Click the bullet after each quote to visit the source.
Michael Ray Admits He Had A Major Emoji Mishap! ●
I don’t like love songs. Whether to listen to or perform. They’re hooey. Like romantic films, they’re just not believable and they’re not how people talk. ●
— Carrie Underwood.
If you keep doing the ‘make an album, promote the album, tour, make an album,’ where do you get to grow, where do you get to be a human, where do you get to shift your focus for a minute? ●
— Carrie Underwood on taking necessary time.
I tend to think — at least in our world as writers — you tend to move through ideas, but you don’t move through them that fast. You tend to ruminate on things for a year or 18 months, and then you move on to something else. That’s good for a certain kind of cohesion. I always think about the stereotypical album where someone goes out in the woods and writes for two weeks — those tend to be farther afield because it’s like, “I need another song. Let me just write one, even if it isn’t connected to me right now.” Which I find funny. ●
— Dave Rawlings to The Bluegrass Situation.
We’re always talking about we should have a store there that sold things that nobody needed anymore and we should call it Nashville Obsolete. And we’ll sell Beta tapes and typewriter ribbons, buggy whips and retaining clips for EMT plate reverb. So much of the recording gear we work on, so many of the microphones, the audio tape, it’s all obsolete. Recording studios in and of themselves as a commercial venture are kind of obsolete with the current structure of no one getting paid for music. ●
— Dave Rawlings, on titling an album Nashville Obsolete, to The Missoulian.
If you’re gonna be heard, you have to get on the radio. The internet alone is not gonna do it. […] Unless you’re cool being a minstrel, hitchhiking from gig to gig. ●
— Ronnie Dunn, who was threatening to revolutionize the music business as an indie artist not that long ago, has now changed his tune.
As much as I love Spotify, Pandora, iHeartRadio — I love them all, but — I think ultimately, there is so much coming at you that radio is the filter for what’s great, and I don’t think that has really changed, at least in country music. […] Radio has to be a gatekeeper for greatness. ●
— CMT radio host Cody Alan, imaginatively.
I started by wanting to major in physical therapy. I tore my ACL in high school and got super into how the body worked. Then literally, the first day I walked into anatomy class [at Lipscomb University], I was like, I’m not smart enough to do this. So I switched my major to business, and then I didn’t want to take an accounting class, so I switched from business to marketing, and then from marketing to communications because communications for me, in my school, was the easiest, fastest way out of college. And then I ended up dropping out after three years to become a songwriter… ●
— Thomas Rhett’s approach to college probably tells you everything you need to know about how he’s approaching life after college.
I’ve always wanted to be an actor. I think that would be one of the coolest jobs to just go in knowing that you’re the best and just crushing a part that no one ever saw you doing. […] Second, I would just like to move to Hawaii, open a surf shop, and just sell surf boards. ●
— Thomas Rhett on what he’d be doing if he weren’t a music artist. You have to admit that acting probably would be a cool job if you could just like go in there knowing you’re awesome and crush it without any practice. If it required any humility or dedication to craft or whatnot, what would be the point? Maybe just like sell surf boards and stuff instead.
People can expect more of me. I’ve been through a lot recently, and I’m not by any means going to change my vibe or the way that I’ve made music for a while, but [I’ll include] songs that are more relatable on a life level. ●
— Jake Owen invites you to expect more of him. Having tried this in the past, I would advise against it.
I think as country has evolved, the storytelling has gone away a little bit. It’s become more of a production, and more of a ‘let’s be loud and have a party’ kind of thing. Storytelling attracts me. That’s where the most value for your buck is for me. ●
— Joe Nichols, expressing interest in making a countrified folk album.
I think I always experiment with different things musically. Every one of my albums has a broad range of music on them. But I don’t want to get outside and do something that’s not real. The older I get, there probably will be a time where I’ll do some specialty stuff. Maybe an acoustic album — something like that. But I don’t think I’ll do something if the base part of it isn’t me. ●
— Tim McGraw.
I never felt comfortable in that big arena setting. […] It got overwhelming for me. You kind of get swept up into the whole business side of it, and pretty soon, it’s just ‘Whoa, this is not what I started out for.’ ●
— Suzy Bogguss on her run at mainstream stardom in the early ’90s.
I’m a bit of a nostalgia act now. They’re sitting in that seat to become who they were when they heard those songs. ●
— Terri Clark doesn’t have many illusions about why people are coming to see her shows.
Q: How did you get George Jones on “It’s a Man Thing”?
A: This project was many years in the making. I recorded George’s duet before he died. ●
— Seems like the best way to do it, TG Sheppard.
The title was [Troy Jones’]. Never in a million years would I come up with that title. I’m too OCD. I mean, I would say, ‘Some people like beer, most people like beer, but some people don’t like beer. Some people are crazy and some people are boringly sane.’ Or, ‘God is great. I think God is great. Is there a God?’ It’s probably the most co-written song I’ve ever been involved with. ●
— Bobby Braddock on being a little too attuned to life’s uncertainties to have come up with “People Are Crazy” on his own.
I walked into his room four hours later and he still had a smile on his face. The first thing he said was, ‘Bonnie, I told you I’d get (into the Hall of Fame) before you.’ ●
— Bonnie Brown on brother Jim Ed’s early Country Music Hall of Fame induction (as part of The Browns, of which Bonnie was also a member) as he lay dying in a hospital bed.
Another thing that I learned from my parents, who had pretty difficult, challenging lives, to put it mildly: I saw my parents use music to survive. They had to have that music. My mom had to sing and my dad had to go to church and he had to hear that music washing over him and through him. It wasn’t a, “Oh, this is nice”; it was a, “I’m not going to make it if I don’t have that.” So I’ve felt that that’s my job. That’s how I think of what I do. I have to give people that lifeline, you know, that I saw my parents reach out for, and that I was taught to reach out for, and so that’s what I aim to do. ●
— Iris DeMent to Terry Gross.
Being a producer is like getting to be in a different band all the time. It’s a lot of fun. When you first join a band, it’s the most romantic thing. Then, after two or three years, you start hating each other. Being a producer, I get the first date kind of feeling all the time. ●
— Dave Cobb to The Bluegrass Situation.
I remember being hesitant about [taking my career national]. Because, to tell the truth, things were going so well for me in Chicago. I had just quit my job at the Post Office. I was playing (music) four nights a week and slept all day, because I didn’t have to get up early. And I was getting (paid) a thousand bucks a week under the table.
I thought: ‘I can live like this forever!’ I didn’t know if I wanted to be involved with lawyers and record companies. I wanted to keep writing songs and enjoying myself and my music, and being with my wife. Had it been up to me, I would have stayed that way before I approached anybody about a record deal. ●
— John Prine, in an interview that also finds him talking about his approach to songwriting and his friendship with Kris Kristofferson. Recommended reading.
I remember being with a friend of mine seeing Billy Joe Shaver playing in front of seven people. He said it was so sad.
And I said, ‘What do you mean? All those people were totally engaged.’ ●
— Todd Snider.
We don’t read that much these days. ●
— Florida Georgia Line’s Brian Kelley, offered context-free for your enjoyment.