Click the bullet after each quote to visit the source.
“It’s like high school with money,” says Gary Overton, CEO of Sony Music Nashville. “We all know each other. We know the spouses. We know the dogs. Our kids go to school together.” ●
- – From a recent TIME Magazine article touting Nashville as “The South’s Red-Hot Town.”
I think it’s just a trend and that country music has kind of done this [focused on male performers to the exclusion of female performers] before. But growing up as a country music listener and performer, it has been the females who have shaped what this music is. I mean, all the way back to Patsy Cline and Kitty Wells, Loretta Lynn, Reba McEntire, the Dixie Chicks, the Carter Family. I mean, it’s so important that we not forget that. So much of this genre was shaped by female singer-songwriters. ●
- – Sara Evans.
Bones hasn’t stopped yet in the last year to consider how he and his friends got here. He’s still thinking of what to do next. He wants 100 affiliates for The Bobby Bones Show. He wants a late-night TV hosting gig. Even as his “workweek” ends, there are two questions on Bones’ mind: “What’s next? How do we get bigger and better?” ●
- – From a Bobby Bones feature in Sync Weekly. It would appear his career ambitions go well beyond just making country radio dumber. The sooner we get him that late-night TV gig, the sooner we’ll be rid of him.
I’ve never cut a single. I don’t believe in it. Garth [Fundis] and I both feel the same way. Everything that we record, we give it all the attention and caress it and love it needs until we feel like we are complete with it. Every one of them gets the same treatment. Some of them takes longer and we have to work harder to pull it all together than others, but, we’ve never, we just don’t cut singles. We don’t say “that’s the single” up front. No. ●
- – Don Williams on giving every good song the respect it deserves.
We didn’t help ourselves by putting out “Bourbon in Kentucky” [as the initial single preceding the album] and then having to get out the lasso and go, “Whoa. These are not the drones you’re looking for. No no no, that wasn’t our first single, sorry. I know we’ve got 30 stations on it. Here’s our first single, ‘I Hold On.'” There are so many people trying to get a song played on radio that to have to pull that kind of pullback/switcheroo thing is really hard. It literally is like trying to stop a train. So we didn’t do ourselves any favors. ●
- – Dierks Bentley explains what became of “Bourbon in Kentucky” as a single.
It’s bothered people a few times and I’ve been criticized for having too much variation in styles on one record. But that kind of makes me happy that it pisses people off or that it confuses people. You don’t get bored as quick. The simplicity of the way I put songs together might get pretty boring quickly if I stuck to one genre. People might notice that they’re kind of all the same (laughs). ●
- – Scott H. Biram to Turnstyled Junkpiled.
Country music, it doesn’t realize how important it is. At times it might. But it really is very important to our society. … In a big, big way musically, we represent the reality, at times, better than anyone. At other times, we sort of retreat into clichés and parody. But it needs to be present at these things [like inaugural balls and other high-profile events]. It has to be there. ●
- – Brad Paisley (to Jewly Hight) on being one of country’s ambassadors to the outside world.
I think females have to be 10 times more unique, 10 times more talented, 10 times more good-looking, 10 times more creative. I think it’s way harder on the females. ●
- – Nashville songwriter/Taylor Swift collaborator/Caitlin’s mom Liz Rose.
The themes of the songs from contemporary artists reflect the lives of people their age now. There’s been one very specific change in terms of lyric-writing in country. If you go back to the 50s, there’s a lot of songs about the consequence of bad behaviour – like hanging out with women and then coming back to your wife – there’s a cause and effect that the song sees through. Eventually you have to repent for your sins. Now that doesn’t apply. The general rule is there’s no consequence, let’s just party. ●
- – Veteran Radio 2 broadcaster Bob Harris, quoted in a Guardian article entitled “Detwanging country music: how Nashville took the UK.”
I wouldn’t say ‘regular.’ Some people thought Don was a little odd. He was definitely intense. Some of the musicians who worked with him told me he would actually lay down on the floor to sing his vocals. (Producer) Chet Atkins was like, ‘Let him do it however he wants to. It’s working.’ ●
- – Mandy Barnett (to Peter Cooper) on Don Gibson. She pays tribute to him on I Can’t Stop Loving You: The Songs of Don Gibson.
And they’re just cranking out music that is just a recipe. You know, nobody is playing at the same time. Everybody’s adding on virtual instruments that don’t exist on to a drum machine that somebody programmed. And you can tell in the music that’s out now. It’s all been programmed. There’s no mojo. There’s nobody testifying. There’s not the magic of a human performance, which is never perfect. And the magic of a human performance is what we all know and love in the old records, by the way they were made. And it’s all gone. ●
- – Joe Walsh on the state of music today. (h/t Saving Country Music)
She gets up on that stage with those legs and all the men are drooling and all the women want to be her — including me. I think that she’s gonna be around forever. and people 50 years from now are still going to be like, ‘Do you remember Carrie Underwood?’ … And I guarantee you her music will still be popular then. It will be like Dolly’s, Loretta’s and Patsy’s, all of the women who have stood the test of time and are still amazing and remembered. ●
- – Lauren Alaina, “American Idol” alum and expert country music historian/prognosticator, on Carrie Underwood.
In all honesty, it’s been the hardest record of my career to make. I don’t know why. It’s been tough for me to write the songs. It’s been tough for me to find the songs. I think this whole town has been in a funk, you know? Everybody’s writing about the same thing, the same kind of melodies. It’s just been very frustrating. ●
- – Josh Turner on the long road to album number six.
I think what the tricky thing for me was, ‘OK, how am I gonna find a new way to do this? How am I gonna reinvent the wheel?’ ●
- – Josh Turner, who is either making fun of himself or unaware of what ‘reinvent the wheel’ actually means.
It’s kind of funny, because I kind of realized that people noted something extraordinary about me only because most musicians can’t hold a day job other than pouring coffee or sweeping up a bar. I just always think it’s funny, and not really a big deal, when someone says, ‘Oh, that dude is so legit!’ Not really; I’m just a dude with a job who’s lived most of his life really far from the nearest city.
There’s not a lot of graphic design and tech consulting to be done in the woods. ●
- – J.P. Harris on a rugged life of train-hopping, sheep-herding, and logging. His fine 2012 album is I’ll Keep Calling.
A No. 1 song on iTunes is the most flimsy of all No. 1s. It’s like the guy who sprints at the beginning of the New York Marathon, has his friend take a picture of him leading the race and then claims he was a leader, even though he finished back in the pack with an average 15-minute mile. ●
- – Billy Dukes for Taste of Country.
IF LADY ANTEBELLUM ISN’T THE BIGGEST BAND IN THE WORLD YET, JUST WAIT ●
- – Las Vegas Magazine subhead and/or YouTube comment by deranged fangirl.