A Quote by Tinie Tempah

At the end of the day, you sign a record deal and you understand where it could go if you had the right song. — © Tinie Tempah
At the end of the day, you sign a record deal and you understand where it could go if you had the right song.
There were days on that show where I had to go in and record a song, then I had to rehearse the dance for that song, and then I had to go and shoot a separate scene. That would be one day. So yeah, it was about the value of time and being prepared, and not to freak out.
You sign your life away, basically, when you sign a record deal, and if you have a platinum album, then you go back in and renegotiate.
Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.
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.
The only problem I had on The Voice, was wishing that we, as artists, could have had a stronger opinion in our own song choices. At the end of the day, it's still a vocal competition show and you want to sing the song that showcases your voice the best.
I've played death metal, punk rock, hardcore, funk... I've done it all. And all there really is music and at the end of the day, anybody who has a record and puts out a record that's basically the same song 13 times over on one record; to me they're just cheating the fans.
I wouldn't tell nobody to sign no slave deal or sign your life away or nothing like that, but if the deal is right and if it benefits you, you'd be a fool if you did not take advantage of it.
I had success. I had a number one record. I had a number one album. I have to make this kind of record again or else I'm going to lose it all. That's how you end up making the same song over and over.
I've always known, before I had a record deal, that the thing is to go out and put on the show. I've been doing that from day one.
I think [Iranian deal] was the worst deal I've ever seen negotiated. The deal that was made by the [Barack] Obama administration. I think it's a shame that we've had a deal like that and that we had to sign a deal like that and there was no reason to do it and if you're going to do it, have a good deal.
I'm never going to be a woman who doesn't work. At 12 I was emancipated from my parents so I could sign my first record deal. I think I was born working!
I didn't sign a record deal; I didn't do any of that. I made my record independently, and I went out and hit the road in a van.
At the end of the day music is a grind. You're constantly working at it and even with playing shows as well. If your schedule isn't planned right it could really throw things off, but honestly at the end of the day its incredible being able to go to so many places.
I'd always put on little shows at home, but when I was 11, I did a community event in Woodford, where anyone could go. You had three days of vocal training and performed your song at the end. I sang 'I Say a Little Prayer.' It's a tough song to sing but they gave me the confidence to go for it and belt it out.
At 13 years old, I realized I could start my own band. I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.
I think when you sign a recording deal, you think, 'I'm going to put out a song and have a hit right away. I'll be a giant superstar. I can take over the world now.' But I put out a song, and it did OK. It wasn't like leaps and bounds.
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