Robert Fripp Quotes

It is cool to have a label head that is also a songwriter, in a band, and produces records.

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.

I want to have a publishing company and a record label, and I want to manage five artists... eventually.

A development deal is an in-between record deal. It's like, a guy saying that he wants to date you but not be your boyfriend. You know, they don't wanna sign you to an actual record deal or put an album out on you. They wanna watch your progress for a year.

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

A lot of big labels will just sign bands like a write off.

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

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

Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.

I would love to continue working behind the scenes in music - to produce and manage up-and-coming musical talent would be a dream!

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.

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.

You rarely get money out of labels, except for when they open up a budget for a project. Other than that, it's a do-or-die type thing.

It's about finding great artists and being part of their careers.

I'm still involved in the business of Cheap Trick, so I keep my eye on that kind of stuff.

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.

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.

My A&R at Epic got fired the first week I got signed.

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 don't have a manager who's secretly on Interscope. I'm the complete opposite of an industry plant.

My manager, my band members, we're all good friends. You need that because a lot of times an artist will be so sheltered he will lose touch with what the fans want.

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.