Record Labels Quotes

I get bored easily, so I need to do a lot. I've started a record label, so I get to nurture new talent and talk about music, which is a passion of mine. I've written another book. And I get to come to work and do the TV show, which is always really fun.

I've had big record label presidents look me in the face and say, 'Your music sucks, you don't know who you are, your music is all over the place, and we don't know how to market this stuff. Pick a lane and come back to us.'

I've started a little independent record label called 'Six String Productions' and recorded a couple of tunes, and I hope to do some more with some future artists next year. It's a real passion project of mine.

Knowing record labels and knowing the kinds of things they would object to-they just object to everything that's interesting.

If I was rich enough, I would love to launch my own record label. I would love to try and give all my musically talented friends a start in the industry.

When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.

I heard the Bloc Party record Japan before it came out in the UK as they are on the V2 record label. I think it has a great vibe and has great songs. I also think the Kings of Leon are right up my street.

A lot of people ask me, 'How did you have the courage to walk up to record labels when you were 12 or 13 and jump right into the music industry?' It's because I knew I could never feel the kind of rejection that I felt in middle school. Because in the music industry, if they're gonna say no to you, at least they're gonna be polite about it.

I hate record labels. They think they know everything. I want to hear them try to sing it.

Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.

I love the road. That's always been my goal. I've said that to many record labels. I want to make records. The road is my favorite. Some people hate the road, I love the road.

And the next album I do is going to be different because I'm going to change. I already did that thing where I had a band - and I had a great time with a band - but it was almost like pandering to get a record label deal.

I just got a chance to see strong tenacity and a desire to be on top from some young women who have never seen six, seven women signed at a time to major record labels. But they believe that they can put their footprint in hip hop in a major way.

Musically, between me and my fans and also me and my team, who between management and record label have always just let me be me, it's fun to pave a path. It's fun to feel like you're doing things your own way. So in that regard I haven't had to worry about any bar but my own.

We were 6 feet under. A lot of people gave up on us, including fans and critics and show promoters and record labels.

We drank quite a lot and Tony Harrington said, "We're thinking of starting a record label at The Wire; how about you do a solo record?" I said, "Well, how am I going to do that?" I thought about it, and I'd been working on a lot of music in the years before, and I was working as a journalist, full time, really, up until that point; in whatever little spare time I had, I was working on music. So I said yes.

The means of control that record labels had vis-à-vis distribution no longer exist.

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

Record labels collude with some of the radio stations, and the radio stations have their play lists, dependent upon what they call the, quote, 'hits.' What's commercially viable gets recycled, endlessly repeated, and as a result of that, the progressive music can't break in.

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.

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.

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

It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'

The band has always been such a huge part of my life and it kept me very busy. That, in combination with something like running a record label, just means my whole life revolves completely around metal music and I can't do that anymore.

Every time I meet the CEO of a record label I tell them how they did it in the seventies because they want to know. I tell them, "Sign a hundred people! Throw it against the wall and see which ones stick!" And they frown and say, "Oh, we can't do that!" and they start mumbling about demographics and this and that.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

There’s no “correct path” to becoming a real artist. You might think you’ll gain legitimacy by going to university, getting published, getting signed to a record label. But it’s all bullshit, and it’s all in your head. You’re an artist when you say you are. And you’re a good artist when you make somebody else experience or feel something deep or unexpected.

Fans decide what pop culture is. We can define ourselves. Music and the presentation of art nowadays is totally in our control, with the Internet specifically. You no longer need record labels. You no longer need movie distribution companies. You can just make it and put it online, and it will distribute itself to millions of people. The borders and everything have been broken down. It really is in the hands of the people.

There's definitely some sort of dissent brewing between record labels, publishing companies and artists [about the compensation they get from streaming services] Spotify is returning a HUGE amount of money [to the record labels]. If we continue growing at our current rate in terms of subscriptions and downloads, we'll overtake iTunes in terms of contributions to the recorded music business in under two years.

In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.

I have a day job Monday to Friday. I work at a record label in Brooklyn called Ba Da Bing. It's a great indie label and I listen to music all day. I meet people online and find out about the cool new music blogs.

I learned how to take other people's mechanisms of promoting their stuff through me as opposed to promoting my own stuff, as far as getting Snoop DeVilles, SnoopDeGrills, Snoop Doggy Dogg biscuits, Snoop Dogg record label, Snoop Dogg bubble gum, Snoop Youth Football League.

Record labels, which used to have complete control, are essentially irrelevant. The process of a band exposing itself to the world is extremely democratic and there are no barriers. Music is no longer a commodity, it’s an environment, or atmospheric element. Consumers have much more choice and you see people indulging in the specificity of their tastes dramatically more. They only bother with music they like.

If you ever want to know why I'm not on a record label, look at 'The X Factor!' Honestly, of all the people that strive to break barriers in music and do good things and write great lyrics, not one of them would ever pass the first round on any of these competitions.

Nowadays, it's a lot more in the kids hands. You don't really need a record label. You can get the money together yourselves. You can just do it through Myspace. There are bands that are huge, without record labels today. Now, I think it's a lot more, in kids hands.

I consider us to be one of the first Internet-based bands, especially because we basically started our entire band via the Internet. Before MySpace Music even existed, we had a band MySpace page. We were one of the first fifty bands on PureVolume(.com), and we really built everything from the Internet. That's how we started talking to record labels, that's how we booked our first tours. Without the Internet social networking, like Twitter, we definitely wouldn't be where we are today. It is a huge part of the band.

I think bands will actually make more money without record companies; a much bigger share of the money will go to the bands. You won't have record shops taking 40 percent of the money. You won't have record labels taking 40 percent of the money. So they don't have to sell as many albums as they used to in the past. So it's not necessarily a bad thing if record companies disappear.

I'm really thankful to have my own record label. I've always looked up to people like Madonna when she launched Maverick Records. Even Jay Z and Sean "Puffy" Combs, who's a mentor and also gave me a shot when I was an independent artist in Atlanta. He came to my show, and he said, "I just want people to know about you."

My record producer [David Kahne] said the major record labels these days are like dinosaurs sitting around discussing the asteroid. They know it's going to hit. They don't know when, they don't know where it's coming from. But it's sort of hit already. With iTunes, and all of 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.

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.

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

[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.

The history of the Internet is, in part, a series of opportunities missed: the major record labels let Apple take over the digital-music business; Blockbuster refused to buy Netflix for a mere fifty million dollars; Excite turned down the chance to acquire Google for less than a million dollars.

I have hundreds and hundreds of songs waiting to get on albums, but I don't know about the three-month radio tours and if I'll be interested in that. I haven't figured it out, but I will definitely be doing music, whether it is independent or with a major record label.

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

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.

Kaputt was just a record that did really well for us, and therefore our record label and our booking agent said that we should go out and take our message to the world.

In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.

It doesn't really matter to me what the rest of country is doing. I'm not caught up in trying to make a record that sounds like everybody else. That, to me, is a record label's absolute biggest downfall.