; that was the big label that I was with for the longest, like 12 years.

Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.

Yes, it's a very difficult thing to do, to promote a record, do television shows, and to still want to remain private, it's really quite difficult to explain to people what you're trying to do. I mean I'd actually quite like to be a recluse, but you know, you've got to promote the record as well.

I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.

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.

I remember 'The Shepherd's Dog' record being not necessarily a political record, but a reaction to socio-political situations in America. And it didn't manifest itself as protest or propaganda songs, but there's a lot of surreal imagery that was born out of really me being surprised Bush got re-elected in '04.

I really don't think we should label models as 'plus' or 'runway.'

The spirit of Burzum never changed, but my ability to make music changed dramatically when I was imprisoned. It is more or less impossible to record music in prison, and the only music I could record was electronic music, when I was allowed to have a synthesizer for a few months in 1994 or 1995 and in 1998.

Being the one-woman label that I am takes a toll on you; you have to do everything.

When you are signed to a major label, everyone wants to have a say in who you are and what you are doing.

It's pure Black Label. It's about violence and booze. That's all it is. There is no plan

All I can focus on right now is playing that record as best we can each night on stage, and that every article or radio spot that I do gives the best depiction of what we're trying to say with this record. The next door will open when it's time to open, and hopefully I'll be lead into the right one.

Our sport has always had somewhat of a racist label to it.

To label any subject unsuitable for comedy is to admit defeat.

Our society is used to judging content by its package and label.

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.

I could more label myself as even a spokeswoman for happiness!

I was initially signed to a German label a few years ago.

But I'm real conscious about what I do. I don't care what the label is. I'm looking at the outcome of it.

Some musicians make and record music; other musicians play in a band... I just make and record music, and I don't feel a part of anything in any music business.

There is no one label that could be attached to me that would be thought adequate.

Police are reluctant to label a murder as a possible serial homicide.

In a certain respect, in a movie, you inevitably have a lot of people doing a lot of different jobs because that's the only practical way to get it done. When you make a record, you can still be an auteur, because you can make a whole record without anyone's help if you want.

With 'Elect the Dead,' I learned how to make a rock record without a rock band and make the rock record I've always wanted to make.

Well, that's going to be up to the pundits and the people to make up their mind. I'll tell you what is a president for him, for example, talking about my record in the state of Texas. I mean, he's willing to say anything in order to convince people that I haven't had a good record in Texas.

I'm not one of those artists who doubts that they made dope-ass records. From the first record to now, each record has gotten better. I started dope, so I've just gotten doper and doper and dopest and super dope.

A sociopath is just a label and doesn't encompass the entire being of a person.

I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.

Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.

Having my own label has been nothing short of amazing!

I think record stores play a huge part in discovering new music. When I was growing up I would spend hours going through all the bins looking for something new that seemed interesting to me and that could relate to what I was listening to at the time. This is why I want to support National Record Store Day.

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.

Labeled a delinquent. That's the only kind of label I want to be crucified under.

Things go in waves, and I might make a record every three years. That's enough for me, that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one. There's other stuff out there for them to listen to.

Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.

A German wine label is one of the things life's too short for.

I don't think any of us like to be reduced to just one label.

I am in discussions with a label. We are talking about doing something.

Christianity is a lifestyle. And being a Christian is more than a label.

It's pure Black Label. It's about violence and booze. That's all it is. There is no plan.

You just can't label one player as an MVP. There are nine guys on the field.

Value, therefore, does not stalk about with a label describing what it is.

I don't like to label myself. I know I'm very hard to pigeonhole.

The reason for backing tracks is to not veer off too far from the record and have what the fans actually want to hear. Artists use backing tracks just so they can stay close to the record and what the consumer heard for the first time. It's not to be confused with lip synching or anything like that cos that's not happening at all.

Now, a lot of people are challenged by the fact that a record number of people in their sixties have living parents, and a record number of people in their sixties have kids who may still depend upon them.

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'd always wanted to make a record with Jim Dickinson, and I'd known about his boys for years, ... He reminded me that when they were 13 or 14 years old they had a punk rock band and I'd called him and wanted to make a record with them then.

I`ve never seen an orange with the label Castle on it made of glass.

I know being on a major label is meant to be antiquated, but we're fine with it.

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.

Because with Black Label and all the fans it's just one big family.

Once they put you in like a label category it just haunts you.

Not everyone is the same. You can't label a person just because of what they do or what they've done.

The first memory I have was my sisters dancing to the radio when they played records by Benny Goodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called 'Boogie Express,' and it was boogie-woogie. Really, it was on fire, and that got me.

Never will they label our liberation struggle as criminal

I had success. I had a number one record. I had a number one album. I have to make this kind of record again or else I'm going to lose it all. That's how you end up making the same song over and over.

I don't want to make a record like in the '50s or the '60s or the '70s. I want to make a record like today, that`s right now.

I’m proud of the work that I’ve done. I don’t care what people label me as.

The first record I bought was a Carl Perkins record, because I saw him at The Festival at Sandpoint, Idaho. I loved Elvis and I found out that he wrote 'Blue Suede Shoes'... so connecting that experience of going to see him play was pretty awesome. That's when I realised I wanted to play guitar.

For a label for me, 'conservative' is more appropriate than 'Republican.'