Top 1200 Record Labels Quotes & Sayings - Page 15

When you label them, when one of the most powerful social media companies in the world labels people as Nazis, you could make the argument that's inciting violence.

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.

Every person at a record company didn't want to be bothered with me because I was too smart. They knew if I recorded, they were going to have to pay me. They knew I wasn't going to be the artist that would just go in and record. I wanted to know about my royalties.

The language of labels is like paper money, issued irresponsibly, with nothing of intrinsic value behind it, that is, with no effort of the intelligence to see, to really apprehend.

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.

James Cotton is a real blues guy, and he played with Muddy Waters, and it surprised me that they would want me to make a record with them, that he called me to do this record. I'd never done anything like that before. But I love blues, so I was very happy.

We are meeting with Sony, and we have a couple of other labels that suddenly have interest and that's really great because none of them have actually heard our stuff.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

There were a lot of labels in the '90s that were fashionable for a time and then crashed.

To define yourself is to limit yourself. Without labels you remain the infinite being.

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.

In Spanish, I record a lot of single-voice tracks, and in English, I 'stack' a lot of voices, so it's very different, and I think I got so used to recording in Spanish for six years that it was really refreshing and challenging to get in and record 'Double Vision' in English.

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 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.

Independent artists and labels have always been the trendsetters in music and the music business.

Do we want to be successful, or do we just want to make noise just to make it? Or just to put something on the record? I'll be honest with you, I'm tired of putting stuff on the record. I'm ready to see some real transformation and change.

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.

Labels put people in boxes, and those boxes are shaped like coffins.

Our names are labels, plainly printed on the bottled essence of our past behavior.

We were poor [with my mother], and we didn't have too much. So we sat on the floor and we had a record player, and that's all we had in that room in the apartment. But we had whatever we had. Six records and a record player and it seemed like magic. Seven or eight years old, you know.

Forget trendy designer labels. Jeans, a sweater or a t-shirt worn under a jacket that seems welded to you. When it's just right, when you don't see the effort, it's irresistible.

I think part of what happens is that small labels want to get bigger. And bigger is not better.

The 1996 welfare reform law, for the first time, connected welfare benefits with an expectation that recipients would work or participate in training. That work requirement led to record increases in employment and earnings and a record decrease in poverty and welfare dependence after it was enacted.

I come from the school of hip-hop where you just buy records and sample records all the time. Doing that is tough sometimes, because if you get a placement on a major record, your record could get shelved because of clearance issues.

I tried to bring in the live orchestra like Bjork does. I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.

When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.

Major labels don't want to take chances on cooler, indie kind of things. People only know, unfortunately, what they're being spoon-fed.

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.

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.

My job is basically organising things, putting labels on them and keeping them straight!

Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.

If there's any profit to be had in Nashville-Underground, it's very long term. We're not about money, which gives us an edge over the labels.

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.

I completely understand why labels would be a little bit hesitant to sign somebody coming off of a television show, in their first glance.

I now believe that major labels can only work with people who care more about fame and money than the quality of the art they produce.

I don't like labels. I think they conceal more than they reveal, sort of like a bikini.

Of all the labels and tags and epithets people have forced upon me, there's one I don't dislike. I get called the 'enfant terrible.' In every article, it's always there. So I have to give that a meaning.

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.

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.

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.

I am not bothered with whether my characters are conventional or not. Because I am not in this for the designer labels and the autographs.

I cut the labels out of my clothes because they scratch. Clothes are just little workhorses, aren't they?

Independent artists and labels have always been the trend setters in music and the music business.

'Moonwalking with Einstein' refers to a memory device I used when I memorized a deck of playing cards at the U.S. Memory Championship. When I competed in 2006, I set a new U.S. record by memorizing a deck of cards in one minute and 40 seconds. That record has since fallen.

Sometimes when a record's done, I'm satisfied and I won't listen back to it for a while 'cause I'm usually pretty tired of the songs. Then I've got to learn them again to play them live, and sometimes it takes a while to realise it's a really good record.

My mom had wild records, like Luther Vandross, Michael Jackson and the Whispers. But the first record I bought was 'Rapper's Delight.' It had a sky-blue cover with a rainbow. My aunt gave me money to get it, and I played it over and over on the record player.

This American government has become very adept at attaching labels to people who defend themselves, so that the general population in America will condone their behavior.

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'd like to work for as long as possible and form connections with the labels I work for.

I don't quite know what a record is anymore. I don't quite know how to describe it. Don't know how to define it yet, so I'm just letting it gestate, and grow and see if maybe I'll get a better sense of what a record is.

Don't put labels on people. See them as people who Christ died for.

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.

There seems to be a lot of name-calling going on, but I want to remind you what our good dad told me one time. Labels are for soup cans.

You see, party labels do not ensure unanimity any more than trying to cast the challenge we confront as a people through a partisan prism.

Formats are going to change because this is what the people want. It's not what the labels want.

The great thing about a record is it frees your imagination; it gives your eyes a rest and lets your mind wander. There's the special thing that each record can mean a different thing to every person listening to it.

Even as a kid, if I would come across something cool in the record store, that would be how I found out about bands. It's kind of the same way these days. In a way even less because there are no record stores to go to anymore.

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.

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.

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.