Musicians Web pages - Nashville Musicians Association

www.afm257.org 

Official Journal of the American Federation of Musicians 

AFM Local 257 • 1902-2007 

Musician 

Volume MMVII • Number 2 • April-June 2007 

Major By-Law revisions possible, May 30 

The Local 257 General Membership 

Meeting, scheduled 6:30 p.m. Wednesday, 

May 30, promises to be one of the most 

important to varied members in recent 

times. 

On the agenda are proposals to increase 

and reformat the Miscellaneous 

Wage Scale list for Local 257; another to 

upgrade the Ballet & Opera Pit Scale to 

match the Nashville Symphony Orchestra 

negotiated scale; and an increase proposal 

to the Musical Theater/Broadway 

Show Scale; as follows, with appropriate 

recommendations by the Executive 

Board. 

In addition, Local 257 Secretary-Treasurer 

Billy Linneman plans discussions 

at the next General Membership Meeting 

on credit card costs and possible service 

fees; imposing of interest charges on late 

Delegate cites issues considered 

for a Convention vote in Vegas 

By LAURA ROSS 

Local 257 3rd Delegate 

In Mid-June of this year, June 18-20 

to be exact, a contingent of your elected 

representatives will travel to Las Vegas 

to attend the AFM Convention. 

Secretary-Treasurer Billy Linneman, 

Bobby Ogdin, Bruce Bouton and myself 

are your elected voting delegates for Local 

257. President Harold Bradley will 

attend in his capacity as Vice President 

of the AFM and Dave Pomeroy will also 

be in attendance as a non-voting representative 

of the Recording Musicians Association. 

While many proposals will be addressed 

at this convention, key legislation 

dealt with during these three days will 

focus on how our Federation is funded. 

Two years ago, I spoke on the Convention 

floor in favor of Emergency Resolution 

#1, which was an omnibus financial 

package that redirected some work 

dues changes and got rid of one particular 

fee that was of concern to many of our 

members – the Special Payments assessment. 

However, this was only a stop-gap 

measure. One of the provisions of this 

Emergency Resolution #1 stated: 

“In addition to the foregoing amendments 

to the By-Laws: a. The IEB shall 

establish a committee to prepare proposals 

for the 97th Convention to be held in 

2007, to define the appropriate relationships 

among per capita, work dues, and 

other Federation revenue. The committee 

will hold its first meeting as soon as is 

reasonable after January 1, 2006, but no 

later than March 31, 2006. The committee 

will be provided with reasonable ac- 

work dues; and pin-pointing leader/contractor 

duties. 

The following proposals are being 

suggest by fellow union members to the 

Local 257 By-Laws: 

Proposal for format and rate increases 

to the Nashville Association of Musicians 

Miscellaneous and Steady Engagement 

Wage Scale and Price List. 

Whereas, The Miscellaneous and 

Steady Engagement Wage Scale and Price 

List for live engagements in Local 257 has 

overlapping scale designations that have 

made it difficult to read; and 

Whereas, It was felt that a reorganization 

and consolidation of the Price List 

would make it easier for all members and 

potential purchasers to read; and 

Whereas, Certain scales are considered 

out of date or unnecessary and re- 

cess to AFM financial records as may be 

necessary to develop these proposals in a 

collaborative manner.” 

I’m sorry to say that the committee 

took a lot longer to meet and begin deliberating 

about how these issues should be 

addressed. In fact there have only been 

two sets of meetings, one June 12 and 13, 

2006, and the second with more committee 

members in attendance was held last 

month in Nashville, just prior to the IEB’s 

quarterly meeting. 

They have now scheduled an additional 

set of meetings to be held this month 

on April 16 and 17. From these meetings, 

I believe we should expect potential 

changes to all the ways we fund the AFM. 

I encourage all to read the May issue 

of the International Musician, which will 

contain all the resolutions submitted by 

Convention delegates (including a resolution 

from the Local 257 Executive 

Board that per capita dues be increased 

by $5 per year for two years), as well as 

the IEB recommendations. I am unsure at 

this time whether the above mentioned 

committee’s recommendation will be included 

in the International Musician. 

While our schedule is very full for the 

membership meeting scheduled for 

Wednesday evening, May 30, I know the 

Convention delegates also look forward 

to discussions with you about various proposals, 

general comments about the convention 

and the health of the AFM currently. 

I encourage you all to attend the 

general membership meeting in May. 

Come talk to us about your concerns. 

quire updating; therefore, be it 

Resolved, That the entire Price List 

be reorganized (as printed below); and be 

it further 

Resolved, That included in that reorganization, 

the following scale changes 

also be included: 

(1) Banquets, Receptions, Conventions, 

Weddings, Strolling, Mercantile 

Openings and Fashion Shows; (2) 

Dances and (3) Staged Shows (up to 90 

minutes) have been combined. 

Sidemusician scale for (1) of $70 for two 

hours or less, (2) of $58 for three hours 

and $76 for four hours, and (3) of $72 for 

sidemusicians will be changed and/or increased 

to $75 for two hours or less. 

Additional contracted hours [(1) $20 

scheduled/$36 unscheduled; (2) $17 

scheduled/$29 unscheduled; (3) n/a) have 

been changed to include a 3-hour scale of 

$100 and uncontracted overtime increases 

to $40. 

Leader/contractor remains at double 

scale. 

The scale for leader has been deleted 

in Relocation of Musicians. 

Sundays have been added to the weekend 

and holiday upgraded scale in Concerts. 

Playing Contractor scale of 300% has 

been deleted from all applicable scales, 

including rehearsals. 

Continuous Playing section has been 

deleted. 

Holiday Scale - December 24 has 

been added and contracted overtime of 

$14 per quarter hour has been raised to 

$15 per quarter hour. Uncontracted overtime 

of $18 per quarter hour has been 

raised to $20 per quarter hour. 

Cartage - In (A) marimba, chimes, 

vibraphone and single keyboard have 

been added to list of instruments for $12. 

In (B) drums and percussion have been 

replaced with Drum Kit (snare, cymbal, 

bass drum, etc. as standard outfit). In (C) 

timpani and double keyboard have been 

added for $32. Organ was deleted from 

list. 

(Continued on page 2) 

Nashville Association of Musicians 

P.O. Box 120399 

Nashville, TN 37212-0399 

- Address Service Requested - 

Who’s Inside? 

Rodney Atkins, page 12. 

Daryle Singletary, page 30. 

Pam Tillis, page 28. 

Bryan White, page 32. 

Nonprofit 

U.S. Postage 

PAID 

Franklin, TN 

Permit No. 357

2 The Nashville Musician April-June 2007 

Major By-Law revisions possible, come May 30 

(Continued from page 1) 

Cartage - In (A) marimba, chimes, vibraphone and single keyboard have been added to list of instruments for $12. In (B) drums and 

percussion have been replaced with Drum Kit (snare, cymbal, bass drum, etc. as standard outfit). In (C) timpani and double keyboard have been 

added for $32. Organ was deleted from list. 

Travel Rates and Conditions - In (D) Transportation “30 cents” has been replaced by “the current established mileage rate by the 

State of Tennessee”. 

Cancellation of Engagements - Dec. 24 & 25 were added to Dec. 31 engagements. 

Doubling - Celeste and accordion were added to (A)5. Plectrum was deleted and dulcimer, cello, viola, harp and autoharp were added 

to(C). Patches were deleted from Keyboard (E) and piano, celeste and mallet instruments were deleted (B). 

MISCELLANEOUS AND STEADY ENGAGEMENT 

WAGE SCALE AND PRICE LIST OF THE 

Nashville Association of Musicians Local 257 

Effective ___________ 

CONTRACTS ON ALL MISCELLANEOUS OR STEADY ENGAGEMENTS MUST BE FILED WITH THE 

SECRETARY/TREASURER’S OFFICE PRIOR TO THE DATE OF THE PERFORMANCE. 

These stated base wage rates plus the SURCHARGE equal MINIMUM SCALE. 

A fifteen-percent (15%) Surcharge shall be added to the base wage rates of the engagement to reimburse the contractor/leader/employer 

for his payroll expenses. A contractor/leader not acting as an employer of musicians, and collecting the fifteen percent (15%) must 

add this additional fifteen percent (15%) to the base wage rate of each individual musician. 

**All scales reflect base scale and including the 15% surcharge as stated - $50.00/$57.50** 

I PERFORMANCE RATES 

Leader/Contractor - In orchestras of twelve (12) musicians or more, the Leader and Contractor shall not be the same person. 

A. BANQUETS, RECEPTIONS, CONVENTIONS, WEDDINGS, STROLLING, MERCANTILE OPENINGS, FASHION 

SHOWS, DANCES, STAGED SHOWS, CIRCUSES, ICE SHOWS & RODEOS: 

(A local contractor must be hired when (3) or more local musicians are used to augment a traveling show performing locally.) 

1. 2 hours or less, side-musician. ....................................................................................................... $75.00/86.25 

Leader/Contractor .......................................................................................................................... Double scale 

2. 3 hours, side-musician ............................................................................................................... $100.00/115.00 

Overtime (not contracted) per hr, side-musician. .......................................................................... $40.00/46.00 

Leader ………………...………………………………………….Double scale 

3. RELOCATION OF MUSICIANS: Musicians who are required to move from one part of a building to another, 

for the same employer, same type of work, shall receive additionally per person: 

……………………………….$27.00/31.05 

B. CONCERTS: 

(1) 50 minutes or less: 

Side-musician ................................................................................................................................ $50.00/57.50 

On Friday, Saturday, Sunday and legal holidays ........................................................................... $60.00/69.00 

Leader/Contractor ...................................................................................................................... $100.00/115.00 

On Friday, Saturday, Sunday and legal holidays ....................................................................... $120.00/138.00 

(2) Concerts over 50 min. but not more than 2-1/2 hrs: 

Side-musician ................................................................................................................................ $65.00/74.75 

On Friday, Saturday, Sunday and legal holidays ........................................................................... $80.00/92.00 

Leader/Contractor ...................................................................................................................... $130.00/149.50 

On Friday, Saturday, Sunday and legal holidays ....................................................................... $160.00/184.00 

(3) Overtime: Each add’l 15 minutes per 

Side-musician .................................................................................................................................. $12.50/14.38 

Leader/Contractor ............................................................................................................................ $25.00/28.75 

C. STAGED BALLET and STAGED OPERA (per show, not to exceed 3 hours): 

(1) Side-musician ............................................................................................................................. $122.63/141.02 

Principal ..................................................................................................................................................... 125% 

Leader/Contractor ...................................................................................................................................... 200% 

(2) Overtime: Straight time-and-a-half (1 1/2) of Side-musician rate computed in 15-minute increments. 

(3) On Stage - Musicians required to perform on stage, as to be a visual part of the production, shall be paid an additional $25.00/28.75 

per performance. 

(4) Backstage - Musicians required to play backstage as well as in the pit shall be paid an additional $25.00/28.75 per performance. 

(5) Pension: Eight and one-half percent (8.5%) of Scale paid to the AFM-EP Fund in behalf of each musician. 

D. MUSICAL THEATER, BROADWAY SHOWS (per show, not to exceed 3 hours): 

(1) Side-musician ................................................................................................................................ $80.00/92.00 



(3) On Stage - Musicians required to perform on stage, as to be a visual part of the production, shall be paid an additional $25.00/28.75 

per performance. 

(4) Backstage - Musicians required to play backstage as well as in the pit shall be paid an additional $25.00/28.75 per performance. 


II REHEARSAL RATES 

A. BANQUETS, RECEPTIONS, CONVENTIONS, WEDDINGS, STROLLING, MERCANTILE OPENINGS, FASHION 

SHOWS, DANCES, STAGED SHOWS, CIRCUSES, ICE SHOWS & RODEOS and CONCERTS: 

(A local contractor must be hired when (3) or more local musicians are used to augment a traveling show performing locally.) 

Side-musician, per hour (minimum 2 hours)…………………………………...$22/00/25.30 

Leader/Contractor………..…………………………………………………… Double scale 

Additional time prorated per 15-minute period(s). 

B. STAGED BALLET and STAGED OPERA (per hour, three-hour minimum): 

(1) Side-musician ................................................................................................................................ $40.88/47.01 

Principal ..................................................................................................................................................... 125% 

Leader/Contractor ...................................................................................................................................... 200% 




A message from AFM-EPW 

Editor’s note: The following pertinent data 

is reprinted here, as furnished by the AFM 

Employers’ Pension Welfare Fund (AFM- 

EPW) for your information. 

The Fund will not be able to satisfy the 

IRS funding rules in the near future, because 

of the way in which gains and losses are required 

to be recognized for purposes of IRS 

funding rules. 

Put simply, under the IRS’s rules, gains 

and losses are required to be spread out over 

extended periods. As a result, the investment 

losses incurred over the plan years ending 

March 30, 2001 through March 30, 2003, 

are still being taken into account, whereas 

the gains from later years are not yet fully 

recognized. 

Although the recent gains exceed the 

Fund’s investment assumptions, they are not 

yet sufficient to make up for the unusually 

large losses in the previous years, particularly 

since they must be allocated over so 

long a period of time. Thus, while the Fund’s 

financial condition has improved from a 

long-term perspective, over the short term 

the Fund is not projected to satisfy the IRS 

funding rules. As a result, an additional benefit 

modification is required. 

The Trustees have carefully considered, 

along with the Fund’s actuaries and other 

advisors, the changes to the Fund’s benefits 

designed to impose the least hardship on participants, 

but still position the Fund to be 

financially stable for many years to come. 

As part of these considerations, at the 

Trustees’ request, the actuaries have carefully 

reviewed each of the Fund’s actuarial 

assumptions and adjusted them where appropriate. 

The updated assumptions add to 

the cost of the Fund, but will ultimately add 

to the Fund’s financial health over the long 

term. 

While we deeply regret having to reduce 

future benefits, we have done so with the 

intention of placing the Fund on a very stable 

financial basis for many years. We are 

pleased to report that, with the benefit modification 

and using the updated assumptions, 

Symphony sponsors worldfest 

The Nashville Symphony will present its 

first-ever world music festival, June 6-8, 2007 

at the Schermerhorn Symphony Center. 

This three-day festival, sponsored by Target, 

will focus on music of the Americas, featuring 

evening performances by such acclaimed 

artists as Latin country singer Rick 

Trevino, ukulele virtuoso Jake Shimabukuro 

and Brazilian jazz pianist Sergio Mendes and 

his band. (Note: The Nashville Symphony will 

not perform at this festival). 

In addition, the Symphony will provide 

free world music performances during lunch 

hours in the Symphony Center’s Garden Courtyard, 

with themed international food selections 

available for purchase at the Symphony Café. 

Artists and menus will be announced at a later 

date. 

“The Nashville Symphony has always 

wanted to present a world music festival to 

celebrate music and cultures from around the 

world,” said Alan D. Valentine, NSO President 

& CEO. “Now that we have this amazing space 

and an inaugural line-up of top musicians from 

all corners of the Americas, we hope this exciting 

event will be the first of many more.” 

Starting at 7:30 p.m. Wednesday, June 6: 

Hispanic Influences in Country Music. As a 

nod to the CMA Music Festival, Latin country 

singer-songwriter Rick Trevino will provide a 

different twist to the country music activities 

as he performs Latin-infused country music, 

produced and co-written by friend Raul Malo. 

Trevino, a Grammy-award winning Texas native, 

is recognized for his eclectic mix of musical 

influences, which is reflected in his forthcoming 

album “Whole Town Blue,” a combination 

of South Texas swing, New Orleans 

honky-tonk and Spanish bolero. 

At 7:30 p.m. Thursday, June 7: Music and 

Dance of the Pacific Islands. Known for his 

(Continued on page 8)

April-June 2007 The Nashville Musician 3 

Dear Members: 

It’s been another busy three months for 

me, with several different Union activities 

coming my way. 

In February, the International Executive 

Board (IEB) held another meeting to address 

recruiting and retaining members. I feel it was 

a very productive meeting, and the IEB agreed 

to support a plan that came from several AFM 

employees, put together in a package by Paul 

Sharpe. I commend all who contributed their 

ideas. 

At the end of February, I attended an 

AFM-EP Fund meeting. The Trustees acted 

to keep our Pension plan funded through 2041, 

by lowering the benefit multiplier from $3.50 

to $3.25, beginning April 1, 2007. 

There was considerable discussion before 

everyone unanimously agreed that $3.25 was 

the right number. (See more information on 

page 2 of this issue.) 

In March, an AFM committee met for two 

days in Nashville to consider financial proposals 

to fund the AFM, and to be presented 

at the 97th AFM Convention during June 2007 

in Las Vegas. 

I’m proud to report that Secretary-Treasurer 

Billy Linneman and Dave Pomeroy, 

RMA President, were members of the important 

committee and both worked very hard. 

Following that meeting, the IEB met in 

Nashville to conduct the business of the AFM. 

Secretary-Treasurer Linneman and I extended 

our Southern hospitality to all, and I think 

some important business was transacted by the 

President’s 

Report 

By 

Harold R. Bradley 

IEB. I hope they enjoyed our Southern hospitality 

enough to meet in Nashville sometime 

in the future. 

During the IEB meeting, some of our famous 

country artists contacted Secretary-Treasurer 

Linneman and myself to inquire if they 

could do video shows in Branson, Mo. (which 

is in Local 257’s jurisdiction) for RFD-TV, a 

cable channel. 

We contacted the owner, Mr. Patrick 

Gottsch and started preliminary negotiations 

with him regarding RFD becoming signatory 

to the appropriate AFM agreement. Since 

cable television is a Federation agreement, 

Carol Sato and Pat Varriale of the AFM contacted 

Mr. Gottsch and started negotiating on 

the AFM’s behalf. 

Presently (April 1, 2007), there is no 

agreement in place to allow AFM members 

to be filmed by RFD. Negotiations are continuing 

and we are optimistic that RFD will 

become signatory to the appropriate AFM 

agreement, and our members will be able to 

perform under that agreement. 

Upcoming important events will be the 

negotiations for a new Nashville Symphony 

Orchestra agreement, and the AFM’s 97th 

Convention. 

Local 257 is extremely fortunate to have 

AFM negotiator Chris Durham as our chief 

negotiator. The CEO and President of the 

Nashville Symphony is Alan Valentine, who 

has always been receptive to improving working 

conditions for the Symphony players. 

Until next time . . . Stay tuned!! 

- Harold R. Bradley 

President Bradley has presented 25-year membership pins to (from left): Larry Crew, Tim Smith, Ike 

Harris, (Bradley,) Craig Duncan, Matt David and Ray VonRotz during recent gathering at the Union. 

Ann Richards, accompanied by son Marcus and his pal ‘Mopsy,’ receives her 25-year member pin. 

Special notice for members 

regarding take-on luggage 

For years, AFM members have had problems 

bringing musical instruments aboard 

planes as carry-on luggage. 

Recently, discussion with the airlines trade 

association and Congress have picked up to 

the point where an acceptable solution to the 

problem is possible. However, we need to show 

that there is urgency to the problem. 

We would appreciate if if you would describe 

your recent experiences when traveling 

with instruments to us, so we can show the 

seriousness of the situation for musisicians. 

Please send your recent airline experience 

to tperetti@afm.org Thank you. 

RCA Studio B boasts lots of 

recording history; - 50 years 

Studio B, located in the heart of Music 

Row, represents a lot of milestones for Nashville 

music makers, particularly million selling 

artists like Eddy Arnold and Elvis Presley. 

Launching a 50th anniversary series of salutes, 

singer-songwriter Jim Ed Brown, producer 

Jerry Bradley, engineer Bill Harris and 

A Team session guitarist Harold Bradley, veterans 

all, comprised a panel discussion - 

Hitmakers’ Workshop: RCA Studio B and the 

Rise of Music City - moderated by CMF historian 

John Rumble, in March. 

It’s all being co-sponsored by the Country 

Music Foundation’s Country Music Hall of 

Fame & Museum, which is affiliated with the 

Country Music Association. Studio B’s last 

major RCA session was conducted in 1977. 

Some of the classics recorded in RCA’s historic 

studio include The Browns’ “The Three 

Bells,” Don Gibson’s “Oh Lonesome Me,” Jim 

Reeves’ “He’ll Have To Go” and Skeeter 

Davis’ “The End Of the World.” 

Along with Hall of Famers’ Owen and 

Harold Bradley’s Quonset Hut just down the 

street, Studio B output helped give birth to the 

renowned Nashville Sound, a style of recording 

responsible for reviving country music, and 

turning Tennessee’s capital city into an international 

recording center. 

Additionally, throughout the year, the 

foundation will host four broadcasts from their 

studio. Visitors regularly tour the premises, 

where Chet Atkins produced and recorded 

many major successes. 

In addition to playing guitar on his own 

albums, Harold Bradley produced Arnold and 

Slim Whitman, and supplied memorable licks 

to singles like Patsy Cline’s “Walkin’ After 

Midnight,” Bobby Helms’ “Jingle Bell Rock” 

and Johnny Horton’s “Battle Of New Orleans.” 

Nephew Jerry Bradley produced the historic 

’76 multi-platinum LP “Wanted: The Outlaws” 

featuring Willie Nelson and Waylon Jennings, 

headed up RCA when it was home to such 

hitmakers as Dolly Parton, Charley Pride and 

Ronnie Milsap, and later ran the Opryland 

Music Group’s publishing arm. 

Jim Ed kicked off his vocal career with 

sisters Maxine and Bonnie as The Browns, enjoying 

country-pop crossover hits like “The 

Three Bells” and “The Old Lamplighter.” Solo, 

he scored such chartbusters as “Pop-A-Top” 

and “I Don’t Want To Have To Marry You.” 

Engineer Harris performed his soundboard 

skills on many of the label’s biggest hits. 

At programs scheduled 1 p.m. Saturdays, 

June 30 and Sept. 29, children (ages 9 and up) 

will be admitted for a “free, hands-on experience” 

via an inter-active workshop: Making 

Records At Studio B. This is a reservation-only 

participation, however; prospective sponsors 

may call (615) 416-2001 for details. 

Studio B, purchased by record mogul-philanthropist 

Mike Curb, has been operated by 

Belmont University as an off-campus student 

training facility since fall 2003. 

Until Dec. 31, 2007, Tennessee residents 

may obtain a Studio B 50th Anniversary package 

for $25, that provides admission to both 

Studio B and the country museum, plus a commemorative 

poster designed by Hatch 

Showprints. For details, call (615) 416-2001. 

The program’s made possible, in part, by grants 

from Metro Nashville Arts Commission and 

the National Endowment For the Arts. 

Vol. MMVII, No. 2 

April-June 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 


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 

Holiday closings slated 

The Local 257 offices will be closed on 

the following holidays. 

Monday, May 28 - Memorial Day 

Wednesday, July 4 - Independence Day


Secretary- 

Treasurer’s 

Report 

GREAT FINANCIAL NEWS 

By Billy Linneman 

Come to the meeting on May 30th at 6:30 p.m. to hear a 

great report on our finances. Our overall business was up almost 

10% in money paid to musicians in 2006 over 2005. 

As you saw on the front page we will be voting on several 

items. In addition, we will have a discussion on several items. 

1. Credit card costs and a possible service fee to be charged. 

2. Adding an interest charge for late work dues. 

3. Talk about Leader/Contractor duties. 

The Federations’ bi-annual convention is this year in June. 

A portion of the membership meeting will be with the delegates 

to discuss any matters that affect Local 257. 

Make sure that you read Harold’s column about RFD-TV. 

While you’re at it, go ahead and read all of our columns— 

President’s—Secretary/Treasurer’s—Electronic Media’s— 

Symphonic’s—RMA’s—Live’s—Office Manager’s!! 

Signatory Signatory Signatory Signatory 

No Signatory—No Pension—No Special Payments—No New Use 

What part of NO do you not understand? 

We are looking forward to having a great informative General 

Membership Meeting, 6:30 p.m. Wednesday, May 30. See 

you here! 

Fraternally, 

Billy Linneman 

Secretary-Treasurer of the BEST MUSICIANS in the world!!! 

Country Music Hall of Famer Harold Bradley shares his recording and behind the scenes music experiences 

with students of SAE Institutes’ Recording Engineering in Nashville, March 8, as part of SAE’s series 

of workshops and seminars given by leading industry pros. In addition to 60 years of session work, he and 

brother Owen Bradley established Nashville’s first film and recording studio in Music City in the 1950s. 

Tom Cherry hasn’t forgotten those good ol’ days 

President Bradley presents 25-year Membership Pin to multi-instrumentalist-arranger 

Tom Cherry, as wife Ann and daughhter Lisa share in the moment. 

Tom Cherry came up from Mobile the 

other day, and his buddy Harold Bradley presented 

him with a 25-year Membership Pin, 

congratulating him also on a quarter century 

of hitting the highway with Homer (Boots) 

Randolph III. 

Accompanying Cherry was Ann, his wife 

of nearly 47 years (in June), and their daughter 

Lisa Frye, who lives here. They’re also parents 

to John Cherry and Leigh Anne Cherry, 

and boast eight grandchildren and a greatgrandchild. 

Highly talented Tom plays just about any 

instrument, notably jazz guitar, as well as bass, 

clarinet, banjo, drums, clarinet and arranges, 

as well. 

He said, “I’m basically an uneducated musician, 

but I studied and learned a lot about 

music. I’d write the musical arrangement for 

every instrument in a band or orchestra. I got 

started doing this in Korea (serving in the Army 

from 1955-1958, mainly in Special Services). 

I also compose music.” 

Of course, longtime boss Boots Randolph 

is renowned for saxophone stylings and his 

popular signature song “Yakety Sax,” which 

cleverly blends jazz, blues, country and gospel. 

That particular number, released in 1963, 

produced such an ear-pleasing mix that it also 

landed on pop and R&B charts. 

No doubt Cherry knows that tune 

frontwards and backwards. Tom recalled his 

first meeting with Randolph: “He asked if I 

could play the guitar as well as I played the 

saxophone. Boots always comes right to the 

Texas-based John William Greubel is making 

a pilgrimage of sorts to Sharon, Pa., this 

summer for the induction of the world-famous 

Hilltoppers into the Vocal Group Hall of Fame. 

Better known as Jack Greubel, the Local 

257 musician spent several years as a 

Hilltopper, performing a repertoire of songs 

such as “Trying,” “I’d Rather Die Young,” 

“P.S. I Love You,” “From the Vine Came the 

Grape,” “Till Then,” “Only You” and 

“Marianne.” 

To be sure, there are many more Top 40 

Hilltopper hits, all recorded on Randy Wood’s 

Dot label. 

The original contingent, conceived in college, 

consisted of lead vocalist Jimmy Sacca, 

Don McGuire, Seymour Spiegelman and Billy 

Vaughn (who later broke away to start up his 

own band). 

Predictably, through the years there were 

a number of changes in the group’s line-up, 

prior to busting up for good in 1976. (Billy 

Vaughn, in addition to his act, was also Dot’s 

A&R pop director during the late 1950s.) 

One of the more interesting aspects of The 

Hilltoppers’ tune “From the Vine Came the 

Grape” is that part of it is sung in Italian. 

Incidentally, the campus where the whole 

thing began back in 1952, was Western Kentucky 

State College in Bowling Green. 

point. By this time, I was not only playing the 

sax and guitar, but also the flute . . . ” 

Their meeting went so well that he was 

asked to join in the band’s rehearsal the very 

next day. Little did he dream how long-term 

that association would be. 

Cherry said he was initially inspired by 

his parents’ interest in music: “My father 

played the guitar and my mother played a banjo 

and a harmonica at the same time; it always 

made me cry. I’m very sentimental.” 

In his teens,Tom played in regional groups 

such as the Smith Combo, and one called the 

Sentimental Three, remembering a special 

event for the latter players: “We entered a contest, 

sponsored by WABB - (and) we won!” 

Following his discharge from the 

military,Tom and brother Joe, a bass player, 

joined a touring group, the Night Riders. 

“Johnny Faircloth was the lead guitarist 

and his father bought the band a big bus. We 

looked good. We played at colleges and clubs.” 

Tom and his family relocated to Nashville 

in 1980, to accept the assignment with Boots 

and company, but illness prompted his move 

back to his native Alabama. He showed Harold 

last year’s newspaper clipping from Mobile’s 

daily Press Register, in which the veteran musician 

was quoted as saying, “When I moved 

back to Mobile in 2004, I became an adjunct 

professor of jazz guitar studies at the University 

of Mobile. I love it and plan to start back 

soon . . . I’m recuperating from a year-long 

illness, but am teaching private lessons through 

the university.” 

Local 257’s Jack Greubel was a member 

The Hilltoppers named to Vocal Hall of Fame 

Greubel attended Vandercook College of 

Music in Chicago, where he majored in voice. 

Although Jack plays drums and organ, he 

enjoys singing, and even did that while serving 

in the U.S. Army. But while the former 

native of Evansville, Ill., was living in Nashville 

in 1968, he got the enviable opportunity 

of linking up with The Hilltoppers. 

When Greubel joined with Sacca, 

Nashville’s Karl Garvin (another Local 257 

member) was there, along with Chuck Ayre. 

According to Greubel, “There were a lot 

of vocal groups back in the 1950s and ’60s 

like The Four Lads and Four Freshmen . . . 

Myself and two others came on board after the 

original group broke up. There was a difference 

in the first and second groups. In the first, 

the four guys only sang. In the second, we sang 

and played. I performed with them for four or 

five years beginning in 1968. I sang the high 

part.” 

Jack Greubel, who now lives in Granbury, 

Texas, plans to attend the induction ceremony, 

along with Sacca and Ayre, as some of the others 

are now deceased. 

Congratulations to Sacca, Greubel and all 

fellow ’toppers on their achievements, and 

some might say induction into the Vocal Group 

Hall of Fame is long overdue for the smooth 

singing members of The Hilltoppers.


Live 

Engagement 

Services 

By Kathy Shepard 

Kathy with former office staffer Mahri Feldman. 

We made it through winter . . . Spring is 

sprung/The grass is riz/I wonder where all 

the live engagement contracts is? 

OK, so that was really bad . . . but, it’s 

just another way of saying, “C’mon people, 

file contracts on live gigs!!” In just about 

every article I write for this publication I talk 

about this on-going problem . . . so this time, 

that’s all I’ll say about it. 

The picture at the top of this column is 

of me and my dear adopted “little girl.” Her 

husband and sister and friend recently held 

an amazing birthday (I will not mention 

which one) party for her -- at Hooter’s. That 

seemed like an odd place to me, because 

Mahri is a “Jewish Princess.” But that is apparently 

where she wanted to go. A lot of you 

should remember her, she worked in the office 

here a few years ago in the Recording 

department. Somewhere along the way, she 

and I adopted each other. I love her dearly. 

On March 8, I went to “The Birdhouse 

Thing” at the Green Hills Mall. For those of 

you not familiar with this event, it is a live 

and silent auction (with incredible stuff to 

eat and drink), benefitting the W.O. Smith 

Nashville Community Music School. The 

majority of items auctioned were birdhouses, 

amazingly decorated by different individuals. 

The W.O. Smith School was 

founded in 1984, and is a non-profit, education 

institution created for the purpose of 

making music instruction available to talented, 

interested, deserving children from 

low income families at the nominal fee of 

50-cents a lesson. The school is supported 

by gifts and grants from foundations, arts 

councils, individuals and corporations. If any 

of you get a chance to go to this event next 

year, you won’t regret it. 

Anita Winstead and I want to thank those 

of you who have gone out there and hustled 

to get Music Performance Fund jobs happening 

at the schools. We need to take advan- 

The late Miss Pigi. 

tage of the low percentage amount that is still 

in effect that the sponsor has to pay. (For 

grade school and middle school, 10 per cent; 

and for high school, 25 per cent.) 

For your information, the ones of you 

who frequent the Station Inn on Monday 

nights (to hear the fabulous Time Jumpers) 

there is good news!! They have a live DVD!! 

This can be purchased at the Ernest Tubb 

Record Shop or go to the Time Jumpers’ 

website at wwww.thetimejumpers.com (Also 

there is a CD set - two discs - of the DVD 

that also can be purchased. What a great 

present for someone - if anyone’s interested, 

my birthday is in August.) 

Our President Harold R. Bradley recently 

spoke at the SAE Institutes’ Recording Engineering 

School. (See elsewhere in this publication 

for a picture and information.) 

A few weeks ago, Walt Trott and I went 

to visit George and Jennie Chestnut (see article 

and pictures on page 34). It was a really 

interesting afternoon. George is well-known 

for his instrument repair work here and overseas. 

His workshop was an amazing place, 

what character. Too bad that little workshop 

can’t talk. What stories it could tell. 

Congratulations to member Brent Rowan 

and wife Jill on the birth of their newest little 

Rowan, Asher Boone on March 3, 2007. He 

joins three brothers: Marlin, Cade and 

Granger. 

On Feb. 25, 2007, member Andy Reiss 

lost his sweet canine companion Pigi. Miss 

Pigi was a blue-eyed English bulldog. I knew 

Pigi well. (She often visited me in my office.) 

I have rarely seen a dog as devoted to 

her master as she was. Andy, my dear friend, 

that sweet, funny little dog touched a lot of 

people’s lives. She will not be forgotten. 

Hey, by the way, April is Jazz Appreciation 

Month. This town is very fortunate to 

have so many gifted jazz players. We are 

blessed. 

So now that warm weather is upon us, I 

intend to dust off the picnic-basket, grab my 

lawn chair and a bottle of wine (and the dog), 

and go to an outdoor concert ASAP. I hope 

to aee a lot of you there. 

Till next time, be good to one another and 

support live music. 

Kathy Shepard 

Call in off-the-cuff recording 

sessions anonymously to 

(615) 244-9514, Extension 225. 

This is member George Chestnut’s historic display case at his well-equipped stringed 

instrument repair shop in Donelson. See additional pictures and article on page 34. 

Here’s The Jordanaires again (from left), Gordon Stoker, Curtis Young, Louis Nunley and Ray Walker. 

Lakelyn Rae, 10, (front, center) is our newest and youngest member. Sharing the spotlight with Lakelyn 

are her mom Lisa, dad Eddie Harnage, brother Tanner and their dog ‘Pablo’ visiting the Union. 

Drummer Owen Hale buddies up 

to his pet ‘Slinger’ at the Union. 

Photos by Kathy Shepard 

Stopping by the Union office are guitarist 

member Kenny Vaughan and pooch ‘Toby.’


Where does the time go? I swear it was 

only two weeks ago I was relating everything 

we’d been doing since September through the 

last three months, and once again it’s time to 

tell you what we’ve been doing! 

February blew past us with terrific concerts 

featuring Dianne Reeves and Ricky 

Skaggs. (I must mention that in my second or 

third year with the NSO, we did a four-hour 

live session at TPAC - in the symphonic world 

it is known as a “location” recording. We recorded 

nearly 20 hits that came out of Nashville 

and it was called “Nashville Platinum.” 

During that recording session I was delighted 

to discover the amazingly talented musician 

Ricky Skaggs, and 20 years later I’m still in 

awe.) 

Dan Lochrie, Lynn Peithman and I were 

able to catch up with our former teacher from 

the University of Michigan, Carl St. Clair, who 

was in town to conduct our Classical Series 

that featured Philip Glass’s oratorio The Passion 

of Ramakrishna. Jubilant Sykes is a terrific 

talent as is the group Take 6 that hails 

from Nashville; both performed on our Pops 

concerts. 

The March return of David Lockington, 

Music Director of the Grand Rapids Symphony, 

was delightful. So too was the return 

of John McDermott at our Celtic-themed concert 

that included the talents of our own Jay 

Dawson on bagpipes. We can thank the persistence 

of Otto Bash, a huge John McDermott 

fan, for bringing him to the Nashville 

Symphony’s attention. John is a terrific artist 

and gracious as well. For the second time, he 

threw a reception (complete with roses and 

CDs) for the orchestra and various invited 

guests following the final performance. While 

I was backstage during the Saturday performance, 

I spied AFM Canadian Vice-President 

Bobby Herriot who knew John and his music 

director, and then found out that he and our 

Resident Conductor George Schram worked 

together some 35 years ago, proving once 

again how small the musical world can be. 

Our 2nd violin audition came off without 

a hitch (well, for the committee it did. For 

Leonard Slatkin, he was stuck in LAX until 

the middle of the night!). The staff should be 

commended for pulling off a well-run audition 

and Maestro Slatkin’s participation was 

very helpful and positive. We have offered the 

position, beginning next season, to a violinist 

currently residing in Atlanta, Ga., named 

Louise Higgins. Louise will join us for some 

of our concerts this summer, so we’ll have a 

great chance to get to know and work with 

her. 

The week Arild Remmereit returned to 

Nashville was also the deadline for briefs to 

be submitted to the arbitrator regarding Concertmaster 

Mary Kathryn VanOsdale’s case. 

We hope to receive the Arbitrator’s decision 

within the next few weeks. 

This final week (as I write this article), 

we are knee-deep in a terrifically difficult program. 

Avner Dorman’s Variations Without a 

Theme had many of us questioning our skills 

prior to this week, but the composer seems 

Symphony 

Notes 

By Laura Ross 

Nashville Symphony 

Shop Steward 

quite happy with our performance. Stravinsky 

reworked his Firebird Ballet at least three or 

four times and this version we are performing 

is unknown to nearly everyone. We are quite 

familiar with the Firebird Suite, but this version 

has a great deal of new passages and the 

orchestration is vastly different from what we 

are used to. Van Cliburn Competition winner 

Alexander Kobrin and featured soloist this 

week is doing a wonderful job performing 

Tchaikovsky’s Piano Concerto #1. (I was 

pleased to share my tickets with two new members 

of Local 257, who just relocated from the 

NJ/NYC area. Peter Gordon and Jan Paulson, 

quite accomplished French horn players who 

bought a farm in McEwen, Tenn., and raise 

Great Danes. Peter’s father was the principal 

violist of the Detroit Symphony when I was 

growing up. I was happy to introduce them to 

Leslie Norton, our horn section and to Gerald 

Greer, who can share his own dog breeding 

stories!) 

In addition to all our other activities these 

past two months, the negotiation team has begun 

their work. We met in late February to 

discuss the financial health of the orchestra. 

Most of the meeting was about the financing 

of and bond repayment on the hall. We’re 

happy to report that the symphony is in good 

financial health but have no idea what our final 

negotiations will produce. 

This past week, we held our “roundtable” 

meetings with the orchestra. This is the chance 

for our musicians to tell the committee what 

their concerns are for the upcoming negotiations. 

This conversation is very important because 

every AFM member of the bargaining 

unit has the right to participate in the negotiation 

process. This information is turned into 

surveys for the orchestra, which are then translated 

into our proposal to management. It’s 

important to gather as much information from 

our musicians as possible, because once negotiations 

begin, little information can be 

shared until the process is completed and we 

come to our musicians for ratification of the 

contract. 

There’s a lot of trust that is required here, 

but I know Gary Armstrong, Carrie Bailey, Lee 

Levine, Brad Mansell and I are dedicated to 

obtaining the best possible agreement for our 

musicians. We could not do any of this, however, 

without the able assistance of our AFM 

SSD negotiator Chris Durham and without the 

support of Local 257 and President Harold 

Bradley. Keep your fingers crossed for us as 

we meet the week of May 7-12 to negotiate 

our contract. 

We look forward to the return of Paul 

Tobias to the 1st violin section in mid-April. 

Paul has joined the ever growing “fusion club” 

in the Nashville Symphony. Paul is the latest 

“beneficiary” of the anterior cervical 

diskectomy and fusion procedure. Paul’s neurosurgeon 

Dr. Ronald Zellem performed my 

surgery as well as Carrie Bailey’s, Ali 

Gooding’s and Paul’s wife Patricia Tobias’s. 

Other fusion club members include Gerald 

Greer as well as honorary member Cathy 

Umstead, since she’s an NSO alumnus! 

April’s schedule includes performances of 

Puccini’s Madame Butterfly with the Nashville 

Opera, a Hymn Sing featuring various Christian 

recording artists, and our own musicians, 

principal harp Licia Jaskunas and principal 

flute Erik Gratton, will perform Mozart’s Concerto 

for Flute, Harp and Orchestra on our 

Classical 12 Series concerts. That concert will 

also include Mahler’s Symphony #4 and 

Stephen Dankner’s The World of Yesterday 

(Evenings with My Grandfather). Our dress 

rehearsal (minus the concerto) will be presented 

as an Open Dress rehearsal for the Tennessee 

Music Educators Association (TMEA) 

convention on Thursday morning. The month 

closes with performances of Swan Lake with 

the Nashville Ballet. 

May takes us on our annual trek to 

Shelbyville, which is followed by the return 

of Pink Martini (always an audience favorite) 

on our Pops Series, and our final Pied Piper 

concert of the season.The next week includes 

our annual Mother’s Day performance at 

Crockett Park in Brentwood (where we battle 

the sound of young children running around 

in front of the stage), a Donor’s Appreciation 

Concert and a Side-by-Side concert with the 

Curb Youth Symphony. I won’t be reporting 

on this week, since I’ll be in negotiations with 

my colleagues, but I am sorry I will miss a 

cultural exchange when we are joined by members 

of the UNCUYO Symphony from 

Mendoza, Argentina. Four musicians and a 

staff member from that orchestra will visit 

Nashville for a week to play and work with 

members of the orchestra and staff of the Nashville 

Symphony. In September, the NSO will 

send four musicians and a staff member to 

Argentina for a week, as well. 

The following week is a Classical Series 

featuring Alasdair Neale conducting Bartok’s 

Concerto for Orchestra, the Haydn Symphony 

Just good ol’ boys, Joe Stampley and Texas newcomer Jeff Griffith team up for a CD 

By WALT TROTT 

“If It Ain’t One Thing, It’s Another” is 

the title of Texan Jeff Griffith’s new Arrowhead 

album, and brother, it’s a scorcher. 

All you whiners out there who grouse 

there’s no great traditional talent coming up 

in the ranks, better give a listen to this exciting 

discovery. 

Areeda Schneider did the honors, delivering 

the goods to us shortly after CRS. Come 

to find out, this charmer is also the wife of the 

album’s producer, Joe Stampley. 

Both boys can take a bow. “If It Ain’t 

One Thing, It’s Another” is solid country, complete 

with fiddle and steel, one that true traditionalists 

will want in their collection. 

Charlie Patterson, who now manages 

Griffith, brought his find and the country legend 

together. What they’ve produced is an 

amazing mix of old and new, though Joe and 

Jeff breathe new life into the former. 

Stampley brought in a few of his friends 

to back up Griffith, including bassist Mike 

Chapman, drummer Steve Turner, lead guitarist 

J. T. Corenflos, acoustic picker Mark 

Casstevens, steel man Scotty Sanders, fiddler 

Hank Singer and keyboardist Dennis Burnside. 

Studio singers were Jennifer O’Brien, John 

Wesley Ryles and (Moe’s buddy) Joe. 

The title tune sure sounds familiar, but as 

best we can recall it’s on Randy Travis’ 1996 

“Full Circle” CD as an album cut. Obviously, 

Griffith is a ballad singer, but does a bang-up 

job on the upbeat “Fishin’ Forever,” which 

sounds radio-friendly to these ears. 

