A Quote by Cole Swindell

I had a publishing deal way before I had a record deal. — © Cole Swindell
I had a publishing deal way before I had a record deal.
Before I ever had my record deal, I just had a publishing deal over at Sony ATV. I had that title, 'Flatliner,' and just the idea of a girl stopping everybody's heart - just kind of a fun idea.
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 was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.
Way before we got a record deal, we were playing clubs seven nights a week, three one-hour sets a night. Then we got the record deal, and we took off on the road and stayed out.
I had to get out of my record deal that I signed with my previous band and get a full solo record deal going so, with all of the paperwork that, that entails it did take a while.
I've had a record deal before and I was willing to do whatever they wanted me to do and I thought that would be it. By the end of it, you know, I hated myself.
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.
Wayne's my man. I'm proud of him, he worked hard. You know with a lot of people, Wayne's been doing this for years. Wayne had a record deal before I had a record deal, you know what I'm saying? Even though Cash Money been our for 12, 13 years so you know, for him to come up for where he came up, it was all them, B.G, Juvie, Turk, everybody. To see him excel from all that and become one of the hottest people in the game, 10, 12 years later, I'm really proud of him. That's my lil' man.
Before I had a record deal, I was living in New York and playing anywhere I could, from somebody's house to an open mic to coffeeshops.
I had knockback after knockback before I got anywhere. After I got my first record deal I thought that was it, then Gut Records went into liquidation. I was 20. I had no idea what that meant. I had a few days to get myself out of that contract or my work would be owned by someone else.
There isn't a single artist out there, I'm sure, who wouldn't take the most perfect record deal. If the right record deal came along, like, the perfect deal, we'd definitely take it.
I had this dream that you get this record deal, and you're a star, and everybody loves you - but I was a youngster, and it didn't work out that way.
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.
It was a lot easier to write songs before I had a record deal, because the record labels and the industry doesn't mean to put pressure on you, but they do. They don't realize that they are, but you end up having a pressure there that you feel. At times I feel myself wanting to say, 'Just let me do what I do.'
I had the easiest publishing experience in the entire world. I sent out fifteen courier letters to agents, got five no replies, nine rejections and one I want to see it. A month later I had an agent. Another month later I had a three book deal with Little Brown.
I got a publishing deal with BMG, they were supportive, and some money to record demos
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