Volume MMVII • Number 3 • July-September 2007 - Nashville ...

AFM Convention makes history
FIM’s Smith calls for unity in
resolving musicians’ concerns
www.afm257.org
Official Journal of the American Federation of Musicians
AFM Local 257 • 1902-2007 • 105 years
Musician
Volume MMVII • Number 3 • July-September 2007
Lee, Bradley winners; Linneman on Board
Winners’ all (from left): Billy Linneman, Tom Lee and Harold Bradley.
By WALT TROTT Although notified of the 91st meeting
Saying music is the international language
has perhaps become a cliché, but
it was so apparent here in Nashville, May
18-20.
That’s when representatives of some
16 nations assembled at the downtown
Sheraton Hotel to discuss matters affecting
musicians worldwide under the umbrella
of the Federation of International
Musicians (FIM).
Heading up this delegation was FIM
President John F. Smith, who also helms
the British Musicians Union, boasting a
membership of 33,000 musicians
throughout the United Kingdom.
“The Federation (FIM) was founded
in 1948,” notes Smith, who says the organization
numbers more than 70 unions
worldwide. “Our main focus is to protect
and advance the economic, social and artistic
interests of organized musicians
wherever they may be.”
Nashville Mayor Bill Purcell proclaims,
“It’s a great honor and privilege
for me to join you for this important session
and to say thank you for choosing
Nashville . . . We are Music City and we
are a place then that understands that without
musicians there is no music, without
musicians none of this is possible, and so
I hope that you feel while you are here
that we are a place that appreciates you
and your members, unlike any other place
. . . ”
For this occasion, with members hailing
from far away places like Austria,
Brazil, Finland, Israel, Senegal and Japan,
language interpreters held forth in enclosed
booths at the hotel.
of FIM’s executive committee, reportedly
its first in the U.S., The Tennessean daily
newspaper passed on an opportunity to
cover this significant assemblage (which
selected Nashville over such sites as Los
Angeles, New York, Chicago, San Francisco,
Miami or Washington, D.C.). Nashville
is home to musicians, artists,
songwriters, publishers and record labels,
all of whom stand to win or lose from FIM
(Continued on page 30)
Delegate reports on AFM
97th convention in Vegas
as conducted, June 18-20
By LAURA ROSS
AFM Local 257
I traveled to Las Vegas, the city of
ever-changing profile with cranes that fill
the air, and I’ll report upfront (and to my
Nashville Symphony colleagues’ disappointment)
that I did not gamble. Not one
nickel! What was occurring in Las Vegas,
however, could be seen as a gamble, based
on the results of the financial package.
Let me begin with the Southern Conference,
which began Saturday morning,
when I was pressed into service as the
head of the Credentials Committee (I was
also assigned to the Finance Committee
and wrote a proposed by-law change).
I was joined by my fellow Local 257
delegates Billy Linneman, Bobby Ogdin
and Bruce Bouton, as well as by our President
Harold Bradley, who attended in his
capacity as Vice President of the AFM.
(Continued on page 2)
Tom Lee, Harold Bradley, Sam Folio
and Billy Linneman were among the winning
candidates at the 97th American Federation
of Musicians Convention in Las
Vegas last month.
Convention delegates voted to continue
Lee as AFM President, while Bradley
was re-elected Vice President by acclamation
for his fifth term, as he ran unopposed.
“I am honored,” Bradley told us in a
telephone call. “I don’t usually like the
politics of it, but there are still some things
that we have to accomplish on behalf of
our musicians. This gives us that opportunity.”
The Dean of Nashville Guitarists is beginning
his fifth term. He has been president
of the Nashville Association of Musicians
AFM Local 257 16 years, and a
working member 65 years.
Billy Linneman, Local 257 Secretary-
Treasurer, became only the second Nashville-based
officer to be elected to national
office when voted in as an AFM International
Executive Board Member (Bradley
being the first).
“You know, the man who nominated
me, Bob McGrew (Local 65-699-Houston),
also won election to the IEB,” said
a smiling Linneman.
Tom Lee rose to the presidency while
an officer of Local 161-710 Washington,
D.C. Secretary-Treasurer Sam Folio came
into office from Local 368 Reno, Nev.
New to the AFM officer ranks is Bill
Skolnik, voted AFM Vice President,
Canada. He has served the following Canadian
Locals: 149 Toronto, 145
Vancouver, B.C., and 547 Calgary,
Alberta. Skolnik has been Executive Director
of Local 149 since 1998.
Elected to IEB along with Linneman
and McGrew were Joseph Parente of Local
77 Philadelphia, Erwin Price of Local
802 New York City, and Ray Hair of Local
72-147 Dallas-Fort Worth. - WT
Membership meeting date’s set
The next General Membership meeting
is slated at 6:30 p.m. Thursday, Sept.
6, at the Union. For details, call 244-9514.
Nashville Association of Musicians
P.O. Box 120399
Nashville, TN 37212-0399
- Address Service Requested -
Who’s Inside?
Bill Anderson, page 18.
Medallion awards, page 19.
John Prine, page 20.
Nonprofit
U.S. Postage
PAID
Franklin, TN
Permit No. 357

2 The Nashville Musician July-September 2007
Delegate reports on AFM 97th Convention conducted in Las Vegas
(Continued from page 1)
At the beginning of the Conference, John
Lindberg, who serves as Secretary-Treasurer
of the Southern Conference (and in his other
life as President of Local 125 Norfolk, Va.,
and 40-year member of the Virginia Symphony),
spoke about an issue that would
present itself during the first day at the Convention.
Montreal Local 406 had gotten into
a financial bind and were unable to pay all
their dues in time to be seated at the Convention.
John explained that the previous administration
had been thrown out and the new
officers were petitioning to be seated at the
Convention. [For additional information, see
the Convention Report that follows.]
Vice President Harold Bradley spoke about
his FCC testimony, payola and radio monopolies
and was well received. Ray Hair, IEB
member and President of Local 72-147 Dallas-Fort
Worth, Texas, gave a last-minute presentation
on a recent and very effective recruiting
campaign in his Local. In a brief time,
they increased their membership by 140-150
members. He had some very interesting ideas
we might be able to use to develop our own
campaign here at Local 257.
AFM President Tom Lee spoke about the
appointment of Otis Ducker (chair of the Diversity
Committee) to the IEB, following
Mark Jones’ departure from the board. More
recently, Otis and David Lennon (the previous
President of Local 802 New York City)
both resigned and the positions were vacant.
Tom also spoke about the absence from the
Convention of two very important staff members
– Bob Carruthers, who had health issues,
and Alex DePalma. [Their presence was
greatly missed, as things did not run as
smoothly as in the past. Alex’s death was particularly
sad since he lived for the Convention.]
President Lee spoke of trying to build the
AFM’s membership through recruitment programs,
the IEB financial proposal and the history
of per capita increases versus member
retention (per capita increases were in 1991
($20), 1993 ($4) and 1995 ($10); membership
has dropped from 180,000 in 1991 to about
half that amount in 2007). He said the AFM
budget had increased by only $400,000 in the
last 10 years.
Tom Lee also touched on the recording
activity that has been moving to other countries.
He spoke about the “glory days” of the
AFM when the AFM controlled the work, how
things changed as Rock Bands replaced the
Big Bands, the changing practices dealing
with bars, clubs and hotels when trying to set
scales, and the need to create a new business
model since a legal case widely known as
“The Rochetti Case” forever changed how
locals could impose rather than negotiate
wages, pension and benefits. He and the IEB
believe their new recruiting and retention program
will help the AFM gain and retain members.
The Recruiting and Retention Program has
a number of components to it. The first is the
hiring of an in-house webmaster, who will
redesign the website and update it daily. They
have hired an in-house public relations employee
(Nicole Korkorlis from Carmen Group
Communications) and an outside PR firm.
Additionally, the AFM has decided they need
to spearhead the campaign rather than dumping
responsibility on the Locals.
At this point Bruce Bouton asked President
Lee about the video-game agreement.
Tom responded by giving a brief history of
the various proposals (one from Local 6 San
Francisco that included a buy-out provision,
and two others from the RMA and Local 802
New York City), explaining that the IEB chose
to accept the two different proposals from the
RMA and Local 802 for one year. He spoke
about a series of “one-offs” the AFM was beginning
to sign (which are different from the
RMA and Local 802 agreements) to try and
capture work. Tom said he believed the AFM
will be most successful with these “one-offs”
than with any other previous agreements.
The discussion returned to the Recruiting
and Retention Program, with a presentation by
Paul Sharpe. [Paul has been a wonderful addition
to the AFM staff. As a person with a lot of
ideas and energy he used to “share” his vision
with the Convention as author of countless
resolutions each year in his capacity as a Local
delegate. Our “loss” has certainly been the
AFM’s gain, especially in his dedication to
serving the free-lance musician.]
Paul pointed out that a campaign will not
be successful if you don’t know why your musicians
leave. The IEB unanimously approved
this plan to stem the decrease and instead increase
membership. They expect the software
to capture data from inquiries to the AFM
website and are asking musicians what they
believe are the merits of AFM membership,
and what can be done to improve services.
They’re asking these questions from all aspects
of services – managers and booking agents are
also being asked.
A new member will now be able to join on
the AFM website and the Local will be sent
the information. The member will be issued a
“pass” showing they’re a member until such
time as a card has been sent to them. Additionally,
new members will receive periodic
updates about services that are specific to them
(symphonic, free-lance, recording, etc.) They
believe the critical link will be the Local’s support
and participation in this program.
Paul went on to show some of the new features
of the GoPro website that now includes
GoPro Lessons, GoPro Tunes, and the AFM
Quartet Software. This last software allows a
Local to develop their own website and referral
information automatically comes to that
website from any members of that Local who
are registered with GoPro.
AFM Secretary-Treasurer Sam Folio spoke
about the finances of the AFM and reported
that we ended the year in the black.
Music Performance Fund (MPF) Administrator
John Hall spoke about the health of the
fund, the allocation by state, and his desire to
make the fund important like it was back in
the 1980’s because he said the way things are
going, in two years there will not be any money.
He believes the recording industry will continue
to try to get rid of their obligation to the
MPF (monies to the fund come from the sale
of CDs), but he’s trying instead, to get State
agencies to help fund programs. He asked that
Locals send him programs so he can use them
when he goes out to solicit funds.
Sunday should have been uneventful with
visits by Will Luebking and Vinni LoPresti
from the AFM-EPF (Pension Fund), who spoke
about the health of The Fund, and the success
of the LS-1 form (which, to date, has received
contributions of about $4.5M for this type of
work). They also answered a few questions,
one about the status of the website (it is up
and running with information and forms, but
not much more).
Will explained that there may be a time that
personal files are accessible but even figuring
pension payouts have all sorts of permutations
that will require time to design. I asked if there
might be a way to designate two amounts on
next year’s pension statements, since the multiplier
changed on April 1, which will cause
great confusion for anyone trying to keep up.
Will said they would look into it. I also asked
about the restriction on the pension form regarding
the requirement that only one beneficiary
could be named. Vinni LoPresti said they
have changed the rules and will be redesigning
the forms later this year. If I remember
correctly, they said they’d mail out new forms
in case anyone wanted to change their beneficiaries.
Lovie Smith-Schenk, Vice President of the
Southern Conference and President of Local
65-699 Houston, Texas, spoke about the activities
of the Diversity Committee, and how
award winners are chosen (they will be announced
during the Convention).
Following the committee reports, all guests
were asked to leave and an impromptu public
“discussion” between Bruce Bouton and Tom
Lee regarding the video-game agreement was
held in front of the delegates until John
Lindberg gaveled the discussion at an end.
The Conference ended with the election of
Lovie Smith-Schenk as President (the first
woman to head the conference), John Head
(of Local 148-462 Atlanta, Ga.) as Vice President
and John Lindberg as Secretary-Treasurer.
Next year’s Conference will be held in
Houston TX.
2007 AFM Convention
Over the years, I’ve been called on to explain
how convention voting is handled and
I’ve explained it in this manner.
Each resolution or recommendation is assigned
to a different committee – Law, Finance,
Joint Law and Finance (easily the busiest
committees), Measures & Benefits, Good
& Welfare and Organization & Legislation. I
have been assigned to Measures & Benefits
since 2001 and our committee hears testimony
for and against each proposal and, following
internal discussion, which might include
amending the resolution or recommendation,
we make either a favorable or unfavorable recommendation
that is then reported to the convention
floor before discussion and voting
ensues.
Most voting is by “voice” vote, but it seems
that some of those tiny locals send guys with
really big voices because one of our first votes,
regarding Resolution No. 19 [requiring the
AFM to provide a listing of how many members,
and their membership categories (life,
regular, youth, etc.) be available on the AFM
web page] ended up in a “standing” vote because
the fellows up front felt it was too close
to call. The vote was 203 in favor and only 75
against.
A standing vote is usually only called when
the voice vote is too close to call. At this point
all the delegates in favor are asked to stand
while AFM staff members count the number
of people standing at their assigned conference
tables (Nashville is part of the Southern
Conference, which has two tables).
The last and most time-consuming voting
procedure is the “roll call” vote. You need a
petition with either 30 signatures or from 15
different locals to call a roll call vote. This
means every single local will be called to the
microphone to vote the entire number of their
membership for or against a measure. Some
vote their entire membership, while others
may split their vote, depending upon the issue
and/or the desire of other delegates from
that particular local. It can take from 30 minutes
to an hour for this type of vote and it is
not generally called for with any frequency,
except when voting on financial proposals or
when dealing with membership/voting issues
(like increasing the number of ballots a local
is allowed for every 100 members. The current
limit is 50 votes – L.A. has 8,590 members
but is only entitled to a total of 50 votes
instead of 86; New York has 9,299 members
but they too are limited to 50, not 93 votes.)
There were two roll call votes at the 97th
AFM Convention – one to move the convention
from a two to a three-year cycle (65,794
in favor versus 22,861 against) and the other
to approve the financial package presented as
Emergency Recommendation #1 from the
Joint Law and Finance Committees (50,562
in favor versus 37,401 against.)
Added to all this is the pomp of celebrating
the AFM, unions in general and acknowledging
the deeds of some of our members.
After singing the Star Spangled Banner (or
rather listening as the version performed was
not really written to be sung to) and Oh
Canada!, there are the usual opening remarks,
a report on the health of the AFM by the AFM
President, and speeches from other union leaders
(this year the Department of Professional
Employees and American Federation of
Teachers).
[I have to interject here that I was very
surprised walking into the Convention hall that
Monday morning because it seemed significantly
smaller than two years ago. Regarding
actual numbers, 203 locals were available to
attend the AFM Convention. Of those, 197
Locals were in attendance, represented by 317
delegates, including the non-voting Player
Conference representatives, one of which was
Dave Pomeroy, one of the RMA’s three delegates.]
Immediately before any resolutions or convention
action could be taken, aside from approval
of the Standing Rules for the Convention,
an emergency resolution was brought to
the floor by the President of the Canadian Conference,
Wayne Morris. This was in regard to
the fact that, according to AFM by-laws, no
Local can be seated if they are not up-to-date
with their per capita and work dues obligations
to the AFM, and the Montreal Local was in
arrears by nearly $100,000. (You will remember
we were in just a similar situation a few
years ago ourselves over this very issue but
found a way to pay our AFM debts prior to the
convention.)
Approval to discuss the motion required a
2/3 vote, then the floor was open for comment.
Numerous people got up and spoke passionately
about how the financial situation in
Montreal was due to a previous administration
that had been removed from office and
that the new officers were making good faith
efforts and promises to pay back what was still
owed. Additionally, years ago the IEB established
a policy to discontinue loans to Locals,
so Montreal should have been prohibited from
attending.
An effort failed that would have allowed
reimbursement of expenses to the Montreal
delegation, and to allow the President of the
Montreal Local to continue to serve on the Law
Committee for the duration of the Convention
(he had already been serving on the committee
the entire week prior to the Convention).
Many people spoke in favor of the motion,
citing the large number of members they represent
in Canada. I did speak against seating
the delegates, referring to our own financial
problems a few years ago when no effort like
this was offered to us. Only weeks after the
Convention did Harold inform me that
Montreal had only discovered the debt one
month before. There was a great deal more to
this story than any one person was aware, and
some believe this entire exercise was about
politics and votes, but for me it was about process.
In the end, the resolution passed, but I
believe the vote may set a new precedent for
future conventions in the seating of delinquent
locals.
This discussion and action took in excess
of two hours, which was extremely sad and
frustrating because there was so much else that
required our attention during those three days.
The day ended with nominations for office
(elections were held at dinner time on Tuesday).
I was once again honored to nominate
Harold for the office of International Vice
President and he received a standing ovation
from the floor when nominations were closed
and he was the only candidate. He was quite
moved.
Thirteen folks ran for the International Executive
Board, including our own Billy
Linneman. Tuesday mornings always begin
with the Memorial Service overseen by the International
Vice President, Harold Bradley.
Harold and I worked with the AFM to collect
all the names of former delegates, famous
members and friends of our profession who
have died over the past two years since the last
Convention. As Harold reads each name, a rose
is placed into large vases in front of the hall.
It’s very moving. Additionally, if there are
former officers (and in this case a staff member)
of importance who has died, there are
additional tributes. Alex DePalma, a 46-year
member of AFM staff and the backbone of the
AFM Convention, died a few weeks before the
Convention, just prior to retiring from the
AFM. Secretary-Treasurer Sam Folio’s tribute
to Alex was very nice. Former International
Executive Board officer Richard Totusek was
also remembered in moving tributes by his
widow Joan, by Local 99 Portland, Ore., Secretary-Treasurer
(and former IEB member)
Ken Shirk, and by AFM President Tom Lee.
Richard was a very unique, particular fellow
who had an immense impact on the AFM and
(Continued on page 8)

July-September 2007 The Nashville Musician 3
Dear Members:
On June 9, 2007, I traveled to Las Vegas
to attend the 97th Convention of the AFM.
Actually, I had to leave early to attend an AFM
International Executive Board meeting on
Sunday, Monday and Tuesday.
After those meetings, I was assigned by
President Tom Lee to be an adviser to the Finance
Committee. All the recommendations
and resolutions go to the appropriate committees
for consideration. Anyone can schedule
testimony to give to the committees, regarding
the recommendations and resolutions.
In the latest issue of The International Musician,
President Lee gives a detailed account
of the convention process (as does Laura Ross
in her Convention report in this issue of The
Nashville Musician).
At the end of the first week, I attended the
Southern Conference to give the invocation
and made a speech on media and radio consolidation.
Local 257 is a member of the Southern
Conference, and has furnished three presidents
that I can remember.
The new President is Lovie Smith-Schenk
(of Houston Local 65-699), who made history
as the first African-American to be President,
and the first woman to be President. Lovie is
a great choice, and your Secretary-Treasurer
Billy Linneman and I support her. The Southern
Conference was Saturday and Sunday.
On Monday, June 18, the Convention began.
The first issue regarded whether to seat
Montreal. The delgates voted overwhelmingly
to seat Montreal after a two-hour discussion.
The next issue was the voting rights of
African-American delegates mandated by law
(see Ross report for details). The issue was
resolved after another two-hour discussion.
Other issues were the financial package that
was presented, and the question of a two- or a
three-year convention.
The financial package was debated and approved,
and the new three-year convention was
approved, both requiring roll call votes.
On Tuesday morning, June 19, I conducted
the memorial service for our departed musicians
and friends of musicians (since the last
convention).
Nominations for officers occurred late
Monday afternoon and the election took place
Tuesday night. President Lee, Secretary-Treasurer
Sam Folio and myself were re-elected.
The new Vice President from Canada is Bill
President’s
Report
By
Harold R. Bradley
Skolnik (a fine choice).
In addition to my re-election, I am extremely
proud to announce that our own Billy
Linneman was elected to the International
Executive Board. Congratulations to Billy!
While Billy and I didn’t really like the 2%
fee on recording musicians, it is a necessary
part of the financial package to fund the Federation.
This Emergency Recommendation #1
from the Joint Law & Finance Committee
reequired a roll call vote, resulting in 50,562
in favor and 37,401 against.
The voting on some important issues was
split by our delegates. Historically, our Local
does not bind delegates to vote a certain way
on any issue, thereby maintaining the democratic
process.
During the ebb and flow of the business
before the convention, our delegates are free
to be flexible in voting at all times, and they
did so at this 97th Convention. No convention
results in everyone being pleased with the
results, and this convention will be no different.
Compliance or non-compliance with all
recommendations and resolutions passed will
determine the fate of our Local and the AFM.
I hope all AFM members will join Secretary-
Treasurer Linneman and I in working for a
strong union, locally and nationally.
“United We Stand, Divided We Beg.” Let’s
don’t beg. Nashville recordings hit 15.2 million
about six years ago. Downloading caused
us to drop three years in a row to 12 million.
Last year, we came back up to 13 million, and
this year we’re ahead of last year. The Nashville
recording musicians are doing great!!
In addition, we helped to get the Nashville
Symphony Orchestra to ratify a five-year
agreement May 29, starting on Aug. 1 and continuing
through July 31, 2012, calling for a
significant pay hike. Actually, the increase is
as follows: a 14.5 per cent increase during year
one, a four per cent in each of the next three
years, and a 7.9 per cent increase in the final
year. Incidentally, assisting the musicians’
committee was AFM Negotiator Chris
Durham. Our thanks.
I also accept RMA President David
Pomeroy’s suggestion that you discuss your
concerns with Secretary-Treasurer Linneman
and myself at any time. Until next time, stay
tuned . . . Fraternally yours,
Harold R. Bradley
Nashville Symphony Orchestra negotiations conducted at the Schermerhorn Symphony Center, included
(from left) Harold Bradley, Laura Ross, Chris Durham (SSD Negotiator), Carrie Bailey, Brad Mansell,Gary
Armstrong, Lou Todd, Howard Stringer, Alan Valentine, Mark Blakeman, Michal Kirby and Jonathan Norris.
(Missing from photo is Lee Levine.) - Photo courtesy Laura Ross.
Your next General Membership Meeting date is 6:0 p.m.
Thursday, Sept. 6, at the Union Hall. Be sure and attend!
Singer Carrie Underwood’s
hit song scores three CMT’s
Carrie Underwood’s “Before He Cheats”
proved the big winner, both for her and the
song’s video director Roman White, in the fanvoted
Country Music Television (CMT) awards
show.
Although much-nominated, the Dixie
Chicks drew a blank in CMT’s best of finale,
during a gala awards telecast at Belmont
University’s Curb Event Center, April 16.
Kenny Chesney and Rascal Flatts nabbed
awards, in a year that has seen them cross over
into pop music charts and setting box office
records on concert sales.
Kris Kristofferson was honored with the
Johnny Cash Visionary statuette in recognition
of entertainment contributions as actor-singersongwriter
(reported on in our last issue).
Comic Jeff Foxworthy, again returned to
host, garnering some criticism for caustic comments.
The following were victorious in their
respective categories:
Best Video, Carrie Underwood’s “Before
He Cheats”; Best Female Video, Carrie
Underwood, “Before He Cheats”; Best Male
Video, Kenny Chesney, “You Save Me”; Best
Group Video, Rascal Flatts, “What Hurts the
Most”: Best Duo Video, Sugarland, “Want To”;
Best Breakthrough Video, Taylor Swift’s “Tim
McGraw”; and for Wide Open Country Video
(pushing the boundaries of the genre), Jack
Ingram, “Love You.” Best Director trophy
went to Roman White for Carrie Underwood’s
“Before He Cheats.”
Joe Settlemires joins George
Benson in Christian tribute
Guitarist Joe Settlemires helped salute one
of his guitar gods during the 22nd annual
Charlie Christian International Jazz Festival in
Oklahoma City, while marking something of
a reunion with some fellow bandsmen.
The Local 257 musician, who also serves
as President of Oklahoma City Local 375-703,
kicked off the June 10 Charlie Christian festivities,
opening for the jazz quintet The
Yellowjackets.
This reunited Settlemires for the night with
the group, which boasts players he performed
with during the late 1960s through the early
1970s. Also on hand during the three-day event
was jazz guitarist George Benson, whose pop
and R&B successes include the #1s “Give Me
the Night” and “Turn Your Love Around.”
Legendary jazz guitarist Charlie Christian,
Joe Settlemires greets George Benson at jazz fest.
born July 29, 1916, died March 2, 1942 in New
York of pneumonia at age 25. By then, Charlie
had already revolutionized jazz guitar playing
as a Benny Goodman bandsman since 1939.
The son of a blind, itinerant blues singer, Christian
came to Oklahoma City in 1929. Charlie
soon became a local favorite, fashioning music
on a homemade instrument built from a
cigar box. Music critic Ralph Ellison hailed
Christian's unique hand-made guitar, noting,
“No other cigar box ever made such sounds.”
The talented young musician honed his talents
playing clubs on Oklahoma City's Second
Street, a.k.a. as the Deep Deuce.
“I knew his brother Clarence, who played
piano,” notes Settlemires. “I also knew his
daughter Loraine, who didn’t know her dad,
because he died so young.”
Although highly regarded as a swing stylist
with Goodman, versatile picker Christian
(Con tinued on page 13)
Vol. MMVII, No. 3
July-September 2007
The
Nashville
Musician
Official Quarterly Journal of
The Non-Profit Union
Nashville Association of Musicians,
American Federation of Musicians Local 257
(c) 2007 The Nashville Association of Musicians
P.O. Box 120399, Nashville TN 37212
ISBN 0-9632684-1-4
NEWSPAPER STAFF
Harold R. Bradley, Publisher
Billy Linneman, EIC
Walt Trott, Editor
Sherri Dickerson, Advertising
Kathy Shepard, Photographer
LOCAL 257
Harold R. Bradley, President
Billy Linneman, Secretary-Treasurer
Otto Bash, Sergeant-at-Arms
Assistant to the President
Laura Ross
Assistant to Secretary-Treasurer
& Office Manager
Sherri Dickerson
Executive Board
Bobby Ogdin
Dave Pomeroy
Laura Ross
Denis Solee
Bruce Bouton
Mike Brignardello
Andy Reiss
Hearing Board
Wm. (Tiger) Fitzhugh
Kathy Shepard
Buddy Edmundson
Danny O’Lannerghty
Jim Grosjean
Jeff King
Tim Smith
Hearing Board Clerk
Anita Winstead
Trustees
B. James Lowry
Paul Leim
Shop Stewards
Laura Ann Ross,
Nashville Symphony
Live Engagement
Services Division
Kathy Shepard, Supervisor
Laura Ann Ross, Assistant
Anita Winstead, Assistant
Electronic Media
Services Division
Melissa Hamby Meyer, Director
Teri Barnett, Assistant
Shana Allen
Mandy Arostegui
Christie Allen
Tyler Allen
MPF Coordinators
Kathy Shepard
Anita Winstead
Business Agent
Kathy Shepard
Front Office
Arleigh Barnett
Janet Butler
Michele Voan
www.afm257.org
All material intended for publication should be directed to The
Nashville Musician, P.O. Box 120399, Nashville TN 37212 (office
location: 11 Music Circle North, Nashville TN 37203) Telephone
[615] 244-9514; Fax [615] 259-9140. The Nashville Musician
assumes no responsibility for loss or damage to
unsolicitated articles, photographs or artwork. Readers who submit
editorial materials should enclose a self-addressed return envelope
with proper postage. All rights reserved. This work may
not be reproduced or copied in any form, stored in a retrieval
system or transmitted in any form or by any means, electronic,
mechanical, photocopies, recording or otherwise, without prior
permission of Publisher, EIC or Editor.
Give to
TEMPO

4 The Nashville Musician July-September 2007
Secretary-
Treasurer’s
Report
By Billy Linneman
NASHVILLE IS HAVING A GREAT YEAR SO FAR!
Live Up over 15%
Symphonic Up over 9%
Masters Up over 15%
Demos Up over 15%
TV UP over 2%
Limited Pressing Up over 20%
This is a tribute to all the great, hardworking, talented musicians in
Nashville!
Convention Report
There were two main items that were controversial and the Convention
spent a lot of time to make its decision. In both cases I thought the delegates
made the correct decision.
1. Montreal situation: The Montreal Local had severe financial problems.
Most of the problems were caused by, I believe, two different sets of
Officers that used money unwisely. Finally an Executive Board Member could
not stand the problem anymore and got a slate of Officers that ran and defeated
the Officers that used up the Local’s money. They knew the Local was in bad
financial shape, but did not know how much. They hired an auditor and got the
bad news. There was a short time to get everything done before the Convention.
They paid off everything they could, but still owed the Federation over
$90,000. The members had paid their dues, but it was not paid to the Federation.
However, the new Local Officials did not try to get out of paying, but
instead went to the Federation with a payment plan. This is what set aside this
Local from the other Locals not seated. Some others asked for forgiveness of
what they owed the Federation, and others just could not pay, so they understood
they were not going to be seated at this Convention. Some people tried
to make this a political argument. I believed it was a case that could cause
an entire membership (the fourth largest Local in the AFM) to be disenfranchised
due to their leaders. The membership did what was right---Kicked
out the people, put in new Officers, and proceeded to clean up the mess they
were left with. The membership should not have been punished for this. As
most of you know, we were in a monetary problem ourselves in 2002, that
could have caused our Local not to be seated at the 2003 Convention. However,
we did have the money to completely pay off our debt, so the issue didn’t
become a real concern. Because of all the reasons stated above, I did vote to
allow Montreal to be able to repay what they owed, and consequently they
were seated at this Convention by an overwhelming majority of the delegates
present.
2. Work dues added to the Sound Recording Special Payment Fund. I
was very, very disappointed in this outcome. I must give some additional background
to this that goes back to the last convention where we took off the very
unfair graduated (the more money you made in the Funds, the less you paid, or
the less money you made you paid more) fee. I was also on that Finance Committee
and worked diligently against any fee being put on the Sound Recording
Musician. You may recall that there were no new fees put on the front end
payments, and wound up with only an increase in the new use section. The
Sound Recording Musician does not need any new increases in work dues, as
it makes us pay a higher percentage of our total income to the Federation! If
you would like to get more information on this thought process, please
come in and talk to me. Now let’s talk about this convention. In the Finance
Committee (Harold was assigned as International Vice President to the Committee,
to give any facts needed. He could not vote). I fought hard and long
against any increase of any charges (front or back end) to the Sound Recording
Musicians, and would have prevailed had it not been for the “share the
pain” group of musicians at the Revenue Committee meetings, held prior to
the Convention. Because of the overall financial position of the Federation, I
had to vote for the Financial Package as presented. If you want more information,
once again, please come in and talk to me. Another bit of information
is that the AFM budget has only increased by $400,000 in the last 10
Gary Scott enjoys a red-letter day in Nashville
- Photos by Kathy Shepard
Gary Scott’s admiration for music and bassist Billy Linneman made Nashville’s daily newspaper.
Gary met his hero Billy Linneman at the Union, accompanied by (from left) music therapist Lovie Morand,
Gretchen Herbert and Jenny Alford. Scott, a bassist, was with a group attending Vanderbilt’s music camp for
people with Williams syndrome, a genetic disorder creating medical and developmental challenges.
. . . more Secretary-Treasurer’s Report
years. If only inflation had been applied to the budget, it would have been over
$13,000,000 instead of slightly over $10,000,000. Obviously, the Federation
has kept cost under control, sometimes unfortunately having to sacrifice services.
Is there room for improvement—Yes. Unlike a lot of people who want to
blame the Federation for all the problems, however, I think the attitude of all
musicians should be To Become Part of the Solution, Not Part of the Problem.
All of us at Local 257 need to have that attitude, and we will grow even more
than what I stated at the top of my column. Now there is a silver lining to this
new fee and that is the Federation now has a vested interest in maintaining
all back end payments!
I also had a great experience the other day. Vanderbilt has a music camp
for adults with Williams syndrome. These adults have a genetic disorder that
manifests itself as behavioral strengths and challenges. One of the strengths
they have is musical ability. One of the people, Gary Scott, has problems tying
his shoe-strings but can sing songs in three different languages. Gary is also a
bass player. I was sitting at my desk and a phone call came in from one of the
people leading the camp and was wondering if I had time to meet Gary (they
were at a session showing them the recording process). They said that I was his
hero and it would be a highlight of his trip for him to meet me! I naturally said
OK, and in a couple of hours they came in. I had told the whole staff about him,
so when Gary came in they gathered around the front to see what would happen.
When I came out to meet him, there was not a dry eye in the building.
There is no way I could explain the look on his face when he saw me and
actually met me. It was such a humbling experience, and such a great experience!
He knew all about me and had come to the Grand Ole Opry several times
and could remember each individual time with details! Moments like those remind
us how blessed we are in our profession. They actually performed on the
Friday Night Opry, but unfortunately I had to go out of town and was not able to
be there.
Always remember that we have an open door policy. Please come in
and talk to either Harold or myself, if you have concerns.
I am truly blessed serving the BEST MUSICIANS IN THE WORLD!
Fraternally,
Billy Linneman

July-September 2007 The Nashville Musician 5
Live
Engagement
Services
By Kathy Shepard
Let me begin by saying that contrary to
popular belief, “Elvis” is alive and living in
Murfreesboro. I met him last month . . . Actually,
I was at the radio station of Solid Gospel/The
Fish in the ’boro for The Get Show.
The Get Show is an unusual live show
that occurs once a month and has a live studio
audience. The show is hosted by DJ - and
one of our members - Gregg Hutchins and
his sidekicks, Eugene and Tex. For some reason,
Elvis is usually there also.
Last month, Charlie McCoy was a guest.
Gregg interviewed Charlie during the show
and played several of his recordings. It was
a really fun show (see photos on this page).
Jimmy Hall & The Prisoners of Love performed
at Belle Meade Plantation recently
as part of the Tennessee Jazz & Blues summer
series. The “Prisoners” were: Jack
Pearson, Michael Joyce and Mike Caputy.
What great players! (See photos, page 32.)
Please keep in mind, while the weather
is warm, to take advantage of attending these
live concerts. For me, outdoor concerts are
my favorite part of summer.
Congratulations to Andy Reiss on the addition
to his family . . . a new, four-legged
furry child “Fluffy.” Fluffy is an English bulldog
and has some pretty big shoes to fill, but
from the size of her paws, I believe she will
do very well at making her new master feel
loved. (See Fluffy’s picture, page 29.)
Other good news: My assistant Anita’s
son Justin recently dropped on one knee and
asked girlfriend Gwen to marry him. (She
said yes.) So not only is Anita and her husband
Eddie gaining a sweetheart of a daughter-in-law,
but also Katie, a sweetie pie of a
granddaughter. Congratulations to all!
Also speaking of Anita, her eldest son
Lucas is on a mission trip, as I am writing
this column. He and his group are in Colorado.
Lucas has been to Colorado twice, to
Mexico and to Africa, on these trips to work
with underprivileged children. If any of you
are interested in donating to this type of charitable
work, please keep Lucas and his group
in mind. They will be going somewhere again
next summer.
On May 13, I lost an incredible friend,
Life Member Terry Mead, who passed away.
For those of us fortunate to have known him,
we were indeed lucky. The last several years
of life were far from comfortable physically.
Terry had a kidney transplant in 2001, after
being on dialysis three-and-a-half years. His
new kidney gave him the gift of six more
years of life. In ’02, I wrote an article about
Terry for this publication, also combining
facts concerning his musical career.
As a trumpet player, he was Brenda Lee’s
band director for nine years, did TV work,
recording sessions, was on Teddy Bart’s
Noon Show, Ralph Emery’s Morning Show,
TNN’s Nashville Now, to name a few. During
those years, he played on approximately
2,800 sessions. Besides playing trumpet and
fluegelhorn, Terry was also an arranger.
In that piece, I also wrote about Terry’s
long-time struggle with diabetes and slow
loss of vision. On the day that I interviewed
Terry, I gained understanding of the importance
of being an organ donor.
Terry’s funeral and memorial service was
sort of like a party . . . he would’ve liked it a
lot. It seemed like he planned most of it; there
was even a printed sign beside his casket,
stating not to say that he looked nice . . . or
natural. A Dixie band played at the funeral
home. His obituary in The Tennessean stated
that the funeral was BYOB. Close to his casket,
there was a copy of the article I wrote. It
was framed. I had seen it hanging in his house
many times. It really touched me that the article
had meant so much to him.
Also the letter that was sent from President
Harold Bradley, signed by him, Secretary-Treasurer
Billy Linneman and myself
congratulating Terry on becoming a Lifetime
Member of this Local was on display. Terry
was very proud of his Life Membership. My
condolences to Terry’s family, his many close
friends and his dog, Rudy Barker. “My dear
friend, I miss you.” (See obituary, page 13.)
Recently, I went to the Red Caboose Park
in Bellevue to hear John England & his Western
Swing Band. Of course, they were wonderful.
I’m sad to say that I was taking pictures
at dusk and none of them came out. That
happens sometimes at an outside venue. Too
bad. One of the photos was of the backside
of John’s guitar . . . in big white letters, it
says “A-HA!” I’m sorry John, I will try again.
A short time ago, our Secretary-Treasurer
Billy Linneman had the opportunity to meet
his “biggest fan,” Gary Scott. Gary was in
town attending the Vanderbilt Kennedy Williams
Syndrome Camp. Mild to moderate
mental retardation, visual and spatial impairments,
serious cardiac problems, and poor
motor skills are a few of the aspects of Williams
Syndrome. A strong proclivity for music,
sociability and charisma are a few of the
areas in which individuals with Williams
Syndrome excel. Like Gary, many individuals
with Williams Syndrome have amazing
musical gifts. Perfect pitch, innate rhythm,
the ability to sing in multiple languages, or
memorize thousands of songs are rare qualities
for even the most gifted musical artists.
Consider these qualities expressed in individuals
with a mean IQ in the 60s. Gary (an
upright bass player, like his idol Billy
Linneman) and his fellow campers had quite
a week. They recorded a song in a studio and
they played on the Grand Ole Opry while
they were here. (See page 4, for photos.)
Once again, my friend Susan Ladd Smith
Humphreys, Zov and I invited ourselves to
Otto Bash’s house to help him celebrate his
birthday. Also, Otto has been spending some
afternoons here at the office, organizing and
labeling old photographs. Thanks, Poppa.
We get calls from time-to-time requesting
referrals for gigs. The other day, someone
wanted a “saw” player. OK, I hate it when
I can’t refer one of our members for a job.
So, do any of y’all play the saw? Actually, if
any of you play any strange kind of instrument
at all, and it is not in your file, let me
know. You never can tell when I might get a
call for it.
So till next time, be safe, be good to each
other, and please support live music.
Kathy Shepard
Call in off-the-cuff recording
sessions anonymously to
(615) 244-9514, Extension 225.
This shot of Charlie McCoy was taken while guesting on the Solid Gospel/TheFish
radio show with host Gregg Hutchins, who like Charlie’s a member of Local 257.
Kathy Shepard joins Gregg and Charlie for a picture session at FM station 105 on the radio dial.
Charlie with the station’s staffer Joy Teague.
Kathy Shepard’s dream comes true:
she gets to meet ‘Elvis’ (!) while
visiting The Get Show,
hosted by Gregg Hutchins.
Anita Winstead greets son Justin’s fiancee
Gwen and her daughter Katie, during their
recent visit to the Local 257 union office.
Photos courtesy
Kathy Shepard

6 The Nashville Musician July-September 2007
As I begin my report and wrap up the
Nashville Symphony season until September,
my first news (which I’m sure many have already
heard) is that Local 257 was successful
in defending Mary Kathryn VanOsdale’s termination
as concertmaster of the Nashville
Symphony at the end of the 2005-06 season,
and she will be fully restored to her position
this coming September.
I know there have been all sorts of rumors,
nearly all of them wrong, about why this all
happened in the first place. As I stated a year
ago when I first wrote about this,
management’s reasons had nothing to do with
her playing. Contrary to another rumor, it also
had nothing to do with Maestro Leonard
Slatkin, whom Mary Kathryn is looking forward
to working with again. In order to begin
the healing process, everyone involved prefers
not to go into detail, but to put this behind
us and move forward. I know that Mary
Kathryn is very much looking forward to her
return to the orchestra and we all look toward
to even better times when we begin our new
season.
I do wish to personally thank Harold Bradley,
Local 257’s attorney Jan Jennings and
2006-07 Nashville Symphony Orchestra
Committee co-chairs Dan Lochrie and Brad
Mansell for all their work during this past year.
Their hard work and dedication was absolutely
essential in preparing Mary Kathryn’s case for
arbitration and positive outcome.
So it is not left as a footnote at the end of
this article (because it too is of great importance),
I am sad to report that Katie Hagen
decided at the end of the season to resign from
the orchestra, as she and co-principal trumpet
Pat Kunkee are expecting another child and
she has chosen family over her career as a very
fine horn player. I congratulate them and know
this was a difficult choice. Katie has been a
smiling face in our midst for a number of years
and we will miss her very much. On the other
hand, I know her family will be very happy to
have more time in her presence and I hope
she comes back to visit us many times in the
future.
Now on to the wrap-up of the end of our
season; as I reported back in April, Chris
Durham joined us again and managed to “pull
another rabbit out of the hat.” I am pleased to
report that during our week-long negotiation
with the Nashville Symphony, we reached
settlement for a five-year agreement that included
significant wage increases that will
The Nashville Symphony’s 2nd Violin Section backstage.
Symphony
Notes
By Laura Ross
Nashville Symphony
Shop Steward
take us to an annual base salary of $60,000 in
2011-12. This coming season, our salary gets
a very nice 14.5% bump, in the second season
we will add an additional vacation week (one
that will be a “floating” week that we can
choose from a selection of designated weeks),
and pension will increase by 1% to 7% over
the life of the agreement.
Two of our members were married this
June – violist Michelle Lackey was married
in the Curb Room at Schermerhorn Symphony
Center, and violinist Ali Gooding was married
in a small family wedding in Mt. Juliet. My
best wishes to both our new brides.
We also celebrated the retirement of 36year
member Joann Cruthirds in her final concert
with the orchestra on June 2, which included
an on-stage presentation and a lovely
party backstage following the concert. Joann
will certainly be missed. (See pictures below.)
We were lucky enough, however, to spend
some time with Louise Higgins, who was hired
back in March to replace Joann this coming
season, since she was available to play some
of our summer concerts. Louise will be getting
married this summer and honeymooning
in Ireland before she and her new husband
(who was recently hired by the NSO in marketing)
begin their new jobs in September. We
look forward to welcoming them both into the
Nashville Symphony family.
Since I was involved in the Southern Conference
and AFM Convention (see my report,
starting on page 1), I was unavailable for the
first Summer Festival concerts that included
Carl Orff’s Carmina Burana and Ravel’s
Scheherazade, the second, which was recorded
the following Sunday as the companion work
to our December recording of Ravel’s opera
L’enfant et les sortillèges. I returned from the
AFM Convention (a day early) in time for final
rehearsals and performance at the Ameri-
(Photos below, courtesy Laura Ross)
can Symphony Orchestra League’s National
Convention hosted by the Nashville Symphony.
Even now, weeks later, I continue to
receive wonderful praise for our concert.
(I am writing at least part of my report on
the way home from a two-day meeting in Chicago
for the Mellon Foundation that included
managers, board members and musicians from
ICSOM, ROPA and AFM staff.)
Following the concert, Alan pulled out all
the stops with a wonderful “Tune Up” party
for audience and ASOL attendees. On Thursday
and Friday I was able to attend some of
the workshops ASOL planned for musicians’
attendance, including a panel discussion by
Laura Brownell (AFM-Symphonic Services
Director), ICSOM Chair Bruce Ridge (from
the North Carolina Symphony), ROPA President
Tom Fetherston (from the Cleveland
Opera Orchestra) and Carla Johnson (Executive
Director of the Virginia Symphony) on
the topic of working in a more positive workplace.
I was also invited along with Bruce and
Laura B. to meet with managers of Group 2
orchestras (the budget group the Nashville
Symphony is now leaving to move to Group
1). A few of our musicians were on hand for
some of these discussion sessions and the musicians’
luncheon during the convention. At the
end of the convention, the ASOL (they call it
their “unfortunate acronym”) officially
changed their name to the League of American
Orchestras or LAO. It’s going to take time
to remember to use that one . . .
The second Summer Festival was led by
Music Advisor Leonard Slatkin and included
Gershwin’s Rhapsody in Blue, Barber’s Adagio
for Strings, and three works based on the
life of Abraham Lincoln that were recorded
the following Sunday, as the beginning of a
three-disk project dedicated to Abraham Lin-
coln, whose 200th birthday will be celebrated
in 2009. According to Leonard, there are numerous
works dedicated to Lincoln so we have
many to choose from.
Of course, the season cannot end without
being overpowered by fireworks on July 4th
(it was George Schram’s first experience), and
we had a beautiful evening, though a bit windy
requiring the use of wind clips. Many musicians
took advantage of the location of our hall
to take refuge during the raging traffic jam
afterward. For anyone who hasn’t witnessed
the grid-lock following the fireworks cannot
understand the pleasure we took in throwing
a small party until the traffic cleared.
Finally, we were on to our last concerts of
the season, a chamber orchestra-size concert
of Mozart, Mendelssohn and Bach directed by
Scott Yoo, who was also the featured soloist
of Mozart’s Violin Concerto No. 3. It has been
a very full year with some wonderful highs –
the Gala, working with Music Advisor
Leonard Slatkin, celebrating the return for our
final series concerts of Giancarlo Guerrero,
saying goodbye to Joann Cruthirds, playing
for the ASOL Convention, and hearing of
Mary Kathryn’s reinstatement. Next season
promises to be as busy as this year was, so I
know my colleagues hope to take full advantage
of their vacation before we begin again
in September.
Before I end, I cannot forget to thank the
2006-07 Orchestra Committee for all their hard
work during this very long and sometimes difficult
year. Steve Brown and Beth Beeson will
continue on the committee this coming season
(Steve will serve as Chair). To Dan
Lochrie, Brad Mansell and Liz Stewart, I extend
special thanks as they all have completed
the second of two back-to-back two-year
terms; thanks for all your hard work and leadership.
Carrie Bailey (principal 2nd violin),
Ellen Menking (assistant & 2nd oboe) and
Ryan Kamm (section bass) begin their twoyear
term on the committee this fall. Thanks
also to Lee Levine who served very ably as
ICSOM delegate this season. She was the very
model of diligence and in her capacity as delegate,
she also served on the negotiation team
and on the Local Internet Oversight Committee.
Brad Mansell begins his service as ICSOM
Delegate this summer, as we travel to Minneapolis,
Minn., for the ICSOM Conference.
I wish all of you a very wonderful summer
and look forward to telling you all the
news fit to print in the fall.
Laura and Alan Valentine present retiring NSO member Joan with parting gifts.
Joann with brother Hal Cruthirds. Joann chats with Ann Richards, Cynthia Estill and Glen Wanner at backstage retirement party.

