Bonnie Tyler Quotes

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

I think, actually, I was the first person to ever sign a simultaneous video and recording deal with a record company.

Well I know I was contracted to Polydor so they couldn't use my name.

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

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.

That folk music led to learning to play, and making things up led to what turns out to be the most lucrative part of the music business - writing, because you get paid every time that song gets played.

To go indie is a thing. But to put an album in the stores, you need a distribution label.

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

We're giving RCA another record, and that should finish them.

HAG Records, is a company that I've owned. I've had a couple of gospel releases on it. We developed a pretty good distribution setup there and we do have something to use in case they don't want to sign us.

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

I was initially signed to a German label a few years ago.

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.

Major labels act as banks in terms of how they produce and release your album. No major label is really good or bad; they just 100 per cent operate as a business, which makes sense... no hard feelings.

I feel very lucky to get to fly the flag of RCA Records and Sony Music.

A development deal is where they're giving you recording time and money to record, but not promising that they'll put an album out.

Now we know that, the way contracts are set up, it's not really made for artists to get rich from selling records - that's the company's one shot to make money.

I've been doing my record label for 15 years called Dim Mak. I started my label when I was 19 in '96. I started putting out an eclectic roster of artists. In 2003, we found a band called Bloc Party, and in 2004, we started getting remixes for Bloc Party, and at the same time I was throwing Dim Mak parties in Los Angeles.

My whole team, it wasn't about putting the album out, it was about getting off the record company and going independent or going to another label. To the point we were like, 'Listen, just take 'Lasers.' You can have whatever percentage off the next ten records I do for the rest of my life. I just do not want to be here anymore.'

Getting a record deal is a meaningless thing now.

The new independent spirit at Warner Music is a perfect fit for a stand-alone label like Maverick.

The BBC were not playing the music that was happening on the street so we did an independent production because we knew we had an audience. Then we licensed the album to EMI.

When people who are songwriters say 'That's my property and if you give it away for free then I'll lose my incentive,' then, well, good riddance.

One of the reasons I started Tzadik, which is my own label, is to keep things in print. I got tired of labels dropping things out of print when they don't sell.

I have had the good fortune to experience both the limelight and the traffic light as a musician. I did my first recording on my own and it was available at concerts. The second to seventh were released on small and then large labels. My eighth to 14th were done under my own steam once again, but with the benefit of the Internet.