Yuna Quotes

I knew Kanye way before he was signed.

What people are feeling is the similarity in what I do and how I'm capable of breaking a new artist into a competitive field. People can't wrap their head around the fact that Gaga did not do that on her own. She didn't. There was a Laurieann Gibson.

I met Ne-Yo in London. I sang for him and he said, 'I want to sign you.' It was amazing - it meant my name was buzzing around the industry and I got to meet lots of different labels.

I came to California and got signed at a young age. And it's not like you see in the movies, where you start rubbing shoulders with Timbaland and Pharrell, and you become a giant pop star.

To come out in the music business, you only really get one shot. A lot of people get to play small gigs first, and build up that way, without anyone really seeing them.

When I was nominated for a Grammy, my label dropped me - I have a wariness about trying for a hit.

It was important to me to find a label that wouldn't back out after a first single. Everyone's so used to hearing me with Hootie, they're going to be skeptical.

Shy Carter helped me write 'One Call Away.' He is a brand new artist. I really want to help jumpstart his career because I think he's super-talented.

I always look at Akon as inspiration, and the fact that at one point Lady Gaga was signed to Konvict Muzik.

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

An artist don't make you bigger than life - being that person that can break artists can make you bigger than life.

I would be a huge hypocrite if I didn't tell you that at one time in my life I thought the way that you made music was you got on a major label and you got famous.

Bad Religion took a long time to develop into gold-record-status artists. Along the way we learned and applied our knowledge, and Atlantic helped us every step of the way, since 1993.

Selling records is fantastic. But if you're not loving what you do, and if everybody is throwing knives at you, it can get old very fast.

By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.

I made a record album in 1960 and it exploded, and I got all these offers for TV.

I went to America and got into a band, had success, had hits in Australia.

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'm overjoyed and honored to become a member of the Hollywood Records family. I've admired the careers they've made and can't wait to see how my musical path is paved out.

Having a first single is such a great opportunity for any artist... I'm very appreciative of the support country radio's given 'Could It Be.'

I made a dollar a day sweeping a laundry out. Then we made a record that was number two in Los Angeles. We got so excited hearing it on the radio that Carl threw up.

Def Jam, they've shown nothing but love as far as supporting my records. We haven't missed yet, radio-wise, and every song that they've actually tried to support has been No. 1.

When Rick Ross made 'Hustlin',' Rick Ross also helped those producers become some of the biggest producers in the world.

I went from the most underground band in the world to signing with Madonna's producer and a record label that is extremely mainstream - it was interesting.

Jimmy Iovine signed me personally to a million-dollar contract, and I lost my identity for a long time. That system is so predicated on making a hit, or you're out of here.