Musicians Jan - 01 - Nashville Musicians Association

Musicians’ Hall of Fame inducts 8 acts 

By WALT TROTT 

Titans of music like Gary Puckett, Steve 

Wariner, Al Jardine and Rascal Flatts assembled 

to pay their respects to the newest class of legendary 

inductees for the Musicians Hall of 

Fame, Oct. 12, during a diverse program in 

Nashville’s Schermerhorn Symphony Center. 

Those enshrined for 2009 are AFM Nashville 

Local 257 members Billy Cox, Charlie 

Daniels, Fred Foster, (Toto’s) David Hungate 

and the late Chet Atkins, along with Dick Dale, 

Victor Feldman, Paul Riser and the six-member 

rock band Toto. They represent numerous 

genres of music. 

Prior to the musical homage (taped for later 

viewing), Medallions were presented to the 

chosen artists or heirs in the Mike Curb Room, 

as the media queried them and captured images 

of their moments of triumph. 

Among other notables taking the stage to 

dedicate their music to the recipients were 

Dickey Betts (Allman Brothers Band), Al 

Jardine (The Beach Boys), and Chris (Whipper) 

Layton (of Stevie Ray Vaughan’s Double 

Trouble). Of course, some inductees reprised 

their own greatests hits, including Billy Cox, 

Dick Dale, Charlie Daniels and Toto, with great 

passion. 

Keyboardist Shane Keister served as music 

director, with able assist from name players 

Chris Leuzinger, guitar; Dave Pomeroy, bass; 

Mark Beckett, drums; Gordon Kennedy, guitar; 

Randy Leago, saxophone; Bob Babbitt, 

bass; Bobby Wood, piano; Craig Krampf, tambourine 

and drums; Vinnie Ciesielski, trumpet; 

Roy Agee, trombone; and Jimmy Bowland, 

saxophone. Doing background vocals were 

Marcia Ware, Chris Burke, Tom Flora, Marty 

Slayton and Scat Springs. 

Kicking off the evening’s entertainment, 

Puckett delivered an on-target rendition of his 

Union Gap smash “Woman, Woman (Have You 

Got Cheating On Your Mind),” co-written by 

Nashvillian Jim Glaser (and Jimmy Payne). He 

next introduced the night’s first inductee, “An 

Englishman who moved to the U.S. in 1957,” 

L.A. session percussionist-pianist-vibraphonist 

Victor Feldman, who enlivened such jazz 

groups as those of Woody Herman, Cannonball 

Adderley, George Shearing and Miles Davis 

before his death May 12, 1987, at age 53. His 

Nashville Association of Musicians #257 

11 Music Circle North 

Nashville, TN 37203-0011 

- Address Service Requested - 

Backstage with Charlie Daniels and Billy Cox. 

son Trevor played drums in Dad’s Generation 

Band. Aside from all those hit discs Victor cut 

with others, Feldman recorded his own albums, 

among them “Suite 16” and “Soft Shoulder.” 

Next membership meeting slated Nov. 18 

The next General Membership Meeting for 

Local 257 has been scheduled at 6 p.m. Wednesday, 

Nov. 18, in George Cooper Hall at the 

Union headquarters here on Music Row. 

A number of important By-law Amendments 

will be voted on by members in attendance. 

These include a continuation of the .5% work 

dues increase on recording that was approved 

last year, a $4/yr. annual dues increase, and an 

Amendment regarding the funding at of Local 

257’s ERF fund. 

Please read our past General Membership 

Meeting minutes on pages 11 and 14, check out 

the new Road Scale on page 22, and note below 

the recommendation regarding By-Law 

changes for annual dues. 

Annual Dues proposal to members. 

Whereas, Local 257's portion of the Annual 

Dues has not been raised since 2005; and 

Whereas, The current economic crisis has 

had a negative effect on Local 257's financial 

condition; and 

Local 257 Membership Drive! We are waiving all Federation and Local Initiation fees until the end 

of the year, a savings of $165. for new and returning members. Tell your friends and bring a potential 

new member by the office to join up! The Initiation charges will return in January 2010. 

Nonprofit 

U.S. Postage 

PAID 

Nashville, TN 

Permit No. 648 

Volume MMIX • Number 4 • October-December 2009 

Soft-rock singer Puckett scored again via his 

golden oldie “Young Girl,” considered controversial 

in its day, earning yet another standing 

ovation. 

Prior to each induction, we viewed a brief 

biographical video. 

Detroit stalwart Paul Riser, a classicallytrained 

arranger-songwriter-producer, created 

string charts that gave Motown much of its style. 

Indeed Riser worked with such formidables as 

Stevie Wonder (“Signed, Sealed, Delivered”), 

Gladys Knight & The Pips (“If I Were Your 

Woman”), Jimmy Ruffin (“What Becomes Of 

the Broken Hearted”), Diana Ross (“Ain’t No 

Mountain High Enough”) and The Supremes 

(“Love Child”). 

Funk Brother bassist Bob Babbitt stepped 

on stage representing Riser: “Paul couldn’t be 

with us tonight. I’m honored to accept this 

award on behalf of my friend . . . ” 

Steve Wariner, who recently released an acclaimed 

tribute CD on Chet Atkins, his guitar 

hero, announced Atkins’ pending induction last 

June. He was on hand, too, to pick Atkins’ style 

guitar on tunes like “The Wildwood Flower,” 

“Mister Sandman” and from his deeply-felt al- 

(Continued on page 2) 

Whereas, Local 257 continues to make every 

effort to cut expenses; and 

Whereas, Local 257 operated at a deficit in 

2008 and, while showing significant improvement 

in the first six months of 2009, still needs 

additional funding to maintain and improve its 

level of service to its Members; and 

Whereas, The current amount retained by 

Local 257 for operating expenses is $97.00 per 

Member ($24.25 for Life Members), a $4.00 

increase per Member ($1.00 increase for Life 

Members) would represent an increase of less 

than 1% per year since 2005; therefore, be it 

Resolved, That the Local 257 portion of Local 

257 Annual Dues be raised from $97.00 per 

year to $101.00 per year ($25.25 for Life Members). 

Submitted with a favorable Recommendation 

by The Local 257 Executive Board. 

In addition, the following By-Law change 

is being proposed: 

Whereas, Electronic Media work dues were 

temporarily raised to 4%, to end on December 

31, 2009, with the hope that Local 257 could 

use these additional monies to get on a better 

financial footing; and 

Whereas, At the time this change was made 

the U.S. was about to enter one of the worst 

recessions in history; and 

Whereas, Due to lost work, a major drop in 

the stock market, and many other financial problems, 

Local 257 has been unable to use the increased 

work dues to their advantage; and 

Whereas, In 2008, the Local operated at a 

deficit; and 

Whereas, It would be irresponsible at this 

time to deprive Local 257 of the necessary funding 

to continue to serve its members; therefore, 


Watch for our new website 

Kathy Mattea plays for President . . . see page 26. 

What’s Inside . . . . . 

Kings of Leon win another award. . . see page24. 

Radio royalty bill 

passes another step 

The U.S. Senate Judiciary Committe approved 

a bill requiring radio stations to pay performers 

royalties due for broadcasting their 

music, Oct. 14. According to Senate rules, the 

legislation must now face a vote by its entire 

membership, though a date has yet to be determined. 

Meanwhile, a companion bill in the U.S. 

House of Representatives awaits a floor vote 

by that body after having passed the House Judiciary 

Committee last spring. Because of both 

the House and Senate facing a full legislative 

calendar including health-care reform, the bills 

are not expected to be voted on before year’s 

end. 

In the meantime, opponents have rallied 26 

Senators and 251 House member to propose 

legislation to oppose the radio music royalty 

bills. Reportedly, this will not only affect hundreds 

of millions of dollar in royalty payments 

in the U.S., but could mean millions more being 

paid by foreign music licensing firms that 

routinely collect airplay fees. 

“This legislation will end a glaring inequity 

in our intellectual property laws,” stated Sen. 

Patrick Leahy (D-Vt.), chairman of the Senate 

Judiciary Committee, noting that Internet broadcasters 

already pay royalties, while network 

radio broadcasters do not pay such royalties. 

Leahy introduced the pending bill into the 

Senate with Republican Sen. Orrin Hatch. 

Among its sponsors are Tennessee’s Senators, 

Lamar Alexander and Bob Corker, respectively.

2 The Nashville Musician October-December 2009 

Merle Atkins Russell poses with an elite selection of the Musicians Hall of Fame, Class of 2009. 

. . . Musicians Hall of Fame, Class of 2009 

(Continued from page 1) 

bum a medley consisting of hits Chet produced 

and played on for other artists, notably “I Can’t 

Stop Loving You,” “The Three Bells,” “End Of 

the World” and “Java.” Atkins, of course, earned 

respect as RCA’s longtime A&R honcho, and 

recorded hundreds of solo albums, including his 

1964 #1 “Country Guitar.” He’s also a member 

of both the Country Hall of Fame and the Rock 

Hall of Fame. 

Wariner also invited Atkins’ disciple and 

long-time sideman Paul Yandell to make a rare 

guesting in honor of their mentor, who died June 

30, 2001 at age 77. (Yandell earned his spurs 

playing guitar for the the likes of the Louvin 

Brothers and Johnny Wright’s Tennessee Mountain 

Boys, and wrote the 1964 Kitty Wells’ Top 

10 “I’ll Repossess My Heart.”) 

Accepting on her father’s behalf was Merle 

Atkins Russell, proclaiming, “It’s a wonderful 

night, and I want to thank everyone, especially 

Joe (Chambers, who founded the Musicians 

Hall of Fame) . . . He (Chet) always wanted to 

do something to honor the musicians . . . I know 

my father would be so happy to know that he is 

in the company of old friends, and so many 

musicians that he admired so much . . . This is 

huge.” 

