PnB Rock Quotes

They're hit writers. They're gonna write me a hit whether I wanted it or not you know? I could have put out a single a year ago with the Neptunes and maybe been writing now on top but that was not the path that I chose.

One not-to-be-mentioned major said they would sign me if I worked with a team of songwriters to help me finish songs, ha! Of course, in hindsight, I should've done it just to see what that would have been like.

When we got with Dallas Austin, he was just getting on. He was kinda like the fourth member of TLC.

I've had offers to sign a record deal, but the people I've talked to have wanted to package me and have me meet with songwriters who've written stuff for Whitney Houston, that sort of thing. That's not at all my style.

All I want to do is sing on other people's records.

I have been with the record company and Tommy was there doing records with other people.

My producer, Michael Knox, he's kind of my eyes and ears on Music Row. While I'm out on the road, he's looking for songs, and then he and I will get together and go over songs.

When I first got into the major label system, they were like, 'Hey, you're great - now write with a million people so we can get songs.' That was something I hadn't done before, and the songwriters I was working with had worked on some massive numbers - like 'True Colours.' One of the guys wrote 'Livin On A Prayer.'

If you got a vibe with a producer I think you should go full-fledged instead of being satisfied with two songs.

I openly share music with Drake, especially when it's time for him to have a project.

I got to meet Kanye West because we were shopping my artist deal, and I was interested in his label. When I met him, I played him all the records I had. He introduced me to Rihanna, and she recorded and cut some of those records.

When I got my first email from a record label, I decided I didn't want to go in with just one song, so I sat down and kept on writing.

I wrote songs with the guys from Air Supply for their record... So I was just writing songs.

I'll be the songwriter for pop stars and then they can be the front person and I don't have to be famous.

I'm not a hustler. I don't pitch songs. I don't ask people to write with me. It's not what I do.

My plan was always to leave school and live in a flat with some friends, have a 9 to 5 job, and try to get as many gigs as I could. I wanted to keep writing and then eventually, in my twenties, head to a record label and hope they'd sit down and listen to my book of songs, sign me as a songwriter and maybe an artist in development.

I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.

Nobody from my label called any of their labels to get this done. Most of it happened very naturally. Mary and I have been friends for a long time. Then Jay-Z offered.

I don't have the desire to just keep every record and put it out. That's not what I do. I make records for people; that's why I just continue to be consistent, where a lot of the other top writers, they kind of fell off because they started focusing on their own careers as artists. That's not where my head is at.

Capitol Records were very keen for me to write and see how I got on; I think that is what defined my sound. The first session I had was with two young up-and-coming writers, Nick Atkinson and Tom Wilding, and I went into a session a bit nervous because I hadn't written that many songs before.

The business today is completely different and it's very producer driven, so that a songwriter needs to have producing chops, be a singer/songwriter, or find a singer to develop.

I stopped writing lyrics down on paper after me and Jay-Z did 'Money In the Bank.' They're something I just hold in my mind.

I'm really excited because Interscope is really focused on artists. They've been working side by side with me creatively and allowing me to make a lot of the creative decisions, which you don't always hear about. That's why I didn't want to sign originally with a major label.

With my previous record deal, it'd be like, 'OK, so I have this track then, EMI - do you know any singers, maybe? Do you have any singers on your little label there?' And funnily enough, they didn't. But I prefer finding unknown singers myself anyway.

Most of these producers have an agenda of what they want to push or what they think will be hot for someone. I don't have an agenda. My agenda is to take someone and bring out their dreams, what they're hearing in their head.'