Quotes About Record label

If a new artist comes, and he doesn't have a good record label to invest in him, then there is no point.

I don't get involved in record label politics.

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.

Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It's always interesting how people handle those decisions and those moments.

My allegiance was always to the act. I wanted them to be happy. I wasn't owned by a magazine or a record label. And I was a very naughty boy to boot!

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 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 bring in the record label who distributes the music.

Back in the day, if someone at the record label didn't care or like your music, it never got to the public. It just got shelved.

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've started my own record label - Jeepney Music - and I want to put out my own stuff and also stuff by other Filipino artists.

I'm running my own business, my own record label, so I'm always dealing with heavy amounts of stress.

I run a whole record label, I'm a whole entrepreneur.

I've dealt with a record label in the past.

I had basically been shelved by the record label for two years and I was writing songs every day. I made two albums that just never came out, and that was just a really big knock to my confidence, because everything I sent seemed like it just wasn't good enough.

Swishahouse, it started off as just a crew making mixtapes and that's when I got down with it back in like 1998. It wasn't a record label at first. It was all just for promotion, for fun, and we just had a crew representin' for our hood.

Unless you've given up your business to a record label, there's no such thing as just being a musician anymore.

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.

The career high would be putting out a Kids of Widney High CD on my label, Ipecac Recordings.

I had heard all the rumors and controversy swirling about the 'In Utero' recordings - there was a lot of, 'Oh, the record label hates it,' it was going to ruin the band, that kind of stuff.

Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.

Shady's great; I love Shady Records.

I want to be the president of Columbia Records, maybe C.E.O. - kind of like L.A. Reid.

Rounder Records decided to call the album Move It On Over, much to my chagrin but they knew what they were doing. It took off and to this day I can't figure out why.