Adam Lambert Quotes

I am a singer first and foremost. I was lucky enough to have a manager, when I was 15, who knew the heads of a lot of record labels at the time.

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've always had a plan for my music career.

I was so moved by music that I wanted to create it as well, but once you decide that's what you want to do with your life, to be successful, you have to be business-minded, too.

Most of the people I know in bands, all they are concerned about is getting to do the next record.

If I cut an album now and sell it for ten bucks, I can put seven dollars and fifty cents in my pocket.

So there was a way for you to get promoted and survive as an artist without worrying about AM radio hits.

I was kicked off a record label and didn't get picked up again. It was devastating at first because I thought, 'Oh my God. My career is over. What's gonna happen? What am I going to do?' Once I got that I could have a career, a very good career, without having a hit record, then I changed.

I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.

Well, I was making a record, and I had to choose a name, because they said, you know, you can't make a record under the name of Reg Dwight, because it's never going to - you know, it's not attractive enough.

I always wanted to run a major label, and I feel like I got the skills to do that. The one thing about me is that I won't sit behind a desk the whole time - I'll go to the clubs and see what's hot.

Yes; my brother Bobby used to distribute records at King Records. I had a job there, too, packing records up and shipping them off. But I always wanted to play sessions at Stax, so I figured out a way to do it.

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!

First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.

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

Since I was 17, I had been just making records and promoting them.

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

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

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 don't tweet very much. I still believe in the mystery of an artist. I believe in going out when I'm ready to sell my product. A lot of artists are out there every day. But I remember the Julio Iglesiases, the Jose Joses - and it was about the music.

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 even have nephews who make music, my daughter makes music. I don't know what advice to give them these days. It's really a tough industry to break into.

It was almost two years after I left Capital that I put out the first one on Chrysalis and that was really instructive because it was no better in particular than any other record I'd done.

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