Harold Bradley, AFM v.p., offered wellwishes 

from AFM President Tom Lee, and explained 

that the 90,000-plus AFM members help 

elect the Musicians Hall of Fame winners. Then 

he proceeded to introduce the next nominee, 

noted record pioneer Fred Foster, who founded 

Monument Records (see story, page 16). 

In his video salute, absentees Kris 

Kristofferson and Dolly Parton praised Foster, 

Dolly proclaiming he had faith in her talent 

when “I was still just a B cup . . . sorry I can’t 

be there in person, but it’s your own damn fault, 

you made me famous.” 

Tony Joe White, who delivered an extended 

version of “Polk Salad Annie” in his honor, insisted, 

“Fred Foster has always been a musician.” 

Rock & Roll Hall of Fame Beach Boy Al 

Jardine was present to introduce new inductee 

Dick Dale, citing him as “King of the Surf Guitar,” 

and favored us with a rendition of “Help 

Me, Rhonda,” the #1 on which Al sang lead for 

the Beach Boys. 

Dale also put his heart into his performance, 

and proved popular with the crowd, claiming 

his music “Sounds pretty good in these classical 

surroundings.” His spirited rendition of the 

now-Dale classic “Miserlou” was a clear winner, 

and familiar to a new generation of fans, 

Charlie Daniels and buddy Dickey Lee, dueling guitars. 

thanks to Quentin Tarentino’s cinematic replay 

in his film noir hit “Pulp Fiction” (1994). 

Obviously touched by this latest honor, Dale 

explains, “You have no idea what this really 

means to me, because I cut my teeth on Hank 

Williams, and I listened to Patsy Cline all day 

long. I loved the way she squeezed those notes 

. . . I would’ve given anything for my mom and 

dad to be here, because this is his inside wish 

for me to be recognized in Nashville.” 

Our own Charlie Daniels was no slouch either, 

as he led his band into a spirited touchdown 

with “Southbound.” He also invited wild 

man Dickey Betts (of Allman Brothers fame) 

on stage for that and for the Daniels’ signature 

song “The Devil Went Down To Georgia.” 

Charlie confides, “That was my first love, 

bluegrass music. Then Elvis (Presley) made a 

great big impact on everybody who came along 

after he did. Duane Allman is one of my heroes 

and tonight Dickey Betts is here jammin’ with 

us.” 

How sweet it is. Bassist-inductee Billy Cox 

recalls his time at Fort Campbell, Ky., with the 

101st Airborne, where he met fated pickin’ pal 

Jimi Hendrix, destined for fame and an early 

death at 27: “In ’61 . . . we traveled around the 

chitlin circuit, he lived on Jefferson Street then.” 

Cox and Hendrix reunited in Band of Gypsys 

and played Woodstock in 1969. Upon Jimi’s 

passing, Billy moved to Nashville, and still 

writes and records his own music. 

No less than Rascal Flatts bounded on stage 

to help induct the L.A.-based band Toto, whose 

original line-up consisted of Jeff and Steve 

Porcaro, David Hungate, Steve Lukather and 

David Paich. Mike Porcaro stepped in when 

bassist David departed in 1980. Thanks to albums 

such as “Hold the Line,” “Rosanna” and 

“Africa,” the group has sold more than 30 million 

units. 

While everyone heaped special thanks on the 

Musicians’ Hall of Fame guru Joe Chambers, 

himself a songwriter (“Somebody Lied”) and 

music store owner, the man was keeping his 

woes to himself: 

Metro’s Development & Housing Agency 

threatens to begin eminent domain action 

against nine properties, including the three-yearold 

Musicians Hall of Fame & Museum, to clear 

space for a controversially-proposed downtown 

convention center. Reportedly, it’s planned to 

start construction in the first quarter of 2010, 

covering more than 15 acres of land. Like the 

“Boll Weevil,” Chambers is lookin’ for a home 

(for his headquarters and museum). 

- Photos (5) pages 1 & 2 by Patricia Presley - 

Sharing the stage with Steve Wariner in a pickin’ tribute to their mentor Chet Atkins is Paul Yandell. 

Backstage for the Musicians Hall of Fame bash are (from left) guitarist Gordon Kennedy, drummer Craig 

Krampf, ‘Surf Guitar King’ Dick Dale, bassist Dave Pomeroy and guitarist Chris Leuzinger. 

Wariner visited with Merle Russell, Hazel Daniels, wife of Charlie, and Ernest Tubb’s grandson Evan. 

Musicians Hall of Famer Fred Foster chatted with Dave and Craig during his recent visit to Local 257.

October-December 2009 The Nashville Musician 3 

As I head into the end of my first year as 

your President, one word comes to mind to describe 

ourselves, both as an organization of musicians, 

and as citizens of Nashville and the 

world. That word is COMMUNITY. It's a word 

that has a great deal of meaning on a number of 

levels - just as music does. I have witnessed 

first hand this invisible "glue" that holds us together 

throughout this year, and as we move 

towards the holidays, this sense of community 

is reinforced in everything we do. We are fortunate 

to live in this great town and to have 

weathered quite a few storms, economic and 

otherwise, in the past year. We want all of you, 

whether a Student, Active or Life member, to 

feel that you are not only getting your money's 

worth when paying your dues, but that you are 

a part of something bigger than any one of us. 

We are striving to provide increased services 

and benefits for all our members, and while we 

have made great progress in moving this Local 

towards a long and productive future, we are 

just getting started! 

I am very pleased and proud to report that 

the Single Song Overdub Scale that I have been 

working on for most of this year has been approved 

by the AFM's International Executive 

Board as a national scale (see page 22). We are 

just waiting for the AFM paperwork to be finalized 

to start using it, so stay tuned and we'll 

let you know as soon as it is up and running! 

This scale has a number of innovative concepts, 

including a sliding scale with a $100/song minimum, 

and an on-line Agreement. It is intended 

to help players who record at home bring this 

type of work "on the card" and best of all, pay 

into your own Pension directly, while also protecting 

your work if it is used elsewhere. Thanks 

to the IEB for looking forward and approving 

this scale, which is designed to fit today's - and 

tomorrow's - changing music business model. 

We are also poised at the beginning of a new 

era of communication as well. The new Local 

257 website, which will be located at 

www.nashvillemusicians.org, will be our portal 

to the modern music business. FYI, the old 

address of www.afm257.org will still work. The 

website will be developed in three stages, and 

by the time you read this, Stage 1 will be complete 

and online. As it develops, we will be adding 

new features regularly, and we want to know 

what you think and what you would like to see. 

There will be message boards, blogs, gear for 

sale listings, and a "networking" section where 

any member can have his or her own page, with 

resume, references, bio, website/myspace links 

and sound clips. The "Find A Musician" button 

will connect students with music teachers, producers 

with session players, employers with 

bands, and more. We want booking agents, publishers, 

producers, songwriters, visitors to Nashville, 

and anyone who wants to find "the finest 

musicians in the world" (that would be YOU!) 

to come visit our website for all sorts of valuable 

information. Spread the word and give us 

your feedback! 

Speaking of "the world's finest musicians," 

in this era of "faster and cheaper" products, we 

President’s 

Report 

By 

Dave Pomeroy 

must always remember that Nashville Musicians 

have always offered QUALITY as our 

product. Yes, we can work faster and more efficiently 

here than in any other recording center 

in the world, but in the end, no factor is more 

important than the quality of our end result. We 

have a long tradition to be proud of, and having 

been fortunate enough to travel the world, I can 

tell you that when it comes to musical diversity, 

there is no music community on earth like 

Nashville. It is truly "Musician City U.S.A.!" 

I have been to Los Angeles five times this 

year for Film Negotiations, and they have been 

very difficult and somewhat frustrating, to say 

the least. By the time you read this, I will be 

there one more time in early November, as we 

try once again to finalize a deal. I have been 

involved in many long discussions regarding 

the New Use of records in Film, which is our 

main area of interest in the Film and TV world, 

and I am doing all I can to look out for the interests 

of Local 257 at these important negotiations. 

I also have made some good connections 

out there that hopefully will lead to an increase 

in Film scoring here, which we (and many of 

you as well) want to make a priority going into 

the future. We have the musical talent in spades, 

and while there are a few tech-oriented hurdles 

we need to resolve, I know that Nashville will 

continue to grow stronger in this area. 

Since first getting involved in an AFM leadership 

role as a Local 257 Executive Officer 

and RMA Nashville President some years ago, 

I have tried my best to be a voice of reason and 

a peacemaker within our Local and our Union. 

At every opportunity possible, I have tried to 

promote open communication and frank, respectful 

dialogue as an essential element of 

collective decision-making. The AFM will always 

be most effective at the bargaining table 

if we are unified among ourselves and communicating 

functionally as a group. Unfortunately, 

for some time now this has not been the case. 

We are still mired in internal conflicts that ham- 

per our ability to move forward. This has gone 

on far too long and has been very destructive to 

the morale of this Union, not to mention its finances. 

As a labor organization, we owe it to 

each other to rise above the the politics of exclusion 

that continue to trump the basic principles 

of due process and fair representation that 

should shape AFM decision making. I share the 

same concerns that many leaders in the AFM 

orchestral community have recently expressed, 

that at a time when working musicians of all 

types need the AFM the most, the AFM is not 

listening. I salute the honesty and courage of 

those who are willing to speak out when things 

are not right, and I urge AFM Leadership to 

take positive steps towards resolving the disconnect 

between our Union and its own 

hardworking members. RMA International's 

status as an AFM Player Conference has been 

held in limbo by the IEB for well over a year, 

and needs to be restored. It is wrong to exclude 

hundreds of musicians from their rights 

of representation because of hearsay, politics 

and personality conflicts. All of us make up the 

fabric of this Union, and we ALL deserve respect. 

We need to work together to make things 

whole once again, before it's too late. 

