A Quote by Big K.R.I.T.

Success happened for me when I dropped my first major label album for Def Jam, 'Live From The Underground.' — © Big K.R.I.T.
Success happened for me when I dropped my first major label album for Def Jam, 'Live From The Underground.'
What made me want to become a recording artist; I was the first artist that was repeatedly asked by a label to record with them. That label was Def Jam Records.
When Def Jam wanted to sign Method Man, they wanted to sign Method Man and Old Dirty. And Old Dirty wanted to be on Def Jam - everybody, that was like the dream label. But if I had Old Dirty and Method Man on Def Jam, that's two key pieces going in the same direction, whereas there's other labels that needed to be infiltrated.
Def Jam commented on one of my Instagram photos once, and all my friends me hit me up, like 'Yoooooo, you signed to Def Jam?'
Def Jam is an iconic label.
Def Jam is the reason why I started a label.
The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.
I know a lot of people who jumped into a record label right away, dropped an album, and then nothing happened for them. Build your fan base first, and follow your gut.
Def Jam was always trying to get me to put out an album because I had 'Toot It and Boot It.'
I used to be a Def Jam artist. I was - I survived Def Jam.
You can have a favorite band, but when they sign with a major label... maybe a new producer says, 'You can't do that, take this down a notch.' And you'll keep listening, but you'll always think their first album was their best album.
I'm looking at EarDrummers like a boutique label, like an Interscope or a Def Jam.
Def Jam and Roc-A-Fella were two equal entities under the Def Island umbrellas.
I've been with Def Jam Records for five years and they gave me my first recording contract so for that I'm forever grateful.
I think Def Jam happened to be one of the labels that really didn't have a good grip on things that were going on. I'll say that - that's my political answer.
I love the way I make hip-hop and I refuse to make pop-rap. I don't refuse to make mainstream music, which is why I did a soul record. There was no reason why soul music couldn't get played on the radio and I still wanted to have a relationship with my record label. So, I really enjoyed doing the Strickland Banks album. But there's no point in my trying to release underground hip-hop music on a major label. That part of my talent, or part of my art, had to live somewhere else and feature film was the perfect vehicle for it.
My favorite model of success is when people say, 'Nobody bought that first Velvet Underground album, but everyone who did started a band.'
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