Saara Aalto Quotes

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 wanted to be part of pop culture, so I started songwriting, and I got signed to my first record deal.

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.

If you're part of a record company, you're a manufactured product. It doesn't mean that you're not talented.

Motown's policy was to build one act at a time or their favorites.

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

This is truly a blessing. Breyon Prescott, Peter Edge and Tom Corson believe in me and have introduced me to a home that also believes and knows exactly what to do with the type of music I'm doing.

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

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

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.

I'm hoping to become a recording artist and make albums and go on tour.

My record label is treating me like I'm a new artist, which is exciting after all this time.

In 1999, I just came out of putting out the song 'Vivrant Thing' and 'Breathe and Stop' off the 'Amplified' album. Clive Davis signed me to Arista.

I got a record deal with Sony, and I really just put acting aside. But it's a love.

Metro was really a star-builder, no doubt about that. You were wrapped in cotton wool.

I've always wanted to push someone who's not really known but has mad talent. I don't know if I'm going to do a publishing company or a record label, but I'm interested in pushing artists in any sense.

I've been able to experience so many things since I've had my record deal.

Working with Tesco has been such an interesting avenue to go down that I'm keen to find other avenues to release music.

Jimmy Iovine signed me personally to a million-dollar contract, and I lost my identity for a long time. That system is so predicated on making a hit, or you're out of here.

I actually got signed when I was 14 with Sony Sweden. Things didn't really work out with that, but I'm glad I had the opportunity to be exposed to the industry at a young age.

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.

I did a CD way back in 1989, but I never got it off the ground.

Back in the Nineties, I was in an R&B group. I signed my first record deal when I was 12.