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I didn’t feel right about not saying something. The loudmouth that I am, I say what I think. I wanted everyone to know that I don’t agree with the message it’s sending to young women. It’s not okay. At all. To be celebrated after doing something like that. I don’t think it’s right, I never will, and I will stand by what I said till the day that I die. ●
– – Miranda Lambert on calling Chris Brown out on Twitter.
I’ve been a longtime friend and fan [of hers]. I was always mesmerized by her voice. I felt like everything they tried to do with her recording-wise was never [from] that pure place of her. She always struck me as having that kind of quiver in her voice that was as honest and as real as Dolly Parton‘s voice. I said, “Man, you’ve gotta just get everything out of the way and let that voice and those songs tell these stories.” Because her songs are so stinkin’ good. ●
– – Vince Gill on Ashley Monroe.
As a writer and a publisher, you start to focus on the fact that hits tend to have tempo, be ‘feel-good,’ have certain beats-per-minute and things like that, and you can get into a formulaic kind of songwriting. The problem with that is it can suck the art out of it. You end up re-writing what you’ve heard on the radio just to get on the radio, and that doesn’t always breed situations for honest creativity.
That’s when you miss things like ‘Whiskey Lullaby,’ for example. No one in their right mind is going to tell the Nashville songwriting community, ‘Hey, we need a double-suicide song.’ The truth is it was a great song. The temptation is to go running towards radio, and we [can] miss a lot of great music.
– – Brad Kennard, VP/Creative for indie publisher Big Yellow Dog. (via Country Aircheck)
GREAT FALLS, Mont. — Three Blackfeet tribal leaders were indicted Tuesday on charges they held illegal big-game hunts for a film crew and country music stars including Josh Thompson and Justin Moore, but supporters say the accusations stem from an internal tribal power struggle. ●
– – Just another day in the life of real-life outlaw Justin Moore.
The business is not just a wild, no-borders, moron-magnet crapshoot for performers, but for everyone wanting in. Whether you’re a label head or a club owner or a songwriter, the average experience is that you give it a go for 5 or 10 years then slink away like a whipped dog. Half the agents I’ve worked with over the last 15 years aren’t agents anymore, and I’d say about the same proportion of promoters and clubs have gone belly-up. Most of the labels that were operating then are of course kaput. It gives me a little pride just to be standing. ●
– – When it comes to the music business, Robbie Fulks thinks just sticking around is no small feat.
I remember dissecting lyrics as a little boy. I didn’t know I was dissecting lyrics. I certainly didn’t know they were called lyrics. I remember doing that with “Bad, Bad Leroy Brown.” It said, “Leroy looked like a jigsaw puzzle with a couple of pieces gone.” I remember as a little boy going, “Wow. How did the person who wrote that song think of that?” And I’m still a little bit like that. ●
– – Troy Tomlinson, president and CEO of Sony/ATV Music Publishing Nashville.
I never try to oversing. I try to be subtle in what I do. I like it to be dark in the studio when I’m doing vocals. I don’t have any lyrics to look at, and I try to picture me sitting there on a bar stool right across from somebody, me just talking to them, trying to get a message across. There’s a difference between singing at you and singing to you. A lot of what we do is telling you how we feel. But the real key, I think, is telling somebody else how they feel. Even better is if you can tell them how they feel and they didn’t even know they felt that way until they heard that song. ●
– – Tim McGraw chalks his recording successes up to interpretive savvy rather than vocal prowess.
As human beings, all of us have different moods, different layers, different elements, so to make the same redundant album is just confusing to me. I think every album should have its own identity. I don’t have any children, but I imagine if you have a child, you wouldn’t want them to all just be exactly the same. ●
– – Jerrod Niemann lost me with the ‘not wanting all your kids to be exactly the same’ thing. If I can’t have a whole squadron of little baby country bloggers who get their kicks making fun of Rascal Flatts and Brantley Gilbert, what has this all been about?
More than anything, I worry about losing my spot in country music because that is easily the most important thing in the world to me when it comes to my career. […] My career is kind of an oddity, but I think deep down people know I’m an expression of the country lifestyle, middle America and those types of values. I’m a country artist first and just happen to be on television doing it. ●
– – Blake Shelton on the effects of “The Voice.”
Q: Speaking of mortality, what do you think happens after you die? Do you believe in God?
A: I believe definitely there’s an artist behind it somewhere, because the universe is too beautiful to be an accident. There’s somebody or something out there that created this thing. I don’t think of heaven in terms I can describe. All I know is that we all live and we all die and there’s some kind of creative force behind all of this. ●
– – Kris Kristofferson.
What the heck is this person talking about? This song is AWESOME! Whoever wrote this article seems to be jealous that he or she does not have a voice like Kelley Shepard. ●
– – In case you were wondering: Yes, I am still receiving fresh accusations of jealousy for a critical BOMSHEL review written four years ago. Long live The 9513.