Top 1200 Record Label Quotes & Sayings - Page 19

I don't want every member of System to have their own label. It will be like a circus.

My view is that "A Small Oak Tree Runs Red" is about putting people 'on the record,' who otherwise would have been forgotten, as a result of their bravery and love for one another. These characters demand justice, and they got punished for it. If we can correct that record in our artistic expression, in a poetic form such as this play, then that is our entire purpose and greatest benefit.

People have always said that I could have been a highly successful pop artist, if only that were my intention. It never was. My original intention was to be a kind of behind-the-scenes participant in music, to just be a record producer and engineer. And I made a record for myself just so I could have an outlet for my musical ideas.

When you don't understand something, you label it and condemn it" (94) - Danny Glover, "The Fundamental Things

In hip-hop, what you have is you have a lot of formulaic-type bands or rappers that come up. They saw something on the radio, and they want to mimic that formula. And that's just boring. I don't wanna record something just to make money; I want to record something to enjoy it and have fun because I'm a music lover.

That was the coolest thing about 'Baby Got Back.' The establishment didn't embrace the song, which is what kept me from being the next pop guy to fizzle out and get laughed at, get dissed on TV. That helped save me. The fact that MTV banned the record made the record, in a weird way.

It's time to get the FDA to reverse its 1994 decision not to label GM foods.

I would have loved to record with Paul McCartney on some of his early solo recordings, wonderful music. Playing some lovely organ, perhaps. I would have loved to record with John Lennon. He was a dear friend. I had lunch with him just two days before he died.

Wearing a Democratic label no longer matches what I know about my country and its possibilities.

I am going into the adult market because they don't care what label you are signed to or who you know.

I have a family, a label, and I have responsibilities. It requires discipline and constant development of your skill.

Let's be honest here - 99 percent of MMA fans haven't got a clue what's going on. They don't understand the game enough to comment on any of that. They don't know how easy it is to have an impressive record. I could have 10 guys in my gym tomorrow, beat them all up, and there's 10 wins for my record. It is that easy. It is that easy to be 10-0.

I don't really like labels in politics, but I will gladly accept the label of conservatism.

Everyone in the world, regardless if they're Muslim or not, does not have to adhere to the label society slaps on you.

I think the ladette culture was a label thing, and it was the nineties and it was Britpop and it was quite wild.

For this very reason I refuse all the tricks of the trade and professional virtuosity which could make me betray my career. As soon as I find a subject which interests me, I leave it to the lens to record it truthfully. Look at the reporters and at the amateur photographer! They both have only one goal; to record a memory or a document. And that is pure photography.

My label understands that I am really attached to Malaysia, that I come home a lot.

The first-time director thing is just another label somebody puts on you.

It's really tough - if you're on a major label and they want you to have a number one song, you need to do what they say.

I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."

An artist is usually responsible only for the creation of a particular art. It's up to the critics to label it.

With the new ways of getting music out, you don't need a label if you're a legacy artist.

One day I decided I would like to put a record into my system. So I picked up a record that was lying on the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in my system and I played with it.

The main things to rebel against - over-production, too much technology, overthinking. It's a spoiled mentality; everything is too easy. If you want to record a song, you can buy Pro Tools and record four hundred guitar tracks. That leads to overthinking, which kills any spontaneity and the humanity of the performance.

My manager came up with the idea of taking a Pro Tool rig out on the road to record every night and I thought it was a great idea. I felt like it would be good to record over a certain period of time and then take the best performances of that collection of recordings. It appealed to me that it wasn't going to be from just one location.

Success is a label that the world confers on you, but mastery is an ever-onward 'almost.'

I feel like comedy had a boys'-club label when we were starting.

Ever since I can remember I’ve had positive and negative fan reviews. And whether it was positive or negative it wasn’t always based in reality or what my perception of the music was. But judging from playing these new songs live and my feelings on the record [Scream] – and it’s a great record – there is definitely an audience for it. Also, I don’t really go to clubs so I don’t know what sounds are made there.

I had a record on the Terror Squad album "My Kinda Girls", and then I had a record on the second Terror Squad album and was featured all over it. I wasn't really introduced into the game until about late 2000 where people got to see where I look like.

Like everything at Big Machine Label Group, the music comes out when it's ready.

By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.

From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.

To go indie is a thing. But to put an album in the stores, you need a distribution label.

When you love what you do, you just really fall in love with it. Sometimes you record a lot more songs than the album will even hold. You record like 300 songs and only 12 songs go on the album. It takes time. But if you love what you do, it works out.

I have watched independent record stores evaporate all over America and Europe. That's why I go into as many as I can and buy records whenever possible. If we lose the independent record store, we lose big. Every time you buy your records at one of these places, it's a blow to the empire.

Who are you? Answer; you are who you are in this given moment. Label-less. Limitless. Remember that from this day forward.

I'm 100 million percent not homophobic. I despise that label being attached to me.

If everything had a label, we would live in a fully delineated but false world.

The moment you place a label on someone, you begin to treat him or her accordingly.

Just because I run an indie label doesn't mean I don't think Jay-Z is nice.

People can label me whatever they like. I don't really care any more.

Vertigo's always been a label that experiments with new stuff and forms of subversion.

I'm always connecting with what society would label the outcasts and the weirdos and the lost souls.

There are two economic realities in America in 2016. There's been a record six straight years of job growth, and new census numbers show incomes have increased at a record rate after years of stagnation. However, income inequality remains significant, and nearly half of Americans are living paycheck to paycheck.

There are two economic realities in America today. There's been a record six straight years of job growth, and new census numbers show incomes have increased at a record rate after years of stagnation. However, income inequality remains significant, and nearly half of Americans are living paycheck to paycheck.

In a sense, I like to think of the live performance as something different than the record, not necessarily looking to exactly recreate the record. Sometimes Matt and I just do duets folk-style. Part of the fun of seeing a live show is having it be different from the way that you hear it in your bedroom or wherever you listen to music.

I'll tell you where I stand on the issues, and then I'll let the pundits decide how to label me.

Everyone wants to label me, but I don't want to be labeled as a rapper or a movie actor.

When I was nominated for a Grammy, my label dropped me - I have a wariness about trying for a hit.

I record at the same place [Toe Rag or FatSounds Studios in London], with the same people [Liam Watson at Toe Rag and Ed Deegan at Fatsounds], every time. It makes it effortless, and another reason for the vast output when I do go in and record stuff.

Everything is illusory. You cannot label something and feel that that is the beginning, middle, and end of it.

Obviously, my label would want me to be on the radio all the time, but that's not my personal goal.

I'm often criticised for what I wear. That's my main label in the press now: disastrous dresser!

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.

We have a mantra at the Big Machine Label Group: Start with crazy and work backward.

Waka Flocka is a product, a franchise, a brand, a label. And a good guy!

Even if a financial institution rejects an initial application by an individual using a synthetic identity, credit bureaus create a record from the transaction based on the fraudulent credentials. Consequently, the record can be used repeatedly by a fraudster to establish a fake identity used to commit financial and other types of fraud.

A lot of people label me as not a defender for some reason. I don't know why.

Someone gave me Roman Candle from Cavity Search when it came out. I was just starting to do A&R in the record business, and I remember being in my Volvo 240 in Silverlake, which is every bit the cliche it sounds like, sitting in front of my house playing the songs over and over again. It was the punkest record I had heard in so long.

Having my own label, I have to look at things in a realistic, bottom-line manner.