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I don’t know how people are going to take [the new album]. Shit, I don’t know if we’ll make another one. I can’t imagine continuing to try to push the envelope. How do you keep doing that? ●
- – Eric Church talking about himself, for real. No need to make stuff up.
I think one of the reasons the show is so successful is even though it’s not the unvarnished truth of Nashville, it tries to be as authentic as it can regarding the music. You take a day in the life of a superstar who’s fading and a superstar who’s rising and all the songwriters and producers that surround it, then you throw in some soap opera. That being said, I think what makes that show work is that they are trying to be as authentic as possible. And one of the keys is the songs they choose. They’re real songs. They’re not parodies of songs they think country music happens to sound like. These are all real songs written by very, very good songwriters. ●
- – Songwriter Bob DiPiero on the music of the “Nashville” TV series.
It speaks to me more than any other music that I’ve listened to. I know the person singing is basically in despair. They’re at the bottom, locked up in chains, and that’s the only thing getting them through the day. When I sing it’s having the same function for me as it does for them. It puts my brain on hold and my heart in gear. ●
- – Scott H. Biram (to CMT’s Chris Parton) on being influenced by the spirit of gospel music.
Songwriters are brain-damaged. Imagine working alone in a room or with another songwriter on a tune for hours on end. Crafting the lyrics, honing the melody. Working the demo and pitching it to an artist. It bombs. Nobody likes it. Not one human being on the planet says, “I am going to record that.” That happens in Nashville over and over and over.
Being a songwriter is like being a pinata for judgment. People will listen to ten seconds’ worth, turn down the volume, and start talking about their hemorrhoids. Your heart and soul are still playing in the background. Whoever is listening rejects it within seconds, and without so much as a whisper of regret says, “What else ya got?” ●
- – Songwriter and Nashville radio legend Gerry House, in an excerpt from his upcoming book Country Music Broke My Brain quoted for Country Aircheck.
One of my big goals as a human being is to continue to write what’s really happening to me, even if it’s a tough pill to swallow for people around me. I do fear that if I ever were to have someone in my life who mattered, I would second-guess every one of my lyrics. ●
- – Good news: If you are in Taylor Swift’s life right now, you do not matter.
I don’t know that you can generalize like that. Yes, there are people that are not tolerant and accepting. [...] I think that there are people in every kind of music and every walk of life that are conservative, and people that don’t agree with it and people that do agree with it. I don’t know about singling out country music. I don’t think of my fans as one way. I think I have a very diverse group of fans. ●
- – Martina McBride, seeming to bristle at Larry King’s assumptions about the country audience.
Just another low life Hollywood personality. To bad her parents were not capable of teaching her right from wrong. ●
- – If you need a good laugh, go treat yourself to the comments section of a FOX News article about Kacey Musgraves.
It took me 10 years after he died, but I finally got it together. When you want to do a Don Gibson tribute record, nobody cares. It’s was hard to find any money. ●
- – Mandy Barnett on the challenge of getting I Can’t Stop Loving You off the ground.
Record labels aren’t in business to move the needle. They’re in business to exploit recorded matter for profit, regardless of its content, and if they can sell more units on a relatively bland, cookie-cutter artist whose single is reminiscent of every other artist in the marketplace at the moment than they can on a more challenging artist, for the most part they will — and why shouldn’t they? It isn’t their job to decide what’s good and bad. It’s their job to meet the quarterly profit projections of their parent companies. ●
- – Sterling Whitaker editorial for The Boot.
We asked him four times to stay to the allotted amount of time that he had to play. We sat him down in our dressing room and were like, ‘Look. We’ll put you on early so you can play longer. But please, just be off the stage because we still have to do our show.’
For every minute that you go overtime, especially in New York City, you’re charged thousands of dollars by the minute in labor fees. ●
- – A rare Rascal Flatts comment on kicking Eric Church off their tour years ago. Church has since seemed keen on playing the incident up to bolster his outlaw street cred.
I find blame to be really damaging. It’s so easy to put all your shit out onto another person and say it’s all their fault. And it’s so hard to own the things in ourselves that are ugly and uncomfortable. So withdrawing the blame is really helpful. And if you have any opportunities to see the real essence of that person, that can soften your heart and help you forgive anything. I’m so lucky I get to work with my husband and see him play music, because that’s his real essence. It just washes everything else away. ●
- – Rosanne Cash on the key to her 20-year marriage to John Leventhal.
Not only did he sing, but he also played a guitar solo. A lot of people have said that he played the exact riff he played on “On the Road Again.” I haven’t heard it yet myself, but how cool and special is that? ●
- – Rhonda Vincent (to Henry Carrigan) on having Willie Nelson guest on her new album… which she evidently hasn’t heard yet in its final version. Huh.
Whatever trivial contribution white people may have previously made to rap music has now been permanently nullified by pop country rap duo Florida Georgia Line. The Line was created from the leftover scraps of the Showbiz Pizza band, and they have an impressive number of programs, or songs. Beach balls were dispatched to the audience for “Party People,” and generic video footage playing on four jumbotron monitors above the band illustrated each song: dirt bike races and buggy mudding, video models molesting muscle cars, and giant all-white stadium crowds waving cell phones and American flags. “Gonna get buckwild/get a little buzz on/David Lee Roth style/might as well jump, jump.” ●
- – The Baltimore City Paper’s Travis Kitchens, reviewing a Jason Aldean concert.
Part of it was obviously the moment and the hurt of losing a great old friend. But the passing of someone that so dearly loved great traditional country music, at a time when there isn’t very much of it at all, you kind of know that there was a part of him that died with a broken heart. We started playing that song, and Patty started singing with me, and it was as much just our voices together that undid me. And then once I was gone, I was gone. It’s hard to get back. Every now and then that song just destroys me to have to sing it. There’s a side of me that doesn’t want to have to sing it again. ●
- – Vince Gill on his tearful rendition of “Go Rest High on That Mountain” at the George Jones memorial.
a deep, dark hole we must get out of ●
- – Leslie Fram, senior VP of music strategy at CMT, on so-called “bro country.”