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My dad told me the other day, “Child, I’ve never been jealous of you in my life, but I’m slightly jealous of you right now.” The reality is that I’m jealous of me. I just can’t believe that she’s texting me. That’s just crazy. ●
– – Sunny Sweeney on befriending Jessi Colter.
He underscored those sentiments Thursday night by introducing his next single, “Old Alabama,” a tribute to the band that dominated the country charts during the 1980s. With the opening rhythm and musical riff borrowing heavily from Alabama’s trademark sound, Owen, Gentry and Cook eased onstage unannounced to help Paisley perform the new song. ●
– – Brad Paisley has reached the point in his creative life cycle where the first two singles off of his new album are songs referencing other songs. This doesn’t look good, but I’m trying to keep an open mind.
The purists and the traditionalists all think that I’m such an embarrassment to this genre. It just makes them projectile vomit, you know. The idea that I’m actually a Grand Ole Opry member and put out this vile, heathenistic, s**t. Yeah, so what? ●
– – Trace Adkins is unfazed by criticism of “Brown Chicken, Brown Cow.”
“Don’t play that song anymore,” he said to stunned laughter from the radio crowd. “Give me a mulligan, let’s pretend that didn’t happen and move on to the next one.”
– – Or is he? Trace Adkins to Country Radio Seminar attendees (via Country Aircheck).
I keep thinking the wheels are going to turn and tastes are going to shift, and at some point there’s this whole seedy underworld of country musicians that I like that will get on there some day. I figured I’d come up, do the deal, at least introduce myself if they don’t know me yet and go home, go back to my life. Who knows? Maybe one day we’ll get the call that some radio station somewhere took a chance and played it. ●
– – Hayes Carll on why he still makes an effort to show up at Country Radio Seminar.
I think it’s an advantage, not only for us, but for the music. If a lot of other companies would start looking around and thinking, ‘Maybe it would be cool if all these guys in power positions were into music and like music, it would be like it used to be.’ Music industry by musicians, wow! ●
– – Matt Fleener (The Dirt Drifters) on having a fellow musician (John Esposito) as his label head.
Q: Do you still feel connected to country music in Nashville?
A: I don’t really.
Q: You don’t keep up with it?
A: I don’t. Occasionally someone records one of my songs and I’m really grateful. Times change and evolution is what it is. Country music as I used to know it doesn’t exist. I had a little bit to do with that. In the late ’80s and early ’90s when I was making records with Rosanne Cash, we were fusing Hank Williams with the Beatles. It wasn’t unlike what the Eagles did on the West Coast. That country rock thing, moving away from George Jones or Hank Snow or Hank Williams. It was a broader pallet. And Nashville country music came to resemble pop music. The older I get the more I want Hank Williams and Lightnin’ Hopkins. The older I get the more I want that for myself. I can move towards George Jones or Hank Williams, but the pop thing about country music, I don’t know how I would join that in, or what I have to offer. It runs contrary to the epiphany I had 11 or so years ago. ●
– – Rodney Crowell feels disconnected from modern country music.
I remember COUNTRY MUSIC kept showing up. That or HOCKEY. Least favorite categories. Basically anything with a mullet is my Jeopardy kryptonite. ●
– – Jeopardy champ Ken Jennings on his least favorite categories.
Real country music should be written like in a storybook, as though you’re reading it out. Every verse should tell a story with a beginning and an end. Lyrically, a song should tell a story, you should feel like it’s true, something you’ve been through. It should tell real stories about real things. ●
– – John Michael Montgomery has a surprisingly restrictive definition of country music.
In January 1979, Pride called this columnist from Dallas, where his office was based, and, after some 30 minutes of talking, happened to mention that he was calling from his car.
“Where are you heading?” I asked. He replied, “Nowhere. I’m just sitting in my car outside my barbershop.”
At that I commented, “Charley, you must have a crowd outside your car by now.” He replied in that famous voice, “Well, there is a lady looking in at me through the car window.” ●
– – Longtime music columnist Don Rhodes on the humility of Charley Pride.
Well, Darius is a fine singer, and I’m happy he’s having success, but he comes from a soft-rock background. So I’m not sure his success shows that the industry is now open to black vocalists doing traditional country music. […] Today I can honestly say it would be just as tough, if not tougher, for a traditional black country act to make it as it was for me when I started. ●
– – In an interview with the Nashville Scene, Pride doesn’t seem as convinced as some others by the supposed seismic shift signaled by Darius Rucker’s recent ‘country’ success.