July-September 2007 The Nashville Musician 7
Marilyn Monroe Estate’s Right
Of Publicity Claim Is Denied
Marilyn Monroe, perhaps the most famous
sex symbol of the 20th century, died on Aug.
5, 1962. She left a Will, which did not expressly
bequeath a right of publicity, containing
the following residuary clause:
All the rest, residue and remainder of my
estate, both real and personal of whatsoever
nature and whatsoever situate of which I shall
die seized or possessed or to which I shall be
in any way entitled, or over which I shall possess
any power of appointment by Will at the
time of my death, including any lapsed legacies,
I give, devise and bequeath as follows:
(a) To May Reis the sum of $40,000 or 25%
of the total remainder of my estate, whichever
shall be the lesser.
(b) To Dr. Marianne Kris 25% of the balance
thereof, to be used by her as set forth in
Article Fifth of this my Last Will and Testament.
(c) To Lee Strasberg the entire remaining
balance.
Aaron Frosch was named Executor of the
Will. Lee Strasberg died in 1982 leaving his
entire estate to his wife, Anna Strasberg. Aaron
Frosch, Executor of the estate, died in 1989,
at which time Anna Strasberg was named Administratrix.
Ms. Strasberg then proceed to
form Marilyn Monroe, LLC, to hold and manage
the intellectual property assets and rights
On the Jazz &
Blues Beat . . .
By ROBERT
AUSTIN
BEALMEAR
I hope this edition of the paper finds you
all vacationing at poolside with the beverage
and companion of your choice. A glass of iced
green tea and a loyal canine, perhaps. If that's
too tame for you, here are some other ways to
enjoy the Middle Tennessee summer season.
Outdoor festivals continue with "Jazz on
the Lawn" at Beachaven Winery (Clarksville)
offering the Clarksville Jazz Quintet on July
28, blues on Sept. 1, and Sept. 15, and the
Jerry Vinett Group on Oct. 6. For the series
schedule, go to www.beachavenwinery.com
The Sumner Crest Winery in Portland features
blues on July 28.
The DUSK series at Monthaven in
Hendersonville will have a final concert Aug.
19 with the Nashville Jazz Orchestra. For details,
go to www.hendersonvillearts.org
Summer concerts in Metro Parks continue,
sponsored by the Music Performance Fund.
Big Band Dances every Saturday night in the
Centennial Park Event Shelter continue
through Aug. 25. Sadly, the Metro website no
longer lists the bands playing, at least that I
can find. The Friday evening series at Red
Caboose Park in Bellevue also continues
through August. For information on bands for
both series, you'll have to call 862-8424.
I can't find any mention of this year's
"Live Along The Lake" music and arts festival
in Centennial Park on Labor Day Weekend,
usually with arts, crafts, and bands. For a
schedule of all park events, go to
www.nashville.gov/parks
Regarding our two big Labor Day jazz festivals,
the Franklin Jazz Festival in Franklin
and the Music City Jazz, Blues & Heritage Festival
at Nashville's Riverfront, the MCJBHF
is Sept. 1-2, but other than host Kirk Whallum,
no other artists have yet been announced. The
festival will no doubt continue its smooth and
groove bent. The Franklin festival is being
booked by AFM member Scott Ducaj, so I can
tell you about that.
The Sept. 2-3 festival will again take place
in downtown Franklin, and cost $5. Music begins
at 3 p.m. Sunday and includes the Group
Tachoir, Delicious Blues Stew, Sandy Castel
LEGAL TIPS
By
Marshall M. Snyder
Attorney - at - Law
of the residuary estate.
The three principals of Shaw Family Enterprises,
LLC, are the three children of Sam
Shaw, a photographer who took many photographs
of Marilyn Monroe. Comprising the
“Shaw Collection” is a series of photographs
of Marilyn Monroe, including many “canonical”
Marilyn images. The copyrights to these
photographs are owned by the Shaw children.
During September of 2006, a Target store
in Indianapolis, Ind., began selling T-shirts
which bore a picture of Marilyn Monroe and
the inscription “Shaw Family Archives” on the
inside neck label and a tag advising customers
they could purchase licenses on a website for
the use of Ms. Monroe’s picture, image and
likeness on various commercial products
which they, the customers, may wish to in turn
sell.
Marilyn Monroe, LLC, filed suit against
(a singer from Las Vegas), and an entertaining
funk group from Austin, Texas, Mingo
Fishtrap. Monday starts at 7 a.m. with the
Franklin Classic, a marathon run to benefit the
Mercy Children's Clinic, accompanied by
some Dixieland and R&B. The afternoon
lineup includes vocalist Kristy Agee, Pat Coil,
and the Nashville Jazz Orchestra.
After a July 27 concert of classic Blue Note
tunes by the NJW All-Stars, The Nashville Jazz
Workshop's "Snap on 2 & 4" concerts resume
its second and fourth Friday series on Aug. 10
with an appearance by fantastic vocalist
Connye Florance. Details on events and
evening classes are at www.nashvillejazz.org
Speaking of Blue Note Records, an amazing
event occurred in late June, when Blue
Note sponsored a series of jazz artists at the
giant Bonnaroo rock festival in Manchester.
An air-conditioned tent presented the musicians
in a club setting, with panel discussions,
and the legendary photography and art work
of Francis Wolff and Reid Miles. Artists included
Ravi Coltrane (son of John Coltrane),
Don Byron, Stefon Harris, Jacky Terrason,
Medeski & Martin (without Wood), David
Murray and others.
Two certified legends of the alto sax appeared,
Lou Donaldson (with Dr. Lonnie
Smith) and Ornette Coleman, whose pioneering
style of improvising is still influencing musicians.
Coleman's Sunday night appearance
was marred by his on-stage collapse from heat
stroke. He was sent to Coffee County Hospital
overnight. A few days later, I spoke to
Coleman's friend and ex-Nashville musician
John Rogers who reported Ornette was fine
and ready for a month of European touring.
The Nashville Jazz Orchestra brought a
rare evening of big band jazz to Williamson
County, with a Father's Day concert in
Pinkerton Park, featuring vocalist Annie
Sellick, Channel 4's Cynthia Williams, and an
appearance by the Mayor of Franklin. The concert
also introduced NJO's latest CD, "Legacy
– The First Annual Jazz Writers Night" recorded
at the Martha Rivers Ingram Center for
the Performing Arts at Blair. The CD features
arrangements by Nashville composers like Jeff
Steinberg, Doug Moffet, Jamey Simmons, Paul
Epp and NJO Director Jim Williamson. It's
available at www.nashvillejazzorchestra.com
Come out and support some of the new jazz
gigs at various venues around town. The 12
South Taproom on 12th Avenue South offers
gypsy jazz a couple of times a month, and other
jazz/rock types on various nights. Chappy's on
Church St. has changed bands, but still offers
jazz six nights a week. Once or twice a month,
Richard's Café on Whites Creek Pike offers
jazz among its songwriter crowd and Cajun
cuisine. Another Cajun restaurant, Raz's in
Shaw Family Archives in New York Federal
District Court seeking to shut down the sale
of these T-shirts at the Target store in Indianapolis.
Marilyn Monroe, LLC, alleged the
sale of T-shirts violated Indiana’s Right of
Publicity Statute.
The decision before the court was whether
there was any post-mortem right of privacy
or publicity in the name, likeness and image
of Marilyn Monroe in the state of Indiana. The
court noted that the Indiana statute was not
passed by the legislature until 1994. At the
time of her death in 1962, according to the
court, Ms. Monroe did not have any postmortem
right of publicity. As a result, any publicity
rights she enjoyed during her lifetime
were extinguished at death by operation of law.
A Will passes all property the testator owns
at death, including property acquired after the
execution of the Will. It is settled law that a
Will is construed as applying to and disposing
of the estate in its condition at the time of
death. A testator may dispose only of such
property as is subject to his or her testamentary
powers. In interpreting a Will, a court
should view the Will in a manner which reveals
the intent of the testator as disclosed by
the language of the Will, and if possible, effectuate
the intent.
During his or her lifetime, a testator cannot
give or dispose of property which he or
she does not own or has no interest no more
so can a person make a post-mortem distribu-
Smyrna has jazz duos on weekends.
Guitarist Jack Pearson has returned to
Corky's barbeque in Murfreesboro about once
a month, and make sure you catch his regular
monthly gigs at 3rd & Lindsley. Check out
Z's Five Points Deli on the East side, mostly
Monday and Thursday nights. Criallo's in Cool
Springs has returned to jazz, mostly solos and
duos during the dinner hours. Sadly, Pat Coil
and Jim Ferguson are no longer doing their
duo at Basil's. If you didn't go, you missed
some of the best jazz played here recently.
On the blues scene, the Music City Blues
Society continues its fine blues support with
a full list of blues happenings at their revamped
website, www.musiccityblues.org
Some recent club additions to the blues scene
include The Place on 2nd Avenue and The
Blue Bar on Broadway.
At WMOT Jazz89FM, JAZZ On The Side
continues its weekly series of music and stories,
Sundays at noon. A special radio twopart
history of jazz was broadcast during their
successful Spring Pledge Drive, being followed
by another two-hour special for this
fall's drive. Mark your calendar for a special
Labor Day "Blindfold Test" show Sept. 2.
On behalf of all professional jazz and blues
musicians in Nashville, I'd like to offer a big
"thank you" to WMOT Director of Broadcasting
& General Manager John High, who retired
after four decades of broadcasting. It was
John who began the research that determined
their jazz format. Because of his dedication
to public radio (and the talent of his long-time
staff), WMOT became one of the best 24-hour
jazz radio stations in the U.S., winning awards
for news and programming. John, you have
made WMOT a mandatory part of everyday
life for many of us in Middle Tennessee, and
we wish you well in your future endeavors.
As usual, we've had to say a permanent
goodbye to some truly great artists since the
last issue. In June, we lost Tito Gomez, Puerto
Rican salsa singer and member of the Ray
Barretto band, and Nellie Lutcher, jazz singer
and pianist. In May, we lost great West Coast
trumpeter and bandleader Buddy Childers,
who worked with Stan Kenton for many years,
and later Tommy Dorsey, Woody Herman and
others. We also lost Alphonse "Bois Sec"
Ardoin, creole accordionist, New Orleans jazz
clarinetist Alvin Batiste, and Carey Bell, blues
harmonica player.
In April, Tommy Newsom, tenor saxist,
big band arranger, #2 bandleader for the longrunning
Tonight Show, and the butt of many
Johnny Carson jokes, passed away. We also
lost pianist Andrew Hill whose many Blue
Note records combined early ’60's hard bop
with the avant garde movement of the late
’60's and early ’70's, tenor saxophonist
Marilyn Monroe
tion of property, which at the time of his or
her death, he or she does not own or in which
he or she has no right. Thus, property acquired
by a testator’s estate after his or her death may
not pass under the residuary clause of the Will.
Any argument that the residuary clause of
Ms. Monroe’s Will permitted her to devise a
post-mortem right of publicity must be
doomed because the law in effect at the time
of Ms. Monroe’s death did not recognize descendible
post-mortem publicity rights and did
not allow for distribution under a Will of property
not owned by her at the time of her death.
A testator may dispose only of such as he or
she is subject to his or her testamentary power.
Marilyn Monroe, LLC, argued that if the
residuary clause did not grant to the residuary
beneficiaries any rights to acquire this intellectual
property, granting such rights to the intestate
heirs of Marilyn Monroe (possibly another
lawsuit against Shaw Family Archives
for another day) would be unfair. The court
found this argument bordering on the absurd.
In summation, the court held that the Indiana
Right Of Publicity Statute granted no
right of publicity to an individual to pass any
rights of publicity via a Will. The court, therefore,
ruled in favor of Shaw Family Archives.
(Marshall M. Snyder is a Music Row attorney
who can be reached at 615.742.0833 or by
e-mail at marshall.snyder@earthlink.net)
Herman Riley, Australian bebop singer Joe
Lane, and popular ’60's jazz/pop vocalist Dakota
Staton.
Get out and celebrate our artists while
they're here. See you in the fall.
- Austin Bealmear
Americana award for Joe Ely
Despite Rodney Crowell being a no-show,
Americana Music Awards nominations were
announced June 19 at BMI. Crowell, reportedly
tied up in traffic, was to disclose roots
music nominees along with singer Elizabeth
Cook. Stepping up to the mic beside Cook,
however, was rock musician Webb Wilder.
The following have been nominated for
2007 Americana Honors & Awards, to be presented
Nov. 1 at the Ryman Auditorium: Artist
of the Year - Joe Ely, Patty Griffin, Todd
Snider, Lucinda Williams; Instrumentalist -
Sam Bush, Will Kimbrough, Buddy Miller,
Gurf Morfix; Emerging Artist - Avett Brothers,
Amy LaVere, Sunny Sweeney, Uncle Earl;
Duo/Group - Avett Brthers, Duhks, Hacienda
Brothers, Old Crow Medicine Show, Son Volt.
Nominated for Best Song: Elizabeth
Cook’s “Sometimes It Takes Balls to Be a
Woman”; Patty Griffin’s “Heavenly Day”;
Darrell Scott’s “Hank Williams’ Ghost”;
Lucinda Williams’ “Are You Alright?” Best
Album: Avett Brothers’ “Emotionalism”; Bob
Dylan’s “Modern Times”; Patty Griffin’s
“Children Running Through”; and Lucinda
Williams’ “West.”
In addition to his nod for Artist of the Year,
Joe Ely has been named the 2007 Lifetime
Achievement Award for Performing recipient.
During Ely’s genre-crossing career, he has
performed with Bruce Springsteen, Los Super
Seven, James McMurtry, The Clash, Lyle
Lovett, John Hiatt and Guy Clark.
In its eighth year, the Americana Music
Conference will be held Oct. 31 thru Nov. 3.
Festivities begin Halloween night with showcases;
then seminars/panels at the Nashville
Convention Center. For details, visit on-line
www.americanamusic.org

8 The Nashville Musician July-September 2007
Advertising has never looked so good in
our Nashville Musician newspaper. Beginning
with this issue, we offer full-color printing
on select pages! Interested advertisers should
contact me at (615) 244-9514, ext. 240.
Are you an AFM 257 member with a
website? If you’d like yours linked to ours,
go to www.afm257.org Under “Useful Links,”
access “Add a Link (members only).” To view
member links, enter “AFM 257 Member
Sites” from our home-page.
New members or any member available
for work should stop by to post their information
in our lobby. Please see the ladies at
the front desk for the proper form to post on
the kiosk. We’ll keep it posted for three
months.
I was recently asked if there was an alternative
to paying annual membership dues in
full all at once. Since late fees and member
status changes would still apply per due dates,
Office
Manager’s
Notes . . .
By Sherri
Dickerson
. . . Delegate reports on AFM Convention in Las Vegas
(Continued from page 2)
the Player Conferences.
Following the Memorial Service, AFM
General Counsel Jeff Freund explained a Department
of Labor (DOL) ruling regarding the
status of African-American delegates that resulted
in another two-hour plus “argument”
that delayed Convention action even further.
There are a number of Locals throughout the
U.S. that have a hyphen, like Local 10-208
(Chicago). These Locals are the result of voluntary
merging of two Locals – one white and
one African-American – that occurred back
in the late 1950s and 1960s. To counter the
loss of officers and voting rights in these African-American
Locals, these “hyphenated”
Locals were entitled to one additional African-American
delegate, to represent their specific
interests. This continued for many years
until 1989, when the DOL informed the AFM
that it was illegal to have a delegate position
that was only open to African-Americans.
They told the AFM that these delegates could
still attend, but during the election of officers,
they were not allowed to vote. In 1989,
the AFM decided that the African-American
delegates would honor the DOL ruling, but
then in 1991 went back to “business as usual.”
Many are aware that the DOL has been
scrutinizing and harassing Labor Unions because
of the current Administration, so once
again this year, thanks to an election procedure
challenge by an AFM member, (that responsible
person, I am told, being the guy carrying
a green stop sign with the word GO on
it, who was pacing back and forth in the area
of the room designated for non-delegates and
guests), was cause for the DOL’s redirected
attention on the AFM’s election process. Jeff
Freund tried patiently, over and over, to explain
the problem and that getting the entire
membership of a Local to vote for that particular
African-American delegate was not
going to address the problem.
What few seemed to understand was that
the DOL ruled that the delegate position must
be open to anyone of any race; they could still
represent the African-American concerns, but
the position could not be restricted during
election. More than once someone stood up
and suggested the by-law be changed, or recommended
ignoring the DOL, saying no one
would challenge the election. In the end, even
a motion by Phil Ayling (RMA International
President) to try and fix the problem was defeated.
I hope there will be a recommenda-
my suggestion was to put money in escrow
during the current year, to go towards next
year’s dues. If that would help you, please
specify with your payment that this is what
your money should be set aside for. Once next
year’s dues are assessed in the system, your
escrow money can then be applied toward your
balance.
The sheet you sign when you pick up
checks in the office has a new feature. “Today’s
Charges” will be listed on this Signature Sheet.
Charges will be itemized for each check picked
up in the system that day. It will not reflect
any outstanding charges prior to that date.
Paying your charges while in the office would
be greatly appreciated. Interest charges are in
effect, so it will be to your benefit to pay early.
We will continue to bill monthly for any outstanding
indebtedness.
Love your neighbor as yourself. God bless.
- Sherri Sherri@afm257.org
tion to fix this situation at the next convention
in three years.
Following this discussion, the Diversity
Committee presented their report and handed
out three awards; the Youth Award being given
to 14-year-old Tyrone Martin, Jr., and one recognizing
the Houston Local’s activities. Following
the awards presentation, the Convention
was dismissed for a dinner break, to return
for an additional session that evening. The
room was cleared of all but voting delegates
and the secret ballot officer elections were
held. You will have heard the results by now,
but Tom Lee was re-elected as AFM President
(his and all other terms now being for three
years since the Convention cycle was
changed). Sam Folio was re-elected as Secretary-Treasurer
as were current IEB members
Joe Parente (Philadelphia) and Ray Hair (Dallas-Fort
Worth). Joining the IEB for the next
three years are Erwin Price (NYC), Bob
McGrew (Houston, and this was his second
time on the board) and Billy Linneman. There
are a lot of firsts with this board – two members
of the IEB are from Texas (Ray and Bob)
and two members are from the same Local
(Harold and Billy). I congratulate them all.
I was unable to attend the entire Convention,
since I returned to Nashville to perform
for the American Symphony Orchestra League
Convention that was hosted by the Nashville
Symphony. Because of this, I was not in attendance
when the financial package was
passed. [As I spoke about at the Local 257
meeting on May 30, all the financial proposals
go into the hamper and the Joint Law and
Finance Committee generally present an omnibus
financial package that replaces and disposes
of all resolutions and recommendations
that were submitted.] What did finally pass
was a one-time $2 per capita increase next
year, the memorializing of increased work
dues levels for Film, Jingles and Videotape that
were put into place in 2005, and the addition
of 2% work dues paid on the gross payments
to each musician above $2,500 from the Film
and Special Payments Funds (beginning in
2008).
In closing, there were a few resolutions and
recommendations of note that passed. Some
assure more transparency within the AFM regarding
our access to information, a substitute
resolution that expands how orchestras can
seek help from the AFM, when they and their
Local are having problems, was adopted, as
did an IEB policy from about two years ago
Local 257 delegates Bobby Ogdin and Billy Linneman at AFM meet. (Note:: photos courtesy Laura Ross)
Southern Conference delegates (from left, back row) Matt Good, Karen
Schnackenberg, Laura Ross, (front row) Tammy Kirk and Bruce Schultz.
Laura with newly-elected Southern Conference President Lovie Smith-Schenk of Houston Local.
regarding the appointment of Player Conferences
representatives to AFM Committees, who
are chosen by the individual conferences. Another
change redefines what a “rank-and-file”
member is in regard to being chosen as an
AFM-EPF Trustee, and it addresses the notification
and consultation process between the
Player Conferences representatives and the
AFM President in choosing a “rank-and-file”
replacement.
A recommendation for support of Stem Cell
research and a substitute resolution regarding
funding and support for the Iraq war were both
adopted. Many technical changes to the AFM
by-laws were adopted as was a directive that a
“joint venture” agreement be developed by the
AFM to allow solo, band or ensembles to record
and distribute their own self-produced recordings.
I continue to believe that standing together
is better than standing alone. I believe there are
folks out there with good ideas, who want to
help and that should not be dismissed. I also
believe it’s not fair that some should pay for
services while others receive all the benefits
and don’t pay. I believe we all need to work
together to make our Local and the AFM stronger.
(Editor’s note: Opinions expressed in this
report do not necessarily reflect those of the
newspaper or the officers of AFM Local 257.)
Newly-elected IEB member Bob McGrew
of Houston Local, with wife Beverly
Change in your beneficiary?
Be sure to report important
changes in your status
to the Union office!
Call (615) 244-9514, Ext. 240.
Holiday closings slated
The AFM Local 257 offices will be closed
for the following holidays:
Monday, Oct. 8, Columbus Day
Monday, Nov. 12, Veterans Day
Thurs., Fri., Nov. 22-23, Thanksgiving
Christmas-New Year’s, Dec. 24-Jan.1

July-September 2007 The Nashville Musician 9
I have some good news and some not-sogood
news for you this time around . . .
Let’s start with the good news. RMA
Nashville's membership is steadily increasing
towards an all-time high, and our members are
more informed and aware of AFM and Local
257 issues than ever before. We appreciate all
of you first-time members, as well as those
who have renewed their membership.
The newly redesigned RMA Nashville
website at www.rmanashville.org is up and
running smoothly, and has already become a
valuable resource for Local 257 musicians,
potential employers and anyone looking for
all the information needed to have a successful
“on-the-card” Nashville session experience.
To aid in this, we now have a “What’s
the Scale?” page that provides the actual check
amounts for the most common type of sessions.
You may find that this page is much
easier to use than the often-confusing Local
257 scale sheets.
We also have a new “Member Editorials”
page on the website. Anyone can read what’s
posted, but you must be an RMA Nashville
member to post. Unlike many of the AFM
blogs out there, ours is not anonymous. We
believe that standing behind your own words
is a good thing. Unfortunately, some people
hide behind the anonymity of AFM blogs and
use that secrecy to make disparaging personal
comments and spread negative rumors and
innuendo. We believe that honesty and transparency
are essential if the AFM is to move
forward. This is all part of our commitment to
keeping RMA Nashville and Local 257 members
informed and aware of all of the latest
developments in the AFM.
Now for the not-so-good news . . . Here’s
my post-Convention summary.
As I took a taxi to the Las Vegas airport a
few weeks ago, heading home from the 2007
AFM Convention, I couldn't help but reflect
at how different I felt than just two years ago
after the 2005 Convention. Back then, I was
so elated, I could hardly contain myself. This
time, I had quite another feeling.
In 2005, after three days of intense discussions,
negotiations and several leaps of faith,
RMA and AFM representatives were able to
work together and craft a financial package
that was approved by the Convention. This
settlement eliminated the very unpopular Special
Payments Assessment, and also promised
us increased oversight in Electronic Media
Services and an annual fund created to pursue
noncompliant employers. In exchange, work
dues increases in Television, Film, and Jingle
work brought the Federation increased revenue.
AFM President Tom Lee and RMA International
President Phil Ayling embraced on
the podium, and Phil gave the first-ever RMA
speech to the Convention. The Convention
also mandated that a Revenue Committee be
created to investigate the relationships between
work dues, per capita and other revenue
sources and that the Committee should present
their conclusions to the 2007 Convention. All
in all, it was a harmonious conclusion to some
very contentious times, and I honestly believed
that we had reached a new era in the AFM,
where all musicians could work together for a
strong Union.
Two years later, in June 2007, the AFM was
playing quite a different tune. The RMA was
criticized at every turn. The SPF Assessments
were voted back in, and the work dues increases
on Film, TV, and Jingle work that were
supposed to end in August 2007 were made
permanent. The EMSD oversight committee,
created to improve electronic media enforcement
and fiscal accountability, and of which I
am a member, has yet to meet.
The Revenue Committee, which I served
on, met numerous times before the Convention,
and as directed, spent many hours coming
up with a new, balanced approach to solving
the AFM’s seemingly chronic need for
more cash. Most of us on the Committee felt
that we had done an excellent job of rethinking
the AFM’s financial direction in an equitable
way. Unfortunately, after all our time and
effort, the Revenue Committee’s package got
derailed in committees and never even made
it to the Convention floor. The Finance Committee,
which included Local 257’s Billy
Now at: www.rmanashville.org
Recording
Musicians
Association
Dave Pomeroy, President, RMA
Linneman, heard testimony against the SPF
fees from RMA and Symphony musicians, but
in the end, proposed a 2% SPF “tax,” which
was adopted by the Convention. This is 20
times - that’s right, 20 TIMES, the SPF assessment
asked for in the Revenue
Committee’s proposal. Our Local 257 $5/year
increase per capita proposal bit the dust without
a whimper, too. Instead, the Convention
delegates voted in a one-time, $2 per capita
raise over three years, while continuing to fund
the federation on the backs of recording and
symphony musicians.
What happened? How did we get here?
What now?
There are no easy answers to these questions.
Despite the good intentions of the 2005
Convention’s happy ending, the rift between
President Lee and recording musicians, particularly
those in Los Angeles, has deepened,
and this conflict has dominated the AFM landscape
for the past two years. This ongoing
conflict has brought RMA Nashville into the
crossfire, even though we have done nothing
to deserve the criticism and negative stereotypes
of recording musicians that are being
thrown around the AFM so liberally. The Secretary/Treasurer
of the AFM has called recording
musicians various derogatory names in
public forums, using words too vulgar to print
in this paper. As I said in my statement to the
Convention, the hard-working recording musicians
of Nashville are not rich, selfish, or
greedy, yet we are suffering the consequences
of punitive measures that seem to be designed
to punish those in Los Angeles who “make
too much money.”
The concept of the Union offering “protection”
to its members, seems to have been
reversed and we are now protecting employers
instead. For example, the new video-game
“agreement” created by AFM President Tom
Lee and Secretary/Treasurer Sam Folio with
the approval of the IEB, and distributed to employers
in April 2007 is a buy-out deal, with
unlimited New Use and Reuse options with
NO ADDITIONAL PAY, all for a $75./hour
“all in” scale with ABSOLUTELY NO BACK
END PAYMENTS! Combined with the fact
that major video-game companies like EA
have announced that they are launching record
labels, it is not hard to imagine how this could
easily result in major artists calling their new
album a “video-game soundtrack” and taking
advantage of musicians who will have little
or no choice but to work at a lower rate with
no protection for New Use or Reuse, and no
back end payments or upgrades whatsoever,
NO MATTER HOW MANY COPIES ARE
SOLD! This type of one-sided “Agreement”
opens up the door to the elimination of back
end payments in all our other Agreements.
At the Convention, this new Agreement
was pitched as a way for smaller Locals all
over the country to get in on the burgeoning
video-game soundtrack business. It was painfully
obvious that the 80% of AFM members
who are not full-time musicians have been
convinced by the "logic" that large Locals, like
Nashville, have too much work. Should it be
the AFM’s job to redistribute work from one
Local to another? Recording Musicians are a
tiny minority in the AFM, perhaps as little as
5%, but we pay 40% of the AFM’s work dues;
yet, we are consistently out-voted by those
who have little or no stake in our business.
The fracture between full-time professionals
and part-time musicians in the AFM has never
been more acute, and as long as we are being
portrayed in a negative light by our own leaders,
it will be difficult for things to improve.
Respect for long-time AFM members who are
no longer active in the business and the common
interests of all types of professional musicians
should not be opposing forces in our
Union.
On the Convention floor, I was personally
accused of “luring members into the RMA and
urging them to leave the AFM” by someone I
have never met. This is an outright lie and I
am in the process of setting the record straight.
It should also be noted that Local 257 Delegate
Bruce Bouton, who is also RMA Nashville
and RMA International Vice President,
worked tirelessly at the Convention, often
under duress, to speak on behalf of, and defend
the rights of recording musicians everywhere.
It is still speculated by some people in
the AFM that RMA Nashville "takes its orders"
from RMA L.A. and RMA International.
We have a good working relationship with all
of the other RMA chapters, but we take orders
from no one - except our members. Just
for the record, once and for all, I will say it
again: “RMA Nashville is an independent
chapter of an authorized AFM Player Conference,
and our priority is informing, protecting,
and representing the recording musicians
of Nashville within the AFM and Local 257.”
We think for ourselves, we have NEVER urged
ANYONE to leave the AFM, and we have no
connection to the Professional Musicians
Guild. I hope that that is clearly understood at
last by all concerned.
There was also a lot of talk at the Convention
that back end royalties and New Use/
ReUse payments are doomed. These protections
are the main reasons we use to convince
people to work "on-the-card," and if they go
away, there is much less motivation to work
Union. It was also said that "our contracts are
driving away work." We strongly disagree with
this statement. Nashville has a higher percentage
of "on-the-card" work than any other Local.
We are the ones who bring the work to the
AFM, not the other way around. If this work
goes off-the-card, it will create a financial crisis
of unprecedented proportions for Local 257
and the AFM. WE DO NOT WANT TO SEE
THIS HAPPEN!
The past two years have been full of rhetoric,
politics, accusations and recriminations,
and those of us in the middle of the food chain
are taking the brunt of the punishment. RMA
Nashville hopes that we can reverse this trend
and help get the AFM back on track. This is
an arts union and we deserve respect for our
contributions to its financial well-being. It is
essential that we engage our Local leadership
on the critical issues that will determine the
AFM’s future within the music industry. Both
of our Nashville Local Officers are now also
Federation officers, and I urge all concerned
members of Local 257 to let Harold Bradley
and Billy Linneman know how you feel about
the issues that face us everyday in the workplace.
They both work for us as well as the
Federation, and they need to know how you
feel. All of us on the RMA Executive Board
are also at your disposal, so please feel free to
let us know what’s on your mind.
There is nowhere on earth with the talent
pool and resources of Music City, and RMA
Nashville exists to protect and preserve what
has been built over more than 50 years. We
are proud of the tradition we represent, and
will work to keep it alive, despite the obstacles
in our path. Thanks to all of you who have
contributed to our efforts. We are all in this
together, and there is no better time than NOW
to get involved in YOUR Union. We invite
you to visit our website and find out who we
are and what we stand for.
Thanks for reading.
Dave Pomeroy, President RMA Nashville
(Editor’s note: Opinions expressed in this
report do not necessarily reflect those of the
newspaper or the officers of AFM Local 257.)
Patricia Presley’s camera captures Toby Keith pickin’ and singin’.
Toby Keith continues to do recording his way
Not only has Toby Keith released his latest
album “Big Dog Daddy” on his personal
label - Show Dog Records - but for the first
time the big guy produced his own CD.
Actually, his liner notes state guitarist Tom
Bukovac co-produced. Still, Toby also penned
many of the tracks himself, notably his cast-
Hearing Board’s Meeting, conducted on Dec. 19, 2006
8:45 a.m. - The Local 257 Hearing Board
Meeting convenes. Present: Board Members
Buddy Edmundson, Tiger Fitzhugh, Jeff King,
Kathy Shepard, Tim Smith and Hearing Board
Clerk Anita Winstead.
Discussion of Sept. 26, 2006 meeting minutes.
MSC to approve Sept. 26, 2006 meeting
minutes.
8:50 a.m. - Members charged with violation
of Article II, Section 4 of Local 257 By-
Laws:
MSC to fine James Burke IV, Clint Chandler
and Phillip Benefield II $20 for failure to
ing-against-type romantic ballads “Burnin’
Moonlight,” “Walk It Off” and “I Know She
Hung the Moon” (with an assist from co-writers
Scotty Emerick and Dean Dillon).
The title track, as expected, is a high-energy
number, as are “Hit It” and “Pump Jack,”
(Continued on page 11)
pay work dues, and $25 for not appearing before
the Hearing Board.
MSC to fine Darryl Preston, Nicholas
Hoffman, Darin Favorite, Jonathan Trebing,
Dana Cupp, Michael Caputy, Bobby Blazier,
Seth Rausch, Shaun Shankel, Phil Madeira and
Akil Thompson $30 for failure to pay work
dues and $25 for not appearing before the
Hearing Board.
MSC to fine Shannon Forrest $100 for failure
to pay work dues and $25 for not appearing
before the Hearing Board.
The next Hearing Board meeting will be
on April 24, 2007 at 8:30 a.m.

10 The Nashville Musician July-September 2007
Electronic
Media
Services
Division
By Melissa
Hamby Meyer
Confirm Signatory Status Prior To Downbeat…
It is mandatory that you confirm an employer’s signatory status prior
to your session. We are still receiving signatory renewals for the Sound
Recording and Limited Pressing Agreements. Both of these agreements
will remain in effect until Jan. 31, 2009. When you are called for a Master,
Low Budget or Limited Pressing session, please contact the Local to
confirm that your prospective employer has current signatory on file.
Feel free to come by the Local or e-mail your inquiry to
christie@afm257.org, shana@afm257.org, teri@afm257.org or
melissa@afm257.org We will be more than happy to confirm their status
or provide you with the appropriate paperwork to ensure your session
is covered.
Without the appropriate signatory agreement on file, you cannot receive
credit for pension contributions that are made to the Pension Fund
and would not receive Sound Recording special payments credit for eligible
sessions (Master/Low Budget), even though your wages have been
paid! Your Recording Department spends a considerable amount of time
attempting to secure signatory after the fact! It is your responsibility to
make certain you are working for a signatory employer. This affects
YOUR future! This is YOUR pension! This is YOUR special payments!
Motion Pictures…
If you are called to do any original music that will be used in a motion
picture (even if the soundtrack is going to be released first), be sure
to sign a time card and mark it as a motion picture session. It is mandatory
that you confirm if a film is “covered” before your session date!
Without the appropriate signatory on file, your payment may be extremely
delayed and you will not receive the proper pension credit from the Pension
Fund or special payments credit from the Film Musicians Secondary
Markets Fund.
Do you know this person?
The Local has been awarded a judgment against Dewayne “Dada”
Mills in the total amount of $49,860.26. This Phono work for Mr. Mills/
Katana Productions was done within our jurisdiction in February 2005.
If you have any information about the whereabouts of Mr. Mills or any
work he is doing, please contact melissa@afm257.org
Late Penalties…
Our “new” software has been on-line now for 3-1/2 years and is
truly a continued blessing. After the system came on-line, we added the
pension and late penalty modules and have continued to make additional
improvements. For more than a year now, we have been assessing late
penalties on a weekly basis. Though we have collected a large amount
of late penalties during this time, we currently have nearly $60,000 in
outstanding late penalties only (musician’s wages and benefits have been
paid). We are currently preparing to forward these outstanding late penalties
to the Local’s legal counsel for collection.
During the year 2006, your Recording Department…
- Processed over 48,000 checks to musicians (not including paid directs)
- Entered over $1.5 million in pension contributions on contracts
The value of how hard your Recording Department works for
you…PRICELESS!
My sincere gratitude to the entire recording staff for their continued
dedication, and thanks to the continuing cooperation of our hard-working
musicians who confirm/secure signatories and file time cards in a
timely fashion. Have a great summer!
** Review the Do Not Work For and Non-Signatory Lists in each
edition. If you have worked for one of these employers, you may have
unsecured pension and/or special payments credit. Both of these lists
represent some of your fellow musicians being taken advantage
of…don’t allow this to happen to you too! * *
Do not work for . . .
Add A Player.com (pension)
Allianz (pension)
Chez Musical/Sanchez Harley (outstanding contracts)
Compass Productions/Alan Phillips/David
Schneiderman (outstanding contracts)
Conrheita Lee Flang (pension)
Data Aquisition Corp. (pension)
Derrin Heroldt (pension)
Double J Productions (pension)
Dualtone Music Group (late penalties)
Engelbert Humperdinck (pension)
Field Entertainment Group/Joe Field (outstanding
contract)
First Tribe Media (pension)
Ginger Lewis (outstanding contract)
Heritage Records (pension)
Hot Skillet/Lee Gibson (outstanding contract/limited
pressing sig.)
Howard Music Group (pension)
Mark Hybner (outstanding contract)
J.C. Anderson (pension)
Rory Lee Feek/Giant Slayer (outstanding contract)
Jack Wilcox (outstanding contract)
Joe Meyers (pension)
Katana Productions/Duwayne “Dada” Mills (outstanding
contracts)
Kenny Lamb (outstanding contract)
King Craft, Inc./Michael King (outstanding contracts)
Matachack James (pension)
McKim Creek Productions (pension)
MC Productions/Mark Cheney (outstanding contract)
MCK Publishing/Rusty Tabor (outstanding contract)
Michael Sykes Productions (pension)
Michael Whalen (pension)
Miss Ivy Records/Bekka Bramlett (outstanding upgrades)
O Street Mansion (pension)
On The Green/Kevin Beamish (outsanding contracts)
Parris Productions (pension)
Paul Jenkins (pension)
Pete Martinez (pension)
Rebecca Frederick (pension)
Renaissance Music Group/Deborah Allen (outstanding
contracts)
RLS Records-Nashville/Ronald Stone (outstanding
contract)
Rich Herring (pension)
RichDor Music/Keith Brown (outstanding contract)
Rust Recods/Michelle Metzger (outstanding contracts
and pension)
Sam Hogin Songs (outstanding contract)
Sleepy Town/David Lowe (outstanding contract)
Small Time Productions/Randy Boudreaux
(outstandingcontract)
Songwriters Collective (outstanding contract)
Star Path Productions (pension)
The Pitchmaster (pension)
Tony Graham (pension)
Travis Allen Productions (pension)
Two Monkeys (outstanding contracts)
Village Square (pension)
Eddie Wenrick (outstanding conract)
Will Smith Productions (outstanding contract)
Woody Bradshaw (pension)
YGT 40/Lawrence B. Gotliebs (pension)
Baldwin Entertainment/Will Smith (pension)
Copyright.net (outstanding contracts)
Earthtone Publishing/Roy English (outstanding
contract)
Fat Possum/Bruce Watson (outstanding contract)
Home Records/David Vowell (outstanding
contracts)
Marty McIntosh (outstanding contract)
Multi-Media (outstanding contract)
Notation Music (outstanding contract)
Over the Moon Prod./Rick Scott Prod. (outstanding
contract)
Raven Records/Coy Ray (outstanding contract)
Rendale Music (outstanding contracts)
Rick Tunes (outstanding contract)
Roxanne Entertainment (outstanding contract)
RPB Productions/Coy Ray (outstanding pension &
phono signatory)
Sean Ruth (outstanding contract)
Sunbird (outstanding contracts)
Thrillstreet/Jerry Parent (outstanding contract)
Century Music/Art Ward (outstanding contracts)
Golden Vine/Darrell Freeman (outstanding contract)
Kyle Jacobs (outstanding contract)
Labeless Records/Coy Ray (outstanding pension)
------------------------------------------------------------
Amentco (American Entertainment Concepts/Ron
Camacho)
ARK 21
Bait & Tackle (pension)
Bernie Nelson (Heatherington)
Don Goodman Music (payment/pension)
Garland Entertainment (Warren Garland)
James House Productions (outstanding contracts)
Jeff Best/Clever Cowboy (payment/ pension)
John Bunzow (pension)
John Kevin Mulkey (DWM)
K.A.R.E., Inc.
Larry Rose (Entheos Group)
Les Ladd (pension)
Margaret Bell-Byers (pension)
Maximus (outstanding contract)
Mooneyhand Pictures (Wayne Mooneyhand)
Music Row Records/Gene Cash (outstanding contract)
Nancy Grant
On Purpose Prod. (pension)
Pat Reese, Music Media Int’l.
Pinebrook (pension)
Radio Records/J. Gary Smith (outstanding contract)
Randy Huston (Dr. Vet Music)
Revelator/Gregg Brown (outstanding contract)
Rio Star
River Girl, Inc.
Roy Salmond, Whitewater Prod.
Tom Oelson (pension)
Tyler Music Group (pension)
Volzone Prod./Gary Lloyd
William R. Holmes (outstanding contract)
Wyndstar (pension)
AFM non-signatory agents
The following companies or individuals are not
signatory to the AFM Agreements; therefore, do not
work for those listed below, without first checking
with the President, telephone (615) 244-8514:
Allianz (demo signature)
Blue Desert Music Group (Phono)
Chariscourt, Ltd. (Phono)
Conrheita Lee Flang (demo signature)
Data Acquisition Corp. (demo signature)
Double JJ Productions (demo signature)
Engelbert Humperdinck (demo signature)
First Tribe Media (Phono)
Heritage Records (demo signature)
Joe Meyers (Phono)
KJ Entertainment (limited pressing)
Mark Moffatt (limited pressing)
Labeless Records/Coy Ray (Phono)
Ronald Light (limited pressing)
McKim Creek Productions (limited pressing)
Matachack James (limited pressing)
Michael Sykes Productions (demo signature)
Parris Productions (demo signature)
Paul Jenkins (demo signature)
Rich Herring (limited pressing)
Sawyer Brown (limited pressing)
Star pah Productions (demo signature)
The Pitchmaster (demo signature)
Travis Allen Productions (limited pressing)
Domination Records LLC (Limited Pressing)
Kurt A..Koble (Limited Pressing)
Point To Point LLC (Limited Pressing)
Sammy Harp Productions (Limited Pressing)
Wade Spencer Ministries, Inc. (Phono)
YTG 40/Lawrence B. Gottliebs (demo signature)
------------------------------------------------------------
Christopher Mortland (limited pressing)
Cottageworks/Betsy Foster (limited pressing)
44 West/Mike Welch (limited pressing)
Francis X. Sullivan
Jason Kerr Ministries - Don Goodman
J. Carlos (limited pressing)
Lance Productions (limited pressing)
Madacy Music Publishing (limited pressing)
One G Productions (limited pressing)
Peer Music (limited pressing)
Roxanne Entertainment
Taylor Productions (limited pressing)
---------------------------------------------------------
TBN, Paul Crouch (Phono/Video)
Campfire Records
CD Records/Charles Calello
Chapel Music Group
MTL Limited
LaToya Jackson & Jack Gordon
Westwood One
Ci-Ber Records International
Worldwide Agency
Importance notice
Union members do not work with
non-members. If in doubt, simply call the
Local’s Secretary-Treasurer Billy
Linneman, (615) 244-9514, to clarify.
Substance abuse problem?
Need to talk?
Please call:
Bobby Kent, LADAC
Licensed Alcohol & Drug Abuse Counselor
(615) 300-0036
30-year member of Locals 802/257
ALL CALLS ARE CONFIDENTIAL

