Click the bullet after each quote to visit the source.
He is a penultimate entertainer. ●
– – Charlie Daniels on Little Jimmy Dickens. In Charlie’s defense, he’s pretty charming and eloquent for the entire rest of the interview with WSM’s Bill Cody. I am just a jerk.
When I do a song like ‘Country This,’ I’m ultimately driving too fast on purpose, to see if I crash and burn or not. I know it going in, it’s just like, I know I’m going to take a punch with this, but I want to hear what it sounds like, you know? ●
– – Ronnie Dunn.
The book [Coal Miner’s Daughter] has that line, which is in the song too, “We were poor, but we had love.” When I read that, the first thing I thought was “F**k that.” I will back out of this deal immediately if Charlie gives me even a hint of that. Neil agreed with me on that. He said, “If you get the feeling that he’s doing things through a cheesecloth, don’t do the project. And don’t let us do it.” […] I’ve never known poverty to make anyone nicer or better. I’ve never known it to ennoble anybody. Once I started talking to Charlie, I knew immediately that he was not going to do that. Thank God. ●
– – Benjamin Whitmer to the A.V. Club on co-authoring Charlie Louvin’s autobiography.
He rocked it. ●
– – 48-year-old man on Hunter Hayes’ set at Stagecoach.
He was one of those guys that obviously wasn’t crazy about the changing direction of country music and whatnot. And he knew that I had a lot of tradition enlisted in my heart and soul and some of the records I’ve made. And we sat together at the award show and had a great time cracking jokes. He had a great sense of humor. And I just thought the world of Ray Price. ●
– – Vince Gill on Ray Price. Sadly, it is now too late for someone to do a Statler and Waldorf-style show of Vince Gill and Ray Price heckling awards show presenters from their seats.
I knew that it was cool even then [when I was a girl]. The coolest [people] are the ones that don’t try to be cool. They wore those funny little hats that weren’t quite cowboy. I don’t know where they got those hats, I guess it was that mountain thing, and they wore those string ties and they sang about Martha White flour. You just believed anything that came out of their mouths, and the playing was so tight. They didn’t try to be cool. They just were cool. ●
– – Pam Tillis on Flatt & Scruggs.
Justin Moore Looks Forward to a Short Vacation ●
– – Not funny, CMT. Leave the poor guy alone.
“I think I really, legitimately got it from singing,” Gilbert says about the umbilical hernia. There’s a strain on his stomach when he sings, although he admits he’s not sure if there should be. ●
– – Coincidentally, there’s also a strain on my stomach when I hear Brantley Gilbert sing.
So she felt she had to do something completely drastic. And she did. She made her point, she made her mark, and more power to her. “Wrecking Ball” is a great song. The whole album is great. So I’m hoping that now she can relax and show people how talented she really is. ’Cause the girl can write. The girl can sing. The girl is smart. And she doesn’t have to be so drastic. But I will respect her choices. I did it my way, so why can’t she do it her way? ●
– – Dolly Parton on Miley Cyrus, one of TIME Magazine’s 100 Most Influential People. Carrie Underwood also made the list.
The scene in the early hours of Stagecoach 2014 invites a philosophical inquiry of Socratic dimension: Which came first: the deluge of country songs about girls in Daisy Dukes, or the deluge of girls in said Daisy Dukes? ●
– – The Los Angeles Times’ Randy Lewis kicks off his Stagecoach 2014 coverage.
At one point, his band played covers of AC/DC’s “Back In Black” and Bruno Mars’ “Locked Out of Heaven” before saying “I know you came here to hear country music. Am I right?” ●
– – Easton Corbin has it both ways at Stagecoach, leading into “I’m a Little More Country Than That” by suggesting that maybe he actually isn’t. Or at least that “little” is the operative word.
If you listen to all of the albums in a row, we hear both his physical deterioration, and along with that, deeper depths of emotion in the performances. He always felt that his voice was the thing he could always rely on. When that stopped being the case, he had to find new ways to get across the material and some of those moments are vey emotional. I find myself tearing up when hearing the later albums. ●
– – Rick Rubin on Johnny Cash’s American Recordings.
World Pork Expo will welcome country music newcomer Jake McVey and seasoned band Restless Heart on Thursday, June 5, during the National Pork Producers Council’s MusicFest. ●
– – If you’ll be near the Iowa State Fairgrounds in June and aren’t planning to attend the World Pork Expo featuring Restless Heart, I really have to question your judgment.
I take good care of myself. I still have the passion for music. I still love to write, record and go on tour. What else am I going to do? I don’t want to retire. That’s no fun. If you have something to contribute, why not go out there and give all that you got as opposed to just sitting in a chair and doing nothing? ●
– – Merle Haggard.
Yeah, I was told either the song would be censored or I could change the lyrics. I didn’t think the latter was really an option, especially when I’m singing about following your own arrow. I’m sure they viewed it as a small sacrifice for me to get the song heard on television, but it really backfired on them, because it made people search out the unedited version even more. ●
– – Kacey Musgraves on her “Follow Your Arrow” performance on last year’s CMA Awards.
If she had sang [sic] that thing in a country bar in the 1920s or 1880s in Denver, Colorado, somebody would’ve called for a rope. She would not have made it out of town. ●
– – Pastor Kevin Swanson on “Follow Your Arrow.” In case you’re wondering, he did not say this in the context of making a larger point about how much progress we’ve made since then.
Most of the time, I’d rather go get a hotdog than write a song. ●
– – John Prine to Peter Cooper, as quoted by Jewly Hight (and then Juli Thanki). A long line of wonderful.