Top 1200 Record Label Quotes & Sayings - Page 3

On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.

We recorded that trio and it's out on the Knitting Factory label. I've got another record in the can with that group and Marc, which I'll hopefully finish some time before next summer.

I hear people telling me a lot that the production of that particular record - 'One Part Lullaby' - really influenced them. I'm like, 'What? We were dropped from the label after that!'

'Die a Happy Man' was one of those that, when I wrote it and sent it to my label, their response was, 'This is a career record.' I was like, 'Why do you think that?' I think the stars aligned.

Back in the day, if someone at the record label didn't care or like your music, it never got to the public. It just got shelved.

I remember when we were going to release 'Dancing On My Own,' and I went into the record label crying to them that I was terrified people wouldn't support me anymore if they knew I was gay.

When you record for a label, they own that material in perpetuity, meaning that they can release, chose not to release , or repackage it any way they so choose... with or without the permission of the artist.

It's an album that is a little bit different and probably isn't easy to get out. It's not likely that a major label would have picked it up and said that they had a smash hit record.

I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn't, so in the end they just released it themselves.

I would like to say when I turn the project over to the label that I have been successful. And that's truly the way I feel. But, in addition to the self-pride in 'making' a good album, to be honest, I'd love to have a hit record.

I got a record label and I got a couple artists signed. All of them got real-deal.

I had heard all the rumors and controversy swirling about the 'In Utero' recordings - there was a lot of, 'Oh, the record label hates it,' it was going to ruin the band, that kind of stuff.

I am really proud of where me and Ghastly's track 'Crank It' ended up. It was our first music video and big label release. It was such a dope experience working with OWSLA on that record.

We all liked Elektra because it was a boutique label. 'Oh, my God, we can be on the same label as Paul Butterfield!'

One of the most harmful things in the music industry is 'record-by-committee,' where 10 people from the label gather around, and they make you write a 100 songs and decide which one's a hit. That takes the inspiration out of it.

I should be the one to say what I do. It's just not done that way anymore in Nashville, and I can't do it the other way. That's how our record label came about.

John Peel made his reputation with his radio show and his record label, Dandelion, by championing the underdog.

After performing in various bands, my big break came when I signed for the record label CBS. I had a couple of hits, then my third single, 'Wherever I Lay My Hat,' reached No 1 in 1983.

I support GMOs. And we should label them. We should label them because that is the very best thing we can do for public acceptance of agricultural biotech. And we should label them because there's absolutely nothing to hide.

This was early '90s and in New York hip-hop was coming on really strong; that was the sort of urban folk music that was almost threatening to eclipse rock music and indie rock music in terms of popularity, which it has certainly gone on to do. But you know, this is the end of the 1980s, beginning of the '90s. The whole independent label thing has really evolved to this incredible point from the early '80s when we started, and there wasn't one record label at all, until a couple people started forming these small labels.

You no longer have to have a big record label behind you and have to kowtow to the politics that enabled you to get there. You can be a phenomenal artist and put your stuff out there on YouTube and find yourself becoming a star.

'Chopper City in the Ghetto,' real talk, it's what changed Cash Money from a Bounce label to a Rap label.

We had a heroic attitude to artistic freedom, and we thought normal contracts were a bit vulgar - somehow not punk. But that was the whole point - we weren't a regular record label.

Leaving your old record label doesn't have to be a stall in your career. It's like new life being breathed into it.

Early on, before rock 'n' roll, I listened to big band music - anything that came over the radio - and music played by bands in hotels that our parents could dance to. We had a big radio that looked like a jukebox, with a record player on the top. The radio/record player played 78rpm records. When we moved to that house, there was a record on there, with a red label. It was Bill Monroe, or maybe it was the Stanley Brothers. I'd never heard anything like that before. Ever. And it moved me away from all the conventional music that I was hearing.

I think that every record label has its trials and tribulations, its ups and downs. The only thing you can do is hope to recognize what it is that makes you great, and to try and continue to capture it.

As a label, you have to treat every group and every record as a unique entity. I think that that has been our success, rather than relying upon a fan base.

I'm from Israel, so America has no limits. I started a record label, and then I started managing other artists, like Liza Minelli.