July-September 2007 The Nashville Musician 11
Proposed Local 257 By-Law change (continued)
Editor’s note: The following represents a continuation of a proposed By-Law change, inadvertently left off the portion titled Doubling, after parts
A and B, in the April-June 2007 issue. The Nashville Musician regrets the error, and prints the remaining proposed changes for your information.
V DOUBLING . . . (Note: Parts A and B appear in the April-June 2007 issue containiing recommended changes.)
C. Any combination of two (2) instruments listed below will be considered one (1) double. Additional instruments will be
considered additional doubles.
(1) 6-string rhythm guitar.
(2) 6-string electric guitar.
(3) 6-string (steel) round hole guitar.
(4) 6-string (nylon) classic guitar.
(5) 12-string acoustic guitar.
(6) 12-string electric guitar.
(7) 6-string bass guitar.
(8) Tenor banjo.
(9) Mandolin.
(10) Sitar.
(11) 5-string banjo.
(12) Dobro.
(13) String Bass.
(14) Ukulele.
(15) Electric bass.
(16) Steel guitar.
(17) Violin/fiddle.
(18) Harmonica.
(19) Dulcimer
(20) Cell
(21) Viola
(22) Harp
(23) Autoharp
D. 1st Double………………………………………………………….Additional 20% of scale
Each additional Double…………………..………………………...Additional 15% of scale
E. Keyboards:
1. Doubling: Each additional acoustic/electronic keyboard Additional 20%
2. Restrictions: No simulated guitar, banjo, mandolin, dobro, steel guitar, or bass permitted. No simulation of any instrument
is permitted unless at least one member of that family of instruments is hired (i.e., no string, woodwind, brass, or percussion
solos or sections may be simulated unless a string, woodwind, brass, or percussion player is hired.)
VI INTERMISSIONS and BREAKS
Rehearsals and Performances - Minimum of 10 minutes per hour (taken as purchaser or leader desires except at beginning
or end of engagement).
VII TRAVEL RATES AND CONDITIONS
A. Additional Scale Wages for Out-of-Nashville Engagements: Extra Per Person:
Over 25 & up to 50 miles $11.00/12.65
Over 50 & up to 90 miles $21.00/24.15
Over 90 & up to 150 miles $35.00/40.25
Over 150 miles $.30/$.35 per mile
B. Jackson/Branson MO/KY/IN: Members residing in the areas of Jackson, TN; Paducah, Hopkinsville, Bowling Green,
Henderson, Owensboro and Madisonville, KY; Branson, MO; and Evansville and Vincennes, IN may regard those cities, respectively,
as primary points-of-origin, and may apply the rates applicable to Nashville-originated dates.
C. Overnight Engagements: Meals and Hotel/Motel accommodations must be furnished in addition to scale wages.
D. Transportation: Transportation must be furnished or the current established mileage rate by the State of Tennessee per
mile, per car (to and from engagement) must be added to contract and paid to drivers.
VIII CANCELLATION OF ENGAGEMENTS by leader/contractor/employer or by member side-musician
A.Single Engagements: Members accepting and/or Leaders employing member on single engagements must give six (6)
days notice to cancel unless due to illness or the acceptance of a steady engagement.
B. Steady Engagements: Members offering or members accepting a steady engagement from another member must give
two (2) weeks notice to cancel employment. Such notice becomes effective at the start of the next workweek.
C. Dec. 31 Engagements (and Dec. 24, 25 and Dec. 30 when Dec. 31 falls on Sunday): Member/Leader/Contractor/
Employer employing or member accepting a New Year's Eve engagement October 1st, or later, may not cancel the employment
except by mutual agreement.
IX SINGERS, ENTERTAINERS AND OTHER PERFORMING ARTISTS (furnished by contractors or leaders)
Must be charged for and included in contract at no less than sidemusician rate for the engagement.
X WRITERS NIGHTS (Surcharge does not apply to this section)
Contracts are to be filed when there is an Admission Charge, Cover Charge and/or Minimum Charge required.
A. Writer/Leader/Member $50.00
Side-musician $46.00
B. WRITERS' NIGHTS: No contract needs to be filed when there is No Admission, No Cover Charge and/or No Minimum
Charge required.
1. Thirty (30) minutes or less, per songwriter, performing original material.
2. Sunday through Thursday - all hours.
3. Friday and Saturday before 9 p.m.
WORK DUES: Work dues on all engagements shall be due and payable no later than the fifteenth (15th) day of the month
following the month during which the services were charged. (See A.F.ofM. and Local 257 By-Laws).
BENEFIT PERFORMANCE: Prior approval must be obtained from the office of the President of Local 257.
Submitted by Billy Linneman and Kathy Shepard.
The Local 257 Executive Board’s recommendation to this proposal is favorable.
Attend the next Local 257 General Membership meeting,
which is scheduled at 6:30 p.m. Thursday, Sept. 6, 2007, in the
George Cooper Hall at Union headquarters on Music Row.
Toby Keith doing it his
way again, scores a hit
(Continued from page 9)
boasting some riveting guitar licks. Again,
Keith wrote or co-wrote these.
An in-your-face fellow who definitely
doesn’t dig the demands artists face from majors,
Toby took a risk stepping out on his own.
Without the big boys’ comfort zone, ensuring
air-time and distribution, he’s placed his
“White Trash With Money” on Billboard’s album
charts for more than 60 weeks (peaking
at #2); and recently pushed “High Maintenance
Woman” high into the Top Five singles chart.
CD Review
The latter, lead-off song on the new CD,
he wrote with Tim Wilson and Danny
Simpson, is a catchy tune concerning a macho
maintenance man drawn to a lady with
expensive taste. But Toby does sing a pair of
songs he didn’t have a hand in writing: Craig
Wiseman and Chris Wallin’s conservative
message “Love Me If You Can” and Canadian
Fred Eaglesmith’s medium-tempo ode to yesterday,
“White Rose.”
Besides Toby and Tom, musicians playing
are Brent Mason, Kenny Greenburg and
Jerry McPherson on electric guitars; Shannon
Forrest and Chad Cromwell, drums; Eric
Darken, percussion; Mac McAnally and Gary
Scruggs, acoustic guitars; Steve Nathan and
Clayton Ivy, keyboards; Paul Franklin, Rob
Ickes, steel guitar/dobro; Glenn Worf and
David Pomeroy, bass; Aubrey Haynie, fiddle/
mandolin; and background vocalists: Perry
Coleman, Becky, Emily and Joanna
Robertson.
Keith’s swaggering, soulful “Gonna Get
My Drink On” gives the band a true workout;
while the rhythm’s the thing with “I Wouldn’t
Wanna Be Ya,” taking Toby down Texas way.
Then the boss gets down and dirty with
“Big Dog Daddy,” a high-octane romp that
sounds like a good bet for single status; in fact,
this CD looks like a winner, and is decidedly
a little bit more country than recent efforts.
- Walt Trott
A reviewer may wonder why a virtually
unknown artist continues to make records that
have little chance marketwise?
An obvious answer is because he can and
more importantly because he wants to.
Known best hereabouts as a promoter of
other acts’ singles, Bill Wence follows up his
stylistic 2002 country-oriented “California
Callin’,” with an album of easy-listening pop,
proving he’s equally at home off the range.
A number of fine talents who assisted in
the studio with his “California . . . ” CD are
also aboard for this collection, titled “Songs
From the Rocky Fork Tavern.”
They include Joe Funderburk again as coproducer;
Stick Davis on bass; Byrd Burton
on guitar; John Rees, keyboards; Bryan
Owings, drums; plus vocalists Adie Grey and
Jonell Mosser. Joining that crew are Charlie
McCoy on harmonica; Rob Hajacos, fiddle;
Mike Leech, bass; Rick Lonow, drums; Doyle
Grisham, steel; and vocalists Becky Hobbs,
John Wesley Ryles, Sisters Morales, Bekka
Bramlett and The Jordanaires.
Wence launched his music career while
still in high school, playing piano for a pre-
“All American Boy” Bobby Bare, then a GI.
More than a decade later, Bill hit the road with
Tom T. Hall, hailed as Nashville’s “Storyteller,”
thanks to writing and recording such
classics as “Harper Valley PTA,” “The Year
(Continued on page 13)

12 The Nashville Musician July-September 2007
Atkins, Cramer inspired newcomers’ CD
By WALT TROTT his ‘East Tennessee Christmas’ and things like Jason and Meagan swear the spirits of Chet
Fresh-faced instrumentalists Jason
Coleman and Meagan Taylor unite for “Revival,”
an album paying homage to their famous
forebears Floyd Cramer and Chet Atkins.
This 11-track CD also serves to introduce
listeners to two talented newcomers, who hold
their own with pros like Charlie McCoy,
Kenny Malone and the late Boots Randolph.
During Meagan’s half-hour lunch break
from Sun Entertainment - where she’s in bookkeeping
- we met with her and Jason at Local
257, to discuss their album and their ancestors’
influences.
“We didn’t just focus on playing their
styles on it,” says guitarist Taylor, Atkins’
grand-niece. “We’re doing some of that, but
it’s really a wide variety of stuff that we like.
You can tell their influence is there by what
we play.”
Jason, Cramer’s 22-year-old grandson,
plays piano.
“It’s really sort of a mixture,” he continues.
“There are some songs that they were
known for, and some songs that are just sort
of special to us, as well. It’s our first album
out-of-the-gate together and we sort of intended
it to be representative of what we can
do and what we enjoy playing. There are a
couple just ol’ country songs, a couple jazz
and there’s three gospel.”
Meagan: “I had some people say because
of its title, they thought it would be a bunch of
gospel songs . . . but when they open it and
see what we’ve written inside, they’ll understand.”
Jason: “It’s great to be able to take songs
they’ve done and sort of give them a revival.
That’s why we named it that.”
Another something in common is both are
graduates of Belmont University, Meagan
graduating in December 2003, and Jason
graduated magna cum laude in May 2006.
“Revival” selections harking back to their
illustrious relatives are: “Sails,” title tune to
Chet’s CBS album produced by bassist Dave
Hungate; “Sweet Dreams,” a Patsy Cline classic
on which Cramer played; and “The End
Of the World,” a smash Chet produced for
Skeeter Davis (with able assist from Anita
Kerr).
“Sweet Dreams,” done as an instrumental,
and “The End of the World” are Jason’s favorites.
Meagan did a commendable job singing
the latter song, and even managed to top
that performance with her vocals on “Wildflowers”
and “Hammer and Nails,” boasting
a purity and sincerity similar to seasoned bluegrass
queens Rhonda Vincent and Alison
Krauss.
Jason, who also sings some on the CD,
points out, “The first song (on ‘Revival’) was
‘Hammer and Nail’ by Suzy Bogguss (and
Gary Scruggs), and she helped us along in the
beginning, as we were just coming together
and deciding what we’d do.”
Bogguss, of course, recorded “Simpatico,”
a 1994 vocal-guitar duet album with Chet
Atkins for Liberty Records.
“Yes, she was a big help,” says Meagan,
then chuckles while adding, “Suzy, whom I
think is from Illinois, said she thought I could
sing it like a mountain song. She kinda tossed
that to us last fall.”
Taylor hails from Nolensville, Tenn., and
is granddaughter to Chet’s sister Billie Rose.
Always musically-inclined, she recalls, “I’ve
played piano by ear from the time I was really
little. My Grandma taught me a lot. He (her
great-uncle) actually gave me my first fiddle
lesson, but I was so little and petite back then,
and it seemed so big to me . . . ”
It was Grandma Rose who took her to her
first Chet Atkins Appreciation Society convention
in Nashville, which left an indelible impression
on Meagan.
“All my life I’ve heard my great-uncle was
one of the best guitar players in the world. I
listened to his albums while growing up, like
that. When I went to the Chet Atkins Appreciation
Society convention, it was the first time
I heard him play with pickers like John
Knowles, Paul Yandell and Richard Smith.
And this was the last year he was able to attend.
When I walked out that night with my
grandmother, I said, ‘How much will a guitar
cost?’
Smiling now in remembrance, “She took
me to him and he tried to show me as much as
he could, things like ‘Wildwood Flower,’
though he was fairly frail by then. But I believe
he was glad I started playing and trying
to carry on.
“But different people like John Knowles
showed me a lot. Then Robert Anderson, who
won that Muhlenberg competition five or six
years ago - it’s a really big thing and is where
Merle Travis comes from - well, he’s really
good and he taught me a lot.”
Coincidentally, Anderson, another disciple
of Atkin’s fingerstyle pickin’, is also her father-in-law,
and they made an independent album
(‘Carryin’ On’) together: “That was about
six years ago and I had only been playing about
a year-and-a-half. It was OK, but a completely
home-done sort of thing. This is the first professional
album I’ve ever done.”
Jason actually played at her wedding to
Chris Anderson. Meagan says of her man,
“He’s a computer guy, who actually helped
build our website.” (Check out
MEAGANandJASON.com)
Coleman, a Nashville native, began playing
piano by ear, but took lessons, as did
younger brother Josh, recalls Jason: “Starting
at age 5, I took piano lessons for eight years,
and that helped me to develop the ability to
read music. But I’d get in trouble with the
teacher sometimes for playing by ear, instead
of reading the music. I guess I prefer playing
by ear . . . Unlike me, Josh is not pursuing
music as a career.”
On most Sundays, they still play together
at Parkway Baptist Church, where Jason leads
the new Contemporary Worship Service: “It’s
been great and we’ve had a good response to
it.”
Their mom, Donna, enjoys music, but prefers
being just Mrs. Joey Coleman.
“She can sit at a piano and pick things out
by ear, but never went after it at all. The chil-
and Floyd were felt at their recording session
in historic RCA Studio B, which marks its 50th
anniversary this year.
“I believe I was one of the students during
the first semester they offered classes in Studio
B (which was made available to Belmont
as a training tool once music mogul Mike Curb
bought it),” says Jason, a Presidential Scholar.
“Bil VornDick, our co-producer, is an adjunct
professor there. I think this is one of the first
commercial albums recorded there since
Belmont started using it. Actually, we didn’t
think we’d have that opportunity because it’s
usually student-run. But Bil is the man who
made a couple calls for us . . . ”
Meagan says her mother (Cindy) and
grandmother were nostalgic about visiting Studio
B once again: “My grandfather was Roy
Shockley and my uncle was Mike Shockley,
who worked at Studio B when they first came
to town. My uncle and granddad have passed
on, but my mom spent a lot of time there just
sitting and watching while growing up. It was
neat for both to kind of re-live part of that.”
Both Jason and Meagan were indeed
humbled by the experience of recording there,
and particularly getting to work with legendary
players Charlie McCoy and Boots
Randolph (this interview was conducted prior
to Boots’ death), who worked with Floyd and
Chet.
Charlie’s harmonica skills enhanced “I
Can Hear Kentucky Calling Me,” and Boots’
sax was an integral component of the young
producers’ arrangement on Johnny Mercer’s
classic “Dream.”
“You know, it’s almost all live,” explains
Taylor. “Except for my parts, because I was
the only guitar player and lead singer. They
kind of kicked me out after a few minutes because
I wasn’t going to do scratch vocals and
they wanted me to sing. So, I had to re-do my
stuff. Other than that, the whole thing is live.
“It was fine doing it the old way,” she
notes. “While I was in there in the guitar room,
with like a bunch of people behind me, I was
sitting there and Uncle Chester’s picture was
right above, looking at me!”
Jason grins, “Yeah, they keep a photo of
Granddad on the piano there, too! Being there
was just magical . . . You can’t put it into words,
but knowing the history that’s there and all
dren of my mother’s sister (Diane), my cous- that has been recorded there, and that they had
ins, are girls (Jenny and Jessi) a couple years a part in all that! I realized here we are in there
older than I am, and they have no musical in- a couple generations later, getting to do sort
terests either.”
of the same thing. That’s pretty amazing, re-
A fond memory Jason treasures was playally.”ing with granddad at Valley, Ala., in 1996: “I
was probably about 12 or so, and he brought Dolly, Don among honorees
Kathy Shepard’s camera caught Jason and Meagan chatting in the conference room during this interview.
Josh and I out together to play at that live
show.”
That was preceded years earlier by appearances
with Cramer on TNN: “When I was 5, I
sang on Nashville Now for Ralph Emery when
Granddad played a song. Then later, on Music
City Tonight when I was 9, we played a piano
duet together with Grand Pianos back-to-back
for (co-hosts) Crook & Chase. There’s a video
of that which is very special.”
According to Jason, “I was 13 when he
passed away. But we had a very close relationship.
We lived nearby and our families always
were together. So I have a lot of good
memories of my granddad.”
There must be something to that old saying
it’s in the genes. Coleman couldn’t wait
for school to end before cutting his first album
“A Merry Little Christmas” in the fall of
his senior year. Right after graduation, however,
he produced his second instrumental album,
“Legacy.”
Meagan says he also picked up on Floyd’s
famed slip-note playing technique, recalling,
“It was funny because last fall Jason was doing
his CD ‘Legacy” and was playing a bunch
of songs that his Granddad had wrote or played
on the original hits, and I was doing ‘Please,
Help Me I’m Falling’ and was playing along
The West Coast-based Academy of Country
Music came to Nashville to pay homage to
Harlan Howard, Waylon Jennings, Dolly Parton,
and Don Williams via its Cliffie Stone
Pioneer Award.
In their June 20 ceremony at the Tennessee
State Museum, hosted by Marty (he’s everywhere)
Stuart, ACM also acknowledged
behind-the-scenes music executive Jack
Lameire with the Mae Boren Axton Award,
and named the late Buck Owens as recipient
of the Jim Reeves International Award for aiding
in the acceptance of country music abroad.
Jason flanked by dad and A Team drummer Buddy Harman at the Union a few years ago.
with him, when he said, ‘Get off my slip-note!’
You know they both used that a lot (meaning
Chet, too).”
Dolly Parton accepts ACM award presented by
former RCA duet partner Porter Wagoner, in photo
snapped by Patricia Presley, June 20.

July-September 2007 The Nashville Musician 13
Terry’s trumpet enriched Nashville music scene
Arranger-trumpeter Terry Mead, 65, of
Goodlettsville, Tenn., died May 13, following
a lengthy battle with diabetes and kidney
disease.
Mead, a Life Member of AFM Local 257,
was band director for the legendary Brenda
Lee nine-and-a-half years. He was also a prolific
studio musician, and toured with other
notables like Liberace, Wayne Newton and
Tom Jones.
An Oklahoma native, Terry McAlister
Mead was born Sept. 14, 1941, the son of G.T.
and Betty Sue (McAlister) Mead.
A gifted musician, Mead also mastered the
fluegelhorn, and even played trumpet in a rock
and roll band. He had been both player and
teacher at a Broken Arrow, Okla., junior high
school in 1967, where he was band director.
Reportedly, while playing a gig in Louisville,
Ky., his band was heard by Lee, who
hired him along with the saxophonist and guitar
player. Terry finally left Brenda because
he was weary of traveling and being away
from his home and family.
Thereafter, he concentrated on session
work while “moonlighting” with various music
groups, including a 1960s’ style unit and a
Big Band. From 1977-1980 he played locally
on Teddy Bart’s Noon Show; and spent about
Most in-demand session
players with hitmakers
Reportedly, the top Nashville session musicians
of the past year, those who played on
the most Top 10 country albums are:
Glenn Worf, bass guitar; Shannon Forrest,
drums; Tom Bukovac, guitar; Steve Nathan,
keyboards; Dan Dugmore, steel guitar; and
Aubrey Haynie and Larry Franklin tied among
fiddlers.
Scoring most hits for back-up vocalists
was Wes Hightower, while Justin Niebank
served as engineer on the most Top 10 CDs.
Bean-counters coming up with this annual
tally were staffers at Music Row, a periodical
trade magazine.
The publication’s critics’ pick honorees:
Byron Gallimore, producer; Taylor Swift,
new artist; songwriters Chris Tompkins annd
Josh Kear as co-writers of the #1 composition
“Before He Cheats”; and best song selectee
was “Stealing Kisses” written by Lori
McKenna.
Member, George Benson perform
(Continued from page 3)
played with many renowned bebop players,
among them Dizzy Gillespie, Lionel Hampton,
Cootie Williams and Thelonius Monk.
Christian’s first full-band hit single with
Goodman was “I Can’t Love You Anymore”
in 1940, followed by such successes as “Soft
Winds,” “As Long As I Live,” “Blues In the
Night,” “The Jersey Bounce” and “”Solo
Flight,” Charlie’s most memorable guitar performance.
Settlemires wasn’t even born until five
months after Christian’s death, but his playing
later made an impression on the Roundhill,
Okla. native. Joe began playing guitar in earnest
at 12, and recalls his first “paying” gig
was at a root-beer stand, where he earned all
of $3 in appreciative tips.
Joe’s first serious gig was performing as a
regular at the Rodeo Bar, where he would meet
friend Doyle Holly, who gained fame pickin’
bass in Buck Owens’ band The Buckaroos. At
16, Settlemires himself was part of Merle
Lindsey’s Ozark Jubilee Band. This gave him
an opportunity to back such VIPs as Red Foley,
Lefty Frizzell, Tex Ritter and Bob Wills. While
performing with the Billy Gray band, they
backed up Willie Nelson.
“Canadian Sunet & Other Jazz Standards”
is Joe’s latest album, which was produced in
Nashville by Country Music Hall of Famer
Harold Bradley, also president of Local 257.
While in conversation with AFM Local 802
member George Benson, Settlemires was
pleased to learn that Warner Bros. recording
hitmaker numbered fellow Local 257 guitar-
10 years playing on Ralph Emery’s local
Morning Show.
Mead was also a member of Jerry
Whitehurst’s Orchestra, which serenaded
viewers weeknights on TNN’s prime-time
Nashville Now telecasts, hosted by Emery.
In a 2002 interview with Local 257’s
Kathy Shepard, Terry estimated that he played
on about 2,800 sessions, including Charlie
Daniels’ “The Devil Went Down to Georgia,”
and six albums for Hank Williams, Jr. Mead
further figured out he had performed for some
2,600 live Nashville Now shows, averaging
nine songs nightly, totaling about 23,400 numbers
(1983-1994).
Since the early 1980s, he had lived with
diabetes, which took a heavy toll on the artist.
Mead quit playing in 1994, due to poor vision
which necessitated numerous eye surgeries.
It was in 1997 that he experienced kidney
failure and was placed on dialysis. Hope came
in the form of a telephone call on March 6,
2001 from the Vanderbilt University Hospital,
informing Mead they had a kidney for him.
That very afternoon, he found himself in surgery,
where a transplant was successfully accomplished,
thanks to an East Tennessee organ
donor.
According to Kathy’s story, Terry was even
Steve Nathan
Remember us on-line
Members should be aware that the
entire issue of your newspaper The
Nashville Musician is also on our
website for your convenience. Punch
in www.AFM257.org
ist Hank Garland among his musical influences,
right up there with Wes Montgomery.
“George (a member of New York Local
802) recalled back when he was just 19 (1962)
and passing through Oklahoma City, and he
sat in at the Trevis Club, where me and my
band were playing. That was pretty remarkable
to hear after all these years . . . we also
talked about Hank’s brother Billy Garland,
whom he talked to . . . This meeting with
George was quite inspiring. He was really
good, and very nice to me.”
Joe, too, numbers Garland, Bradley,
Barney Kessell and Christian among his guitar
heroes. Additionally, Joe serves as guitar
instructor at the University of Science & Arts
of Oklahoma-Chickasha. He also teaches a
class on Jazz Improv, as well as directing a
20-piece big band, arranging all of its music,
for their tours on behalf of the school.
Upcoming for Settlemires is an album saluting
Hank Garland, which he hopes will also
feature A Teamers Bradley and Bob Moore:
“We’re hoping to get into the studio for that
project in October in Nashville.”
Joe’s wife Donna Settlemires is AFM Local
375-703’s Secretary-Treasurer.
The Christian jazz fest is sponsored by the
Black Liberated Arts Center (BLAC, Inc.), a
non-profit group dedicated to cultivating fine
arts in Oklahoma City, while fostering arts
education in schools. An Oklahoma Centennial
Project, the 2007 Festival was co-sponsored
by BancFirst, Oklahoma City, Chrysler
Jeep, Oklahoma Arts Council, Oklahoma Centennial
Commission, Oklahoma City Convention
& Visitors Bureau, and York-Johnson
Controls.
TNN’s 1980s’ Jerry Whitehurst band featured Terry Mead, including (from left) Clay Claire, Billy
Linneman, Larry Sasser, Hoot Hester,Norm Ray, Whitehurst, John Clausi, Mead and Fred Newell.
able to resume driving again for a time, but
had to sustain the kidney by taking appropriate
medication, many for anti-rejection of the
new organ.
The family has requested that those who
desire to, should send donations to the American
Diabetes Association, St. Jude Children's
Hospital or the Vanderbilt Organ Transplant
Fund.
Mead’s producer-friend Ronnie Light
maintains that the musician’s sense of humor
was intact to the end, pointing out his obituary
notice proclaimed “B.Y.O.B.” and cited
survivor Charlie Foster as husband-in-law
OUR READERS WRITE . . .
Dear AFM Colleagues:
On behalf of the FIM Secretariat, I wish
to express my warmest thanks for the support
you have brought to the organization of the
91st FIM-EC meeting and for your deep involvement
at all stages of the preparation.
Nothing was left to random and all technical
aspects of the meeting have been dealt
with in a quite professional way - as always
with the AFM, I should say.
All members present have explicity appreciated
your hospitality, especially as regards
the fantastic events to which we were invited:
symphonic concert, Grand Ole Opry and
Country Music Hall of Fame. For all of us,
this close and new contact with Country Music
was an amazing experience and we were
very proud to be Harold Bradley’s guest.
No doubt that many of us will visit the Music
City again in the future! (See page 1.)
Adeline, Corrine, Thomas and Jimmy are
joining me to send our very best wishes to all
of you,
- Benoit Machuel
Paris, France
Hi Walt:
Thanks for putting George (Gruhn’s) letter
in the Union newsletter. If the CITES folks
start enforcing their regulations with any consistency,
they could pretty well shut down international
travel for musicians. I’ll try to give
you more lead time in the future.
I’ve been meaning to send you a note for
some time now about what a great job you do
with The Nashville Musician. There’s no real
indepth writing about artists anymore in newspapers
and fan publications. Yours always hold
my interest. Thanks.
- Walter Carter
Nashville
Dear Editor:
I would like to take this opportunity to
thank The Nashville Musician for keeping me
up to date on all the news over the past three
years, while I was living in Northwest Wash-
(who also served as a pallbearer).
Survivors also include son Corey Stanton
Mead; sister, Patsy (Truman) Barrette; stepsons
Steven and Ryan Carter; grandchild Kobe
Carter; Sharon Mead-Foster; and numerous
family and friends. Cole & Garrett Funeral
Home was in charge of the service conducted
May 16, with The Reverend Cora Alston officiating.
Pallbearers: Foster, Steven and Ryan
Carter, Danny Strimer, Keith Vinett and Billy
Linneman. Interment was in Park Grove Cemetery,
Broken Arrow, Okla.
(See Kathy Shepard’s column on page 5, and
photo taken at the memorial service, page 14.)
ington. Each magazine was read from coverto-cover.
I am back in the Nashville area now,
and will continue to read each one I receive.
Keep up the good work.
- Jim Mundy
Madison, Tenn.
The Editor reserves the right to edit letters
in the interest of space and clarity. Send letters
to: The Nashville Musician, AFM Local
257, P.O. Box 120399, Nashville, TN 37212.
. . . a new Bill Wence set
(Continued from page 11)
That Clayton Delaney Died” and “(Old Dogs,
Children and) Watermelon Wine.”
Lead off number on “. . . Rocky Fork Tavern”
is the rockin’ “Angelene” (like seven others)
written by Wence, known for such as
Ronnie McDowell’s Top 40 success “This Is
a Holdup.” The CD’s four he didn’t pen are
CD Review
“Honky Tonk Heartache,” “Soul Mate,”
“Brandy” and “Gonna Find Me a Bluebird,”
the latter a million-selling pop-country crossover
by its writer Marvin Rainwater.
Wence injects a lot of soul into singing
selections such as “What Do You Think About
Me and You,” “Coming Home Song” and
“Chicago Lady,” characterized by a classic
simplicity and steady beat. Alternative blues
creations consist of melodic ballads enhanced
by his gift for turning a phrase a la “She’s
Leavin’ For Dallas” and “Old Rock and
Roller.”
The album title’s derived from a hideaway
retreat, where Wence does his writing these
days. He explains, “My son Kris built me a
small cabin in the woods not far from the
house. I call it ‘The Rocky Fork Tavern’ and it
has a jukebox, piano, ’fridge, no phone, all of
the right ingredients to write a song, or at least
to give it a try . . . They’ve been a long time
comin’.” It was worth the wait. - Walt Trott

14 The Nashville Musician July-September 2007
NEW MEMBERS
MR PAUL E ABRAMS
GTR
1251 WHIPPOORWILL DR
KINGSTON SPRINGS, TN 37082-5218
Hm-(615)-952-4641
MR JAMES ALLEN ANCKNER
(B.J. ANCKNER)
DRM
3188 #2 PARTHENON AVENUE
NASHVILLE, TN 37203
MR RUSSELL BARENBERG
GTR
4800 NEBRASKA AVENUE
NASHVILLE, TN 37209
Hm-(615)-385-9142
MR DAVID ROBERT BLAIR
(ROBERT BLAIR)
DRM PRC
2940 BABY RUTH LANE APT. 8
ANTICOH, TN 37013
Hm-(615)-708-6693
MR MONTY GLENN BRADFORD
(MONTY BRADFORD)
DRM
1971 BRADBURY ROAD
ADAMS, TN 37010
Hm-(931)-358-4896
MR JEFFREY THOMAS BRIDGES
(JEFF BRIDGES)
DRM
2061 CARTER'S CREEK PK
FRANKLIN, TN 37064
Hm-(615)-791-4632
MR JONATHAN EDWARD BROWN
PIA
108 LAKERIDGE DRIVE
HENDERSONVILLE, TN 37075
MR WILLIAM ELI COSPER
(ELI COSPER)
GTR MDN BAS
3339 HWY. 259
PORTLAND, TN 37148
Hm-(615)-325-3335 Wk-(615)-587-5232
MR WILLIAM CARLOS DAVIS
(BUTCH DAVIS)
GTR STL
215 EMMITT AVENUE
MADISON, TN 37115
Hm-(615)-860-3727
MR JAMES ARTHUR FRABLE, JR
(JIM FRABLE)
ACC BAS BJO DBR DRM DLC FDL GTR HRM
KEY MDN ORG PIA TBN VLA VOC
254 BONNACROFT DRIVE
HERMITAGE, TN 37076
Hm-(615)-889-2399
MR MICHAEL STEVEN FREY
GTR VOC
418 CREEKSIDE LANE
SPRING HILL, TN 37174
MR STEVEN J GOODIE
(STEVE GOODIE)
BAS GTR
239 ANTIOCH PIKE
NASHVILLE, TN 37211
Hm-(615)-834-4426
MR PETER JON GORDON
FHN
216 SMITH LANE
MCEWEN, TN 37101
Hm-(931)-582-8980
MR THOMAS A GRAVES
(TAG GRAVES)
GTR VOC
846 SOUTH STREET #102
FT. MYERS BEACH, FL 33931
Hm-(234)-463-9789
MR DEXTER GREEN
GTR KEY
1209 ROSEBANK AVE
NASHVILLE, TN 37206
MR ROBERT LEE GREEN
BAS
1134 RIVERWOOD DRIVE
NASHVILLE, TN 37216
Hm-(615)-226-5037 Wk-(615)-851-4415
MR AMOS JACOB HELLER
BAS
230 GLASTONBURY RD. #416
AFM Local 257 members’ status
NASHVILLE, TN 37217
Hm-(513)-368-5347
MR ANDREW ROBESON HUBBARD
(ANDY HUBBARD)
DRM
409 LYNN DRIVE
NASHVILLE, TN 37211
Hm-(615)-730-7957
MR DANIEL LAFLOY JOHNSON
(DANIEL L. JOHNSON)
RG
3417 CLEGG DRIVE
SPRING HILL, TN 37174
Hm-(931)-487-9850 Wk-(615)-790-5987
DR DEANNA R. LITTLE
FLT
214 HAYES HAVEN LANE
MURFREESBORO, TN 37129
Hm-(615)-556-0754 Wk-(615)-898-2473
MR ROSS EDWARD MACDONALD
FHN
1010 SAVANNAH COURT
GALLATIN, TN 37066
Hm-(615)-451-1695
MR STEVE ANTHONY MANDILE
GTR VOC
4415 SCENIC DRIVE
NASHVILLE, TN 37204
Hm-(615)-414-1301
MR TIMOTHY BRIAN MCDONALD
(TIM MCDONALD)
PIA ORG
337 PITTS AVENUE
OLD HICKORY , TN 37138
Hm-(615)-403-4419
MR JOE PAUL MILLS
(PAUL MILLS)
KEY
143 RIVERWOOD DRIVE
FRANKLIN, TN 37069
Wk-(615)-791-8910
MR MICHAEL JAMES NIELSEN
(MICHAEL J. NIELSEN)
BAS DRM GTR KEY PIA
500 CHEYENNE BLVD #116
MADISON, TN 37115
Hm-(615)-865-6223
MR JAMES MATTHEW NOLEN
(MATT NOLEN)
KEY
119 38TH AVENUE NO.
NASHVILLE, TN 37209
Hm-(615)-469-7285
MR RYAN JOSEPH OGRODNY
(RYAN J. OGRODNY)
VOC VLA FDL MDN GTR
2418 VALE LANE
NASHVILLE, TN 37214
Hm-(615)-942-5659
MS ANNA REBECCA OWENS
(ANNA OWENS)
FDL
808 HALLSTONE CT.
HERMITAGE, TN 37076
MR LARRY KIM PARK
(KIM PARK)
SAX FLT PIA
1006 B GRACELAWN CT.
BRENTWOOD, TN 37027
Hm-(615)-371-8815
MS JAN MARIE PAULSON
FHN
216 SMITH LANE
MCEWEN, TN 37101
Hm-(931)-582-8980
MR TREVOR P REILLY
(TREVOR REILLY)
PST
1065 WOODY LANE
GOODLETTSVILLE, TN 37072
MR JAMES J RILEY
(JIM RILEY)
DRM PRC
845 LORETTA DRIVE
GOODLETSVILLE, TN 37072
Hm-(615)-479-3786
MR MORGAN C ROBINSON, JR
(BOBBY ROBINSON JR.)
VBS ARR CD COP KEY
2728 REESE STREET
BALTIMORE, MD 21218-4451
Hm-(410)-243-2493
MR DAVID RAY SLOAS
GTR
7122 FIELDSTONE FARMS LANE
KNOXVILLE, TN 37921
MR JEFFREY RANDALL SMITH
OBO EHN
415 CHURCH STREET, FLAT 1211
NASHVILLE, TN 37219
Hm-(615)-668-6433 Wk-(615)-522-0484
MR STANLEY EDWARD SWINIARSKI
(STAN SWINIARSKI)
PIA KEY ORG SYN
1934 WARFIELD DRIVE
NASHVILLE, TN 37215
Hm-(615)-739-6462
MR MIKE A TATAR, JR
(MIKE TATAR JR.)
FDL MDN
7516 GARY ROAD
JOELTON, TN 37080
MR BILLY E TWYMON, II
(BILLY T.)
FLT
117N ROTHERWOOD AVE.
EVANSVILLE, IN 47711-5875
MR BRICE MATTHEW WILLIAMS
(BRICE WILLIAMS)
DRM PRC
2139 SANBORN DRIVE
NASHVILLE, TN 37210
RESIGNED
LELA ANN ETHERIDGE
BRAD S. WILLIAMSON
APPLICATION REVOKED
JASON CURTIS BYRD
JEFFREY D SIMO
CLAYTON HALE WHITE
ACTIVE REINSTATED
JOE G ADCOCK
PAUL D ARNTZ
LIAM THOMAS BAILEY
ALICIA I'ONE BATTLE
ELI AUSTIN BEAIRD
PATRICIA DIANE BERRY
GERALD C BOGER
JIMMY BOWEN
GARY P BRANCHAUD
THOMAS J BUKOVAC
JAYSON FLOYD CHANCE
DAVID ALLAN COE
PATRICK CULLEN COIL
GARY DOUGLAS COLE
JOHN E COWAN
RALPH STEPHEN COX
JON WILLIAM DOUGHTY
DUANE EDDY
TROY ANTHONY ENGLE
BILLY B FARRAR
DARIN LEE FAVORITE
MIKE FEAGAN
ROBERT MICHAEL FLEMING
JUAN M GARCIA
GREG M GIOVANNETTI
RICK W GOODMAN
STEVEN J GOODIE
JAMES E GRAY
GREGORY MICHAEL HAGAN
DANIEL LEE HAGEN
WALTER M HARTMAN
ROBERT E HEMPKER
DALE M HERR
THOMAS LYNN HOWARD
JASON HUTCHESON
PETER J HUTTLINGER
CHAD L JEFFERS
DIRK JOHNSON
JAMES EDWARD JOHNSON
MICHAEL G JOYCE
WARREN CLAY KRASNER
JAMES KENDALL LESTER
PHILIP K MADEIRA
MARGARET ANN MASON
ROBERT FINLEY MASON
RODERICK D MCGAHA
PATRICK WILLIAM MCGRATH
LUKE WILSON MCKNIGHT
GRANT MICKELSON
MARK B MORRIS
DONALD EDWIN MOTT
JAMES MATTHEW NOLEN
JIM ED NORMAN
JIM PIERCE
VERENA G PIERCE
DARRYL M PRESTON
RONNIE PREVETTE
DANIEL LEE RADER
MATT REASOR
TODD MARK RUBENSTEIN
JAMES T SANDEFUR
FRED THOMAS SATTERFIELD
HERB SHUCHER
HARRY LEE SMITH, III
EDWARD L SMOAK, JR
GUTHRIE TRAPP
STEVEN WAYNE TVEIT
ERNEST VANTREASE
MICHAEL ERIN WOODY
Life Member Ray Walker, a Jordanaire, greets
Gary Scott during his visit to Local 257.
(See page 3 for additional photos.)
- Kathy Shepard photo
Singer Tom Grant participated in Memorial Service for Terry Mead with Paul Ross (center) and Jerry Vinett.
DECEASED MEMBERS OF LOCAL 257
LIFETIME NAME Date Deceased Birth Date Date Member
Y CHARLES L COCHRAN 06/07/2007 02/29/1936 05/03/1971
Y TERRY M MEAD 05/13/2007 09/14/1941 01/10/1972
Y ROYCE GLENN SUTTON 04/17/2007 09/28/1937 10/13/1964

