Juicy J Quotes

Things like 'Lucky Man' were never written to even be a record, let alone a hit record.

I've never written a song that I thought was a hit.

When I get all focused on songwriting, I get into all the marketing and promotion that we do to make it happen. Then the right song comes along and blows it all out of the water. The right song will do it for you every time.

We always make music and continue to make hits.

I always knew 'My Dawg' would be a hit, but I didn't even know what a hit was. When I made the song I knew it sounded hard.

Every record I have done was because I was a person's friend. The only time we did not continue to be friends was if the record did not become a hit. If it did, we became great friends.

I don't believe in the philosophy of stumbling across hit records.

We call 'Ain't No Mountain' the golden egg that landed us at Motown.

If you can't handle the responsibility of a hit single, don't write one.

The whole industry evolves around a great song.

Sometimes when a record's done, I'm satisfied and I won't listen back to it for a while 'cause I'm usually pretty tired of the songs. Then I've got to learn them again to play them live, and sometimes it takes a while to realise it's a really good record.

You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions.

And frankly, when I made that record, hit songs were not what I was trying to achieve.

When somebody like Elvis Costello comes along, anybody can make a good record with him.

I don't like working with hitmakers. I don't want hits! You're not even allowed to say that word around me.

Mike Campbell and Don Henley and I wrote 'The Heart of the Matter,' which was a huge hit for Don.

Sometimes, I make 50 songs and pick out the best 10. I've been in the studio all day, all night, making the beat, writing the raps. You never know what's gonna be a hit.

When I am seriously composing, sometimes a phrase will come into my head, a catch phrase. When I was writing pop songs for a few years, as a career, separate from my folksinging career, I used to write songs for pop singers.

There's the famous thing that the A&R man from the record company is supposed to do: He's supposed to come into the studio and listen to the songs you've been recording and then say, 'Guys, I don't hear any singles.' And then everybody falls into a terrible depression because you have to write one.

I was the youngest producer to have a No. 1 record when Kris Kross first came out, and that was a record I held for I don't know how long.

I can take a three-year-old and make a hit record.

I think that every song has to be like it could be the biggest hit of my album.

You put Drake on anything, and it's money.

I had my whole life to write a bunch of crappy songs and then play them in front of people and think, 'All right, that one out of these seven is really good; it's a keeper.' But on this second album, to be honest, I probably wrote about 50 songs where I was just trying to write a hit.

Everybody used to be busy writing songs - great songs - that became hits. Now everybody's writing hits. Everybody's desperately writing a hit because they know they can't survive if they don't have a hit. Where in the past, we were writing a song like 'More Than Words' on a porch, not really believing it was gonna be a hit.