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“LoCash Cowboys are the perfect fit for Average Joes, and everyone on our team is really excited to have them aboard,” commented Shannon Houchins, CEO/Average Joes Entertainment. “We’re extremely impressed with what they’ve already accomplished, and their style of music and dedication to their fan base perfectly aligns with Average Joes’ philosophy.”
– – Email evidence of why Average Joes press releases hold limited interest.
I have thought about that question a lot — why are so many of the top 10-20-40 songs not the songs we listen to when we want to hear something great. I don’t know. John Prine lives in Nashville — an incredible body of work. One of the greatest writers, poets, philosophers. He doesn’t get cuts anymore, and has had maybe one hit for someone else. Same with Guy Clark. No one is cutting his songs anymore — he never had a ton of cuts, but he had his share. It’s funny — you could have a conversation with a publisher who might say “of course you and I know this song is great, but I don’t think other people will.” I think it underestimates the audience. I like to think that most anyone would like a Guy Clark song. It doesn’t seem like a lot of the radio songs are ones that I would say “play this at my funeral” or “this is how I feel about my wife”. ●
– – Walt Wilkins on the radio problem.
It’s very romantic, I think. There are a lot of people whose dream of a life seems stupid where they came from. Where I come from, in Oregon, the idea that you would want to go be a folk singer and take a song and record it and put it out, it’s a silly idea. When you get here and everybody that you meet is from someplace else and they have an idea of what their life could be that people rolled their eyes at back home … We don’t compete, we help each other. It’s very poetic and artistic. ●
– – Todd Snider on life in East Nashville.
The contract to me has always been a matter of who’s worth their word. The contract is just a piece of paper. If you want to get in the middle of a fight with somebody, you could probably do that with any contract. I think the contract is a formality that puts numbers into place, but I think more importantly it’s about the people you shake hands with. And I think the people I just signed with don’t necessarily need contracts because their word is their bond. They’re good people, and I trust them. ●
– – Joe Nichols probably isn’t one of the greatest legal minds of our time. Hope he has good advisers.
‘Islands in the Stream’ was such a total fluke; I had been recording with (producer) Barry Gibb and I had been singing that song by myself for four days, and I finally said, ‘Barry, I don’t even like the song anymore.’ And he said, ‘You know what we need? We need Dolly Parton.’ It was an epiphany… We got her, and the song was never the same after that. ●
– – Kenny Rogers on the lesson of “Islands in the Stream”… namely, at the point when you’re starting to get sick of something, add Dolly Parton to make it all better again.
(Caveat: This did not actually work with “Islands in the Stream.”)
For me, my fans just want to hear the music. Do you know what I mean? They just want to be able to get it. And it’s been such a struggle for the last… eighteen years. I signed when I got out of high school. So for eighteen years I’ve been just kind of struggling with the label and having them release stuff or not release stuff. Now, we’re pretty much just free to do whatever we want with this new project so I’m very excited. ●
– – Jo Dee Messina on freedom from Curb.
We love country music, and we keep talking about how country music songs are three-minute operas. There are so many parallels between country music and opera. I think it’s just a difference of how you’re playing your fiddle. ●
– – Nashville Opera exec Noah Spiegel.
Country music has evolved into something really, really cool. The problem is that country radio hasn’t [always] been cool. This song helps us turn that perception around. ●
– – WWKA (Orlando) PD J.R. Schumann on country airplay for Mumford & Sons’ “I Will Wait.”
When you’re 22 or whatever, I think there’s a part of you that thinks, you know, the whole ‘better to burn out than fade away’ kind of thing. The older you get and the more you see friends that die at 35 or 45 or even 50, you start to realize that that’s just not very old. ●
– – Will Hoge in conversation with Jewly Hight.
Look, there were people that accused George Jones of selling out when he and Tammy Wynette were doing the Nashville countrypolitan sound in 1971. People were saying that they had sold out from the traditional country of the ’50s and ’60s – George Jones and Tammy Wynette!
I think it’s just key to maintain personal integrity. Continue to seek personal inspiration through your music and be honest with every bit of musical expression you put out. ●
– – Dwight Yoakam on balancing tradition and innovation.
There’s a fusion aspect that I really love. All genres, and country is no exception, they all grow from outside influences, some of them work and some don’t, and it sort of finds a middle ground and then moves forward. I think right now is a really exciting time for our genre because of that. (Music) always wrestles with purists saying, ‘You can’t do that,’ and then others saying, ‘Well, we must.’ If you really love the genre, you won’t suffocate it, you’ll let it grow. Everybody’s voice is important, because you have to have purists to keep the spirit of why it is a genre to begin with. ●
– – Keith Urban.