July-September 2007 The Nashville Musician 15
Gertie DeGeorge, unique Local employee
By WALT TROTT
Gertrude (Gertie) DeGeorge, formerly
Nashville Association of Musicians’ AFM
Local 257 office manager, died July 2.
Mrs. DeGeorge, 84, was the widow of
Johnny DeGeorge, Jr., a former Local 257
President.
Gertie married him in the mid-1940s, already
a veteran of World War II, who had been
an Army Air Corps’ fighter pilot, flying P-51
combat missions in Europe (earning him the
Air Medal and Distinguished Flying Cross.)
According to Life Member Otto Bash, a
friend and former co-worker at the union headquarters,
“She was a very efficient lady, who
knew nearly every member, and took care of
the office business. Actually, she began working
at the Local before Johnny did. Gertie
worked for (then-President) George Cooper,
Jr.. Johnny then came in as a business agent.”
The former Gertrude Mae Lacombe of
Knightdale, N.C., was also a resident of Chattanooga.
She was preceded in death by her
husband of 48 years, who died June 6, 1993,
at age 73, while Local 257’s President Emeritus.
DeGeorge’s 1972 victory marked the first
change of presidents in 36 years, as his predecessor
George Cooper, who retired, had held
the position that long. Under Cooper, he was
also Local 257 Secretary (1971-’73).
Cooper’s granddaughter Patricia (Pat)
McCoy recalls Mrs. DeGeorge: “I was there
when he (Cooper) hired her in 1967. I first
went in as office assistant (and later became
Assistant to the President), and I have very
fond memories of Gertie, who was great to
work with. Gertie just did a lot of good things
because she was a bookkeeper, which made
her unique and important to the Local. We got
along really well, and she was like a second
mom to me.”
Before his 1986 retirement, Johnny
DeGeorge had been president 14 years, after
Not too long ago, Gertie stopped by the Union
to visit friends Otto Bash and Harold Bradley.
Johnny and Gertrude DeGeorge.
having been business agent, executive board
member and secretary during 54 years’ membership.
With wife Gertrude by his side, Johnny
worked towards such innovations for members
as the Opry Pension Fund and the initial
Opryland Theme Park contract for working
musicians.
Johnny and Gertie shared a love of music
and both were dedicated to aiding musicians.
A drummer-percussionist, DeGeorge conducted
his own band while in the military. Prior
to enlisting, he had played area bands such as
The Southerners of Murfreeboro, and the
Horace Holley Orchestra in Nashville.
Johnny and Gertie became well-known in
Nashville social circles, both being devoted
to the music scene. In post-war years, Johnny
performed with Tom Hewgley’s group. In the
1960s, he formed his Johnny DeGeorge Trio-
Plus, featuring bassist Ernie Newton, clarinetist
Leroy Bess and sometimes singer Carolyn
Darden and pianist Mary Elizabeth Hicks.
Gertrude is survived by daughters Alice
Mote of Raleigh, N.C., and Debbie DeGeorge
of Knightdale, N.C.; son, John DeGeorge III
of Chattanooga; grandchildren, Kevin Mote,
Brian Mote, Becky Wall, and Rachelle Keen;
five great-grandchildren, Eric, Wyatt, Kayla
Mote, and Journey and Brayton Keen.
Arrangements were handled by the East
Chapel of Chattanooga Funeral Home, Crematory
& Florist. Graveside services were
conducted July 6 at National Cemetery, Chattanooga,
where her husband’s also interred.
Chesney, Paisley win major ACM awards; Huff’s top producer
Kenny Chesney won his third Entertainer
of the Year award during the prime-time Academy
of Country Music Awards telecast in Las
Vegas, May 14, while Carrie Underwood and
Brad Paisley were voted best vocalists of the
year.
No surprise in the best duo or best vocal
group wins, Brooks & Dunn (for the 14th
time), and (for the fifth time) Rascal Flatts,
respectively. Musicians who came away winners
were Aubrey Haynie, fiddle; Glenn Worf,
bass; Eddie Bayers, drums; Brent Mason, guitar;
John Hobbs, keyboards; Stuart Duncan,
mandolin (specialty instrument); Michael
Johnson, steel guitar; and Dann Huff, top producer
again.
Nice to see veteran Bill Anderson share in
the best song victory for “Give It Away,” which
he co-wrote with Buddy Cannon and Jamey
Johnson. Anderson’s first of 13 #1’s occurred
back in 1958 with “City Lights” as recorded
by Ray Price, and Bill went on to record seven
chart-toppers himself. (See story, page 18.)
“Give It Away” also helped nab best single
of the year for its singer George Strait, an
award shared by co-producer Tony Brown.
Best album honors went to Carrie Underwood
for “Some Hearts,” co-produced by Dann Huff
and Mark Bright. Underwood’s “Before He
Cheats” was voted the year’s best video, an
award which also recognizes its director Roman
White and producer Randy Brewer.
“Building Bridges,” a Brooks & Dunn recording
featuring Vince Gill and Sheryl Crow,
received the Vocal Event award, which Brooks
& Dunn share with co-producer Tony Brown.
In the best new act categories, winners were
Miranda Lambert, Rodney Atkins and the
group Little Big Town. Brooks & Dunn took
home ACM's Home Depot Humanitarian trophy,
as well, for their good deeds.
The Nielsen ratings were down this year,
no doubt due to its being in competition with
living room favorites American Idol and Dancing
With the Stars. - WT
Eddie Bayers
THE NASHVILLE MUSICIAN
Official Journal of the American Federation of Musicians
AFM Nashville Local 257 -- 1902-2007
FREQUENCY: Published quarterly (January, April, July and October).
RATES (Full Color):
• Full Page _____________ $880.00
• Half Page _____________ 450.00
• Quarter Page ___________ 230.00
• 15% Educational discount to accredited Music Schools.
RATES (Black & White):
Full Page _____________ $780.00
Half Page ______________ 400.00
Quarter Page ____________ 205.00
2 col. x 5” ______________ 150.00
2 col. x 3” _______________ 90.00
1 col. x 5” _______________ 75.00
2 col. x 2” _______________ 60.00
1 col. x 3” _______________ 45.00
1 col. x 2” _______________ 30.00
2 col. x 1” _______________ 30.00
1 col. x 1” _______________ 15.00
MECHANICALS:
One column = 2-1/4”
Two columns = 4-3/4”
Three columns = 7-1/4”
Total page width = 9-3/4”
Total page length = 14-1/4”
MAKEUP:
• pdf files.
• Camera-ready artwork accepted for scanning.
• Copy not fitting space specified will be billed accordingly.
• No charge for standard copy or available artwork produced by The Nashville
Musician.
• Authors’ alterations charged at cost.
MAILING INSTRUCTIONS:
Address all correspondence and printing materials to: THE NASHVILLE MUSICIAN
P. O Box 120399
Nashville, TN 37212-0399
INQUIRIES: Contact Sherri Dickerson at (615) 244-9514, Ext. 240
or on line: sherri@afm257.org
DISCOUNTS: Paying for four issues up-front saves 15;. AFM 257 members save
10% per issue; or 15% for four issues up-front; and 10% discount for non-profits.
NOTE: All advertising is subject to the Publisher’s approval, and must be paid in advance.
(Deadline for October-December 2007 issue ads: Dec. 21, 2007)
Your Insurance Portfolio can
Only Get Stronger.
> All-Risk Musical Instrument &
Equipment Plan
> Musician’s Liability
> Term Life*
> Disability Income**
> Catastrophe Major Medical*
> >
That’s because you have access to Group Insurance Plans designed for members of the American
Federation of Musicians. These economical and reliable plans can help bring a secure financial future
to you and your loved ones.
> Personal Accident*
> Short-Term Medical
> In-Hospital Program**
> Cancer***
> Long-Term Care
> Customized Major Medical
Request more information (including costs, exclusions, limitations, and terms of coverage) by contacting
Marsh Affinity Group Services:
800-503-9230 www.seaburychicago.com
Plans may vary and may not be available in all states. *Underwritten by The United States Life Insurance Company in the City of New York,
A member company of American International Group, Inc. **Underwritten by Hartford Life Insurance Company. ***Underwritten by
Monumental Life Insurance Company, Baltimore, MD.

16 The Nashville Musician July-September 2007
1937-2007
Glenn Sutton: Singing My Song
By WALT TROTT
Scoring 15 Billboard #1 records is quite a
feat in any songwriter’s book. Glenn Sutton,
who died April 17 from a heart attack, penned
that many charttoppers - among them the
much-recorded “Almost Persuaded,” “Keep
Me In Mind” and “Kids Say the Darndest
Things” - and an equally impressive roster of
Top 10s.
For his achievements, Sutton was inducted
into the Nashville Songwriters’ Association
International’s Hall of Fame in 1999. He’s also
a member of the Texas Music Hall of Fame.
But there was more to Glenn Sutton than
just being a hit writer. He was a recording artist,
a dedicated prankster (pulling some pretty
wild stunts), a loyal friend, and a fine father.
“Dad never met a stranger,” says Lisa
Sutton, his only child. “It was hard losing him,
but I’m OK now, and I’m back to work. Everybody
has been just amazing. I went to check
our mail at the Green Hills Post Office and all
the people there behind their cubicles came
out to hug me and to say how much my father
had touched their lives. One woman showed
me a pin my dad had given her, and another
worker showed me his billfold from my dad.
He even gave gifts to the ladies at the bank.
He was very well loved. He was my special
Daddy-O.
“(Broadcaster) Paul Harvey mentioned him
this morning on the radio,” continues Sutton.
“I sent him Dad’s ‘Smoke No More’ and
they’re all up there just rolling in the aisle with
laughter. . .”
Lisa had just posted another of her father’s
comedy fillers on their telephone answering
machine for benefit of his friends, this one At
Home With Tarzan & Jane . . . , which to the
best of our recollection after one listening goes
something like this:
“Now we’ll look in on the happy jungle
couple. (Jane is calling out) ‘Tarzan, you beat
anything I ever seen. You run around half-naked,
playin’ with that damn monkey, and aswingin’
on vines. It’s enough to drive me up
the wall of this treehouse . . . (she screams)
Tarzan, do you hear me? (It’s followed by that
famous Johnny Weissmuller jungle yell . . .).”
“We were not only father and daughter, we
were best friends,” adds Lisa. “I would call
him four or five times a day, at any time and
he was there for me. He was the best dad.”
In 1966, Glenn and co-writer Billy Sherrill
earned a best C&W song Grammy for “Almost
Persuaded,” which also won two additional
Grammys: best performance by David
Houston, and as best country single. It earned
a BMI song of the year honor; overall Glenn’s
garnered a total 27 BMI's. Its subsequent BMI
Million-Air award indicated more than a million
airplays.
Attending a more recent BMI banquet,
Glenn astounded the tuxedo-and-gown
crowd by arriving garbed as Batman!
Regarding his charttoppers, Tammy
Wynette recorded six #1 Sutton songs; David
Houston got five; Glenn’s former wife Lynn
Anderson (1968-’77) cut three; and Jerry Lee
Lewis had one. Sutton supplied Top 10 tunes
to them and to these other artists: George Jones
(“We Can Make It”), Jody Miller (“There’s a
Party Goin’ On”), Barbara Mandrell (“Tonight
My Baby’s Coming Home”), Joe Stampley
(“I’m Still Loving You”) and the Ben Colder
(Sheb Wooley) parody “Almost Persuaded,
No. 2.”.
Mercury Records recorded Sutton as a
singles artist in the late 1970s, charting with
the novelty numbers “The Football Card”
(#55, 1979) and “Redneck Disco” (#73, 1979).
A third Mercury single in 1986, “I’ll Go
Steppin’,” fared no better, though all are collector
items, including his 1979 Mercury album
“Close Encounters of the Sutton Kind.”
As a songwriter, however, Glenn was truly
a hitmaker and is ranked #19 among
Billboard’s top charting songwriters. Sutton
Glenn Sutton
also produced acts, among them Bob Luman,
Tommy Cash, Jim & Jesse and, of course,
Anderson, helming her 1970 million-selling
#1 song “(I Never Promised You a) Rose Garden,”
which earned Lynn a best female
Grammy, and hit #3 pop. Their Columbia
“Rose Garden” LP sold Platinum, one of the
first female albums to do so.
Royce Glenn Sutton was born Sept. 28,
1937 in Hodge, La., but raised mainly in
Henderson, Texas.
Who were some of the songwriters and artists
who inspired the younger Glenn?
“My dad was into traditional country music
and into Western Swing. He liked writers
like Bob Wills, Hank Williams, Marty
Robbins, Bill Monroe, and artists such as
Marty, Hank Locklin, Red Foley and the
Louvin Brothers, he was crazy about their harmony.
Chet Atkins and he were great friends,
and Dad had a great regard for Chet’s music.”
Glenn made his move to Music City in July
1964 from Jackson, Miss., having signed with
Al Gallico Music. It wasn’t long before he and
Billy Sherrill teamed to co-write David
Houston’s second hit “Livin’ In a House Full
of Love.” Sherrill, of course, was also a very
influential producer with Columbia Records,
and became their Epic A&R chief. He was also
Sutton’s most frequent hit co-writer.
“He is very, very sick right now,” Lisa
points out. “Billy has been very reclusive for
years. But he came to the funeral and I couldn’t
believe it. I know Dad talked to him not too
many weeks ago. They discussed getting together
and I was excited about that, but Dad
said no, it wouldn’t happen because Billy was
too ill. It looked to me like he was going blind
and couldn’t hear too well. I was glad he came
to the service. That was such a nice gesture.”
Sutton’s 15 #1 songs are “Almost Persuaded,”
“With One Exception,” “You Mean
the World To Me,” “Have a Little Faith,” “Already
It’s Heaven” (all by Houston); “I Don’t
Wanna Play House,” “Take Me To Your
World,” “Singing My Song,” “The Ways To
Love a Man,” “Bedtime Story,” “Kids Say the
Darndest Things” (by Wynette); “To Make
Love Sweeter For You” (Jerry Lee Lewis); and
“You’re My Man,” “Keep Me In Mind” and
“What a Man My Man Is” (by Anderson).
Other near chattoppers from his pen include
Lewis’ “What’s Made Milwaukee Famous
(Has Made a Loser Out Of Me),” and
“She Still Comes Around”; Houston’s “Livin’
In a House Full of Love,” “A Loser’s Cathedral,”
“Where Love Used To Be,” “I’m Down
To My Last ‘I Love You’”; Wynette’s “Your
Good Girl’s Gonna Go Bad”; and Wooley’s
comical “Almost Persuaded, No. 2.”
“My dad was a lyricist,” says Sutton, who
will be overseeing her father’s extensive catalog
of songs from here on out. “All of Mom’s
hits and Tammy’s hits he did; you know, a lot
of that stuff co-written with Sherrill, Dad was
more the lyric man on the songs, and Sherrill
was more the arranger. Dad could produce and
arrange and write, but everybody who knew
always kind of said that my father was more
the lyricist.”
In fall 1965, Ronnie Dove took Sutton’s
“Kiss Away” into the pop Top 20 chart, just as
his first hit with Houston, “Livin’ In a House
Full of Love,” was peaking at #3 on Billboard’s
country chart (for two weeks, starting Nov. 6),
giving the Nashville newcomer his first taste
of real royalties.
Other artists who have recorded Sutton
songs include Ferlin Husky, Wanda Jackson,
Rod Stewart, Johnny Paycheck, Loretta Lynn,
Red Steagall, Bob Luman, Billie Jo Spears,
Charlie Rich, Hugh X. Lewis, Kitty Wells,
Johnny Lee, Anthony Armstrong Jones,
Tommy Cash and Stonewall Jackson. (Steagall
and Lewis were former frequent co-writers.)
Although he and his most successful music
partner Sherrill were known for smooth
songs and slicker production values, Sutton
also created some off-beat numbers like “Lone
Star Beer & Bob Wills Music,” “The Outlaw’s
Prayer,” “The Tears in Lincoln’s Eyes,” “Blues
Sells a Lot of Booze,” “Rodeo Cowboy,” “The
Gun,” “I Like Trains,” “Heavenly Sunshine”
and “Ship in a Bottle.”
In 1968, Glenn married Lynn Anderson,
only child of singer-songwriter Liz Anderson
and co-writer husband Casey Anderson. Liz
wrote the hits “Strangers,” “Just Between the
Two Of Us,” “The Fugitive” (with Casey),”
“If I Kiss You (Will You Go Away),” “Mama
Spank,” “Flattery Will Get You Everywhere”
and “Big Girls Don’t Cry.”
Lynn, who gets songwriter credits on her
Top Five hit “Promises, Promises,” and Glenn
welcomed their only child Lisa Lynn three
years later. Although the couple were divorced
in 1977, Lynn later said of their marriage: “It
was always fun. Sometimes I think I never
should have left Glenn.”
Lisa muses, “They were together for a good
10-year run. I guess it was right that they divorced.
My Mom is (his) X-1 and Pam we call
X-2 (referring to Glenn’s second wife Pamela
Barnett, who was on good terms with Glenn
and Lisa even after their split).”
We first met Glenn a decade ago at Shelby
Singleton's Sun Records Entertainment office,
where he would routinely visit and hold court,
along with such Singleton buddies as producer
Jerry Kennedy. Singleton says Glenn had a
natural sense of humor and will be sorely
missed:
“Glenn was an all-around great person,”
says Singleton. “He worked with me on my
Jason D. Williams’ project (‘Wild’). You know,
he loved going to garage sales and flea markets.
He would collect old photographs and
sign them with different hillbilly names, like
‘To Sadie Mae,’ then he would sell ’em. He
was full of one-liners. He was probably one
of the funniest characters I ever met. I remember
he told me the story that when he and Lynn
used to fight, and that was often, he had to
sleep in a bullet-proof vest.”
Lisa adds, “Daddy-O was a huge garage
sale freak . . . He would call me and say, ‘Let’s
go to some yard sales?’ I would say, ‘OK, come
and get me.’ But when I was younger, I used
to hate it. E-Bay was something he liked, too.
He’d find stuff on there and enjoyed getting a
good price buying something on e-Bay and
then sell it for a dollar more.
“He said to me, ‘Don’t take anything in
this house for granted.’ I mean like this original
poster from Republic Pictures here; he had
it signed by such Western stars as Monte Hale,
Bob Steele, Dale Evans and Roy Rogers . . .
Through him, I’ve become something of a historian
on those things. I’ve got collections the
Country Music Hall of Fame would envy.”
Kennedy echoes pal Singleton, “He was
one of the funniest human beings in the world.
He did an act he called ‘Blue Water Dave, the
world’s oldest living entertainer,’ and like a
radio show he’d call, The Exciting Adventures
of Angel Man. I bought some masters from
him. They were ‘The Ballad of The Blue Cyclone’
(cut by Ray Stevens in 1986) and ‘Foot-
ball Card,’ that’s a really funny one. If you
didn't know him, you really missed something.”
Jerry said the story behind Sutton’s major
success “What’s Made Milwaukee Famous”
started when publisher Al Gallico called Glenn
to see about a song for a session Kennedy had
with Jerry Lee Lewis that was scheduled the
next day. Glenn fibbed that he had one almost
finished that afternoon. Gallico pressed him
for its title, and Glenn glanced at a newspaper
promoting a beer ad with the tagline “What
Made Milwaukee Famous.” So Sutton gave
the publisher that title, which he thought was
terrific and sure to please Jerry Lee. That left
Sutton with the task of creating a tune by 9
the next morning. Reportedly, Glenn’s retort
to all the pressure: “God Almighty! I’ll have
to really get drunk tonight.”
Sutton songs have been heard on the
soundtrack of such movies as “Take This Job
and Shove It,” “Thelma & Louise” and “Girls'
Night.”
Hugh X. Lewis, a Kentucky boy, wrote a
goodly number of songs with Sutton plus
penning Stonewall Jackson’s #1 “BJ the
DJ.” He made some recordings himself during
the 1960s and ’70s, three of which he
charted co-written by him and Sutton: “All
Heaven Broke Loose,” “Everything I Love”
and “Blues Sells a Lot of Booze.”
Regarding the latter, Lewis says, “They
misinterpreted our meaning, and they said it
was read into the Congressional Record (as
promoting drinking), when all we were doing
is coming up with a honky tonk song. We did
one Stonewall recorded called ‘Ship In the
Bottle.’ Oh Lord, all we were trying to do was
write some commercial stuff. But it was a controversial
time back then.”
Another of their collaborations put the writing
team at loggerheads with Columbia’s national
chief Clive Davis: “We cut a song called
‘Please Mr. Policeman (Be Brutal If You
Must),’ We had an engineer Mort Thomasson
at Columbia, whose son was hurt bad by a
militant group - that inspired us. Well, we sent
an advance to (DJ) Bill Mack at WBAP-Dallas,
and he played it and said it was the Texas
station’s most-requested song.
“Frank Jones was my producer and he’d
sent our stuff to Davis, who came back and
said let’s not release it, but if you must, then
change the wording (from brutal) to ‘firm.’ We
thought that was sissy, and we were awardwinning
writers who stood up and said we
didn’t want to change the lyric. But in the end,
it went out with that change, and Bill Mack
wouldn’t even play it, and the record fizzled.
So there was a lot of animosity between Clive,
and Glenn and me. That falling out with Davis
is most likely why they didn’t pick up my contract.”
(The song retitled “The Policeman”
-Photo by Patricia Presley
Lynn Anderson and daughter Lisa Sutton.

July-September 2007 The Nashville Musician 17
went out as the B side to “Everything I Love,”
which stalled at #56 in 1970.)
Lewis, a born-again Christian, remembers
the controversial “Tears On Lincoln’s Face,”
a Top 40 they co-wrote for Tommy Cash, after
his success with “Six White Horses” saluting
slain leaders John F. Kennedy, brother
Bobby and Martin Luther King, Jr.
“Most of us country writers didn’t write
protest songs back then. We mainly wrote
about home, God and country. We weren’t into
the business of protesting like the hippies were.
While our soldiers were dying over there in
Vietnam, they were searching for a spiritual
reawakening under LSD, and were in a freelove
situation, shacking up with a different
person every night. What Glenn and I were
saying is if America doesn’t straighten up, it’s
gonna fall, like tears on Lincoln’s face.
“We see Washington at Valley Forge/Jackson
at New Orleans/Jim Bowie at the Alamo/
They all had a common dream . . To see one
nation under God/On which he shed his grace/
If we don’t heed their call/Then our nation’s
gonna fall/Like the tears on Lincoln’s face . .”
During their peak writing period, Hugh
hosted his own syndicated TV variety series
Hugh X. Lewis’ Country Club and both Glenn
and Lynn appeared as guests: “I did 41 weeks
and Lynn was on 11 of the first shows, at a
time when she was with Lawrence Welk’s national
TV show. Mr. Welk allowed her to do
our show, because it wasn’t competing in the
cities where his were shown.
“Glenn and I were always buddies,” explains
Lewis. “He got me my (songwriting)
deal with Al Gallico. I never knew him to be
in a bad mood. We had more fun together; I
just loved the guy.”
When were they last in touch?
“Oh, we talked about an hour, a couple
months back. He said, ‘Hugh, (photographer)
Les Leverett just told me your son Lance died
of cancer. I am so sorry.’ Then he told me that
he was doing well, and in fact had just gotten
a clean bill of health from his cancer doctor.
He also told me he was getting so good on the
steel guitar . . . We had a good conversation.”
On-line, some comments posted for Lisa
in remembrance of her dad included one from
Bil VornDick, an engineer-producer, who
wrote: “Back when Glenn had his office next
to Marty Robbins’ Studio, I had the pleasure
to go over and visit him often. There was always
a new joke, new song and a great story
to hear from him. I remember many times,
when we were getting ready to record a new
album on Marty, that Glenn would dig into a
pile of 45's that Marty had released years before
and hand me one. This got to be a tradition,
before every new session with Marty. I
would take it and have it waiting for Marty on
the producer’s desk when Marty came into the
control room. Marty loved those presents from
Glenn Sutton
Glenn. What was amazing, is that Glenn would
pick a 45 that Marty didn't have at that time.
So on the first day of recording the other albums,
Marty would come into the control
room and say, ‘Where did Glenn find this?’
Fond memories will always be with me of
Glenn and his long friendship.”
Representing yet another generation is
young singer-songwriter Royal Wade Kimes:
“Glenn and I wrote a few songs together and I
never laughed that hard in my life while writing
a song. He was one heck of a songwriter,
but could have made another fortune as a stand
up comedian. There was one song titled ‘Open
Bottle Surgery,’ what a hoot, you can just
imagine. Glenn made my life brighter and
helped me not take things so seriously. I will
miss him.”
Regarding some of his infamous pranks,
Lisa related two for us. The first concerned
the time they dedicated the guitar-shaped pool
at the Spence Manor building on Music Row:
“Ernest Tubb was there, the Mayor and Chet
Atkins, all to dedicate the pool. Dad decided
to do something silly, and a limousine came
to pick him up and he wore this Esther Williams’
bathing suit, and had on a ‘Creature
From the Black Lagoon’ mask. They pulled
up on the wrong side of the pool and Dad got
out, passed everybody as they were cutting the
ribbon, dove into the pool, swam to the other
side, got out, waved goodbye, saying ‘Thank
you,’ ducked into the limousine and left. I’ve
got a picture of that and they’re all there staring
at him. It’s hysterical.”
The second recollection was another of his
pie-throwing incidents: “He had a pie made
up with whipped cream, put it in his briefcase
and went to a meeting with business associates.
His friend Norro Wilson had escaped
being a victim all these years, but he was there
talking at the meeting. Dad opened the briefcase,
took out the pie and pow! he got him
good! I guess for about a year Norro wouldn’t
talk to Dad. He was a trip.”
Did he continue that outrageous behavior
in recent times?
“No, I think he became pretty reclusive in
his later years. I believe he felt like the industry
was hard on a person, like it loves you for
awhile and then spits you out . . . The sad thing
to me was that all those guys that he helped
get signed to writer deals and such, who were
now running labels or producing top artists,
wouldn’t even take his calls or listen to his
songs, when he had given them their first
break.”
Was Glenn still writing in his later years?
“Yes. He was writing up until he left.
There’s a piece of a song setting on his desk.
Mostly, he was writing more Christian and
bluegrass stuff in recent years. He liked a lot
of ’grass. But this last song he was working
on was titled ‘Knee-Mail,’ you know like e-
mail. He was writing that the way to God was
to get on your knees and pray . . .”
Was he political?
“No, he wasn’t really. Except he did a
couple semi-political songs, but no, he wasn’t
into all that . . . Dad was always quite the personality,
who leaned towards comedy. But all
those great songs he wrote in the 1960s and
the ’70s, and his good spirit about life and the
business, that’s his true legacy.”
Insiders knew Glenn was as proud of his
daughter as she is of him. Lisa attended
Samford University in Birmingham, Ala., went
over to Oxford University in England, carried
two majors - Journalism and Biology - and
obtained her final degree from Belmont University
in Nashville.
Lisa is also a champion equestrian, having
earned the Tennessee State Quarter Horse
championship two years in a row, and placed
second and third in the world competitions.
“Dad thought that was awesome.”
Has she ever thought about following in
his footsteps as a songwriter?
“Oh yes, having a degree in journalism, I
thought about it. But I come from too many
good writers, so I get my satisfaction from
working in the business side of the industry.”
She has been running her own company,
Music Services Unlimited, for the past decade
(and is launching a new on-line company
SongStock).
“We do CD manufacturing and graphic
design. Our customers include everybody from
Merle Haggard to Dodge trucks, and we have
a relationship with Sony and their manufacturing
plant in Vienna (Austria). On top of that,
we do all the art in-house. I have a lot of independent
artists we’ve worked with over the
years.”
Sutton with writing colleagues Billy
Sherrill and Al Gallico.
Glenn Sutton’s funeral services were conducted
April 20 in Woodlawn-Roesch-Patton’s
Dignity Hall in Nashville. A Celebration of
Life was held at the Station Inn following the
service, and Carl Jackson and Luke Wooten
performed some of his music. Besides Lisa,
survivors include his sister Sybil Ponder, niece
Brenda Darby, nephews Royce Ponder and
David Ponder, great niece Brittany Darby, and
great nephews Zackery Ponder and Chris
Curtis.
Glenn the writer.
By WALT TROTT
This year marks Wilma Lee Cooper’s 50th
year as a cast member of WSM’s Grand Ole
Opry, though she doesn’t appear much these
days, due to lingering health problems.
But her contributions - and that of her late
husband Stoney - are warmly remembered.
Both hailed from West Virginia, and though
they made their mark in country and gospel
genres, they were especially adept at performing
good ol’ mountain music.
Now, from across the pond, the British
Archive of Country Music (BACM) has dug
deep into the U.S. vaults of Columbia and
Hickory Records to produce a 22-track retrospective
“On the Banks Of the River,” featuring
Wilma Lee & Stoney Cooper at their traditional
best.
CD Review
Hard to believe Cooper’s been dead 30
years. He died March 22, 1977, at age 58. His
widow turned 86 in February.
Local 257 Life Member Wilma Lee, whose
only child Carol Lee Cooper still performs
regularly with the Opry’s Carol Lee Singers,
comes from the musical Leary Family Singers.
She plays guitar, banjo and piano.
Wilma Lee first began performing with
Dale Troy Cooper, nicknamed Stoney, after her
father engaged him to play fiddle for his family
group.
Married in 1941, the couple set out on
their own as a duo, accompanied by their
Clinch Mountain Clan. Wilma Lee’s earthy
vocals, reminiscent of fellow West Virginian
Molly O’Day, lent themselves equally well to
gospel numbers like Mac O’Dell’s “30 Pieces
of Silver” or ballads, notably “Cheated Too,”
which she wrote, and the only one of her Billboard
chart successes featured on this BACM
album.
BACM also includes their covers on Bob
Wills’ melodic “Faded Love,” Hank Snow’s
soaring “Golden Rocket,” and Leon
McAuliffe’s lilting “Sunny Side of the Mountain.”
Songs more associated with Wilma Lee
and Stoney are heard: “Just a While,” “On the
Banks Of the River,” “Each Season Changes
You” and “Walking My Savior Up Calvary
Hill.”
Tracks selected were recorded between
1949 and 1955; therefore, their later Billboard
Top 10s - Josh Graves’ “Come Walk With Me,”
Don Gibson’s “There’s a Big Wheel,” Wilma
Lee’s “Big Midnight Special” and a cover of
Roy Acuff’s tearjerker “The Wreck On the
Highway” - are missing.
Nonetheless, J. D. Miller, who furnished
career songs for Kitty Wells and Jimmy C.
Newman, wrote a pair of plaintive ballads
they’ve recorded: “How It Hurts To Cry
Alone” and “This Crazy, Crazy World.”
Don’t be fooled by the title “We Make a
Lovely Couple,” penned by Billy Worth, as
Hickory’s substituted Al Terry to share vocal
chores with Wilma Lee.
Still, BACM’s choices capture the true essence
of this captivating acoustic duo, whose
expressive recordings are pure Americana at
its finest.
(Check out bacm.users.btopenworld.com)
Your AFM
Music Performance
Fund seeks
sponsors now!

18 The Nashville Musician July-September 2007
Whisperin’ Bill’s heard and hailed
By WALT TROTT
“Regrets? Not really. I mean there are things
in my life, in looking back, that I might have
done differently,” answers Bill Anderson. “Actually,
I wrote a song that Kenny Chesney recorded,
‘A Lot of Things Different,’ which
addresses that question.”
“I’ve been divorced twice, so I should have
worked a little harder on my marriages,” he
continues. “But looking at life now, and all
the good things that are happening, I’d sound
ungrateful if I complained about my life and
the way it turned out . . . ”
No doubt many of Anderson’s peers are
indeed envious of the singer-songwriter’s career
accomplishments. Here he sits 50 years
after writing his first hit song “City Lights,”
basking in the glow of his latest #1 “Give It
Away,” as recorded by today’s King of Country
Music, George Strait.
That alone sets a record for country
songwriters, marking a stretch between his first
charttopper “City Lights” hitting #1 for 13
weeks starting Oct. 20, 1958 by Ray Price, and
his latest by Strait, topping the Billboard charts
last September for two weeks - 48 years apart.
Does Whisperin’ Bill think that he might
even break his own record?
“Oh, I don’t know. But I do have a cut on
Kenny Chesney’s current album (titled ‘Demons’)
that might have a shot as a single,” he
says, with a wry grin.
We interviewed Anderson backstage at the
Opry, shortly after he sang “Give It Away,”
which he co-wrote with Buddy Cannon and
Jamey Johnson, garnering generous applause
among both the greybeards and Generation Xers
in the mixed crowd.
Despite being a Strait hit, it really does
sound like a Bill Anderson song. So was he
the one pitching the idea at the writing session?
“Actually, we were in Buddy’s office at a
little round table, and Jamey came in with the
idea, but didn’t quite know where to take it.
Jamey was going through a divorce, and having
been there myself, I knew where he was
coming from, so we just kicked it about a bit
. . . Most folks think because there’s a talking
part in there, that was my idea as I’m known
for the talking stuff. But that was really
Buddy’s idea.”
The Strait recording - ironically on the
MCA label, where Anderson held forth 23
years through 1981 - earned the Academy of
Country Music’s best song trophy for its writers
during the annual awards telecast May 15
in Las Vegas. Anderson’s publishing arm, Mr.
Bubba Music, shared in the award. The song
also won best single of the year, meaning trophies
went to both Strait and co-producer Tony
Brown. Not a bad haul for a song credited in
part to a writer from the old guard, but one
who’s proven himself to be as prolific and relevant
as ever.
Anderson says it’s his first ACM win. Still,
his (and Jon Randall’s) “Whiskey Lullaby”
earned ACM’s best vocal event for Brad Paisley
and Alison Krauss, and best video in 2005
(albeit they’re not awards that songwriters
share in).
Yet another first, however, occurred in April
2007, as Bill and co-writer Tia Sillers shared
a best song Dove award for their gospel-flavored
collaboration “Jonah, Job & Moses.”
“That’s not really a gospel song in the traditional
sense,” explains Anderson, pointing
out it was his first writing venture with Sillers,
Give to TEMPO
Mel and Bill, both successful as singers-writers.
Bill with granddaughters Rachel and Caroline.
known for her “I Hope You Dance” hit.
“Well, she had this idea but also wasn’t sure
where to go with it. I know something of the
Bible, being the grandson of a minister (The
Reverend Horace S. Smith), though I don’t
profess to be a scholar, but I knew enough to
contribute . . .”
Anderson songs have been covered by a
diverse number of vocalists, ranging from yesteryear
crooner Perry Como, to movie star
Debbie Reynolds, to rocker Elvis Costello, to
folkie Burl Ives and more recently Americana
prince John Prine, who with Bluegrass Hall of
Honoree Mac Wiseman cut “Saginaw, Michigan”
in duet.
Although Anderson was inducted into the
Nashville Songwriters Hall of Fame back in
1975, contemporary compositions show his
songwriting skills are as strong as ever. Historically,
he has tied the venerable Hank Williams
with 13 Billboard #1s (written), putting
him one up on fellow Hall of Famers Harlan
Howard, Conway Twitty and Tom T. Hall.
Bill questions the total, “I think there were
more than that at #1,” but told our figures came
from the trade bible Billboard’s count, adds,
“Well, there were other charts (of course, including
now-defunct Record World, Cash Box
and R&R) . . .”
In 2001, Bill became an inductee into the
Country Music Hall of Fame, and earned
BMI’s first country ICON award in 2002, so
what’s left for the 46-year Opry member to
aspire to?
“I don’t really think about what awards I
can win. That’s just icing on the cake.”
What he aspires to, however, is simply writing
another good song. Anderson says for a
time in the 1980s he barely wrote, “I took notes
and jotted things down, but I thought maybe
my time had passed.”
Spurring him on, however, were two contemporary
artists, Vince Gill and Steve
Wariner. The latter recorded his song “The
Tip(s) Of My Fingers” and it became a hit (#3
in 1992) all over again. It was Anderson’s first
Top 10 single in 1960, Roy Clark’s first Top
10 in 1963, and a #3 for Eddy Arnold in 1966.
Bill figured if a song written that long ago was
acceptable to today’s audience, maybe he still
had something to say they could relate to after
all: “It really opened my eyes.”
Anderson credits Gill with pushing him to
co-write, an effort resulting in Vince’s Top Five
single “Which Bridge To Cross” in 1995. The
star says he enjoys co-writing because of the
creative give-and-take, and bouncing ideas off
one another. He welcomes the fresh input of
the younger writers, who in the process seem
to enjoy hearing his perspective.
Newer acts with Anderson songs have included
Mark Wills’ #1 “Wish You Were Here,”
Wariner’s #2 “Two Teardrops” and Craig
Morgan’s album cut “When a Man Can’t Get
a Woman Off His Mind.” Its lyrics are intense:
“When a man can’t shake a memory/He runs
hot and cold and blind/He hates her, then he
loves her/Then he hates her one more time . .
When a man can’t get a woman off his mind.”
“The first time I heard this song was at
Atlantic Records,” explains Morgan. “It had
been pitched to another artist who passed on
the song. There’s a depth and reality to this
song that holds all the truth and tradition of
country music that I love, and I’ve actually
been where this song will take you.”
Anderson’s effort with Randall, “Whiskey
Lullaby” reveals a darker side.
“He put that bottle to his head, and pulled
the trigger/And finally drank away her
memory . . .” depicting an alcoholic’s approach
to suicide, and has been recorded by
Jon, Melanie Cannon, and again a duet by Bill
and Kenzie Wetz..
When selected by Brad Paisley and co-producer
Frank Rogers, they first turned it into a
duet featuring sweet-voiced Alison Krauss.
“That was their idea,” notes Anderson. “It
wasn’t written as a duet, but they did it beautifully.”
So much so that the recording also earned
CMA’s Music Event award in 2002.
How comfortable was Bill initially sitting
in with younger writers?
“Well, they come to sessions with their
high-tech computers, and I still use pad and
pencil. That’s how I always wrote,” muses
Anderson, who shared a recent recollection
of Buddy Cannon calling to ask if he had a
copy of their latest collaboration, as his com-
Bill visits studio where he was a Georgia DJ.
puter crashed. “I said sure, and I took him a
copy, carrying my pencil, and telling him this
doesn’t break down.”
In his first writing career, Bill thought it
was something you did at 3 in the morning,
when you were all by yourself, just strumming
guitar and singing into a tape recorder: “I
thought I was the only writer who came up
with the second verse first, but I soon found
that a lot of other writers today do just that.”
Among his contemporary co-writers are
Gill, Dean Dillon, Skip Ewing and Debbie
Moore.
A younger Anderson mainly wrote solo,
though credits on hits like “Face To The Wall”
also cite Faron Young; “Saginaw, Michigan,”
Don Wayne; and “Where Have All the Heroes
Gone,” Bob Talbert. That 1959 Top 10
Faron cut, as documented by author Diane
Diekman in her biography “Live Fast, Love
Hard: The Faron Young Story,” was all
Anderson’s creation until he consented to let
the singer have writer’s credit after a slight
lyric change, only to get Faron to record his
song. Its Top Five flipside “Riverboat” was
also Anderson’s, though Young didn’t ask for
a piece of the action on that gem.
“Don Wayne had most of ‘Saginaw, Michigan’
written when he brought it to me, but he
didn’t know how to end it. So I mainly created
the last verse where the father-in-law goes
up to Alaska looking in vain for gold,” while
the newlyweds live happily ever after.
Regarding his then-topical 1970 recording
“Where Have All Our Heroes Gone,” it stirred
up commentary in the media: “Where have
Bill accepts picture from brothers Gerald and Rob
Jordan (front), before boarding bus with Connie
Smith, Brad Paisley, Laverne Bennett, Helen
Cornelius and Jim Ed Brown to go on tour.
all our heroes gone/ What's come over our
great land/America is still my home sweet
home/But where have all our heroes gone? ...”
According to Bill, Bob Talbert was a reporter
who sent pages he had compiled, which
the artist read through to come up with a song
suggesting long-haired activists couldn’t hold
a candle to America’s war heroes, reciting:
“I had heroes when I was a kid, we all did/
And our heroes did their thing, too/Like General
Douglas McArthur/Who returned like he
said he would . . . Like Gene Autry and Roy
Rogers/Who chased the bad guys right off the
screen . . .”
“For the most part, I don’t think singers
should preach from the stage, they’re up there
to entertain. Personally, I don’t care what Clint
Eastwood, Barbra Streisand or even Charlton
Heston think about politics, I’m more interested
in them as artists. My father (James
Anderson, Jr.) warned me a long time ago not
to get into politics while performing, because
it just turns off fans . . . On occasion, I have
made an exception, like I got out and worked
on behalf of Tex Ritter when he ran (unsuccessfully)
for office, and it was pretty well
known that I was for Zell Miller (the conservative
Georgia Democrat who defied his party
to campaign for President George W. Bush),
but otherwise I took my father’s advice.”
One problem that existed back in his 1960s’
heyday, he relates: “The younger writers now
don’t realize that we couldn’t all write together
when I first came to town. Because if a writer
didn’t write for your publishing company, you
couldn’t write with him. When I wrote for
Tree, you could only consider writing with
another Tree writer, not somebody from Cedarwood
or Pamper.”
For Anderson’s Opry gig just prior to our
chat, he also performed his traditional Top Five
hit, “I Love You Drops,” the flip to his poignant
recitation “Golden Guitar.” The latter
tune recalled his appearance at the first 1969
Wembley Festival in London: “Bob Powell
(former publisher of Country Music People
magazine) told me whatever I do, don’t perform
any talkin’ songs because British audi-
(Continued on page 24)
Bill whisperin’ to then-Sony/Tree’s Donna Hilley.