A Santa Fee native, Griffith dusts off the 

Gary Stewart Top 10 “Drinkin’ Thing” of three 

decades back, adding a definitive Texas twang 

to the Wayne Carson creation. 

Perhaps this is one singer who’s not a 

songwriter, as there’s no JG writing credit on 

this release, all of which no doubt makes 

tunesmiths like Craig Wiseman and Bobby 

Braddock happy campers. (There are just too 

many Alan Jacksons and Toby Keiths out there 

to suit our Music Row writers.) 

“I’m Your Radio” is an intense lover’s refrain 

requiring a dynamic that ensures the 

listener’s rapt attention throughout, and 

Griffith nails it down solid. His smooth praising 

about a young somebody in his life in “She 

Reminds Me Of You” turns out to be a testament 

of love for the gal who got away. 

CD REVIEW 

The Tony Stampley-Bobby Carmichael 

sizzler “Let’s Make Love Tonight, Like 

There’s No Tomorrow” gives our hero license 

to render a killer rendition, which he does, also 

revealing a nice seductive break in his vocals. 

Jeff’s presentation proves as powerful on 

the old Dean Dillon record “Holed Up in Some 

Honky Tonk,” and again in reprising Moe 

Bandy’s tables-are-turned tuner “It Was Always 

So Easy (To Find an Unhappy Woman).” 

He gives a contemporary edge to the gritty 

#103 (The Drumroll), and Kevin Puts “…this 

noble company” (Processional for Orchestra). 

(Representatives from the International Musicians 

Union – FIM – will be in town and 

may attend this concert.) 

Our final Pops Concert with Monica 

Mancini, Henry Mancini’s daughter, is called 

Remembering Mancini. Our almost annual 

concert at Vanderbilt (it was cancelled last 

year, due to hall tunings, but faculty were invited 

to one of the tuning “concerts”) precedes 

the Pops concert, and the regular season ends 

May 31 – June 2 with the return of conductor 

Giancarlo Guererro and pianist Terrence Wilson. 

Daugherty’s Piano Concerto, Respighi’s 

Pines of Rome, a Strauss Serenade and 

Sibelius’ Symphony #6 are on the slated program. 

This date also marks the retirement of 

long-time 2nd violinist Joann Cruthirds (see 

profile on page 14.) 

It’s tough to speak about the June schedule 

right now because as I write this, the schedule 

is still somewhat in flux. We will perform 

our three Festival Series Concerts, though they 

are no longer exclusively associated with 

Beethoven. Leonard Slatkin will conduct one 

of these concerts which will include works 

about Abraham Lincoln, many of which will 

be recorded for a Naxos disk slated for 2009. 

Maestro Slatkin will also lead the orchestra 

in our performance at the American Symphony 

Orchestra League’s (ASOL) national 

convention. ASOL’s convention will be hosted 

by the Nashville Symphony. The concert will 

be attended by artist managers, orchestra managers 

and staff and a few conductors from all 

over the U.S. We’re hoping to make a good 

impression to show that Nashville is “more 

than country music.” You and I know that, but 

there are still a lot of people out there who 

don’t have a clue! I will be in Las Vegas at the 

AFM Convention (as Local 257’s 3rd delegate) 

for some of these events, but will be 

back in time for the ASOL concert. 

I’m also pleased that ICSOM Chairman 

Bruce Ridge will have the opportunity to hear 

the NSO twice this spring and summer. He will 

be in town for a meeting with AFM committee 

members in April, to discuss AFM finances 

prior to the AFM Convention in June. On the 

heels of the AFM Convention, Bruce will return 

to address the ASOL during the convention. 

He will also present a workshop addressing 

positive work-place issues with AFM Symphonic 

Services Division Director Laura 

Brownell. Bruce Ridge is a member of the bass 

section of the North Carolina Symphony and 

since becoming Chair of ICSOM, he has traveled 

all over the country to visit member orchestras 

while delivering a positive message 

about the orchestra industry to musicians, locals, 

staff and board members. I know he is 

looking forward to meeting with our musicians, 

even if only to mingle backstage for a 

few minutes. 

So, as you can see, I’m treading water and 

trying to keep my head up. Wish us luck in 

negotiations and keep good thoughts for a 

spectacular performance at the ASOL convention. 

Talk to you again this summer! 

honky tonker “Whiskey Talkin’,” a ’76 Joe 

Stampley song, and shifts into a romantic 

mode for “Tonight Was Made For the Two of 

Us.” 

This record was engineered by member 

Steve Tveit, with an assist from Jason Hall. 

We’ll be anxious to hear Jeff’s follow-up 

CD; meanwhile, we highly recommend this 

collection, which is pure country, plain and 

simple.


‘Be My Baby’ synchronization belongs 

to Phil Spector; a song licensed in 1987 

In the early 1960s, Veronica Bennett (now 

known as Ronnie Greenfield), her sister Estelle 

Bennett and their cousin Nedra Talley, formed 

a singing group known as "The Ronettes." 

They met defendant Phil Spector, a music 

producer and composer in 1963, and signed a 

five-year "personal services" music recording 

contract with Spector's production company, 

Philles Records. 

The Ronettes agreed to perform exclusively 

for Philles Records and in exchange, Philles 

Records acquired an ownership right to the 

recordings of the Ronettes' musical performances. 

The agreement also set forth a royalty 

schedule to compensate the Ronettes for 

their services. 

The Ronettes recorded several dozen songs 

for Philles Records, including "Be My Baby," 

which sold over a million copies and topped 

the music charts. Despite their popularity, the 

group disbanded in 1967. 

Philles Records granted a synchronization 

license in 1987 for "Be My Baby" for use in 

the motion picture "Dirty Dancing." Due to 

receiving no royalties for the synchronization, 

the Ronettes filed a breach of contract suit 

against Philles Records, alleging that the 1963 

agreement did not provide Philles Records 

with the right to license the master recordings 

for synchronization. 

On the Jazz & 

Blues Beat . . . 

By ROBERT 

AUSTIN 

BEALMEAR 

April’s Jazz Appreciation Month, as designated 

by the Smithsonian Institution to celebrate 

America’s premier original art form. 

Many jazz events take place here in April. One 

is the Nashville Jazz Orchestra's "Second Annual 

Jazz Writers’ Night" at Blair School of 

Music, featuring nine of Nashville's top composer/arrangers 

(recorded for future release). 

The Nashville Jazz Workshop hosted veteran 

guitarist Mundell Lowe in concert at their 

Jazz Cave, and pianist Mike Longo in their 

"Side by Side" series with Beegie Adair. 

APSU's jazz festival hosted organist Sam 

Yahal and guitarist Peter Bernstein, and 

MTSU's jazz festival featured trumpeter 

Snooky Young. 

Summer festival season is upon us, so let's 

dig in. First up is the Main Street Festival in 

Franklin, April 28-29. The popular music, 

crafts, and food fair has good jazz and blues 

thanks to music director (and 257 member) 

Scott Ducaj. Featured acts are announced via 

their web site www.historicfranklin.com 

This year, the Main Street JAZZFEST in 

Murfreesboro is two days, May 4-5. Top high 

school and college bands will appear on the 

main stage Friday night. Saturday’s main stage 

jazz starts at 11 a.m. and includes Jerry 

Tachoir, Lalo Davila, and the U.S. Army 

Ground Forces Jazz Band. Headlining at 7:30 

p.m. will be the red-hot Cannonball Adderley 

Legacy Band, featuring Jeremy Pelt and 

Vincent Herring, and led by one of the last of 

the great hard bop drummers, ex-Adderley 

sideman Louis Hayes. He will also host a 3:30 

p.m. clinic at the Center for the Arts. For details, 

go to the website 

www.downtownmurfreesboro.com 

"Jazz on the Lawn" at Beachaven Winery 

just south of Clarksville begins May 12. The 

outdoor concerts are about every other Saturday 

evening, May 26, June 16, June 30, etc. 

For info on the series, go to 

www.beachavenwinery.com The DUSK series 

at Monthaven in Hendersonville begins in June 

and continues the third Sunday each month. 

For details, go to www.hendersonvillearts.org 

The Holy Trinity Episcopal Church (Sixth 

LEGAL TIPS 

By 

Marshall M. Snyder 

Attorney - at - Law 

The 1963 agreement between the parties 

consisted of a two-page document, which apparently 

was widely used in the 1960s by music 

producers signing new artists. The parties' 

immediate objective was to record and market 

the Ronettes' vocal performances. 

The ownership rights provision of the contract 

provides: 

"All recordings made hereunder and all 

records and reproductions made therefrom together 

with the performances embodied 

therein, shall be entirely Philles' property, free 

of any claims whatsoever by you or any person 

deriving any rights of interest from you. 

Without limitation of the foregoing, Philles 

shall have the right to make phonograph 

records, tape recordings or other reproductions 

of the performances embodied in such recordings 

by any method now or hereafter known." 

The Ronettes conceded that the contract 

Avenue South) started its 2007 jazz concert 

series April 15. Remaining concerts include 

Thomas Cain on May 20 and Monica Ramey 

on June 17. "Jazz in Cookeville" is a day-long 

festival in that city's Dogwood Park 

Ampitheatre. This year's June 16 event will 

feature a wide variety, call 931-528-1313, or 

go to www.jazzincookeville.com 

Metro Parks will have concerts again 

sponsored by the Music Performance Fund. 

Big Band Dances in Centennial Park begin 

June 2, with different bands every Saturday 

night, 7-11. The Friday evening series at Red 

Caboose Park in Bellevue begins July 6, 7-9. 

For a schedule of all park concerts, go to 

www.nashville.gov/parks 

Now sponsored by Cumberland University, 

the Watertown Jazz Festival will be July 

7. Artists line-up can be found at 

www.watertownjazz.com The Nashville Jazz 

Workshop continues its "Snap on 2 & 4," "Master 

Series," and student concerts in their Jazz 

Cave at 1312 Adams St. Details on events and 

evening classes are at www.nashvillejazz.org 

Jazz continues to be part of the Schermerhorn 

Center schedule. Smooth jazz trumpeter Chris 

Botti in April, Brazilian jazz legend Sergio 

Mendes plays June 8, and the Nashville Chamber 

Orchestra offers a night of Gypsy jazz on 

June 22. 

Now in the clubs. veteran pianist Pat Coil 

offers a duo with Jim Ferguson every Thursday 

at Basil Asian Bistro in Cool Springs, and 

Romie Smith swings the Sinatra songbook every 

first and third Friday at the Italian Grill, 

and every Saturday at Mexicali Grill. Monday 

nights you can hear Latin Jazz at F. Scott's with 

Mambo Blue, or a variety at Z's Five Points 

Deli, and Chappy's on Church Street has jazz 

six nights. Bistro 2one5 hosts a Sunday afternoon 

jazz jam, Sambuca has jazz every Sunday 

in April (and other nights), and the new 

12 South Taproom has jazz and blues occasionally. 

On the blues scene, Music City Blues Society 

will hold its annual "Legends of Blues" 

one-day festival in Centennial Park on Memorial 

Day, May 28, 2-7:30 p.m. Their monthly 

Blue Friday meetings with area blues bands 

are now hosted by the Flying Saucer at Union 

Station. Meeting at 7 p.m., music at 8 p.m. 

Details can be found at 

www.musiccityblues.org (I haven't seen their 

monthly newsletter in a while, so I guess it's 

only available online now, as is the case with 

many non-profits.) 

For current blues jams, check out The 

Maxwell House on Monday nights, 

Cragnacker's on Tuesday nights, The Big Easy 

in Lebanon and Sputnick's in Hendersonville 

on Thursday nights. This year's Jefferson Street 

Jazz & Blues Festival will be June 16. For de- 

unambiguously gave defendants unconditional 

ownership rights to the master recordings, 

but contend that the agreement does not 

bestow the right to exploit those recordings 

in new markets or mediums since the document 

is silent on those topics. 

Philles Records argued that the absence 

of specific references to synchronization and 

domestic licensing of compilations is irrelevant. 

They contended that where a contract 

grants full ownership rights to a musical performance 

or composition, the only restrictions 

upon the owner's right to use that property are 

those explicitly enumerated by grantor/artist. 

As stated by the New York Court which 

heard the case, the fundamental neutral precept 

of contract interpretation is that agreements 

are construed in accord with the parties' 

intent. The best evidence of what parties 

to a written agreement intend is what they say 

in their writing. A written agreement that is 

complete, clear and unambiguous on its face 

must be enforced according to the plain meaning 

of its terms. 

As further stated by the Court, extrinsic 

evidence of the parties' intent may be considered 

only if the agreement is ambiguous. Thus, 

if the agreement on its face is reasonably susceptible 

of only one meaning, a court is not 

free to alter the contract to reflect its personal 

notions of fairness and equity. 

The pivotal issue in this case was whether 

defendants would be prohibited from using the 

tails, go to www.jumptojefferson.com 

Radio-wise, WMOT-FM Jazz89 held its 

spring fund-raiser and membership drive in 

April. I hope you all called in with a pledge, 

but if you didn't, "Now's The Time." During 

the pledge drive, JAZZ On The Side debuted 

a new two-hour special on the history of jazz 

on radio. It featured rare broadcast recordings 

by jazz legends like Armstrong, Goodman, 

Ellington, Basie, Sinatra, James, Roy 

Eldridge, Gene Krupa, Lena Horne, and Tony 

Bennett. Details are at www.jazzontheside.com 

Check out Greg Bryant's show at smooth 

jazz WFSK-FM 88.1. 

New local jazz CDs include music from 

the Nashville Jazz Orchestra's "First Annual 

Jazz Writer's Night," 2006. At press time, the 

CD was being prepared for release, title TBA. 

One we missed a while back was vocalist 

Abby Burke's soulful, "Finally! – The Album." 

Hillbilly Blues Caribbean Rock 'n' Roll vocalist 

Les Kerr's latest is "Crawfish Caravan," 

you can check it out at www.leskerr.com 

I'd like to acknowledge The Tennessean 

music writer Jonathan Marx, who sent me a 

thoughtful and reasoned response when I complained 

about an article promoting a recent 

Wynton Marsalis concert. Marx called Nashville 

"jazz starved" and I replied that he knew 

better, and that if people don't know about the 

wealth of jazz here, it's largely the fault of local 

media that regulars ignore local artists’ promotional 

efforts. 

As Marx pointed out, the rich local scene 

still includes too few major jazz artists coming 

through so-called Music City. And regardless 

of how sympathetic Marx is to jazz here, 

his job requires covering visual art, classical 

music, editing the book review page, and covering 

any larger institutional arts stories. So 

obviously something is wrong when 

Nashville's major newspaper can't commit 

more resources to cover the music industry, a 

rather large part of this town. Is it that newspapers 

as a medium are losing so many customers 

to TV and internet? 

Whatever the problem, let me thank all 

the local writers on all the papers and radio 

stations that do their best to cover jazz and 

blues. I can't say the same for TV, which really 

ignores us. We need new ideas and resources, 

so if you have any ideas how artists 

and organizations can get together and get jazz 

and blues better promoted here, send them to 

me at austinbel@earthlink.net and I'll start including 

them in this column. 

Sadly, a few more jazz and blues artists 

have passed on. In March, Paul Delay, blues 

harmonica player, and John Taylor blues 

singer/guitarist. In February, Bobby 

Rosengarden veteran jazz drummer and leader 

of the band on the Dick Cavett TV show 

master recordings for synchronization, and 

whatever future formats evolve from new technologies, 

in the absence of explicit contract 

language authorizing such uses. Stated another 

way, does the contract's silence on synchronization 

and domestic licensing create an ambiguity 

which opens the door to the admissibility 

of extrinsic evidence to determine the intent 

of the parties? 

The Court concluded it did not because 

there was no ambiguity in the terms of the 

Ronettes’ contract. The Ronettes conceded that 

defendants own the master recordings. And 

most notably, the agreement explicitly refers 

to defendants' "right to make phonograph 

records, tape recordings or other reproductions 

of the performances embodied in such recordings 

by any method now or thereafter known." 

The Court realized that its decision would 

effectively prevent plaintiffs from sharing in 

the profits that defendants had received from 

synchronization licensing. 

"However sympathetic plaintiffs' plight, 

we cannot resolve the case on that ground 

under the guise of contract construction. Our 

guiding principle must be to neutrally apply 

the rules of contract interpretation because 

only in this way can we ensure stability in the 

law and provide guidance to parties weighing 

the risks and advantages of entering a binding 

agreement." 

(Marshall M. Snyder is a Music Row attorney who 

can reached by calling 615-742-0833, or by e-mail at 

marshall.snyder@earthlink.net) 

passed away, and we extend our sympathies 

to his son, trumpeter and 257 member Neil 

Rosengarden. Also gone are Leroy Jenkins, 

"free jazz" artist Al Viola, a Frank Sinatra favorite, 

Eldee Young, bassist best known as part 

of the Ramsey Lewis Trio, best-selling pop 

singer Frankie Laine, and Pedro Knight, Cuban-American 

musician. 

In January, Whitney Balliett, well-known 

jazz critic and writer, Peggy Gilbert, jazz saxophonist, 

Virtue Hampton Whitted of the 

Hampton Sisters, Michael Brecker, probably 

the most influential jazz saxophonist of the 

last two decades and half the popular Brecker 

Brothers, Alice Coltrane, avant garde pianist/ 

harpist and widow of John Coltrane, and Tad 

Jones, jazz historian. 

Support your artists while they're here . . . 

See you out there! 

Austin Bealmear 

JD Gordon, McCoy’s new find 

A new album landed on our desk by, to us, 

an unknown commodity from Canada called 

JD Gordon - but what caught our eye was its 

producer, Charlie McCoy. 

Now if you’re a fan of Charlie’s - and who 

isn’t? - you’d do exactly what we did, pop that 

disc right into a CD player. 

It’s titled “On My Way,” and the 16 songs 

showcase JD Gordon’s vocal and songwriting 

talents. Some might say his writing outshines 

his singing, but the man possesses a deep register 

that’s suited to the songs he sings. 

Well, “On My Way” is probably not going 

to make any annual Top 10 lists, but its 

production values are top tier, and McCoy deserves 

as much praise for a clear-sounding 

disc, as he does for adding his melodic harmonica 

to the project. 

Another marvelous musician on this set is 

Wanda Vick, whose skills help highlight many 

of the tracks via her instrumental prowess on 

fiddle, dobro, banjo, mandolin and acoustic 

guitar. ’Nuff said. 

For us, the album highs included Gordon’s 

forlorn lover’s turn “That’s What I Get For 

Loving You,” which also features some good 

country licks; the bluesy, but medium tempo 

Charlie tune “Thinkin’ With My Heart,” boasting 

some fine honky tonk piano by Bob Patin; 

and “Hey, Mister,” a part-talkin’, part-singin’ 

entry that had some smooth harmony, and 

sounded like it would have fit snugly into a 

Johnny Cash catalog. 

Speaking of Cash, Gordon sometimes 

sounds a bit too similar vocally to the late legend, 

and maybe it was even the Man in Black’s 

1964 hit “The Ballad of Ira Hayes,” that gave 

JD and his co-writer Ken Wigglesworth the 



Plantin’ time in Tennessee! I sure am glad 

I waited this year, given the unwelcome return 

of freezing temperatures. 

But to everything there is a purpose. It’s 

time now to get back outside and enjoy God’s 

amazing creation. So much is missed behind 

closed doors. The sounds of children playing, 

neighbors talking, birds chirping – what 

a tremendous blessing each day can be, if we 

just choose to see. 

Down to a little business. I need to remind 

everyone to renew your membership if you 

haven’t already done so. We hope to go to 

print with our Membership Directory on May 

1st. Only members in good standing will be 

included, so please have your membership 

paid in full by then, including both late fees 

if applied. The online membership directory 

is still available for download at 


Billing statements were recently sent out, 

followed by the act of expelling members on 

April 9th for non-payment of annual membership 

dues. A $25.00 reinstatement fee has 

Office 

Manager’s 

Notes . . . 

By Sherri 

Dickerson 

been added to these accounts, which did not 

show up on your April billing. Please know 

that if your payment was received after the 

ninth, that fee now applies to you. 

Help support your Nashville Musician 

newspaper by running an ad – business, personal 

or just for fun! We’re so thankful to every 

advertiser, especially the loyal ones who 

have enabled us for so long to put out a paper 

that people love and that we are proud to bring 

to you. This newspaper is a means of communication 

to all members, and we hope a source 

of entertainment and interest to all who read. 

Please make note of our new eight hundred 

number: 1-800-853-5096. 

Have you updated us with your most recent 

address, telephone number or need for a 

new beneficiary? Funeral Benefit payments 

range from $1,250 to $8,000, dependent on 

your length of membership. Be sure the money 

is designated to someone who is very much 

still alive, and someone you hopefully still 

love! Happy springtime, love your neighbors, 

and God bless 

Local 257 Office Assistant Michele Voan welcomes Paul Trenner and Mark Bradley to the Union, where 

they each received courtesy tickets to see Reba McEntire, MCA recording artist and star of the Warner 

Bros. cable television series Reba!, in concert at the historic Ryman Auditorium downtown, where the 

talented Oklahoma redhead was also being filmed for yet another telecast CMT Crossroads. 

Nashville Symphony sponsors 2007 world music fest 


lightning-fast fingers and improvisation, 28year-old 

ukulele virtuoso Jake Shimabukuro 

shatters all musical boundaries by performing 

unheard-of feats on his four-string instrument. 

Shimabukuro has great respect for traditional 

Hawaiian music but considers it his 

calling to reveal the true versatility of the 

ukulele. 

Also visiting from Hawaii are slack key 

guitarist Jeff Peterson, a Hawaii native whose 

unique instrument dates from the early 19th 

century, and the Hawaiian music group 

Kohala, presenting an acoustic blend of island 

jazz. Enhancing this performance from 

the Pacific will also be traditional Hula dancers 

and a native Hawaiian chanter. 

At 7:30 p.m. Friday, June 8: Brazilian 

Rhythms. One of the world’s greatest ambassadors 

of Brazil’s signature sound, pianist 

Sergio Mendes switched from classical to jazz 

at an early age and started his brilliant music 

career in the 1960s in clubs around Rio de 

Janeiro. A 1964 album by Mendes and his 

band “Bossa Rio,” arranged by the great Tom 

Jobim, helped explode the worldwide interest 

in bossa nova that continues over three decades 

later. This world music festival’s closing performer 

and his band will revisit a lifetime of 

monumental Brazilian music. 

Tickets for evening performances of the 

Target World Music Festival: Music of the 

Americas are $10-$60 and can be purchased 

by calling the Symphony box office at (615) 

687-6400 or by visiting on-line at 

www.nashvillesymphony.org Parking for all 

events is free at the SunTrust parking garage 

located at Fourth Avenue and Commerce. 

Change in your beneficiary? 

Be sure to report important 

changes in your status 

to the Union office! 

Call (615) 244-9514, Ext. 240. 

NASHVILLE ASSN OF MUSICIANS 

STATEMENT OF ASSETS, LIABILITIES 

AND FUND BALANCES 

DECEMBER 31, 2006 

NASHVILLE ASSN OF MUSICIANS 

REVENUES & EXPENSES 

DECEMBER 31, 2006


Recording 

Musicians 

Association 

Now at: www.rmanashville.org Dave Pomeroy, President, RMA 

Hello again, Local 257 Musicians! 

RMA Nashville President Dave Pomeroy 

here with the latest installment of “Union 

News You Can Use.” 

Thanks to all of you who have recently renewed 

your RMA Nashville membership! 

Your involvement and support are appreciated. 

This is a time of great change in the AFM, 

and the more members we have, the stronger 

our voice will be - it’s that simple. 

We’re very excited to announce the launching 

of our brand new RMA Nashville website, 

located at www.rmanashville.org 

You can still join or renew online with a 

secure transaction, but everything else has 

been completely redesigned from the ground 

up to make it a user-friendly site full of valuable 

information. Our goal is to make 

www.rmanashville.org the "one stop" place for 

publishers, producers, employers to find all the 

musicians they need to have a great session 

experience. 

Each RMA member’s listing in our new 

online Directory has a password-protected user 

profile that gives each player their own personalized 

website, with the ability to update 

his or her bio, discography and other credits. 

You will find useful information about scales, 

working “on the card,” contracts, FAQs, and 

there is much more to come. We want to help 

our members market themselves more efficiently, 

so check it out and let us know what 

we can do to make it better. 

We are having an RMA Membership Meeting 

on Wednesday, April 25, at 7 p.m. at the 

Executive Board Meeting 

- Feb. 2, 2007 

8:48 a.m. - Meeting called to order by 

President Harold R. Bradley. 

Present: Harold Bradley, President, Billy 

Linneman, Secretary-Treasurer, Board members: 

Mike Brignardello, Dave Pomeroy, Andy 

Reiss, Laura Ross, Denis Solee. Excused: 

Bobby Ogdin, Bruce Bouton 

MSC to approve the minutes as amended 

of the Executive Board Meeting of 12-19- 

2006. 

Secretary/Treasurer Linneman gave the financial 

report. 

MSC to approve the September financial 

report. 

MSC to approve the October 2006 financial 

report. 

MSC to approve the November 2006 financial 

report. 

MSC to approve the December 2006 financial 

report. 

New Business: 

The hiring of new personnel. The title 

would be “Office Assistant.” 

MSC to hire the new personnel. 

Mike Brignardello left at 9:44 a.m. 

Discussion of late work dues. 

A report from Laura Ross about groups 

paying Pension through CBA’s, Corporations, 

and now LLC’s. 

10:01 a.m. - Laura Ross left and gave her 

proxy to Billy Linneman. 

The General Membership Meeting was set 

for 6:30 p.m. Wednesday, March 28. 

MSC to approve new members. 

10:10 a.m. - Motion made to adjourn. 

A Special Board Meeting 

- Feb. 28, 2007 

9 a.m. - Meeting called to order by President 

Harold R. Bradley. 

Present: Harold Bradley, President, Billy 

Linneman, Secretary-Treasurer, Board mem- 

Union Hall. If you are not a member and would 

like to find out more about what we do, or if 

your 2006 RMA membership has expired, you 

are welcome to come to the first part of our 

meeting and join (or renew), if you feel moved 

to do so. Once the “official” meeting starts, it 

will need to be current members only. Refreshments 

will be served, and we will be talking 

about anything and everything that concerns 

our members. 

The 2007 AFM Convention is right around 

the corner, and there will be many decisions 

made in those three days in Las Vegas that will 

affect us right here where we live - and work. 

In the interest of creating an honest and informative 

forum to discuss these issues, RMA 

Nashville has asked Local 257 to invite all of 

our members to meet with our delegates to the 

Convention (Laura Ross, Bobby Ogdin, Bruce 

Bouton and Billy Linneman) to discuss the 

various proposals, resolutions and IEB recommendations 

and how they will affect us. This 

will occur at the next Local 257 meeting on 

Wednesday, May 30, at 6:30 p.m. We encourage 

all of you to attend, ask questions and voice 

your opinions on the issues that will be voted 

on by our Delegates. 

It is no secret that the AFM is having financial 

difficulties and is looking for ways to 

increase revenue. There is already at least one 

proposal for the AFM Convention in June, 

calling for the reinstatement of the Special 

Payments Fees, at rates of up to 3%. I am sure 

many of you will remember how divisive this 

was in 2003 and 2005, but apparently some of 

bers: Bruce Bouton, Mike Brignardello, Dave 

Pomeroy, Andy Reiss, Denis Solee. Excused: 

Bobby Ogdin and Laura Ross. 

This meeting is called for the purpose of 

presenting Recommendations to the AFM 

Convention for Bylaw changes. The following 

recommendations were made: 

RESOLUTION FOR 2007 CONVENTION 

Whereas, All those who benefit from membership 

in the AFM should share in the cost of 

keeping our Union solvent; and 

Whereas, Recording, symphony, television, 

film and touring musicians’ work dues have 

become a larger revenue source than the total 

per capita dues in the AFM budget; and 

Whereas, at the 2005 AFM Convention, a 

variety of work dues increases were implemented 

that have increased the financial contributions 

of electronic and symphonic musicians 

to the AFM; and 

Whereas, At the same Convention, it was 

agreed that the assessments placed on the Special 

Payment Funds were unfair, unbalanced, 

and divisive, and therefore were repealed by 

a majority of the Convention Delegates; and 

Whereas, The Committee formed at the 

2005 Convention to investigate alternative 

revenue sources and the relationship between 

work dues and per capita income has yet to 

articulate any significant ideas or suggestions, 

or offer any concrete solutions to the AFM’s 

financial difficulties; and 

Whereas, it is only fair and equitable that 

the AFM be funded by all of its members; 

Therefore, be it 

Resolved that the per capita contribution 

of all AFM members be increased by the sum 

of five dollars per year for 2008 and 2009 in 

order to share the financial burdens of the 

AFM in a fair and equitable fashion. 

The Executive Board directed President 

Bradley to present this recommendation to the 

IEB. 

Whereas; Due to Article III, Section 6(e), 

the AFM salary is paid to the Canadian Vice- 

President in American Dollars and 

our AFM brethren may not. 

With this in mind, the 257 Executive Board 

recently considered a Proposal for the AFM 

Convention to raise the per capita dues (the 

annual dues payable to the AFM by each Local) 

for all AFM members by $5.00 in 2008 

and an additional $5.00 in 2009. This Proposal 

was initiated by RMA Nashville, modified by 

the Executive Board and unanimously passed 

as an official Local 257 Proposal for Convention. 

It reads as follows: 

Whereas, all those who benefit from membership 

in the AFM should share in the cost of 

keeping our Union solvent, and 

Whereas, recording, symphony, television, 

film and touring musicians' work dues have 

become a larger revenue source than the total 

per capita dues in the AFM budget, and 

Whereas, at the 2005 AFM convention, a 

variety of work dues increases were implemented 

that have increased the financial contributions 

of electronic and symphonic musicians 

to the AFM, and 

Whereas, at the same Convention, it was 

agreed that the assessments placed on the Special 

Payment Funds were unfair, unbalanced, 

and divisive, and therefore were repealed by 

a majority of the Convention delegates, and 

Whereas, the Committee formed at the 2005 

Convention to investigate alternative revenue 

sources and the relationship between work 

dues and per capita income has yet to articulate 

any significant ideas or suggestions, or 

offer any concrete solutions to the AFM's financial 

difficulties, and 

Whereas, it is only fair and equitable that 

the AFM be funded by all of its members, 

Therefore, be it proposed that the per 

capita contribution of all AFM members be 

increased by the sum of five dollars per year 

for 2008 and 2009, in order to share the financial 

burdens of the AFM in a fair and equitable 

fashion. 

Submitted by the Local 257 Executive 

Board: Mike Brignardello - Bruce Bouton - 

Bobby Ogdin - Laura Ross - Dave Pomeroy - 

André Reiss - Denis Solee. 

With 80,000 members currently in the 

AFM, this would generate $1.2 million for the 

Whereas; The conversion to Canadian Dollars 

for the remittance of Canadian payroll 

taxes and pension is a very cumbersome process 

and 

Whereas; This has been an auditing point 

on every review; Therefore, be it 

Resolved, To pay the Canadian Vice-President 

the salary of the equivalent amount in 

Canadian dollars. 

Submitted by Billy Linneman, Secretary- 

Treasurer of Local 257 for the Local 257 Executive 

Board: Bruce Bouton, Mike 

Brignardello, Bobby Ogdin (voice vote on first 

proposal only), David Pomeroy, Andy Reiss, 

and Denis Solee. 

11:55 a.m. - MSC to adjourn. 

Most Nashville-based Grammy 

artist awards given off-camera 

The Dixie Chicks made a big splash at the 

National Academy of Recording Arts & Sciences’ 

49th annual Grammy Awards, Feb. 11, 

winning in all five of the categories in which 

the trio was nominated. 

The Chicks’ CD “Taking the Long Way” 

won both best pop album and top country album 

honors, while their single (which they cowrote) 

“Not Ready To Make Nice” nailed best 

pop song, best record and Country Performance 

of the Year awards. 

Another big winner of the evening was 

Carrie Underwood, that American Idol favorite, 

who accepted both the best new pop artist 

honor and best female country vocal performance, 

thanks to “Jesus, Take the Wheel,” 

which also earned best country song for cowriters 

Brett James, Hillary Lindsey and 

Gordie Sampson. 

Vince Gill grabbed up best Male Country 

Vocal Performance trophy for his rendition of 

“The Reason Why.” Sad to say that most of 

the country-oriented awards were presented in 

a pre-telecast ceremony in Los Angeles. 

AFM over two years. Conventional wisdom 

has said for years that any significant increase 

in per capita dues will cause membership to 

drop significantly, but under the present circumstances, 

I do not believe this theory still 

applies. No one likes to see dues go up, but in 

reality, $15 over two years is not very much 

money by any measure. AFM members who 

work under Union Agreements are also contributing 

large amounts of money to the Federation 

in the form of work dues, in addition 

to the Per Capita Dues we pay like everyone 

else. In our opinion, this is an equitable way 

for all AFM members to share the financial 

responsibilities of OUR Union. 

This Convention could be a very important 

turning point for the AFM. The music 

business is changing at an ever increasing pace 

and the AFM must adapt at the same pace or 

face extinction. RMA Nashville will be watching 

all these developments with great interest 

and will keep you posted as things happen. 

All the Proposals from AFM Locals and the 

IEB's Recommendations will be printed in the 

next International Musician, so keep an eye 

out for that - it will be quite interesting reading, 

I am sure. 

The RMA is not just for “recording musicians” 

anymore. it's for any AFM and Local 

257 members who are concerned about the 

future of OUR Union. Whether you are a symphony 

player, a touring musician, independent 

artist, club musician, or session player, RMA 

Nashville welcomes your input. We ALL need 

to work together towards positive, real world 

solutions to the challenges of working Union 

in a non-Union climate. We are the collective 

voice for our members, and we are looking 

out for you. Together we can make a difference. 

We hope to see you at the Union Hall at 7 

p.m. Wednesday, April 25 for the RMA General 

Membership meeting, and for the 6:30 

p.m. May 30th Local 257 General Membership 

Meeting with our delegates. 

All the best to all of you, 

Dave Pomeroy 

President. RMA Nashville 

www.rmanashville.org 

Other top winners included: Best Country 

Collaboration, to Jon Bon Jovi & Jennifer 

Nettles for “Who Says You Can’t Go Home”; 

Best Country Instrumental Performance went 

to Bryan Sutton & Doc Watson for their effort 

“Whiskey Before Breakfast”; Best Bluegrass 

Album to Ricky Skaggs & Kentucky Thunder 

for “Instrumentals”; Best Traditional Folk Album 

honors to Bruce Springsteen’s “We Shall 

Overcome - The Seeger Sessions”; and Bob 

Dylan’s “Modern Times” scored a best contemporary 

folk/Americana award. 

Off camera, Randy Travis again scored a 

best gospel CD win for “Glory Train”; and 

Bela Fleck & The Flecktones took home best 

contemporary jazz album honor for “Hidden 

Land.” 

Flecktones’ drummer Roy (Future Man) 

Wooten told The Tennessean, “Things like this 

give the idea that Nashville will be known as 

Music City for real, in a larger context than 

just country music.” 

Grammys also went to the movie “Walk 

the Line’s” soundtrack album, produced by T 

Bone Burnett; Jimmy Sturr & Orchestra 

earned the best polka CD for “Polka in 

Paradies”; Nashville-based Third Day was victorious, 

winning top pop-contemporary gospel 

album, with their sterling effort “Wherever 

You Are”; while Rick Rubin was named 

best non-classical producer of the year. 

Cancer claims picker Bill Carson 

Oklahoma guitarist Bill Carson, 80, died 

from cancer in Franklin, Tenn., Feb. 15. 

Carson, an accomplished Western Swing 

picker, performed in the bands of Spade 

Cooley, Hank Thompson and Billy Gray. 

While he worked with Fender Guitar, he 

was credited for the design of the popular 

Fender Stratocaster. Survivors include wife 

Susan, a retired Fender sales manager, son 

Scott, daughter Cindy Colyer, and grandson 

Chris Cole. A service was held Feb. 18. The 

musician donated his body to Vanderbilt Medical 

School’s Anatomical Program.


Electronic 

Media 

Services 

Division 

By Melissa 

Hamby Meyer 

Wage Increases… 

Scale and Health & Welfare increases are now in effect for Sound Recording 

(Master), Low Budget, Limited Pressing and Demo. There is also a pension 

increase to 10.5% for Sound Recording (Master) and Low Budget. New scale 

sheets are available online at www.afm257.org. 

Confirm Signatory Status Prior To Downbeat! 

It is critical that you confirm an employer’s signatory status prior to your session. 

Now that the Sound Recording negotiations have been finalized, all signatories 

must be renewed for upcoming Master and Low Budget sessions. Also, 

keep in mind that the new Limited Pressing Agreement was effective February 

1, 2006. 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 email your inquiry 

to christie@afm257.org, shana@afm257.org, teri@afm257.org or 

melissa@afm257.org…we will be more than happy to 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 far too much 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! 

Music Videos… 

If you are called to participate in a music video taping, sign a time card and turn 

it in! Record labels are required to file Video Promo contracts under their 

Sound Recording signatory for any on-camera musicians (excluding royalty 

artists). If a time card/contract is not filed, you cannot receive your 10.5% 

pension contribution! 

Motion Pictures… 

If you are called to do any original music that will be used in a motion picture 

(even if the sound track is going to be released first), be sure to sign a time card 

and mark it as a motion picture session. Signatory must be secured prior to 

your session! 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. 

* * Review the Do Not Work For and Non-Sig 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! * * 

Your Recording Department staff is an extremely dedicated team! We are committed 

to finding ways to better serve you! Wishing you great success. 

Reminder to members 

Should you move, be sure and update 

your address with Local 257. Also 

send address change to the Sound 

Recording Special Payments Fund and 

Film Musicians Secondary Markets 

Fund, as well. 

Remember us on line 

Members need to be aware that 

the entire issue of your newspaper, The 

Nashville Musician, is also on our 

website for your convenience. Simply 

punch in www.AFM257.org 

Your next General 

Membership Meeting 

is scheduled for 

6:30 p.m., Wednesday, 

May 30, 

in 

George Cooper, Jr. 

Hall 

at Union headquarters 

11 Music Circle N. 

on Music Row. 

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 

contract) 

Kenny Lamb (outstanding contract) 

King Craft, Inc./Michael King (outstanding contracts) 

Mary King c/o Rich Herring (pension) 

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) 

Rust Recods/Michelle Metzger (outstanding contracts 

and pension) 

RichDor Music/Keith Brown (outstanding contract) 

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) 

Conrheita Lee Flang (demo signature) 

Data Acquisition Corp. (demo signature) 

Double JJ Productions (demo signature) 

Dualtone Music Group (Phono renewal) 

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) 

Mary King c/oRich Herring (limited pressing) 

Matachack James (limited pressing) 

Michael Sykes Productions (demo signature) 

Parris Productions (demo signature) 

Paul Jenkins (demo signature) 

Sawyer Brown (limited pressing) 

Star pah Productions (demo signature) 

The Pitchmaster (demo signature) 

Travis Allen Productions (limited pressing) 

Wilkinson Audio (limited pressing) 

Domination Records LLC (Limited Pressing) 

Kurt A. Coble (Limited Pressing) 

Point To Point LLC (Limited Pressing) 

Sammy Harp Productions (Limited Pressing) 

Sing Sound Inc. & Chariscourt, Ltd. (Phono) 

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


. . . Proposed Local 257 By-Law changes, May 30 

C. MUSICAL THEATER, BROADWAY SHOWS(per hour, three-hour minimum): 

(1) Side-musician……………………………………………….$25.00 per hr/28.75 




D. REHEARSAL PIANIST: Piano, alone, rehearsing singers and/or dancers for live show: 

Per hour (minimum 2 hours)……………………………………………………$36.00/41.40 

III HOLIDAY RATES: ADDITIONAL, PER PERSON 


A. Easter, July 4, Thanksgiving Day, and from Dec. 1 through Jan. 1 [except Dec. 25 & 31] 

............................................................................................................................................................... $20.00/23.00 

B. Dec. 24, 25 & 31 [also Dec. 30 when Dec. 31 falls on Sunday] 

............................................................................................................................................................... Double scale 

Overtime (if contracted) per quarter-hour increment per musician ....................................................... $15.00/17.25 

Overtime (if not contracted) per quarter-hour increment per musician................................................. $20.00/23.00 

C. Dec. 31 Out-of-City Engagements (Also applies to Dec. 30 when Dec. 31 falls on Sunday). Double Mileage rates (as listed in Sec. 

VII.D.) must be paid. 

IV CARTAGE 

A. (Accordion, Tuba, all Amplifiers, Marimba, Chimes, Vibraphone, Baritone Saxophone, 

Bass Saxophone, Cello, Steel Guitar, Equipment Rack, Contrabassoon, Single-keyboard 

Electric Keyboard, Contra Bass Clarinet......................................................................................................... $12.00 

B. Drum Kit (snare, cymbal, bass drum, etc. as standard outfit) ......................................................................... $24.00 

C. Harp, Timpani, Double Keyboard, String Bass (amps included) .................................................................... $32.00 

D. Total cartage required for engagements must be added to contract and paid to players. No cartage payment is required when transportation 

for instruments is furnished or leader, contractor or employer makes mileage payments to drivers. Cartage must be paid on 

equipment and instruments required by orchestration or requested by leader, contractor, or employer. 

V DOUBLING 

A. Any combination of two (2) instruments within the following instrument groups, or from separate groups listed below, is to be considered 

as one (1) double. Add’l instruments beyond these two (2) shall be considered add’l doubles. 

1. All Woodwinds 

2. All Trombones, Horns, Tubas 

3. All Trumpets, Fluegelhorns 

4. Mallet Instruments: Xylophone, Bells, Chimes, Marimbas, Vibes 

5. Piano, Organ, Synthesizer, celeste, accordion 

6. All Strings [see C below] 

B. Any combination of two (2) instruments from separate groups listed below will be considered one (1) double. Multiple instruments 

within the same group will NOT be considered doubling. 

1. Drummer’s standard outfit consisting of bass drum, snare drum, cymbals, small traps and tom toms (when used as part of a 

standard outfit). 

2. Tympani. 

3. Latin rhythm instruments. (Any Latin instrument when used in less than eight bars in connection with any other instrument or used 

NOT in rhythm pattern shall NOT in any event be a doubling instrument). 

C. Any combination of two (2) instruments listed below will be considered one (1) double. Additional instruments will be considered 

additional doubles. 

The Local 257 Executive Board’s recommendation to this proposal is 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 

Whereas, Almost all staged ballet and staged opera work is done by the Nashville Symphony; and 

Whereas, Pit Work scale for this type of work has been increased in the past to match NSO scale in their Collective Bargaining Agreement; 

therefore, be it 

Resolved, That Section 11A (or its new designation in the reorganized Miscellaneous and Steady Engagement Wage Scale and Price List) be 

automatically updated upon the completion and ratification of any Nashville Symphony collective bargaining agreements in the future. 

