Click the bullet after each quote to visit the source.
Since he passed, I’ve never heard so many people say so many good things about one person. And all of it is genuine. Every year, Warren gave people three days of happiness and music, for free. What better thing to do with your money? I don’t know if there is one. ●
– – Robert Earl Keen on the passing of Warren Hellman, investment-banking founder (and funder) of San Francisco’s Hardly Strictly Bluegrass festival.
He’s my favorite capitalist. ●
– – Steve Earle on Warren Hellman.
FYI, the whole memorial concert held in Hellman’s honor last Sunday is archived and streamable here. 7 hours of music, including sets by Keen, Earle, Buddy Miller, The Wronglers with Jimmie Dale Gilmore, Gillian Welch, Boz Scaggs, Old Crow Medicine Show, Emmylou Harris, and more. Wonderful viewing.
“I’ve been a big fan of the Peach Pickers [a trio of hit Nashville songwriters who regularly collaborate] for a while,” he adds, showing a surprising depth of knowledge about the format. “I’m a fan of theirs on Facebook. I follow those guys on Twitter. The opportunity to hopefully get to know some of these guys is so exciting I can’t even explain it to you.” ●
– – Really, familiarity with the Peach Pickers shows a surprising depth of knowledge about country music? Coming from the Top 40 world, this guy is the new program director at WSIX in Nashville. Be afraid.
You can use Pro Tools for good. It doesn’t have to be all Auto-Tuned… If Hank Williams was alive today, he’d be recording on Pro Tools. ●
– – Chuck Mead, whose classic country covers album Back at the Quonset Hut comes out Tuesday.
Country music used to be about what happens during the week. Now it’s about what happens on the weekends. The core of country music is songs that are revealing and honest. It’s about–or it used to be about–the lives of the working classes. To me, that’s the heart of it. You want to hear some happy songs, but you want to hear the tough stories too. ●
– – Gary Allan, quoted in a 1998 article.
My director, Wes Edwards, who has shot most of my videos, is really good at finding stuff like this that looks like crap and making it look really, really cool on film. ●
– – Don’t ask me why I find this so amusing. Turns out Jason Aldean is actually talking about the plane junkyard where his new video fro “Fly Over States” was shot.
Johnny [Cash] always told me, ‘With songwriting, stick with the truth, son. Because people recognize the truth right away, even if it’s been years since they heard it.’ ●
– – Ira Dean pulls the Cash card. His new single “Something About a Sunday” sounds like a rewrite of “Sunday Morning Coming Down.”
We realize just how expensive this stuff is and how lucky we were before to be opening up for all the headlining artists (Tim McGraw, Martina McBride) who would be so generous with their equipment. Now that we’re paying for it, it’s like, ‘Whoa! They were really nice.’ ●
– – Hillary Scott learns that touring an arena show ain’t cheap.
I understand now why sometimes people that get largely famous… sort of become a little bit weird… You get trapped in your own world, just a little bit. I’m lucky I’m in country, so it’s not as bad, but some of these big stars, you can’t walk down the street. You can’t. ●
– – Miranda Lambert on fame.
The ‘twang-iest artists’ are the most polarizing. ●
– – Finding of a new Edison Research study on country radio. “Most polarizing” is a euphemism for “most likely to cause people to feel stuff,” which must be avoided at all costs.
People thought it was too morbid, but I had faith in that song. I finally told my producers I was going to record it. We had 15 or 20 minutes left on a recording session, and I went in and did it in one take. ●
– – Gene Watson on his defining hit, “Farewell Party.”
It may fit in with some other types of music, like Americana, maybe, but I’m not ready to give up on the idea that country music can be relevant. And country music is what I play. My fans are George Strait fans. They go to the dance halls to see shows. I know these people. They are more capable of complex thought than the country music industry thinks they are. ●
– – Ameripoliwhatnow? Jason Boland isn’t ready to describe his music as anything other than country.
It was towards my sophomore of college when I was in a cover band playing fraternity parties and I got a chance to open for Frankie Ballard in downtown Nashville. It was that night where I got signed to a developmental publishing deal. I started writing and started to have a little bit of success as a songwriter and getting cuts on records like the last Jason Aldean CD. I got a Joe Nichols cut and a Scotty McCreery cut and I’ve got a couple on the next Lee Brice record. From there I started shopping around for record deals. I went to almost every label in town and everyone offered me a record deal. ●
– – Thomas Rhett, son of Rhett Akins, on his meteoric rise to relevance. Must be nice.
That’s not something I’d seek for myself — but there’s a lot of great people on it, with some excellent renditions of my songs. My publicist put that all together, and I figured the best contribution I could make to it was to stay the hell out of the way. ●
– – Guy Clark on “This One’s for Him: A Tribute to Guy Clark.”
I was just young. Full of piss and vinegar. I didn’t think we were being treated fairly. I stood up for myself, and I stood up for my guys. Maybe I stood up higher than anyone had stood up before. ●
– – Eric Church on getting kicked off a Rascal Flatts tour for not honoring his contract and generally being a nuisance, which he now – for some reason – wears as a badge of honor.