You know, if a band on a label sold a few hundred thousand copies of their record these days, they wouldn't make any money. But if a band can pump out 10 million copies of a record for free, and 50,000 of those fans come to the band's website to watch pay-per-view videos or buy a t-shirt, that's roughly $10 million in revenue per year.

I had recorded a song 'If You Need Me' for the Correc-Tone label, but it was a small label and distribution was a problem.

I think I'm a living embodiment of, 'Don't try to push me around or squash me,' whether its how I talk to a record label or in my relationships.

When I tried to get a record deal, only one label wanted me. The rest said 'oh, we've already got a girl with a guitar.' Can you imagine them ever saying that to a guy?

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.

We have to wake up early and make songs everyday. I run my record label. You work at hours where your body isn't designed to work. But it's fun.

I've always wanted to push someone who's not really known but has mad talent. I don't know if I'm going to do a publishing company or a record label, but I'm interested in pushing artists in any sense.

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.

The question has often been asked; Is Buddhism a religion or a philosophy? It does not matter what you call it. Buddhism remains what it is whatever label you may put on it. The label is immaterial. Even the label 'Buddhism' which we give to the teachings of the Buddha is of little importance. The name one gives is inessential.... In the same way Truth needs no label: it is neither Buddhist, Christian, Hindu nor Moslem. It is not the monopoly of anybody. Sectarian labels are a hindrance to the independent understanding of Truth, and they produce harmful prejudices in men's minds.

I think the people at my record label know I'm a Christian and again, I've been really blessed that I've never had to get into a head-butt war over moral standards or anything like that.

I work at a record label where I have archives. These things [memorabilia] occurred and are important to somebody, and they're important to me. I find the record industry largely repellent. This music, the Teen Idles, all of that stuff, is important to me. I don't have lawyers, an agent or a manager. However I find the music industry largely repellent. I just make records because that's what I love to do. So I think that era, those pieces of media, I keep in my collection.

I've been trying to do this music stuff and work it out for so long... I was like, 'Let's do it for ourselves.' All these songs, we've travelled the world - no record label, nothing. We just did this for us, but the love is very appreciated.

I think any label is bad... I'm more than a label.

Everything keeps changing. People want to label things all the time and once you label it, it changes again.

I think any label is bad. I'm more than a label.

Generally, when a record label suggests album ideas for you, you smile politely, and then proceed to shoot it down, because it's never what you as an artist feel is right for you.

I'm lucky enough to exist in 2018, where I have a record label that's like, 'Write whatever you want to write.' I don't have to hide anything.

I run a whole record label, I'm a whole entrepreneur.

There can be a wrong time - it's happened to countless bands where they release their first record on a major label and never learned what they maybe should have learned on an indie.

A label doesn't make something so. A label is just a word. It's what a person does that makes them who they are

When I first heard 'Let Me Love You,' I knew immediately it was going to be a hit. I believed in it and I had to literally force it down the throats of his record label, who weren't believers at first.

People will download the music for free and they'll pay for it if they want to give you a compliment. They don't have to pay for it. And the only way the artist can make money was by touring 'cause the record label didn't take that money. Unfortunately now, cause the record company's not making money from the downloads, now they want to take money away from everything.

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

I still stand behind the stuff I did early on, but I was on a record label, and I didn't have a lot of creative control. Another side of that is just being young and having bad taste. There was plenty of that, too.

That's why I made my record before I had a label. I put it out independently - in a way, out of fear - because I didn't want anyone to change it.

Being in a band is very much like a startup. You start in a garage. You hope to get interest from investors, like a major record label.

There's this idea of a star, and this person is very aloof and writes all the music, and they don't talk to anyone unless they go through the record label. And I always felt very uncomfortable about that.

My style when I was 17 was very low-key with jeans, T-shirts, and Converse. I was signed to a major record label by then, so I had stylists helping me.

Heath Ledger was supposed to put our album on what would have been a new record label. I still feel a little dead after losing him.

When you find fame, or you get signed to a record label, it's not what you imagined - because you imagined they would have 100 percent trust or faith in you as an artist. Unfortunately, that's not really the case - it's what sells.

I hate how I've had the mantle set on my shoulders as being against the record label. We've had some issues, but that is the nature of business.

I would like to say when I turn the project over to the label that I have been successful. And that's truly the way I feel. But, in addition to the self-pride in 'making' a good album, to be honest, I'd love to have a hit record!