Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.
I played a funeral convention once. York Casket Company pays well, in case anyone's wondering!
The only thing I want to be known as is a country singer. I want people to hear it and go, 'That's country!'
In my opinion, that's one of the hardest things to do in songwriting: crafting a song that speaks to you but, at its core, is a simple concept.
For awhile there, I kind of hit the plateau. Anytime you do that as an artist, one of two things can happen... you're either going to start to fall back off, or you're gonna start to rise.
One of the first records I bought for myself was a Keith Whitley record. I still love the 'L.A. to Miami' album. There were so many things on there - 'Miami, My Amy,' 'Ten Feet Away,' 'Nobody in His Right Mind Would've Left Her.' I can put that album on repeat and listen.
Everybody has their favorite sad songs. That's part of what I love so much about country music. Country music is never afraid to go with a sad song.
I'm a big fan of breakfast food. Literally, the simplest thing in the world - if you can scramble eggs without burning them, I'll eat them. It doesn't matter what time of the day it is.
I'm really loud. I can't sing softly.
I write a lot of my music, but not all of it. I have always subscribed to the 'best song wins' theory when making an album.
There's probably a couple someones that are gonna hear the songs and go, 'I think that might have been about me,' or, 'I know it's about me.' I do play that pretty close to the vest. I don't think I'm ever gonna write a song and drop somebody's name in it.
