Click the bullet after each quote to visit the original source.
Thrown furniture! Stripper pole! Wind! It’s all almost enough to distract you from how she actually sounded. ●
- – The LA Times on Swift’s show-opening rendition of “Forever and Always.”
I think she worked her tail off the last couple [of years] and she deserves to win. ●
- – Faith Hill weighs in on Taylor Swift’s Entertainer of the Year win.
She’s the biggest artist in music, period, by far, right now. So it’s hands-down that she’s the entertainer of the year in country music, no doubt. I’m really proud for her. There’s such a thing as an amazing amount of natural talent and momentum that comes with a person like her. You could see from the minute she started. They’re also doing everything right. I’m really proud of what her father and mother and her and her management team are doing. Getting to know them out on the road, I’m not all surprised at how fast she’s gone. ●
- – Brad Paisley weighs in on Taylor Swift’s Entertainer of the Year win.
As a writer, she is a phenomenal talent. When you look at the body of work that she has written at the age when she came into this business, it’s remarkable. It really is. But do I think that entertainer of the year might have been a little early? In my opinion, yes, for whatever that’s worth. ●
- – Randy Travis weighs in on Taylor Swift’s Entertainer of the Year win.
Arising from that sofa was Underwood, who wore a long white peignoir that revealed what looked to [be] purple sequined hot-pants. To make sure we noticed these, Underwood pushed her pelvis at the camera as though it was a snow-plow. ●
- – Ken Tucker with the definitive word on Underwood’s performance of “Cowboy Casanova.”
Jones has worried since the story circulated that his comments came across as direct criticism of Underwood and Swift. [...] “I don’t want anyone to think I’m against anybody,” Jones said Monday night. ●
- – Even George Jones knows better than to anger country’s new tween demographic.
“I’ll Never Leave You” is a tune [Jimmy] Wayne wrote with Hall & Oates in mind. “I thought, ‘What would I write if I were going to write a Hall & Oates song? What would it sound like?'” he says. ●
- – “And then I thought, if I were to record a Hall & Oates style song in 2009, which format would I market it in? Then I remembered that country music has already lost all pride in its own identity anyway, so…”
And lets face it, Pickler’s rack is far more interesting than any Merle Haggard or George Jones song. ●
- – Comment on CMT Blog. (Thanks to Mike K. for passing it along and to Rick for commenting… inevitably.)
His voice and style are timeless and great to listen to. Toss in the fact that he seems to be a genuinely good person and I couldn’t care less if he’s black, white, Latino or Chinese. Good music is good music, regardless of who it comes out of. ●
- – Comment on article about Darius Rucker. I like the way the commenter only couldn’t care less about his race once you’ve tossed in the fact that Rucker seems to be a genuinely good person… as though that’s the tipping point. Presumably, if Rucker were a rotten person, his race would be an issue.
The guys make fun of me, but I like some Miley Cyrus — ‘Party in the U.S.A.’ That’s on my iPod. Everybody has to have a guilty pleasure. ●
- – Randy Rogers is fearless.
“Are there rituals that you do before you get on stage?” Smith asked. “You know, things that kind of center you?”
“Yeah, I listen to ’40s music,” Urban said. “The ’40s station, yeah. When we were doing showcases here in Nashville, someone had given me a Doris Day greatest hits. I know this sounds bizarre. But there’s something about that era – Andrew Sisters, Doris Day – where it’s got that attitude of ‘everything’s fine, everything’s cool’ and laid back.” ●
- – Bet nobody called this one: Keith Urban gets psyched for his concerts by listening to Doris Day.
It used to be almost mom and pop. We could make friends with the program directors and everybody worked together. Then when it got corporate, things changed a lot. ●
- – Restless Heart’s Larry Stewart on changes in the radio business.
Despite rejecting what mainstream country seems to be about these days — pop melodies and expensive producers rather than hard living, hard drinking and hard-nosed responses to heartbreak — Hank III’s songs still land on the country charts among hits by Carrie Underwood and Taylor Swift. ●
- – From a spottily-researched article on Hank III.
When I was on a U.S. label, it was a lot of work to cover that market. The past three years I was recording songs I was not connecting with just to get a hit. I was not passionate about it. Searching for a big hit song is like putting quarters in a slot machine. You’re waiting for the big pay off. [...] I feel the Canadian country music landscape is more viable. The quality of music is better –– you have Corb Lund one minute and Carolyn Dawn Johnson the next. The lines are less blurry. On country radio in the U.S., you have to sound a certain way. Hard core country doesn’t get as much national attention. ●
- – Terri Clark is at home in the Canadian country industry.
Cowboy Troy and I are not in the same ballpark. I don’t know one thing that he’s done that is real. And John Rich, I love his ‘Detroit’ song, but he drives a Bentley around town. He wears a fur coat. That’s not country. ●
- – Colt Ford
calls the kettle black calls out the posers.
I didn’t win. I didn’t even come in close, I don’t think. ●
- – Dolly Parton on the time she secretly entered a Dolly lookalike contest.
We were sharing a little hotel room in New York. I went down to the Village and had a few beers and Steve stayed in. I came back to the hotel room and he’s hunched over a desk writing a song. All he had were two lines, it was a real sad song: “It was all that I could do to keep from crying/ Sometimes it seems so useless to remain.” Well, I jumped on the bed and started playing this imaginary fiddle and sang, “You don’t have to call me darling, darling. But you never even called me by my name,” and we started laughing and started goofing on the whole premise of the song, the standard things you put in country songs. We did it for about an hour and went to bed and I forgot about it. About five months later, Steve calls me up and says, “Hey I did it. I just recorded our song.” I said, “What song?” “You Never Even Called Me By My Name.” ●
- – John Prine on being an uncredited cowriter on the perfect country and western song. Click through (link above) for the story’s heartwarming conclusion.
Doing both sides of the country–the hellbilly and the heavy metal. That’s what makes us separate… If I would have just been a country singer, it wouldn’t be the same at all. We’d be Shooter Jennings or something lame like that. ●
- – Someone needs to tell Hank III that Shooter isn’t a country singer anymore.
“I expect dumfounded silence, shock and awe,” Fulks said, followed by a pause and then a laugh. “I don’t anticipate much, but who knows?” ●
- – Robbie Fulks imagines the response to his upcoming countrified Michael Jackson tribute record.
There was a moment that I was listening to a radio station and it played the same song three times in an hour. I was like, ‘Do I really have to hear this song again?’ I didn’t shoot the radio, but I wanted to. ●
- – Miranda Lambert on the song that starts “I put a bullet in my radio.”
Since hearing the CMA performance, I keep thinking that someday, maybe 10 or 20 years from now, some new artist who was inspired by both their styles of country will sing about being right there between Johnson and Rock. ●
- – Alison Bonaguro with the usual sacrilege.
Braindead white boy is approached by slutty, boozed-up lass. They head to his pickup, where he’s collecting his black-colored spit and they have unprotected sex while she praises a country boy’s “style.” ●
- – Blake Boldt summarizes the plot of Jake Owen’s “Eight Second Ride” during our CMA Live Blog.
I really prefer
When you say nothing at all
So STFU ●
- – Country Haiku spins “When You Say Nothing at All.”