How did your collaboration with Dolly Parton on “My Father’s Daughter” come to be?Īs a kid growing up with an outhouse, my heroes were always Dolly Parton and Loretta Lynn. Right now where it’s at, I can’t really see any of my stuff getting on there. “My Father’s Daughter” is being taken to Americana. I’m not going to think about tempo.” To get that out of my head and make a record pure and independent from all the stuff you learn over 20 years was really difficult. I went into the studio thinking, “I’m not going to think about radio. Will anything be worked to radio from this project? , I was just asked, “What’s your favorite nail color?” I’m like, “Really? Did you ask Beck that?” For the first time in my life I was asked, “Why did you write this lyric?” radio. as a singer-songwriter, I knew I had to get into the country business, because it was the only place I could tell stories. When I first came out, country radio was Shania Twain and Faith Hill. It’s then that I learned there’s these completely separate systems. I thought it should be a natural fit for country, but Atlantic Records in New York didn’t have a relationship with country radio. So I went to my label and said, “Can we get ‘You Were Meant for Me’ played on country radio?” It’s a country song. It’s funny, when I got signed - when I was living in a car - I didn’t know a thing about the business. I wanted this record to feel like there was something from my vein to your vein.ĭuring your time on BMLG, was country music a comfortable fit for you? My job is to serve emotion, and if emotion gets diluted, I didn’t do my job. Whenever you have anybody around, no matter how transparent of a producer they are, it is a filter that you become interpreted through. I knew I didn’t want to have a label when I started recording and would shop it at the end. Was producing yourself a good experience? It really was the kick in the pants I probably needed. He felt no one should put a filter on me, that I had the vision for what I wanted. That has helped me a lot as an artist, but at the same time it can also hold you back. I’m comfortable in the studio, but I always felt I had more to learn from other people than what I knew on my own. I’ve produced some of my own records myself, but they weren’t this type of work. He said, “You’re going to thank me … You need to be doing this.” I just thought he took another gig and was bailing on me, and I was pretty upset about it. came in a week before pre-production and said, “I’m not going to do the record,” and I was pissed. In the album’s liner notes, you thank Nashville producer Paul Worley for “kicking me in the butt by backing out and making me produce this CD.” What happened there? Jewel Says Ex-Husband Is ‘Going to Get Blamed for a Lot of Songs’ on ‘Picking Up the Pieces’ Papoose Reflects on DMX's Legacy: He 'Became Larger Than Life'

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