I've never really been a traditional country kind of guy. I wanted my music to sound more like the end of the '90s and to have the kind of great music, pop or whatever, that radio will embrace.
It's a great feeling to be recognized by your peers. It's an even better feeling to be welcomed and accepted by country radio and its listeners. If desire is any part of this equation, then I'm a contender!
I'm wide open and will entertain anything anybody has to say, but if it's MTV and radio, well, they're great things, but can't be the only thing. I don't know that it would work even for the Beatles.
I had a great time on News Radio, I got to make tons of money in relative obscurity and learn a lot about the TV biz and work on my standup act constantly. It was a dream gig.
Writing about prayer to a secular audience is tap-dancing on the radio. I want to say, 'Gee whiz, isn't this great,' and have everyone's head cocked like the RCA dog.
Oh, I'm a great believer in the power of the pause. Radio is a bit brasher now. My style was slower. I just used to go in, open the microphone and say the first thing that came into my head.
Musicians don't respect a lot of the stuff that is on TRL and a lot of musicians think that stuff on the radio is not good musically so when musicians say that they like us it obviously feels good.
I have a lot of good football talk with cabbies, but when you want to get somewhere in a hurry, it can be distracting. I always know they're going to want to talk football if 'Talksport' is on the radio.
In those days, boxing was very glamorous and romantic. You listened to fights on the radio, and a good announcer made it seem like a contest between gladiators.
They keep the song as street as it needs to be. It's got a good catchy hook where it can do what it needs to do on the radio, but they keep the song street where it will keep credibility in the hood.
I have good voice inflection, that's why I'm good on radio. But on TV, I look too big because I move my hands around a lot.
The wonderful thing about having your songs on the radio is that people are going to go out to your concerts and buy your merchandise and that sort of thing, and it feels good to get that level of name recognition.
I missed the country sounds on the radio. I missed the Deana Carters and the old Faith Hill songs that are more richly country and not so highly pop. So I really wanted that to be on my first album.
Rodgers and Hammerstein didn't mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.
Country music is always changing but the Opry is always there to serve as a lighthouse for what country music really is. The past, present and future is all encompassed by not only the physical structure of the building but also the radio show.
So much of a stand-up's life is doing live radio and having to be funny and quick on the spot with these strangers, and sort of surgical in terms of how funny I can be in three minutes.
When I say, 'I can't stay long, I'm in-between meals,' that plays differently on the radio than it does in person. So I have to pick material that works because the words are funny, not just because of the images.
They think my life is glamourous. It's not true. I obviously get to come in and do radio interviews. That's the glamour. But other than that, I eat and sleep and that's it. Eat, sleep and do shows.
To have survived in radio for 30 years is pretty remarkable. Even more remarkable is to have been able to do it in the same market I've lived in my whole life.
I hate going to bed. I read scripts, clean, listen to the radio - I've fallen asleep to 'This American Life' more times than I can count!
I love heavy music, but you see, I had fallen in love with a radio station in Vegas that played nothing but Eighties music. That had a real profound impact on me.