July-September 2007 The Nashville Musician 19
M edallion ceremony,
an emotional experience
Harold Bradley, Sonny James and George
Strait are the Country Music Hall of Fame’s
newest medallion recipients. During a May 6
ceremony commemorating the artists induction,
current Hall of Famers and contemporary
acts alike, along with family and friends,
paid their respects.
Kyle Young, chief of the Country Music
Foundation, which oversees the august institution,
the Country Music Hall of Fame &
Museum now located in downtown Nashville,
cited their considerable contributions to this
truly American art form.
“Tonight these pioneering icons will receive
the medal that commemorates their ownership
of country music’s paramount honor,
election to the Country Music Hall of Fame,”
said Young. “All three men have worked the
better part of their lifetimes to get where they
are tonight.”
Both Bradley and James are Life Members
of AFM’s Nashville Association of Musicians’
Local 257. Strait is a member of
Austin, Texas AFM Local 433.
Ably assisting Young’s program in the
CMF’s 213-seat Ford Theatre was Chairman
of the Board E. W. (Bud) Wendell, himself a
Hall of Famer, and veteran session musician
John Hobbs, who directed what was called for
the occasion the Medallion All-Star Band.
Among those playing were Brent Mason, guitar;
Eddie Bayers, drums; Stuart Duncan,
fiddle; Paul Franklin, steel guitar; Russ Pahl,
acoustic guitar; Michael Rhodes, bass; and
Hobbs, keyboards. Background vocals were
furnished by Wes Hightower and Marty
Slayton.
Serenading their heroes with selections
representative of their distinguished careers
were Trace Adkins, Alan Jackson, Charlie
Daniels, Reba McEntire, Randy Owen, Lee
Ann Womack, Ray Stevens, Connie Smith,
Dean Dillon and James’ former Southern
Gentlemen (Lin Brown, Jack Galloway, Glenn
Huggins and Gary Robble). Jimmy Capps and
Dann Huff added their talents in toasting the
honorees.
Kicking off the entertainment portion was
Vince Gill, CMF president, vocalizing “Drifting
Too Far From the Shore,” and later Sonny
James #1 pop and country crossover song
“Young Love,” continuing throughout the
evening as a band guitarist.
Brenda Lee was Bradley’s presenter of choice.
Porter Wagoner, calling James “the great
Southern Gentleman,” and “a wonderful
showman . . . ” made the Medallion presentation,
remembering, too, they had great times
touring together. James was under doctor’s
orders not to sing due to a throat ailment.
Surely, showstopper of the evening was
Ray Stevens’ wild rendition of James’ #1 1969
single “Running Bear,” as originally penned
by rock’s Big Bopper (J. P. Richardson).
Decked out in Indian regalia, including huge
elk-horns, Stevens brought his comedic flair
to the ballad’s tale of ill-fated lovers Running
Bear and Little White Dove. Unannounced
participant George (Goober) Lindsey garbed
as a silent over-the-hill Indian maiden was a
fun touch. Stevens told the decidedly nonplussed
James that he once had his own “Running
Bare” success with a hit titled “The
Streak!”
Young told how James (Sonny) Loden
started off playing fiddle and guitar, as a
youngster singing in his family’s band. The
Loden Family gained in popularity apart from
their native Alabama, performing on radio in
Raleigh and Knoxville. Following a stint in
service, he struck out on his own, performed
on the Louisiana Hayride and soon landed a
Capitol Records contract. A&R chief Ken
Nelson suggested he drop the Loden and become
Sonny James. His success was such that
he recorded 16 consecutive #1 songs, setting
an industry record.
One of those, “A World of Our Own,” was
sung by the Opry’s Connie Smith. Assisted on
harmony by James’ Southern Gentlemen,
Alabama’s Randy Owen did a doo-wop rendition
of yet another charttopper: “You’re the
Only World I Know.”
James, in a touching address, acknowledged
devoted wife Doris, bandsmen, family
and associates, notably the Southern
Gentlemen: “They came up with a sound
for me, and when you put those guys together,
it really made my music come alive,
It was an identifying sound.”
In saluting Bradley, Daniels proclaimed,
“Harold, you’re one helluva picker!” He performed
Ernest Tubb’s hit “Thanks a Lot,” recalling
a teen-aged Harold’s first summer tour
as an E.T. Texas Troubadour. Meanwhile,
Vince accompanied Charlie, playing Harold’s
acclaimed “Tic-Tac” guitar.
Medallion honorees Sonny James, George Strait and Harold Bradley strike a pose for Donn Jones.
Adkins sang “Hello Darlin’,” Conway
Twitty’s signature song on which Bradley
played. Reba, who had also recorded with him,
sang the Patsy Cline charttopper “I Fall To
Pieces” - which featured Harold and was produced
by Owen Bradley - while Brent Mason
played Harold’s Tic-Tac bass style.
Then Harold, whose medallion was presented
by veteran vocalist Brenda Lee,
showed why he’s hailed Dean of Nashville
Guitarists, playing “Lara’s Theme.”
Dynamic Brenda Lee was 10 years old
when she first worked with the brothers Bradley,
noting, “They were always like my family
and they still are,” then recalled a happening
when they interrupted a recording session,
to surprise her with a Sweet 16 birthday hop!
At the podium, Bradley acknowledged,
“Surely God has had his hand on my shoulders
all my life,” announcing that he shared
this unique honor with the A Team players,
and with his family, including in attendance
wife Eleanor, their daughters and grandchildren.
Bradley teared up in discussing his late
producer-brother Owen, “Here I am, getting
to go into the Hall of Fame with him . . . It’s
very emotional for me.”
They are the only brothers voted into the
Country Music Hall of Fame not known as a
performing act or duo. Owen, 10 years
Harold’s senior, was inducted in 1974, and
died Jan. 7, 1998 at age 82.
George Jones made the Medallion presentation
to Strait, “Now he’s King George!” The
Possum, who’s been wed a few times, then
complimented Strait on sticking with one
woman so long: “He stayed married to the
same woman, Norma, for 35 years. Hot damn!
That’s good, you know!”
A smiling Mrs. Strait and their adult son
George (Bubba), Jr., watched proudly, as did
Senior’s dad, directing a comment to him: “I
always knew that I would find my direction in
life, because you told me that God has a plan
for everybody . . . So I never worried about it.
I’m sure maybe you did at times, thinking
maybe God ought to point me toward a real
job . . . But I think it turned out OK.”
An emotional Strait also confided, “From
John D. Loudermilk, who wrote five country
charttoppers, plus milestone pop successes,
was honored June 23 via the Country Music
Foundation’s Hall of Fame & Museum’s quarterly
series Poets & Prophets: Legendary
Country Songwriters.
Early on, Loudermilk had a radio show
(WTIK-Durham), a TV program (WTVD-
Durham) and later recorded as pop singer
Johnny Dee, scoring best with his ’57 Top 40
“Sittin’ in the Balcony.” While on National
Guard duty in 1956, however, John’s composition
“A Rose & A Baby Ruth” was recorded
by George Hamilton IV. It was a Billboard pop
hit, launching George IV’s vocal career.
Under his own name, John D. also scored
with the pop single “Language of Love” (#32,
1961), though his greatest achievements came
as a songwriter.
On the pop scene, he hit with the millionselling
“Waterloo” (#4, 1959, Stonewall Jack-
the time I first started singing country music,
I dreamed of someday getting into the Hall of
Fame. It’s the ultimate achievement that you
can have. That’s what I wanted. I wanted it
all.”
Dean Dillon, who has had numerous Strait
#1 cuts, sang one of them, “The Chair,” followed
by Lee Ann Womack on “The King of
Broken Hearts,” and laid-back Alan Jackson,
who lit into “The Fireman,” a song he remembered
performing in dingy Georgia
honkytonks before making it big in Nashville.
In closing, Strait sang “Amarillo By Morning”
for the SRO crowd. Meanwhile, he was
having yet another thankful occurrence during
the event, as his MCA single “Wrapped”
was riding high on Billboard’s Top 10 chart
(reportedly his 75th).
No doubt summing it up for his fellow
recipients, Strait said, “I’m truly honored
and blessed today to be in the Country
Music Hall of Fame.”
Among other Hall of Famers in attendance
were Little Jimmy Dickens, Alabama’s Jeff
Cook and Teddy Gentry, Jordanaires’ Ray
Walker and Gordon Stoker, Charlie Louvin,
Bill Anderson, Frances Preston, Phil Everly,
Jo Walker Meador. Among the VIPs were
Bruce Hinton, Jimmy Bowen, Tony Brown,
Charlie Dick, Erv Woolsey, Mike Curb, Jim
Lauderdale, Luke Lewis, Dane Bryant, Bill
Denny, Mike Dungan, Jack Clement, Ed
Benson, Don Light, Louis Nunley, Milo
Liggett, Ralph Emery, Eddie Stubbs, Ed Morris,
Keith Bilbrey, Patsy Bradley, Lon Helton,
Tim Wipperman, Nashville Mayor Bill Purcell
and Hollywood actor John Amos.
The Medallion ceremony was taped for
broadcasts by the Great American Country
(GAC) cable network and WSM-650 AM radio.
Closing out the program, remaining Hall
of Famers and performers joined the newest
inductees in a traditional sing-a-long on the
Original Carter Family’s 1935 success “Can
the Circle Be Unbroken?” - Walt Trott
(Thanks to CMF’s Tina Wright and Jeremy Rush,
and photographer Donn Jones, for their input.)
Yet another tribute for Nashville-based John D. Loudermilk
son), “Talk Back Trembling Lips” (#7, 1964,
Johnny Tillotson), and “Indian Reservation”
(#1, 1971, Paul Revere & The Raiders).
Among other Loudermilk hits are a trio sung
by Sue Thompson - “Sad Movies,” “Norman”
and “Paper Tiger” - as well as Eddie Cochran
(“Sittin’ in the Balcony”), The Everly Brothers
(“Ebony Eyes”), The Casinos (“Then You
Can Tell Me Goodbye”) and Marianne Faithful
(“This Little Bird”).
A cousin to Ira and Charlie Loudermilk
a.k.a. Louvin, John D. enjoyed these #1 country
cuts: “Waterloo”; Eddy Arnold’s “Then
You Can Tell Me Goodbye”; Glen Campbell’s
“I Wanna Live”; George IV’s “Abilene”; and
Ernie Ashworth with “Talk Back Trembling
Lips.”
John D. Loudermilk, now 73, was inducted
into the Nashville Songwriters’ Hall of Fame
in 1976. It’s nice to see him being honored in
this way. - WT

20 The Nashville Musician July-September 2007
John Prine dips into the past for new album
Something old is new again . . .
By WALT TROTT
John Prine joined Mac Wiseman in bringing
back little pieces of time remembered
fondly, for their collection “Standard Songs
For Average People.”
We’ve long been a fan of Mac, “The Voice
With a Heart,” but regrettably only jumped
aboard John’s bandwagon in the past decade -
and the man’s been entertaining more than 35
years.
We had heard and admired individual songs
he’d written performed, however, most assuredly
“Angel From Montgomery,” “Paradise”
and “I Just Want To Dance With You,” but not
by the creator himself.
Meanwhile, Prine earned his first Grammy
Award (1991) for his “The Missing Years,”
which featured such co-performers as Bruce
Springsteen, Bonnie Raitt, Tom Petty, Phil
Everly and John Cougar Mellencamp; and a
2006 Grammy for his solo effort “Fair &
Square.”
John’s not one to grant interviews, so we
felt rather pleased to take up some of his time
a week after the release of the new album,
which we’d already reviewed (in April).
Now, we were able to inquire about individual
selections on the CD, released on his
indie label Oh Boy! Records. But noted first
that his teaming with Wiseman seems to indicate
that indeed opposites do attract.
“Oh sure,” he chuckles. “I really admired
Mac’s singing, you know. He sings better than
ever at 80. He really does. When I close my
eyes and hear his voice, it sounds like somebody
ice skating smoothly across the pond.
So when he expressed interest in doing this
record, I didn’t shy away from it.
“Hey, it was all I could do to keep up with
him. Just sitting across the table from Mac
every morning to sing with him, well, I wanted
to keep on doing it five days a week, every
day. That would be a perfect job to me.”
Wiseman just turned 82, and Prine turned
60 last Oct. 10. Having whipped cancer, John’s
just happy to be on the scene and thankful that
his captivating whiskey baritone still survives.
Even in younger days, neither he nor Mac were
ever considered matinee idol types, but their
talents gained them major feminine followings.
What convinced Prine to do more than a
song or two with the Bluegrass Hall of Honor
member?
“There was a seed planted long ago by Jack
Clement, who mentioned he thought that me
and Mac might try to do something together
sometime. We kind of rolled it around there
and I thought, ‘Man, I’d love to,’ but I didn’t
know if Mac knew me from Adam. It turned
out that Mac liked some of my stuff, and I sure
liked his music.”
Cowboy Jack, who produced Johnny Cash
and Charley Pride, guided Mac through his
1969 RCA session resulting in the novelty
success “Johnny’s Cash and Charley’s Pride”
(written by Cy Coben).
“Do you know David Ferguson?,” asks
Prine. “Well, Fergie (who co-produced) kind
of tricked us. He found that (Kris)
Kristofferson song ‘Just the Other Side of
Nowhere’ on a record, cut his voice out and
invited me and Mac down to the studio and
cut it in a key where it wouldn’t be too rough
for either one of us to sing, just to check our
voices. Some people’s voices are good and you
might think that they are like-minded singers
who could sing together; but sometimes your
voice just doesn’t go with another’s. Some-
how ours seems to complement each other.”
Ferguson had run into Wiseman at a birthday
party for Earl Scruggs (January 2006) and
suggested Mac drop by the studio to meet
John. Soon he had them jammin’ together.
Once Ferguson blended their vocals on the
Kristofferson number, he felt they were a good
combination.
“I wouldn’t have thought so either, but it
seemed to work,” adds Prine. “We were encouraged,
both Mac and I, by listening to it.”
(That lesser-known Kristofferson song had
been recorded by a number of artists besides
Kris, including Johnny Cash, Bobby Bare,
Dottie West, Ray Price and Dean Martin.)
Since the co-producer brought that song to
the table, who decided on the other 13?
“Originally, Mac and I came up with most
of the songs. We just each made a list, regardless
of how old or how new the song was or
how well-known or not well-known it was.
Then about a month later, we sat at Mac’s
house, and I think we both had a list of about
15 songs and it turned out seven of the songs
were the same on both lists.
“I mean out of hundreds-of-thousands of
songs to pick from and to come down to that,
it’s amazing! We then started paring it down
and when we got into the studio and we’d sing
something that you’d think would work, like
‘Sing Me Back Home,’ and if it wasn’t happening
right away the first couple of times we
did it, we’d just go on to the next song. Heck,
we had all these songs sitting there, so we’d
just go on to the next number.”
The unlikely duo caresses such evergreen
ballads as the rockabilly classic “I Forgot To
Remember To Forget”; a tale with a twist
“Saginaw, Michigan”; and the poignant “Blue
Side of Lonesome.”
Were any of the selections especially meaningful
to John?
“Yes, the gospel stuff - ‘In the Garden,’ ‘The
Old Rugged Cross’ - were the songs that I had
heard from my mom and my grandmother, and
those I could do with a guitar and vocals. I
half way knew them, at least a verse and chorus
already. That’s why I suggested them. They
were very popular songs so we both were familiar
with them.”
According to Prine, “Mac brought ‘Pistol
Packin’ Mama’ in, and I had heard the song
but I was more familiar with Bing Crosby’s
version. Mac told me how long it had been at
the top of the charts by Al Dexter and everything.
Hey, he’s a walking encyclopedia of
music. He knows the songs. He not only knew
who made them hits, but probably traveled a
couple hundred miles in a car with them. He’s
got lots of stories about those people, so it was
an adventure besides making a record.”
“Pistol Packin’ Mama,” written by Dexter,
was simultaneously a 1943 pop hit, which Al
took to #1 and Crosby (with the Andrews Sisters)
peaked at #2, but then on the very first
Billboard country chart on Jan. 8, 1944, Bing’s
version became the first #1 country cut and
remained at the top through Jan. 29. On Feb.
5, Dexter’s version took top spot, but then tied
for two successive weeks thereafter at #1 with
Crosby’s rendition (Feb. 12 and 19). Come
Feb. 26 and March 4, Louis Jordan’s “Ration
Blues” was #1. Amazingly, Crosby’s cut returned
on March 11 to top spot in another twoway
tie with Dexter, but this time Al’s tune
was “Rosalita.” (The Grammy Hall of Fame
has claimed Al Dexter’s “Pistol Packin’
Mama.”)
Some reviewers have cited “Pistol Packin’
Mama” as their favorite on “Standard Songs
For Average People.”
“We were both in a playful mood that day
and we’d certainly done a lot of ballads, because
we both love ballads, so we were kind
of anxious to chop her into bits and do something
a little upbeat. Tim O’Brien (guitar) and
Ronnie McCoury (mandolin) and Mike Bub
(bass) were playing on it, and everything just
kind of fell in line. I thought it came out pretty
good, too. Les Armistead did the harmony on
it, sort of knockin’ it up another notch for me.”
(Incidentally, Cowboy Jack played dobro on
that uptempo tune.)
They also do Crosby’s 1932 pop hit and radio
theme “Where The Blue of The Night
(Meets the Gold of the Day),” based on the “Tit-
Willow” from the Gilbert & Sullivan operetta
“The Mikado.” (Crosby is credited with cowriting
it with Fred Ahlert and Roy Turk.)
Mac recalls listening to it as a boy: “When I
was about 9 or 10 years old, working out in the
garden, my mother would call out to me to take
a break when she knew it was time for Bing
Crosby’s show. He was on for 15 minutes back
then, and I’d sit under the tree while she turned
the radio up loud so I could hear him through
the open window. That’s how I first heard it.”
More recently, Mac remembers that John
went out of the studio then came back with a
set of lyrics to “Where The Blue of The Night,”
handing them to him: “I was so glad he did.”
Another song they both chose was “The
Death of Floyd Collins,” a hit for Vernon
Dalhart 20 years before Prine was born. It’s the
oldest secular song on their album.
“I think the reason John was fairly acquainted
with it was because at one time Billy
Bob Thornton thought about making a movie
out of it,” says Mac. “Wouldn’t that have been
something?”
One song Wiseman wasn’t too keen on covering
was Tom T. Hall’s #1 “(Old Dogs, Children
and) Watermelon Wine,” explaining, “I
wasn’t jittery about doing it, but had misgivings
about whether I could do it justice. Tom
didn’t leave a damn thing out when he did it.
But I think it came off OK.”
Prine agrees, and indicated the reason he
pushed for Hall’s song, “I just had to hear him
sing that line ‘I was sitting in Miami, pouring
blended whiskey down’ . . .”
Another standout for John was Leon Payne’s
“The Blue Side of Lonesome,” which was also
a 1966 posthumous #1 for Jim Reeves.
“That was a favorite of mine. I was always
partial to Jim Reeves’ version of that. I spend
my summers over in Galway. My wife’s Irish
(Fiona Whelan) and we got a little house over
there in Ireland. I don’t know how many times
me and my friends have closed this pub down
singing ‘The Blue Side of Lonesome.’ So that
was kind of a good record for me.”
Mac also loves the song, but notes that Leon
Payne’s bluesy ballad borrows its melody from
the 1890s’ temperance tune “Little Blossom,”
which he sings a bit of to show its likeness:
“It’s exactly the same.”
A second Payne song selected for the CD
was his #1 “I Love You Because,” also hitting
way back for Ernest Tubb and Clyde Moody.
“I knew Leon Payne,” says Mac. “He was
John Prine
blind. I met him here. You know, he was doing
dinner theater-type shows back in the
Ozarks, even before they were doing them in
Branson. I know because Lonzo & Oscar
were booked over there. Leon was quite
humble, but very sure of himself, much like
Doc Watson. They can hear a song and really
feel ’em.”
Another “duplication” on their separate
lists of suggested songs was Ernest Tubb’s
“Blue-Eyed Elaine,” the first record he cut
for Decca in Houston, April 4, 1940. (It was
covered by movie cowboy Gene Autry.)
That proves that Prine himself is something
of a music scholar, since the song was
recorded six years before his birth. Another
Tubb hit “Don’t Be Ashamed of Your Age”
(a 1950 duet with Red Foley) was solely on
Wiseman’s list. “That was a fun song to do.”
Prine became aware early on that the studio
musicians seemed to get an extra charge
out of playing these golden oldies: “They all
seemed to love ’em. They really did. We kinda
cut the tracks mostly live, but we gave everybody
their day in court. We’d bring Kenny
Malone back in. You know, Kenny can always
spend a day with his percussion kit,
going over stuff and getting it just right.
Charles Cochran loved playing piano on this
and he added so much to it. I found that those
guys really enjoyed playing the old songs.”
Obviously for Prine it also represented a
welcome breather from having to write an
album’s worth of songs for a particular
project?
“You’re right. It’s always a mixed emotion
thing for me recording new stuff of mine.
I’m usually half in love with it and half not,
and always wondering about it, whether it’s
going to work for somebody else and is it
working for me? But these were all songs I
knew I loved. I was just trying my best to tell
the story as opposed to like introducing (new
songs) . . . So I was just concentrating on telling
the story and trying to sing them from
my heart.”
So what’s the advantage to running your
own label for this former Atlantic and Elektra
artist?
“Well, doing projects like this for one. Being
president of my own company, I don’t
have to explain to anybody why or what
reason’s behind it. It’s just something I want
to do.”
Oh Boy! has also produced albums for
other like-minded artists, including Todd
Snider and Donnie Fritts. Among artists recording
Prine songs have been pop icons
Bette Midler, John Denver, Bonnie Raitt and

July-September 2007 The Nashville Musician 21
Joan Baez, and also Nashville artists such as
Tammy Wynette, Johnny Cash, Lynn Anderson,
Gail Davies, Jim & Jesse and Tanya
Tucker.
Was this his encouragement to make the
move to Music City?
“I imagine like most people I started out
being a huge fan. But when I first moved to
Nashville, I wasn’t planning on easing into
country music or anything like that. Actually,
I was dating a girl who was my bass player at
the time and she lived here. I got down here
and being a big country music fan, I was just
astounded by the stories about who was here
and what life here was like in the old days. A
lot of that drew me into the history of country
music.”
Prine’s no stranger to country sounds. In
1999, his album “In Spite of Ourselves” had
him sharing the mic with country divas including
traditional favorites Melba Montgomery
and Connie Smith, as well as more contemporary
vocalists Patty Loveless and Trisha
Yearwood. He co-produced that Grammynominated
album with pal Jim Rooney, who
has a home near Prine’s in Ireland.
Mostly they revived classic country items
like “When Two Worlds Collide,” “Back Street
Affair” and “We Must Have Been Out Of Our
Minds,” though Prine did write the controversial
title track.
“I remember singing that song over in
Dublin on their equivalent of The Tonight
Show, and when I looked out at the studio audience
they were mainly elderly people . . .”
and obviously that line about the underwear
raised some eyebrows: “He ain't got laid in a
month of Sundays/I caught him once and he
was sniffin' my undies/He ain't too sharp, but
he gets things done/Drinks his beer like it's
oxygen/He's my baby . . .”
Apart from such non-radio-friendly lyrics,
Prine’s prose also includes thought-provoking
songs about such postwar dilemmas as that of
the sailor in “Take the Star Out of the Window”
or the junkie “Sam Stone,” with its telling
line “There’s a hole in daddy’s arm/Where
all the money goes . . .” John focused on the
working man and class distinction in “Paradise”:
“Daddy won’t you take me back to
Muhlenberg County/Down by the Green River,
where Paradise lay? . . . Well, I’m sorry my
son/But you’re too late in asking/Mister
Peabody’s coal train has hauled it away . . .”
Prine actually served in the U.S. Army,
having been drafted in 1966, but spent most
of his hitch toiling in a motor pool in Germany.
Discharged a corporal, he returned to driving
a postal truck, while playing weekend gigs and
writing more songs.
In “Some Humans Ain’t Human,” Prine
turns a wry phrase: “Some humans ain’t human/Some
people ain’t kind/You open up their
hearts/And here’s what you’ll find/A few frozen
pizzas, some ice cubes with hair/A broken
popsickle, you don’t want to go there . . .”
Does this former Illinois mailman feel that
message songs can be both provocative and
entertaining for fans?
“I believe so. I really think that humor is
the best way to put over a thought. But I
wouldn’t necessarily say that I wrote message
songs. If anything, I’m kind of expressing
myself in explaining something in a song. I
believe in humor a whole lot, because if people
laugh it’s hard for them to get mad at you. They
may not agree with you, but maybe they can
see the humor in what you’re poking fun at.
I’d hate to just get up on stage and preach or
sing just angry songs that say, ‘This is the way,
you guys are wrong, and this is what’s right.’
You aren’t gonna make too many friends that
way.”
On the other hand, Prine feels that performers
have as much right as the next person to
express themselves: “I think it’s always good
to speak your mind. Right now it’s a very
strange climate out there . . . I started out in
1971, and I’ve had quite a few political songs
for the day. Back then things were pretty clearcut
as opposed to today. You kind of knew
where people were coming from. Now you can
start a conversation and you’ll be very surprised
at where some people are coming from
and the different views they have at the table.
It can get very argumentative. It’s an odd climate
out there right now, is all I can say.”
In a mellower mood, John co-wrote “I Just
Want To Dance With You,” with English-born
writer Roger Cook, a song that’s been recorded
by Ireland’s Daniel O’Donnell, Irish colleen
Mary Black and Texan George Strait.
“I did it first on my ‘German Afternoons’
album. Then Daniel made it a hit in England,
and when George Strait made it number one,
I was fighting cancer. (It hit number one June
6, 1998, for three weeks.) That paid all my
bills the whole time I was sick.”
“I want to dance with you/Hold you in my
arms once more/That's what they invented
dancin' for/I just want to dance with you . . .”
In April 1996, John found new inspiration
in marrying his third wife, Fiona, a Donegal
lass. Among their wedding guests were many
notables from the Irish music scene. Prine has
since performed on The Chieftains’ “Further
Down the Old Plank Road” album, and invited
Irish singer Dolores Keane to perform on his
CD “In Spite of Ourselves.”
Prine points out he and Fiona have two
sons, chuckling: “Jack’s 12 and Tommy’s 11 -
they’re Irish twins. Jack plays drums and
Tommy’s into electric guitar, and is heavily
into 1960s’ and ’70s’ stuff. He likes a lot of
Jimi Hendrix and the Red Hot Chili Peppers.
He’s learning songs on the guitar, stuff like I
could never play. I mean I started playing
Carter Family songs.
“Well, I taught Tommy a couple of my
songs and he likes those. He amazes me. I
mean, for an 11-year-old on electric guitar. He
got his first wah-wah pedal the other day. I
took him into a used music store, as he wanted
to buy it himself. I told him you can’t beat
going to a used store, explaining that people
usually buy stuff new and then decide they
don’t want to play after all, so you can buy it
for about 50 per cent off. He looked in these
boxes at stuff and had never heard of a wahwah
pedal, and about everything he plays has
wah-wah in it.”
After finding out he had squamous cell carcinoma
in 1997, Prine went to Texas on the
advice of his Memphis producer Knox Phillips
(son of Sam), seeking treatment at the M.D.
Anderson Cancer Clinic in Houston. “Knox
had the same cancer I did.”
In January 1998, a malignant tumor was
removed by surgery, following which the
singer underwent several weeks of radiation
therapy.
“They knew exactly what had to be done
and how to do it,” notes Prine. “So I am cancer
free, and it’s been nearly 10 years now.
Knox is also doing fine.”
Harking back to “In Spite Of Ourselves,”
Prine initially wrote it for a 2001 Billy Bob
Thornton movie “Daddy & Them,” in which
he played Alvin, the son of Andy Griffith. The
cast also boasted Thornton, Laura Dern, Jamie
Lee Curtis, Ben Affleck and Kelly Preston.
Ten years earlier, John made his movie
debut in “Falling From Grace,” starring Mariel
Hemingway and John Cougar Mellencamp.
Does that mean we have to wait another
decade to see Prine in a new movie?
“I just wait until they ask me,” he replies,
laughing aloud. “I usually play the same character.
I was the brother-in-law with low selfesteem.
So I’m just patiently waiting for another
screenplay to come along with that role
in it.”
Oddly enough, Prine has never charted
hits on either the pop or country lists, but has
garnered both Grammy and Americana
“I don’t think too much about that. If I
write it, cut it, master it and like it, then that’s
satisfying for me. Now if it goes out there and
sells 200 or 200,000, that’s very nice. It’s good
to get that check and to know that many people
like your record. But if you’re able to write
the song, play it, then cut it the way you choose
and get the whole thing packaged up like you
want, then to me that’s success. Maybe down
the road, your record might end up still selling
over the years and on the road. I’ve sold
steady, maybe not a whole lot, but like jazz
records, mine don’t drop off after a year. They
hang in there steady. You do that for 35 years
and that’s success.”
When their sons get out of school, the
Prines take off for an annual summer trek to
Ireland, giving the boys a chance to visit the
other half of their family. Meanwhile, traveling
the circuit with him are top-notch musicians
Dave Jacques on bass and Jason Wilber
on lead guitar.
“They’re pretty much the musicians accompanying
me these days on tour. On the last
album I did two years ago - ‘Fair & Square’ -
Pat McLaughlin came out with us for the better
part of a year. That was unusual as he
doesn’t hit the road a whole lot except to promote
his own records. I love performing with
Pat (who also plays guitars and harmonica on
‘Standard Songs . . .’) and the fact that he came
and helped us out for awhile. We thoroughly
enjoyed having him.”
He’s also among Prine’s favored co-writers,
a list that includes the likes of Roger Cook,
Gary Nicholson, Keith Sykes and Bobby
Braddock.
What does John do to get his writer’s muse
moving?
“I’ll tell you man, it takes a mountain.
That’s a good question. I’ve got a family now.
I used to write for a hobby before it became
my living. I was a carefree badger who could
write any time day or night. Even 4 in the
morning I found would be a good time to write
a song.
“But now I have to concentrate my time,
and set aside time to write. It’s something I
wasn’t used to doing, but now I’m pretty much
getting used to doing. It’s difficult for me to
say I’m gong to write a song at 2 o’clock tomorrow
by myself. I think that’s why I cowrite
as much as I do. I never used to do a lot
of that. But if I tell somebody I’m going to sit
down with them tomorrow at 2, there’s more
of a chance that maybe we’ll come out with a
song. But I’ll confide to you that I’ll do anything
to get out of writing. I’d rather go get a
hot dog with my boys then write. Still, I’m
usually pleased with myself once I do sit down
and write a song.”
Regarding the new CD, does he feel it will
reach even a wider audience by his teaming
with Mac?
“I hope so. I want it to get out there to a
lot of people. It was just a delight working with
him and I’d like people to hear it.”
Although there have been unauthorized
biographies about him, does Prine intend to
set the record straight by writing his own?
“No, not at all. I know I’ve been at it
awhile, but I feel, like Mac, I’ve got a lot of
different stuff to do, rather than looking back
at all that and writing about it.”
Newcomer grabs attention
Audrey’s an Aussie talent who comes to
us by way of Austin.
Like Jamie O’Neal and Keith Urban from
Down Under, Audrey Auld Mezera sings,
writes, plays guitar and is an awesome artist
in all respects.
There’s good word-of-mouth out on the
lady whose latest album “Lost Men and Angry
Girls,” delivers a compelling musical performance
all around.
Some of the notables who have shared a
mic with the artist include Jim Lauderdale,
Charlie Louvin, Mary Gauthier, Fred
Eaglesmith, Kieran Kane, Buddy Miller, and
Bill Chambers who produced her album (and
is dad to singer Kasey).
Attesting to Audrey’s talent, too, is Big
Machine/Universal songbird Sunny Sweeney,
who recorded “Next Big Nothing” on her own
Nashville debut CD: “I remember the first time
I heard it, I thought it was funny. The writer
who did it, Audrey Auld, is another I admire
and I dig her voice . . .”
So do we. Of course, the thrushes met a
few years ago when both were honing their
talents down Texas way, until Audrey pulled
up stakes to work awhile in sunny California.
A career highlight thus far for Audrey was
her San Quentin Prison performance, and a
double album with guitar virtuoso Nina
Gerber: “In the House.” Another milestone
was marrying Daniel Mezera “my sailor” in
2003.
There’s been little ink on Audrey, whom
we met through music man John Lomax III
(during the recent Americana award nominees’
bash at BMI). She’s a vibrant sort, whose
musical affiliation began at age 6, when she
started studying classical violin. By age 14,
l’il Audrey was performing with the Tasmanian
Youth Orchestra; however, her growing
obsession became America’s roots music.
She wrote 12 of the 13 tracks on her current
Reckless Records’ CD, but also did the
arrangement on “Morphine,” the one she
didn’t write. Its history is absorbing in itself:
allegedly the poem was penned by the infamous
fugitive Bonnie Parker while imprisoned,
and is set to the music of the hoary Henry
Burr hit “M-O-T-H-E-R” (#1, 1916), originally
co-authored by Howard Johnson and Theodore
Morse. Mezera’s vocals on this telling essay
of addiction are compelling indeed, making it
an album highlight.
There’s a dark humor that illuminates
many of Audrey’s own creations, as in the
countrified “Self-Help Helped Me” - “I’ve
been trying to find myself/But I don’t know
where to look/My friend found himself in a
Buddha book/So I went down to the city mall/
To the New Age store/But when I got there, I
forgot what I’m lookin’ for . . .” - or in “Buck
Hungry” - “If I lay down with a tattooed man/
Would I have a tattooed baby? . . . And when
the child was fully-grown, and working in a
bar/Would he take money on the side/To show
his work of art? . . .”
Audrey’s contemporary musings set her
apart from traditional composers, but her sweet
singing style (not unlike an early Skeeter
Davis) even boasts a yodel-like falsetto that
should appeal to country fans. She salutes
yesteryear’s Outlaw movement with “Looking
For Luckenbach”; pays acoustical homage
to the legendary Carter clan in “Clinch
Mountain Prayer”; and harkens back to her
homeland via her wistful “Half a World Away.”
CD Review
Other standouts include the lush ballad
“Dublin Boy,” with a winning vocal assist by
Karl Broadie, to ensure Irish hearts are happy;
“Bolinas,” her (still topical) take on American
peace movements; and “Down In a Hole,”
a tale of a lost soul relating to the plight of
miners. Another that could have been inspired
by news reports is “Last Seen in Gainesville,”
a missing wife and mother.
Reckless Records, her label, proclaims
“music with the dirt left on.” Mezera recently
came to Music City, no doubt to test the waters.
Well, we mustn’t let her get away.
- Walt Trott
Give To TEMPO
awards. How does he measure success?
John Prine A more recent John Prine in action. Give To TEMPO

22 The Nashville Musician July-September 2007
One-of-a-kind saxophone player succumbs
By WALT TROTT
Aside from being a top session player,
Boots Randolph scored as a solo artist with
best-selling albums like “Yakety Sax” and
“Hip Boots,” blurring the lines between pop,
country, gospel, jazz and R&B.
On July 3, 2007, however, his saxophone
was silenced forever after suffering a stroke
(subdural hematoma) a week earlier (June 25),
that put him in Nashville’s Skyline Medical
Center, where he died.
“Boots was able to take the saxophone and
make it fit any style, any kind of song,” says
friend and colleague Harold Bradley. “This
makes him unique and one-of-a-kind. He was
a world-class saxophone player and a worldclass
person, that’s an unbeatable combination.”
During a Celebration of Life memorial
conducted July 20, his widow was presented
with AFM Local 257’s Master Musician
Award by President Bradley. A Mayor’s Proclamation
was also read in tribute to Boots, who
was still at the top of his game at age 80.
Randolph’s CD “A Whole New Ballgame,”
produced by Tim Smith, hit record stores in
time for Boot’s birthday, June 3.
Smith who says Boots was his boss, mentor
and dear friend, points out, “We had just
returned from an amazing weekend in North
Carolina, playing at Singing On the Mountain,
the 83-year-old gospel sing in the mountains
near Linville. Boots was incredible as always.”
At the peak of his sideman period, Boots
was playing from 250 to 300 studio sessions
annually, blowing wild for such superstars as
Brenda Lee, Roy Orbison, Perry Como, Eddy
Arnold and Elvis Presley.
A member of the Kentucky Music Hall of
Fame, Homer Louis Randolph III was born in
Paducah, raised in Cadiz, before moving with
his family to Evansville, Ind.
“Boots,” a nickname hung on him by
brother Bob, first played ukulele at age 10. In
elementary school, however, he studied trombone,
then switched to saxophone in high
school.
“It was easier to play than the trombone,
while marching.”
During the waning days of World War II,
he enlisted in the military and even played in
the Army Band before being discharged in
1946. Thereafter, he played clubs and various
venues throughout the Midwest, until the late
1950s.
Jazz mandolinist Kenneth Burns - Jethro
in the RCA comedy duo Homer & Jethro -
heard Boots’ tenor sax stylings and in 1958
recommended him to his label’s A&R chief
Chet Atkins (who also happened to be his
brother-in-law).
Impressed by Boot’s version of “Chicken
Reel,” Chet had signed him, and initially released
a single showing him as Randy
Randolph. In 1960, however, RCA released a
Boots Randolpoh album, “Yakety Sax,” which
did little saleswise, despite its title track (destined
to become a hit instrumental).
Between Atkins and his Decca Records’
counterpart Owen Bradley, Boots did become
a first-call session musician. In 1961, artist
Randolph signed with Fred Foster’s Monument
label, where he would record some 40
solo albums.
“Yakety Sax,” which he had composed in
tandem with guitarist James (Spider) Rich,
blended elements of pop, country, jazz, gospel
and blues. It was re-recorded and again
became the title of Boots’ 1963 Monument
Records’ LP.
This time, the title track’s spin-off single
became a fast favorite on radio and jukeboxes,
scoring Top 40 pop and even higher (#29,
1963) on Billboard’s R&B chart. (Incidentally,
British comic Benny Hill borrowed the tune
as theme music for his hit BBC series; and Chet
Atkins enjoyed a Top Five with his guitar version,
titled "Yakety Axe" in 1965.)
Boot’s follow-up single successes included
“Temptation” and “Hey, Mr. Sax Man.” The
saxophone virtuoso collaborated with the
Knightbridge Strings in 1966, resulting in another
Gold Record for “Shadow Of Your
Smile.”
A Team studio guitarist Bradley notes that
despite his new-found solo stardom, Boots
continued to do sessions: “He was a consummate
artist to the end.”
Chet Atkins called on Boots to record with
him, and among classic cuts boasting his distinctive
saxophone are Al Hirt’s “Java,” Roy
Orbison’s “Oh, Pretty Woman,” REO
Speedwagon’s “Little Queenie” and Brenda
Lee’s “Rockin’ Around the Christmas Tree.”
Randolph’s also heard on eight Elvis Presley
movie soundtracks.
Boots had confided that his instrument of
choice was a Selmer Super 80 Series II, featuring
a Bobby Dukoff mouthpiece and a #3
Rico reed.
The world-class entertainer tooted on network
TV specials for Pete Fountain and Doc
Severinsen, and was guest artist on such programs
as those of Ed Sullivan, Merv Griffin,
Mike Douglas, Jimmy Dean and Johnny
Carson, also TNN’s Nashville Now and Music
City Tonight, and played in support of the Boston
Pops.
According to songstress Brenda Lee, “He
was a definitive musician . . . and a precious,
sweet man. His passing leaves a void that will
be impossible to fill.”
Boots spent some 15 years touring with
Xavier Cosse’s Masters Music Festival, sharing
concert stages with Chet Atkins and Floyd
Cramer. Again with Atkins, Cramer plus Jethro
Burns, Roy Clark, Danny Davis, Johnny
Gimble and Charlie McCoy, performed
regularly as the Million Dollar Band on
the Hee Haw syndicated TV series.
When we called on him to help honor
Mrs. Cosse (gospel music queen Martha
Carson) on her 80th birthday in a star-studded
gala at the Texas Troubadour Theatre
in 2001, Boots responded enthusiastically.
It was a memorable night, but his solo
stole the show, prompting our surprised
honoree to proclaim, “I could’ve told you
he would, because he’s the greatest!”
Back in 1977, Boots showed that indeed
the sax is a star instrument, opening
his own Boots Randolph’s nightclub in
Nashville’s touristy Printer’s Alley. Planning
to take some much-needed time off,
he closed it in 1994. But within two years,
he and (Nashville Brass) buddy Danny
Davis became partners in the Stardust
Theatre on Music Valley Drive near
Opryland. It was shuttered, however, after
a couple seasons.
In February 2007, one of his last studio
sessions was “Revival,” an album
showcasing youthful relatives of former
touring partners Floyd Cramer and Chet
Atkins. Cramer’s pianist-grandson Jason
Coleman teamed with Atkin’s grandniece
singer-guitarist Meagan Taylor, to record
Boots
their 11-track collection in the historic
former RCA Studio B on Music Row (see
related story elsewhere in this issue).
Coleman says, “It was such an honor
to have Boots Randolph play on our album,
especially right there in the same
studio where he played, along with Chet
and my grandfather. I wonder if that was
his last recording session? Meagan and I
felt totally blessed to have that opportunity.
He brought so much spirit into the
room, and it was sort of like coming full
circle, considering Granddad, Chet and
Boots had played in there together. It was
just so amazing!”
Renowned harmonicat Charlie
McCoy also played on the “Revival” session:
“Boots was kind of a mainstay on
the saxophone back when the A Team was
playing for most of the Nashville sessions.
I was lucky enough to get in with
them . . . and Boots would show me some
things. I could play a few notes on the
sax, and I remember a producer saying,
‘Let’s see what you guys can do together
with the sax,’ and that was fun. But we
worked together on classic cuts like Roy
Orbison’s ‘Pretty Woman’ and Johnny
Cash’s ‘Orange Blossom Special.’ I never
heard Boots when he was less than amazing.
He was an inspiration to me . . .”
Survivors include Dolores (Dee)
Randolph, his wife of 59 years; daughter
Linda O’Neal; son Randy Randolph;
grandchildren Cody, Patrick and Kenny
O’Neal, and Tara Harvey; great-grandchildren
Jon and Maggie Harvey,
Samantha and Conner O’Neal; brother
Robert Randolph of Ohio; and sister Dorothy
Thomas of Kentucky.
Funeral services held July 6 at the
Anderson & Anderson Funeral Home in
Joelton, Tenn., were jointly conducted by
The Reverends Frank Billman and Neil
R. Dobson.
Randolph recordings of songs played
were “Nature Boy,” “Amazing Grace”
and “The Lord’s Prayer,” with special
music supplied by Matt Davich and a
Saxophone Quartet arranged by Denis
Solee. The family had suggested donations
may be made to: The Boots
Randolph Scholarship Fund, Blair School
of Music, U.S. Bank, 600 South Main St.,
Goodlettsville, TN 37072.
As noted above, a memorial was held
June 20 in the Ford Theatre at the Country
Music Hall of Fame, co-sponsored by
Local 257, featuring producer Fred Foster
as keynote speaker, who read mes-
sages from Jimmy Dean and Charlie
McCoy. He also introduced such associates
as Sam Lovullo, Ray Stevens. Bob
Tubert helped coordinate the program,
and Betty Hofer assisted with publicity.
Boots’ bandleader Tim Smith brought
forth the Boots Randolph
Band. Denis Solee also performed
“Candy” to their accompaniment.
Another highlight, however, had to be
the playing of 15 saxophones on “Yakety
Sax” - arranged by Jim Hoke - in tender
tribute to its hitmaker. A video showcased
Master Musician Boots’ “Yakety Sax.”
The program was free and open to the
public. It proved a fitting memorial for
this one-of-a-kind entertainer.
Randolph’s last CD reviewed,
‘. . . New Ballgame’ a home run
(Editor’s note: This piece was written before
the July 3 passing of the legendary star.)
Boots Randolph invented country saxophone,
but a listen to his new album “A Whole
New Ballgame” proves he plays equally well
outside the idiom.
Tim Smith produced the 14-song instrumental
set on the iconic player, who just turned
80, but indeed hasn’t lost his chops.
Boots’ straight-ahead traditional style of
playing - not too distant from fellow legends
King Curtis or Junior Walker - caresses such
lusty love laments as “Cry Me a River,” “I’ll
Be Seeing You,” “You’ll Never Know” and
“I’ll Walk Alone.”
Randolph’s career is something of a paradox
in that he’s revered by country fans, but
has never had a country single chart. His 1963
Top 40 pop signature song “Yakety Sax,” a
catchy collaboration by Boots and picker Spider
Wilson, did cross over, but as an R&B
charting (#29, 1963).
It later become a Top Five country click by
guitarist pal Chet Atkins (as “Yakety Axe,”
1965). Randolph’s 1974 Monument Records
album “Country Boots” was also a success in
that genre (#30, 1974), as were his early 1960s’
instrumental LPs, selling well with pop and
country admirers alike.
A musician always worthy of attention,
Boot’s brand new CD boasts both a sense of
nostalgia and such pleasurable playing that it
should appeal to across-the-board tastes.
Boots bops to his own beat on jazz legend
Charlie (Bird) Parker’s “Billie’s Bounce”;
puts his own stamp on “Stompin’ At the Savoy,”
Benny Goodman’s swing classic; and
simply grooves on an extended rendition of
Phil Wilson’s “Basically Blues.” He further
sweetens the pot with “Candy,” reminiscent
of the memorable sax delivery by Don Byas.
If those jazz cuts don’t jolt you, then surely
Boots’ unique interpretation and playful lines
on the over-exposed anthem “Take Me Out To
the Ballgame” can convince you his playing
remains as diverse, energetic and focused as
ever.
Tim Smith was especially proud of the
powerful ensemble performance on the latter
track, noting: “It is Boots who really cooks
on a couple of choruses - first take I might
add - while the rest of us burned some serious
calories trying to stay in the same ballpark with
Boots!”
Other tracks include the romantic and
danceable “’Round Midnight,” “L-O-V-E,”
“Dream Dancing” and the captivating “Nature
Boy,” reportedly suggested by the Yiddish
ballad “Schweig Mein Hartz” (Be Calm, My
Heart).
For this latest project, basssist Tim drew
on the talents of Ray Von Rotz (drums), Steve
Willets (keyboards) and Roddy Smith (guitars),
to assist them in the studio. Additional
support came from Mark Stallings, B3 organ,
and Jason Webb, keyboard strings.
Randolph disciple Kirk Whalum, who says
he moved to Nashville mainly to breathe the
same air Boots did, wrote in the CD liner notes:
“Boots continues to knock my socks off! . . .
Every nuance in Boots’ renditions of these jazz
favorites tells you that he knows what he’s
talkin’ about.” So now let him knock your
socks off! - Walt Trott