Proposed by Laura Ross, Beth Beeson, Bradley Mansell, Dan Lochrie, Steve Brown, and Liz Stewart. 

The Local 257 Executive Board’s recommendation to this proposal is favorable. 

Proposal to increase Musical Theater/Broadway Show Performance and Rehearsal Scales: 

Whereas, Section 11(B) Musical Theater, Broadway Shows of the Miscellaneous Wage Scale and Price List of the Nashville Association of 

Musicians Local 257 has not been changed in excess of five (5) years, and is considered by many to be too low in relation to comparable scale 

rates within Nashville; therefore, be it 

Resolved that Performance and Rehearsal scales be increased as of June 1, 2007 to: 

Performance: 

Sidemusician………………….........$100 

Concertmaster ………………...$125 

Rehearsal rates, per hour (3 hour minimum): 

Sidemusician..………………….$30 

Concertmaster………………....125% 

Submitted by Paul Ross, Robert Shankle, Julia Emahiser, William Huber, James Grosjean and Ron Sorbo. 

The Local 257 Executive Board “had no recommendation pending clarifiction.” 

Craig Morgan and Rodney Atkins, captured by 

Patricia Presley’s camera, are ACM nominees. 

ACM award nominees 

to learn results, May 24 

The Academy of Country Music announced 

this year’s nominees in 13 categories, 

with veteran George Strait nabbing the 

most nods with eight, followed by Brooks & 

Dunn with seven, Rascal Flatts six, Carrie 

Underwood five, Big & Rich four, and three 

nominations each to Vince Gill, Gretchen Wilson 

and Josh Turner. 

Winners will be announced May 15 during 

a live CBS telecast of the 42nd annual 

ACM awards at the MGM Grand Garden 

Arena in Las Vegas. Kenny Chesney joined 

Sugarland to read the list during the Country 

Radio Seminar in Nashville. 

Here are the nominations: Entertainer of 

the Year - Brooks & Dunn, Chesney, Tim 

McGraw, Rascal Flatts and George Strait; Top 

Female Vocalist - Sara Evans, Faith Hill, 

Miranda Lambert, Martina McBride and Carrie 

Underwood; Best Male Vocalist - Chesney, 

Strait, Toby Keith, Brad Paisley and Keith 

Urban; Top Vocal Group - Diamond Rio, 

Emerson Drive,, Little Big Town, Lonestar and 

Rascal Flatts; Best Vocal Duo - Brooks & 

Dunn, Big & Rich, MontgomeryGentry, 

Sugarland and The Wreckers. 

For Best New Female Singer - Miranda 

Lambert, Kellie Pickler and Taylor Swift; Best 

New Male Singer - Rodney Atkins, Craig 

Morgan and Chris Young; Best New Duo/ 

Group - Heartland, Little Big Town and The 

Wreckers. 

Top Album - “Hillbilly Deluxe,” Brooks 

& Dunn, produced by B&D, Tony Brown, 

Mark Wright & Tom Shapiro; “It Just Comes 

Natural,” co-produced by Strait and Tony 

Brown; “Me & My Gang,” co-produced by 

Rascal Flatts & Dann Huff; “Some Hearts,” 

Carrie Underwood, co-produced by Mark 

Bright & Dann Huff; and “These Day,” coproduced 

by Vince Gill, John Hobbs and Justin 

Niebank. 

Best Single - “Before He Cheats,” 

Underwood, produced by Mark Bright; “Give 

It Away,” Strait, co-produced by Strait & 

Brown; “I Loved Her First,” Heartland, produced 

by Walt Aldridge; “What Hurts the 

Most,” Rascal Flatts, co-produced by RF & 

Huff; and “Would You Go With Me,” Josh 

Turner, produced by Frank Rogers. 

Top Song - “Amarillo Sky,” Jason Aldean, 

co-writers Kenny Alphin, John Rich, Rodney 

Clawson & Bart Pursley; “Before He Cheats,” 

Underwood, co-writers Josh Kear & Chris 

Tompkins; “Give It Away,” Strait, co-writers 

Bill Anderson, Buddy Cannon & Jamey 

Johnson; If You're Going Through Hell (Before 

the Devil Even Knows),” Rodney Atkins. 

co-writers: Dave Berg and Sam & Annie Tate; 

and “Would You Go With Me,” Josh Turner, 

co-writers: Shawn Camp & John Scott Sherrill. 


A good suggestion: Support our advertisers!


Local 257 guitarist also writes, sings, produces . . . (#1 record) 

Patience pays off for both Atkins, Curb 

Rodney Atkins performs on CRS New Faces Show. 

By WALT TROTT 

AFM Local 257 member Rodney Atkins 

certainly had a memorable day, March 28, 

marking his 38th birthday at BMI. 

Just as the performing rights organization 

saluted the singer-songwriter with a #1 party 

for “Watching You,” label chief Mike Curb 

announced that Atkins’ album “Going Through 

Hell” had just been certified by RIAA a platinum 

seller. 

“This is the first song I’ve ever written that 

went number one, and it being such a personal 

thing, I can’t imagine it being more special,” 

noted Atkins. “It’s like every country music 

fairy tale come true . . . I never stopped believing 

it was possible to have number ones, 

but having an album go platinum is definitely 

huge.” 

“Watching You” boasted four weeks at #1 

on Billboard, starting Jan. 27. Being his first 

charttopper that he wrote, BMI presented 

Atkins with a guitar (as part of a new policy 

for first-time #1 writers only). The title track 

from his CD also went number one for Atkins 

four weeks starting Aug. 12, 2006, and later 

named Billboard’s most played country song 

of the year. 

He’s proud of their number one song’s message 

which he helps to put across. Atkins added 

that lots of e-mails confirmed for him that 

those with such addiction appreciated the song: 

“It kind of shook them loose. I’m proud to be 

a part of family-friendly music. People want 

those kinds of songs.” 

The frosting on his career cake was being 

nominated by the Academy of Country Music 

as best new male vocalist, while a second best 

song nomination (a writer’s trophy) came for 

his record “If You’re Going Through Hell,” 

co-written by Dave Berg, Annie Tate and Sam 

Tate. (Winners will be announced May 15.) 

During his media chat, the 6-foot, 4-inch 

Atkins pointed out he would be going on tour 

with Martina McBride, followed by yet another 

tour with prankster Brad Paisley this 

summer. He praised both artists: “They represent 

the best of what country music stands 

for. I can’t explain how humble and thankful I 

am to be part of this group.” 

Co-writers sharing his big day for “Watching 

You” were fellow BMI writer Steve Dean 

and SESAC writer Brian White, who had been 

saluted earlier in the week by that agency. 

Among hundreds attending the BMI bash were 

Atkins’ wife Tammy Jo (who gifted him with 

his first set of golf clubs), their 5-year-old son 

Elijah, Rodney’s mom and dad Margaret and 

Allen Atkins (“my role models”), his band 

members, label boss Mike Curb and such other 

industry figures as BMI’s Jody Williams, 

CMA’s Rick Murray, publisher Charlie Monk 

(Mayor of Music Row), Sarah Trahern and Ed 

Hardy of GAC (which plays his videos), WSM 

Opry manager Pete Fisher (could it be Rodney 

Label boss Mike Curb makes platinum presentation. 

may be the next and newest cast member?), 

Craig Wiseman, Ed Morris, Becky Hobbs, Ed 

Benson, Vernell Hackett, Dave Berg, Bob 

Paxman, Joe Stampley, Taylor Swift, John 

Lomax III, Eddy Raven, Annie and Sam Tate, 

Ed Salamon and Barry McCloud. 

Curb presented the star with both a platinum 

disc for his album (indicative of more 

than a million units shipped), and the rugged 

International Scout vehicle used in his last two 

music videos, saying of the used ATV, “I predict 

that will be in the Country Music Hall of 

Fame someday.” 

Atkins shared with us a couple anecdotes 

concerning him and Elijah, who appeared in 

dad’s music video, noting that the boy was 

surprised while eating out at Taco Bell when 

someone shouted, “That’s the Buckaroo kid!” 

before spotting Atkins. After the recognition 

factor occurred again, Elijah stated matter-offactly, 

“Daddy, we’ve got fans everywhere!” 

One must commend Curb Records for its 

patience with artist Atkins, who during his 

Photos by Patricia Presley 

decade at the label, first charted in 1997 with 

his self-penned “In a Heartbeat” one week 

(#74) only, and five years later returned to the 

chart with back-to-back Top 40s: “Sing Along” 

and “My Old Man.” The following year, however, 

Atkins finally scored his first legitimate 

hit: “Honesty (Write Me a List)” (#4, 2003). 

Sadly, his 2003 album “Honesty,” for which 

he wrote eight of the 12 tracks, failed to register 

Top 40 chartwise. 

Some label heads might have dismissed this 

East Tennessee boy as a one-hit wonder, but 

not Curb Records’ chief. 

“Rodney learned the totality of the business,” 

crowed Curb. “He learned how to use 

his voice as an instrument in part of the recording 

process. But he also learned how to 

produce, how to write and how to grow.” 

Acknowledging appreciation, Atkins said, 

“Curb Records never stopped believing it 

would be possible for me to have a number 

one song . . . I never stopped believing in 

myself, because people around me never 

stopped believing.” 

The birthday boy also disclosed that his album 

was recorded on a shoe-string, at his 

home studio away from Nashville, joshing that 

it’s probably the cheapest CD that Curb 

Records has yet released. 

Atkins also added he hopes Curb will permit 

him to make his next album the same way. 

“The record label let him be himself and 

it’s nice to have a label stick with him and then 

be surrounded by people who support him 

being himself,” bolstered Greg Hill, Atkins’ 

manager. 

So all are anxious to see how his current 

single “These Are My People” (which he 

didn’t write) does at radio. By the way, Atkins 

did co-write six of his album’s 10 tracks. 

One of the few extravagances Rodney 

Atkins has allowed himself with his newfound 

success, was to put in “a circle drive at 

my houses, so the bus can turn around.” 

Here’s an artist who knows all about turning 

things around. Congratulations, Rodney. 

Wife Tammy Jo and son Elijah share dad’s big night. 

Elijah and Rodney’s parents Margaret and Allen 

Pros Eddy Raven and Joe Stampley pay respects. Veteran vocalist Becky Hobbs applauds Atkins. 

Atkins make his #1BMI bash a real family affair. 

Country Music Television announces best 

The fan-voted Country Music Television 

(CMT) awards isn’t locked into the tunes or 

artists promoted by country radio, giving the 

controversial Dixie Chicks a chance to wind 

up in the winner’s circle. 

Apart from the Grammys, the Texas trio’s 

been missing in action from recent country 

awards programs, due to lead singer Natalie 

Maines’ outspoken 2003 comments raggin’ 

against Presidential politics. 

Rascal Flatts nabbed three CMT nominations 

in a year that has seen them crossing over 

into pop music charts and setting box office 

records with their concert sales. 

The Dixie Chicks are now vying for the 

top dog in best video honors, as well as for 

best group video. 

Incidentally, the largest list is reserved for 

the best overall video category with eight 

nominees, which will be reduced to four on 

the night of the actual awards show, April 16, 

obviously being telecast by CMT. 

Nominees for Best Video are the Chicks’ 

“Not Ready To Make Nice,” Carrie 

Underwood’s “Before He Cheats,” George 

Straits’s “Seashores of Old Mexico,” Keith 

Urban’s “Once in a Lifetime,” Kenny 

Chesney’s “You Save Me,” Rascal Flatts’ 

“What Hurts the Most,” Sugarland’s “Want 

To” and Toby Keith’s “A Little Too Late.” 

Up for Best Female Video are Carrie 

Underwood, Faith Hill’s “Stealing Kisses,” 

Gretchen Wilson’s “California Girls,” and Sara 

Evans’ “You’ll Always Be My Baby.” 

Best Male Video contenders are Chesney, 

Keith, Josh Turner’s “Would You Go With 

Me,” and Tim McGraw’s “My Little Girl.” 

Duo Video nominees are Sugarland, Big 

& Rich’s “8th of November,” Brooks & 

Dunn’s “Building Bridges,” and The Wreckers’ 

“Leave the Pieces.” 

Group Video honors competitors are the 

Dixie Chicks, Little Big Town’s “Good As 

Gone” and both Rascal Flatts’ “Life Is a Highway” 

and “What Hurts the Most.” 

Breakthrough Video contenders: Jason 

Aldean’s “Amarillo Sky,” Kellie Pickler’s 

“Red High Heels,” Taylor Swift’s “Tim 

McGraw” and The Wreckers’ “Leave the 

Pieces.” 

Wide Open Country Video (one that pushes 

the boundaries of the genre): Jack Ingram, 

“Love You,”; Jimmy Buffett, “Bama Breeze”; 

Johnny Cash’s “God’s Gonna Cut You Down”; 

and Sheryl Crow-Sting’s “Always On Your 

Side.” 

Up for Best Director’s award for music 

video of the year, are: Paul Boyd for Gary 

Allan’s “Life Ain’t Always Beautiful”; Roman 

White for Carrie Underwood’s “Before 

He Cheats”; Shaun Silva for Kenny Chesney’s 

“You Save Me”; and Wes Edwards for Jason 

Aldean’s “Amarillo Sky.” 

The awards show is slated to beam live 

from Belmont University in Nashville, hosted 

by country comic Jeff Foxworthy.


A letter from AFM President 

Thomas F. Lee to Local 257 

Dear Harold Bradley: 

At their meeting, Feb. 22, 2007, the Trustees 

of the American Federation of Musicians 

and Employers’ Pension Fund (“Fund”) 

adopted a reduction in the benefit multiplier 

from $3.50 to $3.25 for benefits that begin at 

age 65. (Corresponding reductions will apply 

to benefits beginning before age 65.) 

This reduction will not affect the calculation 

of benefits based on contributions for covered 

work before April 1, 2007. It will apply 

only to the calculation of benefits based on 

contributions for covered work on or after 

April 1, 2007. 

Every participant will receive a detailed 

notice from the Fund in the mail in the next 

several weeks, explaining the conditions that 

required this action and the effect of the change 

on benefits. In brief, because of the continued 

effects of the downturn in the financial markets 

in 2001-2003, the Trustees concluded that 

this reduction is necessary to ensure that the 

Fund will satisfy the minimum funding rules 

of federal tax law in the short term. 

At the same time, the Fund’s actuaries 

have updated their assumptions and project 

that, with this reduction, the Fund’s financial 

condition will be very sound and steadily improving 

as far out as their projections go - 

which is 2041. 

There can be no guarantees, but if there 

are no events similar to the unusually extended 

and adverse financial conditions of the early 

2000s, and the actuarial assumptions otherwise 

hold true, this should the only reduction necessary. 

The Trustees will carefully monitor the 

funding status of the Fund so that the 25 cents 

can be restored as soon as the Fund’s conditions 

permit. 

- Thomas F. Lee, 

President, AFM 

New York City 

More on CITES 

Gruhn Guitars’ CEO writes 

on NAMM ‘action initiative’ 

re endangered species’ regs 

Editor’s note: Fellow Local 257 member 

Walter Carter, who works with Gruhn Guitars 

has requested that the following be published 

to help enlighten members in reference to the 

upcoming Convention on International Trade 

in Endangered Species (CITES), scheduled in 

June 2007. The following is an open letter from 

George Gruhn: 

Recent changes in the enforcement of the 

CITES treaty (Convention on International 

Trade in Endangered Species), along with proposed 

changes in the treaty itself, could have 

a devastating effect on musical instrument 

makers and dealers and could even make 

criminals of many musicians who carry their 

instruments across international borders. 

NAMM (the International Music Products 

Association) is lobbying federal officials on 

these issues and has declared an “action initiative,” 

asking guitar owners, dealers and 

makers to voice their support with a web-based 

letter-writing campaign. 

Dealers, guitarmakers and importers have 

already been adversely affected by tighter enforcement 

of restrictions on Brazilian rosewood 

and the implementation of a near-impossible 

permit process in the U.S. Now the 

160-plus CITES member countries have been 

asked to restrict Honduras rosewood, Nicaraguan 

rosewood and pernambuco. These woods 

do need protection, but the proposal does not 

stop with restricting raw lumber. It extends to 

finished goods – not just new goods but all 

existing goods, such as violin bows. Virtually 

every good-quality violin bow made in the last 

200 years is made of pernambuco, and if the 

proposal goes through, it will be illegal to cross 

an international border with a pernambuco 

bow without a permit. The permitting process 

requires a separate permit for every border 

crossing which, combined with the cumbersome 

process of getting even one permit for 

U.S. export, makes it legally impossible to tour 

internationally with a CITES-restricted instru- 

ment. These restrictions already apply to finished 

goods – including numerous vintage 

guitars – containing Brazilian rosewood, elephant 

ivory or tortoiseshell (hawksbill sea 

turtle). 

NAMM has a governmental affairs department 

with an attorney on retainer. NAMM’s 

attorney effectively lobbied the CITES board 

when Brazilian rosewood was added to Appendix 

I (the most restricted group) of CITES 

in 1992. NAMM is now calling for an “action 

initiative” and has set up a web page with a 

form letter that can be edited and personalized 

to reflect each individual’s concerns. The 

letter can be e-mailed to the appropriate federal 

authorities from the website or printed for 

fax or regular mail. The CITES board meets 

in Geneva, Switzerland, in June, but the Fish 

and Wildlife Service (which administers 

CITES in the U.S.) will only be accepting letters 

from the public until April 20. The URL 

is http://www.namm.org/government-relations/export-restrictions-alert. 

There are two points that should be made 

in a letter to Fish and Wildlife. First, existing 

finished goods should not be restricted on Appendix 

II items, specifically on Honduran rosewood, 

Nicaraguan rosewood and pernambuco. 

While the three woods are not widely used in 

guitars, the precedent of restricting finished 

goods – which would cover all pre-existing 

products – could be devastating if applied to 

common guitar woods. More important, 

though, in the long run is the need for a practical 

certification process – preferably one in 

which individual instruments, both new and 

pre-existing, can be permanently certified as 

to age and materials. Again, the time to act is 

now, before the April 20 deadline. 

Many readers of VG, and virtually all major 

vintage guitar dealers and makers, have 

been aware of the ramifications of the CITES 

treaty since its implementation in 1974 or at 

least since the addition of Brazilian rosewood 

to Appendix I in 1992. For items on Appendix 

I, finished goods as well as raw lumber can 

not cross international borders without a permit 

stating that the item was made before a 

certain date (1992 in the case of Brazilian rosewood). 

Prior to 1969, when Brazil stopped 

shipping rosewood as raw lumber, the use of 

Brazilian rosewood in musical instruments 

was pervasive; even the makers of cheap guitars, 

mandolins and banjos used Brazilian rosewood 

for fingerboards. With the advent of 

CITES, shippers either got a permit for each 

instrument (which required a great deal of time 

and paperwork, plus a reciprocal permit on the 

part of the receiver) or else they simply lied 

on the declaration. Although we have heard 

of only a few cases where musicians have been 

stopped from crossing a border with their own 

personal instrument containing an Appendix I 

material, it has nevertheless been illegal to do 

so in the case of Brazilian rosewood since 

1992. 

The certification process in the United 

States has recently gone from cumbersome to 

near-impossible. Where a dealer used to be 

able to get a permit for an individual shipment, 

now a dealer has to list all inventory items containing 

CITES-protected materials and then 

list all of those that he plans to ship or carry 

across a border within the next sixth months. 

If the dealer should acquire another instrument 

with CITES-protected materials during that 

sixth month period, that instrument would 

have to wait until the next permit period before 

being eligible for a permit. In addition, 

customs officials in the U.S. and Japan in particular 

are scrutinizing shipments more carefully, 

requiring the Latin names of wood species 

and their country of origin before letting 

them enter the country. While dealers have 

become accustomed to lax enforcement, we 

do know of recent instances where a dealer’s 

shipment was stopped by Japanese customs 

and where a shipment of Chinese-made guitars 

coming into the U.S. was stopped for lack 

of proper documentation. 

Two of the more commonly used guitar 

woods – Honduras mahogany and Brazilian 

mahogany - are currently on Appendix II and 

restricted only as raw lumber, but they are becoming 

so scarce that they could be moved in 


OUR READERS WRITE . . . 

Dear Editor: 

Thanks for the excellent coverage of the 

first part of the FCC Hearings in Nashville on 

Dec. 11, 2006. It certainly was a star-studded 

event and among all the media hoopla there 

was some solid testimony from the Nashville 

celebrity panel, including President Bradley’s, 

which was covered very well in the last issue 

of this paper. 

There are a few additional points worth 

noting from later in the day, however. As you 

noted in your article, some of the FCC Commissioners 

were very upfront about the mistakes 

that have been made by the FCC in the 

past few years, especially under previous 

Commissioner Michael Powell. Many things 

were said about the importance of the public 

having a chance to speak, but unfortunately 

the actions on that day of the current head FCC 

Commissioner, Kevin Martin, did not reflect 

this. 

The second portion was for open testimony 

from the general public, and there were 

many dozens of people lined up for their turn 

to speak. Hal Ponder, AFM Legislative representative 

in Washington, D.C., had asked 

Bruce Bouton and myself to speak on behalf 

of the AFM and Local 257. We both spoke 

about different areas of the industry and the 

problems that Corporatization has created to 

new and independent artists and musicians trying 

to get their music heard. Our testimony 

was printed in the February issue of International 

Musician, for anyone interested in reading 

our testimony. 

Unfortunately, the one person who really 

needed to hear this testimony, FCC head Commissioner 

Kevin J. Martin, was not present, 

though he was in the building. What was very 

disturbing to me, and many other people, was 

that for the first hour of Public Testimony, Mr. 

Martin was nowhere to be found, never heard 

the testimony of Bruce, myself, and many 

other people, who had made a great effort to 

be at the hearing and register to speak. Therefore, 

Mr. Martin has no idea how AFM members 

feel about this extremely important issue, 

one that could mean life or death to the Music 

Business, as we know it. 

When he returned after being MIA for 

nearly an hour, his only excuse was that he 

was on his cell phone backstage “taking care 

of some important business” for the FCC. 

What could possibly have been more important 

than listening to the very people he is supposed 

to be serving? 

Mr Martin, you did the musicians of Local 

257 and people of Nashville and America 

a great disservice with your callous disrespect 

of the public process you supposedly came 

here to foster. One can only hope that these 

Public Hearings were more than just a media 

opportunity and mere lip service to the American 

Public. I hope that you will prove me 

wrong. We will all be watching the upcoming 

decisions of the FCC with great interest, and 

hope that you will do the right thing and loosen 

the choke-hold that media consolidation has 

put on OUR airwaves. 

- Dave Pomeroy 


Dear Harold: 

It was with great surprise and extreme 

pleasure to receive my letter of notification 

and Life Membership Pin. I also miss the 

(Grand Ole Opry’s) Willis Brothers and appreciate 

your comment that you missed them 

also. 

This letter will be a valued addition to my 

memories and collected memorabilia of my 

career as a musician, entertainer and a member 

of AFM Local 257. Thank you and God 

bless. 

- Joe Willis 

Nevada, Mo. 

Dear Walt: 

Thanks for the great coverage on Alias 

(Alias boasts Symphonic players, and now 

enters its fifth year of concerts, January 2007) 

in the paper. Will have comp tickets under your 

name at will-call the night of the concert. Hope 

to see you there. Thanks. 

- Zeneba Bowers 


Dear Walt: 

Just received and read your wonderful article 

on The Time Jumpers (Jan. 2007 issue). 

You do incredibly eloquent work. You really 

do love the music and those that make it. 

Thank you, also, for the tribute to our 

friend Del Reeves. I will miss him as I know 

you will, as well. All of us who knew him are 

very appreciative of your article. Well done. 

- Terry Choate 

Magnet Music Group 


Hi Walt: 

Thanks for putting such a great article together 

(Baldassari turns onto ‘Bach, Beatles, 

Bluegrass,’ Jan. 2007) for me! Do you know 

if it is on the Internet somewhere? On the AFM 

site, maybe someplace that I could link to it. 

It’s a nice piece of information+publicity, etc. 

-Butch Baldassari 


(Editor’s note: All articles - and advertising 

- featured in The Nashville Musician are 

also posted on the AFM Local 257 website, 

www.AFM257.org for its members.) 

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. 

. . . ACM award nominees 


Top Video - “Eighth of November,” Big & 

Rich, produced by Steve Lamar, directed by 

George Deaton, Robert Flanigen & Marc 

Oswald; “Amarillo Sky,” Jason Aldean, produced 

by Brittany Hailes, directed by Wes 

Edwards; “Before He Cheats,” Underwood, 

produced by Randy Brewer and directed by 

Roman White; “Hillbilly Deluxe,” B&D, produced 

by Mark Kalbfeld and directed by 

Michael Salomon. Director: Michael 

Salomon; and “Seashores of Old Mexico,” 

Strait,produced by Shelli Jury and directed by 

Trey Fanjoy. 

Vocal Event - “Building Bridges,” B&D 

with Sheryl Crow & Vince Gill, produced by 

B&D and Brown; “I Don't Want To,” Dunn & 

Ashley Monroe, produced by Mark Wright; 

“Me and God,” Josh Turner, Ralph Stanley, 

Diamond Rio’s Marty Roe, Dana Williams & 

Gene Johnson, produced by Frank Rogers; 

“Politically Uncorrect,” Gretchen Wilson & 

Merle Haggard, co-produced by Wilson, John 

Rich & Mark Wright; “That's How They Do 

It In Dixie,” Hank Williams, Jr., Gretchen Wilson, 

Big & Rich and Van Zant, produced by 

Doug Johnson.


Violinist Joann Cruthirds to retire from NSO in June 

By LAURA ROSS 

Symphony Steward 

After 45 years of professional orchestra 

performance with the Austin Symphony, Chicago 

Lyric Opera, Oklahoma City Symphony, 

San Antonio Symphony, and for the past 36 

years as a member of the Nashville Symphony, 

Joann Cruthirds has decided to put her Testori 

violin back in the case for good. Her final concert 

with the Nashville Symphony Orchestra 

(NSO) will be the weekend of May 31 – June 

2, 2007. 

Joann grew up in Beaumont, Texas, just 

70 miles from Houston. Her’s was a musical 

family. Her mother played and taught violin 

and piano (Joann began piano lessons at the 

age of 4). Her brother Hal (exactly five years 

her senior, since they were born on the same 

day) was supposed to play the violin but a 

Houston Symphony concert changed all that. 

He chose to play the cello (because he could 

sit down according to Joann) and years later 

became Nashville’s principal cellist. 

Joann (whose perfect pitch was discovered 

by her mother at age 5) began playing 

the violin at age 6 and these three performed 

as a trio for many years. Joann’s dad also got 

into the act – as an alto saxophone player, he 

joined them to make hymn recordings and 

perform for their friends and neighbors. 

Joann headed to Chicago after three years 

at the University of Texas at Austin, and received 

her Bachelor and Master of Music degrees 

from the American Conservatory of 

Music, where she studied with the Concertmaster 

of the Chicago Symphony, Sidney 

Harth. Her three years as a member of the San 

Antonio Symphony were not a happy time and 

knowing her brother and Thor Johnson were 

in Nashville led her to audition for assistant 

principal second violin in 1971. 

Mary Curtis Taylor was the first of seven 

principals Joann shared a stand with over the 

next 36 years. In 1971, the Nashville Symphony 

was a per service orchestra that performed 

all of its services in the evenings. 

Concerts were at War Memorial Auditorium 

and rehearsals were held in various local 

churches. Joann also became a member of the 

Nashville Symphony String Quintet, which 

was comprised of the principal string players 

in the orchestra. Since Mary Curtis lived in 

Murray, Ky., and had another job, Joann became 

the Quintet’s 2nd violinist. The group 

traveled and performed in all the local schools 

in the Metro area. (Years later and many concerts 

later, Joann received a letter from the 

Symphony stating that she had done so many 

concerts, she was done!) 

Joann also taught piano and violin in Concertmaster 

Sam Terranova’s three music stores 

– at one point she had as many as 30 students. 

Once the Tennessee Performing Arts Center 

(TPAC) was built, things began to change 

for the Nashville Symphony. Thor Johnson 

died in 1975, and Michael Charry became the 

next Music Director for five years. The Little 

Symphony or Chamber Orchestra was formed 

with a compliment of 38 musicians – the first 

core contracts in the NSO. Now the Chamber 

Orchestra visited Metro schools instead of the 

Quintet. 

By the time I arrived in 1984, the Nashville 

Symphony was entering negotiations for 

the contract that spelled out the various tiers 

in the NSO, and Joann was sitting with her 

fourth principal, Phyllis Maza. 

Mary Curtis Taylor had moved to the first 

violin section and was replaced by Carol 

Walker (Gorodetzky) who was followed by 

Larry Lasson. After the bankruptcy in 1988, 

Teresa Fream replaced Phyllis Maza, who had 

left the orchestra during the eight-month work 

stoppage. A few years later Teresa left the NSO 

to become a member of Chicago Lyric. 

Mary Lee Scott replaced Teresa, and Carrie 

Bailey succeeded Mary Lee as our current 

principal 2nd violin. During all this time, Joann 

found herself filling in as principal 2nd violin 

for extended periods of time during and between 

auditions. Six years ago, Joann decided 

it was time to step back into the section and 

let someone else “take the heat.” 

You know, if you stay around long 

enough, you find that most of your colleagues 

are unaware of your previous activities and 

service on their behalf. Joann not only put in 

“time” as the NSO assistant librarian, but also 

served as a member of the Nashville Symphony 

Players’ Assembly (NSPA) Orchestra 

Committee and as Treasurer for a number of 

years following her term. 

Nineteen years ago, Joann was in the 

thick of things as the orchestra shut down, and 

the orchestra committee was forced to act in 

the capacity of negotiation committee, a job 

they were all unprepared for, during those eight 

months. She served along with Dewayne Pigg 

(chair), Randy Ford, Sarah Fogel and Paul 

Tobias; Mike Karr was the union steward. The 

committee fought as best they could to get 

everything they could for the orchestra, and 

as treasurer she was responsible for collecting 

and counting all the receipts of benefit concerts 

performed during the shutdown. It was a 

difficult time, made even worse when musicians 

were forced to go to the unemployment 

offices every few weeks. The orchestra tried 

to stay together but sadly, there were divisions 

that took years to heal once we returned to 

work in October 1988. 

But there have also been great memories. 

Joann shared a few of her favorite stories: 

The first was an engagement of the Nashville 

Symphony to perform during half-time 

at a hockey game in Municipal Auditorium. 

The orchestra was set up in the bleachers and 

as Thor Johnson began conducting the orchestra, 

out came the Zamboni to clean the ice! 

Though Thor continued through the entire program, 

the audience heard very little. 

A vintage shot of Joann Cruthirds (left) and fellow players in performance, courtesy of the violinist. 

Joann and her brother Hal in a more recent photograph. 

Another time, Brian Groner (assistant conductor 

and previously a 1st violinist in the orchestra) 

was leading a concert on some property 

close to Opryland. The orchestra was supposed 

to play as a parachutist landed in front 

of the orchestra. Unfortunately, his landing 

was a little off . . . he ended up in the 

Cumberland River. 

Joann’s final story has become something 

of an urban legend. Steve Sefsik was our one 

time principal clarinet and following the shutdown, 

our bass clarinetist. In his final year with 

the orchestra, we were set up for a full orchestra 

photo session following a concert. During 

the photo shoot many of us heard laughing but 

didn’t understand the implications until the 

photos were printed. In every single photo, just 

before the picture was taken, Steve had managed 

to slip on “Groucho” glasses, complete 

with big nose and mustache! In the end, Steve 

The Nashville Symphony has launched a 

bold new music education initiative, labeled 

Music Education City. 

It comes courtesy of the Nashville Advisory 

Council, the Symphony’s community 

leadership task force. 

This four-year program will see the Symphony 

helping mobilize local schools, community 

leaders and citizens to promote music 

educational opportunities in Music City. NSO 

will continue to present and further develop 

education-oriented concerts, instruction and 

deveolopment for young people - and adults. 

NSO’s Alan D. Valentine, president, says, 

“Music education has always been at the heart 

of the Nashville Symphony, but with the opening 

of Schermerhorn Symphony Center, we 

felt it was the right time to reevaluate those 

programs to coincide better with the needs of 

the Nashville community. The result - Music 

Education City - is an exciting initiative that 

we think may provide a model for other cities 

and orchestras around the country.” 

So what’s it all about and whose idea is it? 

Music Education City is the brainchild of 

Mitchell Korn, a nationally-known expert on 

music education. Korn’s research laid the 

groundwork for the four-year plan consisting 

of six key components or “pillars,” to expand 

existing programs and implement new ones. 

What are the program’s six pillars? 

They are: Advocacy, Concerts for Children, 

Applied Music Instruction, Family & 

Adult Education, Professional Development, 

and Education On Tour. 

Korn notes: “While conducting my research, 

I was devastated to find out that on 

average there is only one music teacher for 

every 700 students in the Nashville area. In a 

city that has such a rich and diverse music 

scene, it is critical that young people have the 

resources to learn music, so that they can continue 

this wonderful musical tradition . . . 

Music Education City will help provide those 

resources, as well as communicate the positive 

impact music education can have on the 

lives of our children.” 

Regarding Advocacy, NSO’s new pro- 

paid for the “damaged” photos, but made sure 

to get a tax credit for his donation to the Nashville 

Symphony! When he retired he was presented 

with a blown up section of the photo, 

signed by the entire orchestra around the border. 

Speaking as a 2nd violinist of 22 years 

and as one who shared a stand with Joann both 

as principal and a section musician, I can honestly 

say we are losing a fine violinist, a great 

leader, and a person of great personal integrity. 

I know Joann is looking forward to more 

time to work around her new house and do 

some traveling, but I also know she’ll be in 

our audience cheering us on. 

Joann has been a terrific friend for more 

than 20 years, and I will miss her presence in 

our section. I know all my colleagues wish 

Joann the very best in retirement and would 

all agree – Job very well done. 

NSO seeks to enhance education programs 

gram focuses on communicating the substantial 

benefits of music education and encouraging 

the public to help make music education 

a school priority. Key to the campaign will 

be incorporating local VIPs such as Mayor Bill 

Purcell, NSO Conductor-Advisor Leonard 

Slatkin, Titans’ Linebacker David Thornton 

and Predators’ Coach Barry Trotz, and other 

celebrities as spokespersons. 

Regarding Children’s Concerts, Symphony 

players will participate and perform 

both inside and outside the classroom. 

Under Music Education City, these concerts 

will be closely tied to state standards and 

provide local educators additional resources 

for classroom efforts. 

Regarding Music Instruction, NSO plans 

even more programs for individuals and 

groups in Middle Tennessee. One new initiative, 

the Young Musician Fellowship Program, 

offers aspiring musicians mentorship from 

orchestra members. The Symphony and visiting 

guest artists will give master classes and 

sectionals for interested school music groups. 

For Family and Adult Education, NSO will 

continue popular family programs, such as the 

Pied Piper concert series and Classroom Classics, 

giving students and one parent admission 

to select performances. Additionally, the Symphony 

plans programs like Is it a Fiddle or a 

Violin?, jointly with the Country Music Hall 

of Fame, exploring stylistic differences between 

classical and country. 

Under Music Education City, there will be 

more education opportunities, a la OnStage At 

The Schermerhorn, introduced in January, a 

free informal discussion series with music designed 

for adult audiences, who can discuss a 

variety of musical topics with NSO musicians 

and varied faculty members. 

Professional Development courses will be 

available to performers, educators and classroom 

teachers throughout the four years. 

Education on Tour is a new customizable 

offering of events combining family and youth 

concerts, ensemble presentations and professional 

development opportunities for community 

groups and organizations.


CD releases showcase early Dolly Parton, golden girl 

By WALT TROTT 

Dolly Parton’s a phenomenon, who has 

successfully devoted her life to the promotion 

and perpetuation of her entertainment career. 

The lady’s achievements have been many, 

since her first solo Billboard charting 40 years 

ago (on Jan. 21), with a Top 20 Curly Putman 

ditty “Dumb Blonde” on Monument. 

Make no mistake about it, Parton’s been 

shrewd enough to have parlayed her talents 

and image into several mediums, including 

records, television, film, stage and even to the 

task of promoting Dollywood, an outdoor 

theme park (that out-shone the competing 

Opryland USA), scoring a winning hand every 

time. 

Dolly’s durability is no doubt due in part 

to her unique ability to appeal to both male 

and female audiences. Although packaged as 

country’s first real glamour girl, women came 

to look on Parton as larger than life, no true 

threat to their fellows. A trait she exhibited so 

well in roles like “9 To 5” and “Steel Magnolias,” 

where on screen she led the way in giving 

guys their come-uppance. Still, she remained 

a pin-up, worthy of a perennial Playboy 

model in the minds of many men. 

Topping her multiple Grammy, CMA, 

ACM and People’s Choice awards, she’s forever 

enshrined in the Country Music Hall of 

Fame, Nashville Songwriters Association 

International’s Songwriters’ Hall of Fame, and 

has just been named by the National 

Songwriters Hall of Fame as the 2007 recipient 

of its prestigious Johnny Mercer Award. 

(Yesteryear pop singer-songwriter Mercer 

attained such hits as “Ac-Cent-Tchu-Ate 

the Positive,” “On the Atchison, Topeka & the 

Santa Fe” and “Personality” himself, and 

penned for others classics like “Blues In the 

Night,” “That Old Black Magic,” “Dream” and 

“Moon River.” He no doubt would have marveled 

at Parton’s own Horatio Alger story.) 

Perhaps Parton’s greatest songwriting accomplishment 

is “I Will Always Love You.” 

Look at the record. It’s chalked up triple #1s, 

twice via her own recordings in 1974 and 1982 

(a rare feat indeed), and then hit #1 on the 1993 

Billboard pop chart, as recorded by Whitney 

Houston, did likewise on the UK charts, and 

was then named BB record of the year. Dolly’s 

ballad, which she said was written with Porter 

Wagoner in mind regarding the breakup of 

their professional partnership, has been featured 

in two major motion pictures: “The 

Bodyguard” with Houston; and “Best Little 

Whorehouse in Texas” starring Parton and 

Burt Reynolds. 

Dolly’s also hit the pop charts, her best 

showings being the crossovers “Here You 

Come Again” (#3, 1977) and two #1s “9 To 

5” (1981), and “Islands In the Stream” (with 

Kenny Rogers, 1983). With nearly 70 albums 

charted, 110 singles chartings, 57 of which 

were Top 10s and 24 peaking at #1, she is far 

and away country’s most successful singer of 

her sex. 

Now the superstar’s being honored 

with a triple retrospective record set in the 

RCA Label Group’s Legacy series, which 

features “I Will Always Love You” on the 

final disc, a revival of her 1974 hit album 

“Jolene.” 

Thanks to reissue producer Rob Santos, 

two earlier editions are also reprised: “Coat 

of Many Colors” from 1971, and “My Tennessee 

Mountain Home” initially produced in 

1973. 

On each CD are valued tracks previously 

unreleased, such as her “Sacred Memories,” 

an acoustic version of “My Blue Tears,” 

“Cracker Jack” and the plaintive ballad “Barbara 

On Your Mind.” The case inserts include 

a variety of Parton poses through the years, 

and veteran journalist Chet Flippo’s annotation. 

The sound reproduction is impeccable, 

aided and abetted by Sony engineer Vic 

Anesini, bringing back all the memories of her 

distinctive vocal ability to summon to the surface 

deep despair or stark loneliness in songs 

like “Coat Of Many Colors,” “A Better Place 

Here’s Dolly, as seen in the ‘Coat of Many 

Colors’ Legacy CD release’s liner notes. 

to Live,” “The Good Old Days (When Times 

Were Bad)” and “Jolene,” the latter her 

uptempo tune about the other woman. 

Legacy’s liner notes harken to 1973’s LP 

“My Tennessee Mountain Home” as the first 

collection cut by Dolly with all-original songs; 

however, one of our very favorite Dolly Parton 

album of original songs was her 1970 release 

“The Fairest of Them All,” which Santos 

passed over. It contains such heartfelt Dolly 

delights as “Daddy, Come and Get Me,” the 

plea of a young, abused wife; “I’m Doing This 

For Your Sake,” the dilemma of an unwed 

mother; “Down From Dover,” in which a 

maiden waits in vain for a false lover; and 

“Robert,” focusing on the previously musically 

taboo topic of incest. 

Indeed, Parton proved herself to be one 

of the few solid country female writers on the 

scene, one not having to rely on a Harlan 

Howard or Billy Sherrill to furnish a new hit. 

CD REVIEW 

On “My Tennessee Mountain Home,” 

Parton’s personal touches include recollection 

of a poignantly penned missive “The Letter”; 

a paean to the physician who brought her into 

this world, “Dr. Robert F. Thomas”; an ode to 

her native Smoky Mountains, “My Tennessee 

Mountain Home”; and one about life “Down 

On Music Row.” Incidentally, its bonus track, 

“Sacred Memories,” is lifted from her 1974 

album “Love Is Like a Butterfly.” 

“Coat of Many Colors” spawned three 

chart singles, the Top Five title tune, and two 

Top 20s, “My Blue Tears” and “Traveling 

Man.” It captures the spirit of the bustling 

young artist before becoming a household 

name. 

She charted the same number of weeks 

(23) with her LP “Jolene,” which produced 

Dolly’s second #1 single, the self-penned title 

tune, followed a few months later by yet another 

charttopper, “I Will Always Love You.” 

Among her superb fellow Local 257 musicians 

supplying support for these efforts, all 

originally produced by Bob Ferguson, are Pig 

Robbins, Pete Drake, Johnny Gimble, Bobby 

Thompson, Jerry Carrigan, Buddy Spicher, 

Jimmy Capps, Jerry Stembridge, Jimmy 

Colvard, Dave Kirby, Mack Magaha, Bobby 

Dyson, Ron Oates, Don Warden, Charlie 

McCoy, Buck Trent, David Briggs, Jerry 

Shook, Jimmy Riddle and backup vocalists 

such as Dolores Edgin, Joe Babcock, June 

Page and Hurshel Wiginton. Assisting overall 

in the ambitious reissue project were A&R 

man Steve Berkowitz and project director John 

Jackson. 

With some 70 albums to Parton’s credit, 

including six Platinum and as many or more 

Gold (nearly 40 Top 10, 6 at #1), the Legacy 

production crew could stay busy for years reissuing 

great product on the blonde singer. Nor 

does it appear Dolly’s stopped recording successful 

discs, as she charted most recently with 

last year’s Top Five award-winning “When I 

Get Where I’m Going” (with Brad Paisley), 

which marks her fifth decade in scoring hits. 

So Mr. Santos and Legacy, bring ’em on. 

Meanwhile, these three vintage Parton albums 

are a must for your CD library. We kid you 

not. 

The Music Performance 

Fund seeks sponsors! 