One of the best parts of this job is connecting 

with new members who are coming in for 

the first time and also to get to know longtime 

members who I have not had the chance to meet. 

It always reminds me that music brings people 

together in ways we could never plan in advance, 

and that we all have a unique story to 

tell. Many members have told Craig and I that 

they feel more connected to the Union than ever 

before, and we hope all of you feel that way. 

That's what it's all about - strength in numbers. 

We are in this together and we need to be able 

to be open and honest with each other, even 

when we disagree. Every single one of our 

members is equally important to the future of 

this Union, and we want to know how you feel. 

I know I speak for Craig as well when I say that 

we are ready to hear your criticisms as well as 

your praise, and there's a lot for us to learn from 

hearing about the things that aren't right. We 

have both learned so much from you and from 

our interaction with the Nashville community 

(there's that word again) over the past 10 months 

that it's amazing how quick this year has gone 

by. It is certainly one I'll never forget! Thanks 

for your support and involvement in Local 257. 

And please remember, we work for YOU, so 

stop by and see us and let us know how we are 

doing, and what we can do for you. I hope that 

you all have a safe and wonderful holiday season 

and that 2010 is the best year in the history 

of the Nashville Musicians Association! I, for 

one, am really looking forward to it. 

In Unity, Harmony, Artistry, and Diversity, 

Dave Pomeroy 

President, 

Nashville Musicians Association, 

AFM Local 257 

To celebrate the Nashville Symphony's new CD release ‘Metropolis,’ a signing party was held at The Flying 

Saucer, Sept. 30. Seen above are (L-R) ‘Metropolis’ composer Michael Daugherty, Gay Hollins-Wiggins, 

Symphony President & CEO Alan Valentine, principal tympanist Bill Wiggins, Symphony Music Director 

Giancarlo Guerrero, violinist Laura Ross, Dave and Craig Krampf. 

Volume MMIX, No. 4 

October-December 2009 

The 

Nashville 

Musician 

Non-Profit Authorization: 490741 

Official Quarterly Journal of 

The Nashville Musicians Association, 

American Federation of Musicians Local 257 

(c) 2009 The Nashville Musicians Association 

P.O. Box 120399, Nashville, TN 37212 

NEWSPAPER STAFF 

Dave Pomeroy, Publisher 

Craig J. Krampf, Editor-in-Chief. 

Walt Trott, Editor 

Sherri Olson, Advertising 

Craig Krampf, Photographer 

Kathy Shepard, Photographer 

LOCAL 257 

Dave Pomeroy, President 

Craig J. Krampf, Secretary-Treasurer 

Otto Bash, Sergeant-at-Arms 

Assistant to Secretary-Treasurer 

& Office Manager 

Sherri Olson 

Executive Board 

Bruce Bouton 

Jimmy Capps 

Duncan Mullins 

Bobby Ogdin 

Andy Reiss 

Laura Ross 

Denis Solee 

Hearing Board 

Wm. (Tiger) Fitzhugh 

Kathy Shepard 

Mike Douchette 

Michele Voan Capps 

Teresa Hargrove 

John Terrence 

Jonathan Yudkin 

Hearing Board Clerk 

Anita Winstead 

Trustees 

Ron Keller 

Biff Watson 

Shop Steward 

Laura Ross, 

Nashville Symphony 

Live Engagement 

Services Division 

Kathy Shepard, Supervisor 

Laura Ross, Assistant 

Anita Winstead, Assistant 

Electronic Media 

Services Division 

Melissa Hamby Meyer, Director 

Teri Barnett, Assistant 

Mandy Arostegui 

Christie Allen 

MPF Coordinators 

Anita Winstead 

Business Agent 

Kathy Shepard 

Front Office 

Arleigh Barnett 

Janet Butler 

www.afm257.org 

All material intended for publication should be directed to The 

Nashville Musician, P.O. Box 120399, Nashville TN 37212 (office 

location: 11 Music Circle North, Nashville TN 37203) Telephone 

[615] 244-9514; Fax [615] 259-9140. The Nashville Musician assumes 

no responsibility for loss or damage to unsolicitated articles, 

photographs or artwork. Readers who submit editorial materials 

should enclose a self-addressed return envelope with proper postage. 

All rights reserved. This work may not be reproduced or copied 

in any form, stored in a retrieval system or transmitted in any 

form or by any means, electronic, mechanical, photocopies, recording 

or otherwise, without prior permission of Publisher, EIC or 

Editor. 

Local 257’s next General Membership 

Meeting is scheduled 6 p.m. Wednesday, 

Nov. 18, in Cooper Hall on Music Row.


Secretary- 

Treasurer’s 

Report 

By Craig Krampf 

Greetings to all my brothers and sisters: 

The Nashville Music Scene 

The diverse Nashville music scene was incredibly alive these last few months: The Americana 

Music Festival and Conference, which included amazing performances by the Nashville Symphony 

and Americana artists at the Schermerhorn Symphony Center, the Next Big Nashville Music 

Festival which featured over 140 national and local artists/bands, The Nashville Music Awards, 

The IBMA World of Bluegrass Festival, FanFest and Awards Show, the ACM (Academy of Country 

Music) Musician Awards, and the Musicians Hall of Fame Awards ceremony and performances. 

These events, once again, show that Nashville is indeed, “Music City”. 

The streets, convention center, Musicians Hall of Fame, Country Music Hall of Fame, hotels and 

clubs were brimming with musicians, press and music enthusiasts from literally all over the world. 

I think everyone involved with these events did a great job of showing the thousands of people that 

came to our city a unique and most rewarding time. So many Local 257 members participated in 

these events and all of us should feel very proud of them and our city. 

The Financial Impact of a Half Percent 

As I have mentioned in several of my previous columns, we are making every effort to cut 

expenses without a reduction in our services. These efforts are paying off. As of the end of the 

second quarter, we have $25,931.37 less in expenses this year. However, there is still a ways to go 

for us to get out of the red, because as you know, the deficit from 2008 was large and we are still 

feeling the repercussions this year. With that being said, there are ways for you to also help our 

efforts, and that is your support and approval of the by-law amendment to maintain the half percent 

on electronic media work dues. This by-law, which is on the agenda for the Nov. 18th membership 

meeting, received a favorable recommendation by your Executive Board. Much thought and effort 

went into the board's approval. At the board meetings, everyone was given detailed financial reports 

to study throughout the year and many discussions took place. A summary of these reports 

and more will be made available at the next membership meeting. Please realize that we wouldn't 

be asking for your help unless it was absolutely necessary. 

The half percent, which the membership approved last year, has been effective this year in helping 

improve the finances…it brought in an additional $57,618.17. However, the by-law did contain 

a “sunset clause” with an expiration of Dec. 31, 2009. We are hoping that you see fit for this half 

percent to continue to stay in place for the future. Once again, your Union really needs it to maintain 

and improve upon the services that we feel are necessary. Please help us with our efforts by 

attending the next meeting and voting “yes.” 

The Finances of The Funeral Fund 

I didn't fully understand how unique our Funeral Benefit Fund is until taking office. There may 

be less than five Locals that have such a plan and no other offers the high payouts of our plan. But 

it has become obvious that this fund could experience difficulties in the very near future. There is a 

written by-law pertaining to a financial “formula” that needs to be applied whenever the payouts 

are over 100k. Article 12, Section 8 reads: If during any calendar year Funeral Benefit Fund 

payments exceed $100,000, the local Fiduciary Trustees shall levy an additional Funeral Benefit 

Fund assessment upon each member in an amount equal to fifty cents ($.50) for each additional 

$1,000 in benefits paid. However, the funeral assessment fee was waived from 2002 through 2007. 

The thinking at the time being that since members were being assessed for the “building fund,” 

there shouldn't be an additional increase in dues for the proper funeral fund increase. The membership 

approved the dues at various meetings. As a result of this and the “graying” of a large segment 

of our membership, the fund's assessment really needs to be addressed. Just to let you know, your 

officers, legal council, trustees and board are looking into several ideas and an alternative plan in 

order to shore up the fund and keep it stable and healthy. 

In the meantime, the Funeral Benefit Fund assessment will be increased per the above mentioned 

by-law's formula. This is truly necessary to sustain the fund. I/we make every attempt to meet with 

all the beneficiaries, and often we spend a fair amount of time trying to be of some comfort, talking 

and listening. I can tell you that the funds for the survivor/survivors are truly a blessing and in many 

cases, an absolute necessity. 

The Dues 

As stated in our by-law proposal, the $4.00 increase per Member ($1.00 increase for Life Members) 

would represent an increase of less than 1% per year since 2005. Your Executive Board has 

approved this and believes that this very slight increase will help our bottom line. We are all in this 

together and hopefully, we should be willing to do our part to help. 

The Emergency Relief Fund 

Once again, this is a unique, special fund that has been part of Local 257 for some time. With the 

state of the national economy during the last year, we have had an understandable increase in 

applicants. The Emergency Relief Fund contribution is $3.00, but we are asking you to donate as 

much as you can or would like, on a voluntary basis. We will be helping our brother and sister 

musicians who are in need. We have seen the good that this fund provides…it has been a life-saver 

for so many. (Regarding these by-law changes, see page 1 story.) 

The Legislative Action Fund 

For years this fund was known as the “Tempo Fund.” The name was changed last year by the 

AFM to more properly reflect its purpose. Every year there are many issues that need to be addressed 

and many of these items eventually are presented to Congress. And always, these items are 

meant for the betterment of AFM members. Be it enabling the AFM to lobby Congress for the 

passage of Performance Rights Legislation, or lobby for carry-on musical instruments aboard airplanes, 

the efforts cost money and the fund is necessary. This fund is a voluntary contribution and 

once again, we are encouraging you to give as much as you can or would like. 

