Ronnie Dunn Quotes

I don't believe in the philosophy of stumbling across hit records.

The whole industry evolves around a great song.

I actually quite like promo, which is quite odd for an artist, but recording's not the easiest thing.

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.

When I'm making songs, I never call them hits. I knew 'Bandz A Make Her Dance' was a good record, but I never knew it was gonna be a hit.

It doesn't take a year to sing a song. Takes a year for people to figure out how to market it.

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

You know, I get a lot of people pitching songs to me.

Yeah, man I am going to be writing a book soon. The reality of being in a rock band in the music business'.

Put out great music, and that's that.

It only took me six months to get a record deal, but it took me 20 years to have a hit.

I've had this song in a drawer for a long time, maybe seven or eight years. Every time I'd do an album, I'd take it out and listen to it, and always liked what it had to say. Plus when Garth came in and sang on it, that made it really special.

The only thing I think of is the next hit record.

After struggling for so long in the industry and writing so many failed songs and hearing 'no' for so long - I'm so grateful every time I hear a song that I was a part of on the radio.

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 just feel like this guy who's visiting the music business over the weekend. Every time I write a song, I feel like it's never going to happen again.

I guess if I'd have more of a producer attitude, maybe I'd sell more records. But I'm basically a songwriter.

When you finish a song, your first thought is going to be, 'Is this song a hit?' I hate that we think that way, because it kind of takes a little bit of the meaning out of the songs that are being written, but you're definitely going to think, 'Can this song be put on the radio?'

When I first started writing songs, I was probably about ten or twelve years old, and the first thing you think as a songwriter is, 'Can this be a hit? Can this come out, and people are going to hear the song and like the song, and then they're going to like you, and you'll get famous and rich?' That hasn't changed a bit.

The only way to have longevity is to have good songs.

When I did 'Ephorize,' I didn't know that later on I'd be releasing another album. It just came.

I did 'We Can't Stop' for Rihanna, but it never worked. Every time I would play 'We Can't Stop' I was like 'this is the new 'Party in the U.S.A.'' I was like OK if I keep saying this is the new 'Party in the U.S.A.,' why don't I go to the girl who did 'Party in the U.S.A.?'

If I had a nickel for every time someone asked, 'When are you doing an album?' My career is way too transparent to do say, 'Guess what - I've got 16 tracks you've never heard!'

I was signed at 19 years old to a major label, and dropped by the time I was 22.

'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.