July-September 2007 The Nashville Musician 23
Pianist Cochran remembered fondly for his music and humor
By WALT TROTT
Arranger-pianist-songwriter Charles
(Chuck) Cochran, 71, died June 7 in a two-car
crash in Nashville, after a driver ran a stop
sign.
The silver-haired session musician first
toured in the band of pop vocalist Bobby
Vinton, and went on to perform with such notables
as Neil Young, John Prine and Don
Williams.
Cochran performed last year on Williams’
farewell tour that carried them throughout
Canada, Great Britain and the U.S., concluding
more than 30 years of entertaining with
Don, who recorded Chuck's “Years From
Now” co-written with Roger Cook.
Williams was badly shaken by news of
Cochran’s untimely death. According to his
manager Robert Pratt, “As you can imagine,
we are all extremely sad and broken-hearted.
We have lost a true friend, a wonderful person
and a wonderful talent. Mr. Willliams and his
family have passed on their deepest sympathies
to Mrs. Cochran. Don has stated he can’t
imagine not having Charles around. He has
been such a huge part of Don’s life, his recording
and touring career and a very close
friend. He is devastated with Charles’ passing.”
Thanks to another longtime friendship with
colorful producer-musician-songwriter Cowboy
Jack Clement, Cochran also played on the
records of legends Johnny Cash and Charley
Pride. His resume includes sessions for many
others, notably Garth Brooks, Crystal Gayle,
Kenny Rogers, Bobby Goldsboro, George
Strait, Emmylou Harris, Waylon Jennings, Hal
Ketchum, Judy Collins and Prine.
Chuck plays piano, strings, vibes and B-3
organ on the latter’s new critically-acclaimed
Oh Boy! release “Standard Songs For Average
People,” Prine’s duet CD with venerable
vocalist Mac Wiseman. Also playing on the
album is pal Jack Clement.
“Charles Cochran was the greatest musician
I’ve ever known,” says a subdued Clement.
“He could play anything with anybody, a
musical genius, to say the least - and a wonderful
friend.”
Other Cochran credits include recording
jingles for such advertisers as Budweiser,
Coca-Cola and Miller Beer. A product, he himself
was hooked on, was the Steinway piano:
“A Steinway fights back. It takes a little bit of
weight and it resists. That’s part of the game
for me. I resent synthesizers. They have them
with what they call weighted keys, so that it’ll
kind of simulate the resistance of a fine grand
piano, but it’s not even close. It’s a switch that
comes on and off, and you have a speaker
there. It’s one-dimensional. You have to have
an electronic speaker to hear what the devil
you’re playing. Without that, it’s a dummy
keyboard.”
Cochran’s buddy Garth Fundis, a producer
with whom he shared an apartment in bachelor
days, says, “He was vivacious, gregarious
and very lighthearted, a funny, funny guy
. . . He recognized the beauty of life. He didn’t
miss much.”
Roger Cook, the first British-born member
of the Nashville Songwriters Hall of Fame,
says he and Cochran wrote about 400 songs
together: “The last few years we had been on
a blitz, writing about a song a week.”
According to Chuck, the duo were planning
to release an album of their music together.
In confirmation, Roger tells us, “We’ve
got 150 cuts toward that album. There was
going to be a photograph done of us for the
album cover wearing maternity dresses; you
know, being pregnant with songs! It’s too retro
for words. We were laughing about putting 50
original songs on there, as nobody else had
Catherine and Charles Cochran.
done that before.
“My friend Charles was the most wonderful
person, fun-loving, one-of-a-kind,” continues
Cook, whose own country #1 songs include
“I Believe in You” and “I Just Want To
Dance With You.” “He had this great laugh,
the best I ever heard in my life. We spent about
32 years writing songs together. There will be
no one else for me like Charles, and I wouldn’t
want to even try to replace him. He would go
through five or six chords, and had this unique
ability to change things around . . . and we
would both get excited at the same time when
it was just right. Yeah! I never had that experience
with anyone else. I don’t think there was
a musician in Nashville on a par with him, not
one.”
A native of Midway, Pa., near Pittsburgh,
Charles Lincoln Cochran was the youngest of
five children, born (Feb. 29, 1936) to a railroad
engineer and his wife.
“I started taking piano lessons when I was
4. My father had to build up a situation, so I
could reach the pedals by extension. My parents
saw that I had the best teachers available
. . .”
By the time he was 8, Chuck was riding
the 20 miles into town on the Pennsylvania
Railroad (dad’s employer), then caught a
streetcar out to the Pittsburgh Musical Institute
for lessons every Monday. “I’d lose my
music (sheets) about once a month, but somehow
it would come back to me.”
At 14, he was playing double bass in a polka
band, earning $7 a gig: “I think the only reason
they had me was so I could play piano for
the floor show, which was a stripper!”
Additionally, Cochran learned to play tuba
and guitar.
Following graduation from high school, he
joined the Navy, serving four years (1954-’58),
half of that time spent at the Navy School of
Music in Washington, D.C. He even performed
in the Admiral’s Band, and was proud to have
played before such dignitaries as President
Dwight Eisenhower, Britain’s Sir Winston
Churchill and Lord Mountbatten.
“It was after Korea and before Vietnam, the
perfect time to be in (the military), when nobody
was shooting at anybody," he said, adding,
"Finally, I requested sea duty and went
out for two years on a cruiser and that was the
real Navy. I enjoyed the hell out of that. We
sailed all over the Mediterranean.”
In high school, he had landed a spot in Stan
Vinton’s band: “His son Bobby and I grew up
together, and he also played in the band - and
then took it over.”
“I was 15,” recalls Vinton, at his home in
Florida, “playing in my dad's band with a
bunch of guys who were in their 30s and
seemed so old to me. To make me feel at home,
my dad put a young talented pianist in the band,
and Chuck and I became good friends."
Later, when Bobby took over his father's
orchestra, he kept Chuck at the piano: “He had
perfect pitch. Any time a big band put a record
out, Chuck could listen to it once and write
out the entire score for the whole band. So,
we always had the musical arrangements notefor-note
for every big song that came out.
Chuck was responsible for my early success
in Pittsburgh (which led to national success).”
Following Chuck’s discharge, the ex-sailor
headed South: “I got out of the Navy and lived
in Florida for awhile. My main job was pianoorgan
salesman and on weekends I played jazz
gigs.”
What prompted Cochran being reunited
with Vinton?
“My wife at the time moved to New York
City and I went on the road with Bobby Vinton
as conductor. He was having his time then
(‘Roses Are Red,’ ‘Blue Velvet’), and I toured
all over with him. When he brought me to
Nashville to record, I met people here and gave
my notice to Bobby . . .”
That was in late 1970. Soon Chuck hooked
up with Cowboy Jack at JMI Records, where
he met young Don Williams, who was doing
demos for Clement’s publishing comparny.
“Jack asked did I want to write some string
arrangements, and I had never written for
strings in my life,” Cochran recalled. “Now I
had written orchestrations for band, you know,
five saxophones, four trumpets, four trombones,
piano, bass and drums. So I did the
strings for Don Williams’s first album and
every one of his albums. My thought about
being a string arranger was if I got to a section
that I didn’t know what to do, I didn’t do
nothing. That’s what I’ve done since then. It’s
a note that you leave out.”
For Clement he both arranged and played
for Pride’s records, then Larry Butler hired
him to arrange strings on Kenny Rogers’ discs,
while Allen Reynolds also engaged him for
Crystal Gayle’s recordings.
While on tour with Gayle in 1981, something
magical occurred for Chuck, who “ . . .
met this beautiful person who was the weather
girl in Yakima, Wash. That’s how I met my
wife (Catherine Woodall), who’s a great lady
and she’s proud of me.”
“Yes, I was the weather girl (for CBS affiliate
KMI-TV), only I was doing a public
affairs show on Crystal Gayle’s visit to the
State Fair at the time. That’s how I met him,”
says Catherine. “Once I looked into those
beautiful blue eyes, I was hooked. He was my
guy, and ours became a very great love story.”
The couple wed in Hawaii, where Crystal
Gayle tossed a Hawaiian Luau to help celebrate
their nuptials.
Catherine points out that her husband, being
born on a Feb. 29, joshed, “He was 17and-3/4-years-old.
A couple of years ago we
had a sock-hop to celebrate his birthday. We
were looking forward to his 18th, which would
have been next year . . . ”
Shortly after their marriage, she said
Cochran conducted Nelson Riddle’s Orchestra
for the second inauguration of Ronald
Reagan, following which he received a treasured
thank you signed by both the President
and First Lady Nancy Reagan.
On a bluer note, Cochran had said he suffered
a stroke in the mid-1970s that affected
his speech, which meant the pianist had to
learn how to talk all over again. In the late
1990s, he had heart by-pass surgery, only to
go under the knife again nine years later: “Had
I taken better care of myself after that first
one, I might have been all right. I guess I’m a
slow learner.”
As a songwriter, Chuck was pleased to
see “Years From Now” one of 70 songs
singled out for the publication “The Best Wedding
Songs Ever.” The song’s also been cut
by Dr. Hook, reaching #47 in the UK charts;
and Cook’s performance of their song was featured
in John Schlesinger’s 1981 film “Honky-
Tonk Freeway.” Other Cook-Cochran collaborations
include: “Hello, I Love You,” performed
on the soundtrack of Kenny Rogers’
20th Century-Fox film “Six Pack” in 1979 by
Crystal Gayle; “Hollywood,” which appeared
on Gayle’s Top Five 1981 Columbia album
of that title, produced by Allen Reynolds; and
“Till the Right One Comes Along,” recorded
by Tompall Glaser for his 1986 MCA outlaw
album “Nights On the Borderline.”
“It was Jack Clement who got Charles to
realize there’s beauty in simplicity,” volunteers
Cook. “He loved jazz music, as you probably
know. In the end, he hated bebop music,
which was a phase he went through in the
1950s’ and ’60s.”
With Williams’ troupe, Chuck toured Down
Under, where they were amazed to find that
Australian Aborigines were fans, and also natives
in South Africa: “We did a couple shows
in Zimbabwe and the people at the show were
all blacks They weren’t just singing the songs,
they were singing the guitar licks and the piano
notes. They were that close to the records.
I didn’t know what to make of it.
“You know I admire the black culture. I
love their music, their rhythms. I’m ate up with
it. I’d say there’s an incessant simplicity in
MR MARK’S MUSIC
Don Williams in England with Chuck in 2006.
Don’s music that they get tuned into. It’s gotta
be the feeling. Don was a hell of a singer, and
he still is! You can’t say that about all those
other guys his age. He’s blessed to have them
pipes still working for him.”
While with Williams, Cochran played venues
ranging from New York City’s Carnegie
Hall to London’s Royal Albert Hall. He has
also participated in various programs, among
them a BBC-TV Don Williams’ special; a recent
Saturday Night Live guest stint for Neil
Young; and appears in the Jonathan Demme
movie documentary “Neil Young: Heart Of
Gold,” which premiered March 9, 2006 in
Nashville. He also played on the popular TV
series The Incredible Hulk.
Despite these accomplishments, the classically-trained
Cochran regarded a concert he
played more than 40 years ago as a favorite
gig: “I’d say the highlight was a performance
I gave with the Central-Florida Symphony
Orchestra in the mid-1960s. We had two pianists
. . . and my mother attended that concert.”
He was predeceased by daughter Carla.
Survivors include Catherine, his wife of 26
years; son David Cochran of Pensacola, Fla.;
daughter Laurie Draves of Debary, Fla.; granddaughter
Heidi Korndorffer of Seattle, Wash.;
sister Kathleen Zimbicki of Pittsburgh; and
brother James Cochran of Hatsboro, Pa.
There’s also his beloved pet Casey. A private
service for family members was conducted by
the Marshall Donnelly-Combs Funeral Home,
and a public SRO memorial service was held
June 10, at Fergie’s Studio in Nashville's
Germantown.
Anyone interested in making a donation,
may contribute to The Charles Cochran Memorial
Fund, c/o Beth Talley, Sun Trust Bank-
Nashville, P.O. Box 305110, Nashville, TN
37230.
(According to Catherine, a benefit concert
is also being planned to mark Chuck’s “18th
birthday” next Feb. 29, 2008, and is being
pulled together by independent promoter Jeff
Hatfield, ex-road manager for Don Williams.
More to come on this promising entertainment
event.)
Charles Cochran
Next General Membership
meeting’s scheduled at the
Union Hall, at 6:30 p.m. on
Thursday, Sept. 6. For
details, telelphone
(615) 244-9514, Ext. 224.
www.mrmarksmusic.com
Buy/Sell/Trade/Rent
Used/Vintage MUSICAL, STEREO, STUDIO GEAR, Parts & Manuals
242-2907 Downtown Nashville 718 6th Ave S 37203
World’s LARGEST Used Music Store!

24 The Nashville Musician July-September 2007
Whisperin’ Bill still being heard
(Continued from page 18)
ences would boo me off-stage. I thought, ‘Oh
my God, I might just as well get on the plane
and go back to Nashville, because that’s what
I do!’ Well, I went out there and (when) I did
‘Golden Guitar’ (about a father who loses his
guitarist son in an accident), the crowd went
wild. It’s now one of my most-requested songs
in England. I’m also fortunate that they liked
‘Still,’ a hit over there by Ken Dodd (pop Top
40), that one and a song not well known here
in the States, ‘Happiness,’ was big over there
(it’s also B side to Bill’s Top 40 single
‘Stranger On the Run’ from 1967).”
While changing from his brightly-embroidered
short-sleeved black Manuel-style stage
outfit into street clothes, an affable Anderson
chuckled, as he reminisced further about
Wembley: “Tex Ritter said, ‘Never have so
many, given so much (imitating Tex’s neartrademark
snort), for so little,’ indicating how
paltry the payment rendered by the British
booker.
Another song that went well on that virgin
visit was his #2 “Wild Weekend,” with its twist
ending. It almost never got recorded by Anderson:
“Prior to our sessions, I used to take the
songs I had to (producer) Owen Bradley, singing
them for him while I accompanied myself
on guitar. Well, I barely got the first few bars
of the song out when Owen stopped me. He
said I couldn’t record that as it was too risque
(about a guy spending a wild weekend in a
motel), saying that my fans were used to me
singing wholesome songs like ‘Po Folks’ and
‘Mama Sang a Song,’ and it just didn’t fit my
image. I said, ‘Owen, just let me sing another
verse before you decide.’ So when I finished
and he heard it was a weekend with the wife,
he said, ‘Oh yeah, that’s great!. You’ve got to
record that.’ It was a good song for us.”
Anderson aficionados are aware that among
his hits as an artist are “Walk Out Backwards,”
“8X10,” “Five Little Fingers,” “I Get the Fever,”
“Get While the Gettin’s Good,” “Happy
State of Mind,” “My Life,” “But You Know I
Love You,” and “Quits.” He also enjoyed a
string of duet successes, first with Jan Howard
including their #1 “For Loving You,” and later
with Mary Lou Turner, most notably their #1
“Sometimes.” Anderson’s biggest seller, however,
is the #1 million seller “Still,” crossing
over to become a Billboard pop Top 10 in
1963. That tune ties with his 1962 #1 “Mama
Sang a Song” as longest-charting single at 27
weeks.
James William Anderson III was born
Nov. 1, 1937, in Columbia, S.C., but at age
8, his insurance agent dad moved the family
to Decatur, Ga. After learning to play guitar,
young Bill started up his own band in
high school, calling them the Avondale Playboys,
named after their neighborhood.
Anderson attended the University of Georgia
and the Henry W. Grady College of Journalism,
earning a B.A. in journalism. Early jobs
consisted of writing sports as a stringer for the
Atlanta Journal-Constitution daily newspaper,
and being DJ at the radio stations WJJC-Commerce,
Ga., and WGAU-Athens, Ga.
Bill had been writing songs since high
school. In 1956, he got his first cut, with Arkansas
Jimmie on “No Love Have I,” recorded
on the indie TNT label in San Antonio, Texas.
Meanwhile, a DJ buddy Roy Drusky (then at
a radio station in Decatur, Ga.) produced “Take
Me,” backed with “Empty Room,” both Anderson-penned,
which became Bill’s first TNT
release as an artist. (Only a few years later both
Bill and Roy would be Opry stars, and in February
1964, Roy enjoyed a Top 10 single with
Bill’s novelty number “Peel Me a ’Nanner.”)
DJ Bob Ritter in Atlanta also produced a
session on Bill, the original version of “City
Lights” (featuring “No Song To Sing” as its
flipside) released on TNT. A copy came to the
attention of Ray Price, whose Columbia smash
became Bill’s ticket to Nashville. Subsequently,
the lanky newcomer was signed to
Decca.
Right after Christmas 1958, Anderson’s first
charting was “That’s What It’s Like To Be
Lonesome,” topping out at #12, when Price’s
cover coasted easily into the Top 10. Bill’s own
first dozen chartings were self-penned, broken
by his Top 10 rendition of Alex Zanetis’ “Me”
in 1964. Other writers’ songs that served him
well include two of his seven charttoppers:
Steve Karliski’s “For Loving You,” and “World
of Make Believe,” co-written by Marion Carpenter,
Pee Wee Maddux and Pete McCord.
Anderson continued to nurture his own
writing talent, turning out hits for himself and
others, including Jim Reeves’ “I Missed Me”
and “Losing Your Love,” Roger Miller’s
“When Two Worlds Collide” (co-written with
Bill views his newly-installed Country Music Hall of Fame plaque.
Miller), Hank Locklin’s “Happy Birthday To
Me,” James O’Gwynn’s “My Name Is Mud,”
Kitty Wells’ “We Missed You,” Porter
Wagoner’s “I’ve Enjoyed As Much Of This
As I Can Stand” and “Cold Hard Facts of Life,”
Cal Smith’s “The Lord Knows I’m Drinkin’,”
and Jean Shepard’s 1973 comeback hit
“Slippin’ Away.”
It seems he almost made a career out of
supplying hits to his 1964 discovery Connie
Smith, debuting with Anderson’s #1 “Once a
Day,” followed by another six Top 10s he
wrote, notably “Nobody But a Fool,” “Cincinnati,
Ohio” and “I Never Once Stopped Loving
You.”
After writing “Must You Throw Dirt in My
Face,” the Louvin Brothers’ last charting together
in 1962, Bill gave Charlie Louvin the
successes “I Don’t Love You Anymore” and
“Think I’ll Go Somewhere and Cry Myself to
Sleep,” enabling him to go solo after the brothers’
breakup. Remakes of his songs fared well,
too, for both Mickey Gilley, via his 1974 #1
“City Lights,” and Conway Twitty with “I May
Never Get to Heaven,” a 1979 #1. He’s that
rare artist/writer charting in six different decades.
To date, Anderson’s last hit single was his
1978 Top Five “I Can’t Wait Any Longer,” the
product of an experimental phase in which he
became a disco cowboy of sorts: “If I had any
career regrets, it concerns that time when I had
some success with an album titled ‘Ladies
Choice’ that Buddy Killen produced (and
helped to co-write its successes), with its disco
beat . . .”
One collaboration - “Double S” - deals with
the protagonist’s encounter with a mysterious
woman out on the town, wearing a gold chain
with the initials “S.S.” Though she won’t reveal
her identity, her newly-found lover learns
she lives in “San Simeon” drinks “Scotch &
Soda,” and they stay at the “Surf & Sand”
motel, where she’s “Super Sexy,” before catching
a 707 flight back to California. Musically,
his whispery vocals recall their meeting as
“Short & Sweet.” Unfortunately for Anderson,
so were his disco days: “It could have given
my career a shot-in-the-arm, and I’m sorry now
that I didn’t ride that horse a little longer.”
Album-wise, Anderson had already scored
several successes before Billboard implemented
its album chart in 1964, but is still
ranked among the top 40 with his 32 chartings,
including 13 at Top 10 or better. His biggest
seller appears to be “I Love You Drops,” a 1966
#1.
Anderson still remains highly visible out
there in the hinterlands, touring with his band
- The Po’ Folks (adopted after his ‘Po’ Folks’
hit) - riding in a streamlined bus, their home
away from home. Currently they are Lester
Earl Singer, bandleader-guitarist; James
Freeze, guitarist-vocalist; Anthony (Ziggy)
Johnson, keyboards; Robert (Cotton) Payne,
drums; Eddie Lange, steel; Kenzie Wetz, violin-vocalist;
and Nathan Garris, soundman. Lee
Willard travels as their road manager.
If he had his druthers, would Bill prefer
that his career be starting off today, or remain
At the historic Ryman.
content that he came along and succeeded at
a time when both Elvis Presley and the Nashville
Sound came into prominence?
“You know when I first came to Nashville,
being a DJ, I knew what young listeners liked.
So I really wanted to sing sort of rockabilly,
and I had had a pop hit by Brenda Lee back
then. But thank God, my producer Owen Bradley
(who helped create the Nashville Sound)
told me to stick to country. He said I wasn’t
the best singer he had produced, but I had a
very distinctive vocal style which he felt
would be successful. You know I would thank
Owen whenever I saw him (for that decision);
otherwise, I might have had a few rockin’ hits
and then disappeared from the scene.”
He knew Elvis and once was at a show
where “Still” was sung by the Rock & Roll
King: “He told me that he wanted to cut ‘City
Lights,’ but that never happened (before his
untimely death).”
Indeed, Anderson arrived at what he terms
the “perfect time.” Artists were still traveling
in cars, tying a big upright bass on top and
sleeping as best they could in a crowded car:
“I wouldn’t have missed that for anything.”
Bill winces when we suggest he’s the primary
torch-bearer for traditional country music
today: “I don’t like labels or boxes that try
to categorize your music. Being put in boxes
not only keep things in, but it keeps things
out . . .”
As a Hall of Famer, does Anderson think
its voters have neglected the women,
particulary two 1950s’ Opry veterans, Jean
Shepard and the late Skeeter Davis?
“I think the greatest injustice has been that
Jean Shepard and Ferlin Husky are not yet in
the Country Hall of Fame. I mean at one time,
Jean and Kitty Wells were the only females
out there. Oh, I know there were ‘girl singers’
with bands, but those two were charting regularly.
Now when you look at his chart, two
Ferlin Husky songs stand out, ‘Gone’ and
‘Wings Of a Dove,’ but that doesn’t tell the
whole story. Why he was such a dynamic entertainer,
nobody wanted to follow him on
stage . . . But I fear that as more time passes,
it’s less likely a lot of those deserving artists
will get in.”
Asked what he thinks is the destiny of the
Grand Ole Opry, he responds: “Are you ask-
Bill and one-time duet partner Mary Lou Turner.

July-September 2007 The Nashville Musician 25
Composer-pianist Carson
Whitsett dies from cancer
ing will it be here another 80 years?, I don’t
know. I hope so - and I think it’s headed in the
right direction. I’ve told (manager) Pete Fisher,
I wouldn’t have his job for anything. But you
could see out there tonight, they’ve got just
the right balance of the traditional and the new.
I mean - what’s that young artist’s name, sharing
the spotlight with Porter Wagoner tonight?
. . . I remember, it’s Jake Owen - (and) the
audience accepted them equally.”
Speaking of the Opry, does Bill see himself
singing his last song on the show, like his
pioneer heroes Roy Acuff, Grandpa Jones and
Bill Carlisle did?
“Well, when you put it like that . . . Let’s
just say that the Opry will always be a part of
my life. It’s a very important part . . . but I
also have other pursuits, such as my
songwriting (publishing, recording and the
radio show).”
True, this country giant has an enviable
position of having one foot on stage at the traditional
Opry and another right over there on
Music Row, where it’s happening: “You know,
writing with these younger writers has opened
so many doors for me.”
Nor has he forsaken the road, judging by
upcoming gigs, a number of them with Little
Jimmy Dickens, facetiously billing themselves
as "Little & Po" traditional country’s answer
to super-popular MuzikMafia godfathers Big
& Rich. “My (Po’ Folks) band backs Jimmy
and others when we do the package shows.
They pride themselves on being able to play
the other artists’ catalogs of songs.”
With the summer season comes outdoor
festivals and fairs, does Bill prefer such venues
or more intimate settings like the casinos
or club gigs?
“You know, I don’t really care as long as
the fans can come and enjoy our music . . .”
Is he one to linger after his set to sign autographs
for the fans?
“Before I became an artist I was first a fan.
As a boy down in Georgia, I would pay to go
A contemporary Bill Anderson.
and see my favorites in concert such as Roy
Acuff, Kitty Wells and Johnnie & Jack, and I
spent my allowance on their records. Then
when I came to Nashville and began doing
shows myself, I saw artists like Kitty and
Ernest Tubb stand out there and they’d sign
every autograph, and I learned from that how
important the fans are to your career, and if
you do that, then they’ll stick with you.”
Anderson has been inducted into both the
South Carolina and Georgia music halls of
fame, and annually hosts a star-studded City
Lights festival in Commerce, Ga., his adopted
hometown.
When asked if there’s any truth to an old
Conway Twitty quote that unless you have
cheated, then you really can’t sing a cheatin’
song, Bill takes exception, “I don’t believe that
at all. Why I was a 19-year-old kid when I
wrote about the honky tonks and I had never
been in one in my life . . . I learned early on
that you had to have empathy, that is be able
to put yourself in somebody else’s place in a
situation . . . If you had to experience everything
you wrote or sing about, I’d be 400 years
old today.”
Since July 14, 1961, Bill’s been a regular
Steve Wariner turns the tables on Bill Anderson by interviewing him.
cast member - the 61st - of WSM’s Opry. For
nearly 30 years, he contributed a column to
the former Country Song Round-Up magazine.
Anderson also did specialties in the films “Las
Vegas Hillbillies,” “Country Music On Broadway,”
“40-Acre Feud” and “Road to Nashville,”
all quickie B entertainments, which
gave him confidence in front of the camera.
He hosted his own 1960s’ syndicated variety
television series.
“I’m not a workaholic! People think that I
am because of all the things I do.”
Obviously, he’s a real media renaissance
man, who eventually spent three years making
regular appearances on ABC’s daytime
drama One Life To Live, hosted ABC’s The
Better Sex, TNN’s Fandango, and co-produced
that network’s You Can Be a Star, hosted by
pal Jim Ed Brown (and a forerunner to Fox’s
American Idol).
Bill wrote a book of humorous anecdotes
that became a brisk seller, titled “I Hope You’re
Living As High On the Hog, As the Pig You
Turned Out To Be,” published in 1993. More
recently, Bill’s been a host on CMT’s Backstage
At the Opry Saturday night telecasts, and
an interviewer for several years on XM Satellite
Radio’s Visits With the Legends.
“I don’t really interview them, I just engage
them in conversations. I’m going out to
Tom T. Hall’s place tomorrow to chat with
him,” confides Anderson, who unlike Hall,The
Storyteller, refuses to retire. “I don’t play golf
or such, so what would I do?”
The lights of his life are his children and
(six) grandchildren. There are daughters Terri
Lee and Jennifer (Jenni) Lane by wife Bette,
a policeman’s daughter from Georgia, who left
the marriage, receiving royalties from songs
he gave her credit on, like the 1965 Connie
Smith Top 10 “I Can’t Remember.”
Bill was very supportive of second wife
Becky, who suffered severe injuries from an
accident that left her temporarily in a coma.
Our early 1960s’ cover boy.
He covered that situation in his autobiography
“Whisperin’ Bill,” published in 1989 by
Longstreet Press in Atlanta (before their divorce).
Their son Jamey (who dad sometimes affectionately
called Jay-Bird), 29, is a pilot. “He
works with Delta Airlines, but has been offered
a job as a corporate pilot. I told him to
think on that, as it was a big decision to make.
But like most young people, he’ll make up his
own mind.”
None of the three showed any particular
inclination for music, though registered nurse
Jenni’s daughters Rachel and Caroline have
expressed some interest in showbiz: “The older
granddaughter says she wants to be a performer,
like on stage in Broadway shows, but
the younger girl has already made up her mind
that she wants to go to Hollywood and be a
movie star!”
What does he like best about being older?
“Good question . . . I think the fact that I
Early Bill Anderson.
won’t let pressures get to me the way I did
early in my career. There’s not that worry about
where the next number one’s coming from (to
please label, producer and manager). That
pressure was what I liked least about my career
and it kept me from enjoying the success
that I did have back then. So, I find now that
I’m enjoying myself more.”
Bill can still get excited about a new project,
like his latest for IMI Records: “I’ve got a
(double) album coming up (‘Whisperin’ Bluegrass’)
with a disc of (secular) songs and a
disc of traditional gospel songs,” says Anderson,
noting the fall release produced by Steve
Ivey, will also feature a bonus DVD. “I think
it’s one of the best things I’ve done in a long
while.”
With Connie Smith and producer Bob Ferguson.
Brain cancer claimed the life of musiciansongwriter
Carson Whitsett, 62, on May 8 in
Nashville.
For nearly a decade, the Mississippi native
played keyboards for country vocalist
Kathy Mattea, who with her producersongwriter
husband Jon Vezner remained good
friends with Whitsett the rest of his life.
"When he would accompany a singer, he
intuitively knew where to make the music
breathe. It felt like he was in your head," says
Mattea.
Before moving to Nashville, Whitsett had
been a Memphis session player and was once
a musician with the MG’s, succeeding Booker
T., upon his departure from the musical group.
Among Whitsett’s compositions, were such
successes as Lorrie Morgan’s “Dear Me,” John
Anderson’s “Mississippi Moon” and “Why
Not Me,” which he co-wrote with the artist
who recorded it, Fred Knobloch (also a member
of SKO).
Tony Joe White was another favored cowriter.
Others recording Whitsett songs include
B.B. King, Solomon Burke, Joe Cocker,
Conway Twitty and the Staple Singers. A versatile
pianist, Carson played on the records of
such artists as Bobby (Blue) Bland, Dorothy
Moore, Paul Simon, Connie Francis, Paul
Davis, Patti Page, Tony Joe White and Mattea.
As arranger-co-producer, Whitsett guided
Carson Whitsett
Fern Kinney to a 1980 #1 British hit “Together
We Are Beautiful,” and had toured Europe
with friend Tony Joe White.
Surviving him are Kirsten, his wife of 33
years; daughter Nicole Bailey, sons Carson,
Jr. and Christopher; and five granddaughters.
Services conducted May 11, at Woodlawn
Roesch-Patton Funeral Home in Nashville.
Southern rocker McCorkle dies
Cancer also claimed Marshall Tucker Band
founder George F. McCorkle, 60, who died
June 29 at the University Medical Center in
Lebanon, Tenn. He wrote the Southern rock
group’s first Top 40 hit “Fire On the Mountain”
in 1975.
The spirited Spartanburg, S.C. band - featuring
McCorkle on rhythm guitar, Toy
Caldwell on lead guitar, Paul Riddle on drums,
Jerry Eubanks on saxophone/flute, Tommy
Caldwell on bass and Doug Gary, lead singer
- recorded for Capricorn.
A major hit was 1977’s single “Heard It In
a Love Song,” written by Toy. Others
McCorkle penned include “Last of the Singing
Cowboys,” “Silverado,” “Foolish Dreaming”
and (Gary Allan’s) “Cowboy Blues.”
According to pal Charlie Daniels,
McCorkle’s guitar playing was a key to MTB’s
sound: “If you took him out of it, the Tuckers
would not sound like the same band. He played
that electric guitar wide open.”
He also played some with the Renegades
of Southern Rock. McCorkle, a Vietnam War
Navy veteran, is in the S.C. Music Hall of
Fame.
Survivors include wife Vivienne (Davies)
McCorkle of Carthage, Tenn.; son Justin
McCorkle of Pauline, S.C.; step-daughter
Kelsey; step-sons Alex and Kevin; and brothers
Chuck and Tony McCorkle. The Reverend
Jerry Wallace conducted services July 1
at Carthage United Methodist Church, with
burial at Floyd’s Greenlawn Memorial Gardens
in South Carolina.

26 The Nashville Musician July-September 2007
Trottin’ about the Nashville music scene
On 7-7-07 Country Hall of Famer Charlie
Louvin marked his 80th birthday with the release
of a new video “Ira,” directed by Pete
Cummings in homage to the late Ira Louvin
(who died in 1965). Part of the video was
filmed in Charlie’s current home-town
Manchester, Tenn.
Of course, the Louvin Brothers are Alabama
natives, who enjoyed such hits as “When
I Stop Dreaming” and “I Don’t Believe You’ve
Met My Baby.” Oh, and Life Member Charlie
recently entertained at the annual Bonnaroo
rock festival in Tennesee, proving to be a welcome
performer with the young rockers.
Scene Stealers: Ernest Tubb Record Shops
entrepreneur David McCormick and WSM-
AM are celebrating the 60th year of broadcasting
The Midnight Jamboree. Traditionally,
the program signs on after Saturday night’s
Opry goes off the air. Of course, Country
Music Hall of Famer Ernest Tubb founded the
shops and show. He invited country music’s
biggest stars, assuring major audience participation.
When dad grew ill, son Justin Tubb
worked in liaison with McCormick to keep
the program going. E.T.’s self-penned “I’m
Walkin’ The Floor Over You” became its
theme song. Justin recorded hits, too, such as
“I Gotta Go Get My Baby,” “Take a Letter
Miss Gray” and “Lookin’ Back To See” (with
Goldie Hill), and wrote classics for others like
“Lonesome 7-7203,” “Love Is No Excuse”
and “Walkin’ Talkin’ Cryin’ Barely Beatin’
Broken Heart.” David does a bang-up job doing
the show nowadays. Congratulations! . . .
Singer Trisha Yearwood has signed with indie
Big Machine Records run by Scott Borchetta
(former Toby Keith associate). BM’s also
home to Taylor Swift, Jack Ingram, Danielle
Peck and Jimmy Wayne. Borchetta was a promotion
man at MCA when Trisha began her
lengthy run, where she enjoyed such #1 hits
as “She’s In Love With the Boy” and “A Perfect
Love,” before marrying Garth Brooks . . .
Cheers to Brad Paisley, whose “Online” music
video hit #1 on the iTunes sales chart, June
28, a first for a country video.
Honors: Willie Nelson has been announced
as BMI’s next Icon recipient, which
will be presented during Country Music Week
in November . . . Curb Records’ mogul Mike
Curb received the Nashvillian of the Year
Award, June 19, during the annual Easter Seals
event at the Gaylord’s Opryland Resort Hotel
. . . The Music Row roundabout, featuring the
Kris Kristofferson, singer-songwriter-actor,
is 2007 artist-in-residence for the Country
Music Hall of Fame & Museum.
As such, Kristofferson will appear in the
foundation’s Ford theater on two successive
evenings, Aug. 14-15. Showtimes are 7 p.m.
Himself a Country Music Hall of Famer
since 2004, Kristofferson becomes the fifth
artist-in-residence, following Jack Clement,
Earl Scruggs, Tom T. Hall and Guy Clark.
Among his better known songs are “Help
Me Make It Through the Night,” “Me &
Bobby McGee,” “Sunday Morning Coming
Down,” “For the Good Times” and “Why Me,
Lord.” As an actor, he’s hailed for such cinematic
achievements as “Cisco Pike,” “Alice
Doesn’t Live Here Anymore,” “A Star Is
Born” and “Semi-Tough.”
“Few artists can legitimately wear the
mantle of ‘living legend,’” said Museum Director
Kyle Young. “But Kris Kristofferson
embodies the phrase. With a rough-hewn
tenor, a philosopher’s insight and a poet’s turn
of phrase, Kristofferson has given voice to our
country’s mores and emotions, its triumphs
and tragedies, for more than four decades.”
Now 71, Kristofferson once studied as a
Rhodes Scholar in English Literature at Oxford
University; and served as an Army helicopter
pilot in Germany, but bowed out after
receiving orders to be an instructor at West
Point, disappointing dad, a former Air Force
major general.
Ernest Tubb, The Texas Troubadour.
controversial Pro Arts Musica statue, has been
named the Buddy Killen Circle, to honor the
late pioneering musician and song publisher.
Situated at the Demonbreun-Division street intersection
crossing both 16th and 17th avenues),
via an ordinance put forth by the Nashville
Metro Council . . . Pioneering country
singer Rose Lee Maphis joined newcomer
Brad Cotter and designer Manuel to place their
handprints in the concrete, July 5, outside the
Music Valley Wax Museum, near the former
Opryland. Reportedly, 295 stars have been so
honored . . . Razzy Bailey has been named to
the Alabama Music Hall of Fame, with the
actual induction ceremony slated during February
2008 . . . Meanwhile, Kentucky’s Music
Hall of Fame is beckoning Crystal Gayle,
Dwight Yoakam and Norro Wilson, with inductions
also scheduled for February 2008 . . .
Dolly Parton appeared May 19 to help former
duet partner Porter Wagoner mark his 50th anniversary
as an Opry cast member (having
joined Feb 23, 1957). Others sharing in the
WSM salute included Patty Loveless, Buck
Trent plus other former and current band members,
as well as Marty Stuart, who produced
Porter’s latest album “Wagonmaster” . . . Parton,
incidentally, has been made a “Lifetime
Member” of the American Girl Scouts, which
celebrated its 80th year June 15 at her
Dollywood theme park in Pigeon Forge, Tenn.
Get Well Wishes: To country legend Ferlin
Husky, who recently underwent double arterial
surgery after doctors discovered blockages
in both legs, during a recent hospital stay in
Springfield, Mo. The 81-year-old singer,
Kris Kristofferson’s newest honor, CMF’s artist-in-residence
Kris elected to go to Nashville instead,
where he would realize his potential as a
songwriter, but not before taking on menial
jobs to support himself, including laboring as
a janitor at Columbis Records, and tending bar
at the Tally Ho Tavern on Music Row.
Three of his earliest cuts were “Vietnam
Blues” by Dave Dudley in 1966, “Jody & The
Kid” by Roy Drusky in 1968, and “Me &
Bobby McGee” by Roger Miller in 1969.
Kris also took a job flying choppers, carrying
supplies out to oil rigs in the Southwest.
One day he decided to drop in on Johnny Cash,
landing long enough on the star’s estate to hand
the startled singer a song he wanted him to
consider. Well, of course, Cash did record
“Sunday Morning Coming Down,” and the rest
as they say is history.
In fact, 1970 proved a banner year when
he got back-to-back cuts with Bobby Bare on
“Come Sundown” and “Please Don’t Tell Me
How the Story Ends”; Cash’s “Sunday Morning
Coming Down”; Ray Price’s “For the Good
Times”; and Sammi Smith sang “Help Me
Make It Through the Night.” These were the
stuff of which legends are made.
Among those who had faith in his talent
were publishers Marijohn Wilkin (Buckhorn
Music), Bob Beckham (Combine Music), and
producer Fred Foster of Monument Records.
Once pop stylists such as Janis Joplin
latched onto his songs, as she did with “Me &
Bobby McGee”- and took it to the top of the
whose biggest successes are “Gone” and
“Wings Of a Dove,” is now reportedly recuperating
at home . . . Former Grand Ole Opry
quartet Four Guys’ founder (Harold) Brent
Burkett’s suffering from brain cancer, which
required intense radiation treatments for the
singer, who’s 68 . . . Bobby Bradley, another
brother in the Nashville showbiz clan, has been
hospitalized. (He’s brother to Local 257 President
Harold Bradley and also dad to engineerproducer
Bobby Bradley, Jr.) . . . Musician
Barry Chance has been hospitalized, too, but is
now showing some improvement, says friend
Ronnie Light. Barry’s the son of late Life Member
Lightning Chance, one of yesteryear’s top
bass fiddlers . . . Another pioneer bassist
Marshall Barnes is recuperating from injuries
suffered in a bad traffic accident last year. The
Local 257 Life Member, now 84, lives in Greer,
S.C.
Final Curtain: Condolences to photographer
Patricia Presley, regarding the recent death
of her mother and best friend Effie, a native of
Lebanon, Tenn. . . And to Nashville A Team
session drummer Buddy Harman on the June 5
loss of his son Richard Terry Harman, 52, from
cancer. “Rick” was a writer, singer, photographer
and actor. Survivors include mother
Devona Haile, daughter Lauren and son Zane
Harman, brother Mark Harman, sisters Autumn
and Summer Harman, the latter an ex-publicist
for RCA and Broken Bow Records . . . Pioneer
producer Irving C. Waugh, Jr., 94, died
April 27. The Emmy Award winner negotiated
the NBC network telecast of the annual CMA
awards show in 1968; helped to launch Fan
Fair; played a part in developing the Opryland
theme complex; and spearheaded the start of
WSM-Channel 4, Nashville’s first TV station
(1950). After a stint as an actor, he became a
radio announcer in Norfolk and Roanoke, Va.
Irving began his affiliation with WSM in 1941.
He next joined NBC as a correspondent, broadcasting
from the Pacific in The Philippines and
Okinawa during World War II. Waugh made
the first broadcast from Japanese soil before
their surrender, and was aboard the USS Missouri
for the official Japanese surrender to the
U.S. and its allies, officiated by General Douglas
MacArthur. In postwar years, Waugh returned
to WSM radio as sales manager, rising
to the rank WSM V.P. for television (1958).
From 1968-’77, he was WSM’s president.
Waugh also produced the CMA awards show
for many years, through 1993. He was prede-
Kris Kristofferson
- Patricia Presley photo
charts - Grammy Award-winning Kris soon captured
the imagination of Hollywood.
The artist’s box office potential encouraged
labels to record him as a vocalist, despite his
gravelly, lived-in vocals, but to his surprise he
became a major recording star. Witness his bestselling
early 1970s’ albums, notably “The Silver-Tongued
Devil & I,” “Jesus Was a Capricorn”
and “Full Moon” with then-wife Rita
Coolidge. In the following decade, he teamed
up with Cash, Waylon Jennings and Willie
Nelson for “The Highwayman,” scoring yet
another #1 album, that prompted successful
follow-up CDs “Highwayman 2” and “The
Road Goes On Forever.”
Today, he plays major supporting roles in
films, still does the occasional album, and hits
the road every now and then. The Kristofferson
residency event tickets are now on sale at $40.
For details, call CMF, (615) 416-2001.
ceased in death in 2005 by Jean Waugh, his
wife of 70 years, and is survived by their sons
Whitney and Pendleton. Services were conducted
May 1 at St. George’s Episcopal
Church, by The Reverend R. Leigh Spruill,
with interment in Mount Olivet Cemetery . .
Fiddler Jack (Arnis ) Youngblood, 79, has also
died. He played for Hall of Famers’ Hank Williams
and Lefty Frizzell. Sadly, Youngblood
lost his home and fiddle to Hurricane Katrina
. . . Former Donna Fargo lead guitarist (1978-
1991) Jimmy Lowry, Jr., 63, died May 6 at
his home in Mt. Airy, N.C. Survivors include
wife Sylvia Batton Lowry and their daughter
Jennie Caudill. Services were held May 9 at
Moody Funeral Chapel in Mt. Airy . . . Burrito
Deluxe keyboardist Richard Bell, 61, died
June 15, of cancer in Toronto, Canada. Bell
was a member of Janis Joplin’s Full Tilt
Boogie Band, playing on her final studio LP,
“Pearl.” He has contributed his talents to more
than 400 albums, and in 1991 as a member
of The Band played piano on several, plus
writing “Caves of Jericho.” Among artists he
performed with: Bob Dylan and Bonnie Raitt.
A memorial is being slated in Nashville . . .
Former DJ, songwriter- musician Gordon Lee
Eatherly, Jr., 62, died June 25, following an
extended illness. As a Texas DJ early in his
career, he worked at KDSX-Sherman and
later KVET-Austin as “Rusty Gordon.”
Bands he performed in were Rising Suns and
The Passions, performing throughout the
Southwest. Eatherly relocated to Nashville in
1987 to pursue a writing career. Titles composed
include “A Ring Where a Ring Used
To Be,” and “Dallas Days and Fort Worth
Nights” (recorded by Chris LeDoux). Survivors
include his wife of 31 years, Sherrill
(Tucker) Eatherly; two children, Sarah Ellen
and John Eric Eatherly. Services were held
June 29 at the Nashville Center for Spiritual
Living . . . Bluegrass banjoist-vocalist Ray
Goins, 71, died July 2 in Pikeville,Ky. He and
younger brother Melvin comprised the Goins
Brothers act, remembered for such releases
as “He Showed Me the Way,” “God Bless
Her, She's My Mother” and “Goins Brothers'
Second Edition.” The siblings, once part of
the Lonesome Pine Fiddlers, were featured
regulars on WHIS-Bluefield, W. Va. radio. A
native of Bramwell, W. Va., farm boy Ray
also played bass fiddle and did some comedy
for Ralph Stanley's Clinch Mountain
Boys. He later fronted his own band Windy
Mountain, including Melvin on guitar, and
also played on WCYB-Bristol's Farm & Fun
Time. By the mid-1990s, however, Ray had
retired due to declining health.
- WT
Burgess, Cannon, Felts to
entertain rockabilly fans
Go cat, go! The 2007 International Rock-
A-Billy Music Festival, scheduled in Jackson,
Tenn., Aug. 9-11, will boast the Bop, the
Twist, and the Line Dance, from the 1950s.
Dancers from around the globe are expected
to “Twist Again” to the sounds of
Rockabilly for prizes.
There’ll even be an international touch
with music by German band Hannes Strauss
and the Blue Vinyl Freaks, Berliner Doc Thomas
and Canadian Judy Kanyo.
Providing musical turns will be American
rock legends like Sonny Burgess & the
Pacers, Ace Cannon, and Narvel Felts.
This year’s festival features a special appearance
by Johnny Cash’s Tennessee Three,
along with sets by the 10-0-C Band, featuring
Lee McAlpin (Carl Perkins’ pianist), Carl
Mann and Rayburn Anthony.
For an Early Bird Special three-day pass,
the fee now is $45, which is good for admission
to all events.
For details, contact: International Rock-
A-Billy Hall of Fame, 105 North Church St.,
Jackson, TN 38301; or check out their website
www.RockABillyHall.org or simply e-mail
them at rock@rockabillyhall.org

