Quotes About Record company

We didn't want to be tied to that damn teenybopper market. We tried to convince our record company that we could do more than silly AM hits, but they wouldn't listen.

My responsibility is to the artist first. There's something that artists intrinsically know about their music and their fanbase that neither the record company nor the producer really knows.

We're probably doing better business than we thought we would do especially considering the disappointing way the record company has handled the album.

I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.

I am not going to be dictated to by fans, certainly. I am dictated enough to by my record company to last me a million years.

If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.

In those days it was pretty cut and dry. If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.

Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.

It's not like it used to be where everybody has a record company to belong to.

I never knew much about business. But I've been made happy. The TV and commercials have been very fortunate for me and my career. And Atlantic Records has always been wonderful to me. I don't think I could have chosen a better record company.

It's pre-roll or post-roll on Vevo. The record company makes money off of that, and then it trickles down.

My number one goal is to take over the music business and run a really great record company.

When I do an album I try to find a producer that's excited about something that they want me to sing, and I check with the record company to find out what they think they can sell - which is their No. 1 priority.

We were ready to launch Barry White, but the record company wouldn't put it out. Said it wouldn't sell.

A record company used to be a very good thing, but they ended up soul-destroyingly trapping people in the accounting department. And you couldn't get any further, and the heads of each department were changing all the time, so you couldn't have any permanent relationship within the corporation.

I was really amazed when I started hearing 'Songbird' on the radio. I couldn't believe that the record company promotion department had actually convinced radio music directors to play it -because there wasn't anything like it on the radio at the time.

When it comes to the business side of it, as much as you might hate it, the reality is that you give the record company a sort of ownership of your songs, so you've got to make sure you're getting everything you can out of it now, because if you're not, then who is?

We had a nightmare on our first album, and went through two producers. I decided, on the second album, to take the money that we were supposed to use for pre-production, and we went into a studio and cut the album with no producer. We finished the whole thing without telling the record company.

When the record company pays you an advance, it is just that - an advance. And it's at worse rates than any bank would charge you to pay them back.

In the early Nineties, after my first round of financial problems, I started a studio in Kensal Road in London right at the time when no record company wanted to hear anything from Leo Sayer.

We had such a small budget making our first record, and the only way we could make it work was that the record company would find studio time in the middle of the night - literally, that was so cheap that we could afford to do it.

As a young singer, a record company wanted me to be a rock singer. I told them I couldn't because I didn't understand the music.

I learned how difficult it is to be an artist. There are always compromises. The record company wants you to do this, your fans want you to do this, your family - you can't concentrate on your work.

A lot of times in a record company environment, it's, 'All right, go out on the road, go get some experience, come back in six months, and we'll see where we are.' I've erased that. Now it's, 'This is what we're working on today. I expect you to come in tomorrow and address this and be better.'