A Quote by Killer Mike
Antwan Patton and Andre Benjamin saved my life. That's how I view them giving me a record deal, with nothing but love and adoration. I saw Big Boi have to do what he kept doing after Dre said he didn't want to do touring and Aquemini [the label].
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Don't cry." "How can I not?" I asked him. "You just said you loved me." "Well, why else did you think all of this was happening?" He set the book aside to wrap his arms around me. "The Furies wouldn't be trying to kill you if I didn't love you." "I didn't know," I said. Tears were trickling down my cheeks, but I did nothing to try to stop them. His shirt was absorving most of them. "You never said anything about it. Every time I saw you, you just acted so... wild." "How was I supposed to act?" he asked. "You kept doing things like throwing tea in my face.
When I tried to get a record deal, only one label wanted me. The rest said 'oh, we've already got a girl with a guitar.' Can you imagine them ever saying that to a guy?
Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
Every time I hit it with Big Boi, we always have good love. I was a huge fan of the 'Shutterbugg' record he did.
I don't want to be judged next to guys like Suge Knight. I want to be measured next to David Geffen, Irving Azoff, and Clive Davis. Whether I measure up or not, I let my record speak for me. That's how I want to be judged - by what I've done, not by what people like Ice Cube and Dr. Dre have said about me.
In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.
My standards are so high because of who I serve but it doesn't put any water on my fire for winning. I'm still an intense person. You can be intense and saved. You can compete and still be saved. You can challenge a guy and still be saved. There was nothing soft about me as a player and there isn't anything soft about me as a coach. You want to be a man of integrity and you want the players to know that you care about them. Whether or not they still like you or not is a whole other deal.
Leaving the record companies tweaked something inside me and I realised I don't have to deal with labels to make something happen. If I want to meet someone, I don't have to go through the label - I'll just go to them. I took my life in my hands and social media has just helped me do that more.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry.'
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry,'
I always said, if I got a record deal, I'd want to record the best songs I could, whether I wrote them or not.
When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.
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.
I started touring a little bit in 1973 in support of a record I made for an independent label. In 1975, when I signed with Warner Bros., where I remained happily ensconced for the next 24 years, my touring activity increased considerably.
'One Part Lullaby.' It was our big major-label record. People reference it quite a bit, but it did absolutely nothing. It's like the 'Kids' soundtrack. It did nothing. It didn't start anything for me.
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