Major Label Quotes

Major labels act as banks in terms of how they produce and release your album. No major label is really good or bad; they just 100 per cent operate as a business, which makes sense... no hard feelings.

For new bands, I think a major label is the safest place to be. Independent labels are the ones getting away with murder. A lot of them are hobbyists who rip-off young bands, taking advantage of people who would never get signed to a major.

We had this budding baby band going and we hadn't reached that development we wanted to reach before we got signed to a major label.

I didn't want to be on a major label. I wanted all the attention and the noise to go away because I wanted to be something a little bit more substantial.

When I first got into the major label system, they were like, 'Hey, you're great - now write with a million people so we can get songs.' That was something I hadn't done before, and the songwriters I was working with had worked on some massive numbers - like 'True Colours.' One of the guys wrote 'Livin On A Prayer.'

I had every major label in the world - I mean, any label that dealt with rap music wanted to sign me. I ended up going with Jive Records because I liked everything about 'em.

At a major label you can start to feel that you're working for them, and that any work you do, you're never going to see any benefit.

The thing about being on the majors, from the beginning, going into this, I was like, "I'm not going to be treated like a factory," because that's never the way it was done before. You're talking about a major label, we're talking about serious business; you're not an artist anymore, you're a business, you have to work in terms of product, you have to release a product, and I don't really think that way at all.

Being on a major label is like living at your friend's parent's mansion: It's a lot nicer than any apartment we could afford, and the fridge is always full of food.

I want my music to be really big. I have no interest in DIY Brooklyn; I don't want to be a small indie band.

If you're not on a major label today, you're not gonna get played. They've got the market sewed up.

I've toured the U.S. every single year and I've put a record out every single year whether it was on a major label or not; that doesn't make any difference to me.

I am a pop girl! And I'm on a major label. I enjoy singing pop songs.

Success happened for me when I dropped my first major label album for Def Jam, 'Live From The Underground.'

I'm a huge Cure fan. I love the Cure. The scales being tipped to when they weren't on a major label compared to when they were seems pretty meaningless. I had the good fortune of having them go before me and seeing their careers, musically at least, lose something. Like a novel written by a dead hand.

The big thing is I'm not with a major label. I've been independent since the get-go, and I've been very lucky to get some good advice on keeping hold of copyright and that kind of stuff.

I'm interested in bridging and filling in space that hasn't already been filled, so when it comes to making music, I've just always wanted to be able to reference things that producers in the big pop major label context do, without compromising the entire sound of the record.

Releasing an album on a major label is like sending a package through Fed Ex. You know that it'll get there, and you know that it'll get there on time.

I was signed at 19 years old to a major label, and dropped by the time I was 22.

You can have a favorite band, but when they sign with a major label... maybe a new producer says, 'You can't do that, take this down a notch.' And you'll keep listening, but you'll always think their first album was their best album.

Musically, I wear many hats. I'm the social media director. I conceptualise the videos, write the songs, do the press. I'm not a major label act.

I love having a major label behind me. Independent was really great to start off, as and I made some really big moves and gained a lot of fans.

'One Part Lullaby.' It was our big major-label record. People reference it quite a bit, but it did absolutely nothing. It's like the 'Kids' soundtrack. It did nothing. It didn't start anything for me.

In one week, I went from being a girl who owed a guy thousands of dollars - my manager Anthony was paying for my outfits, paying for my food; I was sleeping in his parents' basement - to taking meetings with every major label in America. The next morning, I had a record deal and wrote him a cheque to pay back all that money.

After coming from a major label, I realized the entire business has been decimated, and you can't look to labels to try to figure it out because they don't even use the technology, and they're oblivious to how people consume music these days.