Click the bullet after each quote to visit the source.
I’m just an old jock, and I approach this [music] business the same way that I did the game. I’m going to run down the field on the kickoff and I’m going to knock somebody’s head off. When I can’t do that anymore, I’ll go home. ●
— Trace Adkins is terrifying.
We went through an era of big hit songs that no one is going to listen to 10 years from now. And we’re about to hit a decade of country that I think is going to be played for a long time. It’s about to hit the same stride it hit in the Nineties. […] I think artists are finally realizing we can either have this short-lived, sell-our-souls moment, put the song out and have a little flash in the pan, or we can get down to real music. And when country music is real, there is not a genre cooler than it. ●
— The Brothers Osborne, in much-discussed comments to Rolling Stone.
Outside the well-appointed dressing rooms, I put the question of Nashville’s recent rise to Rogers. His response is surprisingly specific. “The summer of 2010,” he says with conviction, “is what did it.” In the throes of historic flooding – an iron bar four feet off the floor marks the high water mark backstage – “the city really came together.” […] “When things came back online, it was the spark that launched this town on its current rise, I think. A real phoenix rising from the ashes sort of thing.” ●
— Dan Rogers, Opry marketing director, on the community-building effects of recovering from a natural disaster. From the Wired article “Why Country Rules the Airwaves: Chronicling the Genre’s Continuing Moment.”
We’ve been trying for years to put out the thing that we had in the can and repackage the things that we did. Emmylou has been working at this for a long time. We thought it was coming out two to three years ago — actually even before that — but I just got a note from Emmy and Linda saying that they had signed off on it, and so it is gonna happen. I don’t have a date, but it’s supposed to be coming out this year. ●
— Dolly Parton on the forthcoming “Trio” release.
Q: What do you think about Taylor Swift pulling her catalog from Spotify? Do you have a side in the streaming/buying battle?
A: That’s hard. I wish I knew more about the technicalities of it all. Bottom line, I think music is important and is worth paying for. I buy something when I like it. That’s all I know. ●
— Kacey Musgraves.
You can compare it to messages that I’ve put out before, but really, I just love the fact that it’s so country. The other songs are completely different on the record, so from here on out, they’re gonna hear way different songs. ●
— Kacey Musgraves on “Biscuits,” which many have pointed out returns to the same well as “Follow Your Arrow” and other Same Trailer… era songs. (It was conceived around the same time.)
Truth be told, Dungan is probably ecstatic at how those headlines are driving sales of the song. But at the same time, executives like him should be very concerned about how many outlets jumped on the story. Girl Crush wasn’t just covered by Music Row’s trade publications and the country music blogosphere – the story got major attention in ABC News, People, Buzzfeed, Hollywood Life, Mail Online and countless other outlets. That breadth of coverage suggests that not only is the general public getting savvier about country radio’s homogeneous output and its issues with songs sung by women, but also that the perceived close-mindedness of country music listeners is becoming reliable click-bait. ●
— Grady Smith with an expansive take on Little Big Town and country’s image problem. He also manages to slip in mentions for Farce the Music, Saving Country Music, and Drunken Martina.
When something like that happens, everyone wants there to be a reason. What happened didn’t make sense, how people were talking about it didn’t make sense, how much you couldn’t talk about it didn’t make sense. It felt very legal really quickly. We were famous for a terrible thing, and we couldn’t talk about it. ●
— Kristian Bush on the Sugarland stage collapse tragedy of 2011.
Some people out there will laugh, but to me the more American I have become, the more conscious I have become. Unfortunately people would have negative connotations of that. I think America is a joke at this point. To most people it is just a brand. I travel around the world and see people with American flags on their purses and hats, and wearing Guns N’ Roses shirts. America, to most people, is Hollywood and Washington, D.C., and there’s nothing else. That is what concerns me. When I travel around and talk to people, they are scared of America. They think we are all fat and ignorant. It’s unbelievable to realize I have this platform. I want to change attitudes and nowhere is that [more important] than in my own backyard. My Midwestern resolve has really strengthened in the past five years. ●
— Pokey LaFarge.
“Our publisher stuck their head in the room and said ‘No songs about trucks.’” LoCash was gathered with Danny Myrick and Chris Janson to write, and their publisher felt truck songs were not en vogue.
“Danny Myrick goes, ‘Did that just happen? I say we write a f—in’ song about trucks!’ And he started playing his guitar. Chris goes ‘I’m in.’ Chris Janson says “F—k yeah!” and I went No, ‘Truck yeah!’ and we all started laughing.”
An hour later they had a platinum single. ●
— LoCash’s Preston Brust on the writing of “Truck Yeah.”
See Justin Moore and Thomas Rhett’s Best Bromance Moments ●
— Taste of Country, informative as ever.
[Warner Music Nashville executive Jeremy Holley] said his label gives big budgets to YouTube videos, money that would have gone to videos on broadcast television in the past.
“We’re doing the same things we were doing 10 years ago, (but) now we’re creating them for the online space,” Holley said. ●
— For major label acts, even those seemingly casual YouTube videos are big business.
I can’t say I’ve betrayed myself and my people by changing my name. I had to do it. I’m in the U.S., and my music is gringo country music. And it had to be catchy. I’ve had a little trouble with it, from my people. Somebody will get drunk somewhere and start in on it.
But that doesn’t bother me. I always consider the source, and usually it’s somebody who doesn’t know what they’re talking about. ●
— Baldemar Huerta, better known as Freddy Fender, in 1975.
As much as Happy Prisoner may have been a surprise, Keen’s been working on something that’s even more shocking: He’s putting in hours on Music Row in co-writing sessions, looking not for the next big piece of poetry but the next big Billboard topper. “I would just like to have a hit,” he admits. “I feel like one of the things I had not accomplished, which I didn’t always feel was very important, was that. So I started coming here last October, and I didn’t realize [co-writes] are so fun. I’ve written with a lot of shitty writers that didn’t have any good ideas, but my friend Bobby sets me up with people who really know how to write and play.” ●
— Robert Earl Keen wants a hit.
Making a 180-degree turn for the final song of the night, Lambert burned boldly and brightly on a rough-and-ready roadhouse version of another 1971 classic-rock staple — Led Zeppelin’s “Rock and Roll” — complete with a snarling Telecaster solo. And just in case the fans suddenly forgot they were at a country show, she locked arms with her band for a bow while a recording of the Roy Rogers chestnut “Happy Trails” pumped out of the sound system. ●
— From a Miranda Lambert concert review.
POPLAR BLUFF, Mo. — Poplar Bluff paid less than $28,000 in artist fees to host new country music artist Miranda Lambert in 2010 on her first headlining tour.
Lambert’s fee had climbed to $350,000 by the time she performed in Cape Girardeau in 2015. ●
— In case you were wondering what reigning (five-time) ACM and CMA Female Vocalist of the Year means in monetary terms. Also, Lambert wasn’t all that new in 2010.
She pretty much stole this version, which I can tell you is not easy to do when Vince Gill is in the room. We recorded it in Vince’s studio in Nashville and we were all doing vocal overdubs right after lunch. Vince had each singer go into the booth, one at a time, and everybody needed multiple takes to get their part right. Except Dawn, who went in and threw down a perfect first take that had pretty much every hair on the back of every neck standing up. ‘Well, Dawn,’ Vince said, ‘you want some more lunch?’ There was no point in having her do a second take. She was just an amazing, amazing singer who should have been a lot more famous than she was. ●
— Ray Benson on Dawn Sears and the Time Jumpers recording of “Faded Love” that appears on Asleep at the Wheel’s latest Bob Wills tribute, Still the King.