Former AFM executive; Lifetime Member 

Drummer Devine succumbs to cancer 

Drummer and former AFM union executive 

Harold G. Divine succumbed to lung cancer on 

May 29, at Cox Walnut Lawn Hospital in 

Springfield, Mo. A Lifetime Member of AFM 

Nashville Local 257, he was 82. 

Known as “Cochise” to friends and fans of 

bands he fronted, Divine’s maternal grandmother 

was of Cherokee Indian descent. 

According to “Letty,” Harold’s widow: 

“Early on while he was an officer in Rapid City, 

I was introduced to the Mayor of Omaha (Nebr.) 

as ‘Mrs. Cochise’ - and I’ll never forget that!” 

Harold Gene Divine was born Feb. 17, 1927 

in Arcadia, Nebr., son of Vern and Kathryn Divine. 

Although not a professional musician, 

Vern played guitar, mandolin and harmonica, 

and his sons shared his musical talents. Besides 

Harold, Vern’s other son William played bass. 

“When our son Scott was about 3 years old, 

he was beating on the drums with the drum 

sticks, and Harold said, ‘If you’re going to do 

that then you’ll at least learn how to hold them.’ 

Our Scott plays drums, guitar and clarinet, and 

he’s using some of his dad’s equipment right 

now.” 

Harold himself began playing at a young age, 

and he also learned to read music. In later years, 

he taught others to play. 

As a professional, Divine worked with many 

big bands as a percussionist, which often involved 

a lot of traveling. 

Letty says, “He would sit in a lot of times 

with other bands that came to town, including 

those of Grand Ole Opry greats like Jimmy C. 

Newman. That’s how we became good friends 

with (the late) Dottie West, when she came to 

Rapid City and Harold played for her. We got 

acquainted and she kept in touch with us 

through the years. Harold also played once with 

Johnny Cash at (nearby) Ellsworth Air Force 

Base when the outdoor chill factor was 60 degrees 

below zero . . .We heard Johnny tell an 

interviewer once on TV about the time he played 

Ellsworth AFB and it was 60 below . . . He 

didn’t forget that.” 

Divine enjoyed all styles of music, but especially 

liked jazz and Dixieland, with his favorite 

song being “When the Saints Go Marching 

In.” 

“Harold and I also loved to dance,” adds 

Letty. 

The couple first met when Harold ran a music 

store in Alliance, Nebr., where she was born 

and raised: “I bought my records there.” 

Harold and the former Loretta Ware were wed 

more than 56 years. 

“We moved to Springfield when Harold 

started working in 1968 for the American Federation 

of Musicians (as an international representative), 

headquartered in New York City. We 

Former bandsman Harold ‘Cochise’ Divine. 

had been living in Rapid City.” 

She recalls a time when the legendary 

Lawrence Welk brought his troupe to town, and 

his percussionist Jack Imel needed a drum set: 

“Mr. Imil came to the house and Harold let him 

borrow his drums, and he wouldn’t loan them 

to just anybody!” 

What phrase best typifies Harold? 

“He never met a stranger.” 

After Divine retired (1986), she says, “He 

invested in sewing machines . . . and started 

making custom leather products, like billfolds, 

chaps, purses or motorcycle items, whatever 

they wanted that he could make. He began this 

when he was on the road and used to stitch and 

lace things by hand.” 

Harold also operated a Bloodhound Tracking 

service in Rapid City, S.D. Like her husband, 

Letty’s not one to retire to a rocking chair: 

“I still do alterations and sewing. Our second 

son (Steven) has a suit shop, and I do alterations 

for him.” 

According to Letty, Divine “was an honorary 

member of several other Union Locals.” 

Harold, also an Honorary Kentucky Colonel, 

was predeceased by his parents, brother 

William and sisters Iona Hale and Modena 

Miller. Besides wife Loretta, survivors include 

sons Scott Divine of Springfield, and Steven 

Divine of Nixa, Mo.; daughter Stacy Naughton 

of San Antonio, Texas; grandsons Eric, Adam 

and Jake Naughton; niece Shari Tucker; nephews 

Kevin, Tim and Billy Divine of Nebraska; 

and close friend Pat Nine of Springfield. 

Graveside services were conducted, June 3, 

at Greenlawn North, Springfield. In lieu of flowers, 

the family requested donations be made to 

the American Indian Relief Council, P.O. Box 

6200, Rapid City, S.D. 57709. 

- Walt Trott 

. . . Secretary-Treasurer’s column continued 

New Things on The Horizon 

Phase I of the new website will be on-line by the time you read this.This is another way that 

Dave and I are working hard to bring us into the future and to improve the services for you. Each 

member will have their own page and the ability to upload MP3 examples of their work and post 

their links, such as personal website, myspace and facebook. Members looking for work will be 

able to post. Employers will be able to post job openings. Bands and teachers will be able to advertise. 

A “Craigslist” type board will be there for selling/looking for gear and other things. By Phase 

II, you will be able to pay annual dues, work dues, etc. online, thus freeing up the staff to improve 

process time and communication. We are also looking at an online session calculator. We have seen 

and have worked with the beta version, and it is truly going to be awesome in looks and functionality. 

And hopefully, very soon the rehearsal hall will have more gear available for your possible 

usage. Some cool things are in the works. 

Thanks & Wishes 

On behalf of all the members of Local 257, Dave and I say a big thank you to Shure Incorporated 

for the very generous donation of assorted microphones. Fellow 257 member Jamie Rounds was 

very instrumental in helping with this, acting as our initial liaison with Shure. Thanks Jamie for 

your help! We would also like to thank Davida Rochman, Public Relations for Shure. 

As we enter this holiday season, my wish and prayer for all of us is for good health, a lot of 

happiness, peace, laughter, love and many blessings. As always, we encourage you to visit in 

person…our doors are always open and the coffee is always on. Please feel free to call or email 

Dave and me with any thoughts, ideas and especially, concerns. 

Yours in harmony, artistry, unity and diversity, 

Craig Krampf


Brothers and Sisters, I can’t believe that we 

are actually winding down to the end of this 

year! I look out the window of my office and 

see many of the leaves have turned and are falling. 

Soon, it will be the holidays again. 

Once again, I am sadly saying goodbye to 

the outdoor concerts. I have been getting out 

some though, and hearing some great music 

anyway. 

I spent a few hours in “jazz heaven” on Sept. 

13, at The Limelight for the Nashville Jazz 

Workshop’s yearly fund-raiser. (Please read my 

article elsewhere on this page.) 

Also, if you like jazz, the Beegie Adair Trio 

is still performing Thursday evenings at F. 

Scott’s. If you have never heard 

Beegie…wow…your loss! If I had the time and 

the finances, I would be at F. Scott’s every 

Thursday night! 

I ventured into Third & Lindsley’s a few 

nights ago to hear my friend, Jack Pearson, playing 

an acoustic set. I had not heard him do that 

before. I had only heard him play with a band. 

It is so different to hear a musician perform solo. 

He played and sang from his very heart and soul. 

I felt blessed to have been in his audience that 

night. (See photo, page 12.) 

Awhile back (Aug. 30), I attended a birthday 

party for Kitty Wells at the Texas Troubadour 

Theatre. The gracious, beautiful lady turned 

90 years young. There was standing room only. 

Life member George Riddle came into my 

office recently. He moved to Indiana a few years 

ago, and I had not seen him for quite awhile. 

During his career, he has played guitar with 

everybody from George Jones to Grandpa 

Jones. I was sad to learn from him that his sweet 

little canine companion, Peanut, passed away 

Aug. 12. Peanut was 15 years old. 

The Musicians Performance Fund still has 

some money, so if any of you have a performance 

you are interested in doing, please contract 

Anita Winstead here at Ext. 232, or by emailing 

her at anita@afm257.org Please call 

only if you already have a co-sponsor lined up. 

I attended the release party at the Flying Saucer 

for the Nashville Symphony Orchestra’s 

recording of Metropolis Symphony and Deus ex 

Machina. Of course I bought a CD, and had it 

autographed by the composer, Michael 

Daugherty and conductor Giancarlo Guerrero. 

Happy fifth wedding anniversary to Macklin 

and Joan Davis! They are both very talented 

musicians, and have supported the live scene 

Live 

Engagement 

Services 

By Kathy Shepard 

Minutes of Hearing Board Meeting, for June 30, 2009 

08:40 a.m. - Local 257 Hearing Board Meeting 

convened. 

Present: Hearing Board Members Michael 

Douchette, William (Tiger) Fitzhugh, Teresa 

Hargrove, Kathy Shepard, John Terrence, 

Jonathan Yudkin, Michele Voan Capps; and 

Hearing Board Clerk, Anita Winstead. 

Discussion of Jan. 29, 2008 minutes conducted. 

MSC to approve Jan. 29, 2008 minutes. 

8:50 a.m. - Members charged with violation 

of Article II, Section 4 of Local 257 By- 

Laws: Ron McCoury and Ethan Pilzer. 

MSC to fine Ron McCoury and Ethan Pilzer 

here for many years. They had a marvelous 

party at the Belle Meade Mansion, and member 

John Michael Zovath played piano for the 

celebration. 

For you road musicians, keep in mind that 

the road scale will be changed as of Jan. 1, 2010. 

(This is the first increase since 1993!) Please 

call us, if you have questions. (See page 22.) 

One of the advantages to being a member of 

this union, are the insurance rates that we are 

eligible for. If you are interested in getting instrument 

insurance, please call Seaberry & 

Smith at 1-800-503-9230. 

