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As a Texan and a country music fan … I didn’t learn George Strait songs. I knew them the same way I know English. That’s how it goes. When you get your first car at 16 or 17 years old, it comes standard with a George Strait Greatest Hits along with brakes and A/C. ●
- – Jack Ingram on the ubiquitous Strait influence in Texas.
He’s got so many killer, unbelievable songs. Listening to his albums over and over and over, it’s helped us pick songs to go on our albums. You can always go, ‘Do you think George Strait would sing something like this?’ I think it’s helped us a lot, and how many people he’s influenced is unbelievable. ●
- – Eddie Montgomery makes a rather unconvincing argument for Strait’s influence. How did “What Do You Think About That” or most of Montgomery Gentry’s other songs get through the ‘would Strait sing it’ filter?
Strait is neither a masterful vocal interpreter on a par with George Jones or Emmylou Harris, nor a writer to join the ranks of Hank Williams, Johnny Cash or Merle Haggard.
He does, however, keep the wheels of the country music machine turning by recording songs that give country radio stations hits they can rely on year in and year out, and that spread the wealth among a broad spectrum of writers, music publishers and concert promoters. ●
- – The L.A. Times’ Randy Lewis has no effusive praise for George Strait.
That’s the best feeling at the end of the night. I remember working for six and seven bucks an hour, and if you’re going to go pay 20 bucks to get into a concert, you know some of these guys are having to work five and six hours just to be able to come see us by themselves. And if they’re gonna bring a date, they’ve got to work two or three days. I don’t forget that. ●
- – Still trying to figure out Jamey Johnson’s math here. There are people earning $20 for six hours of work? Sounds illegal. Although I guess it’s thoughtful of him to be catering to undocumented workers…
I loved the title alone. It’s so true because we are all crazy in our own ways. When I first saw the title of the song, it made me smile. I just couldn’t wait to hear it. ●
- – Billy Currington wanted to record “People Are Crazy” because, well, people are crazy.
That’s probably the next big milestone Eddie and I would like to accomplish is to become members of the Grand Ole Opry. Eddie’s had a lot of history there with his father growing up. His dad was a big dreamer of playing the Opry and making it big in the business, so Eddie’s really hoping to accomplish that, being a member. ●
- – Those who read this Quotable Country back in February should have seen the Montgomery Gentry Opry invitation coming. Because apparently all you have to do these days is mention that you’re interested and Pete Fisher will come knocking in a matter of months. (I’m interested, Pete.)
“The Grand Ole Opry, bay-bee!” Eddie yelled as the two launched into “One In Every Crowd.” ●
- – Just had to include this because it sounded like something Trailer would write in Fake News.
I kind of tend to duplicate what we do on the record as close as possible. You’re not going to get it exact, but we try to make it sound the way it did when it first attracted the fans. From my own perspective as a fan, I won’t mention any names, but I’ve gone to a couple of shows where they changed the songs all up and didn’t sing the same words, and I came to hear what I liked on the radio. So I don’t do that to the fans that come to see me. ●
- – Joe Diffie tries to make his live shows sound like the records people know and love… or at least like the radio singles they sort of remember, because really, who buys Joe Diffie records?
When I get off stage, I try to be normal Kenny, but that’s become more difficult because people see me and they don’t want me to be normal Kenny. They want me to be that Kenny, you know what I mean, and sometimes I don’t want to be that Kenny. ●
- – I think Mr. Chesney should be the Kenny who used to not be obsessed with the islands. Is there still a Kenny like that tucked away somewhere?
He tells me there’s another reason they [Little Texas] can’t necessarily play in Texas – their music is too polished. I didn’t know this either, but apparently there is a certain ‘Texas’ sound, which is quite un-polished (poorly recorded both vocally and musically) that local radio in Texas is willing to play if you’re on the Texas circuit. And then there’s the polished sound of good vocals and fine musicianship that Nashville is known for – which if you come from Texas, and leave Texas to do, they won’t play. ●
- – The Most Respected Music and Entertainment Blog in Nashville is surprised to find that Texas music is not all about Little Texas (in an interview with bassist Duane Propes).
3. Americana by Jimmie Driftwood. In country music, for some reason, you can’t go too wrong with guys named Hank and Jimmie (make sure of the “ie” spelling though). This is the Jimmie that wrote “Tennessee Stud,” “The Battle of New Orleans,” and many many others, all of them verbally lush and diligently rhymed. He throws his husky voice into his lyrics with a showbizzy, top-of-the-beat zest that sometimes sounds a little retarded (which I mean in the kindest way). ●
- – Music recommendations from the always-entertaining Robbie Fulks.
What’s the worse sin: Burning down Johnny Cash’s house or recording this song? Not sure. ●
- – Juli Thanki on Barry Gibb’s “Drown on the River.”