Macklemore Quotes

I know being on a major label is meant to be antiquated, but we're fine with it.

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.

If you had ever heard my album you would know that I could never consider the music business!

I just wanted to have my own dynasty. I wanted my own Cash Money or Roc-A-Fella. Outside of that, I also wanted my own media company.

Getting a record deal is a meaningless thing now.

We turned what is virtually a glorified independent label into one of the powerhouse labels in the town.

I certainly don't want to be a record label guy.

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.

As far as being on a major label, some labels get it and get what they have to do, and some labels don't. I don't think the label I'm on necessarily gets it, but I think over time they're gonna have to.

I did my thing with Jive. I was a national recording artist, but I had run into a wall.

I remember telling the head of Warner Brothers that if they'd just make a video for 'Ol' Red'... and if it didn't work, they could drop me from the label.

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.

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

I just have so much love for my record label.

After two years in the songwriting world, I wrote 'All About That Bass.' L.A. Reid heard it and signed me as an artist.

I was with PolyGram; that was the big label that I was with for the longest, like 12 years.

After we wrote The Wreckoning, our record label did listen.

It seems that for all of the artists signed to a major, there exists the same amount of artists that are struggling to break through to the surface within the label. I think, ideally, we'd end up with a very well connected competent indie team that will be along with us for the ride, however long that ride may be.

I have an independent record label called Favored Nations on which I released an album by an artist called Johnny A, who plays an arch top Gibson through a Marshall, but the tone is all in his fingers.

I should be the one to say what I do. It's just not done that way anymore in Nashville, and I can't do it the other way. That's how our record label came about.

I once worked at a record label called London Records. The company was owned by Roger Ames, one of the most successful figures in the British music industry. Roger always placed a value on loafing, on holidays, on not being in the office all the time.

Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.

I am going into the adult market because they don't care what label you are signed to or who you know.

I am a record executive and I shall be right there in your face with my records.

I'm developing artists for my new record label, my son's band, Intangible, being one of them.