Top 88 Record Label Quotes

Well, we were originally called Huey Lewis and the American Express. But on the eve of the release of our first record, our record label, Chrysalis Records was afraid that we’d be sued by American Express.

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.

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.

My father was the first entrepreneur in the family. He started his own record label, his own restaurant. He knew that, in order to give something back to the people, he had to create.

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.

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.

I want to invest and have my own record label and artists. I want to have a business where my kids, kids, kids will still have something going on long after I’m gone.

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

I made this record without a record label.

My record label always says you shouldn’t talk about money because it makes people extremely uncomfortable. Refugees can’t talk about money. Rappers can talk about money; refugees can’t talk about money.

I certainly don’t want to be a record label guy.

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’ve remixed lots of other people’s songs, from Adele to Electric Light Orchestra to Beyonce, so when my record label said, ‘Why don’t you give ‘Ibiza’ to someone to remix?’ I said, ‘Sure,’ because I like the idea of people reimagining art and making something new out of it.

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’d been doing my own thing, and making my own money; I wasn’t built by a record label or the music industry, nor was I built by prominent artists that have given me co-signs.

I did my first album with my own record label.

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.

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.

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’ve been an educator all my life pretty much. It’s important as a manager and also as a record label, to educate your artists on public speaking, how to build that connection, how to communicate effectively, to have a general working knowledge of the music industry.

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.

At some of my earliest shows, we used to roll up 20 deep – if my mates can’t come in, I can’t come in. My record label couldn’t understand it: plus-19 on the guestlist?! But that was how it was. Over the years – as it is with everyone, but amplified from being in the public – it’s got smaller and smaller.

I’ve been running my own record label and doing my weekly radio shows, but people don’t see the work. People only see your rise instead of the whole thing.

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

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.

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 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.

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

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.

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.

I was signed to a record label when I was younger. I was in a group, and I just wasn’t – personally, I wasn’t ready to get out there. I don’t know. It was a pop group. Not like the Spice Girls, but when you don’t have any control over anything, it’s disheartening.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn’t understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

The opportunity to record the song came when Phil Collins’ record label, Atlantic, was doing a tribute album to him and they asked all these different artists to do renditions of his songs.

When you’re 17 and a record label says, ‘Hey, do pop,’ you listen.

I once worked at a record label called London Records. The company was owned by Roger Ames, one of the most successful figures in the British music industry. Roger always placed a value on loafing, on holidays, on not being in the office all the time.

When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that’s how I really got into the music business. But I didn’t like what I was doing when I got there, so I left, and I never did a record there.

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.

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.

Obviously, as the music business has suffered tremendously, with being able to illegally download everything, it’s also become amazingly easy to find new bands, because everyone can put their stuff online. Even if you can’t find a record label, you can find these awesome bands, all over the world.

However, the radio and national media depend much more on the hype from a good record label, and from a ‘ buzz ‘ about a band, then from just one or two good shows. There are a lot of artists that have a ton of good press going for them, and still do not make it big in the US.

There’s a Nina Simone record that I love, ‘Live at Vine Street,’ and she sings flat on it. I can imagine she might’ve told the record label, ‘Oh, God, you’re not releasing that!’ But I’m glad they did.

We have meetings with our record label to tell them how to market us.

I wanted to first build a platform and then use it to shine a light on music/people that I believe in. This record label is for people across all corners of the world, to showcase all genres of music.

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

It’s not like I’m taking 20 grand from the shows. I mean there’s no record label, so this is a genuine thing. And I think most people can see that. I think that anyone who knows me, knows I do things with integrity.

My record label dropped me, and I’d been spending way too much money.

I got to build a career on signing with a record label that viewed me as a partner and not as an artist who didn’t know who she was.

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.

A record is a commodity, but so is a hamburger. Just because I work at McDonald’s doesn’t mean I reap the benefits of that commodity. That’s the reality with most artists in the record industry: They’re getting paid a subsistence wage so they can keep producing a commodity for the record label.

People are like, ‘Wow you started your own record label,’ and treat me like I’m some sort of innovative genius, when I’m not at all. You’ve got the Internet and music – you put them together, and people hear your music.