We will sometimes get calls wanting suggestions/referrals 

for musicians/groups to play 

holiday parties, (especially New Year’s Eve) at 

this time of year. If you are available, and would 

like to be recommended, please email me at 

kathy@afm257.org 

A couple of days ago, I was in a taping of a 

pilot for a reality TV show. Two old friends and 

ex-partners of mine (we had a comedy dinner 

theater at the old Church Street Center, and they 

are now involved with television production), 

called me from L.A. and asked me to do this 

pilot. The reality show is about Corey Clark 

(from American Idol). The pilot was to be a song 

writing session between a country songwriter 

and Corey. (Corey does hip hop/ R & B.) They 

chose me because they said I am a good 

songwriter… and I am funny. (Well… I think 

they meant “funny” in a good way!) The taping 

was done at my crowded little condo (to be authentic), 

and included all my furry children. 

Corey and I got along very well. It was not 

scripted, we just bantered back and forth. The 

directors and the lighting guys said later that it 

was hilarious. They taped about an hour’s worth 

of stuff, and will cut it down to 10 minutes. (I 

even put in a plug for Local 257.) Who knows 

if the pilot will be aired … but I had a good 

time. I had an expectation of what I thought 

Corey would be like. (There has been so much 

press on him that hasn’t been flattering.) He was 

a real sweetheart, and very talented. What a life 

lesson that was for me. I had an opinion of him 

before I even met him (shame on me) and I was 

very wrong. You should never prejudge a person. 

I have to wonder how many times in my 

life I have been guilty of that. 

Till next time, I hope that each and every 

one of you is blessed with a healthy and happy 

holiday season. Please don’t forget to support 

live music! 

$40 for failure to pay work dues and $25 for 

not appearing before the Hearing Board. 

Traveling members charged with violation 

of Article VIII, Sections 9 and 10 of AFM By- 

Laws: Michael Gordon, Jaco Caraco and Gordon 

Sampson. 

MSC to fine Michael Gordon $10 for failure 

to pay work dues; 

MSC to fine Jaco Caraco and Gordon 

Sampson $30 each for failure to pay work dues. 

The next Local 257 Hearing Board Meeting 

will be conducted on Tuesday, Sept. 29 at 8:30 

a.m. 

9:01 a.m. - MSC to adjourn the meeting. 

Union agent finds Jazz Workshop gala a delight 

The Nashville Jazz Workshop celebrated its 

ninth annual fundraiser and party, at The Limelight 

on Woodland Street, Nashville, across 

from the Titans stadium, on Sept. 13. 

Their very well-attended event featured wine, 

food and live music by top Nashville jazz artists 

and guests. This is the first year that I attended 

(being financially challenged), but I certainly 

intend to go next year! 

The entertainment was exceptional. I am particularly 

partial to vocal harmonies, and the 

group 3rd Coast Vocals proved absolutely delightful 

to the ear. They’re a four-part jazz ensemble 

who did swinging arrangements with 

tight harmonies. Members are music director/ 

arranger Jeff Hall (tenor), Sandra Dudley (alto), 

Mark Stephens (bass) and Christina Watson (soprano). 

Since I’m a huge fan of groups like Manhattan 

Transfer, I was a very happy camper listening 

to these artists. 

Also, I heard Donna McElroy for the first 

time! What a treat! Donna is a master jazz vocalist, 

educator and recording artist on the faculty 

at Berklee College of Music. She’s a former 

Nashville resident, and also a Fisk Jubilee 

Singer alumna (I love them!). Performing on 

the program, too, were Rod McGaha, Rahsaan 

Barber, Chester Thompson, Joe Davidan, Jim 

Ferguson, among others. 

They also had a live and silent auction, featuring 

really interesting things such as vacation 

getaways, tickets to top events, dinner packages, 

in-home concerts, artwork, etc. During the silent 

auction, I wandered around and bid on several 

things. I ended up being the high bidder on 

a beautiful live potted orchid. This plant is gorgeous, 

and I’m quite proud to say that at this 

writing … It is still alive! 

Jazz Heritage Award winner Denis Solee. 

Chuck Chellman and John Zovath at The Limelight. 

See additional Shepard 

photos on 

pages 8 and 14. 

Union music 

is always best! 

At the event, there was an easel set up at the 

side of the stage. Artist R. Lafayette Mitchell 

painted on canvas during the entertainment, a 

painting to be auctioned. 

The 2009 Nashville Jazz Workshop Heritage 

Award was presented to Local 257 member 

Denis Solee. Congratulations, Denis! 

For those not familiar with the Nashville Jazz 

Workshop, it is a workshop environment where 

jazz professionals pass on their knowledge and 

experience in a journeyman/apprentice situation. 

They have classes for players and nonplayers 

and performances to promote community 

appreciation of jazz. 

NJW was founded in 1998, as the Nashville 

Jazz Institute by Lori Mechem and Roger Spencer, 

and opened with a handful of students. In 

2000, they incorporated as a non-profit, changed 

the name to the Nashville Jazz Workshop, and 

moved to their current location in the Neuhoff 

Complex in Nashville’s East Germantown area. 

They have since started new projects: visual art 

exhibits, student/faculty performances, a twicemonthly 

performance series - Snap on 2 and 4, 

and many other educational and performance 

events for the community. Along with income 

from tuition and events, they receive individual 

and corporate contributions, and public and private 

grant support. 

The Nashville Jazz Workshop is located at 

1319 Adams St., Nashville, TN 37208; their 

telephone number is (615) 242-JAZZ (5299), 

and their website is www.nashvillejazz.org 

Call or e-mail for information on the twicea-month 

concerts at the JazzCave.This room is 

very intimate and comfortable, and the music 

is always enjoyable. 

- Kathy Shepard 

Roger Spencer, a NJW co-founder, and Beegie Adair. 

An example of the Silent Auction art to benefit the 

Nashville Jazz Workshop’s charitable fund, 

was this exquisite piece by Local 257 

member and artist Farrell Morris.


The orchestra has been hard at work now 

for more than a month (in fact just last week 

my colleague Gary Armstrong and I were trying 

to remember which week we were in - Week 

4, as it happened). Because of the language in 

our contract, tied to the fact that a Gala probably 

wouldn't be all that timely until after Labor 

Day which came very late this year, our 

season did not begin until Sept. 9 and will continue 

through July 11, 2010. This is one week 

beyond our normal ending period, but when we 

negotiated this contract back in 2007, we added 

one week to the season that had been a “dark 

week” (unpaid and unused) for years. It never 

occurred to us that we needed to check the calendar 

three years out to see if 44 weeks actually 

fit in the stipulated time-frame (it didn't)! 

So last season the orchestra voted to allow a 

one-time waiver to extend the season beyond 

the dates stipulated in the contract. 

The end of the 2008-09 season ended rather 

sadly with a whimper, due to the rain-storms 

on July 4. The concert paired the orchestra with 

Wynonna Judd, but evidently the rain allowed 

only about 30 minutes of playing time and the 

fireworks were set off in the rain after the orchestra 

left the stage. (I got this from reports by 

my colleagues, as I was home recovering from 

surgery two days earlier.) 

This coming season we are unsure whether 

we'll even be at Riverfront Park, as the Metro 

Arts Commission reduced our funding so significantly 

that it will affect the many education 

and outreach projects we do each year. [The 

irony is that this funding began as a result of 

our shutdown and a previous lack of serious 

arts support by the city.] According to management, 

we spend more than $1.4 million on education 

and community engagement every year, 

so the cut is significant. For example, for a number 

of years, the Nashville Symphony was featured 

on TV, but few realize that the Convention 

& Visitors Bureau made commitments with 

the cable providers to carry the concerts, but 

left the Symphony holding the bag for funding 

the television payments to the orchestra, which 

came to tens of thousands of dollars each year. 

Back in May, the orchestra agreed to freeze their 

wages and pension at 2008-09 levels for six 

months, which began in August and continues 

through January 2010 (the staff salaries were 

frozen for 12 months). Our negotiating team and 

orchestra members who serve on the Finance 

Committee had two meetings with management 

and board representatives prior to the completion 

of the season and began again to meet 

monthly in September. Happily, with all the cuts 

and changes made last season, the orchestra 

ended the season with a $75,000 surplus. We're 

still not out of the woods yet, but we continue 

to hope the economy improves, which will help 

our endowment funds recover as well. 

In August, I attended the Regional Orchestra 

Players' Association (ROPA) conference in 

Dayton, Ohio. It was great to join my ICSOM 

colleagues - Chairman Bruce Ridge and President 

Brian Rood - to celebrate their 25th anniversary 

as a Player Conference of the AFM with 

the 78 member orchestras of ROPA. Our orchestra 

had a long history with ROPA beginning 

with their first President, Nathan Kahn, 

who was our principal bass before he became a 

negotiator for the AFM in 1988 and again in 

1989. We were a founding member of ROPA, 

hosted the 1988 conference during our bankruptcy, 

and three other orchestra members also 

served on the Executive Board - Dewayne Pigg 

served as Member-at-Large, Michael Karr 

served as Member-at-Large and Treasurer, and 

I served as Member-at-Large and Secretary (and 

with 79 orchestras now, I am REALLY glad I'm 

not ROPA Secretary any more!) 

Two weeks later, ICSOM delegate and cellist 

Bradley Mansell and I both met in Norfolk, 

Va., for an incredibly successful and unifying 

ICSOM conference. Delegates had more time 

to talk about issues of mutual concern, but there 

were a number of interesting presenters that 

included Janet Horvath who developed a workshop 

and has written two books based on Playing 

(less) Hurt, Local 72-147 (Dallas-Ft. Worth) 

President Ray Hair gave a very entertaining and 

Symphony 

Notes 

By Laura Ross 

Nashville Symphony 

Shop Steward 

important presentation on protest campaigns, 

Vinni LoPresti and Will Luebking from the 

AFM-EPF brought us up to date on pension issues 

(see page 2 story), Americans for the Arts 

representatives and Hal Ponder from the AFM 

Legislative office both discussed issues of importance 

to our members and William Thompson 

from the University of Louisville spoke 

about using financial data during negotiations, 

both at the table and in publicity campaigns. 

