I fell in love with Nashville. I got lots of work.
I think country music is a champion of women. That stuff coming out of Nashville now wants to see a woman looking good in the kitchen whipping up some biscuits.
Growing up in Nashville, especially in a music business family, means growing up with knowledge that seems like common sense until later in life when you realize people spend thousands of dollars a semester trying to learn or pretending to learn while looking for some intern job on music row.
I have this friend who has a theory that lots of towns have energies. And, for instance, certain places in Alabama have bad ones because they were built on reservations or built on cemeteries or something. But Nashville has a really gravitational, magnetic pull.
I wanted to be great. And I loved Nashville, so that made it easy. I loved the music business. It made it easy for me to stay and make a life here.
I think in the world of rock music or whatever it's called - anything outside of Nashville - there's a lot more freedom within that industry to do whatever you want to do.
Most records, you build from the drums and bass up. This one, we started with the vocals in Nashville and recorded them live with just the guitars and tried to make that complete and lovely-sounding without any adornment at all. I really wanted to get something with the vocal that I've never gotten before Armchair Apocrypha.
I was writing for a publishing company in this old building right next to the RCA Victor Studio in Nashville. We were on the top floor, and Combine Music was on the bottom floor. I was friends with all those guys.
I was writing with different people in Nashville - whoever I could. Eddie Hinton came on the scene about 1963, and about four years later we wrote a ton of songs together. I drifted around, but Eddie and I had some cuts through the '60s and '70s. I went on the road with Kris Kristofferson in 1970.
I didn't come to Nashville to put on a cowboy hat and pretend to be a country singer. My attraction to Nashville as Music City is the variety and flexibility: the fact that there's so many musicians at your disposal, so many amazing studios and talented people that you can draw from. ... I try to be myself, but at the same time I'm learning a lot, and I'm pulling from not only from the well of inspiration that I'm getting from Nashville, but I'm pulling from my roots.
I probably had the most fun recording For Richer For Poorer in Nashville.
Faith is the main thing. That's kind of why I'm like here in Hollywood: to be like a light, a testimony to say God can take someone from Nashville and make me this, but it's his will that made this happen.
In the tradition of the classic songwriter rooms like The Bluebird in Nashville, Strange Brew is a gift to the music community in Austin, for artists and audiences alike
When I first got to Nashville, somebody said that [Kris Kristofferson and I] were the only two people who could describe Dolly Parton without using their hands.
In Nashville, as in every other city, there's no substitute for hard work.
Sometimes I have parties at my house in Nashville and it's clothing-optional, and we just body-paint each other and run around, and I have a giant bed. I'm very much in touch with that side of myself.
Roy Acuff was the first country music star to buy a home in a fashionable section of Nashville. The real estate man said, 'Mr. Acuff, how do you plan to take care of this?' since the house was very expensive at the time. Roy said, 'Would cash be all right?'
I realize I was more of a curiosity to the older Nashville artists than the new ones.
I was always drawn to the roots music, bluegrass, blues, early rock - Sun Records, Elvis [Presley]. And I still love that music to this day. Memphis never gets the credit. It's much more musically rich than Nashville ever will be. Nashville manufactured that hokey-hillbilly image way back.
I'm playing a D-28 Martin that I've had about 20 years or so. I've got a '51 Martin and I thought I shouldn't be taking this on the road. So I went down to Gruhn Guitars in Nashville and kind of traded around and ended up with this one. This guitar sounded pretty good as new guitar.
I remember in the '80s, Randy Travis was my guy. He's the reason I moved to Nashville, and I just loved him. But at some point when he was winning everything, you find yourself pulling for other people.
I grew up listening to everything, and when I got signed to a record deal out of Nashville, that was my introduction to what was happening in country music.
The first time I go out to Nashville, ever (at this point I had only heard the rumors about what it's like) I had three writing sessions set up. The first two canceled on me. I was kind of pissed off at that point. So I just went back to my hotel room and started writing. And even though I've been to L.A. and experienced a lot of things, at the end of the day I just start to feel like I'm playing acoustically at the first bar I ever played at.
Recording in Nashville was absolutely essential to get the sound, the musicians, the atmosphere, the warmth... There are just cult places like that in the world, like Chicago for the blues or New York for jazz. Nothing sounds the same in Nashville as it does elsewhere. Nashville is the Mecca of country music and everyone knows it.
I think if you really put your mind to something you can do it. Five and a half years ago I couldn't stand on stage and play guitar. I didn't have enough talent as a kid to play guitar. I started really late. I hired a guitar teacher when I was in Nashville and I applied myself and stayed focused.
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