It's always push and pull with a record company.

You don't need a record company to turn you into anything.

The record company has fought for themselves, never for me.

I don't want a record company, but I need one, unfortunately.

I see myself as the buffer between the band and the record company.

I didn't need to depend on the record company to publish my records.

Every time I release an album my old record company releases another one.

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

I wanted to produce Nancy LaMott's albums, so I created my own record company.

I'm a DJ, and I live in Williamsburg, and I run an independent record company.

I'm developing a record company. I'm learning how to supervise music on a film.

The record company stay out of my way. Whenever the record is finished, they take it.

I have been with the record company and Tommy was there doing records with other people.

I'm pushing ahead on my own - you no longer need a large record company to make you a star.

I had always thought of starting my own record company. I haven't regretted the decision - yet!

It's like, it's up to the people to fall in love with the song. The record company can only do so much.

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

After I made 'Oh Carolina' in the 1990s, the record company wanted me to copy that sound, and I refused.

I don't think the record company is aware of it. Because they just bury my albums and don't release them.

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

If you're part of a record company, you're a manufactured product. It doesn't mean that you're not talented.

Interscope is run more like a rock band than a record company. It's run in a very spontaneous, heartfelt way.

I've been lucky to be able to make the records I've wanted to make. The record company has never pressured me to cut certain songs.

I started writing music when I was around twelve. My current record company saw a video of me performing at my school's talent show.

The tastes of country music fans are not limited to the narrow range defined by consultants and programmers and record company moguls.

A lot of record company people, even though they're our age, want to be perceived as young hip guys, and they're hurting the business.

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.

Bananarama were written off from day one. Nobody believed in us but us. We kept having hits despite the record company, despite the press.

I told the record company I didn't feel the need to be at red-carpet events. I wanted a career. But I wanted to keep myself intact as a person.

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 have just enough people paying attention that I have the freedom to be in charge. And I have a great record company - Nonesuch understands what I'm about.

There's timing. And then there's also certain people at the record company who worked incredibly hard and were incredibly enthusiastic about what I was doing.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

The record company really pissed me off when they told me to lose weight. I couldn't be bothered with looking a certain way. So I left the business. I don't regret it.

I was wildly out of style when that television theme song suddenly pushed its way onto the Top Ten. It was certainly not the record company trying to make that happen.

I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.

The record company doesn't know what to do with me, because I'm not a Lily Allen, but I'm not really an indie artist, either. All the best artists have been in the middle.

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.

I didn't need to borrow money from the record company, because if I had my own publishing company, and I had my own writers, I'd have enough to get and do whatever I wanted to do.

We never let go. Ever. Even with punctuation. It's frightening. I can't see anyone from any record company ever writing an email to Neil and not getting it back, with corrections.

No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.

So why sign your name in blood for more? It seemed like a sensible arrangement for me. I didn't sell large numbers of records and the record company paid advances they rarely recouped.

I produce the records. I don't hand over control to some really expensive producer who then talks to the record company and then tries to bend me to their will - for commercial purposes.

To be on this set today, I feel very blessed for the second chance and for the opportunity, my record company believing in me and everybody here just showing me so much love and support.

My guitar survived Kosovo, then I went to visit a record company back in London and fell off my motorbike with it on my back, smashing it to bits. I was travelling at two miles per hour.

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.

There's a guy at the record company who's 30, and he says, I would not listen to these songs except in this context. Somehow the recording process, the arrangements, make it more accessible.

My record company certainly wants me to play live, badly, but I have no such plans. My only motivation to do such a thing would be money, and I don't think that's a good reason to play live.

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.

It took so long to make it in America. The year I arrived was a bad year for women singers, the record company told me. So I starved. I lived in a hotel so dreadful I can't even talk about it.

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