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And I may be getting to the end of my competitive run at radio. You what I’m sayin’? And this may be it. … If they play this one, maybe I’ll stick around a little while.
I’m not trying to threaten anybody or anything like that. I’m just saying we all have our day. And when it comes to an end, you have to have the grace and the dignity to recognize, it’s time — it’s time to move on, maybe go do something else. I think I’m at that record, you know? I’m just layin’ it out there, dude, I’m not trying to dodge or run from anything, I’m prepared for it, I’m ready for it. It doesn’t terrify me. It doesn’t scare me. I’ll just start on another chapter. ●
– – Trace Adkins says Love Will… could be the end of his road.
It took a lot of courage for me, more courage than I had when I started, to keep at it. It meant working when there was no sign of anything coming from it for years. It takes courage now — sometimes I find it hard to see how I’ll fit into the future. But I love it and I’m good at what I do. I figured that out, and I’m proud of that. ●
– – Patty Griffin (in conversation with Juli Thanki) on following her own writerly muse.
I do. I love it. And I don’t care who it is. If it’s somebody I didn’t like, all of a sudden I like them immediately. ●
– – Todd Snider on having his songs covered by other people.
You go up there and risk embarrassment. You go up there and open your heart and sort of deal with what’s in there. Some nights you open your heart and it really resonates with what everybody else is feeling, and some nights it doesn’t.
But you can’t change what’s in there or then you’re lying. You can’t keep your heart closed and tell people that what’s in their heart is also in yours, which is what it looks like you could do. But once you get started, people just do not accept that. And so, from the very beginning, it felt like all I really have to do is sort of be vulnerable for about 90 minutes and rhyme my feelings.
I can’t rhyme my thoughts, man, because that’s boring. I’ve got to rhyme my feelings, which is a risk, especially among other men. It’s a risk of embarrassment, especially when you’re younger. The older you get and the more you do it, people are like, “He makes up poems.” But when you’re 20, they’re like, “Nice poem, pussy!” ●
– – Todd Snider on the job of the performing songwriter.
It’s an intrusion because I’m not performing for documentation’s sake, I’m performing for people’s ears and their eyeballs. I don’t mind the scrutiny of it. We’re good every night. I just feel like people aren’t participating in the community of the room when they’re behaving that way.
My favorite thing about going to concerts has always been looking around and thinking that there’s a lot of people in here that are very much like me, a lot of people in here I could have a full conversation with. I might even get laid in this room. You’re not getting laid if you’re standing there with your cellphone. ●
– – Jason Isbell (to the New York Times) on fans posting cellphone videos to YouTube.
I first heard Miranda’s voice on the radio, and just was really taken by it. And through a sort of circuitous route, I thought I was the only person discovering her. And eventually, to my own embarrassment, realized all the rest of the world really knew her very well. She’d already won Album of the Year and that sort of thing. ●
– – John Fogerty discovered this great new artist called Miranda Lambert… a few years after the rest of us. They sing together on the title track of his new Wrote a Song for Everyone.
Q: Did Keith Urban give you any genre-specific advice?
A: Each week, anything the judges said, I took to heart, since I respect all of them, but of course, I want to be right up there with Keith in the country world, so any advice he gave, I think about all the time, since I respect him a bunch. ●
– – American Idol runner-up Kree Harrison is still working on the ‘actually answering the interviewer’s question’ aspect of making the media rounds.
You’re lookin’ so good in what’s left of those blue jeans / Drip of honey on the money maker gotta be / The best buzz I’m ever gonna find / Hey, I’m a little drunk on you, and high on summertime ●
– – Not sure if it’s worse that Taste of Country thought the world needed a list of “Best Luke Bryan Lyrics” or that THIS was their top pick.
I just didn’t like how blatant country music was. Nothing seemed poetic or subtle. Nothing could be interpreted two different ways! It’s all very spelled out. James Taylor can write ‘Fire and Rain’ and tell you it’s about a mental institution, this and that – and you listen to it, and you’re trying to decipher it all. And, you know, a country song would be like [sings twangily], ‘I’m in a mental institution!’ ●
– – Natalie Maines in Rolling Stone.
But, come on, Natalie Maines, you are wrong.
Because by saying no “country music” seems poetic or subtle, you’re throwing the music of Kris Kristofferson, Emmylou Harris, Hank Williams, The Louvin Brothers, John Hartford and all the rest in the junk pile. You are trashing new century works like Tom Douglas and Allen Shamblin’s “The House That Built Me,” and Bill Anderson and Jon Randall Stewart’s “Whiskey Lullaby.” You’re trashing the lifetime of country music made by your father, steel guitar great and noted producer Lloyd Maines. And you’re trashing the four country albums you recorded with the Dixie Chicks, and saying that those of us who liked those albums weren’t discerning enough to appreciate poetry and subtlety. ●
– – Peter Cooper, in a smart response to Maines’ comments for The Tennessean.
If you like Taylor Swift – and listen, I’m not knocking Taylor at all; I sing along to her songs, my kids are huge fans; she’s still doing pretty good as a young girl role model and has a big hand in her songs; there’s really nothing to crack on her about – but if you’re into the Taylor Swifts and the Lady Antebellums and those who seem to really be bending the genre a bit then my music will probably be too country for you. I’m inspired by the old guard. That’s country music to me. I get confused when I hear things like Chris Young’s ‘Neon’ is too country for today’s country radio. When I hear things like that I get very confused. What is going on? ●
– – Staind’s Aaron Lewis.
Just because you stick a little bit of pedal steel way, way back where you can just barely hear it, and you throw a little fiddle in there, you might put the fiddle way up front because that can really make any song sound country, and put it over a pop chord progression with a pop melody and a pop chorus, and call it country just because you ever-so-slightly flavored it that way musically and then the person who’s singing it has a twang in their voice, that doesn’t make it country to me. ●
– – Aaron Lewis again. Kinda worried to find myself agreeing with him.
Someone said to me yesterday that this album is like taking a knife and stabbing myself in public. And it’s true — I’m letting everyone watch while I rip my guts out. There was not an ounce of me left to put on this record. It was the most fearless I’ve ever been, in anything that I’ve ever done. ●
– – LeAnn Rimes on the deeply personal Spitfire, out this Tuesday.