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I was like, ‘Okay, fine.’ If we are lucky enough to get a record deal it will probably be the first thing to change. ●
- – Hillary Scott on agreeing, reluctantly, to the band name ‘Lady Antebellum.’
In the military, I have a tough time seeing if they put females in the battlefield because you’re not fighting other females when you’re in a fox-hole fighting. You’re fighting some evil guys. They’re ready to destroy you. And especially when we get captured, and they get a military female, that just gets me. ●
- – Toby Keith doesn’t see where the repeal of ‘don’t ask, don’t tell’ should be much of a concern, but does get nervous about women serving on the frontline. Hmm.
If I could sing anything these days, and it would be played, it would be classic country music. If I could write anything, it would be in this vein. ●
- – LeAnn Rimes on “Lady and Gentlemen.” It’s a peach.
Man, I grew up in my room. I could have been anywhere. I grew up in my room, with my record collection. ●
- – Gillian Welch doesn’t think a relatively privileged upbringing makes her any less entitled to folk music.
Well I’m thinking of singing—if you’ve practiced the technique enough, you don’t have to think about the technique when you’re doing it, because it becomes part of what you do physically. Songwriting can be kind of the same thing. Hopefully I’ve internalized enough good stuff. And I think you do that just by really listening to other good writers. I listen a lot. ●
- – Diana Jones, in conversation with Jewly Hight.
We’ve got a few names. I think you need to look at a boy before you name him, though. I think you need to step back and see which name they look like. So, we’re going to take a few names in to the hospital, and we’ll see which one comes out. ●
- – Has Eric Church seen a newborn before? Sometimes they’re not all that handsome. This is how kids end up with weird names like Splotchyface McSniffles.
It would not have been surprising if I had followed the same sets of steps of my raising. I think I just didn’t want to be that person. I just went home the other week, and I ran into some people that I’ve known growing up, and they’re still in the same exact place, mentally, that they were then. There’s been no growth. There’s no depth. It’s like flat paint. There’s no dimension. There’s nothing there. And the only thing that’s different is their light is not as bright as what it used to be. It’s like a dimmer, and you see the light in someone’s eyes completely shut off almost. It’s on the verge of a complete blackout. It’s so sad. ●
- – Kellie Pickler on escaping small-town life.
The perks are I can decide what I want to record. I can write everything, and then pick through it. I feel that the music I’m making is better quality wise. The rough part is that nobody’s really hearing it because it’s not on a major label. ●
- – Terri Clark, frankly, on going indie.
And, of course, the Opry was very country. They didn’t allow drums. They had a lot of rules. I wasn’t a member, I was just a guest. So when I showed up in one of the dresses that I wore, I was told that I couldn’t go on the stage of the Opry dressed like that. They said, “Women can’t show their shoulders.” So, I put on a jacket and covered myself up. And I was very unhappy with the whole situation, so I said I wouldn’t ever do it again. And I didn’t until earlier this year when I was given a lifetime achievement award. It took place at the old Ryman Auditorium. I got to go on with the kind of band that I wanted, and I did rockabilly and rock ‘n’ roll. So I did go back but I had it my way when I did. ●
- – Wanda Jackson has spunk.
I’m like the country version of J. Lo. ●
- – Julianne Hough. Does one ‘meh’ country album make her the country version of anything? How about getting a little more work under our belts before we start with the heady comparisons?
I just saw ‘I hope you shed a million tears / I hope you suffer too’ and thought, ‘Wow, that’s good.’ Pretty bitter! And that’s what we worked from. We weren’t looking for a lot of words, just enough to hang it on. ●
- – Rodney Crowell on the song he and Vince Gill contributed (almost in its entirety, evidently) to the “Lost Notebooks of Hank Williams” project.