Sigrid Quotes

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

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.

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

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.

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

I would love to continue working behind the scenes in music - to produce and manage up-and-coming musical talent would be a dream!

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

Someone told me there was a publisher that could find a good home for my songs, but I didn't want to give up my pursuit of a career in the business as an artist.

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

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

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

My passion is music, you know, and music influences culture, influences lifestyle, which leads me to 'Roc-A-Wear'. I was forced to be an entrepreneur, so that led me to be CEO of 'Roc-A-Fella' records, which lead to Def Jam.

Being on United Artists was almost as bad as not being on any label at all. They were the crappiest in the business. All they did was movie soundtracks. Now, they were making an effort to become much hipper - signing people like Bobby Womack and what have you.

In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.

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.

After giving countless hit songs, I felt saturated. I decided to do music only for my own films and music albums. And so, I decided to start my own music label.

I want to be a producer and not a songwriter.

My number one goal is to take over the music business and run a really great record company.

Signing with Sony/ATV was life changing for me.

When I was 17-years-old, I was in the music business.

Getting a record deal is a meaningless thing now.

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.