Andrew Ridgeley Quotes

Apollo Records signed me for my gospel ability.

If you're a pop singer, you don't need to evolve. You just get a set together, have some hit songs and play them over and over.

I think, back in the day, when I was first starting to make music, all I wanted to do was to get a record deal.

I had pretty much raised my kids and my first wife and I were divorced, so I began, in earnest, to start my musical career again. Going for the big record deal and all of that.

After two years in the songwriting world, I wrote 'All About That Bass.' L.A. Reid heard it and signed me as an artist.

I took temp jobs, recorded a demo in the evenings and eventually shopped a record deal. All I knew was that I wanted to write songs; thankfully, I also got to sing them.

I'm hoping to become a recording artist and make albums and go on tour.

I have an independent record label called Favored Nations on which I released an album by an artist called Johnny A, who plays an arch top Gibson through a Marshall, but the tone is all in his fingers.

All you needed was a couple of instruments and a few chords and you could be on an indie label.

I love music, so if I wasn't singing, I would probably still be working in the music industry. I love songwriting, so I'd probably be a songwriter.

I ended up performing one time at BET. I performed my record, like, four times, and the crowd was going super crazy. And Busta just happened to be there; he pulled me to the side and asked, 'Are you signed to anybody?' So we went to the studio a few days later, spoke, and then became business partners.

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.'

I've been able to experience so many things since I've had my record deal.

For years, I wrote songs to try to get cuts or try to have hits or try to appease a label or to be famous. I was learning a lot of valuable tools about structure and how to articulate. I was getting really good at that.

Most of our artists are songwriters, so the songs are still central to all this. If you don't have great songs, it doesn't matter the marketing or how many times you are on TV; you can only polish it so much.

I think, actually, I was the first person to ever sign a simultaneous video and recording deal with a record company.

I think of the pop music that I've made in the past and hear on the radio as candy bars. And I was really good at making candy bars.

I wanted to be part of pop culture, so I started songwriting, and I got signed to my first record deal.

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 grew up in the era of Britney Spears, where artists had songs written for them, and you got up and sang them. That's how I always thought it was.

When I was 17-years-old, I was in the music business.

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

I'm just a musician and a record producer.

I was the only person I'd ever met who had a record contract. None of the E Street Band, as far as I know, had been on an airplane until Columbia sent us to Los Angeles.

I got about 6037 songs I wrote myself and I'm trying to get them on the market and I just wish people could hear them and stuff but they'll do pretty good.