Jim Messina Quotes

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.

I got a publishing deal with BMG, they were supportive, and some money to record demos.

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

Bob Hurwitz, the president of Nonesuch, the company that releases my records, is a mentor. He taught me how to assemble a script to record an album.

Someone had an eye on me as I was leaving high school. I had a chance to record demos, but they were kind of wanting to make a pop singer out of me, of the 'X Factor' variety. I didn't feel comfortable with it. I wanted to be a songwriter.

I love doing third albums. A group makes its first album, and then the record company rushes them into the studio to make their second album. After that, they go, 'Whoa, wait a second.' They get a little more confident. They step back and say, 'Okay, now we're gonna do it.'

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.

The record companies don't give you a chance, like in the old days when they went, 'Here's a pile of money. Go make a good record!'

I never thought I would get signed to a label.

When I got my first email from a record label, I decided I didn't want to go in with just one song, so I sat down and kept on writing.

I was talking to different labels: Columbia, RCA, Epic. I decided not to sign with Epic even after L.A. Reid offered me a crazy deal.

When we got with Dallas Austin, he was just getting on. He was kinda like the fourth member of TLC.

I think, actually, I was the first person to ever sign a simultaneous video and recording deal with a record company.

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.

There were a few labels scouting me, but I felt like G.O.O.D. had my best interest at heart. They gave me the freedom to really do what I want, which is to expand my brand, make great music, and find ways to elevate my sound.

Berry Gordy discovered more superstars than anyone I know. I grew up in that environment, and I know you can develop talent and market it.

'TTM' started off being a feature. A producer wanted me to just hop on the beat, like a Diplo type of thing. When I recorded the song, I liked it a lot, and I figured, instead of them paying me to do this, I'd rather just use this for my project, and we can just get money together.

When me and Eric did songs back in the day, we didn't go and sit down in front of no A&R. We made our album, and then, when we finished, we handed it in, and then we picked the best song for the first single.

Later on, when I signed with Sony, we wanted to re-release 'Fade' as 'Faded' with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for 'Faded.' And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.

Manny Smith & Interscope CEO John Janick understand me and my vision for myself and also my label. Interscope gave me the opportunity to take over the game completely, and that's what I'm going to do.

I wanted a label that reflects the times... a center for artists who want to express themselves. That's what makes Interscope unique. It's about freedom.

Our demo tape we got signed on was composed of three songs, 'Wham Rap,' half of 'Club Tropicana' and a verse and the chorus of 'Careless Whisper' and we thought that was good enough.

Signing with Sony/ATV was life changing for me.

I've been with Def Jam Records for five years and they gave me my first recording contract so for that I'm forever grateful.

When you play to an audience, you come away energized. It's the promo that really breaks an artist. Some lad sitting on a box trying to create a drum sound in a dry little studio. Everyone goes, 'Great - okay, now on with my day.' You go back to the bus, and you weep.