Trisha Yearwood Quotes

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 remember when we were mixing our record and our manager was in there going, 'You guys need to sing more, so it can be on the radio.' And we were like 'What? We're never going to get played on the radio. Who cares? What are you talking about?'

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.

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

I think that there will always be artists out there who think they need to sign a major label deal in order to be successful. And that machine is what is going to work for them - there's tons of examples of pop stars who need that machine.

I just want to keep saturating the market and radio with as many hit records as I can.

I'm really excited because Interscope is really focused on artists. They've been working side by side with me creatively and allowing me to make a lot of the creative decisions, which you don't always hear about. That's why I didn't want to sign originally with a major label.

I think the music industry is something that's very separate from music. So, by always staying on the music side of it, I've found success.

If anything, I'm the most hesitant to bring on a label. That terrifies me. I think people believe major labels are linked to success. They're absolutely not that.

It's really tough - if you're on a major label and they want you to have a number one song, you need to do what they say.

The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?

I've never commercialized my music. I've seen that ruin too many people who think two-minute ditties are the answer.

I don't make music for the radio. And when I was being played on the radio a lot, I didn't.

I want to sell music, and I want radio to play my songs.

In a sense, the music business and I haven't always been the best of bedfellows. Artists often have to fight their corner. Your music goes through these filters of record labels and media, and you're hoping you'll find someone who'll help you get your work into the world.

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 was working with Bill Graham management at the time and it was obvious to everyone concerned that albums like Open Fire, while they were good for me creatively, were not going to be commercially successful.

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.

So there was a way for you to get promoted and survive as an artist without worrying about AM radio hits.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

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

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

The reason I never wanted to sign with a big label was because I didn't want no one telling me how to make my music.

We try and stay out of the corporate side of it. The band has never compromised. At some point in our career we could have made a certain type of record and sold millions of units, as they are called.