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You know, she wrote so romantically. She really has a sense of a woman’s heart but it wasn’t precious or cloying. There was something independent about it but also romantic. Of course I knew her very well and she just had a particular voice in her writing. ●
– – Emmylou Harris on the late Susanna Clark.
… a lot of what you hear on the radio and a lot of what you hear in any form of music right now has both the aid and the also the negative part of a computer being involved in a big way. They’ll have a great drum track, and then they’ll make sure the bass hits right now, then the kick drum, and then they’ll make sure that the vocals are tuned. They’ll make sure that everything’s perfect before it hits your radio station. I like that sound. We’ve had a lot of that on records just like everybody else, where you make sure everything is right before it gets out. This time the mode has been: “We’re not editing.” If you hear something on a record, we played it. ●
– – Brad Paisley wants to leave a little dirt on his next record.
Well, it wasn’t promoted. When my album came out, I didn’t even have a song out on the radio. Nobody does that. [The label was] spread thin. When I was making my record, the CEO left. He retired. They brought in Gary [Overton]. My A&R left. They brought in somebody else. I went through four heads of promotion when my record was coming out. The only consistency was inconsistency.
Recording this album, to be honest — and I don’t mind saying this — the process was hell. We couldn’t agree on songs. The thing is, my life is a country song. I don’t need to be manufactured, and I don’t need anyone to tell me what to say or what to sing. ●
– – Kellie Pickler on the making of 100 Proof.
You can’t get any hotter than that guy. ●
– – Chuck Wicks on Jason Aldean.
We didn’t change anything about us. We didn’t take other people’s suggestions over what we should wear … or to lose weight or lose the facial hair. [laughs] We don’t have legs that look good in high heels, and we don’t spend a lot of time on our hair. We’ve been genuine, and people have latched onto that. ●
– – Multi-instrumentalist Clay Cook on the rise of the Zac Brown Band.
And I’m playing like four or five instruments on here myself. I’m a pretty much hands-on guy. Even the engineers said, “Nobody in this town does this! They don’t come in here and play five instruments. Are you crazy?” I said, “Well, I’m not them.” ●
– – Hank Jr. is the first guy ever to play multiple instruments on his own record. He also has lots of political opinions, which you can click through to read if you look to entertainers for that sort of thing…
Danny was rockin’ a bada– lick on the guitar that day. He stopped and said, ‘Boys, everybody’s telling us to not write songs about trucks or country boys and to not use the word ‘country’ … I say, let’s write a song about trucks, country boys and the country lifestyle! What do you think?’ Chris [Lucas] said, ‘I’m in,’ Chris Janson said, ‘F— yeah,’ and then I said, ‘No … you mean truck yeah!’ ●
– – Preston Brust (LoCash Cowboys) on the four-way cowrite that produced a steaming pile of “Truck Yeah.”
But for me, it was really — and always has been — whether or not I felt like it was a hit song, and something that radio could play, and a song that I think might encourage people to buy the record. And I felt like this song would probably do that better than anything on the record. ●
– – Craig Morgan on “Corn Star.”
I’m such a combination. So people come to my shows. They leave going, ‘What in the heck?! I had no idea. I thought I was just coming to see a country chick singer. And I am walking away feeling like I got slimed with comedy, with spirituality and a sense of wonderment about life.’ ●
– – Slimed with a sense of wonderment about life? Pretty sure nobody actually talks like that, Wynonna.
It’s a different business today. We didn’t have Facebook. We had face-to-face. You learned about Johnny Cash through his storytelling not his twittering. I don’t have a lot in common with some of the newer ones because they have the attention span of a flea and we used to have time when we could sit in the dressing room and talk the talk and spend time together. And now, it’s like, ‘Hey how are you doing? How much do you make after taxes?’ ●
– – Wynonna finds it difficult to relate to the young generation of artists.
I’ve always been a fan of the artist sounding like the artist, so my job is to get inside the artist’s head at that moment in their life and figure out exactly what they want to sound like. ●
– – Frank Rogers on his role as producer.
He’s the reason that I do what I do. He set up the stage for that singing-about-what-you-live kind of music. It’s so cool that he started that tradition for artists like me and the Annies. ●
– – Miranda Lambert on Merle Haggard, the first person to write and sing songs about his own life. Give or take a few others.
For a Vanderbilt student who doesn’t own a Merle Haggard record but they’ve got ‘Wagon Wheel’ on their iPod, what is country music? If you’ve got a fiddle and a banjo in the band and it makes you dance, even at a frat party or in the mall or in your mom’s car … Those kids aren’t hearing Merle singing ‘Turn me loose, set me free,’ but they’re hearing a song that makes them feel the way that Merle’s song made me feel when I heard it. ●
– – Old Crow Medicine Show’s Ketch Secor on connecting a younger generation to the spirit, if not the exact sound, of old-time and classic country music. The new OCMS album, Carry Me Back, comes out Tuesday.