Record Labels Quotes

I learned how to take other people's mechanisms of promoting their stuff through me as opposed to promoting my own stuff, as far as getting Snoop DeVilles, SnoopDeGrills, Snoop Doggy Dogg biscuits, Snoop Dogg record label, Snoop Dogg bubble gum, Snoop Youth Football League.

The whole point is, give me a break with the standards.

You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.

I used to enjoy all the white bands when I was a kid listening to the radio.

But the record companies, they take music and label it - like, they say "rock". Because the white singers can't sound like James Brown, they call him "soul". They've been doing that for years. That's the prejudice crap.

If people stop being interested it's because you haven't written a good enough album. Music will always be the most powerful thing. It doesn't matter what record labels or journalists say. It's the song.

I was turned down by every record label in L.

A. Perseverance is three quarters of the game. Talent's only a quarter. Being able to withstand the word 'no' over and over can build you a pretty tough skin. I knew if I just kept at it, at the very least I'd get better at my craft.

For me, I guess, just learning that just because there's not a whole lot of female MCs on the front lines being supported by major record labels doesn't mean they don't exist. It doesn't mean they don't have the drive and the competitive nature and the will and the way.

I've always had to deal with being biracial, even in music.

When I came on the scene, I'd go to these record labels, and they'd say things like, "Lenny Kravitz. That's a weird name." I'm brown-skinned and I've got these dreadlocks and I've got this Jewish last name.

I had to learn the hard way. There was a blindness, without any education or will or drive. Everything I started in the beginning from skate shops to record labels to a million and one side hustles that I went in without knowing how I was going to do it, a lot of those ventures just went out of business.

The fact of the matter is, if you're not putting out stuff that people are feeling, then your record label doesn't mean a goddamn thing.

I'm developing artists for my new record label, my son's band, Intangible, being one of them.

On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.

As a label, you have to treat every group and every record as a unique entity.

I think that that has been our success, rather than relying upon a fan base.

I signal with an independent label, Continuum.

After that I put out a totally independent record, sold fourteen thousand of them from my basement, bought a house, started raising my kid, made a decent living.

At 13 years old, I realized I could start my own band.

I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.

If you don't get substantially what you want, be ready to walk. And don't look back.

I hate record labels. They think they know everything. I want to hear them try to sing it.

Actually, we got signed in November of 2000 with Dreamworks which is the most amazing label. We have friends on other labels and though we are not selling millions of records, yet, they treat us with tons of respect and give us some very good guidance.

I get bored easily, so I need to do a lot.

I've started a record label, so I get to nurture new talent and talk about music, which is a passion of mine. I've written another book. And I get to come to work and do the TV show, which is always really fun.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

I hear some new artists that sound country but the record labels and country radio lean more toward a more rock feel for what gets signed to a label and played on the radio.

Record labels have enjoyed a 100-year monopoly of selling plastic and now they're up against a different format.

Well, the good news is that there's quite a lot of cynicism about major labels within radio and the press. I think they have been largely disillusioned by the manner in which the record companies have developed music.

The rise of the Internet has caused the demise of the record labels, and has destroyed the music business of old, but it's also created new opportunities for young artists.

We were 6 feet under. A lot of people gave up on us, including fans and critics and show promoters and record labels.

You can now be a master of your own destiny. I'm not sure why you would sign up with a record label.

In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.

We recorded that trio and it's out on the Knitting Factory label.

I've got another record in the can with that group and Marc, which I'll hopefully finish some time before next summer.

All I want to do is give the world my heart... Record label tryina make me compromise my art.

It is hard, though, 'cos record labels love to boss you around. I won't let them do that anymore.

I want to invest and have my own record label and artists.

I want to have a business where my kids, kids, kids will still have something going on long after I'm gone.

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.

My record label is treating me like I'm a new artist, which is exciting after all this time.

A lot of people ask me, 'How did you have the courage to walk up to record labels when you were 12 or 13 and jump right into the music industry?' It's because I knew I could never feel the kind of rejection that I felt in middle school. Because in the music industry, if they're gonna say no to you, at least they're gonna be polite about it.

Record labels today are much less patient: Artists have a bad record, and they're gone.