Click the bullet after each quote to visit the source.
I do have knowledge of it, and I can’t say a whole lot about it. Just because, you know, the way things are. But, no, I’m not in any trouble. I was involved in some capacity unbeknownst to me. I’m too petite to go to prison. I don’t think I’d [fare] well. ●
- – Justin Moore on the illegal big-game hunting case in Montana (mentioned previously here).
I think people think producing a record is some big mysterious, difficult job that one needs special training to excel. I disagree. What I learned from working on the Stephen Foster album is that producing a record is not difficult. It is a creative process and can be approached any way the producer wants to approach it. As a former music journalist, I feel like I know how to tell stories, and producing a record, for me, is simply telling a story through music. One pulls together the elements in the way she wants to tell the story. I think a producer in a recording studio is much like a film director. ●
- – Tamara Saviano, who co-produced that great Guy Clark tribute, in conversation with Chet Flippo.
The rest of his time onstage, for all of its faults and all of its hackneyed, faux roadhouse cliches, was still as good-natured and likable as the man himself, promising no depth and not delivering it in bucketfuls. ●
- – Calgary Herald review of Colt Ford’s opening set at an Eric Church show.
He was just, I mean, in love with Hank Williams. He told me stories about him that I did not even know. He said, “Hank Williams, your grandfather, was my radio. That is why I do what I do.” It was so incredible to have that circle. My songwriting hero said that he was so inspired by my grandfather. He showed me the lyrics — this was literally probably 10 years ago — and said, “I’m going to do something with these one day, and if you want to be a part of it, I’d be honored.” ●
- – Holly Williams on Bob Dylan and the Lost Notebooks of Hank Williams project.
Carrie Underwood, it’s a little known fact, hates children. ●
- – Brad Paisley.
Well, it’s interesting. You stand up onstage, and I think you react. You start performing, and as you’re performing, you’re realizing what’s missing. You realize what you lack as a vocalist or what your material lacks sometimes. It kind of becomes obvious. When you start playing in front of people, you start to hear your music through their ears, and that can be a very disturbing thing certainly. ●
- – Richard Thompson (in conversation with Jewly Hight) on performing solo.
When the song ended, it was like a graveyard. Everyone just sat there and looked at each other. Someone finally broke the ice by saying, “Damn.” Tammy started laughing when she realized that everyone was as much in love with the song as she was. ●
- – Billy Sherrill on the recording of “Stand By Your Man.”
“Purple Rain” is actually the most requested song at our shows. Prince might hate that we are doing it and will probably try and sue us, but let him come take my last $5, it would be an honor to be sued by him. It depends on the crowd we are playing for, but we might even do a Bruno Mars song. It might make a noncountry fan appreciate us a little more and see that we are trying. I mean, if you watch a Luke Bryan show he might do half a set of AC/DC songs. It shows that we are more than just country, and we appreciate the music we grew up on. ●
- – Chris Lucas, one half of the LoCash Cowboys.
My favorite moment was when Bryan came back out and sang ‘Country Girl.’ I liked the way he shook it. ●
- – Troubling fan comment on a Luke Bryan show in State College, PA.
For a 30-year old, he can move. ●
- – Another fan comment on same. OMG, 30 is so old!!!
“I’m a songwriting snob,” he says. “I often hear people’s records and think, ‘You should’ve spent more time writing these songs!'”
And he’s no fan of modern commercial country music.
“You can kind of smell the focus group on the new stuff, right?” ●
- – Corb Lund.
I’m so jealous! I see it as such a gift from God. I love voices. Some are jazzier, timeless, like Sarah Vaughan and Ella Fitzgerald. But these voices like Emmylou, Dolly, and Kelly, it’s hard to put your finger on. Some of them do the hiccupy thing. Some do a lilt thing. Some have a whole different feel. [...] Is it through the nose? A little bit of twang? It’s just there with Kelly. For us, that’s our Hendrix guitar – Kelly’s voice. ●
- – Bruce Robison on Kelly Willis’ voice. Their new album, out this coming week, is Cheater’s Game.
I was kind of shy as a lad, and a lot of things that made me laugh I found did not make other people laugh. I guess what I always found funny was the human condition. There is a certain comedy and pathos to trouble and accidents. Like when a driver has parked his car crookedly and then wonders why he has the bad luck of being hit. ●
- – I don’t know him, but I’m pretty sure John Prine is one of my favorite people.
It’s hard to be successful when you are young in the film industry – but it’s harder to be successful when you are older in the music industry. With acting, the good, meaty, juicy roles, the really intense ones that you can sink your teeth into, start at the age of 30. With music, to keep your audience, you have to bring them with you, you have to age with them and change and evolve with them – or them with you – and that’s a very difficult thing to do. ●
- – Hayden Panettiere (Juliette Barnes on “Nashville”) on acting versus music.
No, that note is in a safe and that’s where it’s going to stay. I won’t even put it in the house. If the house ever burns down, I want to know that it’s still OK. ●
- – If Eric Church’s house – you know, the one with his wife and son and all – burns down, his personal note from Bruce Springsteen will be fine. Whew, what a relief.