A Quote by Sturgill Simpson
Atlantic has been great to me. They didn't flinch when I told them I was self-producing, and nobody was popping their head in the studio.
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I've never been in the studio where it felt like I didn't have a voice. Whether I was co-producing or producing by myself, this community is the one place where I really see democracy at its purest.
If a crowd can flinch, they flinch. More than a thousand men flinch under the fist of just one. I don't see what the women do.
Dawn Steel was the person who told me I could never wear shoes like this! She and Nora Ephron told me 'you can't wear those crappy shoes, nobody would ever take you seriously'. I've been wearing them ever since then!
We grow up being told about great figures in our society, and as you get older you have to question the stories you've been told and decide if these great figures are indeed as great as you've been told.
I'm very content to have great management and a great label. But for me, success started when my managers came to me and told me, 'Go ahead and quit your job.' I told them, 'As long as I don't have to wash dishes anymore, I'm good.'
Since I've been so honest with them, my fans know me very well so I don't think anything surprises them at this point. I've always told them exactly what's going on in my life and in my head, and because of that, I don't think anything is a huge surprise to them anymore.
We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.
I've been told that I might make a good producer because I am very Type A, and I'm kind of a control freak, so I've been told that that might translate well into producing, so I would certainly be open to trying my hand at that.
I used to think I was poor. Then they told me I was not poor, I was needy. They told me it was self-defeating to think of myself as needy, I was deprived. Then they told me underprivileged was overused. I was disadvantaged. I still do not have a dime but I have a great vocabulary.
Nobody told me there was any idea for a sequel to 'The Exorcist.' But my agent called me to tell me they were going to do it, and there was a part for me. I said, 'But I died in the first film.' 'Well,' he told me, 'this is from the early days of Father Merrin's life.' I told him I just didn't want to do it again.
My interests and obsessions have always been so wide-ranging that I keep popping my head out of different boxes as much as possible.
I'd break out in hives if I had to sing (`Stairway to Heaven') in every show. I wrote those lyrics and found that song to be of some importance and consequence in 1971, but 17 years later, I don't know. It's just not for me. I sang it at the Atlantic Records show because I'm an old softie and it was my way of saying thank you to Atlantic because I've been with them for 20 years. But no more of `Stairway to Heaven' for me.
I just don't like my voice in the studio, and I just don't like the studio, I'm not a studio-head. And that's why you don't get so much material from me.
Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.
Jordan Ruddes does [have a home studio], but it's all self-contained. I'll be the only guy with a fully built recording studio. So they'll have to come to me.
For me, Memphis has always been a city that holds a great deal of meaning and also leads me to a lot of thinking. Besides Sun Studio, which helped put rock n' roll on the map all over the world, the legendary Stax Studio also called Memphis home.
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