Freya Ridings Quotes

When I got my record deal at Atlantic, at the time, 'indie' wasn't a style of music: it was a kind of label. And I think, eventually, the bands that ended up on those labels began to be branded as 'indie bands,' and then it became a genre.

Well, I tried to get a record deal in 1966 or '67, and everyone thought I was too eclectic.

Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.

Kill Rock Stars allowed me to put out a real genuine rock 'n' roll record.

I have a day job Monday to Friday. I work at a record label in Brooklyn called Ba Da Bing. It's a great indie label and I listen to music all day. I meet people online and find out about the cool new music blogs.

I can't believe I got a major-label record deal. My music was quirky, and my voice was so odd and high and girlish, it was like a weird novelty act.

All you needed was a couple of instruments and a few chords and you could be on an indie label.

I had the most incredible experience of my life being signed to Cash Money.

When a record company looks at me I'm very hard to market, I don't really fit anywhere, It's hard to get me on the air, and I'm hard to demography, but! because of that I'm not subject to trends like you pointed out.

I've had offers to sign a record deal, but the people I've talked to have wanted to package me and have me meet with songwriters who've written stuff for Whitney Houston, that sort of thing. That's not at all my style.

Getting a record deal is a meaningless thing now.

When I was young, I was offered my first recording contract in 1971 and was offered quite a bit of money if I would change my character and be a '70s version of Cher.

I'm really happy with Elektra, I don't have anything bad to say about them at all. I always knew a major label was the right place for me to be. I never really had an opportunity to go to an independent label anyway.

The label doesn't do anything but put your record in the store, that's all they do. And tell you, you don't have a single... and tell you, it's not gonna sell... that's what the label does.

I was kicked off a record label and didn't get picked up again. It was devastating at first because I thought, 'Oh my God. My career is over. What's gonna happen? What am I going to do?' Once I got that I could have a career, a very good career, without having a hit record, then I changed.

First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.

I didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the results were pretty good.

I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.

There isn't a single artist out there, I'm sure, who wouldn't take the most perfect record deal. If the right record deal came along, like, the perfect deal, we'd definitely take it.

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.

There was a bidding war between Epic Records and Jive - now RCA - which was bittersweet. Just having labels bid over me was really cool, but I ended up going with Jive because it felt better over there, and they have my favorite artists like Usher, Chris Brown, and Justin Timberlake.

I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn't, so in the end they just released it themselves.

I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.

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

I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.