French Montana Quotes

I had to get out of my record deal that I signed with my previous band and get a full solo record deal going so, with all of the paperwork that, that entails it did take a while.

I guess I've learned that there's really no such thing as a bad label, there is only a bad contract.

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

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

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 don't see myself ever being in a position where I need to sign to a label.

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.

I'm not desperate to sign, like, a record deal. I'm very hungry, but I'm just not desperate for it.

The Roots - we signed our first record deal when I was about 19 years old.

My whole team, it wasn't about putting the album out, it was about getting off the record company and going independent or going to another label. To the point we were like, 'Listen, just take 'Lasers.' You can have whatever percentage off the next ten records I do for the rest of my life. I just do not want to be here anymore.'

Well, I had a record deal since I was 18, and it got me where I am.

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

I'm really happy with Elektra, I don't have anything bad to say about them at all. I always knew a major label was the right place for me to be. I never really had an opportunity to go to an independent label anyway.

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.

I was signed by L.A. Reid on Arista Records when I was 16. He understood me and believed in me. Arista folded and I got put on RCA or whatever, then there were new people there, and every six months it changes and more new people come in.

I was actually signed at a very young age - I was 12 - and one thing led to another, and I ended up in a mutual split from the label. But it was probably the best thing that could have ever happened, because I was able to kind of leave the industry side of it for a minute and focus on the independent side.

I think, back in the day, when I was first starting to make music, all I wanted to do was to get a record deal.

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

When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.

One of the biggest wake-up calls of my career was when I saw a record contract. I said, 'Wait - you sell it for $18.98 and I make 80 cents? And I have to pay you back the money you lent me to make it and then you own it?'

I took temp jobs, recorded a demo in the evenings and eventually shopped a record deal. All I knew was that I wanted to write songs; thankfully, I also got to sing them.

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

I'm pushing ahead on my own - you no longer need a large record company to make you a star.

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.