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Nobody has a solo gig in this business. It takes a city to do this. ●
- – Kenny Rogers on making it big in Music City.
I’m still the same person that I was in middle school when I didn’t get invited to stuff. You just don’t want to go too ahead of yourself and think, ‘Huh. I really killed that. Man, those people – they’re so lucky to be here to see me.’ I was so lucky to be onstage in front of that many people. That’s the truth of it. ●
- – Taylor Swift on keeping her success in perspective.
I’ve never been a disciplined songwriter. I’ve known a lot of people that I respected who were, but I could never write that way. [...] I know Tom T. Hall, who is a great songwriter, used to make himself write every day. I don’t know if he still does that or not, but I couldn’t do that. If I had operated like that I probably would have written a lot more songs. But I kind of like the way I did it. My own way. ●
- – Kris Kristofferson on taking songs as they come.
I felt like, when we were writing this song, it wasn’t necessarily up to the media. I don’t really trust [Hollywood] or talk radio or anything like that anymore. I think it’s music’s turn to have the conversation. ●
- – Brad Paisley on addressing racism in a certain LL Cool J collaboration you might have heard a thing or two about this past week.
You have different stages in your career where you have different things to prove. And early on, like most people who move to Nashville, I wanted to prove that I belonged here, that I belonged in this format, that I had a love for it. And I was trying to sort of ‘out-traditional’ other people in some ways, like, ‘No, I can be more traditional than you.’ ●
- – Brad Paisley on the Super Country First Album or Two® phenomenon. I’m guessing this means we won’t be getting anything as cool as Who Needs Pictures or Part II from him soon…
I like listening to it on vinyl because of the natural warmth and the feel of the needle on the record (it sounds different every time). But with digital, you actually hear more. You hear the breath before the lyric, the crisp attack of each and every note, and there’s a broader range of sound. I can respect that and like hearing the clean sound of a CD sometimes, but if I sit down and want to listen to music at home, I don’t want that range. I like the way vinyl packages the sound in such a buttery way. ●
- – Trent Wagler (of The Steel Wheels) compares and contrasts vinyl sound and CD sound.
So, you know when I was having my lunch alone yesterday at Olive Garden? ●
- – Ladies and gentlemen: Taste of Country’s Jeremy Robinson!
It was pretty pop sounding when we first demoed it. Hunter then took it and did his own little version that really changed people’s minds about the song, that it could work for his project. ●
- – Co-writer Andrew Dorff says “Somebody’s Heartbreak” started as a pop song before Hunter Hayes went and made it all countrified. Hmm…
Justin Bieber wrote an entry into a guestbook at the Anne Frank House museum in Amsterdam, saying he hoped the Jewish teenager who died in a Nazi concentration camp “would have been a Belieber”—or fan of his—if history were different. ●
- – Yikes. Thoughtful of Justin Bieber to take some of the heat off Paisley, anyway.
I think country music is soulful music. I don’t think you can listen to country music without hearing the soul of the people. It’s about people, the lives of soulful people. It’s music that’s very similar to the old soul music. Country is about real people, happiness and sadness both. ●
- – Bobbie Nelson (sister to Willie) on country music.
I feel like the majority of country songs are like, ‘Back roads and tailgates and mason jars!’ The economy’s a piece of s–t, people are having rough times, and I get tired of the same old ‘Everything’s perfect in small-town U.S.A.’ mentality. I think people want to relate to real stuff, even if it could be a little bit pointed. ●
- – Kacey Musgraves.
And when I record, that’s what I look for. I don’t look for a fluffy song, as Harlan Howard calls ‘em. I look for something that’s got meat in it, that’s got emotion. In my show, I like to drain every emotion out of my audience. I like to entertain ‘em, make ‘em feel at ease, and I want to make ‘em cry. Then I want to make ‘em laugh, and then I want to make ‘em feel that they’re glad to be there, and then I want to leave ‘em drained. That’s my ultimate goal–just to leave ‘em drained, settin’ there thinkin’, ‘Whew, I don’t know if I can get out of this chair.’ That’s what I wanna do. That’s what we’re working towards.
- – Reba McEntire to Alanna Nash in 1985. From the beefy Nash interview compilation Behind Closed Doors: Talking With the Legends of Country Music, which makes mighty fine nightstand reading.