Quotes About Record companies

I've been wanting to sing for a long time. I've been singing all my life, and I've tried different record companies, but it seemed like - it was such a struggle and so hard to get out there. So, I said, 'I'm gonna go on American Idol and see how far it takes me.'

If you are a superstar, or whatever you want to call yourself, a person who's had outrageous success, and you decide to go indie and tell the record companies to screw themselves? That takes a certain amount of courage. And bullheadedness, really.

Everybody can perform, there are so many outlets. Musicians are no longer limited. In the past, the record companies made most of the money. I for one am not sorry to see them fade away.

There's this thing called compulsory licensing law that allows artists through the record companies to take your music at will without your permission.

And looking at today's music scene, I think it's cool that there are a lot of consumers and fans not limited by what radio and the record companies tell them to buy.

When certain bootleg companies started off and they would take maybe ten per cent of whatever they got and help fuel new bands, which I'm cool with, I think that's a good idea. Most of the record companies are not doing that.

I don't hear record companies coming up with any good ideas or suggestions. Historically, if it ain't their idea, it ain't no good, so you got that to contend with.

Between the record companies being the way they are and the fact that people can just download one song instead of buying a whole album, it's hard to make a good living nowadays.

There are ominous signs about the future of classical music. The record companies are facing threats from piracy and unauthorized downloading. It's important for those of us who have achieved success to speak out for the choristers and violinists, and beginning artists who won't have work at all if the piracy continues.

Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.

Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.

We made demos of those early songs that we recorded in our guitarist's bedroom with just a reel-to-reel tape, and we sent those to at least 20 different record companies at the time thinking, oh the offers are just going to be flowing in. The only person that did respond was Todd Rundgren, and we're forever indebted to him.

I got out of the music industry many years ago. I had a charlatan for a producer who I wanted nothing to do with. He's dead now, so I guess I can't beat that horse any more. It left a very bad taste in my mouth, so I just went on about my business doing what I do and not involving myself with record companies, except for distribution.

When certain bootleg companies started off and they would take maybe ten per cent of whatever they got and help fuel new bands, which I'm cool with, I think that's a good idea. Most of the record companies are not doing that.

When I was starting out with record companies, there was a tendency to simplify the image as a prodigy. I have more than one adjective, and I've always tried to be myself and listen to my instincts.

They say the music you listen to in your formative years stays with you and leaves an impression for the rest of your life. For me, the things that I fell in love with happened in the '70s, when artists were nurtured by record companies and it wasn't about singles.

I'm really lucky that my record companies have been patient with me and leave me alone and give me the time to make it right in my mind.

There are no record companies in Waikiki.

The record companies don't give you a chance, like in the old days when they went, 'Here's a pile of money. Go make a good record!'

The record companies didn't want 'Stony Road,' and it ended up being a gold album. They didn't want 'Blue Guitars,' and we did 165,000 books.

Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.

It's always very special for me to work Chicago. Both of the record companies I was with, early on, were based in Chicago. The music was always huge there.

Since the decline of record companies and music sales, I've always played live.

The intentions of record companies are not good, from the musician's perspective.