THE NASHVILLE MUSICIAN 

Official Journal of the American Federation of Musicians 

AFM Nashville Local 257 

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AFM Local 257 members’ status 

NEW MEMBERS 

MATTHEW LEE BILLINGSLEA 

(MATT BILLINGSLEA) 

DRM 

2000 UPLAND DRIVE 

NASHVILLE, TN 37216 

CHARLIE ANTHONY BORCHERT 

BAS 

335 PARGON DR. 

BELLBUCKLE, TN 37020 

Hm-()-233-5550 

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PIA VOC 

1537 LUPE AVENUE 

NORTH CANTON, OH 44720 

Hm-(615)-545-7715 

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(GABE DIXON) 

KEY VOC 

7926 HWY. 100 


Hm-(615)-414-7993 

CASEY CHRISTOPHER DRIESSEN 

VLN FDL 

1932 RIVERWOOD DRIVE 


Hm-(615)-262-3894 

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(STU GEISBERT) 

RG VOC BAS FDL GTR 

P.O. BOX 811 

MECHANICSVILLE, MD 20659 

Hm-(301)-884-8426 

DEAN HOLMAN 

BJO DBR STL 

166 TERESA TERRACE 

BRANSON, MO 65616 

Hm-(417)-337-9653 

SCOTT MATTHEW HUFF 

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Lifetime Name Date Deceased Birth Date Date Joined 

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. . . More about CITES 


the future to Appendix I, where finished goods 

are restricted. That is the typical CITES scenario, 

where materials move from Appendix 

II to Appendix I as they become more endangered. 

However, the proposal to place 

pernambuco on Appendix II with restrictions 

on finished goods will set a precedent that 

makes it easier to put finished-goods restrictions 

on all future additions to Appendix II. It 

is likely that such woods as Madagascar rosewood, 

cocobolo and numerous other tropical 

hardwoods will soon follow that precedent, 

making it increasingly difficult to find a quality 

guitar that can be legally transported across 

an international border. 

The need for a CITES agreement to protect 

tropical rainforests is inarguable, but the 

hardship that is being placed on owners of preexisting 

instruments is unnecessary. We have 

until April 20 to make the Fish and Wildlife 

Service aware. 

For more information, contact NAMM’s 

attorney: James M. Goldberg, Goldbert & Associates, 

PLLC, Suite 1000, 1101 Connecticut 

Ave., N.W., Washington, DC 20036. Tel. 

(202) 628-2929. Jimcounsel@aol.com 

TERRY DALE WARINER 

MACK A WATKINS 

TIM WATSON 

DAVID EMERY WEBB 

JAMES EARL WHITE 

MELINDA BOOTZ WHITLEY 

DAVID PAUL WILCOX 

CHARLES M WILLIAMS, JR 

DAN EDWARD WILLIAMS II 

KEVIN BRENT WILLIAMS 

LINDSEY B WILLIAMS 

STEVE B WILLETS 

ALBERT E WILSON 

APPLICATION REVOKED 

WILLIAM NELSON, JR. 

We welcome our newest staffer, Michele Voan 

Michele Lene Voan 

If you’re wondering who the pert new receptionist 

at the front desk is assisting Janet 

Butler and Arleigh Barnett, well then meet 

Michele Voan. 

She’s also a 10-year dues-paying member 

of AFM Local 257, one who both sings and 

plays a mean guitar. 

Michele hails from the East Texas town of 

Shepherd, just north of bustling Houston. Her 

roots hark back to her parents’ C&W show “in 

the metropolis of Tarkington Prairie,” and oh 

yes, they also played plenty of bluegrass. 

According to Michele, “I was also influenced 

by my mother’s love for the classic 

sounds of (pop favorites) Perry Como, Jo 

Stafford and Andy Williams. Of course, gos- 

(Unfortunately, this issue was delayed until 

the week of April 15, which means many will 

not be able to comply with the request herein; 

however, we felt that the information would 

be of the utmost interest to our membership 

and decided to go to press with it as is.) 

pel music was at the top of the list - singing in 

our church and at camp meetings.” 

So, it’s only natural that Michele would 

want to try her wings as a performer, and indeed 

is no stranger to a studio: “I moved to 

Nashville a few years ago, after coming here 

and recording some of my favorite ‘pop’ songs 

with Beegie Adair, Jimmy Capps, Sam Levine, 

Billy Linneman and Jerry Kroon. (I later recorded 

a Christmas ‘album’ with all of these 

folks, plus some of Nashville’s great string 

and horn musicians.)” 

She’s truly one gal who doesn’t shy away 

from work, working two regular jobs and also 

doing the occasional music gig. 

“I now work as the ‘Music Librarian’ at 

the Grand Ole Opry, or as the Opry Band respectfully 

calls me, the ‘Opry Chart Chick’! I 

am so happy to be working here at the Union— 

I tell everyone it’s like going to work with my 

friends, and then more of my friends call and 

stop by, my friends and fellow Union Members.” 

We’re just as happy to have her here, helping 

you and yours. As the song says, Michele 

(with all due apologies to writers, fellow Texans 

Bob Wills and Tommy Duncan), “Stay all 

night, stay a little longer!” 

- Patricia Presley photos 

Member Don Schlitz performs at CRS. 

Singer Billy Currington in a dreamy mood.


Radio and record folk seek common ground during annual Music City meet 

Jon Bon Jovi, CRS keynote speaker. 

(and owner) Toby Keith, honored for attaining 

his 50-millionth air-play performance. 

Thanks to songs like “Should’ve Been a Cowboy,” 

“How Do You Like Me Now?” and “As 

Good As I Once Was” (BMI’s top tune of 

2006) that puts him in the company of such 

singer-songwriter icons as Beatle John Lennon 

and the BeeGees. 

Keith confided that he didn’t yet have his 

duet partner Willie Nelson signed for his 2008 

“Beer For My Horses” movie, titled after their 

2004 hit song: “We’re smoothing out the script 

. . . and it looks like Kris (Kristofferson) will 

be in it.” Familiar faces in the crowd included 

Eddy Raven, Joe Stampley, Bob Oermann, 

John Lomax III, Bob Kingsley, Ed Benson, 

Hank Adam Locklin, Nelson Larkin and 

Harold Shedd, who signed Toby to his first 

major label pact at Mercury in 1992. 

Seeing his label’s acts, such as Flynnville 

Train there to cheer him on, we wondered was 

there a possibility Show Dog might sign 

Toby’s co-writer Scotty Emerick to a pact? 

By WALT TROTT 

Talent, talk, tunes and tirades typified this 

year’s Country Radio Seminar in Music City 

USA, Feb. 28 - March 2, at the Nashville Convention 

Center. 

From a personal standpoint, CRS-38 was 

both informative and entertaining, thanks to 

panels such as No Holds Barred: The Rap Session 

pitting artists, label honchos and radio representatives 

against one another; the emotional 

WCRS Live! acoustical pickin’ and singin’ 

songwriters’ session; plus the luncheons and 

New Faces program getting us better acquainted 

with tomorrow’s potential superstars. 

Industry members hitting town for the annual 

assemblage of pros numbered a total 

2,865, anxious to find out what’s happening 

nationally with country radio. 

Unofficially kicking off the week for early 

arrivals were two salutory events honoring independent 

artists: Craig Morgan and Toby 

Keith. 

On Monday (Feb. 26) Broken Bow’s beans, 

beer and barbecue were the refreshments for 

those boasting Morgan’s latest Gold Record 

(for “Little Bit of Life”) achievement. It was 

held at Judge Bean’s, a favorite lunch spot (located 

behind the daily Tennessean plant). 

Morgan supplied answers to two of our 

questions during a round-robin media exchange: 

Did he anticipate his latest hit (the title 

track) being a charttopper? “No. It’s at #6 now, 

but it took a lot of promotion for us to get it up 

that high . . .” And being a decade-long Army 

dogface fighting for freedom of expression, 

does he believe recording artists should sound 

off politically? “Well, I’m not planning to put 

any of it in my music, but I definitely support 

the troops . . . and will continue to entertain 

them when I can. If it comes to politics, I guess 

I’m a Republican, though I have voted for 

Democrats. I think it’s important to vote for 

the right man for the job.” 

The following day (Feb. 27), BMI cohosted 

a salute to Show Dog’s flagship artist 

“Scotty’s my little brother, but he doesn’t 

want a label deal.” 

Emerick, who charted a trio of singles on 

the now-defunct DreamWorks, agreed: 

“There’s too much that goes along with a label 

deal, Walt. So I’m just concentrating on 

my writing now. But thanks for the nice words 

you wrote about my album (‘The Coast Is 

Clear’).” 

That same evening, Country Radio Broadcasters 

(CRB) hosted its annual DJ Hall of 

Fame banquet, during which veteran Kenny 

Rogers was honored with a Career Achievement 

Award, featuring music tributes by artists 

Vince Gill, Don Schlitz and Billy 

Currington. Joe Ladd and John Trimble were 

inducted into the DJ Hall of Fame, while Les 

Acree, Larry Daniels and Bob Moody were 

added to the Radio Hall of Fame. Receiving 

this year’s President’s Award was publisherand-confrontational 

announcer Charlie Monk, 

master of the bon mot. 

Singer-actor Jon Bon Jovi, who recently 

scored his first #1 country charting - “Who 

Says You Can’t Go Home” a duet with country 

chirp Jennifer Nettles - served as CRS’ otherwise 

unlikely keynote speaker. A Q&A session 

with local radio DJ Gerry House followed, 

producing nothing newsworthy. But CRS participants 

fortunate enough to fit into the Cannery 

later, enjoyed Richie Sambora mixing it 

up with Bon Jovi, who did do “Dead Or Alive” 

and “Living On a Prayer,” thank you. 

Curb’s Wednesday luncheon spotlighted 

refreshing newcomer Lee Brice and Steve 

Holy, back on the charts last year with “Brand 

New Girlfriend.” 

South Carolina boy Brice sports a 5 

o’clock shadow, jeans, T-shirt and a ballcap 

(a well-worn John Deere tractor topper). Brice 

jumps around a lot on stage, leaning into band 

members individually, perhaps to give him 

something more to do visually. His songs 

ranged from “Beautiful You,” the first he wrote 

in Nashville, some 300 songs ago; to “She 

Ain’t Right,” one he didn’t write, but feels fits 

Craig Morgan marks Gold disc during CRS week. 

him perfectly; to “Overrated,” of love lost and 

found. Our pick? “(No Way To) Leave a Diva.” 

Music City Jam, that evening’s seminar 

highlight, gave headliner Toby Keith a chance 

to personally thank radio for his 50 million 

airplays. Yet another honor was forthcoming: 

Toby was CRB’s 2007 Humanitarian Award 

recipient, presented at the show by R. J. Curtis, 

CRB president. Keith sang his new release the 

spirited “High Maintenance Woman” for the 

wild crowd at CRS, where he also showcased 

Show Dog players’ Flynnville Train, Rushlow 

Harris and sister act Carter’s Chord. Veteran 

vocalist Crystal Gayle surprised Toby joining 

him for a couple numbers, naturally one duet 

being “Don’t It Make My Brown Eyes Blue.” 

Sony’s next day noon tastefest paired Terri 

Clark, in fine voice here, with young artist 

Chris Young, another in the rockin’ country 

sweepstakes. His initial claim to fame came 

winning 2006’s Nashville Star reality TV contest. 

Young’s best vocal presentations: 

“Drinkin’ Me Lonely” and “You’re Gonna 

Love Me.” 

Like fellow newcomer Brice, Georgia’s 

Luke Bryan sports an extra day’s growth of 

whiskers, ballcap and a gnawing desire to 

make it big. Capitol’s much-anticipated Friday 

luncheon top-lined deep-voiced Trace 

Adkins (currently at #1 for “Ladies Love 

Country Boys”) with Bryan. Unfortunately, 

with an interview scheduled, we had to skip 

the star attraction. From this reporter’s perch, 

Bryan’s best offerings were “We Rode in 

Trucks” and current cut “All My Friends Say.” 

Having already been exposed to some terrific 

new talents, we were upbeat over the closing 

event, CRS’ New Faces show, co-hosted 

by unofficial Mayor of Music Row Charlie 

Monk and talented singer-songwriter Kix 

Brooks. Some of the latter’s MC jokes fell flat, 

while he made several referrals to his American 

Country Countdown radio show, reminding 

attendees he’s now one of them. 

One of the five New Faces was Rodney 

Atkins, who first charted Billboard 10 years 

ago with his self-penned “In a Heartbeat,” and 

attained his first Top Five “Honesty” in 2004. 

Each act had a short introductory video, and 

Atkins satirized being hailed as an “overnight 

star,” just as he was chalking up his second 

charttopper “Watching You.” 

The others were Eric Church, Jack Ingram, 

Miranda Lambert and Trent Tomlinson, who 

owed his berth to a bow-out by previouslyannounced 

Taylor Swift. Church, Capitol’s 

great new hope, had linked up with producer 

Jay Joyce for last year’s impressive debut CD 

“Sinners Like Me.” Their album reaped the 

harvest of “How ’Bout You,” “Two Pink 

Lines” and the likeable latest “Guys Like Me.” 

Ingram also charted initially in ’97 with 

“Flutter,” and has long been a star in Texas, 

but now boasts Big Machine behind him - and 

a breakout #1 “Wherever You Are.” At 36, he’s 

following up with an already-at-Top 20, “Lips 

Co-host Kix Brooks and comedian Bill Dana share stage with CRS New Faces (from left) Rodney Atkins, Of an Angel.” 

Jack Ingram, Troy Tomlinson, Miranda Lambert and Eric Church, the big finale for the annual seminar. Lambert debuted on Billboard with “Me 

and Charlie Talking” (#27, 2004), a spin-off 

of her hit CD “Kerosene,” an album just certified 

platinum, as announced at the New Faces 

performance by label head Joe Galante. Unlike 

Carrie Underwood, she failed to finish first 

in the American Idol competition, but landed 

a major label deal anyway. We particularly dug 

her take on the “Crazy Ex-Girlfriend.” 

The swarthy Tomlinson, who co-wrote his 

current chart hit “One Wing in the Fire,” suggested 

it concerned his dad who was in the 

audience. Trent, wearing a kerchief tightly tied 

to his head pirate-style, also performed 

“Drunker Than Me,” a song that peaked Top 

20 earlier, and his new treasure “Just Might 

Have Her Radio On.” 

Last but not least, Atkins saw half his audience 

disappear before taking center stage. 

Still, he gave us his all, as any true trouper 

does - and to his credit we left feeling he was 

the best of the batch. Is it any wonder, with 

the current success and a searing rendition on 

earlier #1 “If You’re Going Through Hell”? 

Elsewhere during CRS, probably the biggest 

news item was Keith Urban’s first Nashville 

gig since his detox time at Betty Ford’s 

in California. “This is a very spontaneous 

show,” he shouted out to the SRO crowd at 

City Hall, and proceeded to perform at the top 

of his game, wowing patrons with two hours 

of hit-after-hit, among them “Where the Blacktop 

Ends,” “Days Go By,” “Better Life,” and 

notably the newest nudging number one, “Stupid 

Boy.” Urban acknowledged: “It’s nice to 

be back in town. It’s very nice to be back in 

town.” Ronnie Dunn, who publicly praised 

Keith’s rehab visit, joined the star to perform, 

appropriately enough, “Brand New Man.” 

Dunn: “I was so moved he made the choice 

he did, and I’m so proud of him.” 

Sony/BMG’s annual General Jackson CRS 

cruise was threatened this year by rain, but the 

die-hards made it down to the docks in time 

to cast off late Thursday, no doubt due to powerhouse 

performers set to go. Adding greatly 

to the entertainment mix were Martina 

McBride, Carrie Underwood, Brooks & Dunn, 

Montgomery Gentry, and Brad Paisley, who 

warbled his new novelty number “Ticks.” Sara 

Evans pleased party-goers with songs “New 

Home Town” and “You’ll Always Be My 

Baby,” currently in the Top 20. Pat Green 

joined Sara for “Finder’s Keepers.” 

Looking back over the week’s conference 

agenda, an item that stood out was a report on 

potential new fans for the country format. 

Larry Rosin, president of Edison Media Research, 

disclosed in a survey commissioned 

by CRB that it was the Hispanic crowd. 

Rosin dissed country radio and the Nashville 

record companies for failing to engage 

them with country sounds: “There is no reason 

to ignore this audience . . . country music 

and country radio must attract the Hispanic 

community in order to be viable in the long 

term.” 

The survey found that 24 percent of Hispanics, 

ages 12-49, reported they enjoyed listening 

to country, while more than 40 percent 

Clay Walker participates as CRS panel member.


Scotty Emerick congratulates co-writer, 

tour boss Toby Keith on his latest honor. 

indicated they would be agreeable to listen 

more if it were programmed to them. Onethird, 

however, stated flat out they do not like 

country music. Edison’s results revealed this 

potential audience for the twang format, following 

a survey of some 600 Hispanics 

throughout the U.S. 

“You reap what you sow,” insisted Rosin. 

“Country music only needs to make itself 

available to Hispanics and then court them. 

Listening will almost assuredly go up.” 

Two country acts already looked upon favorably 

by Hispanics are Shania Twain and 

the Dixie Chicks. Rosin said A&R people 

would be wise to link up country artists with 

Latino acts in the studio; record more songs 

in Spanish; and do Salsa or Bochata remixes 

of country cuts to attract attention among Hispanic 

listeners. 

WSM announcer Eddie Stubbs also held 

court for CRS’s crowd, hosting The Life of a 

Legend: A Conversation With Ronnie Milsap, 

chronicling the durable performer’s awesome 

career. 

One of the most memorable sessions was 

WCRS Live!, a songwriters’ panel featuring 

Jeffrey Steele, formerly of Boy Howdy, hosting 

fellow tunesmiths Pat Green, Sarah Buxton 

and legendary Mac Davis, playing songs important 

in their careers. 

What made it so powerful was the fact that 

Steele had recently lost his son Alex, 13, when 

his ATV ran out of control. Before kicking the 

program off, Jeffrey thanked those who had 

been so thoughtful to his family during their 

bereavement. 

After being introduced, each artist took a 

turn performing their creations, then started 

the process again, with each performing yet 

another song. Of course, Mac’s first selection 

“Watching Scotty Grow” seemed all the more 

poignant because of Steele’s loss. 

Steele’s second song, “What Hurts the 

Most,” barely left a dry eye in the house. 

Seated next to big Ed Salamon, CRB’s executive 

director, we saw he was no exception, then 

we all sprang to our feet as one, following 

Steele’s final note. It was probably the most 

powerful performance heard at CRS, begging 

the question, why isn’t this multi-talented dude 

on a major label? 

Sarah Buxton, who says “Stupid Boy” was 

inspired by her ex-hubby, boasts a voice somewhat 

reminiscent of Janis Joplin’s with a raspy 

catch in her vocals that’s so captivating. 

Coupled with a bubbly, spontaneous personality, 

Sarah quickly won over fellow panelists 

and people out front in acknowledging her 

biggest adjustment to new-found fame was 

getting used to having money! 

The ex-Belmont University coed proved 

she was equal parts writer and singer in delivering 

such gems as “Innocence” and the infectious 

“That Kind of Day.” Newly signed to 

Lyric Street, Buxton’s new album is also titled 

“That Kind of Day.” She's gonna be big. 

Texan Green, currently riding the charts 

with his self-penned “Dixie Lullaby,” com- 

plained of a cold, but it was hardly noticeable 

as he hit the high notes of “Wave On Wave,” a 

Top Five for him in 2003. Davis, 65, was an 

instant crowd favorite, thanks to such evergreens 

as “Texas in My Rearview Mirror” and 

his million-selling “Baby Don’t Get Hooked 

On Me,” which was #1 pop. 

Monitoring a lively No Holds Barred panel 

was DJ Hall of Famer Bob Kingsley refereeing 

Charlie Cook, senior format director for 

Cumulus Media; Mike Dungan, top gun at 

Capitol-Nashville; Scott Lindy, Sirius Satellite 

Radio executive; Clay Walker, Curb/Asylum 

artist; Scott Borchetta, Big Machine 

Records CEO; Jack Ingram, Big Machine artist; 

and Luke Lewis, Universal Music Group- 

Nashville chairman. Lewis praised independent 

stations for playing music that they believe 

in, much like the pre-consolidation days. 

In an overview, Cook noted, “It’s really just 

a situation of numbers. I mean do we (radio) 

get records played early enough for Music 

Row? Do we play them long enough for the 

radio station listeners? And do we play enough 

new music, again for Music Row? I think the 

answer is no, yes and maybe not. 

“If you’re asking for an overview, I think 

country music may be in better shape today 

than country radio,” continued Cook. “I know 

we live off of country music. In some country 

radio there are only two live people in a radio 

station all day long. Fortunately, Cumulus 

doesn’t have that formula yet, and hopefully 

they never will. But there’s a lot of radio stations 

that have a live morning show . . . and 

the rest of the radio stations are either with 

voice tracks or syndicated . . . Are there enough 

people in the industry still that are interested 

and able to grow the format . . .?” 

Kingsley stepped in, adding, “Well, I think 

we have two artists up here whom I think 

would respond to that very favorably. They 

look at the format to grow their career. Would 

you say that’s true, Jack?” 

Ingram replied, “Well, I’m certainly grateful 

and glad to be a part of this format now. 

But I didn’t need the format to start to grow 

my career. I had a career before I had a Top 40 

hit, much less the success I’m having now. My 

career is much better off because of that, but 

if you’re asking about growin’ the format . . .? 

“Country music in general is in better shape 

than the entertainment industry,” Ingram proclaimed. 

“Now the money off music receipts 

is declining . . . money for artists, I think, is 

up. People have to have live music, because 

they can’t get new music through the other 

outlets that they used to in the past. So now 

they’re on the Internet, they’re out in clubs 

and they’re searching for artists like me, and I 

get the benefit of that.” 

Lewis: “What bothers me about radio . . . I 

think it’s an opportunity possibly to reach out 

and move forward. We try to be as nice as 

possible, saying we’re going to build this music, 

we’re going to build artists and we’re going 

to continue to build this industry. Please 

just join us, and it’s not fair to say that as a 

Wanda joins hubby Kenny Rogers after he 

received CRB achievement award. 

blanket statement, but if people that have the 

opportunity to be a little bit more aggressive 

and reach out and shake hands with us, are 

going to be the ones that thrive. I mean, we’re 

building artists and I’d much rather do it with 

radio. But we’re not gonna sit by and wait for 

radio to break artists. There’s a lot of other 

places and a lot of other means where this entertainment 

can be found, and our charge is to 

have you come with us. We’ve got qualitative 

and quantitative information that shows where 

country’s really happening. So trust and don’t 

question it and take information for what it 

is.” 

“What is it that’s on your mind that bothers 

you about radio?,” Cook asked, pointing 

out that radio plays 350-to-400 records a day, 

“and if they’re not all new product, then you’re 

not happy, and if we’re not breaking new artists, 

then you’re not (happy).” 

Dungan chimed in, “If you’re turning into 

an oldies format and aren’t concerned about 

what’s happening now for entertainment 

money, and you don’t want to be a leader in 

that forum, that’s totally up to the powers-thatbe.” 

Cook queried, “What percentage of those 

350-to-400, hmmm I guess it’s only 350 

records a day, what percentage of those 350 

should be new on-the-chart songs?” 

An audience member shouted, “Seventyfive 

percent!” 

Another piped in, “More than 14!” 

Cook called out, “Keep it up and it’ll be 

13!” 

Scott Lindy spoke out, too, “Obviously, 

my role is a bit different but I’m still very conscious 

of what’s going on and from what your 

framework is you’re doing the thing that you 

think is going to work . . . and you’ve got to 

make a decision you’re comfortable with at 

the end of the day. 

“We all have pressure coming from somewhere 

. . . one of the problems that actually 

contributes to that is the strain put on radio 

programming directors. I know a P.D. that’s 

one of my contemporaries and I won’t mention 

her name or the radio station. I admire 

everything this person does and I will screen 

that radio station now and again to find out 

what I might be able to steal - and I steal a lot 

of stuff. If it’s out there and the information’s 

there and they’re doing something cool, then 

I want to be part of that, to take it and put my 

own fingerprint on it and make it mine. 

“Well, I listened to this station and I thought 

my friend had been fired. There’s no way my 

friend would allow just 10 minutes of broadcasting 

to happen. But I also know the job that 

person’s being asked to do. When I called to 

talk to that person, I said, ‘You know I’m your 

friend, we can talk. I can tell you what I heard: 

now you did this and then you did that . . .’ 

“To my shock and horror, that person’s response 

was, ‘Well, you know what? I’m not 

working on that station this week. I’m working 

on another I have to listen to . . .’ Can you 

imagine 15 to 20 years ago having a P.D. that 

didn’t listen to their station that they’re in 

charge of programming? 

“Now I understand why that happens and I 

CRS photos by Patricia Presley 

WCRS Live! participants (from left) Pat Green, Jeffrey Steele and Mac Davis pick and sing. 

know that’s part of the reality of radio today. 

But that’s just one of the serious things for 

me, and we’re getting used to it. That’s just 

the way it is. I think that’s a slippery slope 

and that’s a very serious comment from somebody 

who’s as good as this programmer is.” 

Borchetta, “Is there an answer? Or is just 

getting used to it is how business is going to 

be done?” 

Lindy: “Well, obviously our business 

changes week-to-week, and who know what’s 

going to happen in the next 30 days. What’s 

coming out of those speakers right now, this 

very second, is the only thing that counts . . . 

remembering why you’re there, that’s what’s 

important.” 

Lewis: “You know, Scott (Lindy), I think 

that this is being forced down on everyone in 

this room from above, from broadcast corporations. 

These radio properties were sold at 

prices at way more than they’re worth and the 

business has gone south a little bit. I think this 

is an economic reality that people are going to 

have to do multiple jobs, you’re going to have 

to program multiple stations, you’re going to 

have to do an air shift and also some voice 

tracks. I think we’re stuck with this. 

“But, if I could just address one thing about 

the mix between new music and old music, 

my biggest concern, my biggest gripe, has always 

been and continues to be, the fact that 

when you have new music then you sell it. 

This is our product. This is our lifestyle. This 

is what we do. We’re all in this together. It’s 

all about country music. And are you selling 

it? 

“I think there’s a great way to take new 

music and talk it up. Talk about the artist. Talk 

about how cool it is - and it gets into your 

listener’s brain a lot faster, and I think both of 

our businesses would move a lot quicker. And 

there’s a lot of guys in this room that do that 

very well, but I don’t hear it very often.” 

Dungan mused, “In a lot of major markets 

in the early ’90s, country radio was playing 

50 per cent currents . . . What research did 

you guys read that said that wasn’t a good 

idea?” 

Cook responded: “In all seriousness and 

again I’m just speaking for myself, Cumulus 

was born of a research company, Bradford 

Research. So we’re very research-oriented in 

our company. We do a lot of it. We do it from 

big markets like Dallas and Memphis and in 

small markets like Oshkosh (Wisc.) and 

Poughkeepsie (Pa.). We do it three or four 

times a year. We do exceptional testing. So 

that’s the research I know we’ve had in the 

last year-and-a-half.” 

Lewis: “Were you aware that it’s not working?” 

Cook: “I don’t agree with you. I absolutely 

don’t agree with you that it’s not working. 

You’re referring to a time when everybody was 

trying to make their radio station a flamethrower. 

Every other station in your market 

was your competitor. You were trying to be 

the biggest, the baddest that you could. That’s 

why we were growing so fast. Then consolidation 

came along and all of a sudden there’s 



CRS-38, a boon to radio & records 

Meet attracts thousands, top talents, both familiar and new faces 

Jason Meadows entertains confab’s lunchgoers. Chris Young, Nashville Star winner, plays at CRS. 


seven radio stations in the same building, and 

you get that edict from above that says your 

focus should be (ages) 35-to-54, and all of a 

sudden the research changes.” 

Lewis likened positive secondary stations' 

formats to the fact that they couldn’t afford 

all that research. 

Cook countered with, “God, I wish I knew 

as much about the record business as these 

guys know about the radio business.” 

Dungan slyly added, “We don’t look at 

research, we just listen.” 

After Cook apparently joshed they might 

not promote some new artists like Jack Ingram, 

who feigned anger, banging his mic to the 

floor, jumping up and moving menacingly 

half-way towards Cook, before returning to 

his seat, smiling. Of course, Ingram’s career 

was launched in the Lone Star State thanks to 

his strong link with Cumulus’ KPLX-Dallas, 

broadcasting as “The Wolf.” 

Kingsley interrupted the mock uproar, saying, 

“If I could just for a second move in a 

little different direction,” asking Clay Walker 

for an opinion on changes in today’s radio? 

“I miss payola!,” he exclaimed, drawing 

laughter from the convention crowd of radio 

and industry pros, then harked back to the time 

when “You could take a guy out to the 

ballgame, buy him sneakers and pay for his 

Singer sparkles at seminar 

By WALT TROTT 

Budding vocalist Christie Lynn loves Patty 

Loveless . . . and simply adores Porter, Dolly, 

George and Dr. Ralph. 

And with a little help from friends, Lynn’s 

hoping this will be her breakthrough year in 

country music. Having such talents as Loveless, 

Wagoner, Parton, Jones and Stanley singing 

on your product may not guarantee instant 

success, but it makes a bold statement regarding 

one’s talent. 

We asked to meet this charmer at the Country 

Radio Seminar, where she proudly presents 

a copy of her brand new album, “Christie Lynn 

Sings Country, Gospel & Bluegrass.” 

Enroute home, we pop it into the car’s 

player, and sure enough, Christie covers either 

of the CD’s cited genres with equal ease. 

Wagoner, who has become something of a 

Nashville godfather for the songbird, produced 

the dozen selections, with an able assist from 

engineer Mark Moseley. 

Adding further expertise to the tracks are 

session smoothies Bryan Sutton, Mark Fain, 

Ronnie Coury, Rob Ickes, Charlie Cushman, 

Billy Linneman, James Alan Shelton, Scotty 

Sanders, Andy Hall and David Talbot. 

“I came here in 1995, I was little more than 

a baby, and I went to watch the Grand Ole 

Opry, which I had been hearing as a child 

growing up. Then I began thinking, ‘I can sing 

a bit,’ and so I came up for what I thought was 

a talent contest. 

“When I got here, I found it was put on by 

people trying to get your money,” continues 

Capitol Records headliner Trace Adkins entertains. 

kid’s private school(ing) . . . ” 

On a serious note, Clay recalled being a 

fan of showcases, recalling how he played four 

major markets in Atlanta, Dallas, Chicago and 

Las Vegas, when there were 124 country reporting 

stations: “Most of the panel came. My 

record debuted with the second highest add 

ons for a new single in country music history, 

with 118 adds . . . ” 

As a result, Walker achieved 1993 Billboard 

back-to-back debut chartings, “What Is 

It To You” and “Live Until I Die,” both hitting 

#1: “I called every single radio station before 

the song(s) came out . . . My fear these days is 

that when an artist goes to a radio station to 

make what I call a commitment, it doesn’t really 

mean anything.” 

Christie. “That is, you had to pay money to 

sing. Anyway, we wound up over there visiting 

Opryland, where we met real pros from 

the Opry, Charlie Collins and Brother Oswald 

(members of Roy Acuff’s Smoky Mountain 

Boys), who would introduce us to Porter.” 

Before long, Wagoner produced Lynn’s 

debut album, “Dixie Girl” (2001), giving the 

wide-eyed wannabe a chance to meet and sing 

with the great George Jones and her personal 

singing hero Patty Loveless. 

“She’s the greatest. Remember her ‘Mr. 

Man in the Moon’ song (which appears on her 

1993 platinum album ‘Only What I Feel’)? 

That’s the first number I ever recorded. I just 

love that song.” 

When all was said and done, however, 

Lynn’s camp chose not to release the album 

through the usual channels. 

“I treasure it though, because it gave me 

an opportunity to sing with my idols,”explains 

Lynn, who did sell copies at her shows. “A lot 

of people have asked me about that, as there 

are a lot of great singers on there.” 

Wagoner also invited her to appear on the 

Opry, and she started singing some of the great 

Dolly & Porter duets with him such as “The 

Last Thing On My Mind” or “The Right Combination.” 

Christie did that a few years. 

On the new acoustic album, being released 

on Moe Lytle’s Gusto label, Dolly joins in on 

her composition “Beneath the Sweet Magnolia 

Tree,” while both Porter and Ralph Stanley 

sing on the extended track “Model Church” 

with Christie. 

“That track with Ralph Stanley happened 

in a weird way,” she recalls. “I was having surgery, 

so when I got back, I did my part and 

Porter had to blend it in with Dr. Ralph’s and 

his. So it came out with Ralph singing lead.” 

Christie, whose surname is now Anderson, 

says a lot of folk ask if she’s related to Loretta, 

“but I’m not,” though her idol Loveless is 

Loretta’s distant cousin. “I’ve always used 

Christie Lynn because it’s my real name.” 

Her own mom (Barbara) and brother (Chad) 

collaborated with her on writing the album’s 

closing ballad “We’re Gonna Miss You.” 

“I grew up in L.A. (lower Alabama), and 

spent a lot of my formative years on my 

granddad’s farm, where we had everything, 

chickens, cows, horses, you name it. Some of 

my favorite memories were eating tomato sandwiches 

and the boiled peanuts.” 

Christie’s birthday is Aug. 1, and she believes 

her ailing grandfather willed himself to 

live until Aug. 2, when he died in 2005, “because 

he and I were really close, and he didn’t 

want to die on my birthday.” 

She said it was hard to sing “We’re Gonna 

Miss You” when they finished writing it: “My 

brother plays guitar, and I didn’t think we’d ever 

get through that song when we started singing 

it, but we did - and it means so much to me.” 

When Lynn lit into “Bluegrass Boogie” or 

“Moonshine Quiver” on the album, her recent 

touring with Brave New South exhibits her 

new-found feel for Southern rock. 

“Yes, I’ve been out on the road with some 

of the original members and ex-players with 

the bands Molly Hatchet, Lynyrd Skynyrd and 

Blackfoot. Those were great guys to learn from, 

believe me. Now I want to do some edgier country 

cuts.” 

Is there someone special in her life right 

now? 

“All I have are my two longhaired 

chihuahuas. They’re my kids and my main responsibility 

right now.” 

Sonny Burgess plays name game 

Country singer Sonny Burgess has a Texassize 

respect for both namesakes, his daddy “Big 

Sonny” and a legendary Rockabilly Hall of 

Famer, who’s not even related. 

“Yeah, Sonny Burgess is a real legend who 

was on Sun Records, and I got to meet him,” 

says the younger Burgess, a Cleburne, Texas 

native. “Someone said I was infringing on his 

name, but I would never do that. I mean my 

dad, whose name is John Burgess, Sr., is called 

‘Big Sonny’ and because they said I look like 

him, I’m also Sonny.” 

Well, the singer not only met the rocker, 

who told him not to worry about the name similarity, 

but was even invited to open a show for 

him and his legendary Pacers rockabilly band. 

“He’s a great guy, who’s now 75 and is still 

going strong. His name is Albert Burgess, but 

they’ve always called him Sonny, too.” 

Meanwhile, country’s Burgess was at CRS 

to perform and promote a new CD “Stronger,” 

produced by Jeff Teague. 

“I’ve been doing CRS about five years now. 

I was first here with Bob Heatherly (Nashville 

promoter), who opened doors for me back then 

and got some things going. I still live in Texas 

because there’s more work for me down there 

and in nearby states like Oklahoma.” 

Although the album’s called “Stronger,” the 

title tune’s “A Little Bit Stronger,” a key cut on 

the set, which marks Sonny’s sophomore album: 

“It’s a ballad. I love uptempo tunes, but 

I’m really a ballad singer.” 

Burgess, who bears a close resemblance to 

the Marlboro Man, plays almost any stringed 

instrument: “I play fiddle on our two-hour 

show, which is pretty high-energy. I picked up 

For Sonny Burgess, it’s a Texas thing. 

on that after high school.” 

As a boy, Sonny’s fascination with country 

music was nurtured by family members: 

“I grew up in a family of aunts and uncles 

who played. My Uncle Leon played guitar 

and my Uncle Truman played mandolin, 

while Aunt Janell and I harmonized. I wanted 

to be the best guitar player and I would get 

right in there with them.” 

Sonny was a quarterback on his school’s 

football team, but his favorite sport was baseball, 

which he started playing at age 8 in Little 

League. Upon graduation from high school, 

Burgess attended Baptist College one year. 

Next, he accepted a baseball scholarship for 

Trinity University. 

“I played college ball while I was majoring 

in coaching (physical education) at the 

university in San Antonio, and my minor was 

in biology. Later, I did do some substitute 

teaching.” 

“I married my high school sweetheart 

(Donna Brown) and now we’ve got two beautiful 

daughters, Rachel and Robin, and they’re 

all very supportive of me and my dream.” 

It was in his early 20s that Sonny spurned 

baseball, deciding instead that music was 

something more than just a weekend hobby, 

and began honing his performing skills in earnest. 

Testing the waters in Nashville, he connected 

with a prominent publishing house 

(API): “They didn’t put me on draw, but they 

let me make all my song demos with them.” 

One song he wrote, “A Little Bit of You 

Goes a Long, Long Way,” was recorded by 

young singer Jason McCoy, who took it to 

#1 for six weeks on the Canadian charts. 

“I think it’s a pretty cool song. I wrote it 

originally for Joe Diffie and he was going to 

cut it, but then they switched producers on 

him. Jason I hear is now in the Road Hammers 

band in Canada.” 

Sonny’s first Nashville CD release was 

“When in Texas,” produced by Ed Blount and 

Kerry Kurt Phillips, featuring nine tunes cowritten 

by Phillips: “He’s a terrific writer, but 

more like a drill sergeant in the studio.” 

By contrast, his current producer Jeff 

Teague, an ex-Marine, is soft-spoken: “Jeff 

was working on a project with Collin Raye 

when my manager Karen Herbst told him he 

should come down to Texas, where she had 

an artist she wanted him to work with. That’s 

how we connected. He had teamed up with 

Tony Brown in production and did quite well. 

Jeff produced Jessica Andrews and others. I 

like working with him. He knows how to get 

it outa me, and that felt real good.” 

Among other standouts on their latest CD 

are “What Else Could Go Right” (by Chris 

Waters and George Teren), “Anytime I’m 

Smiling” (from Mickey Cates and Paul 

Overstreet) and “Jesus and Bartenders” 

(penned by Larry Cordle and Leslie Satcher). 

“Tom Law at Sony pitched us ‘Jesus and 

Bartenders’ and before I heard anything but 

the title, I thought, ‘Man, I grew up in the 

Bible Belt and I’m a member of the Baptist 

Church, so I don’t know . . .’ But when I heard 

it, I thought you could play this even in Sunday 

school. It’s real country, so I thought I 

had to cut that one. I’m a big fan of Larry


Cordle’s writing and Leslie Satcher, who cowrote 

it, is from Paris, Texas. What a talent 

she is.” 

Another recent coup for Burgess was being 

invited to participate in a DVD focusing 

on eight-times’ rodeo champ Roy Cooper 

called “Ropin’ My Dreams,” which also includes 

George Strait. 

How did that come about? 

“Roy taught George Strait’s son how to 

rope. But I got to know Roy when he attended 

a couple functions I played at. Then my manager 

Karen, a cowgirl from Wyoming, hooked 

up with him, so it doesn’t take too much to 

figure the rest of it. Anyway, I wrote a song 

about Roy called ‘Cowboy Cool’ that they 

used. It was a great thing for all of us.” 

Sonny says he also plays golf with Charley 

Pride every now and then: “And we once 

did a tribute show together for the late Jim 

Reeves.” 

Another pleasant memory was the night 

Burgess made his Grand Ole Opry bow on Jim 

Ed Brown’s segment of the WSM show. 

“That was a career highlight for me. Jim 

Ed treated me so fine. He laughed when he 

saw I was so nervous that I had my song lyrics 

taped in front of me . . . Anyway, I got 

through it without a mishap, as there were 

busloads of people there from my hometown 

in Texas. 

“Well, you know what he did? He said, 

‘Say folks, how would you like to hear Sonny 

do another song?’ I was only scheduled for 

one, so I picked ‘Something I Said’ and didn’t 

forget the words. When I passed by him, I gave 

him this look. We were scheduled to go outside 

and play for the crowd as part of their 

concert series, so I said, ‘Come on out, Jim 

Ed.’ He said, ‘Yeah, I’ll come out and see you.’ 

“When he did, I called out, ‘Jim Ed, do 

you want to sing ‘Pop-A-Top?’ He said, ‘No, 

it’s your show,’ and started off; then we 

launched into ‘Pop-A-Top,’ so he came back, 

pushing me aside to sing. After he started singing, 

he said, ‘Damn boy, are you a hummingbird 

or what?’ You see, I sing it in G, that’s 

way up there, as I got a little higher voice. He 

does it in E and I knew that. It’s why I asked 

him if he wanted to sing, we would have done 

it in E . . . He was able to do it in that key 

though, as he has such a smooth voice. And 

Jim Ed told me to come back anytime.” 

- Walt Trott 

Lane Brody, she’s no quitter 

By WALT TROTT 

Lane Brody is a study in patience and perseverance. 

“Stay true to the talent and it’ll never stop 

growing.” 

No blonde “bimbo,” the stylish singersongwriter 

came to Nashville in 1983, to satisfy 

an artistic quest. 

“Back when I got my deal with Capitol 

Records, it was in L.A.,” reiterates Lane, during 

our Country Radio Seminar conversation. 

“They decided fans accepted me more in country, 

so I went to Nashville (then flying under 

the Liberty Records banner). That’s when the 

blackballing began . . .” 

Arriving in Music City, Brody was also no 

country diva wannabe. 

“I had earned a six-figure income as one 

of the top jingle soloists in Chicago when I 

got my first record deal with (Dick Heard’s) 

GRT, which at the time had artists like Johnny 

Lee, Earl Thomas Conley, (Scottish pop 

rocker) Al Stewart (and Mel Street).” 

She points out, “I had gone to Chicago 

thinking there was a record business there, but 

there wasn’t,” though she added her vocals to 

plugging the tastiness of product like Juicy 

Fruit Gum, Kentucky Fried Chicken, 7-Up and 

McDonald’s. 

In 1977, she moved to California, and as 

Lynn Nilles first charted Billboard that year 

with GRT’s “You’re Gonna Make Love To 

Me.” 

“Lynn was the name my mother called me 

by,” she says, and the surname’s from her illfated 

marriage to Jeff Nilles. 

While in L.A., Lane also scored a guest 

shot on ABC-TV’s prime time Taxi series (starring 

Danny DeVito, 1979), wrote both Anne 

Murray’s 1982 album title track “Hottest Night 

Of the Year,” and title tune for the Dennis 

Quaid 1983 fight film “Tough Love” 

soundtrack, recorded by T. G. Sheppard. 

Born Eleni Voorlas in Oak Park, Ill., she 

was raised in Racine, Wisc., where her family 

ran a Greek restaurant: “I worked there from 

age 10, taking cash, and I learned the value of 

a dollar.” 

Lane and brother Peter, a Silver Starawarded 

disabled Marine Corps veteran of 

Vietnam, remain close as both champion 

causes on behalf of the military and their families. 

