Radio Promotion Quotes

I remember when I first came out as an artist, back in 2004 or 2005, the record label used to take me to all the radio stations and just have me sit in, like, their lunchroom or their conference room, and play for the whole staff. Just to introduce them to me so they would play my records.

You can tell if something feels special. But there are so many moving parts involved in making the song a hit. The radio has to deliver, the management has to deliver in terms of booking the right promotions... just being a good song isn't enough.

I feel my job as an artist is to drive people to country radio. That's my job as a country artist. So these streaming places, especially these on-demand streaming places, where you can just push a button and hear it as many times as you want, like YouTube, any of that stuff, that's taking all the ears away from country radio.

I was invited to L.A. when I was 16 for a weekend-long songwriting session by a writer I had met through my voice teacher in Pittsburgh. My first hit, 'Hide Away,' was one of the songs written during those sessions. It was played for a radio rep who then started a new label; the song got a pretty organic start at radio and then took off.

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"].

It used to be that if you had a pretty good record, you could stop by a station in Little Rock or Atlanta and let the DJ listen to it. No way something like that can happen now.

I want to be able to take singles, serve them up to radio on a silver platter and just have them smoke - just obvious great-sounding, great-feeling radio singles.

In the middle of 'Bleed Red' coming out, a huge disproportionate majority of people in radio came to us and asked if they could have 'Cost of Livin' as a single. There was even talk behind closed doors about pulling 'Bleed Red' because they had caught wind and heard 'Cost of Livin'.' We went with that.

I don't do CDs. I only do radio. That's the truth.

A lot of true Jamaican artists don't understand the importance of radio so tend not to tap into that as a result.

I think before, in the '80s, it was more about fashion and music videos and a lot of radio: getting out there and the fans learning who you were and your music.

When 'Hide Away' first started gaining a bit of momentum, I was visiting at least two radio stations per day - sometimes in different cities - to spread the word about the song. It was a hustle, but so worth it.

When you make albums like I do, and it's based off fanfare and based off touring - I make these albums, and I get on the road. It's not really a radio-driven thing. I get on the road, and I see my fans, and I touch each and every last one of them.

I've always sort of been at odds with radio programmers.

This is the kind of problem you want to have! Country radio has been great to me my whole career. I can't thank those folks enough.

I just want to keep saturating the market and radio with as many hit records as I can.

The majors, they have to control the distribution, the record outlets, the radio and, in some cases, even the venues. And downloading and pirating have also put pressure on the majors.

What I like about being independent [in the music industry] is that anybody who does play the album on the radio and anybody who does choose to write in the media does so because they want to, because they like it or because they find something interesting there, not because they have to.

If I had been thrown out into a radio tour when I was 18, or 17, and given a record deal, I don't think... it would have been a total nightmare.

Radio got behind me, and I'm very thankful for it.

I was offered seven deals from seven different major labels between 2009-2011, and to be quite honest... nowadays, you need a hit record, a great radio team, an amazing PR firm, social media, a big budget, a team that is ready to work extremely hard, and the drive and passion to win!

I would love to expose multiple younger generations to Frank's music. It's not an easy task because It's not ever going to be plastered all over the radio for the masses.

I have my dog Cooper, who is a Maltese, and he hears me singing a lot around the house. I took him on the road for radio promo. He is just a cool little chilled dude and comes everywhere with me. He is all stamped and approved and international.

Worst music ever sells millions. The worst music with the shittiest lyrics. The fact is that they pay radio stations to put it on the radio, then you've heard it a million times when you're driving from your shitty job to your shitty house. It's indoctrination, it's sad.

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.