Amanda Marshall Quotes

I was honored I was signed to Sony. But later I felt like they weren't the right team.

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

It is great to have your own label; you can cultivate your own artists... I've worked with pretty much everyone I wanted to.

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

I had no interest in continuing with Real Madrid in the way that we were working.

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'm not just going to get a deal; I'm going to get the deal. And in my deal I got by signing with No I.D. to Def Jam, I got full creative control, the money was great, the contract was good, and I got to create the album that I wanted.

I walked into Relativity Records as a musician who could not be taken advantage of. That's why I wound up owning all my own publishing and making a deal that was quite advantageous for a new solo artist. But I really didn't think of myself as an entrepreneur.

I've been offered things from alot of different labels and stuff like that, but it's just like, it has to be perfect. I'm not going to sign my life away.

A development deal is an in-between record deal. It's like, a guy saying that he wants to date you but not be your boyfriend. You know, they don't wanna sign you to an actual record deal or put an album out on you. They wanna watch your progress for a year.

There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.

In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.

At a major label you can start to feel that you're working for them, and that any work you do, you're never going to see any benefit.

As an artist development platform, we've proven that all the work done behind the scenes at American Idol, along with surviving the rigors of the intense live shows, can properly prepare a winner for a real-world music career opportunity.

I realized how important it was to have a good team - manager, attorney and label. It's not just about putting out a record and somebody signing you.

I don't have a manager who's secretly on Interscope. I'm the complete opposite of an industry plant.

Being a pop-leaning, female artist, you'd think that I'd have my record company breathing down my neck and trying to control everything I'm doing. Actually, they've just kind of let me take the wheel.

It's a great feeling being with a label that respects what I do.

I want to have a publishing company and a record label, and I want to manage five artists... eventually.

Because I was independent for such a long time, and I was always just feeding my fans - every month, I'd be giving them something new. So I had to adjust to the process of making a record. And after signing with a label, there are just certain things you can't do anymore. It was frustrating at first, but as the months went by, I got used to it.

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

When you find fame, or you get signed to a record label, it's not what you imagined - because you imagined they would have 100 percent trust or faith in you as an artist. Unfortunately, that's not really the case - it's what sells.

It's not an uncommon event for artists and labels to part ways - Patty Loveless, Vince Gill both did - and it often happens for the better.

I've never conformed to what my record label has said and, yes, that has meant that it's been a long journey for me.

I just think that any person who wants music to be their career shouldn't focus on a record label. I have seen friends who sign to a label too early in their career, and they lost control over their music, and their releases were delayed or never put out.