She wrote and recorded “All the Unsung 

Heroes,” a GI tribute tune. 

At age 16, Lane landed a 1971 cut (“You 

Spoiled Me”) with pop music idol Paul Anka, 

which went a long way in inspiring her artistic 

muse. Musically gifted, the big-voiced artist 

sang in coffee houses from Badgerland to 

the Big Apple. 

Brody says her mother is her idol: “She’s 

coming here for my Walden’s Puddle event 

March 29 (an annual fund-raiser Lane sponsors 

to benefit displaced or injured animals). 

She loves to travel, and we talk nearly every 

day. She is artistic, a sculptor and painter, and 

she made this (indicating a piece of jewelry 

Lane was wearing). She’s really a hard-working, 

amazing woman.” 

In 1982, Lane was invited to do the vocals 

as actress Linda Hamilton lip-synched for 

the CBS-TV movie “Country Gold,” followed 

by Brody singing “Just a Little More Love” 

for the TV flick “Gift Of Love,” which garnered 

an Emmy nomination. 

In Nashville, however, Lane encountered 

label executives who seemed to resent her enviable 

West Coast credits, which by then included 

vocals on “Over You,” heard in the classic 

Robert Duvall movie “Tender Mercies.” 

That song, a near-Top 10 for Brody, nabbed 

an ’83 Oscar nomination, while Duvall earned 

best actor honors for the film. 

It would seem that Lane’s achievements 

could make her the label’s next superstar. Yet 

another major coup occurred when NBC-TV 

contacted Lane to sing the theme for their new 

blockbuster series The Yellow Rose starring 

Cybill Shepherd, Jane Russel and Sam 

Shepard. 

When her manager Stan Wax pitched her 

the assignment, suggesting she invite another 

singer to share in the vocals, Lane told him, 

“Johnny Lee (former GRT labelmate) is an 

absolute natural for it. He’s from Texas, he’s 

got a low voice and all that warmth in his 

voice.” 

So Lane and Johnny added lyrics to the 

tune “The Yellow Rose of Texas” (popularized 

in the 1940s by Roy Rogers) and Warner 

Bros. released the Lee-Brody duet, “The Yellow 

Rose,” which hit Billboard’s #1 country 

chart April 21, 1984. 

That same year, Lane teamed with singerguitartist 

Thom Bresh (“Homemade Love,” a 

Top 10) to produce the Beatrice Foods jingles 

with the vocals, “You’ve known us all along,” 

airing throughout the 1984 Winter Olympics. 

After displaying such promise on the national 

music scene, Lane was nominated best 

new female vocalist by the West Coast-based 

Academy of Country Music. The Nashvillesituated 

CMA failed to render a similar honor. 

Although treated like an outsider, Brody 

was pleased being assigned to legendary producer 

Chips Moman, who helmed hits for such 

notables as B.J. Thomas and Neil Diamond. 

She was also happy with his (1984) production 

of her on “Hangin’ On” (Vern Gosdin’s 

solo breakthrough single co-written by Buddy 

Mize and Ira Allen several years earlier). 

“That was one of my very favorite recordings,” 

sighs Brody, singing it a capella for me. 

“See, I still remember the words. The thing 

about that whole album was it was right when 

I was in the middle of all that turmoil I went 

thru, while Chips and the label were at war. 

They tore me apart during that time, which 

was the start of the blackballing and everything. 

“I remember Chips putting his arm around 

me and saying, ‘Don’t go in there (the front 

office), we’re fighting and they’re gonna put 

you through hell, girl.’ He told me something 

else, which I’m saving for my book, it’ll be a 

whole chapter.” 

Regarding a book, she says she’s not quite 

ready yet: “It won’t be a tell-all type that’s 

gonna be ugly, but because so many people 

have wondered what happened to Lane Brody, 

I am really, really close to doing the book.” 

A criticism of her major label singles were 

that they were over-produced, utilizing a big 

sound that failed to focus on her big voice. 

“That album with Chips represents a huge 

spot in my life and it finally showed who I 

was and where I wanted to go with my music. 

It has such soulfully good music, I mean it’s 

country but it has a great spirit. It also has my 

heart and soul on it, but it has never come out. 

Chips, who I talked to not too long ago, says 

it’s one of his favorites, and he thinks we may 

get it out. He still has the masters. I contacted 

Capitol Records, but haven’t heard back from 

them yet.” 

The label did issue “Lane Brody” under 

the parent EMI/America banner in 1985. Her 

producer was Harold Shedd, who produced 

Alabama and K.T. Oslin. 

In 1986, the glamorous singer was invited 

to act a star role on Robert Desiderio’s ABC- 

TV drama series Heart Of the City. Essentially 

she portrayed a character not unlike herself, a 

frustrated, but feisty country singer named 

Jenny Jamison, who wouldn’t take lip from 

anybody. 

“Jenny had her emotional ups and downs, 

just like me. All she wants to do is sing, just 

like me. I can really relate to her frustration,” 

Lane noted at the time, pointing out that she 

also sang her self-written “Everything But 

True” on that episode. 

“You know Jimmy Bowen once told me, 

‘You intimidate the female record buyers, 

Lane.’ I looked him in the eye and said, ‘You 

are out of your mind! You don’t come to my 

concerts. If you did, you’d see I am not a 

woman who tries to steal other women’s husbands 

- and women know that. If I have to do 

it, one fan at a time (to win them over), that’s 

what I’ll do!’ Years later, he quoted me.” 

Considering her treatment at the hands of 

local record execs, and the credits she built up 

with appearances on Taxi and Heart Of the 

City, why didn’t she set her sights on an acting 

career? 

“That was the last thing I wanted to do. I 

was a singer and wanted to follow my music,” 

replies Brody. “Oh, I thought about leaving 

and going back to Hollywood, but at that 

point I believed in a country audience and I 

still do. I will never stop believing in them. 

They know what they love and they will never 

abandon you. So, I’m still here doing what I 

do.” 

Lane’s life took a happier turn personally 

when she met and married ace session drummer 

Eddie Bayers, who co-produced “Pieces 

of Life” with her a few seasons back. 

The CD’s track “White Shadows,” which 

she wrote, pairs Lane with Alison Krauss. It’s 

currently charting Billboard: “I think it’s like 

#32 on their inspirational chart.” 

Meanwhile, she and Eddie are co-producing 

another album in time for a June release, 

just prior to the 2007 CMA Music Festival. 

“It’ll be called ‘On the Wings of Song.’ 

That’s the title track which I co-wrote with 

Kostas, who’s kind of hanging out a little bit 

more in Montana these days. He’s like my 

Greek cousin, you know. Kostas is such a great 

writer.” 

According to Brody, “It’s totally acoustic, 

this album. I think I’ve written four songs for 

it. I was just at home with my guitar, playing 

and writing songs . . . the whole passion and 

pain is coming out now in these songs. Eddie’s 

just so excited about it. He’s my baby.” 

Lane has such respect for studio musi- 

cians, did she ever consider doing backup vocals 

at their sessions? 

“No, I hear things a different way, so I’m 

not really good at doing backing vocals like 

Alison or Emmylou. It’s not my forte. I’d just 

mess everybody up.” 

In spare time, Lane enjoys watching shows 

like American Idol, because they have enabled 

artists such as Carrie Underwood to be successful. 

“I think it’s great because they’re actually 

getting artists seen on the biggest place to be 

seen, television, beaming right into America’s 

living room. What that does is bypass the corporate 

bosses. I’m so happy about that, because 

I was a victim of their power and of the 

way they abused it.” 

Lane sees some irony in the fact that when 

she arrived on the scene, a slender, ex-model 

with long blonde hair, she was put down as 

being too Hollywood: “Two years after that, 

all of a sudden, it all became about your looks. 

That made me mad because that’s not how it 

should be anyway, it should be about performance. 

Now they’re all walking around like 

me with the big curly hair I’ve had for 20 years. 

So I say it’s finally in, and I was sure early on 

that one.” 

Brody bemoans the tighter radio playlists 

and the closing of record stores such as the 

Tower chain, but takes heart in seeing the rise 

of indie labels and new opportunities surfacing, 

such as XM and Sirius Satellite Radio. 

“Everything is different now and nobody 

really knows where it’s going. Once the 

Internet opened up, we were able to expand. I 

had 400 e-mails on my site yesterday, and I 

answer them the best I can. But they all want 

pictures,” she smiles. “It’s wonderful though. 

But, it’s a small world when you connect that 

way with the fans and the music.” 

- Photo by Patricia Presley 

Lantana: Dalene, Biz and Karol Ann. 

Lantana, Texas trio, blossoms 

If you dig in-your-face country music, that 

is Texas twang with an attitude, then Lantana’s 

the next big treat for you. 

This Dallas-based trio is ropin’ in a lot of 

attention with their BGM debut CD “Unbridled,” 

enough so that they’re the first girl 

group to ride full steam into the Texas Top 10 

music chart, since the controversial Dixie 

Chicks. 

Their first single, the playful, uptempo 

“Country As a City Girl Can Be,” boasts terrific 

vocals by members Biz Haddock, Karol 

Ann DeLong and Dalene Richelle, and their 

backup band rises to the occasion. 

The fact that all three are eye candy makes 

generating p.r. a lot easier for publicist Martha 

Moore, who introduced us to Lantana at CRS. 

Their pianist Bill Green gets both producer 

and engineering credits on “Unbridled,” which 

has already spun off a second single: “Let 

Somebody Love You.” 

“It’s a ballad, but the feedback has been 

positive,” says darker-haired diva DeLong. 

“It’s been like #31 on Texas charts, and #25 

on national (indie) charts.” 

Both she and Haddock are native Texans, 

while transplant Richelle hails from Canada: 

“I moved away from my original home when 

I was 18, then I got married. We moved around 

a lot. If you had asked me a couple years ago 



Pinson plugs ‘Songs For Somebody’ at CRS 

By WALT TROTT 

A year or so ago, Bobby Pinson seemed to 

be RCA’s new fair-haired boy, as his debut album 

“Man Like Me” earned critical acclaim 

from such prestigious sources as Entertainment 

Weekly, USA Today and the international 

Country Music People (CMP) magazine. 

Julie Flaskett’s four-star CMP review concluded, 

“Bobby Pinson may look like just another 

hillbilly singer in a battered straw hat, 

but on ‘Man Like Me,’ he displays a rare ability 

to write intensely personal songs that are 

also highly commercial. This is one terrific 

album.” 

The singer-songwriter’s insightful single 

“Don’t Ask Me How I Know” hit Top 20, but 

then stalled and it seemed as though the rug 

was pulled out from under Pinson, as it all went 

south. 

Still, that didn’t seem to deter Bobby, who 

went on to produce his own sophomore CD of 

compositions for Cash Daddy Records; produced 

a new album on Curb’s Blue County 

act; celebrated a #1 “Want To” cut by 

Sugarland; helped furnish Trent Tomlinson’s 

Top 10 breakthrough “One Wing in the Fire”; 

plus two cuts for Toby Keith’s new album. 

Meanwhile, Bobby’s got songs on hold by 

such stars as Carrie Underwood, Brooks & 

Dunn, Kenny Chesney, Faith Hill and Gary 

Allan: “I do, but I don’t put a lot of stock in 

that or announce them until it’s for sure.” 

The sleepy-eyed singer-songwriter stopped 

by the Country Radio Seminar sharing views 

on his next CD and showing off a new closecropped 

haircut: “I’ve been working hard, 

touring, writing, and I have a new single out 

with Catherine Britt that we’re excited about, 

called ‘What I Did Last Night’ that’s just 

climbing into the charts.” 

Judging by his not quite wide-awake look, 

one wondered what the sandy-haired singer 

might have done last night? 

Regarding Pinson’s split with RCA, he was 

forthcoming: “It was a marriage for a second, 

a deal built on songs which I love, and I had 

to cut it. Joe Scaife (he’s produced Gretchen 

Wilson) co-produced it with me. He found me 

and brought me to RCA, and I’ll be forever in 

his debt. Joe Galante (label head) gave me that 

great opportunity to make a record I believe 

in - win, lose or draw. As a songwriter, I think 

that album’s one of the best things to happen. 

It put my songs in one place, and I think that 

opened a lot of eyes. 

“No drama over there really. It was just 

trying to get a second single out that fell into 

the thing of when do we release it and which 

one will it be? It was us wanting one single 

and them not being sure. Finally, it was kind 

of like either let us live or let us die. When 

you get into those kinds of conversation, dying 

is relative at that point. 

“In my particular case, the record’s won 

more than you might know, in terms of having 

helped build a foundation for me for a second 

record. Hopefully, I’ll reap some benefits 

on my own from what happened there. 

“We thought ‘One More Believer’ was going 

to be my next (RCA) single, but Toby Keith 

put it on his new record, which is a wonderful 

thing. So I guess when one door closes, another 

door opens.” (A second song, “Pump 

Jack” co-written by Keith and Pinson, is also 

on the set.) 

Released April 10, believer Bobby’s 

“Songs For Somebody” is a 10-set collection 

all co-written by Pinson, with such notables 

as Tim Nichols, Jon Randall, Jim Collins, Brett 

Jones and Billy Joe Walker. The CD’s cover 

photo depicts a scruffy Pinson selling boxes 

of music off the tailgate of a rusty old pickup 

truck, with “Willie” stenciled on its rear window 

and the album’s title handscrawled on a 

ripped piece of cardboard. 

“I feel like it’s better than my last one. 

Somebody asked me, ‘What was the difference 

in this record and my first one for RCA?’ To 

Joe Galante’s credit, I must say with both 

projects - even though there was more money 

in the first project - my music kind of lends 

itself to only be so much, and to only do the 

things that kind of stay out of the way of the 

work. So there wasn’t a lot of difference, because 

they left me alone over there in terms of 

making the record, and then they really left 

me alone after that (chuckling aloud). 

“But, there was nobody to mess with me 

on this record, and I just got to put down what 

sounds like my heart’s in it. I had a wonderful 

team and even that was a little unorthodox. I’ve 

never really been a howl at the moon, bandwagon 

kind of guy. My first album I co-produced 

with my band that had been doing my 

demos for years. Then I produced this record 

with the same band. Now I’m starting to produce 

other acts, using some of the same guys. 

These are musicians that not everybody uses.” 

Pinson was born in Tulsa, Okla., but raised 

in the Texas Panhandle, where his father was 

a high school athletic coach and his mother an 

elementary school teacher. 

Although he sang in the church choir and 

learned to play his dad’s guitar, it was sports 

that interested him while growing up: “I did 

Little League, all of that. It was a great way to 

grow up. I was into playing ball and my dad 

was my coach. I thought when I grew up, I 

was going to be a football coach.” 

Bobby grew up in little bitty towns, likening 

them to “the equivalent of a fish bowl, 

where they could see you but you couldn’t see 

them. So I didn’t do a lot of anything, no drinking 

nor drugs.” 

Offered a scholarship upon graduation, 

Pinson had contemplated communications, 

perhaps studying drama or becoming a broadcaster 

or a filmmaker. 

“This was pre-Columbine and all these kids 

had the trenchcoats, earrings and long hair, and 

I thought this isn’t my thing . . . and so I spent 

three years in the Army.” 

Pinson wound up at Fort Ord, near 

Monterey, Calif., serving as a supply man: “It 

was funny, as the base was closing down and I 

was one of the last 100 soldiers there and my 

deal turned into like making sure everybody 

disposed of things properly. It was cool and 

like a real job.” 

During off duty hours, did G.I. Bobby pursue 

music? 

“I did. I was only 19 years old, underage at 

the time, but I went into a bar outside of Fort 

Ord, and this guy Eddy let me in on Sundays, 

when they had karaoke. I didn’t want anything 

to do with karaoke, but when they would take 

a break, I would plug in my guitar and play.” 

Finally, Pinson formed a band: “We would 

rehearse in the old messhall that had closed 

down. The band was bad and I was worse than 

them. But we got better, and we would play 

fairs for the next few years.” 

So what did they call the band? “Back then 

we were just the Bobby Pinson Band. Now the 

band I travel with we call Petty Cash, you know 

like Tom Petty meets Johnny Cash.” 

Honorably discharged in 1994, Pinson and 

company continued to pick and sing, traveling 

farther afield to entertain at fairs, festivals 

and whatever turned up: “During those days, 

we played every Safe-Way store grand opening 

they had. But the radio guys got to know 

us out there, and a lot of them remember me 

and play my music today.” 

In 1996, he of the gritty vocals decided it 

was time to move to Nashville, to pitch his 

songs: “I had three wrecks on the way, during 

the biggest ice storm in Nashville history, but 

I was just bound and determined to move here. 

I rented, sight unseen, an apartment for $200 

a month, which they took me for about $150.” 

Predictably, his was a hand-to-mouth existence: 

“I worked for almost a year delivering 

pizzas, I worked in the steel mill making 

swimming pool heaters, and I worked as a banquet 

server. But every day I wrote . . . ” 

In 1998, Pinson got a break being signed 

to Sony/Tree Music: “I was there in a co-venture 

thing for about eight months. That was 

years ago.” 

In a co-writing session with mentors Larry 

Boone and Paul Nelson, Pinson co-wrote 

“Unforgiven,” recorded by Tracy Lawrence 


if I would have ended up in Texas, I would’ve 

said no. But, after I found myself in Texas, I 

just fell in love with it.” 

Dalene’s also the newest member. Biz 

founded Lantana, and came up with the group 

name from her mom: “It’s a Texas native shrub 

that when you water it and properly care for 

it, it dominates your garden and blooms. But 

it’s very strong and pungent and will attract 

butterflies . . . There’s your horticultural lesson 

for the day, Walt.” 

“I had a previous career, earlier, before I 

started having my family,” recalls Karol Ann. 

“ Well, I had come back to my vocal coach, 

thinking ‘I may need to take this career thing 

a little further.’ He brought Biz and I together. 

So after matching us up, we started working 

toward making this a go.” 

There was an earlier vocal partner, who 

bowed out when she became ill. 

“She’s better now, but the toll of the road 

got to her, Well, you can bet she’s watching 

us very closely now.” 

DeLong continues, “Dalene had a passion 

to pursue a music career and had a vocal coach 

Brian Schexnayder, so we went and found her 

and that brought us all together.” 

So how did the girls hook up with Green? 

Biz answers: “We met him through (manager) 

Debbie (Kelly). Of course, how we 

found Debbie was when Karol Ann and I decided 

to try radio. We had been introduced to 

the idea of Texas radio as independent artists. 

We did a lot of research on it, including radio 

promotion on the music scene. Debbie’s name 

came up and so we hired her to be our promoter 

for the first single, and after it enjoyed 

the kind of success like it did right out of the 

chute, well, to say the least, we were impressed. 

So she introduced us to Bill Green to 

talk about our next (CD) project.” 

Lantana headed into the studio in June 

2006, and by then had collaborated on writing 

their saucy “The Juice Ain’t Worth the 

Squeeze,” their first co-write together, so it 

made the final cut. 

“But we have a lot more we’re working 

on,” smiles Biz. “We all really enjoy that aspect 

of the business.” 

Biz and Dalene are blondes, but they’re 

not having any more fun than Karol Ann: 

“We’re about to launch our Lantana Fan Club 

website. It’s wonderful to learn that they’re 

talking to radio about our music. This gives 

us another tool to communicate directly with 

the people that want our music. I’m looking 

forward to that.” 

Yet another road opening up to the trio, is 

a European tour that will include playdates in 

France, notes Karol Ann: “Parlez vous 

Francais? For sure, we’re going over in May, 

and we’re scheduled to perform at the International 

Country Music Festival in France, 

and play some shows at Disney’s Billy Bob’s 

in Paris while we’re there. We love the idea 

in 2001, and which became Bobby’s first cut 

by a major artist. 

“Tracy’s been great to me. You know, I ran 

into him today at CRS. He’s cut several of my 

songs and through that I’ve had different songs 

get out there to artists like LeAnn Rimes and 

Blake Shelton. Those things really kept me in 

town.” 

In 2000, Bobby signed a publishing pact 

with Mosaic Music, now calleds Stage 3, and 

he’s still satisfied with this Music Row deal. 

“These guys have been with me all the way. 

It’s a wonderful, happy relationship,” says 


of taking our music overseas.” 

Biz adds, “We’ve done a little bit on the 

Austin scene, but being female we don’t dig 

going into bars as much. We do the corporate 

things there and we’ve done some of the 

smaller things. And, oh yes, we’re doing the 

Houston Livestock & Rodeo Show pretty 

soon.” 

Karol Ann interjects, “Which is no small 

thing really.” 

Biz chuckles, “Yeah, it is no small gig. 

But our forte has really been fairs and festivals, 

because that’s where we fit in best. Well, 

we did fit in best, but now we’ve migrated 

from those to concert stages. 

Dalene adds, “But we still love doing the 

outdoor shows. In May, we also do the Country 

Thunder, a four-day outdoor festival and 

George Strait’s going to be there (held in 

Waxahachie, Texas).” 

What about the next album? 

Biz: “We hope to get another album out, 

but that will be down the road a-ways. We’ve 

got more singles on this one to do, and we’ll 

be writing more.” 

Dalene: “We played the Wildhorse here in 

Nashville last night. So I look forward to continue 

touring and promoting this album. The 

tour is expanding more every day and I’m anxious 

to see all those places and do all the shows 

we haven’t done yet.” 

Does their band have a name apart from 

Lantana? 

Karol Ann: “How about Tumble-Buds? 

We just made that up.” 

What was the highlight of their success 

for the youngest member? 

“You know I think it was when I saw our 

CD on the shelf in the stores. I was just blown 

away!” 

Karol Ann grins wide, “We forgot to tell 

her about that.” 

Is it an ambition of theirs to be on next 

year’s CRS New Faces show? 

“Ab-so-lutely,” they yelled, surprisingly 

in unison, indicative of their joint agreement 

on the matter. 

When asked to name their favorite cut on 

their debut album, they are not quite so much 

in tandem. 

Biz says, “I’ll take the obvious choice, our 

current single ‘Let Somebody Love You.’ I 

truly love that because it speaks out of love 

from a different perspective, about allowing 

yourself to receive love. I think it’s a message 

that’s important, one people need to be reminded 

of. That’s a choice we all have to make. 

There are a lot of people that give love out 

there to people who won’t receive it. We all 

need it. And I love its melody and the instrumentation 

that Bill put behind it. We also enjoy 

performing it, and people seem really to 

connect with it.” 

Dalene: “Oh, I like that, too, but I love 

our past single (‘Country As a City Girl Can 

Be’) because of the humor in it and the way it 

was produced as far as integrating our three 

personalities into it. Also it’s playful - and it’s 

rockin’.” 

Karol Ann: “I’m hard-pressed to pick one. 

It’s like picking out one of your children as a 

favorite. My moods change a lot. I don’t know 

what that’s all about, but I like ’em all. And it 

depends, too, on the time of day. Maybe I’ll 

be in a more mellow mood, where ‘Ride ’em 

Cowboy’ appeals more to me, or there might 

be a time when I’m in the mood for ‘Savin’ It 

Up For Saturday Night,’ with a little Cajun 

sort of country feel to it. So I guess I love them 

all for different reasons.” 

- Walt Trott


‘Bomshel’ basks in glow of CRS spotlight 

By WALT TROTT 

Bomshel! The name’s supposed to convey 

it all to country audiences; however, there’s a 

possibility the bombastic new duo may be dismissed 

as just another novelty act. 

But this is a pair to be reckoned with, and 

wisely Curb Records is giving them their due, 

an album superbly showcasing the distinctive 

talents of Buffy Lawson and Kristy O. 

(Osmunson). 

Although both co-wrote their attention-getting 

“Bomshel Stomp” - which has taken on a 

life of its own - Buffy is lead vocalist and chief 

songwriter, while Kristy fiddles up a storm, 

adds potent harmony vocals and helps enliven 

their concert performances. 

“In 2006, ‘The Bomshel Stomp’ was #2 

in the Dance Clubs (year-end ranking), right 

behind (Trace Adkins’) ‘Badonkadonk.’ It was 

#6 on the 2005 list. It made the Billboard chart, 

left, and then came right back on again,” Buffy 

explains. 

“What’s so special about it,” insists Kristy 

O, “is so many times music takes off because 

of strong marketing and a lot of money being 

spent. But this song got started, costing only 

about a dollar, the price of the CD we originally 

cut, that was left behind in a nightclub 

after our performance. And that’s how it took 

off. They started using it for live dance instruction, 

then the instructors began playing it for 

people who requested it because they liked it 

so much. We’re talkin’ littly bitty kids, teenagers, 

college students and soccer moms, they 

all took to it.” 

The toe-tapping “Bomshel Stomp” was 

initially recorded in Buffy’s basement, on her 

birthday. Both artists were surprised that it 

ended up on their Curb debut CD,” says Kristy, 

“We made the record and turned it in. The 

album’s unique in its way, but man, the 

‘Bomshel Stomp’s’ just something so different. 

It wouldn’t go away. We never thought it 

would be on the album, let alone a single. You 

know what? It’s 100 per cent fan driven. It’s 

unbelievable. 

“Obviously, country radio was kind of 

like, ‘What? Are you kidding us?’ The way 

we went with it, we were not going up for adds, 

we would go, ‘Play it once and see what happens.’ 

What happened is that the phones lit up 

like Christmas trees. It’s that kind of an impact 

record, and we’re still very excited about 

it.” 

The charismatic blondes’ first single was 

the zany “It Was An Absolutely, Finger Lickin', 

Grits and Chicken, Country Music Love 

Song,” inspired by a country girl’s encounter 

with an L.A. drag queen. “Ain’t My Day To 

Care” was a fitting follow-up, which Buffy cowrote 

with hubby Eric Pittarelli, who also coproduced 

Bomshel’s premiere CD. 

“That song happened on one of these 

beautiful, gorgeous days when my buddy Andy 

came over to write with Eric and I. We kinda 

decided we weren’t going to write that day. 

You know, if you don’t feel it, then you just 

don’t do it.Instead, we made Margaritas. After 

we were into one or two Margaritas, one 

of us said, ‘You know what?, today ain’t my 

day to care.’ Then it hit us, ‘O’mi-gosh, there’s 

a song,’ and we wrote it in about five minutes.” 

Bomshel came into being after Chuck 

Howard, former Curb v.p., decided he wanted 

to manage a female duo to rival the likes of a 

Mongomery Gentry. The frantic first half of 

his dream duo he’d caught in performance, but 

it took several months more before he encoun- 

tered her perfect foil. 

“I had been doing backup vocals for Lorrie 

Morgan,” recalls Buffy. “I was in Colorado at 

one of those ski specials. Well, I was standing 

in a buffet line out in the snow with high-heel 

boots and my heel got stuck in an ice patch. I 

was standing there, noticed a buddy and yelled, 

‘Hey Mark, help me out over here!’ Then 

Chuck, wearing a ski mask, came around the 

corner and said to me, ‘I like the way you talk. 

Are you a singer?’ I was thinking, who’s this 

crazy man? He walked right along with me 

and told me he was putting together a duo, but 

I told him I wasn’t interested and didn’t really 

like the idea. 

“This was before I heard the songs they 

had. Well, he followed me upstairs, where I 

was doing a soundcheck with Lorrie. He 

thought it was cool that I could sing that low, 

and he was holding the phone up for Kristy to 

hear. Anyway, afterwards when we were talking 

about it, I said ‘I don’t want to be in your 

duo, but what is going to be so different than 

the Dixie Chicks?’ He said the songs, and 

started to sing some of them, and I realized I 

had written them. I thought, ‘Wow! They picked 

these!’ - and you know how many songs there 

are available in Nashville.” 

Kristy O. jumps in, “Her songs really 

stood out for me and I didn’t know who she 

was then . . . So when we met and I gave her 

the tunes I wanted to put on a record, and having 

written most of them, she said, ‘Well, it 

looks like we have the same direction.’ 

“Right after we met,” Kristy continues, 

“I had gone in and sang harmony for a song 

she and Eric had written called ‘Ain’t My Day 

to Care’ (which would become their second 

single). That was like the night after we met 

and I thought this song is kind of cool. Then 

the first song we wrote together was ‘Bomshel 

Stomp,’ so there you go.” 

Once teamed, they spent the first year on 

Nashville’s honky tonk heaven street Lower 

Broad, in Tootsie’s Orchid Lounge on Tuesday 

nights: “We weren’t really doing it to 

showcase or anything. We were testing our 

material and wanted to build our show. So we 

picked a place where industry people don’t 

necessarily go that much. But we wanted the 

people from the tours, because they’re real 

audiences and you can tell from them which 

songs work.” 

Among Music Row moguls who caught 

their act were RCA’s Joe Galante and Curb 

owner Mike Curb. A Lexington, Ky. native, 

Lawson says, “I’ve been in town almost 19 

years. I like Curb because it’s not nearly as 

corporate as a lot of them. They’re very creative 

musically. They pretty much allow us the 

freedom to make choices and decisions by giving 

us a lot of rope - maybe to hang yourself 

(she laughs aloud)! 

“But I like the fact that Curb doesn’t try 

to mold you or make you into something that 

you’re not. Early on in my career, I had offers 

from different labels and that’s exactly what 

they tried to do, mold me into something I 

wasn’t.” 

Kristy, who claims her fiddlin’ heroes include 

Charlie Daniels and Mark O’Connor, 

was born in Canada’s British Columbia, but 

since age 5 was raised in Idaho. 

“I moved to Nashville four years ago, and 

in Idaho or Canada, I never ever conceived 

that I could spend my days sitting in a room, 

coming up with ideas and writing a song.” 

Oddly enough, this country fiddler learned 

to play via the Suzuki Method, and actually 


Sunday Mornin’ Country 

Sunday, June 10, 2:30 p.m. 

Ryman Auditorium 

Tickets: www.ryman.com Ticketmaster 


‘Bomshel’ singers Kristy O. and Buffy Lawson following interview with Nashville Musician reporter Trott. 

. . . Pinson plugs ‘Songs For Somebody’ 


Pinson, who landed cuts with more artists, 

among them Marty Stuart, Trent Wilmon, 

Miranda Lambert and Mark Wills. 

Pinson credits in part his major label fling 

with RCA for making him more in-demand 

on the concert circuit. 

“Yes, I’m making a good living on the side, 

and having a good time. I travel, sing, play 

guitar and just enough piano to make somebody 

mad, if I have to. I do about 75-to-100 

dates a year and have opened for artists like 

Gary Allan.” 

Songwriting remains a key part of Pinson’s 

persona. 

“I had to set my songwriting aside for a 

year . . . and I don’t want to do that ever again,” 

he explains. “They say you’re spinning your 

wheels if you make an independent record, 

but the cool thing about it is you can sing your 

songs the way you feel them, being in total 

control.” 

Bobby and wife Lucy are the parents of 

Cash Weldon Pinson, 15 months: “My wife is 

a poet and sings in our band. We have a baby 

boy who’s got music in his lungs, as Lucy used 

to sing on stage when she was carrying him.” 

Among the hyphenate singer-songwriter 

artists Bobby admires, in addition to Waits and 

Cash, are Willie Nelson, Kris Kristofferson 

and especially Shel Silverstein. 

“Shel’s a guy that my mama turned me onto 

as a little boy, when she gave me his children’s 

books to read, like ‘Light In the Attic’ and ‘The 

Giving Tree.’ Then I would compete in these 

contests to see who was the best storyteller, 

and I would read his works. I knew him as 

this guy who put so many words in a little 

bitty line and it would all work out.” 

Silverstein’s stream-of-consciousness writing 

style was also heavy on illiteration: “He 

always did an inner rhyme thing. Later I 

learned that he was this unique songwriter 

(with hits like ‘A Boy Named Sue’ and ‘Marie 

Laveau’) and I didn’t know that I had picked 

up on this, until I started co-writing and I 

heard, ‘Man, you’ve got the meter of a threelegged 

mule.’ 

“For instance, for my first single, which 

started out with me and Brett James, I had this 

line and it was the melody that wanted to become 

‘Don’t Ask Me How I Know’; the 

melody happened by this line that says, ‘I used 

to like to drink and fight, and now I just fight 

drinkin . . . ’ and that turned into ‘Don’t ride 

your bike off a ramp that’s more than three 

bricks high . . . ’ I’ve always said I’m part of 

the rhyme, and I reserve the right to use it in 

another song. You know how this (song) goes, 

‘Don’t take the candy from the store if you 

ain’t got the dime/Don’t pick a fight with a 

little guy that doesn’t talk that much . . .’ (The 

MR MARK’S MUSIC 

song also marked Bobby’s first music video.)” 

Regarding his first #1 composition “Want 

To,” on which Bobby teamed with Jennifer 

Nettles and Kristian Bush, he recalls, “I had 

that song when I was out peddling my records, 

at the same time Sugarland was out peddlling 

theirs, obviously they peddled a little faster. 

Through that song, however, we became great 

friends. It was a nice opportunity to have two 

different kinds of almost polar opposite music 

styles meet together to come up with this collaboration, 

and it’s just real cool and melodic.” 

Regarding the co-write with Trent 

Tomlinson, “One Wing In the Fire,” Pinson 

says, “That was a deal where I had a couple 

lines when Trent came over that day. My dad 

was an ornery guy, who said he was out on his 

own from age 15, though his brother told me 

it was more like 13 . . . ” 

Although his dad had some rough edges that 

worried his mom in their younger days, all’s 

well today, insists Bobby. 

“Well, Trent had a similar story with his 

dad. But when I went to choose songs for my 

record deal, even though I had some adverse 

experiences with my dad, I was in pretty good 

graces then and still am, so I chose not to put 

it on there . . . ‘Daddy’s been a back-row Baptist, 

with his share of front-row sin/His Saturday 

night still on his breath, every Sunday 

when he’d walk in . . .’ 

“Who would know that Trent would get his 

record deal a year later and put it out,” muses 

Pinson. “It just died at #10, and I’m happy that 

it went there. Trent’s been at this a long time, 

and so I’m excited for him.” 

Bobby admits he had his own partying period, 

particularly at a nitery known as The Tin 

Angel, just off Music Row: “I spent a couple 

of years where I hung out there, and I drank 

some, but I was never addicted. I was more a 

bar-aholic, not an alcoholic.” 

He’s a devoted dad these days, hence his 

indie label’s name Cash(’s) Daddy. 

Meanwhile, what’s Cash Daddy’s first solo 

single? 

“My next single is ‘Past Coming Back,’ 

which actually ships today. It’s about two kids 

in a small town. There’s a lot of angst, but it’s 

a lot lighter than some of my previous records. 

Actually, this record is a great first cousin to 

the first record.” 

Pinson pre-released his label’s debut CD 

on the Internet. 

“I wanted to get some feedback for singles 

and a feel of who’s out there interested in what 

we’re doing. So we’ve sold copies before it 

was even released (April 10). As a result, this 

record is paid for and anything that happens 

now is gravy. I got a lot of feedback and some 

are saying this record’s even better than the 

first. It’s a neat way to test your product.” 

www.mrmarksmusic.com 

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Sarah: songs, and scrambled eggs 

By WALT TROTT 

Sarah Buxton, who has mastered the art 

of songwriting, also posesses a pretty unique 

singing style, currently shining through on her 

Top 20 single “That Kind Of Day.” 

Meanwhile, her song “Stupid Boy” is a 

mega-hit for Keith Urban, and yet another 

creation “Never Alone,” as recorded by Jim 

Brickman & Lady Antebellum, has just burst 

onto the Adult Contemporary chart. 

“The coolest thing about that, and I don’t 

mean it in crossover terms,” says Sarah, “is 

knowing that a song you wrote from the heart 

while in your own little world, is being performed 

by somebody else and is connecting 

with people you don’t even know or wouldn’t 

have connected with, if they hadn’t heard the 

song by someone else on the radio or the 

Internet.” 

The perky Lawrence, Kan., performer 

boasts a vocal rasp that sets her apart from 

other Nashville songbirds, and to these ears 

somewhat reminiscent of early Janis Joplin. 

While not of that self-destructive variety, 

Buxton is equally frank in discussing career 

experiences, but tends to shy away from conversation 

about her guitar-slinger ex-hubby. 

Is her mystery man a songwriter? “Yes.” 

Does she withhold his name because he’s famous 

and doesn’t want to ride on his coattails? 

“Oooh, that’s right, I don’t want to ride 

on his coattails (chuckling) . . . No, I don’t 

think you would know him. He’s a songwriter 

and on a label of his own, but he’s not country. 

No, I didn’t learn a lot of my music from 

him, though I did take a few guitar lessons off 

him, but we weren’t the best student-teacher 

combo.” 

During WCRS Live!, a songwriters’ panel 

discussion during the recent radio seminar, she 

alluded to her former husband in explaining 

to the audience her scrambled egg experience. 

“I was young and we had a big wedding in 

Kansas (June 2003), then we moved into a 

one-room cabin in Nashville, near the 

Cumberland River and 15 feet from the neighborhood 

landfill. I went out of my way to 

please him, you know like serving him breakfast 

in bed every morning. But if his eggs 

weren’t cooked right, his day was ruined and 

that meant so was mine, so I got real expert at 

scrambling eggs. Finally, I came to the realization 

that I no longer cared how well his 

eggs were scrambled - and that was when we 

both knew the marriage was over.” 

In our later chat, Sarah admits her marriage 

to Christopher Robin (Sylvestro) ended on a 

sour note, but today they’re again friends and 

mutually respectful. He has performed with 

such pros as Greg Allman, Jefferson Starship 

and Jessi Colter, but still heads up his own 

band here. 

It took Sarah some time to put it all behind 

her, and it was the encouragement of an old 

friend, John Rich (of Big & Rich), who got 

her back on the right track. She began networking 

and welcomed the chance to co-write 

with some of Music Row’s finest, among them 

Victoria Shaw, Bob DiPiero, Georgia Middleman 

and Craig Wiseman. She says the hardest 

thing to get used to when she started get- 

Bomshel basks in CRS spotlight 


was a music major out in Idaho, studying opera, 

which accounts for her soaring harmonies: 

“I’ve been in a steel drum band and play 

all different instruments, including mandolin 

and acoustic guitar. After I got here, I picked 

up again on the fiddle, because it was the instrument 

we needed in the show. I love country 

music and it’s been a wonderful experience.” 

In their show, she has wowed crowds with 

her energetic playing, and for a recent encore 

- performing “The Devil Went Down To Georgia” 

- Kristy jumped on the shoulders of an 

onstage hulk and continued playing without 

missing a beat, while he carried her down into 

an audience that went wild. Quite an encore. 

On their first CD, due out soon, one 

ting success was actually having money, after 

those years of hardship. 

Although Sarah has an album in the can, 

her label Lyric Street Records won’t release it 

until summer: “You see that’s where art and 

commerce meet. It doesn’t always make sense. 

You’d think if the record’s done, it ought to 

come out, right? But, I guess they figure if 

people don’t know who I am, then they won’t 

go out and buy it. So they’re hoping the single 

I have out now - a funny little song called ‘That 

Kind of Day’ - may make it into the Top 10, 

then that’ll be the proof or something, and 

people might go buy it.” 

Unfortunately, Sarah’s debut single “Innocence,” 

released late last year, didn’t make the 

grade, tanking at “maybe something like the 

lower 20s, about #21 or #22, that’s as far as it 

went. When it got into Christmas time, I was 

like OK, that’s fine, let’s move on to the next 

one.” 

The album, co-produced by Dann Huff and 

Sarah’s co-writing partner Wiseman, contains 

10 tunes co-written by her and one that’s given 

her lots of exposure (co-written by Craig and 

Lee Miller) - “Love Is a Trip,” - on ABC-TV, 

where it ran as a clip plugging Anne Heche’s 

fall series Men in Trees. 

“Yeah, that’s me you hear singing, if you 

don’t turn away.” 

How did she land Craig and Dann to coproduce? 

“Craig and I co-wrote such songs as ‘Crazy 

Dream,’ ‘Cowboys’ and ‘Full-Grown Woman,’ 

all on this album,” says Buxton. “Well, he and 

Dann both have publishing offices in the same 

building, so Craig was the guy who introduced 

me to Dann. That turned out great.” 

Huff co-produced Urban’s “Stupid Boy,” 

Rascal Flatts’ “Stand” and Kenny Rogers’ 

“Calling Me” (featuring the Eagles’ Don 

Henley), all current chartings. 

Speaking of Rogers, among Sarah’s session 

chores was providing backup vocals for Kenny 

on his “Water and Bridges” album, Radney 


- Patricia Presley photo 

Sarah Buxton sings during CRS. 

number’s not so upbeat. 

“It’s called ‘The One That Got Away’ and 

it’s my favorite on the album that I’ve been a 

part of (co-writing),” says Buffy. “It’s about a 

little woman in a nursing home, where there’s 

a volunteer who comes in, helps her out and 

spends time with her. 

“Well, the woman shares a secret with her 

that she really had the love of her life, someone 

who her husband never knew about. You 

don’t know in the song whether she had an 

affair or if it was her first love. It never really 

reveals itself, but she went through her whole 

life really secretly in love with somebody that 

no one ever knew about. What’s interesting to 

me is that among our fans, I’ve seen men, I 

mean big, tall, macho football player types, cry 

when they hear the song. I wish every song 

that I have sung brought me the same honesty 

and the depth to it that this song has. Honestly.” 

Singer scores a 

major label coup 

By WALT TROTT 

Sunny Sweeney, a fresh new face on the 

country scene, brings a contemporary touch to 

her Texas “rockin’ honky tonk” tunes, while 

radiating amazing star quality. 

Although an Austin artist, Sweeney was 

born in Houston, raised in the East Texas town 

of Longview, and is now taking Nashville by 

storm. 

Last year, Sunny was voted the Academy 

of Western Artists’ DisCovery Award as most 

promising new face on Texas’ Western swing 

horizon, remarkable for someone who only 

began playing guitar and writing, a little over 

three years ago. 

Music Row’s Scott Borchetta not only 

signed the blue-eyed, blonde belter to a label 

contract with Big Machine Records, but took 

her indie CD “Heartbreaker’s Hall of Fame” 

as is, licensing it to release as Sunny’s introductory 

album. 

“You know today is Merle Haggard’s 70th 

birthday!,” exclaims Sweeney, as we began our 

interview (April 6). “Better believe that we’re 

gonna celebrate . . . Happy Merle Day!” 

Needless to say, The Hag’s her number one 

music hero. 

“I met him finally on Feb. 5,” she adds. 

“Both he and Loretta Lynn are my biggest 

singer-songwriter heroes, and they’re real 

country. I hope that this comes across in my 

music.” 

No need for worry, Sunny’s worlds away 

from the slicker, commercial sounds of Shania, 

Faith or Carrie. 

Upon learning that Sweeney had dabbled 

in both theater and stand-up comedy, we ask: 

“Are you putting us all on with this ‘honky 

tonk angel’ bit?” 

“Whaaat? Of course not. I’m really into 

country music. You know on March 2, I made 

my Grand Ole Opry debut, and I just cried like 

a baby. It’s one of those things, I would never 

take it back, I mean, I cried while I was singing 

- and I didn’t even care. Little Jimmy 

Dickens introduced me. Isn’t that awesome?” 