July-September 2007 The Nashville Musician 27
Book Nook
Ken Nelson’s sharing stories on stars, songs and showbiz insiders
By WALT TROTT
Ken Nelson was a pivotal player in development
of both the Nashville Sound and
Bakersfield as the West coast capital of country
music.
As country kingpin at Capitol Records,
Ken had no agenda for that, but his production
of Sonny James’ “Young Love” hit #1
country on Feb. 2, 1957 for nine weeks and
#1 pop Feb. 9; followed by Ferlin Husky’s
“Gone” - at #1 country April 6, 1957 for 10
weeks, and also a pop Top Five - both million-sellers,
sealed his fate. They’re generally
regarded as prototypes of the Nashville Sound.
(Steve Sholes’ RCA pup had produced a #1
crossover in 1956 with “Heartbreak Hotel,”
but the country crowd then refused to recognize
Elvis Presley as anything but a rockin’
pop star.)
Ken Nelson was enshrined in the Country
Music Hall of Fame in 2001, belatedly for sure;
no doubt due to being based in California,
though his artists were often produced in Nashville
(his Music City contemporaries Chet
Atkins and Owen Bradley were inducted in
1973 and ’74, respectively).
“I spent at least six months out of the year
recording in Nashville,” Ken recalled. “The
Andrew Jackson Hotel was my second home.”
Ken, the force behind Hank Thompson’s
“Wild Side of Life,” Gene Vincent’s “Be-Bop-
A-Lula,” Tommy Sands’ “Teen-Age Crush,”
Wanda Jackson’s “Right or Wrong,” and Buck
Owens’ “I’ve Got a Tiger By the Tail,” also
mentored such talents as The Jordanaires, Stan
Freberg, Faron Young, Jean Shepard, Roy
Clark, Martha Carson, Wynn Stewart, Jerry
Reed and Merle Haggard.
Now he’s opened up about all this in his
autobiography “My First 90 Years, Plus Three:
Ken Nelson,” a valued and entertaining read.
After putting feelers out to major book agents,
the veteran music man, now 96, decided indeed
time was of the essence: “Mainstream
publishers just weren’t interested in the story
of a behind-the-scenes guy, so I went ahead
and did it myself. I just wanted to see the book
in print before I kick the bucket!”
Dorrance Publishing of Pittsburgh, Pa.,
did the honors. It’s a delightful memoir, despite
some spelling deficiencies, but a major
part of its charm is the remembrances are all
in Ken’s own words.
In one instance, he might’ve jogged his
memory a bit more, as he had Republican
Calvin Coolidge as Democrat Woodrow
Wilson’s vice president. Coolidge was v.p. to
Wilson’s successor Warren Harding, moving
Taking aim: Author has Faron Young in her sights
Finally someone’s written the story of
Faron Young’s life, one of country music’s
most colorful characters.
Young was known for songs like “Goin’
Steady,” “If You Ain’t Lovin’, You Ain’t
Livin’,” “Hello Walls” and “Live Fast, Love
Hard, Die Young (And Leave a Beautiful
Memory),” amid a notoriety that left anything
but for the former Opry star.
Diane Diekman’s biography “The Faron
Young Story: Live Fast, Love Hard” is literally
a fan’s reflection on a man whose career
covered more than 40 years, and whose life
ended in suicide at age 64.
up to the presidency when Harding died in
August 1923 (Wilson died six months later).
But he’s mainly on target when describing
the way it was recording in Nashville in his
heyday: “There was a closeness, a friendliness,
an understanding and more of a desire to help
the other fellow than anywhere else in the
music world . . .
Maybe some of this is a bit idealistic:
“When an artist, no matter how big or small,
comes to town to record, the music publishers
and songwriters will bring him their best songs
to choose from. When he walks into a recording
studio, he immediately feels the friendliness
and the desire of everyone to cooperate.
There is a completely relaxed feeling . . . There
is no sheet music used whatsoever. Each musician
contributes his own individual ideas to
the arrangement and takes pride in his work.
On the playback, each person will listen carefully
to his individual part, and if he feels he
can improve on what he has done, he will say
so . . . The engineers or mixers contribute in
the same way, every man in the studio feels as
if this recording were his very own. This, to
me, is the Nashville Sound.”
Born Jan. 19, 1911 in Caledonia, Minn.,
he had accomplished a lot of living before
being snapped up by the fledgling Capitol
Records label in the postwar years.
Ken confides that his mother and dad were
not married, and at age 3, he was placed by
his mother in Chicago’s Home For the Friendless.
At age 11, Ken launched his music career
singing in Chicago’s White City Amusement
Park. The year was 1922, and the
Melrose Brothers Publishing firm then engaged
the ninth grader to run errands and finally
to plug songs.
During the next four years, however, he
continued singing and accompanying himself
on tenor banjo. In 1925, Nelson made his radio
bow, pickin’ and singin’ on a local radio
station. By the next year, he switched from
Melrose to work for the Gene Austin (of “My
Blue Heaven” fame) music publishing company
in Chicago.
Austin next had the teen open a branch office
in New York City, working there about a
year. He recalled visiting Austin’s yacht, harbored
in the Hudson River: “Whenever I went
on the yacht, I had to take my banjo because
Gene got a kick out of the way I could make
the strings quiver while I sang. I’m not clear
as to whether or not the lady on board was his
wife or girlfriend, but she had a Pomeranian
dog and every once in a while it would either
fall or jump in the river. I would have to dive
As a college student, Diane met him first
while attending a St. Patrick’s Day concert in
Sioux Falls, S.D. in 1970, and Faron insisted
on driving her back to her dormitory in his
bus. She went on to join the military, making
a career of it, and retiring as a Navy captain.
Through the years, she kept up with the veteran
vocalist via correspondence, calls and
visits while attending various concerts.
Diekman’s 286-page book is being published
by the University of Illinois Press, as
part of its Music in American Life series. There
are 26 photos, including several rare shots of
“The Singing Sheriff,” a nickname associated
with his role in a mid-1950s B movie “Hidden
Guns.”
Book Review
Louisiana native Young, died Dec. 10,
1996, after being plagued by pain and ill
health. This occurred some seven years after
his final Billboard charting - his 89th - “Here’s
To You” on Step One, an independent label.
Diekman deserves an A-plus for her thorough
research. Seemingly, she goes a bit overboard
in obtaining disparaging pieces about
Faron’s alcoholic-induced off-color comments
and crude behavior. It may have been concern
about criticism of being less-than-objective if
she didn’t report every caustic quote. It gets
rather repetitive reading similar retorts from
in the filthy Hudson and retrieve him. I don’t
know what they did when I wasn’t aboard.”
Upon returning to the Windy City, Ken
linked up with drummer Lee Gillette and saxophonist
Jim Crotty to perform as the Campus
Kids. The vocal trio began singing on such
Chicago area stations as KYW, WBBM and
WAAF.
During the days of the Great Depression,
Nelson suffered a personal depression due to
a short-lived marriage with a trifling woman
he declines to name.
In 1936, WAAF - the Stockyards station -
assigned Nelson to announcing their Symphonic
Hour, and was given similar chores for
the Chicago Symphony Orchestra concerts.
This earned him a reputation as a leading classical
music announcer.
Station WJJD engaged Nelson as program
and music director in 1940. He was later overseeing
the popular Suppertime Frolics show.
During World War II, Uncle Sam called on
him (in 1943), assigning Ken as an Army
medic for two years.
Following discharge, he returned to WJJD.
His friendship with Gillette came back into
play when Lee started working with the Los
Angeles-based Capitol Records (created in
1942 by music store operator Glenn Wallichs,
Paramount Pictures’ honcho Buddy DeSylva
and pop singer-songwriter Johnny Mercer).
Gillette was cutting discs for Capitol in
Chicago, but soon became the label’s A&R
chief, bringing such stalwarts as Merle Travis,
Tex Williams, Jimmy Wakely and Tennessee
Ernie Ford aboard. When unable to helm a
session in Chicago, he called on pal Nelson to
step in, despite the fact that Ken had never
produced a country session, this one with
Uncle Henry & the Kentucky Mountaineers.
He went on to produce his first record hit with
the Dinning Sisters’ rendition of “Buttons &
Bows,” a 1948 million seller.
Nelson next was lured out to California initially
to be its classical music overseer, but
soon was producing transcriptions as well, and
in 1951 assigned as country A&R. (He was
later promoted to V.P. of the country division.)
Following DeSylva’s death and Mercer’s
departure, Capitol president Wallichs agreed
to Britain’s EMI buying in to the tune of $8.5
million, giving the foreign music conglomerate
controlling interest. Nelson fattened his
wallet by dabbling in publishing, though he
eventually sold his interest in Central Songs
to former assistant Cliffie Stone.
Bakersfield became a goldmine of talent
for Nelson. In addition to Ferlin Husky, he
the likes of KWKH-Shreveport announcer
Frank Page, “Faron was one of the most profane
people that ever came along . . .”; and
Louisiana Hayride honcho Horace Logan, “He
was without a doubt, the dirtiest-talking guy I
ever knew . . . ”
More reminders come from Jan Howard,
Del Reeves, Jean Shepard, Ralph Emery,
Connie Smith et al. So all right already, we
get it: Faron could be overbearing and talked
like a drunken sailor when in his cups.
Despite being depicted as potty-mouthed,
politically incorrect and an abusive lover,
Young was a terrific talent, possessing a beautiful
baritone, played guitar and wrote successful
songs such as “Goin’ Steady” and “All
Right.” We knew him and he had heart, yet
what’s puzzling is why fellow artists like Merle
Haggard and Johnny Paycheck even did time,
but their anti-hero misdeeds becomes absorbed
in their legend; meanwhile, Young’s bad boy
antics seem only to tarnish his legacy.
To their credit, female pros like Martha
Carson, Patsy Cline, Roni Stoneman and
Jeannie Seely saw through Faron’s bravado,
respecting his many career accomplishments,
including 41 Billboard Top 10s. Posthumously,
so did Country Music Hall of Fame voters,
assuring his 2000 induction, along with friend
Charley Pride.
On the up-side, we liked learning the lineup
of his highly acclaimed Country Deputies
found Tommy Collins, Merle Haggard, Buck
Owens and many other artists there. Tommy,
an excellent songwriter and fine singer, was
on his way to the top, via hits like “You Better
Not Do That” and “Whatcha Gonna Do Now,”
when he decided to abandon the business.
Ken begged him to change his mind, but
to no avail: “In 1958, we made and released
an album of standard religious songs. Without
my knowing it, he must have been studying
for the ministry, because one day he announced
he was giving up his musical career
to become a full-time minister . . .
“After three years, he realized he wasn’t
amply supporting his family. He decided to
resume his musical career (but Capitol
wouldn’t bite). He left Capitol and signed with
Columbia Records, where he had one hit ‘If
You Can’t Bite, Don’t Growl,’ but the momentum
of his earlier career was gone.”
Remembering Buck Owens, once Tommy
Collins’ lead guitarist, Ken says he considered
him an excellent musician, using him regularly
in the studio. Finally tired of Buck’s bugging
him for a vocal audition, Ken relented
and was pleasantly surprised at what he heard.
“The Beatles were fans of Buck’s and requested
I send them dubs of our sessions. They
recorded his hit ‘Act Naturally.’”
Ken remembers signing hit-songwriter-tobe
Dallas Frazier destined for “There Goes My
Everything” fame: “Dallas Frazier was a very
talented lad. At the age of 14, he was the
youngest artist I had ever signed . . . In 1954,
Lou Busch, a ragtime piano player, known as
Joe (Fingers) Carr wanted to record two Christmas
songs with Dallas, ‘My Birthday Comes
on Christmas’ and ‘Jingle-O the Brownie.’ I
thought it was a good idea until we got in the
studio and started to record. The tempo Lou
set was way too fast. I kept telling him this
and asked him to slow down, but he kept insisting
fast was the right tempo. What could
have been a good record didn’t turn out so,
because of the fast tempo.”
Nelson recalls the struggles of the Country
Music Association in its infancy and having
served two terms as its president, while his
RCA competitor Steve Sholes was CMA board
chairman. Among other associates he cites
helping to make CMA successful were Connie
B. Gay, Eddy Arnold, Harold Moon, Wesley
Rose, Hubert Long, Mac Wiseman, Vic
McAlpin, Bob Burton, Oscar Davis and Dee
Kilpatrick.
“One of the first things we did was to vote
for a salary raise for Jo (Walker, full-time CMA
(Continued on page 28)
from Diekman, including among other notables
Doyle and Teddy Wilburn, Gordon
Terry, Roger Miller, Jimmy and Johnny
Fautheree, Odell Martin, Donny Young (a.k.a.
Johnny Paycheck), Darrell McCall, Ray
Emmett, Lloyd Green, Sonny Burnette, Dale
Potter, Stu Basore, Vassar Clements and Terry
Duncan.
Diekman digs and discloses behind-thescenes
situations leading to Young being credited
as co-writer on hits like “I Miss You Already
(And You’re Not Even Gone),” “Alone
With You” and “Face To The Wall.”
According to “I Miss You Already’s” primary
writer Marvin Rainwater, it was he who
insisted on sharing credit, due to Faron’s input.
A melody change resulted in its improvement,
explained Rainwater, “When he went
high on that bridge, that’s what made the song
great. I went in for a minor there, instead of
that big beautiful chord he’d hit when he went
up high. Oh, it was great!”
As Roy Drusky also once confided, he was
a struggling radio announcer in Minneapolis
when promoter Lester Vanadore came to town
in 1958, heard “Alone With You” and promised
a major artist cut for Roy if he shared
writer credits. Indeed, Drusky ended up with
a #1 record and the following year supplied
Young a second #1, “Country Girl,” but this
time kept sole composer credit. (By the fol-
(Continued on page 30)

28 The Nashville Musician July-September 2007
‘Fiddle’ get 2nd life in Time re-release
Way back in 1965, Audrey Williams linked
up with veteran film producer Vic Lewis to
produce a grade B movie “Second Fiddle To
a Steel Guitar,” uniting a trio of screen names
with some top country artists.
While mainly drive-in fare at the time, today
it’s a treasury of star turns in the glorious
color spotlight that Time/Life has resurrected,
both for posterity and pure pleasure of fans.
Heard at the peak of their vocal prowess
are Lefty Frizzell, Kitty Wells, Bill Monroe,
Faron Young, Dottie West, Webb Pierce,
George Hamilton IV, Connie Smith, Billy
Walker, Sonny James, Carl & Pearl Butler,
Johnny Wright and Little Jimmy Dickens.
Oddly enough, the latter two had #1 songs
that year, but neither perform them, though
Wright pays homage to Audrey’s former husband
Hank Williams by singing his first hit
“Move It On Over,” with a vocal assist from
daughter Ruby Wright and Bill Phillips; while
Dickens scores equally well on “John Henry.”
Merle Kilgore doesn’t sing his hits, but
does a fine job as emcee of the show-withina-show.
Incidentally, as a boy Merle carried
Hank Williams’ guitar to get into his show free,
and went on to manage son Hank Jr. It was
Junior’s mom who reportedly inspired such
Senior songs as “Why Don’t You Love Me”
and “Cold, Cold Heart,” in the days after
Audrey and Hank used to relax at Lake Caddo
with Louisiana Hayride cohorts Johnny and
Kitty.
For “Second Fiddle’s . . . ” comic relief,
ex-Dead End Kids’ Leo Gorcey and Huntz
Hall join Arnold Stang of radio-TV-film fame
to try and keep the thin plot-line moving along.
Actually, country comics Minnie Pearl, Homer
& Jethro and young Del Reeves sparkle even
brighter in their on-camera comedy cameos.
It’s also fun to spot such sidemen as Buddy
Spicher, Howard White, Leo Taylor, Lamar
Morris, Pete Drake, Stu Basore and Curly Fox
. . . Nelson shares stories
(Continued from page 27)
secretary). We instigated the ‘Walkway of
Stars’ and Steve was the driving force behind
the creation and building of the Country Music
Hall of Fame.
“Steve and I also made the decision to ask
members of the industry, such as record companies,
music publishers, trade magazines, to
make a pledge of $10,000 to stabilize our finances.
When we approached our companies,
they both turned us down. Steve and I got together
and decided to tell our respective companies
a ‘little white lie.’ We told them the
other company had agreed to the pledge. Both
companies then made the pledge!”
Nelson remembers a time he invested in a
Texas oil venture upon Faron Young’s recommendation.
Faron endorsed a project promoted
by his boyhood pal Miles Caraway, who even
convinced Capitol honcho Glenn Wallichs to
ante up $25,000. All took a bath when it turned
out the guy was a con artist: “I never discussed
it with Faron.”
Later, Nelson again took the plunge: “It
was either Chet or Owen who recommended
that I invest in oil wells with them, and Owen’s
brother Harold, Jim Reeves and a couple of
other people. Because of my past experience,
I was a bit reluctant, but they assured me that
the East Central Developing Company of
Flora, Ill, was a reputable firm, owned and
managed by Alex Zanetis. Alex was an aspiring
songwriter with whom Chet and Owen
were well acquainted. We each invested
$1,500 in two wells: the Lynn Pearce Lease
and the Sam Howell Lease. But you can bet
your boots, I didn’t tell our president, Glenn
Wallichs about these wells. Both wells paid
off handsomely, until they went dry, a few
years later.”
Here’s a man who didn’t learn to drive a
car until he was 50 years old, and then obtained
his first driver’s license. Ken recalls a
time when Buck Owens chauffeured him
around L.A.: “As I hadn’t yet learned to drive
a car, many times after a session, Buck would
drive me home. I really liked him. It seemed
to be mutual and we became friends.”
on screen. There’s even Old Joe Clark, Murv
Shiner, Clyde Smith & The Promenaders,
Delores Smiley and the Southern Gentlemen
coming into view.
The flimsy plot has social climber Pamela
Hayes, who turns her nose up at the sounds of
the Grand Ole Opry, trying to book grand opera
stars for a benefit. When at the last minute,
the Italian Opera Company cancels, Hayes’
hubby Stang suggests substituting stars from
the world of country for her fund-raiser.
According to the DVD’s liner notes, “Will
an audience expecting ‘The Barber of Seville’
settle for the Queen of Country Music and a
cast of dozens? That’s what they get in ‘Second
Fiddle To a Steel Guitar,’ the 1965 country
music jamboree filmed in Nashville.”
Hired to help out at the theater are Gorcey
and Hall, best remembered for a legit mid-
1930s’ Broadway run in “Dead End” and repeating
their parts for a Warner Bros. film version,
followed by “Angels With Dirty Faces.”
Thereafter, they made a 1940s’ Monogram Pictures’
series of Bowery Boys programmers.
Obviously, by 1965 these “boys” were a bit
long in the tooth, but it’s a nostalgic plus just
seeing them again, even though they have little
to do here.
Some of the classic songs heard on the
soundtrack are “Abilene,” “Hello Walls,”
“Young Love,” “I Ain’t Never,” “Amigo’s Guitar,”
“Charlie’s Shoes,” “Don’t Let Me Cross
Over,” “Girl On the Billboard,” “Born To
Lose,” “Blue Moon of Kentucky,” “When Two
Worlds Collide,” “Once A Day” and “South
in New Orleans.”
What a joy to find this footage of Frizzell
performing his hits “If You’ve Got the Money,
I’ve Got the Time” and “Saginaw, Michigan.”
Reeves proves another scene stealer with his
right-on impressions of Walter Brennan, James
Stewart and Johnny Cash.
One of country’s first Grammy Award-
Ken Nelson at Country Music Hall of Fame.
Nelson delves deeper into his personal
life, telling of the time he and his singer-wife
June (she led the June Nelson Singers, session
vocalists) temporarily separated due to his
overwhelming jealousy. After agreeing to visits
with a psychologist, the couple overcame
their differences and went on to enjoy a happier
marriage until her death on Oct. 28, 1984
from cancer.
Another tragedy befell Ken when he lost
his attorney-son Gregory in 1991 at age 46 to
cancer. Daughter Claudia has been there to aid
her ailing father in his twilight years, and
proved a God-send in helping dad structure
this 350-page-plus biography.
Nelson hasn’t forgotten others who offered
an invaluable assist: “I want to thank Jo
Walker Meador, Christine Faron, Lorraine
Wilson, Dee Kilpatrick, Francis M. Scott, Kim
McHugh and Ralph Emery, who provided me
with needed information. I want to thank my
relatives and friends, acquaintances, artists,
musicians, songwriters and recording engineers.
If it hadn’t been for all of these people,
I wouldn’t have had a life to write about.”
And what a life he led. Ken Nelson was
certainly a force to be reckoned with, and his
book reflects the important role he played in
the history of country music. In 1976, after a
30-year run with Capitol, Ken Nelson retired.
“In 2001, I was inducted into the Country
Music Hall of Fame,” he said, adding with his
customary humility. “Naturally, it was quite
an honor, but it was the result of the artists,
musicians, songwriters, recording engineers
and promotion men who made it possible. I
accepted the honor on their behalf.”
(Special thanks to Walter “Dee” Kilpatrick for
supplying a review copy of Ken Nelson’s engrossing
biography.)
How many 1960s’ country superstars can you spot? (That’s actress Pamela Hayes at left.)
winning performances is recreated by Homer
& Jethro, warbling their spoof “The Battle of
Kookamonga,” parodying Jimmie Driftwood’s
“Battle of New Orleans” (which also won a
1959 Grammy for Johnny Horton’s version).
Audrey Williams gets credit for the flick’s
musical arrangements, while Lewis is listed as
producer, Victor Duncan as director, and it was
initially released by the independent Marathon
Pictures, but will probably realize as
many sales via Time/Life distribution. Incidentally,
the Ernest Tubb Record Shops are
also stocking this gem ($20).
- Walt Trott
(Special thanks to Howard & Ruth White for
furnishing review DVD and still photos.)
Leo Gorcey and Huntz Hall cut up. Webb Pierce performs ‘Slowly.’
Homer & Jethro parody the hits.
Minnie Pearl’s sticking it to the drums.
Curly Fox’s sawin’ away. Buddy Spicher, fit as a fiddle.
Dottie West performs with vocal back-up by Delores Smiley and the Southern Gentlemen.

July-September 2007 The Nashville Musician 29
Chet Atkins is back,
thanks to new discs
By WALT TROTT
“The Essential Chet Atkins,” a two-disc
set, and the 14-track “Chester and Lester,”
retrospectives by Sony/Legacy, proclaim their
playing as pure integrity in music. (Both hit
stores July 24.)
Chet’s guitar-driven instrumental hits like
“Mister Sandman” from 1955, and “Yakety
Axe,” 1965, contributed to bringing the guitar
to the forefront in country music. These
are featured in “The Essential Chet Atkins,”
which combines recordings cut for Bullet,
RCA and Columbia/Sony.
One of the most-recorded and mostawarded
instrumental solo artists, Chet’s a
member of both the Country Music Hall of
Fame (1973) and Rock & Roll Hall of Fame
(2002).
A highlight of his recording career was
recording with his guitar heroes Merle Travis
and Les Paul. An Atkins-Travis track on
“Essential’s . . .” set is Shel Silverstein’s “Is
Anything Better Than This,” off their 1974
“Atkins-Travis Traveling Show” RCA album.
Les, who introduced multiple-track recording
(with wife Mary Ford) and fashioned
the first solid-body amplified electric guitar,
joined Chet for RCA’s 1976 Grammy-winning
“Chester & Lester” (and 1978’s “Chester &
Lester, Guitar Monsters,” tasty treats for
twang-tone aficionados).
This release in the label’s American Milestones
series consists of those from their first
near-Top 10 LP “Chet & Lester,” plus engaging
in-studio off-the-cuff repartee left intact
on the album’s audio. On “Avalon,” co-player
and producer Atkins, with all due respect, suggests
Les plays faster. “You mean more nervous
than that?,” Les retorts.
At track’s end, following some frenetic
pickin’, the pair indulge in spontaneous patter,
as Les laughs aloud, musing, “Two dirty
old men . . . (it’s) pornography on record.”
Also, Legacy producer Bob Irwin has included
four previously-unreleased cuts; “The World
Is Waiting For the Sunrise” (once a 1951 million-seller
for Les & Mary); “You Brought a
New Kind of Love To Me” (initially a 1930
Paul Whiteman hit); “Caravan,” (a 1937 pop
success for Duke Ellington); and a pickers’
medley on “Moonglow” (a 1934 #1 for Benny
Goodman) and movie theme from “Picnic,”
recorded by maestro Morris Stoloff (#1, 1956).
Both the “Picnic” theme and “Caravan”
release versions are heard, following the CD’s
opening track “It’s Been a Long, Long Time”
(a 1945 #1 for both Bing Crosby and trumpeter
Harry James). Other evergreens picked:
“It Had To Be You,” “Birth Of the Blues” and
“Lover Come Back To Me.” There’s a Nashville
connection with the stylish “Deed I Do,”
co-written by Country Hall of Fame writerpublisher
Fred Rose (with Walter Hirsch).
Guitar guru Les Paul, 92, despite arthritis,
continues to perform in the Big Apple at
the Iridium jazz club. (Incidentally, filmmaker
John Paulson’s movie “Les Paul: Chasing
Sound” recently beamed as part of National
Public Television’s American Masters series.)
Following a cancer fight, Atkins died in
2001 at age 77.
Bob Irwin also acts as producer for “The
Essential Chet Atkins” collection, which
boasts these rarities: Chet’s 1946 Bullet
Records’ release “Guitar Blues,” produced by
Jim Bulleit; and “Root, Hog Or Die,” back
when he was with Mother Maybelle & the
Carter Sisters, this ’49 Columbia cut featuring
June singing lead.
Songs credited to Chet as composer include
“Bug Dance,” “Dizzy Strings,” “Centipede
Boogie,” “Mainstream Breakdown” and
“Country Gentleman” (co-written with
Boudleaux Bryant). In recognition of Chet’s
session playing, tracks selected are Eddy
Arnold’s “Big D,” The Everly Brothers’
“Should We tell Him” and Don Gibson’s “Oh
Lonesome Me.”
Among guitarists who claim Chet as an
influence who later recorded with their mentor
are Jerry Reed on their cut “Sneakin’
Around,” Lenny Breau on “Polka Dots &
Moonbeams,” and Mark Knopfler on “Poor
Boy Blues,” heard here. These alone would be
worth the CD’s cost.
Although our advance review copies came
sans packaging, original liner notes for
“Chester & Lester,” were superbly annotated
by music veteran Nat Hentoff. Hopefully,
Legacy will retain the legendary journalist’s
words of wisdom on the retail version.
Hentoff wrote: “What makes the date so satisfying
to listen to, over and over, is the collective,
swinging empathy between both the
two principals and the marvelously crisp, resilient
rhythm section consisting of a number
of the key Nashville all-purpose session minstrels
. . . the musical fact is that they are extraordinarily
resourceful and play with an almost
floating kind of relaxation that cuts most
of the session players elsewhere. It’s worth listening
a few times through, just for the rhythm
section.”
CD Review
Responsibility for musicians beckoned fell
to Atkins, who called upon such sterling studio
instrumentalists as bassists Bob Moore and
Henry Strzelecki; pianist Randy Goodrum;
drummer Larrie Londin; and rhythm guys Ray
Edenton, Paul Yandell and Bobby Thompson.
Without a doubt, Chet Atkins’ departure left
a void in Music City. Thankfully, through his
myriad of accomplishments, his light shines
on bright as ever.
A native of East Tennessee, Chet literally
launched his professional career playing fiddle
- that’s right, fiddle - for rising 1940s’ artists
Bill Carlisle, Archie Campbell, Kitty Wells and
Johnny Wright. Chet was playing guitar by the
time he toured with Mother Maybelle and her
daughters. Initially, he played fingerstyle using
his thumb, learning to play melody on the
guitar’s bass strings, before tackling even more
innovative techniques.
In 1950, Atkins came to Nashville to play
backup guitar on the Opry and to join RCA-
Nashville, where he rose to become A&R chief
and eventually the decider in charge. Since his
first session in 1946 with Wally Fowler, Chet
never stopped recording, and eventually won
more Grammy Awards than label superstars
Elvis Presley, Waylon Jennings, Dolly Parton
and Ronnie Milsap combined.
Along the way, Atkins also acquired a taste
for blues and jazz, developing a distinctive
style that suited such recordings as “Chet
Atkins Goes To the Movies,” “The Night Atlanta
Burned,” “Chet, Floyd and Danny,”
“Neck & Neck” and “Simpatico.”
In 1993, he was lionized with a Grammy
Lifetime Achievement Award, and crowned
king with Billboard’s Century Award in 1997.
Many will welcome Legacy’s new releases,
fans of both Chet and Les Paul, and these undoubtedly
will inspire new generations of guitarists
to strive for such musical perfection.
Atkins himself once intoned, “Years from
now, after I’m gone, someone will listen to
what I’ve done and know I was here. They may
not know or care who I was, but they’ll hear
my guitars speaking for me.” Amen.
Bare back, as well, on CD
Among Nashville rockers today, Bobby’s
known mainly as the dad of Bare Jr.
That’s somewhat deja vu considering that
when he scored his first pop hit single in 1959,
“All American Boy,” vocal credit went to Bill
Parsons, his slyly satirical song’s co-writer.
Come July 24, the Columbia/Legacy series
is reissuing Senior’s major 1974 comeback
success “Bobby Bare Sings Lullabys, Legends
& Lies,” a double album he produced showcasing
tunes supplied by Shel Silverstein.
Ironically enough, the near charttopping
single off the set “Daddy, What If?” features
Bare Jr., then a youngster whose voice was still
in its choirboy stage. (Sad to say, daughter Cari,
who sang on “Singin’ in the Kitchen,” featured
with mom and brothers Shannon and Jr., died
two years later of heart failure at age 15.)
RCA’s original two-record release on “. .
Lullabys, Legends & Lies” featured 14 songs
written by Silverstein, three of which he cowrote,
including Bobby’s first #1 “Marie
Laveau” (misspelled here as Lavaux). A bo-
nus CD features 16 additional tracks penned
by Shel, among them “Sylvia’s Mother,” “Back
in Huntsville Again,” “Numbers,” “Tequila
Sheila” and “The Jogger.”
CD Review
Predictably, this Legacy edition also features
liner notes by Rich Kienzle, country fancum-columnist
currently rehashing background
data for Columbia re-releases.
Bare, who boasts 69 Billboard singles
charted, has long been one of our favorite balladeers.
He earned a 1963 Grammy for his
cross-over rendition of “Detroit City,” and appears
in the 1964 Raoul Walsh movie “A Distant
Trumpet.”
Bare’s Silverstein connection began in
1972 when he covered the Dr. Hook pop million-seller
“Sylvia’s Mother,” penned by Shel
(and produced for Bobby by Jerry Kennedy).
Bare went on to chart another 15 Shel songs,
including “Vegas” recorded with wife Jeannie
Bare (1977), though it’s not on this package.
Some musicians supporting Bare on numbers
included are Bobby Thompson, Chip
Young, Red Lane, Lloyd Green, Hal Rugg,
Tommy Williams, Ron Oates, Bobby Wood,
Jerry Carrigan, Larrie Londin, Joe Allen, Henry
Strzelecki, Danny Epps and Bill Rice, who
along with Roger Murrah, provided additional
vocal harmony.
Rice, in fact, co-produced some of the second
CD songs with Bare, such as “$100,000 in
Pennies,” “Alimony,” “Brian Hennessey” and
“Food Blues.” These were siphoned off such
LPs as “Singin’ in the Kitchen,” “The Winner
and Other Losers” and “Down and Dirty.”
Thanks for this welcome retrospective goes
to Gregg Geller, compilation producer; Legacy
A&R head Steve Berkowitz; and for its digital
mastering to Vic Anesini of Sony Music Studios.
Legacy continues to gladden the hearts
of country fans everywhere with their series
saluting the best in the genre.
An interesting sidebar to Bare’s breakthrough
saga is that while in the Army, Cincinnati-based
Fraternity Records issued his “All
American Boy” performance, listing Bill Parsons
as singer, and the label subsequently
prompted Parsons to promote it on p.a.’s by
lip-synching to the record (which hit #2 pop
and Top 20 R&B). Of course, the song was a
send-up on another singer’s Army induction,
future rock and roll king Elvis Presley. Bobby’s
take on the tune? $50! - Walt Trott
. . . More members
Photos by Kathy Shepard
Don Jackson receives his Lifetime member pin.
DeWayne Pigg is presented 25-year pin.
Likewise, Diane Berry gets 25-year member pin.
Andre Reiss with new pet ‘Fluffy.’
Savannah Grantt, Kevin’s daughter, with ‘Azura.’
Phyllis Sparks with ‘Fiona.’
Glen & Marsha Duncan with son Brady.
Producer Tim Smith with niece Hannah Smith.

