Top 1200 Record Label Quotes & Sayings - Page 2

When I got my first email from a record label, I decided I didn't want to go in with just one song, so I sat down and kept on writing.

I've been doing my record label for 15 years called Dim Mak. I started my label when I was 19 in '96. I started putting out an eclectic roster of artists. In 2003, we found a band called Bloc Party, and in 2004, we started getting remixes for Bloc Party, and at the same time I was throwing Dim Mak parties in Los Angeles.

At 18, I finally came into a relationship with a record label. My family got back on its feet. I was happy.

We were all friends who formed a band. We weren't auditioned or put together by a record label, management company or TV show.

When I began to record 'El Mal Querer,' I didn't have a label or a team. It was just my family - my mother and my sister - and my friends.

I'm going to keep proving people wrong, whether it's my record label, other artists.

My allegiance was always to the act. I wanted them to be happy. I wasn't owned by a magazine or a record label. And I was a very naughty boy to boot!

I've never conformed to what my record label has said and, yes, that has meant that it's been a long journey for me.

When I first was a part of 'The Monster,' I really wanted to put it out under my name, but no record label thought it was good enough - until Eminem liked it.

I can't believe I got a major-label record deal. My music was quirky, and my voice was so odd and high and girlish, it was like a weird novelty act.

If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength

All I want to do is give the world my heart... Record label tryina make me compromise my art.

I realized how important it was to have a good team - manager, attorney and label. It's not just about putting out a record and somebody signing you.

You can be more creative when you're not feeling like a slave. When you're on a record label, they have you like that.

There's a pianist out of Boston who made a beautiful record for the Fresh Sound label called "Sketch Book"; his name is Vardan Ovsepian.

You can now be a master of your own destiny. I'm not sure why you would sign up with a record label.

I'm openly gay, and I've got a major label record deal in Nashville, and it happened when I was 42 years old. It's not supposed to happen that way.

If a record label will sign you in order for you to be moulded into something that can make more money for them, then you should get out of there if you're that artist.

I'm running my own business, my own record label, so I'm always dealing with heavy amounts of stress.

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'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.

Putting out the things that I like best hasn't been the easiest way to run a label, and it still isn't because it requires finding an audience for each record.

There's no school you can go to where you can study how to run a record label. Every day was a learning experience.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

It's a pretty great thing to have a record that at the end of the day you're not totally sick of and you're actually proud of. We're pretty lucky, because a lot of bands come out with their first record on a label and they're forced to make decisions they might not stand behind because someone's telling them it's a good idea. We didn't have to do that. I think that's one of the things I'm most thankful for.

I wanted to put out a solo record because I was stuck on a major label and sick of it.

The fact of the matter is, if you're not putting out stuff that people are feeling, then your record label doesn't mean a goddamn thing.

I went from the most underground band in the world to signing with Madonna's producer and a record label that is extremely mainstream - it was interesting.

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.

I've made sure that in any situation and with any record label, I'm allowed to write my own music.

I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.

We believe that the Internet is the live concert promoters best friend although it might have crippled the record label business.

It's the worst feeling, going into your record label when you haven't got a hit. It was like: 'Maybe you've lost it.' And, once you're done, that's it. There's no support, or anyone to help you.

I got out of the business because I went from being the biggest artist on my record label to someone they didn't even want to have around.

I can't wait until the record label feels like it's time for my album to come out, and then just disappear.

I want to have a publishing company and a record label, and I want to manage five artists... eventually.

I wanted to play in bands and get signed by a record label and tour the world and stuff, but that never really worked out.

If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength.

I drive everybody crazy when I go into hiding to record... managers, the label, everybody!

People always try to pigeonhole you, especially the media, who are happy if they can label you as a particular kind of artist. But the spectrum of songs I write and record is vast.

I don't have any pressure on myself. I don't have a big record label backing me. I'm doing it all myself.

There was a time when certain producers could produce just about anything, and the label execs would say, "That's a such-and-such record. Let's put that out as the first single."

I'm not only a DJ. I run my own record label and I work out of my own productions.

I'm developing artists for my new record label, my son's band, Intangible, being one of them.

I left my record label, Polydor, by mutual agreement, but I'm going to carry on with my singing career.

We have signed with Artemis Records. Originally they were our distributor for 'Group Therapy'. My former manager (Chip Quigley) started a record label (Recon Records) and had Artemis Records as their distributor. Unfortunately, the way the label was run meant that it didn't turn out the way that we thought it was going to be. We simply got into something that was different to what we initially thought

I have no friends here apart from the dudes at my record label, and I didn't go to school with no one. Nobody knows me - I'm incognito. It's all new, all fun.

At my second record label, they told me and other female artists that some of us were going on the chopping block. I was 19... and it was devastating.

Even an independent label is looking for a hit, they're not looking for a record that's not gonna do well.

I got on the phone with the president of my label and I said, "Obviously, I write songs in a lot of styles and play a lot of different kinds of music. We're getting toward the end of our business collaboration. If you could envision a record that you wanted to hear from me, what kind of record would it be?" It wasn't like asking him to fill an order, it was really just a conversation. For all the things I'd ever asked him, this was one thing I'd never asked, and I don't know why. So I was curious. And the thing that he was most interested in hearing was a solo record.

My favorite record label of all time is Motown. That era of music was my favorite.

Back in the '80s and '90s, when there was still a record business, there was pressure on anyone who was fortunate to have a few hits on a major label to continue that success.

[Jack Johnson] became a superstar and started his own record label, and then he made and produced my first record, he co-wrote the songs on there, and then he let me open up for him for two years all around the world. And that was like the best start I could've had, the best way I could've started in the music scene.

Doing stuff on my own terms and making a record without being signed to a label - I credit that all to my commercial work.

You can't come out on a record dissing the system and be on a label that's connected to the system.

I don't think the label cares about an album... People just want their number-one record.

My record label is treating me like I'm a new artist, which is exciting after all this time.

I feel like some artists need a record label, and some don't.

The record label used to try and make us do stuff, like dance, and we'd say, nah, not doing that.

When you become a commodity to a record label because you're making them millions of dollars, you can take all of your artistic integrity and throw it out the window.