Before going to New York City to “hang 

out awhile” folowing graduation, Sweeney 

started taking some acting classes in Austin, 

which got her involved in theater. 

“I just thought that would be a fun thing to 

do, and it eventually led to my music career. 

One of the guys I worked with at the (dinnertheater) 

restaurant was into stand-up comedy 

and he says, ‘Sunny, I think you should try 

comedy.’ I said, ‘I don’t know how to do that.’ 

And he said, ‘I can teach you.’ So he taught 

me the basics and even got me a couple of gigs. 

“I think fairly fast and it’s a fast-thinking 

art. I like being on stage anyway. Actually, the 

more people that attend, the better it works out 

for me, as I feed off an audience. I really prefer 

improv (comedy) over stand-up, because 

there’s people on stage with you that you can 

interact with.” 

So what was the connection to pickin’ and 

singin’? 

“That all happened about three-and-a-half 

years ago. First of all, my dad wanted to teach 

me guitar, but I thought it was for dorks. Then 

when I was in comedy in Austin, one of my 

mentors said during a skit, ‘You need to try to 

be a singer.’ I told him I didn’t know how to 

do that, and he said, ‘Just learn an instrument 

and start a band.’ Well I said it’s not that easy, 

but he said, ‘Sure it is.’ 

“Then I called my stepdad (Paul) and told 

him. He said, ‘Do you want me to teach you?’ 

I said sure. Well he taught me three country 

chords: G, C and D . . . Then he was sort of 

like, ‘I told you so,’ and it just kind of evolved 

from there, and I love it. Once I learned to 

play, I started writing songs and that’s when I 

really got into Loretta Lynn, who wrote and 

sang.” 

Once she formed her band, Sunny booked 

their first real gig in September 2004 at 

Austin's Carousel Lounge: “I have busted my 

(butt) doing this . . . The crowd at home started 

coming pretty steadily after four or five 

months, but those first months were the longest 

months I've ever had. I booked myself on 

like over 200 shows the first year I had a 

band.” 

Does she incorporate comedy into her 

country concerts? 

“I certainly do. A lot depends on the 

venue. When I play those little honky tonk 

bars, the kind of clientel you get in there lends 

itself to comedy. Do I script them? No, I kind 

of make my jokes up as I go, which sometimes 

causes me to put my foot in my mouth.” 

Sunny says on occasion she’s been told 

that her vocals are reminiscent of a young 

Kitty Wells, country’s first female superstar: 

“I say, ‘Are you kidding me?’ Why I love Kitty 

so much, aside from her voice, is that she had 

it all together. She’s a singer, a wife and a 

mom, and she had it all in a row. I love Kitty, 

Loretta, Tammy and others like them, and 

when you listen to their stuff, I guess it can 

not help but come across later in your performance, 

but that doesn’t set us down exactly 

like them. I hope the music that I write does 

that, too, simply suggests their influences. It’s 

extremely complimentary.” 

What brought Sunny to Scott’s attention? 

“Well I heard he got a copy of my CD on 

his desk, listened to it, then e-mailed me on 

MySpace to say he liked my album. That 

started us talking.” 

Positive word-of-mouth from MySpace 

members and various Internet bloggers have 

helped to solidify her standing among country 

radio fans. Sunny agrees it really says 

something about the power of the Internet: 

“Oh yes, it’s just incredible. I’m a big advocate 

of MySpace.” 

Yet another industry veteran now in 

Sunny’s corner is producer-promoter-historian 

John Lomax III. 

“There’s a company (in Austin) that sends 

CDs overseas and we buy CDs from them,” 

recalls Sweeney. “Well, the girl that works 

there gave him my CD and we sort of connected 

through e-mails and on the phone. Then 

I just randomly met him when I was up in 

Nashville one time. He kinda started helping 

me and a couple months into it, John said, ‘I’d 

really like to get back into management, if 

you’re up to that.’ He’s a terrific guy and I 

must say he’s never steered me the wrong 

way.” 

So let’s talk a bit about the acclaimed 

“Heartbreaker’s Hall of Fame” album Big 

Machine just re-released, and her co-producers 

Tommy Detamore and Tom Lewis. 

“Oh, that’s Tom-Tom productions (Ha! 

Ha!). Actually, we had an original producer 

and that didn’t really work for me. ‘We can 

do this,’ they said, and I said OK. Then they 

took up the reins. I knew what I wanted to 

sound like, though I didn’t really know as a 

producer what I was doing. So we took it from 

there and it turned out exactly like I wanted it 

to sound.” 

There are three Sweeney originals on the 

set, the title track, “Ten Years Pass” and “Slow, 

Swinging Western Tunes,” and are these biographical? 

“Oh yeah. Even if I didn’t write them they 

were. I picked those songs for a reason. All 

the ones I wrote are definitely about me. One’s 

about my dad, another’s about my hometown 

and the other’s about an ex-boyfriend. Ones I 

didn’t write matched something I felt in my 

life. Even though I write, I don’t need to have 

a record full of my songs. I’ve always said a 

good cover song is better than a bad original.”


Why does an Austin artist pay homage to 

Nashville’s “boys who make the noise on 16th 

Avenue” (originally a 1982 hit for Lacy J. 

Dalton)? 

“I included ‘16th Avenue’ because it’s always 

been a favorite song of mine, and Thom 

Schuyler’s writing is so fantastic. I actually 

got to write with him twice now. One of the 

songs me and him wrote, I think I’ll put on 

my next record (‘Gypsy Rose’). It’s so cool to 

be able to write with people like Thom, who 

have done this for a living for so long, and to 

learn from them and try to discover their techniques 

when they write.” 

Queried about “Next Big Nothing,” she 

giggles. 

“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. I met Audrey about three years ago. I 

started singing her song and all my fans really 

like it a lot. That song sort of encompasses 

everything I felt, like when you’ve had a bad 

day or something, or if it’s not going well and 

you think, ‘Why is everything always happening 

to everybody else and not me?’ So I 

thought why not add it to the album.” 

A major coup for the then-unknown artist 

was landing Jim Lauderdale for a duet. 

“Actually both co-producers had worked 

previously with Jim in his band. Tommy 

played pedal steel and Tom drums. Then when 

we came to (Keith Sykes’) ‘Lavender Blue,’ 

one of them said, ‘Let’s get Jim Lauderdale’ 

to sing this with you.’ I said, ‘Yeah, right!’ I’m 

a big fan of Jim’s (even included two of his 

compositions on her CD: ‘Refresh My 

Memory’ and ‘Please Be San Antone’). Then 

one of them went outside and came back in 

and said, ‘Jim said he’d do it.’ I was like 

‘What!’ Since then, we’ve become friends. It’s 

so strange to start out as a fan of somebody 

and then be their friend. Unbelieveable.” 

Why the plaintive “Mama’s Opry,” penned 

by Iris DeMent? 

“I’m a huge Iris DeMent fan. She’s so talented 

and I love her song. (You know Iris once 

toured with Merle & The Strangers.)” 

In her CD liner notes, in addition to thanking 

cast and crew, parents, etc., and “all the 

people who have passed my bedazzled tip jar 

at shows,” she credits “Brandon’s natural ear 

to pick out really great music.” 

So who is this amazing man? 

“He’s my husband, Brandon Allen, who’s 

taught me so much about music. He’s the 

greatest.” 

She's also a big pet lover, whose canines 

names are: Merle, Nash and Dolly. 

Prior to our chat, Sunny had attended 

Austin’s annual SXSW South By Southwest 

music festival: “It’s amazing. I’ve gone to it 

before, but it’s the first time I ever played it. 

We had a really good time and every show 

was hot. I loved it.” 

The artist is even more excited about her 

scheduled trips to the United Kingdom and on 

the Continent: “Yes sir! I am looking forward 

to going over this summer. I’ve got a real angel 

there in England, a guy named Bob Harris 

(BBC2 Radio), who has got me on a show, I 

think July 8 (the day she will also play the 

Americana UK Music Festival). But we’re 

going like into several countries in Europe. 

I’ve already got a bunch of fans over there who 

send me e-mails all the time. I hear that they 

really like classic country. So folks, Get your 

honky-tonk on! We’re comin’ over!” 

(For an update on Sweeney’s tour dates, visit 

MySpace.com/SunnySweeney or else punch in 

SunnySweeney.com) 

UNION 

MUSIC 

IS 

ALWAYS 

BEST! 

. . . Sarah: Of songs and scrambled eggs 


Foster on “The World We Live In” and a duet 

with Cowboy Troy on “If You Don’t Wanna 

Love Me.” 

A Lawrence, Kan., high school honor student, 

she studied piano earlier, participated in 

the choir in grades 10-12, the chorale as a senior, 

and also earned a Letter for three years 

of Cross Country. Buxton’s standing won an 

academic scholarship to Belmont University. 

“When I decided to move to Nashville to 

explore my artistic side (in 1998), I remember 

my parents (Scot and Jane Buxton) dropping 

me off, helping to set up my dorm room, and 

hugging me goodbye. Now I thought, I can do 

anything I want because here I am, all alone 

in Nashville and I don’t know a soul. I could 

see my whole reputation going out the door. 

“That’s pretty much the gutsiest thing I had 

done up to that point. When anyone asked me 

at school, what I did, I would say I sing rock - 

and I never had! The high school choir and 

first year flute was the extent of my music 

thing. But I was competitive in that way, and 

then I found myself singing in a rock band 

(Stoik Oak), and can’t believe I did that actually.” 

How much of the new CD is biographical? 

“All of my songs really. What was important 

about this album that we made is I want it 

to give everyone a clear picture, you know, 

the CD version of my life as it was at the time 

I wrote those songs. Obviously, I’m at a different 

place right now than I was when I wrote 

for that record. I tried to show I had a little 

anger and a sense of humor, but also feminine 

doubts and to show that I have a little bit of 

depth as a human being.” 

Included, too, is Sarah’s version of “Stupid 

Boy,” which she co-authored with Deanna 

Bryant and Dave Berg. Rumor had it that Keith 

Urban’s actress-wife Nicole Kidman convinced 

him to record the song, which he’d dismissed 

as a woman’s song. 

“I have met Nicole and we did get a chance 

to talk about it. She was the one who actually 

gave him the idea that it could be a narrative, 

because I sing it from the girl’s perspective. 

When he sings it, it sounds like a narrative, 

but it ends up he’s singing it to himself. He’s 

brilliant on it and that was Nicole’s idea. She’s 

a wonderful person and so smart. 

“We actually went to a Def Leppard concert 

together, Nicole and Keith, me and my 

boyfriend and a couple other of my friends. 

My boyfriend is on Keith’s record and is actually 

good friends with Keith. You see Nicole 

in those Chanel (perfume) ads, #5 or something, 

and you see this elegant, beautiful 

woman and believe me in real life, she’s just 

that. She’s amazing.” 

Regarding “Stupid Boy’s” inspiration, she 

notes: “There’s nothing worse than losing your 

identity and your freedom to a lover who does 

nothing but put you down . . . this song’s about 

a girl who was brave enough to leave a harmful 

situation. It’s my favorite song on the album.” 

We noted that Jeremy Stover (who produced 

Jack Ingram’s “Lips Of an Angel” 

single) collaborated with Sarah on three of her 

album cuts, so does that make him a favorite 

co-writer? 

She laughs aloud, “Well, he is! Actually, 

he was my boyfriend and we went together on 

a writer’s retreat and wrote ‘Innocence,’ and 

then we co-wrote ‘He Just Doesn’t Get It’ and, 

of course, ‘That Kind of Day’ we did with Greg 

Barnhill.” 

Recalling the time they gathered to work 

on ‘That Kind of Day,’ she confides, “I had no 

voice because my boyfriend and I had a rough 

night! So the first verse started out as a totally 

true story . . . the guys kept trying to write 

about beer and gambling. But I was like, 

‘Dudes, when girls have a bad day they overeat. 

Girls spend money they don’t have. They 

don’t gamble!’ It’s definitely a PMS song all 

the way.” 

Does she prefer writing with women or 

men? 

“Well, it’s easier for me to convince men 

when you’re writing that certain things are OK. 

You can say, ‘No, a girl would really say this 

. . .’ and they go OK. I think the thing about 

writing with a girl is you gotta convince her 

in a different way. I mean if you’re gonna be 

in a room with a woman and say, ‘That’s not 

what a girl would say,’ that’s being judgemental, 

so instead you might say, ‘That’s not 

what I would say,’ which is more diplomatic. 

I try not to look at myself yet as an artist, because 

I’m as much a writer as I am an artist, 

so-to-speak. I think it’s natural that women are 

more drawn to men, and there are different 

dynamics between men and between women.” 

Sarah’s first influence came from singer 

Stevie Nicks: “Here was an actual female performer 

who wrote her own material about her 

life! Each song that I discovered was like a 

magical window into her private world . . . so 

I started to write poetry of my own . . . full of 

angst and confusion, mainly related to my poor 

mother.” 

At 17, angry at her girlfriends, as well, she 

started writing: “We got in this huge argument, 

so my social life just stopped, and I started 

writing poetry.” 

How about that track “Back Home”? 

“That one’s so funny. My feeling was like, 

well, you know everyone’s family is really 

unique, all these characters running around . . 

There’s a mom and dad, and all the relatives, 

and what makes it all so colorful are the family 

get-togethers. One in particular I thought 

of for this song was ‘Bumpy,’ my grandfather 

who’s 90, and he was so uptight when (John) 

Kerry didn’t win the Presidential election! 

“You know, my family was so normal while 

I was growing up. In looking back at it, I love 

the simplicity until I started stretching my own 

boundaries and really began looking at life 

differently. When I started questioning the 

world around me, my life began changing. And 

the more I started questioning the world around 

me, the stranger my family got, unfortunately.” 

What was challenging about turning “Innocence” 

into a music video, as directed by 

award-winning Deaton Flanigen? 

“I had never done a music video before, so 

that made it quite unique in itself. It was also 

shot in a field and there I am with my skirt on 

and wearing brand new boots, out in these really 

tall weeds, and really had no clue as to 

what I was doing. I couldn’t stop laughing, 

but they were so sweet to me. I had to sing the 

song in like double time as they were going to 

slow it down to make it look like it was in 

slow motion . . . ” 

As a singer, what makes a song work for 

her audience? 

“I don’t know. I think from the beginning 

when I started doing this, it was all about the 

message. I don’t sing that high, my range is 

limited and my voice is raspy, if you can’t tell, 

so the thing for me is I have to feel something 

on my own. I have to do something with the 

song so it makes a statement. To me, the statement 

of the song is so much more than the 

sound. Do you know what I’m trying to say?” 

Sort of. 

So how did she land with Lyric Street 

Records? 

“Life works in funny ways. Randy 

Goodman, who is my label’s president, I actually 

met when I was going through my divorce. 

I was just out in L.A. and was going to 

talk to a guy named Rob Cavallo (Hollywood 

Records’ A&R chief, who brought the Goo 

Goo Dolls to the label). This is a really twisted 

account. Well, I also met Randy and his boss 

Bob Cavallo (Hollywood Records president, 

and parent company to Lyric Street Records) 

at a dinner. Mr. Cavallo chug-a-lugged my 

glass of wine and we were all laughing about 

it, and I was like, ‘Who are you?’ When he 

told me his name, I said, ‘You know, I have a 

meeting with your son tomorrow.’ How weird 

is that?” 

Sarah later came to Randy’s attention when 

Dann Huff invited them both over to his house. 

How does it feel now being on the same label 

as Rascal Flatts, tops today among all genres? 

“Jay DeMarcus (the group’s multi-instrumentalist) 

is another good friend of ours. Their 

songs are terrific and I think they’ve really 

done a lot for this business. It would be a dream 

come true to work with them.” 

Regarding dreams, how would Sarah like 

to envision her future? 

“My dreams are not small, because to me 

they are really big, but they’re more day-today, 

like I want my life to keep on going in 

the way that it has. I want the respect of my 

peers, to make more friends and to continue 

the relationships that I have. I just hope to keep 

on writing and hopefully make money while 

doing it.” 

Buxton’s buddy Craig Wiseman just 

opened a branch publishing office in London, 

Big Loud Shirt - would she welcome an opportunity 

to take her music abroad? 

“Heavens yes! I would love to, and I’d really 

like to go over there to write. I’ve been to 

Mexico, but I have never been to Europe, and 

writers want their music heard. More than anything, 

that’s why I let other artists record my 

songs.”


Trottin’ about the Nashville music scene 

The Country Music Association donated 

nearly $400,000 to Nashville’s 75,000 public 

school students, proceeds garnered from the 

2006 CMA Music Festival (formerly Fan 

Fair). Started as a “Keep the Music Playing” 

program, CMA partners with the Nashville Alliance 

for Public Education. According to 

Tammy Genovese, CMA head: “When we 

launched this charity initiative last year, we 

made a promise to donate $300,000 to music 

education on behalf of all the artists who participated 

in the festival for free . . . but record 

attendance made it possible for us to increase 

the (actual) ammount to $368,502. And the 

Alliance and Metro Nashville (school system) 

are already putting those funds to excellent 

use for the students.” 

Scene Stealers: Charlie Daniels seen out 

signing copies of his new book “Growing Up 

Country” at Borders’ bookstore on West End 

. . . Denise Jackson also has a book about her 

hat hero hubby Alan, “It’s All About Him: 

Finding the Love Of My Life,” due out in July 

. . . In time for the 100th year of his birth, 

Holly George-Warren has authored a “tell-all” 

bio about the late Country Music Hall of 

Famer Gene Autry, titled “Public Cowboy No. 

1: The Life & Times of Gene Autry,” published 

by Oxford University Press. Her account alleges 

Autry was an alcoholic and womanizer, 

apart from being America’s first singing cowboy 

and the artist who introduced such holiday 

classics as “Rudolph the Red-Nosed Reindeer,” 

“Frosty the Snowman,” “Here Comes 

Santa Claus” and “Peter Cottontail” . . . Willie 

Nelson now has his own record label a la Toby 

Keith. It’s called Pedernales Records and 

promises to handle new acts, too, including a 

band called 40 Points, featuring his sons Lukas 

and Micah Nelson. Incidentally, Dad makes 

an appearance on their debut CD due out this 

summer . . . Ran into sax man Boots Randolph 

as he was heading for a studio session in RCA’s 

historic Studio B for youngsters’ Jason 

Coleman, grandson of Floyd Cramer, and 

Megan, grand-niece of Chet Atkins, who are 

recording an album together. “I think it’s great 

that these talented youngsters are carrying the 

torch, keeping their music going,” says Boots, 

who used to tour with the late Hall of Famers 

in their masters concerts booked by the late 

Xavier Cosse.. Does Megan play like her famous 

uncle? “I try to,” she smiles. “But nobody 

can play just like him” . . . Bluegrass 

picker Randy Kohrs has a fine new CD out 

“Old Photograph,” and you know he’s quite 

serious about this as he’s engaged super publicist 

Norma Morris to help give it an edge 

p.r.-wise (see review page 29, this issue) . . . 

Meanwhile, Big & Rich’s John Rich has been 

producing the first country album on pop diva 

Jewel right here in Nashville, after having 

helmed protege Cowboy Troy’s album “Black 

In the Saddle” (being released in June) . . . 

Former American Idol competitor Bucky 

Covington made his WSM Grand Ole Opry 

debut March 9, sharing the stage with legends 

Mel and Pam Tillis and Alan Jackson, and 

exclaiming “I’m very excited about it!” What 

did he perform? “A Different World” and 

“Hometown” . . . John Carter Cash not only 

wrote a bigoraphical book titled “Anchored 

in Love” about parents June Carter and 

Johnny Cash, but augments its June release 

with an album of that title boasting the likes 

of no less than Emmylou Harris, Willie 

Nelson, Brad Paisley, Kris Kristofferson, 

Sheryl Crow, Elvis Costello, Loretta Lynn, 

Henson Cargill 

Ronnie Dunn and half sisters Rosanne Cash 

and Carlene Carter. 

Honors: Grand Ole Opry great Hank 

Locklin, known for such classic cuts as “Send 

Me the Pillow You Dream On” and “Please 

Help Me, I’m Falling,” has been inducted into 

the Florida Music Artists Hall of Fame . . . 

CMT has announced Kris Kristofferson, 70, 

as the 2007 recipient of their Johnny Cash Visionary 

Award, scheduled for presentation by 

Cash’s singer-songwriter daughter Rosanne. 

The award marks Kristofferson’s musical vision 

and pioneering entertainment efforts, taking 

into consideration songwriting classics 

“Me & Bobby McGee,” “Sunday Morning 

Coming Down,” “Help Me Make It Through 

the Night,” “For the Good Times” and “Why 

Me, Lord,” and the Rhodes scholar’s movie 

achievements as star of hits like “Alice Doesn’t 

Live Here Anymore” and “A Star is Born” . . . 

Country legend Loretta Lynn received an honorary 

doctorate of music from Berklee College 

of Music (home-based in Boston) on the 

stage of WSM’s Grand Ole Opry March 17. 

Making the presentation during one of her rare 

Opry appearances since joining Sept. 25, 1962, 

was Roger Brown, Berklee’s president . . . 

Hank Williams, Jr., was hailed Tennessean of 

the Year in February during the annual meet 

of the non-profit Tennessee Sports Hall of 

Fame committee selecting inductees from the 

athletic world. Past Tennessean of the Year 

honorees include Conway Twitty, Al Gore and 

Vince Gill.. . . Producer Tony Brown received 

the Honorary Visiting Professor award at 

Middle Tennesee State University, April 3, 

from Provost Dr. Kaylene Gebert. MTSU 

boasts one of the largest recording industry 

degree programs in the U.S. with 1,500 students 

and 25 full-time faculty members . . . 

Bakersfield icon Merle Haggard has composed 

“Hillary” to honor former First Lady Hillary 

Clinton, the New York Senator now running 

for President. The Hag has confided to Billboard: 

“I recorded it and nobody’s heard it, 

but they’re talking about it all over the country. 

It’s got me thinking it might be worth putting 

out there.” Its lyrics include “This country 

needs to be honest/This country needs to 

be large/Something like a big switch of gender/Let’s 

put a woman in charge.” 

Vital Statistics: Back in Lebanon, Tenn., 

Little Big Town singer-songwriter Phillip 

Sweet married hair stylist Rebecca Arthur, 

March 26 . . . Lorrie Morgan and Sammy 

Kershaw renewed their marriage vows after 

five years of a tumultuous union. This reportedly 

occurred during the Grand Ole Opry 

cruise to Cabo San Lucas, and was conducted 

by the ship’s captain. 

Ailing: Opry singer Jeannie Seely is recuperating 

from surgery . . . as is songwriter 

Danny Dill, who co-wrote the Bobby Bare signature 

song “Detroit City” . . . Dan Seals is 

under the weather, as well . . . and former session 

drummer Willie Ackerman is recuperating 

from a stroke at the Lakeshore Wedgewood 

Nursing home in Nashville. 

Final Curtain: Frederick Tupper Saussy 

III, 70, died March 16 in Nashville, from a 

heart attack. As Tupper Saussy, he was an artist, 

author and composer, who wrote the 1969 

Grammy-nominated “Morning Girl,” a Warner 

pop Top 20 recorded by his Neon Philharmonic 

group which included vocalist-producer Don 

Gant (who died in 1987), and was also cut by 

then-country newcomer Duane Dee in 1974. 

Saussy wrote books, the most notable being 

the biography of James Earl Ray, convicted in 

the 1968 slaying of civil rights activist Marth 

Luther King, Jr. According to producer Ronny 

Light, “Tupper was one of very few people I 

would call a creative genius. Oldtimers will 

remember that he conceived the talking cows 

commercials for Purity Milk (a Nashville-based 

dairy).” Prior to his death, Saussy recorded the 

CD “The Chocolate Orchid Piano Bar.” Survivors 

include daughter Melinda Miller, and sons 

Caleb, Pierrre and Laurent Saussy, and five 

grandchildren. Services were conducted at 

Christ Church Cathedral with burial in 

Statesboro, Ga. . . Former country hitmaker 

Henson Cargill, 66, died March 24 in Oklahoma 

City, Okla. Both his father and grandfather were 

lawyers, with the latter O.A. Cargill, Sr. once 

being Mayor of Oklahoma City. Henson, who 

attended Colorado State University at Fort 

Collins to study animal husbandry, became a 

nationally-acclaimed calf roping team member. 

In 1959, Henson wed his high school sweetheart 

Marta DuPree, who became parents of 

son Cash (named after Henson’s favorite singer) 

in 1962. It was in college that Cargill began 

playing music on campus for dances, and later 

worked as a county court clerk, private investigator 

and a deputy sheriff. His first professional 

music stint came traveling with The 

Kimberleys in the mid-1960s, before forming 

his own band. One of their first breaks was 

being engaged as regulars on Cincinnati’s 

Country Hayride TV series. Two more children 

were Clayton (1966) and Nicole (1967). Johnny 

Cash, his elder son’s godfather, encouraged talented 

Henson to make the move to Nashville, 

where he hooked up with producer Don Law. 

In 1967, Cargill recorded “Skip A Rope,” a 

medium-tempo tune depicting the turmoil of 

the times, becoming the singer’s first Billboard 

charting, which also scored #1 for five weeks, 

starting Feb. 3, 1968, and was a pop Top 20. 

Co-written by Glenn Tubb and Jack Moran, 

“Skip A Rope” was released on Fred Foster’s 

Monument label, followed by Dallas Frazier’s 

“Row, Row, Row” (#11, 1968), and Moran’s 

“None of My Business” (#8, 1969). Cargill’s 

biggest album successes were Monument releases: 

“Skip A Rope” (#4) and “Coming On 

Strong” (#31). Thereafter, it was tougher sledding 

for Cargill, recording with less success on 

the Mega and Atlantic labels. After little luck 

on the Nashville scene, Cargill returned to Oklahoma 

where he had a cattle ranch in Stillwater. 

Cargill died from complications following surgery. 

Survivors include sons Cash and Clayton, 

daughter Nicole Duran and four grandchildren: 

Henson Duran, Savannah Cargill, Calli Duran 

and Katie Cargill, all of Edmond, Okla. Funeral 

services were held in Edmond March 29 at 

Highland Hills Baptist Church . . . Noted session 

drummer Ian Wallace, 60, died Feb. 22, 

from cancer in Los Angeles. “All you have to 

do is look at what he played on to know that a 

great artist has passed,” says artist-producersongwriter 

Rodney Crowell, who engaged Ian 

to play on his “Houston Kid” album. “I was 

such a fan of his,” added Crowell, citing 

reccordings Ian played on with such talents as 

Bob Dylan, Roy Orbison, Jackson Browne and 

David Lindley. Wallace had been a member of 

King Crimson’s band and also toured with 

iconic acts like The Traveling Wilburys, Stevie 

Nicks and Bonnie Raitt. Wallace departed 

Nashville in 2004, to play drums for a Val 

Kilmer musical titled “The Ten Commandments” 

in L.A. It was in that year Wallace was 

diagnosed with cancer. Other bands he played 

with included Billy Burnette’s rockabilly 

troupe, and Wallace also recorded his own albums, 

among them “The Wallace/Trainor Conspiracy: 

Take a Train” (with pianist David 

Trainor), and “Ian Wallace: Happiness with 

minimal side effects” (note: lower case letters 

are his) . . . Publisher Bob Webster, who died 

Feb. 22, at a Nashville nursing home, was a 

longtime associate of Cowboy Jack Clement. 

He was 77. Webster first worked with Clement 

This country gentleman James (Goober) Buchanan 

celebrates his 100th birthday in Bowling Green, 

Ky., June 17. He was a bandleader and country 

comic known to many members. Happy Birthday! 

Other entertainers born in 1907, like Gene Autry, 

Barbara Stanwyck, Katharine Hepburn and John 

Wayne are no longer here to mark their centenary. 

in Beaumont, Texas during the early 1960s, 

and has since administered a catalog that 

boasts hits by such singers as Charley Pride, 

Waylon Jennings, Johnny Cash and Don Williams, 

with songs penned by the likes of 

Clement, Allen Reynolds, Jim Rushing and 

Bob McDill. Webster also co-produced Gene 

Watson’s classic cut “Love In the Hot Afternoon” 

. . . Condolences to the family of 

songwriter Hugh X. Lewis, whose adult son 

Lance died Feb. 24, following a six-year fight 

with cancer. Dad, of course, charted Billboard 

as a singer with his self-penned “What I Need 

Most” in 1964, and wrote such hits as Stonewall 

Jackson’s “BJ the DJ” and “Angry 

Words” . . . Singer-songwriter-producer Billy 

Chinnock, 59, who filmed an acclaimed 

movie documentary on his late father-in-law 

Dick Curless, “Portrait Of a Country Singer,” 

died March 7 in Yarmouth, Maine. Chinnock, 

also known as a founding member of Bruce 

Springsteen’s E Street Band, suffered from 

Lyme disease. According to a broadcast report 

with WCSH-TV in Portland, Maine, 

however, Chinnock’s manager Paul Pappas 

said the artist commited suicide. In 1985, 

Chinnock charted his sole country cut “The 

Way She Makes Love,” which had been recorded 

at Leon Russell’s Paradise studio in 

Nashville. Dean of studio guitarists Harold 

Bradley produced the 1985 CBS album 

“Rock & Roll Cowboys” on Chinnock, who 

originally hailed from New Jersey. It was 

there for a time that he linked up with an early 

Springsteen. Another CBS album was 

“Learning To Survive in the Modern Age,” 

featuring Billy’s Emmy-winning theme song 

for daytime TV’s Search For Tomorrow titled 

“Somewhere In the Night.” Chinnock also 

recorded the rockin’ “Dime Store Heroes,” 

“Badlands” and “Live At the Loft” albums, 

producing such songs as “Is That What Love 

Is” and “Something For Everybody.” 

Drummer Ron Gannaway receives his 25-year 

Membership Pin from Local 257 Secretary- 

Treasurer Billy Linneman at the Union.


Book Nook 

Good times, hard times highlight Stoneman bio 

By WALT TROTT 

“Pressing On: The Roni Stoneman Story” 

may not be classic literature, but for fans viewing 

celebrities through rose-colored glasses, 

it’s another eye-opener. 

Praise goes to both the entertainer and her 

writer-collaborator Ellen Wright, for their excellent 

input on this latest volume in the University 

of Illinois Press series’ Music In American 

Life. 

Wright waded through some 75 hours of 

taped interviews with Stoneman, whom she 

met more than five years ago. To augment the 

conversations, the writer conducted her own 

research and made contact with family, friends 

and fans. 

Wisely, Wright decided “to give Roni her 

head,” preserving much of her colorful 

subject’s character, right down to rustic colloquialisms 

and rural wit. 

For review purposes, we received an “uncorrected 

advance proof” of the 232-page 

Stoneman biography, which boasts 30 photographs. 

Regarding spelling errors, like those 

concerning writer John D. Loudermilk or 

singer Charlie Walker’s 1967 Top 10 record 

title “Don’t Squeeze My Sharmon,” no doubt 

they’ll be corrected prior to final printing in 

May. 

In discussing the Stonemans after the Great 

Depression, Roni points out “The family went 

from high cotton to sheer poorism,” and recalls 

their run-down, one-room house in suburban 

Maryland: “When I was growing up, 

there would be 12 or 14 of us, depending on 

which of the older kids had left home. Under 

the big room was a small dirt dug-out basement 

where Daddy slept. I talked about 

Momma’s trying to fix the place up, but it was 

a pretty sorry situation. Poorism, we were ate 

up with poorism. There was no roof, just a 

canvas tent (over the top). We had one little 

wood stove in the middle of the floor. That’s 

what we used for heat in the wintertime, and 

Maryland can get pretty cotton-picking cold.” 

Roni lets loose on painful memories of living 

in abject poverty, suffering from dyslexia 

and low self-esteem in growing up, while later 

coping with five abusive husbands, ill-fated 

affairs, amidst scraping to feed five youngsters. 

Born in Washington, D.C., May 5, 1938, 

Veronica Loretta Stoneman was listed as the 

17th child of the musically-heralded 

Stonemans, headed up by Ernest (Pop) 

Stoneman and wife Hattie (Frost). 

Pioneer Stoneman recorded one of 

Traditional country champion 

compiles best star interviews 

By WALT TROTT 

Talk about your name dropping. Tracy 

Pitcox is pretty good at it. 

But, of course, that’s what the Texas DJ’s 

memoirs “Legendary Conversations” is all 

about, sharing his interviews with country 

greats over a 20-year period with radio station 

KNEL-Brady. 

His Hillbilly Hits Show has hosted many 

members of AFM Local 257 through the years, 

BOOK REVIEW 

and this compilation even boasts a Foreword 

by member Leona Williams, who writes, in 

part: “Tracy understands where the heart of a 

country song comes from, so he gets right to 

the entertainer’s soft spots and pulls out their 

true feelings. He gets a little more out of me 

than most people. Read ‘Legendary Conversations’ 

and you will know what I mean. Tracy 

Pitcox, there is no doubt that you are the best. 

I love you.” 

Tracy has paid his dues. I know because 

my better half tells me he was an early member 

of the Kitty Wells International Fan Club, 

and here includes a chat with the original 

Queen of Country Music, and other greats such 

as Willie Nelson, Hank Thompson, Carl Smith, 

Porter Wagoner, Tammy Wynette, Justin Tubb, 

country’s first bona fide multi-million sellers, 

“The Titanic,” charting Billboard May 16, 

1925, as pop (#3), in an era when there were 

no country charts. 

Pop died June 14, 1968 at age 75, a few 

years after making his amazing career comeback, 

with his younger children as The 

Stonemans, initially guided by Jack Clement. 

Not only did they chart with contemporary 

MGM singles, such as “The Five Little 

Johnson Girls” and “Christopher Robin,” but 

landed their own TV series and earned CMA’s 

first best vocal group award (1967). 

Besides Pop and Roni, performing members 

then included siblings Scotty, Van, Donna 

and Jim. Roni departed their band in 1971, 

though she would occasionally join in at 

shows, along with big sister Patsy (a.k.a Pattie, 

after Grandmother Frost) succeeding Pop. 

From 1973-1991, Roni was a cast member 

of Hee Haw, initially CBS-TV’s hillbilly 

rip-off of NBC’s Rowan & Martin’s Laugh-In 

series. Though dropped from the network lineup 

in 1971, Hee Haw immediately went into 

syndication, eventually to become the longest-lasting 

current syndicated program in TV 

history, with nearly 25 years. 

The Hee Haw success proved to be the 

catalyst in Roni’s career, raising her to the rank 

of celebrity comic, while solidifying her status 

as First Lady of the Banjo. 

BOOK REVIEW 

That’s a skill she learned as a youngster 

from her unrelenting teacher, brother Scott 

Stoneman, who wanted to see her play the instrument 

like a man, different than their mom’s 

style. 

“He was determined I was not going to 

play the old-fashioned clawhammer style . . . 

He was going to have me play the new threefinger 

style that Earl Scruggs was making so 

popular. The sound was sharper, more ringing, 

more driving - bing, bing. You played with 

picks and it was very hard to learn. 

“I would sneak out in the back, in the 

woods. The banjo was pretty heavy, so I’d 

practice on a tree stump. I’d just stretch my 

legs out apart, put the banjo on the stump and 

reach around it and pick and pick . . . Scott 

would come out. ‘Did you get it right?’ I’d 

say, ‘I will Scott, if you just . . .’ (He’d interrupt) 

‘Now don’t stop and don’t make it sound 

like a gallop.’ A gallop is using your forefinger 

and your middle finger at the same time 

and not separating them. You’re blurring it.” 

On the comedy front, Roni’s influences 

were Judy Canova, Marjorie Main and Carol 

Rose Maddox, Roy Drusky, Johnny 

Rodriguez, Wanda Jackson, Ray Price, Boxcar 

Willie, Mel Tillis, Ernie Ashworth, Wilma 

Lee Cooper, you name ’em and they’re most 

likely covered. Oh, he’s also talked with some 

of the later legends like Alan Jackson, Garth 

Brooks and Keith Whitley. 

There are pages of photos, personalized 

with his own family members, notably wife 

Burnett. Often teamed on Hee Haw with 

Gordie Tapp, she played his nagging wife Ida 

Lee, the unkempt Ironing Board Lady. 

Stoneman showed a definite lack of financial 

prudence, despite working that successful 

series featuring Roy Clark and Buck Owens 

as co-hosts, plus a rich supporting cast including 

Tapp, George Lindsey, Archie Campbell, 

Grandpa Jones, Junior Samples, Minnie Pearl, 

Gailard Sartain, Lulu Roman, Don Harron, 

Grady Nutt, Kenny Price and the Hee Haw 

Honeys, barnyard versions of Hugh Hefner’s 

shapely Playmates. 

Roni’s perpetual lack of funds was due 

mainly to her pick in husbands. Here’s how 

she reminisces on her third marriage to Richard 

Adams in Ohio: “It was a big church wedding. 

I rode there in a limousine. On the lefthand 

side of the church was a room and on the 

right-hand side was a room. Richard was in 

the right-hand one with his lawyer and one of 

his stockbroker friends. He came and got me. 

Now I didn’t want him to see me because I 

wanted to surprise him with this beautiful dress 

I had ordered out of New York. 

“But he insisted that he wanted me to sign 

some papers. I shouldn’t have, but I’m getting 

ready to go down the aisle, Chet Atkins is 

already playing, what the heck am I supposed 

to do? Say, ‘Wait a minute. Get my lawyers to 

read the papers’? He was pushing me: ‘You 

got to sign these, you got to sign these right 

now.’ I signed them.” 

Roni made a wiser choice in electing to 

work with Ellen Wright, who teaches writing 

at Northwestern University and was named an 

NU Distinguished Lecturer in 2005. She’s also 

a kindred spirit in that she plays guitar in her 

husband John’s bluegrass band in off-duty 

hours. 

In “Pressing On,” Roni also shares memories 

of an often rocky road on tour, but on an 

upbeat note, reveled in working with a legend 

like Ernest Tubb, who offered encouragement: 

“You got the talent girl . . . Don’t dream small, 

reach for the sky. You want to do comedy? Go 

for it . . .” 

Tom T. Hall, in turn, recommended Roni 

for Hee Haw. Faron Young affectionately 

called the slender artist “Olive Oyl” (after a 

Popeye cartoon character), and subjected her 

to some bizarre behavior. Roni recalls a crazy 

Canadian shopping spree with Loretta Lynn, 

and remembers Patsy Cline during their early 

days in D.C.: “Patsy Cline knew how to party 

hearty. Just like the girls of today will go out 

and have a drink with the boys. She was ahead 

Charla, and naturally with the pros: Pitcox with 

Roy Acuff, Pitcox with Conway Twitty, Pitcox 

with George Strait, Pitcox with Hank Snow, 

Pitcox with George Jones, Pitcox with Floyd 

Tillman, well, you get the picture. On the backside 

of Pitcox’s book is a shot of him and 

Loretta Lynn, who proclaims thereon: “Tracy’s 

love of traditional country is evident in all he 

does to promote artists . . .” 

On the inside are some interesting recollections 

of Tracy’s time with talents from 

Music City, among them Whisperin’ Bill 

Anderson’s account of his own days as a junior 

Georgia DJ. 

“Jean Shepard was the first Grand Ole 

Opry star that I interviewd when I was a disc 

jockey . . . I was one of those kid DJs that did 

not know when to quit talking, and I kept asking 

her questions until I nearly drove her crazy. 

Finally, she said, ‘Well Bill, I don’t want to 

take up anymore of your time.’ That is about 

the nicest anyone has ever cut me off.” 

Another anecdote concerns singer Alan 

Jackson’s answer as to whether he will remain 

true to the traditional country sound? 

“That is all I could ever do. A lot of the 

traditional country acts in the past have been 

the Southern dialects. With that kind of accent, 

it is hard to do something else. My heart 

is in traditional and always will be.” 

Regarding the Grand Ole Opry, Charlie 

Louvin told Pitcox: “None of it would be here 

of her time, that’s all.” 

Kitty Wells was her hero: “Without her 

songs, I would never have been able to feed 

my children. Because that’s what I used to sing 

back at the Famous Bar & Grill in Washington. 

I learned to sing just like her, because the 

people always wanted Kitty Wells’ songs.” 

Stoneman’s proud of how her five children 

turned out, and speaks lovingly of Barbara, 

“my special child. (But of course, they’re 

all special),” though she feels in general “Tennessee 

has a long way to go when it comes to 

special needs children and young adults. I was 

honorary chairperson for special children for 

the state . . . for three-and-a-half years. So I 

learned a lot from that.” 

We first met Roni 20 years ago when she 

was volunteering her talent to musician Lorna 

Greenwood’s charity DreamShip, a program 

to benefit the mentally challenged. Roni was 

warm, witty and spirited, and even introduced 

us to Barbara, who performed a sprightly little 

dance. 

Years later, however, Roni was a no show 

after we agreed to talk about a book of poems 

she was writing. She never did call to explain, 

but we’ve always wished her well. 

Obviously, her career could not retain the 

fervor of all those Hee Haw years, after being 

dropped from the cast, but she continues to 

play the occasional concert. Bluegrass fans are 

especially cognizant of her banjo expertise. 

“People can do you wrong - my family 

was cheated right and left, and I was treated 

bad by my husbands - but they can’t take your 

soul unless you let them,” said Stoneman. 

“You got to guard it, and you got to know that 

you can use it to turn your life around. Press 

On . . . ” 

if it was not for the Grand Ole Opry. The Opry 

needs old timers like myself. The acts that 

commend 50,000 to 75,000 a night don’t come 

in but once a year, so that makes traditionalists 

like myself a little more important to the 

Grand Ole Opry because they have to do 

shows once a week.” (Tell that to Stonewall 

Jackson.) 

Fellow Texan George Jones reminisced 

about his breakthrough song “Why, Baby, 

Why” and its popularity chartwise: “That was 

the first hit we had. Red Sovine and Webb 

Pierce had the biggest record on it (on Decca). 

They covered me on my label (Starday). It 

came out for me in the later part of ’55, and it 

started hitting and reached its peak in ’56. I 

got to about #4 with it (actually it peaked at 

#4 on Dec. 10, 1955.), but Webb and Red got 

to #1 with it (on Feb. 11, 1956) . . . I was about 

23 years old (he turned 24 before it charted 

Billboard on Oct. 29, 1955).” 

Hank Locklin was queried about a country 

crossover song: “‘Please, Help Me I’m 

Falling’ was my first country record to spill 

over into the pop field (it was #1 country 14 

weeks, and hit #8 pop in 1960). That is when 

you first heard Floyd Cramer. A boy by the 

name of Don Robertson, and Hal Blair, are 

the ones that wrote the song. Don is the one 

who wrote the lyrics, with Floyd on there (as 

session player). I had the pleasure one night 



Launches new Stellar Cat label 

By WALT TROTT 

All eyes are on aurburn-haired Pam Tillis, 

her feminine form swaying confidently across 

the media room, as she arrives for our chat at 

the Country Radio Seminar (CRS). 

