Quotes of All Topics . Occasions . Authors
I was signed to RCA to be a country singer.
We're giving RCA another record, and that should finish them.
I was a backup dancer at one point for a group that was on RCA.
I feel very lucky to get to fly the flag of RCA Records and Sony Music.
In 20 years I had sold more records for RCA than any artist except Elvis Presley.
You can't deny RCA's past and its history. I was also on Capitol Records, so I have that past history.
If you go in RCA A, you'll realize that it's not just a Nashville thing. It's a studio that belongs to music.
I definitely would have liked to stay at RCA and have had that relationship, and had them grow with me and support that.
I was considered one of RCA's brightest young people. Then one day, I found out we'd been sold. They didn't even consult me.
I was talking to different labels: Columbia, RCA , Epic. I decided not to sign with Epic even after L.A. Reid offered me a crazy deal.
I started singing when I was 18 and landed my first record deal with RCA when I was 26 after a lot of grafting singing in pubs and clubs.
One of my first purchases after I signed to RCA was a BMW. I was driving on the highway, and I heard 'Don't' come on. It was a real moment.
Now that I'm with RCA, they were able to get radio on board, and it's just really awesome to see their support and 'What Ifs' going to No. 1.
Writing about prayer to a secular audience is tap-dancing on the radio. I want to say, 'Gee whiz, isn't this great,' and have everyone's head cocked like the RCA dog.
You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.
I would just take dolls around the house - there's old VHS footage from my dad, who was an early adapter and had this RCA camera - and it's me taking a Michael Jackson Barbie doll and putting on a show with that.
RCA wanted me to change my name. They asked me around 1965, when they first signed me. They said, 'Feliciano is too Latin.' I said, 'That's who I am. I'm Jose Feliciano.' They wanted me to change my name to Joe Phillips.
My degree was in education, but the idea of being a teacher lost out to being a reporter. I worked at a newspaper for a while, then went to New York and worked in PR at RCA and NBC, and at 'The United States Steel Hour,' a drama series.
I was signed by L.A. Reid on Arista Records when I was 16. He understood me and believed in me. Arista folded and I got put on RCA or whatever, then there were new people there, and every six months it changes and more new people come in.
Elvis deserves a lot of credit for bringing the blues to middle America, not the Vegas stuff. The early stuff, The Sun records, and the first few RCA records. He was wonderful, he had the power, the drive, and he was so dedicated to his music.
My wife, she is so good. She was a famous singer - had a show in Carnegie Hall, did a big city tour for RCA. Then she made the mistake of marrying me. The next year, another tour, but the third year, she had Mario and said, 'Either I'm a mother or a singer.'
My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.
When I first signed to RCA, I was sort of excited and shocked that it was happening. But over the next couple of years, it really started to feel like that game you play when you're a little kid - the one where you put your nose on a bat and then spin around and try to walk.
There was a bidding war between Epic Records and Jive - now RCA - which was bittersweet. Just having labels bid over me was really cool, but I ended up going with Jive because it felt better over there, and they have my favorite artists like Usher, Chris Brown, and Justin Timberlake.
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 got into a conversation with EMI, and they said they were very interested in releasing the song because it was such a huge hit online. RCA and Universal were also very interested, but EMI were the best team, so I decided to sign with them. I got my deal because 'Silly Boy' leaked, so obviously now I'm very happy about what happened!
