Quotes About Record companies

Most of my relationships have been like that - with record companies. I've never had a legitimate business relationship with a company. I've always had a personal relationship with someone in the company.

I'm a fan of music documentaries and I always love seeing what goes on behind the scenes. In kind of the new era of record companies and record releases and that sort of thing, there has to be way more content for the audience.

Record companies worrying more about market share than developing artists - I hear there was a time when if your first record didn't sell 8m copies, you were still given a chance to grow as a songwriter.

I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.

I'm really happy that I got to work with such fresh talent. In a day when record companies are not particularly good at encouraging young, talented songwriters to come forward and get exposure, I think it's important to give tomorrow's songwriters the opportunity.

I put 'Ghost' online hoping to make a couple hundred bucks, but then the next day, I took meetings with five different record companies.

My audience is the baby-boomers, the bulk of the population. This is also a group that is being ignored by most record companies because they're not the Top 40 hit singles market. They forget these people still listen to music.

I think all record companies should be run by a musician. Just as you wouldn't trust your health to an electrician.

You have record companies that sign acts that they think are great, and then they never do anything. Acts that they don't think are really going to do much end up having a career. I don't think anyone really knows what it is that drives somebody to get on their computer and want to download a song.

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.

Drew Van Dyne gave him the cocky grin. Van Dyne was probably thirty-five, ten years younger than Davis. He'd come in as a music teacher eight years ago. He looked the part, the former rock 'n' roller who woulda-shoulda made it to the top except the stupid record companies could never understand his true genius. So now he gave guitar lessons and worked in a music store where he scoffed at your pedestrian taste in CDs. Recent

The industry has changed in that it is far more disposable than it used to be. When Boyzone came out, we were given a shot and the patience to record our singles and albums. Nowadays, the thought is if it is not working, then the artist will be dropped. The record companies will bail on the artists, and I find that sad.

A respectable-sized audience hasn't really been able to follow developments in jazz since the free jazz movement in the '60s. Some of them can't even get with John Coltrane. Audiences are diminishing more and more rapidly. Some of the top young musicians with something new to say can't get record companies to put out their stuff.

The music business has changed incredibly. There used to be 50 record companies. Now there's only three, and it's just getting smaller and smaller. But then again, you have the Internet, so anybody who has music can get it out there.

Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.

I applied for three jobs in record companies and was offered all of them. I took the most glamorous-sounding job in the promotions department and it began my love affair with the music industry.

American record companies seem to feel I am antiwestern, anticapitalism, anti the kind of society they like. They think I'm a troublemaker.

I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs. Today, record companies are failing because they are putting their accent just on the young, and I think that's rather silly.

I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs.

I'm really glad we came up when we did. When we got started, the record companies were concerned with building careers. They made sure you could put on a live show before you put a record out. And if your first album sold 100,000 to 200,000 copies, they were happy, because they figured you had your foot in the door on a way to a long career.

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

I think everyone should sell whatever product they want to sell for whatever price they want to sell it for, but ultimately the market will dictate what it is and people will have to charge less money for everything. Record companies have been overcharging people for way too long and now this is the trouble that they're in.

Finally, I would like to remind record companies that they have a cultural responsibility to give the buying public great music. Milking a trend to death is not contributing to culture and is ultimately not profitable.

It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records.