The person who really brought the house 

down, however, was Michael Kaiser, current 

President of the John F. Kennedy Center for the 

Performing Arts. Mr. Kaiser is something of a 

“turnaround” guy and his recent book “The Art 

of the Turnaround, Creating and Maintaining 

Healthy Arts Organizations,” details his work 

with Kansas City Ballet, American Ballet Theater, 

Alvin Ailey Dance Company, the Royal 

Opera House at Covent Garden and the 

Kennedy Center. All these organizations were 

facing very bad financial problems, and he put 

them back on the road to recovery and success. 

Mr. Kaiser believes you cannot cut your budget 

just to save an organization; instead he believes 

in well thought-out plans, inspiring campaigns 

and projects, and thoughtful budgeting 

(which does not necessarily mean no cuts, but 

it does treat certain areas of the budget with 

more restraint - in his 2009-10 budget he cut 

$11 million but did not cut orchestra salaries, 

change repertoire or artists, or interfere with 

marketing). You can read more on the ICSOM 

conference in the October International Musician 

and in ICSOM's Senza Sordino (which can 

be found online at www.icsom.org). 

The rain that plagued July 4th continued to 

affect our outdoor activities at the beginning of 

the 2009-10 season - our opening gala, with 

Giancarlo Guerrero on the podium officially as 

our Music Director, was being broadcast live 

outside the hall on a jumbotron for an audience 

to watch free of charge. Unfortunately, just before 

the concert was to begin, the rain began. 

Some folks tried to stay and watch for awhile. 

Prior to the performance there was a one-hour 

webcast about Giancarlo and the weekend concerts 

(aside from the all-Beethoven program, 

we had a concert that was a collaboration between 

the NSO and the Americana Music Association 

the next night). The webcast was also 

broadcast on the jumbotron and it included the 

first three minutes of the gala concert before it 

signed off. 

Lang Lang, a pianist who has achieved international 

acclaim, was the featured artist at 

the Gala. He and Giancarlo worked very well 

together, though it was little harder to observe 

since the second violins once again switched 

positions with the cellos and basses, so sat on 

the outside of the stage as we did last season 

for Bruckner 7. I suspect that Giancarlo will 

try many things as we all become more familiar 

with our hall. 

The Classical Americana, as it was billed, 

was a terrific concert featuring many of our own 

Local 257 members - Sam Bush, Alison Brown, 

Jerry Douglas, Byron House, and Buddy Miller, 

and were joined by Karen Parks, Abigail 

Washburn, 90-plus-year-old David “Honey 

Boy” Edwards, and a special drop-in by 

Emmylou Harris. It was a great deal of fun. 

On the heels of these two concerts, we 

opened our regular season the next week with 

Rimsky-Korsakov’s Russian Easter Overture 

(truly the fastest I've ever heard it or played it!), 

Mussorgky’s Pictures at an Exhibition and the 

fabulous Stephen Hough performing 

Tchaikovsky's Piano Concerto No. 1. 

Immediately after the first two weeks, the 

orchestra began three non-consecutive split 

weeks. One orchestra is performing Puccini’s 

Tosca with the Nashville Opera and then working 

with the Nashville Ballet. The other half of 

the orchestra performed with Glen Campbell 

and Jimmy Webb. (I had not realized how many 

of my favorite songs, especially the Motown 

hits, he had composed - what a treat!) The second 

week includes a Jazz concert with Al 

Jarreau and conducted by Matt Catingub, and 

the annual Day of Music - an event begun upon 

the opening of the Schermerhorn Symphony 

Center that features a full day of free musical 

events all around the building. The final split 

week will include a number of Young Persons 

concerts featuring Gil Long performing Tubby 

the Tuba, and a runout concert to Lawrenceburg. 

Last week, cellist Alisa Weilerstein joined 

the orchestra in a performance of the 

Shostakovich Concerto for Cello #2, a work that 

is not performed very often (probably due to its 

difficulty). It was a diverse program that also 

featured Mozart’s Symphony #35 (Haffner), 

Ravel’s Rhapsodie Espagnole and the world 

premier of the Roberto Sierra Symphony #4 that 

was dedicated to Giancarlo. This last work was 

part of The Sphinx Organization commissioning 

consortium - Sphinx has sponsored a competition 

for many years in Detroit for minority 

musicians, predominantly African American 

and Latino. The NSO has been a participant in 

featuring these young competition winners in 

our concerts for many years, and now also participate 

in the newly-instituted commissioning 

consortium for composers. Since the NSO was 

the orchestra that recommended Roberto Sierra, 

we were the lucky ones to play the world premier. 

During this week there was a release party 

at the Flying Saucer for our first recording with 

Giancarlo. It includes two works by Michael 

Daugherty - Metropolis Symphony and Deus ex 

Machina. The symphony is devilishly difficult 

but great fun as well with movements entitled 

Lex, Krypton, MXYZPTLK, Oh, Lois!, and Red 

Cape Tango. It features terrific virtuoso solos 

by Concertmaster Mary Kathryn Van Osdale 

(portraying Lex Luthor) and dueling flute soloists 

Eric Gratton and Ann Richards. The second 

work, a piano concerto featuring the magnificent 

Terrence Wilson, depicts the history of 

trains with a wonderful middle movement depicting 

the train that carried the body of President 

Abraham Lincoln from Washington, D.C., 

to his home in Springfield, Ill. At the release 

party, Giancarlo spoke about the premiere for 

this work (which was done by the Charlotte 

Symphony) - it seems the third movement was 

not even completed (even for the soloist!), until 

the first rehearsal. It's a very difficult work 

which speaks even more to Terrence Wilson's 

talent because they reported he had it down cold 

by the next rehearsal! 

I have also been listening to our other new 

release - Riders In The Sky’s “Lassoed Live” 

at the Schermerhorn with the Nashville Symphony. 

One of the things I was really pleased to 

hear (and I think makes this a very entertaining 

CD) is that it's almost like you're there because, 

along with the music, the commentary that precedes 

each piece is also included. This one is a 

real treat. 

Our next classical series concert this October 

will be under the baton of John Fiore, who 

will conduct portions of Tannhäuser and (one 

of my favorites) Schumann’s Symphony #3, also 

called the “Rhenish” Symphony. Classical guitarist 

Sharon Isbin will be the featured soloist 

performing Chris Rouse’s Concert de Gaudi. 

During Halloween week the orchestra will perform 

its first Pied Piper entitled “Halloween 

on the High Seas”and Matt Catingub returns to 

lead the second Pops series celebrating “Hawaii 

50 at 50” (bring out those Hawaiian shirts)! 

November begins with Giancarlo on the podium 

again with soloist Yefim Bronfman who will 

be performing the Bartok Concerto #2 for Piano 

and Orchestra. Additional works on the 

program include Ligeti Atmosphères, Richard 

Strauss’s Also sprach Zarathustra (any “2001: 

A Space Odyssey” fans out there?), and a world 

premier of Aguila’s The Fall of Cuzco that was 

commissioned through the Magnum Opus 

project. The following week the Soldiers' Chorus 

of the U.S. Army Field Band will join the 

orchestra to entertain with diverse programming 

that covers American folk songs to Broadway 

to opera. 

The week before Thanksgiving, Giancarlo 

will lead the orchestra through a number of 

works by Piazzolla (which will be recorded on 

Saturday and Sunday for his first SRLA recording 

with Naxos) with solo Bandeneon, which, 

according to my schedule book is an Argentinian 

Accordian. Works include Buenos Aires: 

Tres Movimientos Sinfonicas, Concierto para 

Bandeneón “Aconcagua”, and Las Cuatro 

Estaciones Porteñas [The Four Seasons of 

Buenos Aires]. Ravel’s Boléro will round out 

the program. 

We return from vacation in the first week of 

December for our last week together (before 

we split once again). Giancarlo will lead the 

orchestra through the Stravinsky Symphony of 

Psalms (no violins or violas, but it includes chorus 

and two pianos!) and Rachmaninoff’s The 

Bells with the Nashville Symphony Chorus and 

soloists Twyla J. Robinson (soprano), Darren 

K. Stokes (bass-baritone) and Brian Griffin 

(tenor). Replacing what was to be another world 

premiere, the orchestra will perform Argento 

Le Tombeau d'Edgar Poe, Suite for Orchestra 

with tenor solo. 

The orchestra then either goes to the TPAC 

pit for two weeks of The Nutcracker performances 

or performs another diverse set of concerts 

including Young People's Concerts featuring 

Pictures at an Exhibition, a Christmas 

Sing-A-Long with the Nashville Symphony 

Chorus, our second Pied Piper featuring a work 

based on the book “Polar Express,” and three 

performances of The Messiah. 

I'm exhausted just thinking about all of this! 

Have a great fall and let's hope for more sunny 

days . . . before heading into the holiday season! 

Arkansas school cites key grads 

Local 257 Lifetime Member James Madison 

(Duke) Dumas recently spent an enjoyable 

return visit to his Arkansas alma mater Hamburg 

High School, where he and six other student 

graduates were honored as initial inductees 

into the HHS Hall of Fame. 

The alumnae Hall of Fame is being founded 

and sponsored by HHS’s Leadership Class. 

A 1959 graduate, “Jimmy” Dumas has pursued 

a career in music, during which he has performed 

with such superior talents as Floyd 

Cramer, Elvis Presley and The Oak Ridge Boys. 

Dumas plays guitar, bass and banjo. 

During the induction ceremony, attended by 

family, friends, faculty and students, Dumas 

confided, “I treasure my time spent in the Hamburg 

School District. I’m thankful to have been 

born in Hamburg, Ark. I’ve been blessed.” 

The area newspaper The Ashley News Observer 

in Monroe, La., ran a story spotlighting 

the occasion, along with a photo of the seven 

inductees. We add our congratulations to veteran 

musical artist Duke Dumas’ latest achievement. 

