Taylor Swift Quotes

If we meet some people that are in love with NFG that are a major label, then we'll sign with them. If we meet people that are in love with NFG that are an independent label - and they have a plan - well, then we'll sign to them. It's completely up to us.

Def Jam just made deals with me. They wouldn't let me go because they didn't really have that much street cred. So they kept me around.

I feel that puttin' in the hours and years in the studio, honing my craft, definitely played a part, me consciously networking and presenting myself as an artist that's commercially sellable led to me meeting the right people, which in turn led to them givin' me positive referrals to other people, which in turn led to me signin' a deal.

I've been approached by major labels every single year of my existence as an artist. Since 1996.

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

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

My function at Verve was that of a genuine producer in artists and repertoire.

Drake was a fan before a friend. He already was a Cash Money millionaire. When opportunity came, maybe we put the most on the table. That was my thinking because I just thought that this was a very talented young man. We saw a future with him, so it was about him being comfortable.

I know it is common nowadays for artists to start labels but this is a thoroughly constructed vehicle for inspired talent. This is a market that we've been living, breathing and eating for our entire lives - one where a huge void currently exists. Favored Nations is a long-term commitment.

They told me that they are starting a classic label, and wanted me to be the first artist. So I signed, and am producing myself, and writing my own music, but I'm their first artist on their classic label. And I have creative control.

You just have to find a lawyer that won't let you sign certain things - and I mean the fine print, because I was gone from Phil Spector and signed with Gamble and Huff in Philadelphia, and Phil bought my record contract back from them.

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

I will be developing artists for my new label. The rest is in God's Hands.

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.

Jimmy Iovine has been telling me since 2012 that I needed to start my own label with my own artists. This was when he first met me and 'Bandz a Make Her Dance' was first taking off.

Roc was only supposed to be our distributor, but then they ended up recruiting me as the label's artist. They said they really liked my album 'Everything You Wanted.'

I walked away from the Jive Records situation, but I still have a great relationship with a lot of the workers and a lot of people who were in that system that have moved on to other places. I felt like being there; it totally wasn't understood what the Raheem DeVaughn movement was about.

I've been an educator all my life pretty much. It's important as a manager and also as a record label, to educate your artists on public speaking, how to build that connection, how to communicate effectively, to have a general working knowledge of the music industry.

I realized how important it was to have a good team - manager, attorney and label. It's not just about putting out a record and somebody signing you.

I'm not just going to get a deal; I'm going to get the deal. And in my deal I got by signing with No I.D. to Def Jam, I got full creative control, the money was great, the contract was good, and I got to create the album that I wanted.

I tried my best to get my brother to get signed by Golden Boy and all his higher-ups, but I don't know, I don't know what they was looking for or what they was looking into. They didn't do it.

When a record company makes a mistake, the artist pays for it. When a manager makes a mistake, the artist pays for it. When the artist makes a mistake, the artist pays for it.

I was like just writing and writing and then I kinda developed my sound. And then, my managers were like, "Okay, we're gonna try to get a deal." And then first it was Interscope, and then it was Atlantic. And then, I ended up signing with Atlantic, but it was like a long process, a really long... it was A LONG PROCESS. I feel like it took me two years to do it.

My experience working with a major label was not all bad, I was blessed to go through that experience, and I know what to do during the next time around.

I'm a free agent so I'm probably gonna be signing a major deal that I'm gonna be announcing pretty soon, and a few good singles are coming out.