A Quote by Vince Gill
It is not that I don't like contemporary country music because I do. I love it. I have recorded a lot and have had great success recording records that have not been very traditional country records.
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People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.
Even though I've had 20-some country No. 1 records, I still have a hard time convincing a lot of these people in the Country Music Association and the Academy of Country Music that I love country music.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I grew up listening to everything. I was in rock n' roll bands and punk bands, and I loved bluegrass and country music, too. Then, when I moved to Nashville, I put out a very traditional country record because that's just what you do. I had a bunch of very traditional country songs. Next thing you know, you're a country singer.
There are certain records from the 80s and early 90s that you love because the songs are great, but you don't go to them as an example of great production. Over the last 20 years, myself and a lot of other musicians my age have tried to discover things in 50s, 60s, and 70s recording techniques that were lost or discarded. We've all been trying to crack this code. It's been an important period in the last 15 years, reclaiming some of those lost approaches to making records.
Not to be rude to my sisters, but I don't listen to drag music. I listen to everything from punk to Italo disco to Appalachian country music, but I don't know what their records sound like. I hardly listen to my own records. I'm like Cher!
My brother gave me my first records when I was about 3 or 4 years old, because he bought a lot of records. And he was very nice because he gave me the records he thought I'd like more.
The music that I've had out so far was obviously very pop, but when I signed with Hollywood Records, I was like, 'I know that's the music you're familiar with, but that's not what I want to sing. I want to do country.' They were on board with it!
I'm very proud of my records, but my most natural creative tendencies have been in live performing. There's a beautiful element to recording and making records, but I've always felt a little shy with it.
I want all that dirt and grime and life-sauce. A lot of my favorite old soul records have it, but you don't hear it on country records anymore.
I'm not really concerned so much with the industry, except in country music, as long as our fans keep coming to the shows and keep buying the records and we keep having success on country radio.
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.
We love all kinds of music: We love pop music, we love rock music, we love R & B and country, and we just pull from all our influences. So I don't really take offense as long as people are coming out to the shows and buying the records and becoming fans of the music. At the end of the day, the music is what's gonna speak to you.
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
Holland is a really small country, but with a very strong club and festival scene. Dance music has been huge in Holland since the late eighties. So there were a lot of opportunities for producers and DJs to release records and play live.
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