Guru Randhawa Quotes

At the end of the day, you sign a record deal and you understand where it could go if you had the right song.

I just wanted to have my own dynasty. I wanted my own Cash Money or Roc-A-Fella. Outside of that, I also wanted my own media company.

I got about 6037 songs I wrote myself and I'm trying to get them on the market and I just wish people could hear them and stuff but they'll do pretty good.

We turned what is virtually a glorified independent label into one of the powerhouse labels in the town.

I want to sell out arenas and make an album and work with some of the best artists in the world.

I'm about to start working with a singer I met on my last trip: she'll get international exposure, and I'll have a song out in that market sung in Cantonese.

'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.

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.

If you had ever heard my album you would know that I could never consider the music business!

My passion is music, you know, and music influences culture, influences lifestyle, which leads me to 'Roc-A-Wear'. I was forced to be an entrepreneur, so that led me to be CEO of 'Roc-A-Fella' records, which lead to Def Jam.

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

I think the music industry is something that's very separate from music. So, by always staying on the music side of it, I've found success.

My most successful album happened back in the mid-'90s, pre-Internet times, with 'Songs For A Blue Guitar.' We were supported by Island Records; we toured a lot. Songs were licensed to TV commercials and movies.

When it comes to independent music albums, you cannot put in 50 lakhs or a crore in each and every song to first make a video and then even promote it. It's not possible for a musician or a singer to promote each song. It's not possible for musicians to do that independently.

If you want to release your own single, there cannot be a better launch than going to Los Angeles and collaborating with a renowned artist.

The music business and I were made for each other.

Obviously, for Geffen, if it wasn't for us, it's quite possible that bands like Nirvana or Beck would not be on the label.

When 'Flaws' went to No 21, we thought it was the most chart-bothering thing we'd ever do. We had a little party and started thinking about the next album.

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 had a lot of songs which, I felt, if they come in an album, they can become bigger hits than in films.

The end game is always a hit song.

I put a song on Soundcloud, and Annie Mac made it record of the week, and a month later, I signed my record deal.

Most of our artists are songwriters, so the songs are still central to all this. If you don't have great songs, it doesn't matter the marketing or how many times you are on TV; you can only polish it so much.

I am really proud of where me and Ghastly's track 'Crank It' ended up. It was our first music video and big label release. It was such a dope experience working with OWSLA on that record.

We had an EP out and all of a sudden we find record companies are interested in us, and we're thinking, 'Oh, that's really nice, but we don't think we're ready for it.'