Kendall Schmidt Quotes

Being a new band, I just can't think of a better way to get your name out to all of the Hard-Rock crowd than playing with twenty of the biggest Hard-Rock bands in the world.

There was a report that used to come out back in those days, I don't know if it was the Gavin Report or something like that. And they said, no matter what McGuire comes out with next, we're not gonna play it.

I'd love to get played on the radio, but it just doesn't happen.

With *NSYNC, we shopped our deal for a year in America, sang a capella in everybody's office, then moved to Germany for almost two years and became popular there. A guy representing a rock band came to our show in Budapest, saw 60,000 people get excited for a band from America that nobody in America knew, and told someone at RCA.

I can't wait to start something up myself that is actually about giving unsigned bands the exposure they deserve, especially when they travel so far to play the smallest gig they've ever played in their lives.

The only difference between The Rolling Stones, Bruce Springsteen, Aerosmith, and Chubby Checker is that they get their music played on the radio.

I realized there are so many steps from getting a deal to having a hit.

There are a lot of dynamics and a lot of politics that go into records and getting played on the radio.

I'd like to think that people see there's two ways to do things. You can put a lot of money into a band and force people to like them or you can just find good bands and people will like them anyway.

People got to know us from hearing us live because there wasn't much publicity or radio airplay for a long time.

There are a lot of undiscovered world-class bands across Asia, and we want to find them, help fulfill their dreams, or at least give them initial exposure.

When KROQ played 'Name,' that was the turning point for us.

I think it's really cool when any of your songs play on the radio for the first time.

Part of the mission of Nash Icon is taking away some of the day-to-day, hand-to-hand combat that you have to do to continue the mainstream country-radio relationship.

Most artists over 40 or 50 don't get played on the radio. It's a young people's game. I was ready for that.

I want to sell music, and I want radio to play my songs.

There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.

They were worried we wouldn't get any radio play at all[ for "A Deal with God" ]. That's why it was changed [to "Running Up That Hill"].

I think one of the reasons I haven't been doing music is because I think that some of my performance, like, needs are being taken care of in other mediums.

The final key to the way I promote is bravado. I play to people's fantasies. People may not always think big themselves, but they can still get very excited by those who do. That's why a little hyperbole never hurts.

I think it's possible to allow an artist to go beyond his borders and play.

This is nothin for the radio... but they'll still play it though

The fastest I ever did that was when Kill the Moonlight came out after Girls Can Tell, and I remember both labels I was working with at the time saying, "If this was any other period, I would probably say this is too fast, but because this is first time anybody has ever paid attention to Spoon, let's keep it on an upward trajectory."

It's impossible to overstate how important social media has been to me and the development of my career. The fact that I can go and play venues that hold 25,000 people and sell them out is crazy.I don't have music on the radio. I'm not a pop culture icon. I'm just this kid making dance music. And yet I still can sell out massive arenas. It's truly incredible, and I think a lot of that is because of social media.

A lot of people, Lady Gaga and Katy Perry and a lot of people have written for other people, and of course Bruno Mars. So I think it's a great way to break into the industry and show people what you can do and show them your talent and people tend to listen a little differently to your own music as an artist, when you've proven yourself as a good songwriter for other artists.