Glancing at me, she asks can I play guitar, 

as they need a redheaded picker for her “Band 

In the Window” video, set to shoot on 

Nashville’s Lower Broad, prior to her leaving 

for the South By Southwest (SXSW) Music 

Festival in Austin. 

Declining, I politely suggest Pam round up 

a bona fide musician to fill the bill. Tillis had 

been taping station promos at CRS, where she 

was also hyping her latest album, 

“Rhinestoned.” 

It marked her first in more than four years 

and is also the premiere release (April 17) under 

her indie imprint Stellar Cat, an effort that’s 

been two years in-the-making. 

“Being my own A&R chief, it’s the first 

album for me where I didn’t have to think about 

coming up with three radio singles,” purrs Pam, 

who can be either kitten or tigress. 

The star’s previous album paid homage to 

pop, singer-songwriter Mel, that is: “Indeed 

that album (‘It’s All Relative - Tillis Sings 

Tillis’) was special to me, and I’ll tell you that 

it and ‘Rhinestoned’ are kind of book-ends. 

‘Tillis Sings Tillis’ sort of represents the past 

and celebrates my dad’s legacy as a songwriter, 

but then I carry a lot of the style and sound 

forward to 2007 with ‘Rhinestoned.’ So you 

could say these are sort of flip-sides to one 

another. 

“I don’t know where I’ll take it next,” she 

smiles radiantly. “Sometimes I feel like a 

bridge, crossing from that era producing the 

music of my formative years, coming forward 

into today. I feel fortunate though, as some 

artists don’t have any real deep roots in country 

music. What they think of as ‘roots’ just 

goes back to this afternoon. A lot of it is just 

having the education to know the music and 

where it’s coming from.” 

“Rhinestoned,” co-produced by Pam, guitarist-boyfriend 

Matt Spicher and songwriting 

pal Gary Nicholson, contains 13 original songs, 

including two she had a hand in writing. 

“One of which I wrote with my brother 

(Sonny a.k.a. Mel, Jr.) called ‘The Hard Way.’ 

It’s another song about being hard-headed, 

learning everything the hard way. I think a lot 

of people can relate to that, and actually sometimes 

that’s the best way to learn.” 

The other co-write is “Life Has Sure 

Changed Us Around,” something she heard 

somebody say, “and I knew exactly what he 

meant when he said that. I took it to Gary 

(Nicholson) and that song just seemed to come 

tumbling out (with an assist from writer Tom 

Hambridge).” 

Adding a personal touch to the song’s track 

is John Anderson, a singer whose style Tillis 

admires. Another artist and writer Pam respects 

is classy Matraca Berg, who furnished “Crazy 

By Myself.” 

“That’s a little bluesier element on the album,” 

explains Tillis. “Matraca is remarkable 

and this is really a funny song. I think on a lot 

of albums my sense of humor will raise its 

head. I can’t be too serious for too long. I like 

her song, which says if you’re thinking I need 

some help in going crazy, I don’t. She’s just 

Tillis: Tigress or kitten 

declining to get involved with this guy because 

of where it will go, thinking I’m nutty enough, 

so I don’t need you to drive me crazier.” 

Noting several selections are penned by the 

softer sex, is this something Tillis insists on, 

in pulling a project together? 

“No, I really don’t. They just supply songs 

that interest us. I don’t think their songs are 

like overtly feminine per se, but they have a 

slant that seems to suit me. You know, one of 

my biggest hits - ‘All the Good Ones Are 

Gone’ - is such a female-oriented song, written 

by two guys (Dean Dillon and Bob 

McDill). So who knows?” 

Coincidentally, the album boasts two fellows 

aiding her in production. How did that 

come about? 

“I started it with Matt and we recorded at 

home, just cutting some songs, and then began 

the process of narrowing it down. About 

half-way through the project, we thought 

where is this going? So I pulled in our good 

friend Gary. He’s a roots music sort of guy, 

who has a low tolerance for anything plastic 

or contrived. Gary just loves real music and I 

really trust him and his honesty. 

“He became a good sounding board, a neutral 

party, somebody who could diffuse any 

kind of tension. You know when you’ve been 

in there for a year, things start to get kind of 

tense. Gary said, ‘Let’s just keep it country 

and you can’t go wrong. Just keep it country.’ 

I thought, ‘You’re right, because everywhere 

I go, people say they don’t get to hear enough 

music that sounds like country.’ It’s true. Some 

of the country music doesn’t sound country.” 

Once they heard the Lisa Brokop-Kim 

Johnston song “Band In the Window,” it all 

seemed to fall into place: “That’s the one we’re 

about to do the video on. It’s like a little snapshot 

of what makes Nashville such an amazing 

town. People come here and you see them 

waiting tables, parking cars, and everybody’s 

a singer or a songwriter, or at least it seems 

that way. 

“Any given evening or afternoon, there’s a 

band playing on Lower Broad in the little dives 

and at The Stage, Tootsie’s Orchid Lounge or 

Robert’s Western Wear, in the window. I’ve 

been in those bands in the window. Hey, some 

of them go on to become stars. It’s a colorful 

scene, where all the tourists come to hang-out 

with these characters. That’s what the song is 

all about. 

“When I heard that, I thought that’s our 

centerpiece. I think we were kind of floundering 

for direction when we found ‘Band In the 

Window.’ I felt it’s what we needed to celebrate 

what’s unique about Nashville and in a way, 

that’s what it’s all about, my love affair with 

country music. That’s realy what this album 

represents to me.” 

Pam’s a second generation pro, who recalls, 

“I used to sleep in my dad’s guitar case, and 

woke up many times in the middle of the night 

to the sounds of the latest demo session.” 

Growing up, the elder of his and her mom’s 

Tillis on the red carpet a few years ago at the official 

opening of the Country Music Hall of Fame. 

five children, she resented the job that took him 

away from them for days on end. Still, she herself 

was drawn to music, initially studying classical 

piano as a youngster at the Blair School 

of Music, then teaching herself to play guitar 

at age 12. 

Following a near-fatal car accident at 16 

that required intensive facial surgery to reconstruct 

her features, Pam convalesced, spending 

time reflecting on her future. Ahead were 

studies at the University of Tennessee’s Knoxville 

campus, where she formed her Country 

Swing Band; a move to Sausalito, Calif., where 

she sang jazz; then working awhile in her 

father’s publishing firm. 

“I concentrated on the craft of country 

songwriting, especially lyrics. That’s really 

where I learned about structure and style . . . ” 

Pam had even sung backup on stage for him 

as a Stutterette and on sessions, but it didn’t 

fulfill a rebellious desire deep down to be her 

own person: “It was hard to grow. Singing for 

my dad was the work and headaches, with none 

of the satisfaction of having done it myself.” 

In California, Pam fronted the Freelight 

Band in the Bay Area, selling Avon on the side 

to augment her meager income. Next, she got 

the attention of producer Jimmy Bowen, who 

in 1983 inked her to Warner Bros., resulting in 

her rockin’ “Above and Beyond the Doll of 

Cutie” album. When it failed to generate much 

steam, she soon signed with Tree Music. 

Pam Tillis co-wrote her first 1984 Billboard 

charting “Goodbye Highway,” with Pam Rose 

and Mary Ann Kennedy. Over time, writer 

Tillis has had cuts by such notables as Juice 

Newton, Conway Twitty, Chaka Khan, Barbara 

Fairchild and Highway 101, including “The 

Other Side Of the Morning,” “When Love 

Comes ’Round the Bend” and “Someone Else’s 

Trouble Now.” 

Like her father, who has suffered failed 

marriages, she has experienced divorce and a 

hurt that fills her songwriter’s well of emotional 

inspiration. 

Along the way, Pam also had a son, Ben, 

now in his early 30s, whose father is Rick 

Mason. She later wed songwriter Bob DiPiero 

(formerly with the band Billy Hill), a match 

that lasted from 1991-1998, and with him cowrote 

her chartings “Blue Rose Is,” “Cleopatra, 

Queen of Denial,” “It’s Lonely Out There” and 

her biographical “Melancholy Child.” 

“You take a black Irish temper/And some 

solemn Cherokee/A Southern sense of humor/ 

And you get someone like me . . . Heaven help 

us all/Another melancholy child.” 

With her songwriting credits boosting her 

stock, the newly-created Arista Records label 

signed her in 1989, along with newcomers Alan 

Jackson, Diamond Rio and Brooks & Dunn, 

all of whom scored smash hits. 

Her own 1990 breakthrough was the spunky 

“Don’t Tell Me What To Do,” penned by 

Harlan Howard, who ironically had provided 

her father’s breakthrough vocal hit two decades 

earlier, “Life Turned Her That Way.” 

Pam’s next hits “One Of Those Things,” 

she co-wrote with Paul Overstreet; and “Put 

Yourself In My Place,” with Carl Jackson, the 

latter the title track of her first Arista gold 

record. 

A trio of Top Five singles followed - “Maybe 

It Was Memphis,” “Shake the Sugar Tree” and 

“Let That Pony Run” - all penned by others. 

Following the successful singles “Spilled Perfume” 

(she and Dean Dillon co-wrote) and 

“When You Walk In the Room,” Pam scored 

her first #1 record, “Mi Vida Loca (My Crazy 

Life).” 

She grins when we mispronounce the title, 

saying, “Think Velveeta (cheese).” In turn, we 

point out that accomplishment led to her dad, 

brother and Pam making record books as the 

first father, son and daughter to write #1 

records: “Isn’t that cool!” (Sonny scored his 

charttopping cut “When I Think About Angels” 

sung by Jamie O’Neal in 2001, and Mel sang 

his first #1 “I Ain’t Never” in 1972.) 

Meanwhile, Pam and her mom Doris, a visual 

artist, remain close: “She’s still into art 

Pam with ‘signature guitar’ at CRS. 

and is very, very creative. Right now, she’s 

actually doing a column for a magazine outside 

of Springfield, Mo. It’s a kind of home 

decorating, home improvement publication, 

covering all things domestic. This is her first 

real job, and she loves it.” 

Doris is equally proud of her daughter’s 

achievements which include additional Top 

10s “In Between Dances,” “Deep Down,” 

“The River & The Highway” and “Land Of 

the Living” in 1997, her last Top 10 to date; 

plus platinum albums “Homeward Looking 

Angel” and “Sweetheart’s Dance.” She was 

CMA vocalist of the year in 1994, and became 

a Grand Ole Opry member in 2000. 

Local 257 member Pam has also tried her 

hand on stage, playing Mary Magdalene in 

The Tennessee Repertory’s 1986 production 

“Jesus Christ, Superstar,” on Broadway in 

1999 for “Smokey Joe’s Cafe”; and on screen 

in such series as Diagnosis Murder and 

Touched By An Angel. 

So what’s it like now wearing the hat of a 

record executive? 

“It’s really exciting, and yet it has its difficulties 

and its pressures, you know, all those 

little things that you worry about on the business 

side of the business. It’s all the same at 

every level, I promise you. I don’t care 

whether you’re a new artist starting out or 

you’re a major star, everybody has the same 

thing to deal with. Running a label is not that 

much different. I’m having to pay attention 

to a few more details, but you know if you’re 

smart as an artist, you need to be doing that 

anyway.” 

One important indie factor is marketing, 

does this concern Pam regarding her new CD? 

“Certainly, but there are plenty of independent 

contractors. I can hire those folks as 

easily as Sony can hire them. Of course, they 

have in-house promoters, but there are people 

out there that do the same job and do it independently. 

We’ve got a great team put together. 

I’m quite amazed by it all myself. It’s 

incredible really.” 

Tillis’ previous 13-track CD, “It’s All Relative,” 

was released in 2002 on Sony’s Lucky 

Dog label, and was co-produced by Ray 

Benson: “That album was absorbed into another 

label, where there was a different type 

of structure. I’m not knocking the way they 

do business, obviously they’re very successful 

at it, but it didn’t work as well for me. So 

this is more suited to a girl with my temperament, 

and I’m not saying that I would never 

partner with a label again, but, it would have 

to be the right situation. I just needed to get 

this record out and so I decided to do it myself. 

It works for me.” 

Does she relish the new-found freedom? 

“Starting out with Arista, they just always 

let me do my own thing and pick my own 

singles. They never told me what to record,” 

she says, adding facetiously “And as they say 

here, that just ruined me, I was just ruint!” 

Going independent was also prompted by 

the CD’s material, she insists: “My album is 

a little left-of-center, that was another reason 

I decided to do it myself. It’s country, but I 

don’t know if it’s Top 20 country, so rather 

than leave it to somebody else to figure out 

how to handle it, I will work all that out. You


know how tight the playlists are now at country 

radio, whether they’ll get a chance to play 

it now, I don’t know. We’ll send it to them, 

but there are plenty other avenues that we’re 

exploring and those excite me.” 

Being on Sony’s Lucky Dog, was she disappointed 

“It’s All Relative” didn’t yield 

singles, expecially her critically-acclaimed 

renditions of such as “Burning Memories,” 

“Violet & A Rose” (with Dolly Parton), “Detroit 

City,” which boasted a different twist, and 

“Heart Over Mind,” done in a completely different 

tempo? 

“No, it wasn’t supposed to do that. It was 

an album I waited a long time to do that was 

simply to pay tribute to my dad and I was 

pleased to finally get to do it. You know he 

was just so proud of it. I call it, ‘Dad’s album,’ 

and now he’s waiting for volume two,” she 

adds, giving a gleeful giggle. 

Speaking of family, Pam says she’s looking 

forward to doing an album with Sonny and 

sister Carrie April: “It’ll be a little bluegrass 

kind of family harmony acoustic album, towards 

the end of 2007. I love working with 

family, but we’re a ways off from that. We’ll 

keep you informed.” 

Has Tillis been touring as much since leaving 

Arista? 

“Yes, I still have to work. I did 140 shows 

last year and about 130 the year before. I didn’t 

know it appeared that I have pulled back from 

the industry or from my involvement with the 

music business. I really haven’t. I’ve just been 

busy making a living. I must be more mindful 

of that. We’ll probably do more television and 

more press, and try to be more visible so y’all 

don’t think I’ve retired or gone away, and so 

we can help sell a bunch of ‘Rhinestoned’ 

records.” 

What does Pam think of today’s music? 

“Some of it’s good. Some of it, I don’t get. 

There are some great writers and terrific new 

talent in this town. I think Carrie Underwood’s 

a fine singer. I hope she gets all the right material 

to keep going. Sometimes they chew ’em 

up and spit ’em out too quick. I hope Gretchen 

Wilson hangs in there awhile, she’s a fantastic 

vocalist. 

“There’s also people who have been doing 

Pam meets with autograph seekers at the annual CMA Music Festival in Nashville. 

Pam Tillis during her hit-making stint with Arista Records. 

- Photos (4) by Patricia Presley 

it awhile, like Alan Jackson and Brooks & 

Dunn, who are still awesome. Then there’s 

some music that sounds too plastic to me. I’m 

just trying to make good honest music, and I 

think it’ll find its place.” 

Although facing 50 this summer, Pam looks 

20 years younger, and her soprano’s as strong 

and resonant as ever. 

Does she take heart in the fact that fellow 

artists like Dolly Parton hit Top 10 solo at 51 

via “Peace Train”; Willie Nelson was 69 when 

he and Toby Keith scored #1 with “Beer For 

My Horses”; and Kenny Rogers 61 when “Buy 

Me a Rose” topped the chart? 

“That’s right,” Tillis retorts, “So another 

hit’s just three minutes away.” 

What did her and Matt do to celebrate 

Valentine’s Day? 

“Oh, we had an evening out, went for a nice 

dinner and to a movie. But when you’re with 

the right person, every day’s Valentine’s.” 

Any marital plans ahead? 

“We’ve been together eight years, and we 

just don’t want to do anything rash,” she says, 

impishly. 

“I mean we’re talking about it, but right now 

we’re just trying to find a break in a busy 

schedule; otherwise, we’d have to get married 

and go right back to the office.” 

Oh, Boy, something different’s coming, ‘Standard Songs For Average People’ 

By WALT TROTT 

It’s a rarity recording-wise to find such a 

collaboration as that of Americana royalty 

John Prine and bluegrass Hall of Famer Mac 

Wiseman. 

Their brand new, but obviously milestone 

recording, rides out this month (April 24) under 

the uninspired banner of “Standard Songs 

For Average People,” though it’s anything but 

uninspired inside, as these two formidable 

entertainers dish up 41 minutes and 43 seconds 

of delicious musical fare. 

As noted by the title, there’s nothing new 

among their 14 tracks on this Oh, Boy! 

Records’ release, but classic songwriters Cindy 

Walker, Bob Wills, Leon Payne, Bill Anderson 

and Tom T. Hall garner recognition for 

legendary penmanship on their songs “Don’t 

Be Ashamed Of Your Age,” “I Love You Because,” 

“Saginaw, Michigan” and “Old Dogs, 

Children and Watermelon Wine.” 

Nice, too, to hear Ernest Tubb’s timeless 

“Blue-Eyed Elaine,” Charlie Feathers’ & Stan 

Kesler’s melodic “I Forgot To Remember To 

Forget” (a 1956 #1 for Elvis Presley), and 

singer-songwriter Al Dexter’s 1940s’ smash 

novelty number “Pistol Packin’ Mama” again. 

Did you know that 1944 Dexter tune was 

Billboard’s first country #1? Yes, but as recorded 

by Bing Crosby (& The Andrews Sisters), 

who’s also represented on this collection 

by “Where the Blue Of the Night (Meets 

CD REVIEW 

the Gold Of the Day),” a 1932 pop standard 

that served as Der Bingle’s radio theme song. 

Incidentally, in fairness to Dexter, he not 

only had a pop #1 eight weeks on “Pistol 

Packin’ Mama” (while Crosby’s stalled at #2), 

but his rendition replaced the Crosby version 

after five weeks in country’s #1 spot on Feb. 

5, 1944, for three more weeks. That’s quite a 

song (it’s in the Grammy Song Hall of Fame), 

and it’s nice to report our boys do it up just 

right. In fact, it’s an album highlight. 

Unpredictable Prine is a man of musical 

vision, one equally adept at writing and performing, 

creating provocative but entertaining 

ballads such as “Angel From Montgomery,” 

“Paradise,” “Donald & Lydia,” “Sou- 

venirs” and “I Just Want To Dance With You.” 

Credit both Jack Clement and Prine’s manager 

Al Bunetta with pairing the unlikely duo. 

Reality finally set in when Al spotted Mac at a 

party, Initially, Al suggested Mac consider 

singing a little known Kris Kristofferson song 

“Just the Other Side of Nowhere” with John. 

In turn, Wiseman liked both the song and 

the singer. Prine confided to the man known 

as “The Voice With a Heart” that he was considering 

doing an album of golden oldies. Then 

he asked Wiseman to come up with a list of 

standards that might make the cut, while he 

drew up his own list. Surprisingly, their lists 

were quite similar, including numerous songs 

that both artists admired. 

Calling the shots at Oh Boy! Records, 

Prine, now 60, decided to take on the pioneering 

bluegrasser as a duet partner for an album 

of favorites, simply because he wanted to. 

Wiseman, 81, started off his career performing 

with legends like Molly O’Day, 

Buddy Starcher, Bill Monroe and as one of 

Flatt & Scruggs’ original Foggy Mountain 

Boys. Mac went on to make an impact in both 

bluegrass and country genres, with successes 

‘Old Photograph’reflects 

an artist at his very best 

Review by WALT TROTT 

Dobro prince of players Randy Kohrs, 

who has paid his dues as sideman and session 

musician, now hopes to make a mark for himself 

as a solo artist. 

Kohrs’ debut album “Old Photograph” is 

just out on the Rural Rhythm bluegrass label, 

featuring 12 tracks, nine of which he had a 

hand in writing. 

For the uninitiated, Randy has performed 

with such notables as Tom T. Hall, John 

Cowan, Hank Williams III and Dolly Parton, 

and is simply amazing on stringed instruments, 

also playing steel guitar, bass, mandolin 

and acoustic guitar. Session-wise, listen to 

his distinctive dobro intro on Dierks Bentley’s 

smash “What Was I Thinkin’,” which really 

sets the pace for that charttopper. 

He and his band The Lites tour regularly. 

As if all that isn’t enough, Randy’s also 

an accomplished singer, witness his yearning 

vocals on “White Ring,” which he wrote with 

a fellow named Elmer Burchette, and one of 

the best of these dozen tracks. It’s country to 

the core (or is that Kohr?). 

Conversely, true love Ashley Brown cowrote 

their searing “She Ain’t Comin’ Back.” 

In fact, producer Kohrs has assembled an 

amazing variety of subjects here: The evocative 

“Lena Mae,” apparently in tribute to his 

gracious grandmother (though co-written by 

Susan Hill); “Rockwell’s Gold,” concerning 

greed miners encountered in old Nevada; 

“Two Boys From Kentucky,” a tragic tale from 

the Civil War Battle of Shiloh; the Bible-inspired 

ballad “Can You Give Me a Drink,” a 

parable on prejudice; and the uptempo “If All 

Those Trains Were Still Around,” with Randy 

ridin’ at full steam in homage to America’s 

once great railway days. 

Our boy’s a bit friskier in the gospel-flavored 

“Who’s Goin’ With Me,” as he tries to 

get the inside track with the preacher’s pretty 

daughter. Finally, he’s mourning the loss of 

heart in “Shallow Grave,” a morose ballad proclaiming: 

“I will not rest/I won’t forget/I’ll 

haunt you every chance I get/For the way my 

heart was laid/So careless, in this shallow 

grave.” Heavy. But Kohrs puts this Kate 

Campbell-Walt Aldridge tune across acoustically, 

and with all the feeling he can summon 

for such a saga of unrequited love. 

In Bryan Frasher’s “Old Photograph,” the 

CD’s title tune, he’s more charitable to a lost 

love, sending his picture, while lamenting, “I 

know you’ll find somebody else/But let me be 

a memory you put on a shelf . . . a piece of 

your past/A bittersweet face in an old photograph 

. . .” 

The songs selected are deep, insightful 

and intelligent, lovingly performed, while the 

playing by Kohrs, and collectively by the session 

players he’s assembled, is excellent. This 

is a noteworthy solo effort. 

such as “Tis Sweet To Be Remembered,” 

“Love Letters in the Sand” and “Jimmy Brown 

the Newsboy.” More recently, Mac recorded 

separately with Del McCoury, Johnny Cash 

and Charlie Daniels. 

Co-produced by Prine and David 

Ferguson, players engaged for “Standard 

Songs . . .” included a Who’s Who of Nashville 

session elite: Cowboy Jack Clement (who 

had first suggested John team with Mac), 

Lloyd Green, Kenny Malone, Jamie Hartford, 

Charles Cochran, Joey Miskulin, Stuart 

Duncan, Pat McLaughlin, Mike Bub, Tim 



Fellow Local 257 multi-instrumentalist Greg Cole co-produces 

Daryle Singletary’s latest album comes ‘Straight From the Heart’ 

By WALT TROTT 

Daryle Singletary is the real deal, a rootsoriented 

singer, who thrives on twang. Inspired 

by the likes of Jones and Haggard, he 

nurtured a love of country playing in honkytonks, 

and in appreciation has released yet a 

second album saluting golden oldies: “Straight 

From the Heart.” 

He’s known best for his original 1996 hits 

“Too Much Fun” and “Amen Kind of Love,” 

Singletary’s deep vocals lend themselves well 

to such classic cuts as Don Williams’ “Some 

Broken Hearts Never Mend,” Buck Owens’ 

“A Tiger By the Tail” and Conway Twitty’s 

“Fifteen Years Ago.” 

These are among the dozen tunes heard 

on Daryle’s new CD, co-produced by longtime 

associate Greg Cole and Chuck Rhodes 

for the indie Shanachie label, distributed by 

Koch Entertainment. 

Singletary and Cole stopped by the musicians’ 

union for an interview about their latest 

album project, a chat taped in the parking 

lot on one of March’s first sunny days here. 

“I’m passionate about what I do,” says 

Singletary, who just marked his 36th birthday. 

“I’m not just going out making a living 

or just to get a check. I’m doing what I like - 

and I’m having fun. Since 1995, I’ve consistently 

played an average 60-to-80 dates a year. 

If you ask me, that says a lot about the state of 

our industry. I’ve been very fortunate and I’m 

thankful. I’ve seen some of my friends come 

into this business, have a hit and now they’re 

not out there anymore. I’m still here and I ain’t 

goin’ anywhere.” 

Dark-haired Daryle is a burly, no-nonsense 

guy, who doesn’t gloss over the facts: 

“I mean here I sit (on the tailgate of Cole’s 

pickup truck) in a pair of faded-out pants and 

boots, and I’ve got paint all over my shirt . . . 

“Our new album came out Feb. 27 and I 

think we sold a little over 1,100 pieces the 

first week, with 800 of those sold at Wal-Mart. 

Koch is our distributor, and Michael Koch 

owns it. It’s the largest independent distributor 

in the U.S. So they’re big and even sell in 

Wal-Mart. Hey, those ain’t the numbers a Tim 

McGraw sells, but we didn’t make the record 

for $250,000 either. We made it for under $50 

grand and here we are making money, while 

others are trying their darnedest to sell records, 

having to buy promotions here and promote 

there, spending more money. 

“We’re going about it saying, ‘Let’s go 

out there and work our behinds off and plug 

this record where we can make it work.’ I think 

the positive thing about it is if everybody 

keeps their minds on doing what’s real, and 

knows that we’re not trying to play with the 

big boys, because we can’t. What we’re doing 

is from the heart (we teasingly interrupt 

to remind him the title’s ‘Straight From the 

Heart’ and he chuckles), I mean straight from 

the heart, exactly. 

“We’re taking what we have to work with 

and we’ve got music that we’re proud of. Well, 

we can go home at night and go to sleep, saying 

‘We’ve done our best,’ and in the long run 

people know it’s out there and they’ll go out 

and get it. That’s where we’ve been fortunate. 

“Even though the deal’s been done, we 

sold 70,000 records of ‘That’s Why I Sing This 

Way.’ And that’s not bad money. Personally, I 

feel lucky to still be in this business, doing 

what I believe in. Greg and I started working 

together when we were (practicing) in a basement 

in Antioch (a Nashville neighborhood). 

He was playing for Jack Greene and I was 

still singing in a club, an unknown and he 

played for me on weekends or weekdays, 

when he wasn’t out with Jack(’s Jolly Greene 

Giants band).” 

Cole also produced Singletary’s acclaimed 

Audium album “That’s Why I Sing 

This Way,” in 2002, their first tribute to traditional 

favorites, which also boasted the thennew 

Billboard Top 40 title track, written by 

Max D. Barnes. 

No doubt that much-played tune would 

have been an easy Top 10 for Daryle had it 

Daryle Singletary and his co-producer Greg Cole in the Union parking lot as taken by Kathy Shepard. 

been released by a major label, with its knowing 

lyric, “Mama used to beat me with a 

George Jones album/That’s why I sing this way 

. . .” 

“I think Audium just didn’t understand the 

way things worked,” notes Greg. “I mean Koch 

(Entertainment, the label’s parent company) 

mostly did adult contemporary out of New 

York City. It needed a different promotional 

angle on it, and it would have been (ranked) 

way up there.” 

Daryle adds, “Even with the modest success 

we did get out of that song, it was very 

much talked about. I guess that’s one of the 

neat things about it.” 

So with the success of their “That’s Why I 

Sing This Way” tribute to traditional, why the 

need now for a second such release? 

“Well the Shanachie (named after an Irish 

storyteller) folk had heard our other album, and 

they wanted us to do another,” grins Daryle. 

“And I didn’t have any problem with that, being 

such a big fan of jack country music and 

some of these songs that we did on the record. 

Anyway, Shanachie’s sort of known for doing 

remakes, and they know we had some success 

with that first one. 

“You know the thing about it is if they’re 

ever fortunate enough to get to mainstream 

radio, the songs may do well, because there’s 

a lot of listeners today who might think they’re 

new, not having heard those cuts by the original 

artists. So they may not know those songs.” 

Did Greg and Daryle have to be careful 

about copying the arrangements or watch his 

vocal style in covering classics cut by such 

icons as George Jones or John Anderson? 

“It never scared me to do those songs, taking 

the attitude we’re not trying to re-do perfection, 

because they’d already been perfected 

by the original artists . . . ” 

The slender producer answers: “We just 

kinda put our spin on ’em, maybe modernizing 

them for today’s format . . .” 

There are some more recent gems, as well, 

among them Keith Whitley’s “Miami, My 

Amy” and Randy Travis’ “Promises.” 

Daryle, chuckling aloud, says, “I didn’t 

have to watch it, because I copied their style! I 

cut my teeth trying to sing like Jones and Haggard. 

So when I moved to Nashville, I saw no 

reason not to try to sing like these heroes, because 

they’re so good. It’s inevitable that 

Randy (Travis) and Keith (Whitley) stole licks 

from Jones or Haggard. Hell, I stole licks from 

Randy and Keith. 

“You know when (Johnny) Paycheck was 

still Donnie Young on George Jones’ records, 

singing harmony and playing guitar, I’m sure 

Jones borrowed some of Paycheck’s style. It’s 

something that happens all the time. I don’t 

even think about it, but I personally feel that 

by combining all those licks I learned, I developed 

my own style. I’m very thankful for 

that. I got a call a couple weeks ago from a 

friend of mine, who was in Memphis. He said, 

‘I heard your song on the radio, and the first 

few words I knew it was you.’ I take that as a 

compliment.” 

How does he feel about brand new artists 

citing him as a musical influence? 

“I feel very honored to be mentioned by 

some of the new artists as an inspiration, and 

I’m like ‘Wow!’ But the recording scene has 

definitely changed today . . .” 

Greg adds, “You know we all played those 

oldies of Jones and Haggard in the clubs for 

30 years. So what liberties we took we probably 

planned that way, but we tried to be true 

to them as we have a lot of respect for those 

artists and the songs. I’d hate to change a Mel 

Street song.'” 

“One thing that we did do and it was cool, 

we had musicians playing on this record that 

played on the originals or in the artists’ live 

shows,” explains Singletary. “It was great to 

see a guy like Pig Robbins, who played (keyboards) 

on five or six of the original songs, 

recording with us. Mike Johnson, who performed 

for us on Mel Street’s ‘Lovin' On Back 

Streets,’ actually added a lick, saying, ‘We 

played this on our live show.’ Though it didn’t 

appear on the original recording, it didn’t take 

away at all from the song and kind of added a 

little something special that nobody would recognize 

but us - and it worked.” 

Producer Cole, when asked why he didn’t 

play piano or percussion on his joint production 

ventures with Singletary, says: “First off, 

I don’t like to play if I’m producing. I just have 

a different attitude and want to look at it from 

the other side of the glass. I’d rather be concentrating 

on that more than anything else. And 

I’m not all that great on the instruments (when 

there’s a Pig Robbins or Paul Leim available). 

It works out better to just wear one hat.” 

Daryle Bruce Singletary grew up on a 

farm near Whigham, Ga., and himself was 

initially inspired by his greatgrandmother’s 

fiddle playing, and by parents 

who performed in a gospel group (in 

which he started singing at age 3). 

By age 9, the boy had already made up 

his mind to be a country singer. When he was 

in his freshman year of high school, Daryle 

was playing guitar and formed his first band. 

“My father and grandfather were directors 

of our church choir, and I grew up singin’ 

gospel, but was always a big fan of traditional 

country songs.” 

He later worked in a Ford tractor dealership 

and also after graduation, a print shop doing 

odd jobs, until owner Allen Baggett heard 

him sing, then urged him to try his luck in 

Nashville. That major move occurred on Oct. 

14, 1990. 

Singletary wasn’t the first Georgia cracker 

to sing a mean country ballad. He points out, 

“I think Georgia has flown its flag in this town 

pretty good. And you know Rhett Akins is from 

65 miles east of me in Valdosta, Doug Stone 

is from Marietta and Alan Jackson’s from near 

Atlanta. There’s a new kid now, Jake Owens, 

who’s from Tallahassee (Fla.), just across the 

state line, near where I’m from.” 

Once in Music City, Daryle worked on the 

road briefly for Tanya Tucker, then set about 

playing in local bars, trying to find his own 

way. 

“I thought for a while I could make a living 

entering talent shows,” he laughs aloud, 

“I won $100 (first place prize) 10 times in a 

row. You could do those at places like Gabe’s, 

The Rose Room, all those little honky tonks 

here back then. After I won the talent contest 

in one club for awhile, we started working 

there Sunday and Monday, and we were 

packin’ that place on what used to be off 

nights.” 

Cole follows up: “The first day I met him, 

I played on a session with him and I thought: 

‘This boy can sing.’ So I had invited him out 

to this club where I played - The Broken 

Spoke. I talked the manager into letting us play 

there on the off nights. Billy Bob Shane and 

Donna Faye were doing what was happening 

on radio, the Top 40, on Friday and Saturday 

nights. We were playing 1970s and early 

1980s’ stuff that we wanted to play, and we 

just had a big time. Then they added Tuesday 

nights . . . ” 

“I guess we did that for something like 

two years,” continues Daryle. “In fact, I was 

playing there when I met David Lowe, who 

introduced me to Rob Hendon, the guy that 

ran Giant music (publishing) at the time. So 

that’s how I demo’d ‘I Let Her Lie,’ and eventually 

got my record deal. Greg and I had 

worked together while I was doing demos, 

way before I got my record deal.” 

Although “Living Up To Her Low Expectations” 

was Singletary’s Top 40 Billboard 

chart debut, his first smash was the nearcharttopping 

“I Let Her Lie,” both released in 

1995. 

Run by former session drummer-producer 

James Stroud, Giant was also home to 

Texan Clay Walker, who like fellow artists 

Daryle, Deborah Allen, Rhonda Vincent and 

Neal McCoy, got caught up in that turningof-the-century 

closing of the label. 

Meanwhile, Koch Entertainment began 

meddling in the country field, sucking up behind-the-scenes 

Giant alumnus like Nick 

Hunter and Chuck Rhodes for the Audium 

imprint. In turn, these leaders called on 

Singletary. 

“I said, ‘I’d love to come over and talk to 

you, but I want Greg Cole to produce my 

records.’ Man, if you listen to my first three 

records on Giant, and then listen to my three 

or four records for Koch, well these blow them 

out of the water. I mean they breathe, they’re 

open, because here’s a guy who knows me, 

who’s worked with me and we don’t have to 

go in there and kill ourselves when we record. 

Greg knows when I can sing or when I can’t. 

“At the same time, down here (gesturing 

out to Music Row), when you book a studio, 

you’ve got to go sing. At Greg’s (Colemine 

Studios in suburban Smyrna), we’ve cut every 

vocal from George Jones to Rhonda 

Vincent, and all our harmonies have been done 

at Greg’s. They sound better than the stuff I’ve 

cut at some of these big-time $2,000 a day 

studios. The thing is, Greg knows me as a person, 

as a performer and that makes all the difference. 

I feel fortunate to have such a talented 

guy to record with, and it comes across on 

tape.” 

Daryle’s first Audium charting was “I 

Knew I Loved You” in July 2000, followed 

by “I’ve Thought Of Everything,” both of 

which were on his album “Now and Again.” 

(The latter tune was co-written by Texas newcomer 

Kerry Harvick, who for a time became 

Kerry Singletary, and even recorded a duet 

with Daryle: “Miracle In the Making.”) 

“Another thing with Daryle,” says Cole. 

“We like the same kind of music, style-wise, 

singing-wise . . . ” 

Daryle adds: “Greg knows when it’s good 

or it’s not, and when you’ve nailed it. He 

doesn’t mind saying, ‘Hey look, let’s do it 

another day.’ That comes after working with 

somebody so long. No offense to the guys who 

produced me before, but I may have done vocals 

with one guy, then this other guy comes


in and approves the mixing, and yet another guy 

does something else. But Greg’s there from the 

birth, I mean, he’s there from the time the first 

note’s played until the last note’s mixed. That 

means a lot to me. He’s always been totally 

married to every project we’ve done together.” 

Before Giant, Daryle had recorded with the 

short-lived indie Evergreen label, owned by 

Johnny Morris, who co-wrote “An Old Pair of 

Shoes,” a success for Randy Travis. In fact, 

Singletary sang the demo for Morris, and Evergreen 

issued his version in 1992 as a single. 

When Travis initially heard Daryle’s vocals 

on the song, he wanted to know who was 

singing, and pretty much stuck with that original 

arrangement for his 1993 cover. 

Thus from 1992-1997, Singletary worked 

with Lib Hatcher (Mrs. Travis), who managed 

him - and did the troubadour find Lib a tough 

taskmaster? 

“She was easy as long as you stood your 

ground with her. If you ever let her push you 

over a little bit, she might be hard to deal with. 

Randy and Lib were good to me. He produced 

my first record (on Giant) and they were very 

helpful. You know I give a lot of credit to the 

fact that I’ve been able to keep my sanity in 

this business to Lib. Very few times did she pat 

me on the back or blow smoke up my butt. She 

was very realistic. Lib complimented when she 

thought I needed encouragement, but as far as 

going above and beyond and tell me I was a 

superstar and was this or that, she didn’t waste 

her breath. 

“I appreciate that because I’ve seen a lot in 

this industry where managers and booking 

agents blow all this smoke at you and then when 

the rug’s snatched out from under you, it’s like 

what happened to them telling me I was this or 

that? Lib was very much about (telling me) be 

appreciative of what you’ve got. Randy’s a good 

guy, too.” 

Travis insisted he open shows for him on 

tour, another break. 

Did Daryle happen to demo “Promises,” 

which he includes on his latest collection (in 

homage to Travis)? “No, I didn’t do that one. It 

came out in the late 1980s’ before I was with 

them.” 

In retrospect, Singletary feels the demos 

Cole produced on him for Giant ears were better 

than the tracks released: “Yeah, I started 

doing records with all those ‘big’ producers and 

I’d go back later and listen to my demos and 

thought, ‘Man, these are ten times better than 

the records.’ But I was brand new and thought 

you gotta use the big guys. I was kinda like a 

puppet-on-a-string, just glad to have a major 

deal.” 

For his first covers album on Audium, 

“That’s Why I Sing This Way,” the Singletary- 

Cole team thought they had wrapped it up with 

11 tracks. 

“The session was done or so we thought,” 

says Cole. “But early on Nick Hunter had said, 

‘I’d like you to do (Hank Mills’) ‘Kay,’ originally 

a hit by John Wesley Ryles.” 

Singletary notes: “So I said, ‘Whatever . .’ 

and we went to Greg’s studio and put a band 

together. We even got John Wesley to sing harmony 

on it, and you know it turned out to be 

one of my favorites on the record, and oddly 

enough it’s probably been one of the most-requested 

songs off that album in live concerts. I 

fought tooth-and-nail not to record it, because I 

didn’t think it was right for me, but it’s just one 

of those things that turned out to be an awesome 

song.” 

One number he was pressured to do at Giant 

definitely didn’t please Daryle: “My producer 

Doug Johnson wanted me to sing this 

Jerry Reed song ‘A Thing Called Love,’ which 

had been cut by Jerry and others like Johnny 

Cash (Jimmy Dean, Lynn Anderson and Elvis 

Presley). I didn’t feel comfortable performing 

it, but I had to do it or know the album wouldn’t 

be released. After singing it, I knew it could be 

done better, but the producer said, ‘That’s it. 

We’re done.’ Now when I hear it on the radio I 

cringe.” 

In 2005, Cole co-produced Singletary’s 

“Rockin’ In the Country,” Daryle’s sixth album, 

one that both are proud of, but it remains 

unreleased. 

“When Shanachie came to us, we had an 

album done for Audium-Koch. When that 

Singletary 

record label closed, the album went with it and 

that was one with all original songs (including 

a guest performance by Charlie Daniels),” 

Daryle laments. “But first we had previewed 

that record on XM Satellite Radio, and they’re 

still playing it. We get calls from people who 

say, ‘Where can I get this record?’ Well, you 

can’t find it. It’s never been out. It’s sittin’ on a 

shelf.” 

Greg interjects, “There’s a song called ‘She 

Sure Looks Good In Black’ that gets a lot of 

requests. So it’s probably one of the biggest 

songs that was never a hit record (true enough, 

we found numerous e-mails on CMT’s website 

wondering how to find the song). Four or five 

songs we recorded for ‘Rockin’ In the Country’ 

have been covered by other artists. Alan Jackson 

cut ‘To Do What I Do,’ and the song Billy 

Yates wrote, ‘If I Ever Get Her Back,’ Joe 

Nichols has cut.” 

So as Audium closed its doors, Daryle again 

was out on the street. Then along came Richard 

Nevins, who in 1976 launched Shanachie 

with Dan Collins, a label that has since become 

one of the largest independents boasting a wide 

variety of international acts, ranging early on 

from The Chieftains and Steeleye Span to such 

contemporary acts as the jazz scene’s Charles 

Mingus, Celtic group Solas, gospel’s Ladysmith 

Black Mambazo, Americana’s Norman Blake, 

ska’s Meshell Ndegeocello, the soulful Silk and 

reggae’s Rita Marley, wife of the late Bob 

Marley. 

“Richard, who owns Shanachie, was the 

guy instrumental in doing the deal with me,” 

Singletary recollects. “He’s a fan of traditional 

music and my sound.They do gospel, R&B, 

folk, jazz, and I’m their baby in country. The 

good thing is they’re hungry to get into the 

country market and they’re getting me to do 

things I hadn’t done in six or seven years, like 

getting me onto GAC and CMT again. It’s awesome.” 

(David Ball is their latest country recruit.) 

Daryle has also joined sportsman Wayne 

Burns as co-host for Outdoor All-Stars, a hunting 

show currently beaming on cable television. 

Meanwhile, its sponsor Bill Heard Chevrolet 

of Huntsville, Ala., has furnished Singletary 

with a heavy-duty, black Chevy Duramax diesel 

pick-up truck (that bears an ad promoting 

their weekly program). In turn, Daryle attracts 

other Nashville names, such as Rhett Akins, 

Blake Shelton, Andy Griggs and Bryan White, 

as guest stars. 

On the current CD, Ricky Skaggs shares 

vocals with Daryle on “I’ve Got a Tiger By the 

Tail,” John Anderson joins in on his former hit 

“Black Sheep,” and Rhonda Vincent duets on 

the George and Tammy classic “We’re Gonna 

Hold On.” 

“There’s not many girl singers that just 

blows my skirt up per se, but I’m a huge fan of 

Rhonda’s. She’s definitely one of those singers 

who’s so unique, a real stylist. Rhonda sang with 

me on my first records, like the old Keith Whitley 

song I remade on my first Giant record 

‘Would These Arms Be In Your Way.’ She sang 

harmony and we’ve kinda kept in touch since. 

I think she and her brother Darrin have done 

harmony on all the projects Greg and I have 

done together. You know she did ‘After the Fire 

Is Gone’ with me on the first (covers) album. 

That’s the old Conway and Loretta hit.” 

Has Daryle incorporated any of the numbers 

from his current CD in his roadshow? 