30 The Nashville Musician July-September 2007
. . . FIM’s John Smith calls for unity
(Continued from page 1)
pursuits on their behalf.
“It is the first time for us to meet here,”
smiles Smith, whose post is honorary. “When
we decided it was time to have our meeting
on this side of the Atlantic, we then wondered
which city? This city is a natural, and it’s home
to the Nashville (Association of) Musicians,
so we said it’s got to be Nashville! Believe
me, this is very special for us and everybody’s
going to take back long memories.”
Considering that Germany just elected a
female leader, France also boasts a new president,
and Britain’s Prime Minister Tony Blair
departed London’s 10 Downing Street, in June,
we were curious about how such leaders interact
with those in the arts.
We asked Smith if having Blair’s Labour
Party in power proved more positive for the
musicians on his home ground?
“Well, he’s more pro-union than (Conservative
Party Prime Minister) Mrs. (Margaret)
Thatcher was, let’s put it that way. His Labour
Party is the party that was formed in the UK
by the unions in the 19th century. You would
imagine that would make it better, but it’s been
very difficult for the unions. Still, we’ve had
a few concessions. We’ve got a minimum
wage in the UK, which is good, and we’ve
had some concessions in our recognition of
unions in the UK; but they’re still the most
restrictive labels in the developed world and
we have to work on those, and you adjust. My
union has grown actually. We’re thriving, and
you do it despite the fact there’s no encouragement
from the authorities for us.”
Just how large is overall union membership
in the UK?
“Well, the Trade Union Congress covers
the whole UK and its got about five million
members. I’m secretary of the BMU, based in
London, and my union’s the second biggest
union after the AFM (International in New
York, which including Canada, has numbered
near 100,000).”
One strong disagreement during Blair’s
tenure occurred in 2004, when the union announced
displeasure with the Arts Council of
England for providing 200,000 pounds of public
funds to back a major national tour of Matthew
Bourne’s ballet Highland Fling, because
it was performed to recorded music. (That’s
somewhat reminiscent of the Radio City Music
Hall’s infamous annual touring show Radio
City Christmas Spectacular out of New
York City.)
Smith is beaming these days about a
calmer situation in Northern Ireland (which
like Scotland and Wales comes under BMU’s
jurisdiction): “I was there just three days ago
and things are going well. It’s a good situation
now.”
Seeing unsettling situations, however, is
not new to Smith, who when wearing his second
hat for FIM, ventures into third world territory:
“We travel a lot in this job, and wherever
we go you see the unrest. Traveling so
much, there’s no pleasure in it anymore. I’m
back in London on Monday and it’s always
good to get back, but I’ve got to go to Sweden
on Friday.”
In December 2004, Smith succeeded John
Morton, who held the post 31 years and is now
President Emeritus. Assisting Smith as FIM’s
four vice presidents are: Alhaji Sidiku Buari,
also president of the Musicians Union of
Ghana (MUSIGA); Beat Santschi, a conductor
and offical for the Swiss Musicians Union;
Anders Laursen, Denmark Musicians Federa-
. . . a Faron Young biography
(Continued from page 27)
-lowing year, Roy had his own major label pact
with Decca, recording two self-penned backto-back
hits - “Another” and “Anymore” in
1960 - launching his own singing career.)
Anderson’s account was somewhat similar,
in that he was a Faron fan anxious to get
him to record his material. Young did, giving
Bill back-to-back hits on a single record, only
one of which he had to share credit on, the
Top 10 “Face To The Wall,” but not on its
John Smith, FIM President
tion chairman; and Tom Lee, president of the
American Federation of Musicians International,
headquartered in New York City.
The latter took time to toot the proverbial horn
for Nashville’s own favorite sons: “We know that
this is a town of rich musical history, with Harold
Bradley, his brother Owen and Chet Atkins, and
the monuments or statues that surround the city -
and (then pointing at) Billy (Linneman) over there
with the Grand Ole Opry 43 years - and it took
enormous amounts of goodwill, good-natured
people and dedication to build this into Music
City . . .”
Of course, Linneman serves as Secretary-
Treasurer of AFM Nashville Local 257. Attending,
too, was Sam Folio, AFM Secretary-Treasurer.
Among FIM’s more recent advancements
have been the creation of Third World regional
groups, one to aid musicians in Latin American
countries, and another devoted to those in African
nations. Accomplishments in Ghana include
getting taxes abolished on imported instuments,
while among FIM goals are simply helping musicians
obtain their own instruments, designing
better contracts and improving their distribution
network and royalty collection.
Parisian Benoît Machuel, FIM General Secretary,
cited several orders of business, which we
mention merely to give you an idea of the global
agenda of this august institution: Concerns regarding
Croatia, Portugal, Spain and Jamaica,
where they decided to cancel a meeting. The committee
apparently rejected a membership request
from Iran. (See Machuel’s letter on page 13.)
Apart from such matters, the delegates enjoyed
Nashville’s Southern hospitality at the
Schermerhorn Symphony Center for a Friday
performance by the critically-acclaimed Nashville
Symphony Orchestra; WSM’s historic
Grand Ole Opry, whose performers Saturday included
legends Dolly Parton and Porter Wagoner
(marking his 50th anniversary at the Opry); and
a Sunday tour of the Country Music Hall of Fame
& Museum.
As local host, Harold Bradley, president of
the Nashville Association of Musicians, fraternally
greeted his brothers in music Friday; and
come Saturday introduced Mayor Bill Purcell (officially
welcoming the distinguished delegates):
“. . . He’s completed his second term as Mayor,
during which time Nashville has really prospered.
I’m not sure he’s not a musician, because he and
I have another similarity, we both have a song in
our hearts for Nashville . . . ”
Assisting in the presentation of visitor gift
bags - courtesy of the CMA, Nashville Visitors
Bureau and Country Music Hall of Fame - were
Local 257 staffers Sherri Dickerson and Michele
Voan.
One of only a few female delegates attending,
Mari Kawamoto, an oboist, is the first female
Executive Committee General Secretary of
the Musicians’ Union of Japan (MUJ). She works
closely with Joe Sakimoto, MUJ chief (who plays
harmonica), and this meeting marked only her
flipside, the Top Five “Riverboat.”
Following a most successful decade at Capitol,
Faron enjoyed a fruitful relationship - and
renewed popularity - with Mercury Records,
charting 17 Top 10 Billboard singles and 20 albums,
including Top 10s: “Story Songs For Country
Folks” and “Country Dance Favorites.”
We’re further enlightened finding Faron
scored favorably in appearances at the Hollywood
Bowl, in Carnegie Hall, and abroad at a Wembley
Festival in London. He even had a Top Five 1973
single with Jerry Chesnut’s “It’s Four In the
second visit in the U.S. Our interview was
assisted by interpretor Evelin Saito-
Lackner, who translated these answers:
“I am one of the founding members and
have been involved in union work since
1983. Like yours, our Japanese government
is not pro-union. We have 6,000 members
(including musicians from Okinawa). This
comes under the Ministry of Labor, and we
are headquartered in Tokyo. There are many
orchestra members who are women, and
probably half of the (union) members are
orchestra musicians.”
Has there been a larger influx of female
leaders in the Japanese work force in those
years?
“Perhaps more so on the government
level, but not on the corporate level, I think.
More and more women are coming from
the universities and schools of higher learning,
and today more women stay in the business
than before . . . ”
Does she expect to see a greater increase
in union membership among Japanese musicians
overall?
“I would hope the numbers increase, but
the hope is not very big because it’s a difficult
economical situation in Japan, especially
for many of the musicians.”
Although FIM is non-governmental, its
positive works are recognized by such internationally-accredited
organizations as
USESCO (United Nations Educational,
Scientific & Cultural Organization), WIPO
(World Intellectual Property Organization),
ILO (International Labor Organization),
IMC (International Music Council), the European
Commission, the European Parliament
and the Council of Europe. Smith’s
unit has served as consultant, negotiator and
in an advisory capacity for many such
groups. Being allied with other committed
organizations, says Smith, strengthens its
hand on behalf of its constituents.
Ongoing is their global battle over
internet abuses. These concern copyright infringement,
determining payments due, and
regulating distribution of costly recordings
rendered in digital contexts. Much of this
fight, conducted in collaboration with other
agencies, includes reaching accords on
trade-related aspects of intellectual property
rights, along with protection of performers’
rights.
The Federation’s stated objective is to
protect and further the economic, social and
artistic interests of musicians organized in
member unions. This leads to such expressed
activities as: Furtherance of the
organization of musicians in all countries;
Federation of unions of musicians throughout
the world; Furtherance and strengthening
of international collaboration; Promoting
of national and international protective
legislation; Making agreements with other
international organizations in the interests
of member unions and of the profession;
Obtaining and compilation of statistical and
other information referring to the music
profession and provision of such information
to member unions; Moral and material
support of member unions in the interests
of the profession and in accordance with
the objectives of FIM; and the furtherance
of all appropriate efforts to make good
music a common property of all people.
(Editor’s note: See related letter from
FIM’s Secretariet on page 13 in this issue
of the newspaper.)
Morning” on British music charts (which
was also a two-week #1 on stateside Billboard
in ’72, and a pop charting, as well).
Diekman delves into DUIs, a trumpedup
Tulsa indecent exposure charge, and
trouble with West Virginia parents, whose
disruptive daughter interrupted Young’s
concert and was spanked by the artist.
There’s also his recognition of illegitimate
daughter Farianne, a costly divorce from
Hilda Macon Young, mother of his children
(Continued on page 35)
Accordionist Vic Willis, of the Grand Ole
Opry trio the Willis Brothers, departed a dozen
years ago. Guy and Skeeter died earlier, while
their younger brother succumbed to injuries
suffered in an auto accident.
The British Archive of Country Music
(BACM) has just issued a 24-track album titled
“Oklahoma Wranglers, Hillbilly Rhythm.”
Willis’ creations heard include “Long
Gone,” “Poor Boy” and “Drive My Blues
Away.” Two on which Vic takes lead vocally
are his compositions “I Know You’ll Never
Change” and “I May Be Lonesome.”
Talk about deep catalog songs, this delightful
collection includes the tasty “Eat a Little
More,” “You’re the Worm That Used To Be
the Apple Of My Eye,” “Lonesome Polecat”
and “Who Pfftt Tobacky On Teresa’s Wedding
Gown.” They’re fun songs, equally well done,
complete with vocal impressions.
On a more serious note, there’s their cover
of a double-sided Lefty Frizzell 1951 hit
single, “Look What Thoughts Will Do” and
“Shine, Shave, Shower.” RCA boss Steve
Sholes directed them to record Frizzell’s numbers.
Here’s the kicker, superstar Eddy Arnold
produced their session, inspiring the boys to
perform with feeling and gusto.
An amusing number, though sung straightahead,
is Blaine Smith’s “Monongehela Valley.”
Now nobody would make up such a name
to wrap their tongue around, unless it’s for real.
We found it in West (By God) Virginia!
A trio of instrumentals give each sibling a
chance to shine on his respective instrument -
“”Flop-Eared Mule,” “Soldier’s Joy,” “Back
Up and Push” - Skeeter on fiddle, Guy on guitar
and Vic on his squeeze-box.
CD Review
Guy’s early vocals are reminiscent of Gene
Autry (wasn’t everybody’s back then?), while
Skeeter scores best on playful, uptempo tunes.
A 1947 ballad “Darling, Please Forget and Forgive,”
was penned by compadre “Indian”
Chuck Wright, who played bass for the trio.
Here’s a bit of history concerning BACM’s
set, the brothers recorded Fred Rose’s “Farther
and Farther Apart” in December 1946 at
a Sterling Records’ split session, which they
shared with unknown Hank Williams. They
played backup for Acuff-Rose’s Hank, billed
as his Country Boys. Meanwhile, they recorded
their own numbers as Oklahoma Wranglers,
while Fred played piano.
“Hillbilly Rhythm” features two additional
Rose songs: “I’m Sorry If That’s the Way You
Feel” and “If You Want the Rainbow, You’ve
Gotta Have the Rain” which Fred co-wrote
with brother-in-law Ray Whitley. Incidentally,
the title tune was another Willis writing input
(with Speedy Bryant).
British scribe Bryan Chalker’s liner notes
state older brother Joe Willis was with the first
trio formed in 1932, while Vic was still a scalawag
of 10. When Joe opted for marriage and
family, Vic stepped up to fill the void in ’39.
Bryan gets the show name wrong for their
tenure at KMBC-Kansas City’s Brush Creek
Follies, however, but otherwise properly denotes
that their playing style was more cowboy
and western swing-oriented than country.
Although they recorded for the major labels
RCA and Mercury, they attained their
greatest vinyl success on indie Starday, cracking
higher echelons of 1960s’ Billboard charts
with “Give Me 40 Acres (To Turn This Rig
Around)” and Cowboy Jack Clement’s “Bob.”
As Chalker grandly notes, “The Willis
Brothers wore their cowboy hats with pride.”
In turn, we tip ours to these “Long Gone” entertainment
greats. - Walt Trott
UN

July-September 2007 The Nashville Musician 31
Candid shots of union members, and negotiators . . .
At a recent get-together, (from left) Union members Marty Chambers, Billy
Linneman, John Ham, Harold Bradley, Sonny Sinclair and Bill Shingler.
Chris Leuzinger and daughter Elizabeth. Jeff Jarvis and daughter Kan-Kan.
Paul Ross and Jerry Vinett perform
at memorial service for Terry Mead.
(See Mead obituary on page 13.)
A General Membership meeting is
scheduled for 6:30 p.m. Thursday,
Sept. 6, at the Union Hall. Plan to
attend and keep attuned to changes.
DON HASTY
IGNATZ
Public Accounting
Computerized Bookkeeping
and Tax Preparation
Suite LL-20
2200 21st Avenue South
Nashville, TN 37212
Tel: (615) 385-5224
Photos courtesy
of
Local 257’s
Kathy Shepard
& Laura Ross
Jonathan Yudkin with son Max.
Sharing a laugh during recent Nashville Symphony Orchestra negotiations are:
(from left) Mark Blakeman, Michael Kirby and Jonathan Norris.
At the same NSO negotiations, Alan Valentine makes a point, delighting
(from left) Lou Todd, Howard Stringer and Mark Blakeman.
Helping Otto Bash celebrate his birthday are Susan Ladd-Smith-Humphreys and Kathy Shepard.
Pianist John Michael Zovath a.k.a. Zov attends birthday bash for singer-drummer Otto Bash.

32 The Nashville Musician July-September 2007
Shutterbugs capture entertainers all over
Rising star Jason Michael Carroll greets veteran
vocalist Tanya Tucker and her daughter Layla.
Bandleader Jimmy Hall.
Picker Jack Pearson.
Photos by
Patricia Presley (3)
&
Kathy Shepard (4)
Ty Herndon pops over to say hello to fellow singer Hal Ketchum at recent event. LeAnn Rimes looking rather official.
The Prisoners of Love jam at Belle Meade Plantation, as part of Tennessee Jazz & Blues’ summer series.
They are (from left) Jack Pearson, Mike Caputy, Jimmy Hall and Michael Joyce.
David Pomeroy receives his 25-year membership pin from Secretary-Treasurer Billy Linneman.
Michael Joyce does his thing.
General Membership Meeting’s minutes, for March 12, 2006
2:25 p.m. - President Harold Bradley
called the meeting to order.
Attending: Otto Bash, Billy Linneman,
John Terrence, David Balph, Teresa Hargrove,
Matt Davich, Stephen Mackey, Ron Keller,
Gary Tussing, Paul Ross, Eric Stephens,
Kathy Shepard, John England, Andre Reiss,
Robert L. Stevens, Jim Gray, Julia Emahiser,
Tom Wild, David Russell, Steven R. Bryant,
Laura Ross, Linda Davis, Bruce Bouton, Mike
Brignardello, Paul Leim, James Pollard, Bill
Poe, Jackie Street, Dave Pomeroy, Buddy
Edmundson, Jeff King, Tammy Rogers King,
Neil Rosengarden, Rick Hanson, Harold Bradley,
William P Huber.
Roll call of officers: Harold Bradley,
President, Billy Linneman, Secretary/Treasurer;
Executive Board Members: Laura Ross,
Bruce Bouton, Andy Reiss, David Pomeroy,
Mike Brignardello; Trial Board Members
Kathy Shepard, Buddy Edmundson; Sergeant
At Arms, Otto Bash; and.Parliamentarian, Ron
Keller
MSC to approve the General Membership
Meeting of Nov. 8, 2005.
The Treasurer’s Report was given by Billy
Linneman who answered a few questions from
members.
MSC to approve the Treasurer’s Report.
There was no correspondence.
President Bradley called on Bruce Bouton
and David Pomeroy to give an update on the
SRLA Negotiations.
MSC to accept unanimously the changes
to Article XV Elections as printed in The Nashville
Musician newspaper.
Discussion was held on Paul Ross and Matt
Davich’s proposal on changes to Article 10.
SEC 10A and 10B.
There was an amendment given by Rick
Legendary James Burton gets his own festival!
Hansen and seconded by Andre Reiss to add
the words “and all Legal Holidays” to SEC
10A and 10B. Amendment was passed.
MSC to accept the original proposal as
amended.
MSC the proposal to change Scale Wages
in SEC 1, Section 12 & 12A, SEC 3A,3B,3C
SEC 4A, SEC 6A, 6B, SEC 7, SEC 9A, SEC
9B, 4 as applied to SEC 9A & 9B, SEC 12,
12A & B as applied to SECS 1,2,9, and 10,
as printed in The Nashville Musician and submitted
by Kathy Shepard, Terry Duncan, Dina
Johnson, Mike Baker, John Terrence and Billy
Linneman.
4:05 p.m. - Meeting lost quorum and was
Support
our advertisers!

July-September 2007 The Nashville Musician 33
As the first successful chart duo among
1950s’ so-called brother acts, Johnnie & Jack
made a major impact, thanks to pioneering
country flourishes like adding Latin rhythms
and converting R&B songs.
Thankfully, the British Archive of Country
Music’s new 28-track disc compilation,
aptly titled “Johnnie & Jack, Tennessee Mountain
Boys,” is not another Greatest Hits presentation.
If there’s any criticism at all, it’s simply
the reissue producers could have replaced a
couple nonentities like the silly “Pig Latin Serenade”
and “Sing Tom Kitty” (featuring Eddie
Hill’s lead vocals and Ray Atkins’ animal imitations)
with more representative Johnnie &
Jack tunes, i.e. “(Down) South in New Orleans”
and “What Do You Know About Heartaches.”
Although often lumped among brother
groups, their relationship came via Jack
Anglin’s 1938 marriage to Johnnie’s kid sister
Louise Wright, as brothers-in-law. Unlike
later sibling acts the Louvins, Wilburns,
Everlys or the Glasers, Johnnie & Jack settled
their beefs by duking it out in the parking lot,
keeping their showdates intact. Over a 25-year
professional partnership, their one break occurred
when then-childless Jack, two years to
the day junior to Johnnie, was conscripted for
World War II.
Over the years, the dynamic duo relied
on the writing input of Jack’s older brother
Jim Anglin, furnishing such songs here as
“(Love’s) A Pleasure, Not a Habit in
Mexico,” “But I Love You Just the Same,”
“Hummingbird” and “Just For Tonight,”
truly tailored to their talents.
BACM’s remastered compilation includes
concise liner notes by veteran British music
scribe Bryan Chalker. Nonetheless, he errs in
citing Jim Anglin as singing high harmony on
Johnnie & Jack recordings. But we share his
assessment of their contributions in comparison
to the Louvins, Blue Sky Boys or the
Everlys: “Whilst the aforementioned brother
units produced sweet and mellow vocal
sounds, the singing of Johnnie & Jack had a
much harder edge to it . . . ”
A welcome trip into the past, BACM’s
choices include B sides of the pair’s RCA hits:
“How Can I Believe in You” (flipside of
“Cryin’ Heart Blues”), “When You Want a
Little Lovin’” (opposite “Three Ways of
Knowing”), “Just What the Doctor Ordered”
(back of their #1 “Oh, Baby Mine, I Get So
Lonely”) and the album opener “Weary Moments”
(a flip to “S.O.S.”).
“Just What the Doctor Ordered,” co-written
by Ace Dinning (brother to the Dinning
Sisters of “Buttons & Bows” fame and Mark
“Teen Angel” Dinning), came in 1954, when
the boys were panning gold from other formats,
such as their R&B-rooted “Goodnight
Sweetheart, Goodnight.”
Similarly, “Banana Boat Song” was their
’56 countrified take on Harry Belafonte’s hit
also known as “Day-Oh,” co-written by actor
Alan Arkin, while a folk singer with Erik Darling
and Bob Carey, collectively recording
their song as The Tarriers.
BACM’s 12th track “Don’t Let the Stars
Get In Your Eyes” has an interesting behindthe-scenes
story, as Anglin-Wright initially
rejected its creator Slim Willet’s offer to record
and share credit. A subsequent smash, “ . . .
Stars” was cut by Slim (for 4-Star), Skeets
McDonald (Capitol), both attaining #1
records; plus Top 10s for Ray Price (Columbia)
and Red Foley (Decca); while a feminine
reply - “I Let the Stars Get In My Eyes” - pro-
British diskery digs up buried treasures
vided a #1 Decca breakthrough disc for Goldie
Hill. Crossing over into the pop realm, it made
#1 for RCA’s Perry Como and near-Top 10 for
Capitol’s Gisele MacKenzie. Obviously, the
boys kicked themselves for passing on this
mega-hit, but recorded it finally in the fall of
’52.
J.D. Miller, whose “Wild Side of Life” answer
song “It Wasn’t God Who Made Honky
Tonk Angels” made a star of Wright’s wife
Kitty Wells, supplied “Carry On” to the team.
Recorded in 1955, it’s a rouser, boasting bass
vocals by Culley Holt (a Jordanaire), and preceded
the rockabilly fever fomented by Elvis
and company. Kitty, incidentally, is heard on
this set’s gospel cuts: “God Put a Rainbow in
the Clouds” and “Pray Together and We’ll Stay
Together,” the latter oddly enough featuring
mandolinist Clyde Baum’s lead singing.
It became a team practice, however, to sing
trios on numerous numbers, recruiting vocalists
like Johnnie’s teen-aged daughter Ruby,
Eddie Hill or Holt, whose deep bass added a
distinctive sound on such songs here as Cindy
Walker’s cleverly upbeat “Look Out.”
The pair’s musical backing until 1954, included
the tasteful fiddlin’ of Paul Warren,
which blended so well with the solid dobro/
steel stylings of Shot Jackson, who stayed on
the job through 1956. (Paul left for Flatt &
Scruggs, while Shot joined Roy Acuff.)
Of course, as their successes mounted, the
duo rated some of Nashville’s top session players,
including original A Teamers’ Bob Moore
on bass; Hank Garland, electric guitar; Buddy
Harman on drums; Tommy Jackson, fiddle;
Ray Edenton, guitar; and Floyd Cramer on piano.
It was bass player Ernie Newton who
proved most beneficial, while recording the
plaintive ballad “Poison Love,” by suggesting
he add a maraca to his pickin’ and urged Eddie
Hill to play guitar with a rhumba beat. That
1951 breakthrough hit reversed RCA’s
thoughts of dropping them and assured their
invitation to re-join the Grand Ole Opry.
Included here are their 1947 recordings for
the New York-based Apollo Records label,
along with their earliest RCA cuts, produced
by country A&R chief Steve Sholes. When his
signee Elvis Presley emerged as RCA’s top
moneymaker, pop or country, Sholes then concentrated
on this superstar.
Production chores fell mainly to guitarist
Chet Atkins, who once played fiddle for the
Tennessee Mountain Boys band. Johnnie &
Jack remained at RCA until 1961, when they
recorded with Owen Bradley at Decca.
Sadly, Jack died from an auto accident
(March 7, 1963), while enroute to services for
air-crash victims Patsy Cline, Cowboy Copas
and Hawkshaw Hawkins. Wright chose not to
replace his longtime performing partner, and
recorded as a Decca solo artist for several more
years.
Fact is, there’s not a lot of records out on
this iconic duo, so BACM’s collection highlighting
hard-to-find sides is a real windfall
indeed. It substantiates that Johnnie & Jack had
a terrific sound.
During the Golden Age of country music,
Roy Acuff was hailed as King and then Kitty
Wells came along, earning the equivalent accolade
Queen of Country Music.
BACM’s regal release “I’ll Be All Smiles
Tonight,” a 26-song retrospective, pair the pioneering
King and Queen on Jim Anglin’s bit-
Reviewed by Walt Trott
tersweet duet “Goodbye, Mr. Brown.”
Make no mistake about it, this is traditional
Kitty Wells, at her purest. The assemblage features
several Decca chartings, but for the most
part the titles are B sides or album cuts, making
it an essential CD for fans or those just
seeking further insight into the veteran
vocalist's career achievements.
BACM’s initial selections are derived from
Kitty’s first recordings ever, cut for RCA during
split sessions with Johnnie & Jack: “Love
Or Hate” and “Don’t Wait the Last Minute To
Pray” were recorded in January 1949 in Atlanta;
the others - “My Mother,” “Make Up
Your Mind” and “I’ll Be All Smiles Tonight”
- came from a March 1950 Nashville session.
Some writers erroneously report RCA’s sessions
produced only gospel, but Kitty’s take
on the title track indicate her star might easily
have shown as brightly in bluegrass. (In 1960,
incidentally, she re-recorded this gem for
Decca.)
Kitty Wells was country’s quintessential
1950s’ female honky tonk stylist. Her first
Decca recording session on May 3, 1952,
resulted not only in her #1 signature song
“It Wasn’t God Who Made Honky Tonk
Angels,” but the additional jukebox fodder
featured here: “I Don’t Want Your Money,
I Want Your Time,” “I’m Too Lonely to
Smile” and “Searching For a Soldier’s
Grave” (lamenting GIs who died abroad).
Country lyrics and melody of that era reflected
the way working folk felt about things
affecting their dysfunctional post-war lives, as
Kitty articulates in her songs about cheating,
drinking and divorce. Distinctive instrumental
licks of fiddle and steel players Paul Warren
and Shot Jackson made her sound instantly
identifiable. Give a listen to the remastered
tracks on “You’re Not Easy To Forget,” “I
Heard the Juke Box Playing” and “I Hope My
Divorce Is Never Granted” to understand why,
along with the Hanks - Snow, Thompson, Williams
- and Webb Pierce, this diva became one
of the dominant artists of the day.
Listening to her stirring vocals on “The
Things I Might Have Been,” remind us Wells
charted this as a Top 20 on Billboard’s pop
lists Feb. 14, 1953, (five notches higher than
“ . . . Honky Tonk Angels” the year before,
#27, 1952). Amazingly, it didn’t chart country.
Still another enticing track is the plaintive
“You Said You Could Do Without Me,” cowritten
by J. D. Miller, who furnished her career
song a year earlier.
Hits included are “Hey, Joe” (#8, 1953),
“Cheatin’s a Sin” (#9, 1954) and “There’s Poison
in Your Heart” (#9, 1955). Benny Martin’s
“I’m In Love With You” and the aforementioned
“Hey, Joe” by Felice & Boudleaux
Bryant show this balladeer could easily shift
gears vocally to deliver uptempo tunes with
equal aplomb.
Music chronicler Bryan Chalker supplied
the liner notes deftly detailing country’s first
female superstar’s achievements. On one item,
however, his missed beat denotes Kitty’s radio
career was launched “singing with her sisters,”
an easy error as the former (Ellen) Muriel
Deason actually began on WSIX-Nashville,
with cousin Bessie Choate as the Deason Sisters.
And when in early 1948 her husband
Johnnie and Jack (their brother-in-law) joined
KWKH-Shreveport, Kitty indeed became part
of their package performing on the newly-conceived
Lousiana Hayride.
In 1976, Kitty was enshrined in the Country
Music Hall of Fame, on the heels of Patsy
Cline’s posthumous induction. She still does
an occasional appearance, but likes nothing
better than being a stay-at-home, as indicated
in this compilation’s excellent track “I’d Rather
Stay Home.” Johnny Cash once confided this
was his favorite Kitty Wells’ song.
Among our own favorites are Raymond
Scribner’s heartfelt “The Life They Live in
Songs” and the sprightly answer song “I Don’t
Want Your Money, I Want Your Time” (cowritten
by Red Wortham and Lee Washington),
which she interprets so well in this royal
Hooray! A new release places the Western
Swing sound of nearly-forgotten Texan Dickie
McBride on the CD format, and therefore
available to new generations of music enthusiasts.
McBride's “I Still Care For You,” featuring
Laura Lee (Mrs. McBride), contains 20
previously-released recordings, plus an unissued
track and demos on a trio of tunes, all
recorded between 1939 and 1952.
It also introduces the smooth vocals of
Dickie McBride to those who may have somehow
heard the original hits “Tulsa Twist” or
“It Makes No Difference Now” but never
knew who the artist in the band was behind
the winsome vocals.
Singer-guitarist McBride is a veteran of
fiddler Cliff Bruner’s Texas Wanderers, which
itself was conceived in the wake of the 1936
death of Milton Brown, whose Musical
Brownies had also boasted Bruner.
McBride, part of Bruner’s boys when they
recorded for Decca Records, was most prominent
vocally on Bruner’s 1938 success “It
Makes No Difference Now,” also featuring
barrelhouse pianist Moon Mullican. That
song’s writer Floyd Tillman joined McBride’s
own Village Boys, a Western Swing fusion
band formed in late 1939. The troupe also recorded
for Decca, including sessions in both
Houston and Dallas in 1940-’41, as represented
on this set.
(Country Hall of Famer Tillman later enjoyed
solo success with “They Took the Stars
Out Of Heaven,” “Each Night At Nine,” “I
Love You So Much It Hurts Me” and “Slippin’
Around,” all of which he wrote.)
An appreciative salute to the British
Archive of Country Music, the unit responsible
for obtaining the masters of these tracks,
highlighting performances of McBride as a
Texas Wanderer, with his Village Boys, and
late 1940s’ Music Macs, and the 1950s’ Ranch
Hands.
Bandsmen through the years included
players like Clyde Brewer, electric mandolinist/fiddler;
J.D. Standlee, steel; Cotton
Plant (some stage name, hey!), bass; Leo
Raley, electric mandolin; Dickie Jones,
fiddle; Ralph Smith, piano; Red Greenhaw,
guitar; Loran Mitchell, piano; Rome
Landry, drums; Herb Remington, steel;
Buddy Ray, fiddle; Marcel Tierney, keyboards;
Buddy Keyes, drums; and Buck
Henson, bass.
It is with him and the Ranch Hands that
Dickie’s talented wife Laura Lee sparkled on
the selections “Waiting Just For You,” “Just a
Fool in Love” and “Heartless.” Still, Rex
Griffin’s “So I Lost Again,” replete with
chimes, stands out here among their few duets.
Her vocals are strong, supple and sure, and
apparently she, like her hubby, was a
songwriter, receiving credit on four ballads.
Incidentally, Laura Frances Lee Owens
(1920-1989) hails from a notable Texas music
family. Her singer-songwriter dad Tex
Owens penned the #1 song “Cattle Call,” cut
by a variety of artists, most notably Eddy
Arnold, Slim Whitman, Tex Ritter and (with
Arnold) LeAnn Rimes. Laura’s sister Dolpha
Jane Owens also performed, as did aunt Texas
Ruby Owens, who teamed with fiddler-husband
Curly Fox for regular appearances on
WSM’s Grand Ole Opry.
Although not on this collection, Laura’s
vocals made a Wills’ Texas Playboys’ yodel
hit of Esther Van Sciver’s lilting “Betcha My
Heart I Love You” her signature song, earning
her the sobriquet Queen of Western Swing.
collection. Long live the queen! (Continued on page 35)

34 The Nashville Musician July-September 2007
Stars come out at night - and during the daytime, too . . .
Charlie Daniels gets a birthday surprise!
Tracy Lawrence’s back on the charts.
British rediscover pioneer gospel couple James & Martha Carson
By WALT TROTT
Talk about buried treasure.
“I’m Gonna Let It Shine,” a 24-track CD,
puts the spotlight back on 1940s’ gospel duo
James & Martha Carson.
WSB-Atlanta’s Barn Dance Sweethearts
were hailed for such classic gems as “Old
Blind Barnabus,” “The Sweetest Gift (A
Mother’s Smile)” and “Budded On Earth (To
Bloom in Heaven)” which James wrote.
The British Archive of Country Music
(BACM) has mastered these cuts, and its CD
cover credits James as James Roberts.
This pioneering husband-and-wife gospel
pair, however, quickly gained favor as James
& Martha Carson, via both radio and records,
due to acoustic guitar-playing Martha blending
her big, raw-boned alto in harmony with
James, who picked a speedy, mean mandolin.
Thus their in-person appearances were eyeopeners,
as well, presenting viewers a highenergy
performance few acts could match.
Oddly enough, neither were named
Carson. WSB radio show host Hank Penny
confused James’ Kentucky dad Fiddlin’ Doc
Roberts with Georgia’s own Fiddlin’ John
Carson, inadvertently tagging them with their
new stage surname.
Martha was Kentucky-born Irene Ethel
Amburgey, who previously performed with
sisters Bertha and Opal Jean as John Lair’s
Hoot Owl Holler Girls, Minnie, Marthie and
Mattie. Some folk have mistakenly labeled her
Martha Lou Carson (a name she never used),
possibly confusing her with 1940s’ singersongwriter
Jenny Lou Carson (of “Jealous
Music publisher Melanie Howard accepts Academy of Country Music’s pioneer award for her late
songwriter-hubby Harlan Howard, as presented by vocalist Trisha Yearwood. His hits include such
standards as ‘Heartaches By the Number,’ ‘I’ve Got a Tiger By the Tail’ and ‘I Fall to Pieces.’
Heart” and “Don’t Rob Another Man’s Castle”
fame).
Time may have dimmed their light in these
days of DVDs and digital downloads, but the
pure listening pleasure James & Martha
brought fans with their joyful gospel sound is
beautifully recreated here - and well worth remembering.
Their first recordings were made in 1947
for the Kansas-based White Church indie label,
which helped spread their fame beyond
the Southeast. A few seasons later, they were
signed to Capitol Records (cutting their discs
in Atlanta), giving their distinctive pickin’ and
singin’ even wider exposure.
CD Review
BACM leased the masters from both labels
for this treasured set.
Usually James’ baritone took the lead role
in their performances, but thankfully some
songs here feature Martha singing solo, as
well. She was a fervent instrumentalist (who
often broke strings accompanying herself) and
proved equally passionate vocally.
Both were prolific writers. Their songs
seemed more like testimonials or exhortations
set to music, than hymns. Among James’ creations
included are the title track, “When He
Heard My Plea,” “Man of Galilee” and “Got
a Little Light,” while Martha’s contributions
include “Shining City” and “I Bowed Down.”
They often recorded other writers’ songs,
notably here Buford Abner’s “I Ain’t Got
Time,” Albert Brumley’s “I’ll Fly Away” and
their poignant cut on J.B. Coates’ “The Sweetest
Gift,” the first recording of that ballad.
PHOTOS BY PATRICIA PRESLEY
Big Kenny Alphin (right) gets his first #1 cut ‘Last Dollar (Fly Away)’ as a writer, above at BMI
to celebrate along with his song’s singer Tim McGraw and CMA official Hank Adam Locklin.
Martha recalled to us the first time she heard
the song it was sung by the Blue Sky Boys on
radio, but the RCA recording act didn’t cut it
until 1949.
A bit off course for them was the 19th century
temperance tune “Don’t Sell Daddy Anymore
Drink,” but it was one of the favorite topics
of evangelists in their day. It’s still oldtimey
and classic, as performed by James and Martha.
When the gospel “sweethearts” went into
the Atlanta studio with former Marine Dee
Kilpatrick producing, on Dec. 4, 1949, they
recorded “When I Reach That City On the
Hill,” “Crossing Over Into Jordan” and
“Heaven’s Jubilee” - all included on this CD.
Yet, they were already experiencing marital
problems, which Martha attributed to James’
extra-marital activities.
Always pros, they answered Capitol’s call
even after their split. A June 18, 1950 session
produced “Got a Little Light (And I”m Gonna
Let It Shine),” “We Shall Rise and Shine” and
“I’ll Fly Away.” These are revived by BACM,
as are both “Man of Galilee” and “He Will Set
Your Fields On Fire,” re-recorded at this Capitol
session, but it’s the earlier versions of these
latter songs for White Church we hear.
The estranged couple’s final Capitol session
(again with Dee) occurred on Oct. 23,
1950. This time the selections included
Martha’s “Shining City,” Albert Brumley’s
“Salvation Has Been Brought Down” and
“Sing, Sing, Sing,” written by a young Hank
Williams, whom Martha would later befriend,
while fellow Grand Ole Opry cast members.
Hank’s song had been supplied by Fred
Marty Stuart and wife Connie Smith helped with
recent Academy of Country Music presentations in
Nashville, honoring country’s pioneers.
Trick Pony boys Keith Burns (left) and Ira Dean
welcome new member Aubrey Collins to the trio.
Note that BACM credits the duo as James Roberts
(his real name) and Martha Carson (not hers).
That’s Joe Isbell between the then-married duo.
Rose, who also signed them as writers for his
Acuff-Rose publishing firm in Nashville (in
partnership with Roy Acuff). Incidentally,
Fred later urged Ken Nelson to sign Martha
as a solo artist, who achieved stardom with
her 1951 self-penned, signature song “Satisfied,”
a million-seller for Capitol Records.
James Roberts, now 89, lives in retirement
in Lexington, Ky., while his former redhaired
vocal partner Martha Carson succumbed to
heart failure on Dec. 16, 2004, at age 83.
We think it’s a travesty of justice that they
have not been inducted into the Gospel Music
Hall of Fame, for James & Martha were
truly the ranking and definitive Southernstyled
gospel duo of their heyday.
Give a listen to this classic collection and
no doubt you will agree. For information on
how to obtain “I’m Gonna Let It Shine,” log
on to http://bacm.users.btopenworld.com

July-September 2007 The Nashville Musician 35
Buried treasures
. . . McBride, a CD first
(Continued from page 33)
McBride, born in New Baden, Texas, in
1914, never attained the wide renown of Wills,
Brown or Bruner, but nonetheless managed to
leave his mark on Western Swing. He was extremely
popular in the U.S. Southwest and
brought a more contemporary edge to the Texasrooted
genre, blending a light jazz mix to the
spirited Western Swing sound. (But one wonders
why a Lone Star State native would allow
anyone to call him Dickie past the age of puberty.)
Glancing at the CD cover photo, Dickie was
a good-looking dude, as was his wife (since
1945), whose vocals - like McBride’s - indicate
definite potential as a pop band singer. On
earlier cuts like the title track, we note McBride
sounds somewhat similar to fellow Texas native
Gene Autry, but clearly he found his own
identifiable vocal groove on later recordings.
Dickie’s danceable Decca release “I’m
Grieving For Believing In a Lie,” cut in September
1939 in Houston, boasts former Texas
Wanderers like fiddler Grady Hester, bassist
Hezzie Bryant, pianist/saxophonist Anthony
Scanlin and Bob Dunn, noted here for his trumpet-like
bursts on steel guitar.
On this collection, Dickie displays vocal
versatility in putting across the 1939 blues-oriented,
uncharacteristic number “Black Sea
Blues” - he and Scanlin wrote it - on which Tony
lends his distinctive jazz-like tenor sax instrumentation
(then wildly popular among American
fans of big band saxophonists like Jimmy
Dorsey).
According to album liner notes furnished
by Kevin Coffey, 10 years later McBride &
company even musically backed Frank Sinatra
for his Columbia Records’ foray into country
music, “Sunflower” (pop #14, 1949), which became
the official state song of Kansas. [Don’t
smile. Sinatra actually had even greater success
with his versions of country-style songs
“Chattanoogie Shoe Shine Boy” (#5, 1950) and
“Goodnight Irene” (#10, 1950). Unlike his hero
Bing Crosby, Frankie never charted country.]
It was in 1950 that the McBrides toured
with Bob Wills, but before long were fronting
. . . a Faron Young biography
(Continued from page 30)
Damion, Robyn (originally Robin), Kevin and
Alana, who was born with a hole in her heart.
“Wine Me Up,” a 1969 #2 charting, has an
interesting background. Allegedly penned by
Carl Belew and Van Givens, the song was misrepresented
as being written by their wives,
when selling it to Young. Reportedly, at the
same time, Belew sought to sell it to
songplugger Eddie Crandell. Subsequently,
Faron settled out of court, receiving ownership
of the song, but forfeited publishing to Four Star
Music. Young, in turn, added his manager Billy
Deaton as his “co-writer.”
Then in 1970, Young was in a traffic accident
that nearly severed his tongue, imperiling
his singing career. Thanks to skilled surgeons
and a strong will-power, Faron overcame a lisp
and learned to croon again, scoring Top 10s
“Step Aside” and “Leavin’ and Sayin’
Goodbye” soon after, and then came his #1 “It’s
Four in the Morning.”
Young also founded the long-running fan
magazine Music City News in 1963, launching
the first broadcast of its fan-voted awards to
artists in October 1967. In December 1978,
Faron sold the publication, which began telecasting
its annual awards show.
Diane Diekman may not have been associated
with the heart of show business, but she
obviously did her homework and conducted interviews
with family members, bandsmen, music
moguls and close friends in chronicling her
personal presentation of Faron Young’s life
story. It’s a read that deserves wide distribution
and therefore we do recommend it.
- Walt Trott
(A special thank you to University of Illinois
Press rep Michael Roux for the review copy.)
their own band, the Ranch Hands. Following a
stint with indie Ayo Records in Houston,
McBride and his band signed with MGM, and
several of the tracks with both labels appear in
this collection.
The Ayo single “I’d Be a Fool” is a medium
tempo tune that lends itself well to McBride’s
mellow delivery. One wonders why MGM declined
to release the livelier, hopeful “I’m Tired
Of Living a Lie,” also recorded in Houston, circa
1951.
What’s exciting in hearing these golden oldies
is the electrified instruments utilized, along
with horns that differentiate McBride’s influential
Western Swing stylings. Judging by the
selections, among them “I Hope I Never Fall in
Love Again,” “Lies,” “Gee, But I Feel Blue,”
McBride’s protagonists suffered a lot of lost
loves. More promising, however, was Dickie’s
upbeat, pre-Rock & Roll burst of energy cowrite,
the 1951 “I Love You Boogie.”
The other demos Dickie sings are “I Found
You,” “I Wonder” with a segueway into "What
Else Can I Say” (mistitled on the j-card). His
vocals, accompanied only by guitar, are both
intimate and heartfelt. The set’s bonus song is a
crude copy of a previously-released novelty
number “I Want a Wife Who Can Cook,” blending
boogie woogie and Western Swing.
Following another tour with Wills in 1959,
McBride slipped into semi-retirement. Dickie
McBride died from cancer in 1971 at age 57.
Laura Lee, meanwhile, continued to entertain
and record. She died in 1989. For details on how
to order on line “I Still Care For You,” punch in
bacm.users.btopenworld.com
Musician & Singer
David Bilbrey
Needs Agent
Local & International
Phone (615) 789-1071
AFM TEMPO FUND
I want to help the AFM Tempo Fund
that helps to get elected to the U.S. Congress,
representatives who intend to assist
with the musicians’ issues.
$10 ❑ $25 ❑ $50 ❑ Other ❑
As a token of our appreciation, donors
of $10 or more receive an AFM lapel pin;
donors of $50 or more receive an AFM
watch; until supplies run out!
Make check or m.o. payable to:
AFM Tempo Fund
Name__________________________
Address________________________
City____________________________
State ________ZIP________________
Phone__________________Local 257
E-mail__________________________
Send check, with coupon, to:
AFM Tempo Fund
1501 Broadway,
Suite 600,
New York, NY 10036
Union music is best!
Executive Board Meeting, conducted on April 10, 2007
8:55 a.m. - Meeting is called to order by
President Harold Bradley.
Present: Harold Bradley, President; Billy
Linneman, Secretary-Treasurer; Board Members
Bruce Bouton, Mike Brignardello, Bobby
Ogdin, Dave Pomeroy, Andy Reiss, Laura Ross
and Denis Solee.
MSC to approve the minutes as amended
of the Executive Board Meeting of Feb. 2, 2007
and Feb. 28, 2007.
Secretary-Treasurer Linneman gave a financial
report.
MSC to approve the January financial report.
MSC to approve the February financial report.
Reports, Letters, Statements, Resolutions,
Etc.
President Bradley gave a report on the Music
Performance Fund and stated that the MPF
is less this year, according to John Hall, the administrator.
Locals that did not use their allotment
will lose their allotment this year.
President Bradley also gave a report on RFD
Television.
Unfinished Business:
Reports were heard regarding Service Fees,
Late Fees, and pending charges against members.
Recommended By-Law changes:
The Local 257 Executive Board reviewed
and made the following recommendations (See
full text of Proposals in the April 2007 issue of
The Nashville Musician newspaper);
Proposal to increase the Musical Theater/
Broadway Show Performance and Rehearsal
Scales: No recommendation, pending clarification
of title of concertmaster
Proposal for format and rate increases to
the Nashville Association of Musicians Miscellaneous
and Steady Engagement Wage Scale
and Price List: Favorable
Proposal to amend the Staged Ballet and
Staged Opera rates in the Miscellaneous and
Steady Engagement Wage Scale and Price List
of the Nashville Association of Musicians, Local
257: Favorable
Proposal to change the EMSD work dues
to three and three-quarters (3-3/4%) per cent:
Withdrawn.
MSC to approve new membership applications.
The next Local 257 Executive Board meeting
to be 8:30 a.m. July 11, 2007.
The next General Membership meeting to
be at 6:30 p.m. Wednesday, May 30, 2007.
MSC to adjourn meeting.
‘Officer Randy’ to be benefit M.C.
The Testimony Quartet with Ken Hicks will
appear for Sacred Sounds Fridays, 7:30 p.m.
Aug. 10 at the Ringgold Depot, corner of Depot
Street and U.S. 41, in Ringgold, Ga.
Proceeds benefit Share America Foundation.
Randall Franks, formerly in the hit TV
series In the Heat of the Night, emcees. The
event is a fundraiser for the Pearl and Floyd
Franks Scholarship Fund, helping musicians
achieve higher education.
Donations for tickets are adults, $5; and
children 5 and under, free with adult. Advance
tickets available during business hours at The
Catoosa County News - (706) 935-2621 - in
Ringgold and SonShine Christian Books - (706)
861-7675 - in Fort Oglethorpe. For details, contact:
Share America Foundation, Inc., P.O. Box
4, Tunnel Hill, Ga. 30755.

36 The Nashville Musician July-September 2007
Featuring many of Nashville’s
finest Union musicians.
4104 Hillsboro Road
Nashville, TN 37215
Tel: (615) 383-1461
Notice: 2007 Annual Dues
Members must pay their dues annually to Local 257’s Secretary-Treasurer on or before
Dec. 31, 2006. Members who have not paid dues by Jan. 31, 2007 shall stand Suspended. To
reinstate after Jan 31, and no later than March 31, such members should have paid to the
Local’s Secretary-Treasurer a reinstatement fee of $10, together with all dues, fines and assessments
accrued. However, if a member did not pay the 2007 dues by March 31, he or she
will be Expelled. To reinstate, an additional $25 reinstatement fee must be paid, together with
all dues, fines and assessments. (Article II, Section 3)
Within a year after expulsion, a membership can be reinstated by paying annual dues and
all late fees. Members expelled forfeit all rights and titles to the funds and property of the
Association.
To reinstate after expulsion, a list of musical activities since expulsion must be submitted
to the Secretary-Treasurer, and upon his recommendation, the former member may be required
to seek approval from the Executive Board for reinstatement.
REGULAR DUES 2007
Annual Dues $97.00
Federation Per Capita dues 54.00
Building Fund 35.00
Funeral Benefit 15.00
Emergency Relief Fund 3.00
Sub-Total $204.00
TEMPO (Optional) 3.00
TOTAL $207.00
LIFE MEMBERS 2007
Annual Dues $24.25
Federation Per Capita 38.00
Building Fund 35.00
Funeral Benefit 15.00
Emergency Relief Fund 3.00
Sub-Total $115.25
TEMPO (Optional ) 3.00
TOTAL $118.25
General Membership Meeting • 6:30 p.m. Thursday, Sept. 6, at the Union!