Union music is always best!


The leaves are falling, the winter coats are 

coming out, and we have a lot to cover, so 

“stomp off, let’s go.” 

In July, Nashville’s Convention Center was 

again the site of the summer NAMM show. 

Formerly known as the National Association of 

Music Merchandisers, NAMM is a showcase 

for the latest in professional music products. 

Titled “Opportunity Knocks,” it offered advice 

and ideas on surviving the economic downturn 

with exhibits, concerts, workshops, and a daily 

series of seminars, every 30 minutes. 

At the show, the two comments I heard most 

often were about the size (fewer exhibitors and 

participants than ever) and the preponderance 

of cheaper Chinese-made instruments. Seminars 

also reflected the times, with topics like, “How 

to Find Customers,” “How to Prepare for a Post 

Recession Economy,” “Electronic Marketing” 

and “Community Music Education Advocacy.” 

Concerts ranged from the traditional “Muriel 

Anderson’s All-Star Guitar Night” at the Ryman 

Auditorium to Roy Vogt’s new TMBG band 

(Teach Me Bass Guitar) featuring guitarist 

Shane Roberts to an All-Industry Drum Circle. 

You could even have your picture taken with 

Bert and Ernie from Sesame Street. 

Noteworthy products included “Motion 

Sound” keyboard amps from Yamaha, Lyra tube 

amps from Cincinnati, and a new line of cymbals 

from the Middle East called Amedia, very 

much like the classic K. Zildjian cymbals of 

the 1950’s and ’60’s. Yamaha has stepped up 

promotion of its revived Rogers drum line, but 

they are still “entry level” drums, and the promised 

return of the classic Rogers designs of the 

1960’s has not materialized. 

Concurrent with the NAMM show was the 

Southern Drum Show at SoundCheck. Formerly 

a show for old classic drums, the show was 

mostly for “boutique” drum companies that 

hand build expensive new drums to look and 

sound like vintage drums, although there were 

a few choice classics for sale. Noteworthy were 

Baker Custom Drums from Nashville, Heirloom 

Drums that featured a host of exotic woods, the 

new Bosphorus Master Vintage cymbals, and a 

drum kit with led lights that strobe when the 

drums are hit, from Phattie Drums! Sponsor of 

the show, Vintage Drummer magazine is now 

called “Classic Drummer” and is published 

quarterly. 

After a successful September fund-raiser at 

The Limelight, the Nashville Jazz Workshop 

continues its classes, the Snap on 2 & 4 series, 

and new concert series of “Contemporary Jazz.” 

Vocalist Annie Sellick appears Oct. 30. For later 

concerts and other activities, go to 

Readers Reply . . . 

Letters 

to the 

Editor 

Hey Craig: 

Just writing to say how happy we are now 

to be a part of Local 257. It's def a solid organization 

working for the goals of musicians. After 

reading The Nashville Musician, we've 

gained a lot of insight already. We saw a couple 

companies on the Do Not Work For section that 

had approached us in the past; luckily, our parents 

helped us make decisions not to go w/them. 

Also, it was great speaking w/you. We don't feel 

that we are out there alone anymore. 

Also, if anyone who is rehearsing ever wants 

their rehearsals recorded, we'd love to help out 

that way, not sure if there's a need for that or 

not, but sometimes helps in case a jam breaks 

out, and you don't wanna forget a progression 

or something. 

Jazz & 

Blues Beat 

By ROBERT 

AUSTIN 

BEALMEAR 

www.nashvillejazz.org 

At Middle Tennessee State University in 

Murfreesboro, a dinner/dance fund-raiser for the 

Wright School of Music is being billed as an 

Evening of Swing, featuring jazz faculty members 

Don Aliquo (tenor sax) and Jamey 

Simmons (trumpet). The Oct. 30 event is in the 

James Union Building Tennessee Room. On 

Nov. 12, the Music School begins this season’s 

Jazz Artist Series with trombonist and composer 

Paul McKee. 

No jazz or blues at Schermerhorn Symphony 

Center until 2010. The Preservation Hall Jazz 

Band from New Orleans comes in for a threenight 

stand, Jan. 14-15-16. Then saxophonist 

Branford Marsalis brings his group in Jan. 29. 

It was a real surprise to discover that the Renaissance 

Center in Dickson, Tenn., will host 

world-class jazz pianist Lazlo Gardony and his 

Trio (John Lockwood, bass and Yoran Israel, 

drums) on Nov. 5 at 7:30 p.m. Ticket prices are 

very reasonable, so call (615) 740-5600 for 

more information. 

The Nashville Jazz Orchestra kicked off its 

2009-2010 season in October at Blair with a 

hot Latin Jazz night, “Viva el Mambo.” Next is 

their Holiday Concert with a special guest, the 

Blair Big Band, 8 p.m. Dec. 12. Vocalist and 

saxophonist Patti Cossentino plays the atrium 

lobby of the downtown Hilton Hotel weekdays 

from 5-8 p.m. 

Our 24-hour jazz radio station WMOT 

Jazz89FM is still waiting to learn its fate due to 

state budget cuts that have forced MTSU to cut 

curriculum and programs to the tune of $20 

million. Anticipated changes have included a 

sports, news, and talk format, instead of jazz, 

at least during daylight hours, and some veteran 

staff members have already left. In September, 

an agreement was signed for MTSU’s 

sports department to carry all campus football, 

basketball and baseball broadcasts on 89.5. 

Alright Craig, thanx for reading this message 

and let us know what you think. 

Have a wonderful day! 

- Jesse & Royal Henceroth 


Dave and Craig: 

I just wanted to drop you a line and say 

thanks for your panel discussion at the Americana 

Music Festival. Yours was the most informative 

panel I attended this year.There seems 

to be a lot of misinformation floating around 

out there about the Union, so it was great to get 

the straight story from men in charge! Can I 

just stop by and fill out the paper work to join? 

Thanks again, 

Dan Seymour 

(bass player) 

Gentlemen: 

Words alone seem completely inadequate to 

express the depth of gratitude and appreciation 

we feel for your individual and collective acts 

of kindness and selflessness . . . at our United 

Way event to feed the hungry and kick off this 

year’s campaign. 

In addition to extraordinary media coverage 

(all four major televisions networks; The Tennessean; 

NPR), a proclamation from the Governor, 

a visit from Mayor Dean, national recognition 

by the Corporation for National and 

Community Service, hundreds of dedicated 

volunteers, and caring organizations, we count 

ourselves as most fortunate to have your friend- 

The decision on news and talk has been delayed, 

apparently because of the surprise announcement 

that WPLN 90.3FM, the largest 

public broadcast station in this market, was replacing 

its long-standing classical format with 

a similar talk and feature news format. If the 

MTSU administration is indeed reassessing its 

plans for WMOT, now is the perfect moment 

to write, call, or e-mail Dr. Roy Moore (Dean 

of the College of Mass Communications – 

rlmoore@mtsu.edu) and Dr. Sydney McPhee 

(MTSU President – smcphee@mtsu.edu) and 

tell them how important it is to keep the jazz 

format. 

Most effective is to let them know you financially 

support the station as it is now, but 

would not do so if they went all news/talk/ 

sports. Personally, I think a switch to yet another 

news and talk format shows a surprising 

ignorance of local broadcasting, which has 

plenty of news and talk stations, and very little 

jazz, America’s own original art form. I am told 

by media people that this is becoming the fate 

of many public broadcast stations. 

Increasingly scared of losing their audience, 

public stations are letting fancy media consultants 

convince them that traditional public broadcast 

listeners no longer want music because they 

now get it from satellite and computer sources. 

One argument against that is that it denies the 

basic concept of the public broadcast system, 

which was created by the federal government 

in 1968, specifically to preserve and support 

educational radio and TV stations, mostly campus-based, 

that offered art and culture people 

needed but not offered by commercial media. 

On a positive note, WMOT is trying a new 

concept called “It’s Your Hour,” which started 

Oct. 11. Listeners create and produce their own 

one-hour DJ show, based on guidelines available 

at www.wmot.org, and all shows will air 6 

p.m. Sundays. This is another example of how 

a local station, free to create its own programming 

can serve its community. You won’t get 

that from satellite radio. And I’d be willing to 

bet you won’t get to hear any Nashville jazz or 

blues artists either. 

The Music City Blues Society doesn’t seem 

to exist anymore, or is being phased out and 

replaced by The Nashville Blues Society. Go 

to their web site, (www.musiccityblues.org) and 

you end up at www.nashvilleblues.net and get 

the following announcement: “Welcome!! 

Please join us! The Nashville Blues Society is a 

brand new 501C3 non-profit chartered with the 

state of Tennessee. Our goal is to promote and 

support the blues in the greater Nashville area 

through performances, education, and other 

ship during the most ambitious and successful 

Day of Action that we’ve had to date. 

Please share with all of our Brothers and Sisters 

in Labor, how grateful we are for their help; 

they made a huge difference in the lives of our 

fellow citizens, more than that… in the lives of 

those with the most need. 

We look forward to a very bright future, with 

your friendship and support to get the job done. 

Best, 

Eric D. Dewey, President & CEO 

United Way of Metropolitan Nashville 

Craig & Dave: 

Thank you SO much! I’ve received awesome 

feedback about the fun entertainment your 

group brought to the crowd of volunteers! We 

are so appreciative and look forward to 

partnering with you again soon. 

- Melanie Shinbaum 

Manager of Special Events 

United Way of Metropolitan Nashville 

Dear Editor: 

As the niece of Billy Dale Pack, and one of 

his biggest fans, I want to thank you so much 

for the piece you printed in the Union paper. 

He was very proud to be a part of the Union, 

and was very dedicated to his gifts. Thank you 

from all of his family. And Thanks to all that 

believed in his talents. 