“We’ve got 35-to-40 dates on the schedule 

right now and we’re doing songs from the new 

project. From the first cover album, we do a 

medley to keep that promotion out there, and 

from the new product, we do full-length songs 

like ‘Black Sheep (Of the Family)’ and the new 

single ‘I Still Sing This Way.’ The band I work 

with has a girl singer and we’re startin' to work 

on ‘We’re Gonna Hold On,’ to do that. But I 

have them learn every one of the songs, so if I 

turn around and call out a title, they can jump 

in there and play that one, too.” 

One song Greg and Daryle considered that 

didn’t make the final cut was the poignant ballad 

“The Long Black Limousine,” previously 

cut by Lefty Frizzell, Jody Miller and Keith 

Whitley. 

“It’s hard to include so many favorites and 

still keep it balanced, you know, mid-tempo and 

up-tempo. I mean I’d do 12 ballads if I could 

get away with it. I love singing those songs,” 

acknowledges Daryle. “But you don’t want it 

to be too ballad heavy.” 

The CD’s only new offering is “I Still Sing 

This Way,” which Daryle co-wrote, as sort of 

an update on the original Max D. Barnes ballad 

he introduced on the 2002 covers album. 

“The song talks about what’s going on in 

our industry. I mean I’m a guy who when I came 

out in the mid-’90s, I weighed 175 pounds and 

was hot-to-trot. Now I’ve bellied up to the table 

a little too often and maybe put on too much 

weight. I still put all the emphasis on my vocals, 

however; I’m a singer, I’m not an actor or 

a model. Someone asked me the other day if I 

thought I came along in the wrong era? I may 

have. I grew up when being a singer was what 

it was all about. You didn’t have to look pretty 

in a pair of leather jeans or have a bunch of 

glamour girls dancing half-naked behind you. 

“So that’s kind of what our idea was in writing 

this song. That’s why ‘I Still Sing This Way’ 

is my influence. Yes, I’ll still sing this way, even 

if you have a pop producer putting me in front 

of a rock and roll band. You can do whatever 

you want with Daryle Singletary, but I’m still 

gonna sing this way. As the last line in the second 

verse says, ‘It’ll all go south/When I open 

my mouth . . .’ You can take the steel guitar and 

fiddle out, but hey, when I open my mouth, I’m 

still gonna sing this way!” 

In August 2003, Daryle wed surgical nurse 

Holly Mercer in a church ceremony at St. 

Simon’s Island, Ga., before 130 guests. How 

has she adjusted to marriage with an entertainer? 

“Well, when you get into a relationship with 

a singer you know it’s not the norm,” replies 

Singletary. “If you’re compatible and there’s a 

balance there of, ‘OK you go on the road three 

or four days a week and you come home to me 

two or three days, and we’re good to go.’ Then, 

when you change that after several years, I 

mean, there’s three years of courtin’ and then 

gettin’ married, and then it kinda slacks off, as 

the work slows down. 

“I ain’t gonna sit here and blow smoke and 

say I still work 150 days, just to make somebody 

think I’m out there doin’ it, ’cause I ain’t. 

My work has slowed down considerably, so my 

time at home is a little more and when I get too 

much time at home, the hairs start standing up 

a little bit. Yeah man, when I get too much time 

at home, it starts getting harried around the 

house. So it’s a nice balance to go out and work 

and get back home to hang out a little bit. But, 

as long as I’m keeping bread in the pantry and 

meat in the refrigerator, I’m good to go.” 

Last summer during the CMA Music 

Festival’s annual celebrity ballgame fund raiser, 

Daryle collided with another player, injuring his 

arm. So how’s it doing now? 

“It’s healed pretty good. But when they ask 

me to play for the next fan festival, I’ll tell ’em 

I’m gonna coach this time.” 

Noting Daryle had been painting, we wondered 

why he didn’t beg off the fixer-upper 

chore at home, claiming a bad arm? 

“Are you kidding? She’d just tell me I still 

got another good arm.” 

Are there any children yet? 

“I’ve got some howlin’ dogs, but no kids - 

as far as I know.” 

. . . DJ’s book lauds traditional 

country players -- and others 


at the Opry of having Floyd play the piano as I 

was singing the song.” (Hank did have some 

crossover action earlier with “Geisha Girl,” 

“Send Me the Pillow You Dream On” and 

“You’re the Reason,” but not enough to make 

them bona fide pop hits.) 

At least one of Tracy’s interview subjects is 

not of country music and seemed out of place. 

But he explains that Tammy Faye Baker 

Messner, she of the PTL scandal, did host numerous 

country personalities on her TV program, 

including Grandpa Jones of Hee Haw 

fame. Tammy Faye added, “Lulu (Roman) was 

also on our program a lot. She and I are still 

good friends. We had a lot of country srtists on 

our program throughout the years.” 

More interesting was Little Jimmy Dickens’ 

chat with Pitcox, offering the pint-sized 

dynamo’s version of how the King of Country 

Music helped in his career climb. 

“He is the one who brought me to the Opry. 

He got me my recording contract and I even 

lived in his home for a year when I first came 

to the Opry. I met Roy in 1945 when I was at 

WLW in Cincinnati. I was doing an early morning 

program and he was there in concert. He let 

me do a guest appearance on his show, and he 

liked what I did. Three years later, I met him 

again in Saginaw, Mich. and he invited me to 

come down to the Grand Ole Opry. I did a 

couple of guest appearances and then he arranged 

for me to stay.” 

The late Opry star Skeeter Davis told of her 

early anxiety in performing for a live audience, 

after the death of her singing partner Betty Jack 

Davis, and Ernest Tubb helping her overcome 

it by pointing out how to communicate with the 

crowd. 

“He said I never looked at anybody. I didn’t 

even know he was watching me. I will never 

forget to this day what he told me. He said for 

me to look out in the audience and look in the 

eyes until I find somebody that loves me, and 

then I sing to them. It helped me learn how to 

make eye contact. I was feeling very insecure 

and I was scared about singing by myself. He 

was a wonderful mentor. He was the daddy of 

us all.” 

It was a pleasure to see David McCormick’s 

1998 interview with Pitcox, considering all that 

the Ernest Tubb Record Shops and WSM Midnight 

Jamboree producer-proprietor has done 

behind-the-scenes for country music. 

The DJ wondered how helpful having the 

Jamboree program has been in his operation? 

“It built the record shops into what they are 

today. It is the right arm of the record shop. We 

have had a wonderful on-going relationship 

with WSM for over 50 years (now nearing 60 

years). It continues to be that today.” 

There’s lots more in Tracy’s memory book. 

Incidentally, he won’t shut up about traditional 

country, so he’s put up, meaning his own 

record label - Heart of Texas - and opening a 

museum honoring classic country, right there 

in Brady. Among the artists he and buddy Justin 

Trevino have produced CDs for on Heart of 

Texas Records are Ferlin Husky, Frankie Miller, 

Norma Jean, Darrell McCall, Amber Digby, Big 

Bill Lister, Curtis Potter, Dave Kirby and his 

widow Leona Williams. 

When Tracy asked Tom T. Hall what inspired 

him to pen his #1 “(Old Dogs, Children 

And) Watermelon Wine,” he couldn’t help but 

reflect wife Dixie’s charitable, long-time championing 

of animals, as well. 

“I do have an affection for dogs and children 

and they depend on you. I have some donkeys 

and when I go down to the barn, they are 

standing there waiting for you, he-hawing. They 

are glad to see me and how many people are 

really that glad to see you? I love animals, dogs, 

children, those things that cannot take care of 

themselves, and I believe we have a moral obligation 

to take care of the things that cannot 

take care of themselves.” 

(Editor’s note: If this book of interviews 

interests you and you can’t find it at local bookstores, 

then contact Heart of Texas Country, 

1701 South Bridge, Brady, Texas 76825, or go 

on line to check out heartoftexascountry.com)


Bryan White on the verge of a comeback 

Bryan White at a music festival. 

By WALT TROTT 

“Out Of the Storm” seems an apt title for 

singer-songwriter Bryan White’s comeback 

album. 

For five years, Bryan was among 

Nashville’s brightest stars, boasting platinum 

albums, four #1chartings, a Grammy-nominated 

Top Five pop duet with Shania Twain, 

best newcomer awards from the Academy of 

Country Music, Country Music Association, 

CMT and TNN/Music City News. 

Bryan was in hog heaven. People magazine 

named him among America’s 50 Most 

Beautiful People, and he was the hero’s voice 

for the animated Warner Bros. film feature 

“Quest For Camelot.” 

Before the new millennium set in, however, 

his star was descending, as airplay and 

record sales plummeted, suddenly he found 

himself without a label, isolated from fans and 

friends and his psyche suffered severely. 

At this year’s Country Radio Seminar, 

we’re happy to report meeting up with a more 

mature White, who fills us in on his growing 

young family, and a brand new album that’s 

seeing him “Out Of the Storm.” 

“Our record doesn’t have a street date yet, 

as we’re still in negotiation with a label,” 

Bryan points out. “But there’s a sneak peek of 

the album available at iTunes and 

WalMart.com - it’s like a five-song EP, so 

people can at least check out what’s coming.” 

Apparently, White’s found stability and 

happiness with wife Erika, a daytime drama 

actress on ABC-TV’s One Life To Live when 

they met. 

“You know the music business has its ups 

and downs, as do other businesses,” beams 

Bryan. “The last five years have been a little 

quieter for me, which in a most important way 

has been good. My wife and I have been raising 

a family. We have two sons, a 3-1/2-yearold 

(Justin) and a boy a year-and-a-half (Jackson). 

So you see we’ve been concentrating on 

our family. 

“At the same time, I’ve been busy cultivating 

my songwriting. Yes, I’ve been writing a 

lot and producing other artists, and now I’ve 

finally got my own project together. So I’m 

back at it, getting ready to release it and go 

back out there on the road to do this thing 

again.” 

As a writer, White’s co-authored songs for 

others, notably Sawyer Brown’s “I Don’t Believe 

in Goodbye” (#4, 1995), Diamond Rio’s 

“Imagine That” (#4, 1997), and album cuts for 

artists like Joe Diffie, Lila McCann and 

Wynonna. Bryan also co-wrote his first 1994 

Top 20 success “Look At Me Now,” and later 

“So Much For Pretending,” charting #1 on 

Sept. 21, 1996, for two weeks. 

White’s first Billboard charting was “Eugene, 

You Genius” (#48, 1994). He had his 

first #1 “Someone Else’s Star,” Sept. 9, 1995, 

followed by “Rebecca Lynn” on Jan. 6, 1996. 

His final charttopper to date is “Sittin’ On Go,” 

which took top spot March 1, 1997. 

Despite all that history, Bryan still possesses 

movie star good looks and at age 33 is young 

enough to get back in the ballgame again: 

“That I feel fortunate for. I got my first record 

deal at 19, and you don’t know who you are 

as an artist at that young age, much less as a 

person. So it’s a blessing to have come through 

all that and come out on the other end normal 

(smiling, he adds) somewhat, I’ll let you be 

the judge of that. Anyway, I feel I’m at a point 

again where I can still feasibly do this.” 

Is Erika, whom he wed Oct. 14, 2000, acting 

nowadays? 

“It’s interesting that you ask that. She hasn’t 

for the last three or four years, but she’s been 

in L.A. all of February for the pilot season 

(previewing potential new programs). She’s 

there right now. It’s really awesome for me to 

see her start shining again and doing what she 

loves to do. There’s something working right 

now, but I can’t say what that is just yet. 

“I’ve actually been playing Mr. Mom for 

the past few weeks. So you see I’ve learned a 

lot and my respect for her has gone up even 

higher, having had to deal with the kids 24/7. 

But I’m glad she’s doing it again. It makes me 

excited for what the future may hold for her 

and I. If we work at it, I feel we’ll always be 

able to maintain a balance and keep our 

lifestyle normal, as well.” 

An Oklahoma native, Bryan Shelton White 

was born Feb. 17, 1974, and began playing 

drums at 5. Among his first professional gigs 

was playing in his parents’ music group. At 

17, Bryan started playing guitar, as well. 

At 18, he moved to Nashville, landing a 

writer’s berth at Glen Campbell’s music publishing 

house. A year later, Asylum’s Kyle 

Lehning signed him to a recording pact. 

“Bryan White” and his sophomore album 

“Between Now and Forever” both sold more 

than a million units each, over the next two 

years. His third CD, “The Right Place,” sold 

gold (signaling just under a million in sales), 

White with music hero Steve Wariner and (from left) TV host Charlie Chase, 

Neal McCoy and LeAnn Rimes in October 1997. 

Young Bryan White marks two plantinum awards, along with team members (from left) 

manager Marty Gamblin, co-manager Stan Schneider, producer Kyle Lehning, White, 

co-producer Billy Joe Walker, Jr., and Asylum label CEO Joe Mansfield. 

and produced the Top Five single “Love Is The 

Right Place.” Follow-ups, “One Last Miracle” 

and “Tree of Hearts,” were class songs, but the 

young label was experiencing growing pains 

and the releases failed to register radio strength. 

Meanwhile, Bryan toured with super hot 

stars like Vince Gill and LeAnn Rimes, attracting 

sell-out crowds across the nation. 

After Lehning left the label in 1998, Evelyn 

Shriver became the first president of a major 

Nashville label at Asylum. “From This Moment 

On,” Bryan’s duet with Shania Twain, marked 

the 24-year-old’s last Top 10 country charting. 

In fairness to Shriver, White’s then-current album 

“How Lucky I Am” met with some caustic 

criticism from reviewers, who labeled it too 

pop, and so his successive singles stalled at Top 

40. 

“The one-dimensional song selections turns 

it into bubble gum,” penned a scribe. “Somehow, 

White has vocally become a caricature of 

himself. He offers more breath and less tone, 

which only underscores that bubble gum attitude.” 

Asylum did release a “Dreaming of Christmas” 

album and the requisite “Greatest Hits” 

collection, before sealing his fate, by shutting 

down. 

So how did White cope with the critical 

caterwauls at the time? “Not well. I didn’t 

handle criticism back then and it used to anger 

me a lot. Remember, I was still very young, so 

with the angst you have at that age, I found it 

affected me in an emotional way. For a few 

years after that record, it did send me into I 

would say a certain level of depression. 

“It was a combination of that, not getting 

played in ’99 and my label folding, that 

prompted the need in me of really wanting to 

take a break. It had to happen. I just sort of 

took a breath and went, ‘You know what, as 

bad as I hate to say it, I’m going to stop for 

awhile and go find out who I am.’ 

“I did and to answer your question fully, 

yes it used to bother me, but now I’m at a place 

in my life where I can take criticism and turn it 

into positive energy and learn something from 

it. I don’t have to buy into what they say, because 

I know who I am, but I can still go, ‘Well, 

maybe this is why they said that and maybe I 

should at least try to consider what they’re saying, 

because it may make me better in the long 

run.’ 

“Another thing I’ve learned in this business 

is you’ve got to not be afraid to say no. Now I 

know you can really run yourself ragged, if you 

let other people do that to you. You’ve got to 

be able to say no, because maybe you promised 

your kid you’d be there for him, or maybe 

we’re going to take a week off and go somewhere. 

I mean you can’t please everybody anyway, 

and if you don’t know how to say no, 

you’re not going to have a balance in your life. 

You gotta be who you are and yeah, be accessible 

to a certain extent, but when it’s time for 

family, you gotta be able to say no. 

“A lot of my early career was a lot of that 

and I think I really burned myself out,” he 

frowns. “A part of you is afraid to not do a 

particular thing, as that may be the one thing 

that will catapult you into a new level. It’s 

just wisdom and having people around you 

that are not afraid to tell you what you need 

to know, as opposed to what you want to 

hear.” 

Does today’s Bryan White possess more 

confidence? 

“I think so. In some ways, yes, and in other 

ways, no.” 

How has he changed? “I think the thing 

that’s changed most is my attitude, as we discussed 

earlier. Vocally, I think I sound the 

same, but I’ve become a smarter singer. What 

I mean is, I used to be all about, ‘OK I want 

to sing with these vocal acrobatics to impress 

people and my peers.’ Well, that was being 

naive and young and just being green. Now I 

realize that it’s not all about singing all those 

licks and jumping through hoops vocally that 

sell the song or that translate a lyric for somebody. 

It’s about just singing it and being real 

and holding those moments for precise times 

in the song dynamically that makes a greater 

impact.” 

So what’s new on the forthcoming album 

that excites Bryan? 

“I’ll give you just a quick synopsis of tunes 

that I wrote for the project. Again, in the last 

five or six years, a lot has happened to me, so 

there’s a lot to write about. It’s not uncommon 

to anybody else out there, but it’s great 

to be able to write about my personal stuff in 

song, whether it be having a dad that’s an alcoholic 

or just things that inspire me that my 

kids do or my wife says to me. 

“There’s a song called ‘The Little Things’ 

that I wrote, inspired by my wife and children. 

It think it’s a really cool song, which a 

lot of people respond to just hearing it on my 

website and at my shows. It’s been incredible. 

“Then there’s a song about my dad, who’s 

been an alcoholic most of my life. It’s a song 

I had to write, not to go to radio or to win 

people over, but to help me heal a bit and to 

cope with the situation, and have a hopeful 

song to maybe help my dad and other people 

out there dealing with the same issue. It’s 

called ‘When You Come Around.’ I hope it 

encourages people like him to know that we’ll 

be there when you get through this. 

“Then there’s obviously stuff that showcases 

some of the roots and R&B parts of me 

that’s always going to make it into my music. 

Everything’s a little more acoustic-based than 

usual. In the past, because of politics, I was 

never permitted to play on a lot of my stuff. 

So, it’s really neat to be in a position where I 

can call those shots, man. 

“Independently, I’ve learned enough to 

know that I’m not the kind of guy that’s so 

biased, he has to do everything. I mean if 

there’s something I know that I’m not as good 

at, I know to hand that off to somebody else. 

I don’t play on everything, but I do play on 

some stuff. 

“I’ve always maintained a team, no matter 

how great or small. In a rebuilding pro-


cess, it’s definitely smaller these days. We realize 

the reality that without the hits, you’re 

not as in-demand. But I have a terrific tour 

manager and a great publicist. 

“Though the elements are still there, we 

don’t live in the past. It’s like, yes, we’ve done 

that and we’re gonna be grateful for it and 

sure it opens doors, but I’m a totally different 

human being now. Everything’s a little different 

now, but I’ve got something I think of 

greater magnitude to say and do.” 

How would he like to reunite with Shania 

for another duet? 

“Oh my gosh, that would be great! She 

actually mentioned after we did that duet, ‘If 

you ever need me to sing on something, just 

let me know.’ That obviously blew me away. 

Hey, I may hold her to it and see what happens.” 

Did Bryan ever think about acting as a career? 

“You know, Walt, having an actress as a 

wife, I’ve been so intimidated to ever try to 

walk down that road with her. I’ve done some 

work on a couple of soaps (one being The Bold 

& The Beautiful) and it was only after watching 

it played back, that I realized if I’m going 

to do that, I need some serious work . . . it’s 

something I don’t think comes natural to me. 

To do that, I would definitely have to commit 

to it to be any good at it. But, I don’t have a 

real strong desire to act for a living. Now if I 

get called out on things to do, some small part 

or different things here or there, that would 

be a blast. I don’t feel I would ever like hanging 

up my music career to do that.” 

Skip Ewing wrote several songs that fit 

Bryan to a T, including the #1s “Someone 

Else’s Star” and “Rebecca Lynn,” are they still 

in touch? 

“I ran into him about four months ago at a 

publishing company and we exchanged telephone 

numbers, but have still not talked yet. I 

think he took some sabbaticals here and there, 

but he says he’s getting active again as a writer. 

He’s just so talented, one of the most incredible 

writers I’ve known. 

“To be put into a room with a writer like 

that, you just sit back in awe. I mean immediately 

you size yourself up, and it’s really hard 

to call yourself a songwriter when you’re in 

the same room with Skip. Actually, when guys 

like that give you an opportunity to sit with 

them and kick around ideas, well that’s where 

you really cut your teeth and gain 

some experience.” 

Does Bryan, who has co-written with pros 

such as Bob DiPiero, Scotty Emerick and 

Mark Miller, dig co-writing more? 

“I write songs by myself and I think that’s 

a great way to learn and let you work harder 

on your craft. Then maybe you have to write 

something that’s so personal, you don’t want 

to co-write or let somebody else in on it. But 

then you learn by co-writing. Depending on 

whether it’s two or three writers, they can pull 

great things out of you that maybe you 

couldn’t do by yourself. So you learn either 

way. Both ways are great.” 

What artist’s career has inspired Bryan the 

most? 

“Steve Wariner has been my musical hero 

since I was 14. He’s the first guy I thought of 

when you asked that. Steve and I did a duet 

for my record, which he wrote called ‘The 

Hands of Time’ (with Bob DiPiero). He’s not 

only a top musician, singer and songwriter, 

but he’s a great guy as well.” 

Wariner, of course, has quietly built up a 

career that boasts 33 Top 10 singles, 10 of 

which went #1, co-writing many of his successes 

as well as those for others. He has recorded 

with Glen Campbell, Garth Brooks, 

Clint Black, Anita Cochran, Ricky Skaggs and 

Vince Gill, and still maintains a low profile. 

“Although Steve’s career has experienced 

ups and downs, his career has been consistent. 

I would take that over anything,” continues 

White. “He’s been able to adapt to every 

career climate that’s come about. When he 

drifted away from being an artist for awhile, 

he just dove head-long into songwriting and 

all of a sudden was writing #1 songs for everybody. 

Now he’s into producing acts in the 

latter stage of his career. He’s just an artist 

that there will always be a need in this indus- 

try for what he does. Especially for me, I know 

I’m always going to be the guy who will call 

him and say, ‘Man, can I get you to come play 

something for this record or sing with me.’ 

“Not only Steve’s playing on my (new) 

record, but a lot of my friends are, including 

some of my band members who were on the 

road with me a good many years. I guess I’m a 

pretty sentimental person and that kind of thing 

means a lot to me. I mean when I can call somebody 

up who was there in a real meaningful 

point in my life and career, and say, ‘Hey, can 

you come play on something for me?’ 

“You know my mom’s singing some background 

stuff and my brother’s singing. That 

was something I never had a say on before with 

a label. So I’m really proud of this and having 

the independence to produce it.” 

Are the showdates picking up? 

“Touring? I did it last year and the year 

before. We just started with a new agency, so 

I’m expecting to work a lot this year. Actually, 

it couldn’t be a better time to not be working, 

but I plan on doing a lot of stuff professionally. 

It looks like a lot of dates are coming in 

for Canada, and I haven’t been there in a couple 

years, so we definitely welcome those bookings.” 

What sort of performance can crowds expect 

today? 

“It’s always been a challenge to keep my 

shows uptempo, because a lot of the songs that 

I had were ballads or mid-tempo. So we had 

to work harder and shuffle the show a little bit 

to try and keep it flowing smoothly. Hey, we 

don’t want people to depart and be like the 

show was good but it was really mellow. I’ve 

never aspired to do mellow. I want people to 

be inspired and jazzed when they leave. So 

sometimes I’ll throw in a cover or shuffle it 

around the right way, depending on how long 

the concert has to be. I don’t want it heavy on 

either end.” 

What are some career goals he’d like to 

accomplish in 2007? 

“Oh, I aspire to get back at a comfortable 

place in radio, you know be in good rotation 

again. Obviously, I’d like to sell records in the 

same magnitude as I did at Asylum, and even 

greater.” 

But would he keep the pace less hectic than 

before? 

“I miss that hectiness and look forward to 

it getting that crazy again, because I really 

welcome the challenge that it will have now. 

It will be a major challenge to make it all work, 

to be able to step up and say, ‘You know what 

I’m going to say no to this and be able to back 

off and not kill myself here.’ 

“Further, I stilll have that ambition to work 

out there with certain artists that I haven’t 

worked with. I love collaborating with people. 

As a viewer and a listener, outside looking in, 

I love when you see people working together, 

doing duets and different music collaborations. 

I get a kick out of that.” 

Another long-term goal for White is to work 

behind the scenes helping new artists: “I really 

want to showcase and step into the other 

part of my career, which is production. I do 

aspire to develop artists and help people record. 

I know I’m capable of that. It’s just one part of 

me that I haven’t been fully released into yet.” 

What sort of legacy does White hope to 

leave behind, when it’s all said and done? 

“Life is about relationships and making an 

impact on people personally. It’s not about 

making hit records or selling albums. Yeah, it’s 

what I do for a living, but it’s not my identity. 

My identity is Bryan White, the husband; 

Bryan White, the dad; Bryan White, the great 

friend, those kinds of things. 

“It’s all about leaving a legacy and I don’t 

mean that necessarily in music. I mean when 

you leave, do you want somebody to say, 

‘Yeah, he was a great singer and he had some 

hits,’ or do you want them to say, ‘That guy 

really had a major impact on my life and he’s 

always been gracious to me’ or whatever. I 

think that’s what I’ve learned the most in the 

last 15 years.” 

Give to 

TEMPO 

For Bryan, it’s always been about the fans, such as those (above) seeking autographs during the annual 

Fan Fair, and below 6-year-old Rebecca Lynn Rushing, who digs the guy who sings of ‘Rebecca Lynn.’ 

. . . Oh, Boy, something different’s coming 


O’Brien, Ronnie McCoury, Kenneth Blevins, 

Pat McInerney plus Dave Jacques, Prine’s personal 

accompanist. Harmony vocals were supplied 

by Lester Armistead and the Opry’s Carol 

Lee Singers. 

It’s not John’s first foray into the Nashville 

Sound. Back in 1999, he released an album “In 

Spite of Ourselves” that paired Prine with divas 

Connie Smith, Melba Montgomery, Iris 

DeMent, Emmylou Harris, Lucinda Williams, 

Patty Loveless, Trisha Yearwood and wife 

Fiona Prine. The year before, he beat back a 

cancer threat in the form of a tumor on the right 

side of his neck, successfully removed with 

surgery at the Anderson Cancer Clinic in Houston, 

Texas. 

John’s gruff vocals contrast well with 

Mac’s lusty tenor in off-beat selections like 

“Old Cape Cod,” a 1957 Patti Page chestnut; 

the 1920s’ folk-flavored “Death of Floyd 

Collins”; and a pair of old-timey gospel classics 

“In the Garden” and “The Old Rugged 

Cross.” 

On “Just the Other Side Of Nowhere,” 

John’s lead vocals are a lot like Kristofferson’s, 

but Mac manages to hold his own in support. 

The singers shine equally on Leon Payne’s “I 

Love You Because,” a truly beautiful ballad. 

Prine, a recent Grammy Award winner for his 

previous album “Fair & Square,” is just that 

in sharing the spotlight with the veteran vocalist 

throughout. 

On their closing cut, there’s an especially 

appealing whistling bit courtesy of Roger 

Cook. Despite the fact that this is regarded as 

an old warhorse, the duo manage to make 

“Where the Blue Of the Day” sound fresh 

again. (Surely, Crosby’s up there smiling.) 

Also enjoyed the lyrical liberty Wiseman 

takes with “Pistol Packin’ Mama,” inserting ol’ 

John Prine’s name in lieu of the original’s. 

Another welcome inclusion is Leon Payne’s 

“Blue Side of Lonesome,” popularized in 

1966 by Mr. Mellow himself, Jim Reeves. 

Ernest Tubb and Red Foley had fun in 

1950 with the Walker-Wills’ send-up “Don’t 

Be Ashamed Of Your Age,” but no more so 

than Mac and John in trading lyrical licks. 

During their duet on “I Forgot To Remember 

To Forget,” a slight flub doesn’t spoil the enjoyment 

of this lost love lament. 

Actually, this entire session comes off akin 

to a couple of good ol’ boys just sittin’ in the 

kitchen, pickin’ and singin’ to their hearts content. 

Perhaps that fuzzy feeling’s what comes 

across so warmly for this reviewer; you know, 

like a good time was had by all. Well, listening 

to it, we had a ball - and heartily recommend 

that you join in the fun, too. 


Singer Steve Holy entertains the crowd at the 

38th CRS confab. See pages 18-19 for full 

report on this year’s March gathering.


George Chestnut at his desk. 

By WALT TROTT 

The George Henry Chestnut we interviewed 

15 months ago was far from the chipper 

instrument repairman, who welcomed us 

on the day after his 75th birthday. 

Chestnut was quick to point out how 

thankful he was for the treatment rendered by 

a new physician: “I didn’t think there were any 

more like him out there. He’s a fellow in his 

mid-50s, a really good doctor, who’s very thorough 

and he cares.” 

After suffering an aneurysm, the ongoing 

pain of an inoperable hernia, and problems encountered 

with a new pace-maker, Chestnut’s 

made significant gains under this physician. 

At one point, he grew so exasperated at 

the care or lack of it he was receiving that he 

removed the tubes from his arms, got dressed, 

and walked out of the hospital. 

“Some people told me they thought I was 

dead, I guess after reading stories in The Tennessean 

and in your newspaper,” mused Chestnut, 

“Now we’ll let ’em know I’m back on the 

job.” 

Chestnut’s specialty is restoration and repairing 

of violins, fiddles, violas, cellos, basses 

and restoration, repairing and rehairing of 

bows, as well. 

“I also work on fretted instruments, fret 

work, repair bridges, setting intonation and 

work on dobros . . .” 

George even hopes to recruit his wife, fellow 

Local 257 guitarist Jennie Jo Chestnut, to 

work with him in his Donelson instrument repair 

shop. 

“I want to get her back in the business. If 

she don’t learn this, when I die, it will all go 

to the grave with me. I’ve tried five or six apprentices 

before, but Lord, they’d lie to you, 

steal from you and everything else. I can’t 

stand that, so no more.” 

George’s grown children are musically 

talented, but not here to carry on their dad’s 

business: “My daughter plays piano, and my 

son plays guitar and dobro. He’s a preacher.” 

As a youngster himself, recalls George, 

“my granddaddy raised me. I asked him once 

about playing (an instrument), but he knocked 

that in the head . . . Come to find out, however, 

in his younger days he played fiddle, fivestring 

banjo and called for square dances. So 

he was very much involved in music, but he 

didn’t want me to be no musician.” 

While living in Lakeland, Fla., George 

was intent on playing music. How did he decide 

on playing bass guitar? 

“Well, it’s a long story, but we got together 

- and that’s when they had them ol’ electric 

guitars and the amplifier was built into the 

case. You’d prop ’em at a 90 degrees (angle) 

Here’s his wife’s shot of a young George Chestnut. 

George Chestnut takes a bow 

and plug ’em in - and had a bunch over to the 

house, about 10 of us, and there were 10 electric 

guitars! None of them was in tune, and loud! I 

said, ‘Lord o’ mercy! It looks to me like somebody 

would bring in something else to play besides 

guitar. They’re about to drive me nuts.’ 

“Well, I was on the job and this ol’ boy says 

to me, ‘I got something at the house I think you 

would like.’ What’s that?, I asked. ‘I got an upright 

bass. It’s in the wife’s laundry room and 

she says if I don’t get it out of there this evening, 

she’s gonna take it out in the yard and burn it.’ 

So I went by, looked at that thing and it was 

painted black enamel . . . So I asked, ‘How much 

you want for it?’ He said $10, and I told him, ‘I 

ain’t got $10 on me, but I’ll have it payday.’ He 

told me, ‘Don’t worry about it, just take it on 

home and if you can’t use it, throw it away.’ 

“So I took it home, stripped it down and it 

had some of the prettiest maple on it you ever 

seen. It took wood bleach to get all that black out 

of the wood. I hung it up in a tree and took the 

spray gun to it and colored it. 

“I took that bass over to a buddy of mine and 

said, ‘Show me where the G chord, C chord and 

E chord are and don’t show me no more.’ Well, I 

practiced and played with the radio. Then we 

started up a band - a six-piece band - with a female 

singer who sounded just like Loretta Lynn.” 

Chestnut had linked up with his elder brother, 

and were known as Dallas Chestnut & The Country 

Ramblers: “We fronted for Nashville musicians 

like Pete Drake, his brother Jack Drake, 

Dale Sellers and a whole lot of those guys. We 

played regularly at a big dude ranch. My brother 

played guitar and sang. He was amazing. I sang 

some and played electric bass and guitar. We did 

that about 12 years. 

“One night, Jack Drake came down and he 

played like 24 or 25 years with Ernest Tubb(’s 

Texas Troubadours). So I pulled up a chair there 

and stole every lick he had on the bass. Jack was 

my hero.” 

So does he still have that vintage bass? 

“I brought that bass to Nashville and I sold it 

to Lightning Chance, when he was playing at 

WLAC with Stan Hitchcock. Lightning played 

on it for years. Finally, Johnny Cash bought it 

off Lightning, but somebody had painted it again. 

I told someone that bass used to be beautiful, and 

they told Cash. So he said, ‘Tell George to scrape 

that thing down and fix it like it used to be when 

he had it.’ So I put that bass back in order, and it 

was hanging in Johnny’s museum last I knew. 

Don’t know what’s happened to it now” 

While still in Florida, George got into instrument 

repair, putting his carpenter skills to profitable 

use. He also made good contacts with national 

musicians, especially bluegrassers. 

“We were all over the state. Jim & Jesse, The 

Osbornes, Bill Monroe, all those Nashville acts 

used to come down for the bluegrass festivals. 

We’d go there, carry a barbecue grill, go to the 

store, buy some T-bone steaks, find us a little 

hideout and we’d have a big dinner for them with 

plenty of cold beer, until Bill showed up, then 

the beer disappeared,” he laughs. 

About this time, George got burned-out playing 

gigs: “For four or five years, I wouldn’t touch 

a bass to play. I’d work on ’em though. I thought, 

you make more money working on instruments 

than playing on them.” 

Word-of-mouth regarding his repair expertise 

reached the ears of notables like Monroe, Roy 

Acuff, Tommy Jackson, Jerry Rivers and Skeeter 

Willis (of the Willis Brothers). 

“When I first started coming up to Nashville, 

there were shops doing guitar repair, so I thought 

I would cater to the fiddle players.” 

Indeed, Chestnut made regular visits to Music 

City, where he would pick up fiddles in need 

of repair or restoration, take them home to work 

on and then return to make the deliveries. 

“I’d leave on Friday afternoon and be back 

Sunday night because then I worked in 

constuction. Had 35 or 40 men there, and so I 

had to be back on the job Monday morning.” 

- ‘For four or five years, I wouldn’t 

touch a bass to play. I’d work on ’em 

though . . . You make more money working 

on instruments than playing on them.’ - 

Kathy Shepard took this random shot of Chestnut’s workplace in Donelson. 

How did George meet wife Jennie? 

“I was doing some fiddle work for her 

brother (Loie Fraine) for about three years. 

I had lived with the devil’s sister 25 years, 

and it was three or four years before I finally 

got out of Dodge. But he kept telling 

me he had a sister . . . When I got to know 

her, I knew she was my true soul mate.” 

According to Jennie: “On May 6, we’ve 

been married 28 years . . . I’m also from a 

music family, but we just played around at 

square dances and such. My mom’s selftaught, 

my father and my oldest brother 

played guitar, then he wanted to play fiddle. 

So, I was elected to play guitar.” 

“Don’t be so modest,” interrupts 

George. “She went over to Raymond 

Fairchild’s (Florida) theater and played with 

Roni Stoneman. I been knowin’ Raymond 

since I was 16 or 17 years old, and played 

at dances with him. He praised her high, 

saying she played the greatest (rhythm) 

guitar, and when she sang a Ray Price song 

there, she got three standing ovations!” 

(Fairchild himself was a superb banjo 

player, a five times national champion.) 

Chestnut added to his instumental 

knowledge, working briefly with the 

Dopyera brothers (John and Rudy) in California, 

“as the only factory rep they ever 

had.” 

(Of course, the siblings had perfected 

the resophonic guitar, dubbed “Dobro,” a 

combination of the Slavik word good and 

their surname.) 

After relocating to Nashville, George’s 

client list grew, including such luminaries 

as Vassar Clements, Merle Haggard, Henry 

Strzelecki, Johnny Gimble, Tom Rutledge, 

Randy Howard, Bob Babbitt, Stella Parton, 

Dave Pomeroy, Glen Duncan, Rufus 

Thibodeaux, Louise Mandrell, Roland 

White, Marty Raybon, James Monroe, 

Mike Bub, Billy Grammer, Rick Morton, 

Roy Huskey, Jr. and Kenny Baker. 

Regarding Baker, Chestnut remembers 

them making extended stays at Bill 

Monroe’s Beanblossom festivals: “Used to 

go to Beanblossom all the time, me and 

Kenny Baker. I had him selling fiddles and 

I’d take all my work tools up and work off 

the tailgate of my truck . . . I’d give Kenny 

his sales commission and he said he was 

making more selling fiddles than he was 

performing.” 

George also has fond memories of the 

late Junior Huskey: “I never met big Junior 

(his dad), but young Junior used to come 

out to the house and jam. He was a good 

picker. Actually, me and him played just 

alike. I mean if you were in another room 

and we were in here pickin’ the bass, you’d 

have to come in to see which of us were 

playin’ because I picked just like he did.” 

Huskey wasn’t the only one to visit 

Chestnut’s basement workshop on occasion 

to jam with the Florida native, among others 

were Monroe, Acuff, Earl Scruggs, Mac 

Wiseman and Bashful Brother Oswald. 

Perhaps the maddest gathering occurred 

one year from Christmas eve until New Year’s 

eve, notes Chestnut: “We held it out in the 

garage. There were like 270 people there.” 

Jennie Jo remembers the time they had a 

Cajun feast: “Jimmy C. Newman said, ‘Jennie, 

this is the best rice I’ve ever eaten. How do 

you do it?’ I told him, ‘boil the hell out of it!’” 

At one time, Chestnut also repaired instruments 

for the Nashville Metro School System. 

“But they always seemed to run out of money 

for stringed instruments.” 

Does Chestnut build instruments? 

“I never built instruments. But I have converted 

them for years and years. For Larry 

Franklin (top session player), I converted a 

four-string into a five-string . . .” 

In fact, Chestnut created something special 

for Franklin, which was trademarked as a 

Chin-Cello. 

“I own the first five-string Chin-Cello 

made by George Chestnut,” recommended 

Franklin. “And I used the Chestnut Strings, as 

well. I am very happy with this set-up and I 

highly recommend the Chestnut Strings for 

your baritone violin.” 

George adds, “Here’s a history of the baritone 

violin. John Berry was a violinist. You 

know (Itzhak) Perelman and all those highfalutin’ 

classical players, they learned from 

him. Well, he didn’t like the tone of the high 

tinny strings on a violin, so he came out in 

1960, with the baritone violin and then he 

dropped it in the 1970s. I came out with it from 

there (using Super Sensitive Strings) - and 

Rick Campbell, a good friend of mine who 

lives over in Knoxville, is the one who named 

it the Chin-Cello. (Incidentally, Berry and partner 

Les Barcus introduced the first electric violin.) 

“I was the one built the first five-string 

baritone Larry’s still playing. He was the first 


Jennie and George Chestnut. 

- Photos (4) by Kathy Shepard 

UN


. . . George takes a bow 


to record on it in Nashville, playing on a session 

with The Lynns, Loretta’s (twin) daughters 

(Patsy and Peggy). He was supposed to 

bring me a copy of it, but I ain’t never heard it 

yet.” 

(The Lynns charted two Top 40 songs from 

their self-titled Reprise debut album, that they 

co-wrote: “Nights Like These” in 1997, and 

“Woman To Woman” in 1998.) 

Chestnut would now like to get it to the attention 

of Celtic players: “Lord, there’s a bunch 

of them around the world. That’s why I’d like 

to see this story get into the AFM International 

Musician magazine.” 

In his well-equipped shop, George still sells 

instruments, promotes his own strings, polish 

and glue, and dispenses his personal philosophy: 

“There’s a big difference between being a 

repairman and a maker. I think in the long run, 

it takes a sharper person to be a repairman. 

Mainly, because if it’s broken, you’ve got to 

restore it and give it back as close as it originally 

was.” 

This is one of Chestnut’s prized violins. 

A tribute to Marty Robbins 

Marty Robbins will be honored via a cameo 

exhibition, Among My Souvenirs, slated Aug. 

3 through June 2008, at the Country Music Hall 

of Fame & Museum. 

Robbins was inducted into the Country Music 

Hall of Fame in October 1982, even weeks 

before his death at age 57. 

“Marty Robbins was one of the most versatile 

performers in American music history,” 

said Museum Director Kyle Young. “Throughout 

his career, he recorded country, western, 

rockabilly, Hawaiian music, gospel and pop 

with equal mastery. He was a showman who 

engaged fans and created excitement whenever 

he took the stage. Factor in that he was also a 

songwriter, businessman, actor, author and 

stockcar racer, and you have a Renaissance man 

with few equals.” 

An Arizona native, Robbins was born into 

a poverty-stricken family and endured a difficult 

childhood. After dropping out of high 

school, he joined the U.S. Navy and saw action 

in the Pacific Theater in World War II. 

Upon his return in the mid-1940s, Robbins 

began pursuing a career in music and soon had 

his own radio and TV shows on KPHO-Phoenix. 

His big break came in 1951 when Little 

Jimmy Dickens guested on his TV show: 

Dickens was so impressed by Robbins’ talent 

that he encouraged his record company, Columbia, 

to sign Marty. The label obliged and, except 

for the period 1972-74, when he recorded 

for MCA, Robbins remained with Columbia 

throughout his career. 

Robbins had nearly 100 charted hits, including 

16 #1s. In 1953, he joined the Grand 

Ole Opry. The exhibit will be accompanied by 

an ongoing series of programs during its duration. 

Check out countrymusichalloffame.com or 

call (615) 416-2001. 

CD Review 

. . . JD Gordon’s ‘On My Way’ 


inspiration to likewise honor a neglected Canadian 

war hero - who like Hayes was an Indian - 

in their plaintive “Ballad of Tommy Prince.” It’s 

still a heartfelt song, that’s well done here by 

Gordon and company. 

Sharing studio time with JD are such other 

players as bassist Tim Smith, drummer Tommy 

Wells, guitarist Steve Pittico, steel man Russ 

Hicks, whose wife Laney supplies vocal support 

for Gordon on the novelty number “If I Had 

a Nickel.” Additional backup vocals are furnished 

by Lea Jane Berinati, Margie Cates and 

Charlie. 

Some selections seem geared more towards 

Canadian listeners, like “I Fell Asleep in Thunder 

Bay,” “On My Way Back Home (To 

Winnipeg)” and the satirical “They Cut My 

Kid.” 

The latter deals humorously with Canadians’ 

love of hockey, and how irate a parent becomes 

when a coach decides somebody’s son won’t 

be on the team. (U.S. dads also know that feeling 

when Little Leaguers make their final cuts.) 

In his lyric, JD sings of how pop was devastated 

when junior got eliminated, “Guess what 

they did/They cut my kid/He ain’t gonna make 

the team,” he cries to a buddy. But then grownup 

and a hockey coach, the son reeks vengeance: 

“Guess what we did/We cut your kid/He was 

pretty good with the wood/But he just couldn’t 

skate too good . . .” 

Thanks for thinking of us, JD. It was an enjoyable 

listening experience. - Walt Trott 

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! 

615-330-6885 

615-424-6924


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. Wednesday, May 30 at the Union!

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