Zitat des Tages über Plattenfirmen / Record Companies:
Several record companies had rejected my song 'Owner of A Lonely Heart' on the grounds it was 'too left field.' I never create to make a hit just to satisfy some record company executive's quarterly profit statement.
Well it's because the record companies are pumping away with their commercial stuff. I think it's a shame.
When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music.
Finally, I would like to remind record companies that they have a cultural responsibility to give the buying public great music. Milking a trend to death is not contributing to culture and is ultimately not profitable.
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.
I don't think that old-fashioned idea of record companies exists any more.
The intentions of record companies are not good, from the musician's perspective.
I'm really lucky that my record companies have been patient with me and leave me alone and give me the time to make it right in my mind.
I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs.
Actually, I have another record I made with them in 1976, but I've had such a bad experience with record companies, because I keep my head so much in music and not in business.
A lot of very popular mainstream artists are products of record companies and marketing companies, and any time anyone can stand outside of that, that's interesting.
Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.
The paradox is that Mark Zuckerberg, Steve Jobs, and all the tech giants are bigger fans of music than some of the executives working at major record companies.
I'm really happy that I got to work with such fresh talent. In a day when record companies are not particularly good at encouraging young, talented songwriters to come forward and get exposure, I think it's important to give tomorrow's songwriters the opportunity.
There are very few record companies who will entertain a middle-aged woman coming to them with original material.
There aren't enough people who are scaring the kind of people who work at these record companies.
The people who run record companies now wouldn't know a song if it flew up their nose and died. They haven't a clue, and they don't care. You tell them that, and they go, Yeah? So, your point is?
We've managed to have a long career that is still quite vibrant, yet we've never had to kow-tow to record companies who said we weren't commercial enough.
Records used to be documents, but now record companies want product.
The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!
When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.
There are no record companies in Waikiki.
People weren't buying as many records. My record company did not want me. I went through three record companies, went on tour at the wrong time. It destroyed me.
I'm introverted, and I pay attention to my muse... Record companies used to go mad and say 'We don't know the deal with you. You have no continuity at all. You give us 'Addicted to Love,' and you're a rock n' roll star, then you give us 'She Makes My Day,' and what's that?' But that was a hit, too. It either gets across or it doesn't.
Artists were nurtured back in the '70s. Their music was developed by the record companies.
From the age of 14 to about 20, I bombarded record companies and DJs with my demos. I was desperate to get it out there. Most of the time, I got nothing back.
My audience is the baby-boomers, the bulk of the population. This is also a group that is being ignored by most record companies because they're not the Top 40 hit singles market. They forget these people still listen to music.
I understand quarterly billing, how the record companies run.
Now record companies are run by lawyers and accountants. The shift from the one to the other was definitely related to when the takes started to get big.
Everything about my life was culturally rich, and all the people I met sort of reinforced the wackiness that was normally inside of me. No one said, 'You can't do that,' until I got to real record companies, that is.
Money don't rule me, record companies don't rule me.
You're starting to see new record companies and business models taking shape, but it takes time.
I don't hear record companies coming up with any good ideas or suggestions. Historically, if it ain't their idea, it ain't no good, so you got that to contend with.
They say the music you listen to in your formative years stays with you and leaves an impression for the rest of your life. For me, the things that I fell in love with happened in the '70s, when artists were nurtured by record companies and it wasn't about singles.
Those record companies don't know what's happening at all.
Leaving the record companies tweaked something inside me and I realised I don't have to deal with labels to make something happen. If I want to meet someone, I don't have to go through the label - I'll just go to them. I took my life in my hands and social media has just helped me do that more.