Quotes About Record label

I did sign to Ruthless Records, but they didn't really support me.

When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.

We had a heroic attitude to artistic freedom, and we thought normal contracts were a bit vulgar - somehow not punk. But that was the whole point - we weren't a regular record label.

I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn't, so in the end they just released it themselves.

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.

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.

Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

The pop world is cool, but I never really thought of myself as part of it or wanting to be a part of it because I'm on a label that's not really like that. They're not trying to dress me up, they're not trying to do things like that. I feel like I'm sort of separate from that, actually.

Warner Bros. was a great label to be affiliated with. It's the best label out there, and the fact that I was with them for 20 years was just an honor.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

I actually re-signed with Warner Bros. on my own. They've been really good to us and all the people over there are great; they love me and I love them. So I'm just sticking with them.

We make sure we have total artistic control with our albums. We were working with Interscope Records, and they had a hard time with us having all the control. So when we signed with Warner Bros., we told them we would be working hands-on with our producer, and they were cool with it.

I was on Warner Bros. for a minute.

Def Jam, they've shown nothing but love as far as supporting my records. We haven't missed yet, radio-wise, and every song that they've actually tried to support has been No. 1.

So you have to just be really careful and make sure that when a deal comes along, that it's like the right deal for you... not necessarily the most money, because you have to pay the record label that back in like record sales and stuff.

Anyone who's an executive at a record label does not understand what the Internet is, how it works, how people use it, how fans and consumers interact - no idea. I'm surprised they know how to use e-mail.

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

I had to make a drastic change at Sun Records and I didn't really appreciate country music until I went there.

You can't come out on a record dissing the system and be on a label that's connected to the system.

Atlantic has been great to me. They didn't flinch when I told them I was self-producing, and nobody was popping their head in the studio.

The Four Seasons was making me popular in Britain, but EMI America had no interest in making that happen in the States, so I just had a classical career there.

I went with Atlantic because I got a lawyer to look at my contract and my contract was fire.

I want to record many albums, have a healthy record label with talented artists, keep building my publishing catalogue, and maintain our culture with good music that will be remembered for years to come.

I used to buy vinyl. Today, if you do put out a record on a label, traditionally, most people are going to hear it via a leak that happens two weeks - if not two months - before it comes out. There's no real way around that.