Chris Frantz Quotes

I started my music career at 18 and for a long while I let other people handle my affairs.

I'd rather be on a label that understands us and allows us to be a bit odd.

With modeling, you are the client and you give them what they want... with music, it is all about you, people are buying into you as a person.

I don't really have control over my direct impression on people anymore. I used to be the person putting my CD in people's hands. But I'm kind of a mainstream artist now. Not by choice.

Even though there are incredible songs floating around Nashville, it's important for me to have my voice heard.

When I was working on 'Coloring Book,' I knew that I wanted it to be a beacon for independent artists and music makers with their own agenda.

There's never been a song that I just wrote and tried to send to an artist.

A lot of big whoever producers, they come with a song and they say, 'Sing this,' and I'm not that girl.

I was very disenchanted in the industry for a long time before I met GaGa. Everyone wanted a 'Single Ladies' for their artist, or a Puffy move.

It's never been seen that a street artist go as far as I've gone - keep consistent without wanting to do a bunch of ventures outside of music to keep my face out there.

At the time of Polaroid - and I did a couple of other commercials just before I stopped doing that stuff - at that point I was at the level where they respect you and your opinion and all that sort of thing.

I do have to step out and take time to let people know that I'm Ronnie Dunn and not Brooks and Dunn.

I think for new artists the hardest thing is putting the face with a name. People maybe heard our song on the radio or something but until they get several impressions of who you are - from whatever it is, whether TV or a live show, I feel like they don't quite connect the dots.

I somehow sensed when I was a teenager that I wanted to do my own work. I was quite clear that I didn't want to be an interpretative kind of artist. I had an intuition about wanting to create my own form, in one way or another, whatever that would be.

As much as I love Slipknot, I don't want that to carry over into what I do for Stone Sour. I want both bands to stand on their own.

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.

I've never associated myself with other singers, certainly not female singers.

When you give an artist a canvas, you shouldn't tell him exactly how much paint to put on it, or exactly how sharp the images should be. You should let the artist get going.

I think it's always a mistake when you start connecting a band to a personality. You begin to limit what you're able to do.

People like me, DJs and producers, have a bigger say and a bigger voice than we've ever had before.

One of the worst things that can happen to an artist is to perceive himself as the owner of his art, and art as his tool. A product of the marketplace sensibility, this attitude barely differs on a psychological plane from the patron's view of the artist as a paid employee.

We have to show support for artists who are trying to own things for themselves.

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.

The songs were there before the band was there, and it's my songs. And it's like, we're not in the 1950s. We can't call ourselves, like, 'The Revolvers' - it just doesn't work that way. And 'The Lukas Graham Band' just sounded wrong.

It's great to be able to find a way to release your music and do what you want to do artistically and not have to just worry about being accepted by the major label industry.