Troy Carter Quotes

On the artist side, we made a significant investment in very young artists from the very beginning of their careers and helped them become global superstars.

I can't deny that label-support gave me a leg up - though not every successful artist needs it.

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

It's just different in the music world. You come more with an entourage.

If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.

You get to a point where you really can't manage more artists, because representing artists takes a lot of time.

Any artist manages his own business along with his manager. Every band should.

Jay-Z ain't a manager; he owns a management company. He been through this; he been through the game for a long time, so he knows tactics in taking artists in certain directions we need to go in.

I can say that my big records and my success have been due to the backing which Atlantic have put behind me.

I think 'Interscope' always puts the artist first, and they're focusing on these artists' development. I felt like that was a part of my career that I kind of needed to focus on after having come from the radio and getting exposure that way. I wanted to grow my brand and grow my fanbase, and they have proven to be the best fit for that.

Madonna would not have done a 360 deal with us just because of our touring capability. We had to prove to her and others that we have been working on and built a very good execution capacity at Artist Nation.

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.

While working for Diplomat Records, I helped several artists with their online branding and social media. Once I left the label, I worked directly with artists and noticed many artists were overlooked and underrated if they weren't in 'XXL' or 'The Source.'

As an artist development platform, we've proven that all the work done behind the scenes at American Idol, along with surviving the rigors of the intense live shows, can properly prepare a winner for a real-world music career opportunity.

Asher Roth lived on my couch for six months to build up a following. With Justin Bieber, I moved him and his mother to a town house a block away from me.

I was a stage dad. When I was with Earth, Wind and Fire, I was their stage dad - the O'Jays, I was the stage dad.

I have my own marketing company, Always Civil, where I help artists create their online identity. I have worked with Lil Wayne, Young Jeezy, Mary J. Blige, Pusha T - the list goes on.

What made Andy famous was the years I managed him. I created the Velvet Underground and told him not to worry about them because they would help his career. All those things I did created his fame.

I've had so many conversations with new artists trying to figure out their careers.

When I was 17 years old, Frank DiLeo saw my very first music video and flew to my hometown of Las Vegas to meet with my family and me. Frank told my dad, 'I am coming out of retirement to manage one last big act: Manika.'

Part of the mission of Nash Icon is taking away some of the day-to-day, hand-to-hand combat that you have to do to continue the mainstream country-radio relationship.

A lot of artists still will not get that far. And get that far and be as successful. So, it's a great thing for me, and hopefully I can make it to number 10. And then I would want to start managing other artists, 'cause I think the best manager is an artist, his, or herself, that has been in the business and been successful and knows the ins and outs of the business.

You don't need a record deal. You'll have the industry begging for you, when you build your buzz.

Record labels today are much less patient: Artists have a bad record, and they're gone.