Dianna Pack-Keegan 


means. We plan to serve as a nexus for fans, 

musicians, disc jockeys, clubs, promoters, labels 

and other members of the diverse blues 

community. This website is being developed and 

will include details about formal membership 

and additional information. Meanwhile, please 

become our MySpace friend at: http:// 

www.myspace.com/nashvillebluessociety. 

Regular monthly meetings are being planned. 

If you recently signed up as a member of the 

Music City Blues Society, you are a member 

here.” 

The new site already has information on local 

blues; current jams are at Cragnackers on 

Tuesdays, Duggers on Wednesdays, and Beer 

Seller on Thursdays. 

New jazz CDs include “Road Song” by dobro 

whiz Rob Ickes with pianist Mike Alvey on the 

ResoRevolution label; “Lucky To Be Me” by 

vocalist Lynn Lewis; “Living Inside Out” by 

Belmont vocalist Lindsay George; “A Gentle 

Man” by trumpeter Rod McGaha, a collection 

of well-known songs; “Return to Ipanema” on 

the Green Hill label is pianist Lori Mechem’s 

take on the classic bossa novas of Antonio 

Carlos Jobim (not to be confused with the 

Paquito D’Rivera project of the same name); 

“Urban Legend” has Roy Vogt putting his virtuoso 

electric bass up front with a groove-oriented 

quartet and special guests, on the Roy 

Vogt Music label; and finally “Red Skies” by 

acoustic bassist Eric Applegate, a modern jazz 

set by four former Nashvillians: Dana Landry, 

Steve Kovalcheck, Jim White and Eric. There 

must be some new local blues CDs, I’ll keep 

looking and report next quarter. 

As usual, we lost some of the great names in 

music this last quarter. Pianist Eddie Higgins 

was a legend in Chicago, backing some of the 

biggest names in hard bop in the 1950’s and 

’60’s, and staying in the Windy City to lead a 

popular trio. Jazz vocal legend Chris Connor 

was known for her husky voice and cool jazz 

delivery. Her many albums on Bethlehem and 

Atlantic made her equally popular with hipsters 

and pop fans. Less well known was vocalist 

Kitty White, a fixture in L.A. jazz clubs of the 

1950’s and ’60’s who can still be heard in several 

Hollywood movies from the period. 

Too far out for the general public, avant 

garde saxophonist and composer Joe Maneri influenced 

a lot of advanced musicians on the East 

Coast. A major figure in avant garde or “free” 

jazz was drummer Rashied Ali, who first created 

a storm as the drummer for John Coltrane’s 

last and most exploratory years. A prime example 

of the forgotten jazz sideman is guitarist 

Lawrence Lucie, who was the last surviving 

musician to record with Jelly Roll Morton, and 

play the Cotton Club with Duke Ellington 

(1931). He went on to work with a host of greats, 

including Fletcher Henderson, Louis 

Armstrong, and Billie Holiday. In later years, 

he had his own record label, and taught at Manhattan 

Community College. 

George Russell was a major influence on 

jazz musicians in the 1950’s with many complex 

compositions based on his book, “The 

Lydian Chromatic Concept of Tonal Organization.” 

His many records on labels like Riverside 

featured modern greats from Bill Evans to 

John Coltrane. Jazz drummer Jim Chapin was 

much more famous as a teacher, whose books 

and methods were used by drummers from Gene 

Krupa and Buddy Rich to the latest hot shot 

rock stars. Jim was a tireless advocate for the 

art of drumming, and could always be found 

walking the halls of any drum or music convention, 

showing his techniques to anyone 

wanting to talk about drums. 

And finally, what can I say about guitar legend 

Les Paul that hasn’t been said? As the creator 

of unique sounding hit records with his wife 

Mary Ford, and inventor of multi-track recording 

and the solid-body guitar, Les Paul was 

equally revered by fans of 1950’s pop music, 

engineers, jazzers, rockers, and country musicians. 

It’s hard to imagine what American music 

would have sounded like without Les Paul. 

Wash your hands, get your flu shots, and I’ll 

see you next year.


Music scene snapshots by Kathy Shepard 

Flutist Ann Richards above with Symphony CEO 

& President Alan Valentine at The Flying Saucer. ‘Metropolis’ composer Michael Daugherty and conductor Giancarlo Guerrero 

attend The Nashville Symphony’s CD release party held at The Flying Saucer. 

Letters 

to the 

Editor 

Kevin Madill and wife Connye Florance at Limelight. 

Readers Reply . . . 

Letters 

to the 

Editor 


Dear Craig: 

Just got back into town, and saw the wonderful 

P.S. you put on the end of John Perry’s 

article about Music City Baroque in The Nashville 

Musician. Wow! Thank you so much for 

the “unsolicited testimonial” – we really appreciate 

such enthusiasm, coming from a fellow 

professional.Thank you so much for your support 

of MCB; we’re looking forward to a great 

season this year. 

(BTW, we’re also thrilled that we found out 

in July that we got a sizable grant from the State 

of Tennessee for our Baroque Fiddling project 

next spring – in this economy, the first time we 

ever asked them for anything! We’re very excited 

about that, too.) 

Looking forward to seeing you at our concerts 

when you can join us again! Thanks for 

all you are doing for live music in Music City! 

- Murray Somerville 


Hi Craig: 

Thanks for the news about Ruth (McGinnis). 

I had the opportunity to perform with her several 

times. She was a nice person. Her class and 

Alan Valentine and Laura Ross at Flying Saucer. 

George Tidwell and Jeff Steinberg at The Limelight. 

dignity were always apparent, even to those who 

didn't know her well. 

I also want to commend you and Dave on 

the job you're doing with the e-mails. I've never 

felt better connected with our federation and 

our musical community. In the past, I've always 

viewed the Musician's Union as more of a necessary 

evil than an advocate.You and Dave are 

definitely changing my way of thinking. 

My wife, Diane, recently volunteered for the 

United Way Food Sortathon. She told me that 

you, Dave and Jon Yudkin were there providing 

some music, and that she got to meet you 

all. She was impressed with you guys being 

there and your enthusiasm in helping the cause. 

Not only was I glad you got to meet her, but 

was thrilled to see how you're making a positive 

impact for our Union in the Nashville 

community.You guys are providing the exact 

kind of leadership our Local needs. 

Thanks for doing such a great job. 

- Dave Lawbaugh 

Franklin, Tenn. 

Hi Janet (Butler, receptionist)! 

Just wanted to drop a line and thank you and 

all at Local 257 for once again opening the 

Union’s doors to Nashville Songwriters Association 

International, and the hundreds of students 

who took classes during SONGPOSIUM 

Week. 

We’ve received some fantastic feedback from 

our attendees throughout the week. This is an 

event that, by nature, relies heavily on venues 

like yours to help create a campus feel on the 

Row. Thank you SO much for always being so 

accommodating in allowing us to make 

SONGPOSIUM happen. 

Hope to see you again soon! 

Thanks again! 

- Dave Petrelli 

NSAI Director of Events 

Maclin and Joan Davis hosted reception 

at Belle Meade Mansion on their fifth anniversary. 

Maclin Davis listens as John Michael Zovath plays. 

Fiddler Rob Hajacos and ‘Annie’ at the Union. 

Ex-257 staffer Mahri Feldman Allen, son Alec. 

Gail Johnson, daughter Alexandra, and son Derek. 

Their dad is Local 257 musician Dirk Johnson. 

R. Lafayette Mitchell preps painting to be auctioned for Jazz Workshop fund-raiser held at The Limelight.


Friends and Colleagues: 

For those of you who don't know me, please 

let me introduce myself. My name is Bruce 

Bouton. I am the acting president of the Nashville 

Recording Musicians Association. I am 

also the Vice President of RMA International. 

First of all, let me say thanks to the members 

that renewed this year. I’m hoping that you will 

renew for next year, too. I’m also hoping to 

encourage former members to come back into 

the fold. 

When Dave Pomeroy was RMA President, 

we had over 180 members. At the time we had 

some big issues facing our Local recording community. 

We stuck together and helped create an 

incredible change in our Local leadership. We 

lost a great RMA President, but gained a great 

President for Local 257. 

I think many of us wonder why we need an 

RMA, when we have two incredible representatives 

of the recording community leading our 

Local. Dave and Craig Krampf were elected to 

represent all of the 2,500 members of Local 257. 

As hard as they work for us, things can still slip 

through the cracks. It’s up to the RMA to pick 

up the slack. 

Right now we are faced with some serious 

challenges in the recording industry. On top of 

Recording 

Musicians 

Association 

Bruce Bouton 

President 

Versatile musician Billy D. Pack performed with top Bluegrass acts 

Billy Dale Pack 

Multi-instrumentalist-singer Billy Pack, 73, 

died July 23. Pack, who played autoharp, banjo, 

bass, fiddle, guitar, mandolin, worked in bands 

of pioneers Carter & Ralph Stanley, the Lilly 

Brothers, Jim & Jesse, and bluegrass matriarch 

Wilma Lee Cooper. 

Born in Mountain View, W. Va., June 26, 

1936, Billy Dale Pack came from a music-loving 

family headed up by parents Willie, a coal 

miner who sang in church, and Macie Marie 

(Williams) Pack. Grandma Lilly also played piano 

and encouraged daughter Macie and her 

seven siblings to play instruments. As he recalled, 

Billy’s mom played four-finger style 

guitar, and double-thumb pickin’ on banjo. 

At 5, Billy began playing mandolin, an in- 

Billy Pack in later years. 

that, we have a Federation Leadership that 

doesn’t want to recognize us as a player conference. 

In fact, over the past few years, they have 

made some serious policy decisions without any 

input from the RMA, in spite of the fact that 

recording musicians contribute half of the Federation 

work dues. They have made deals on 

strument his father obtained for him by trading 

a wristwatch. It was Mom, however, who taught 

her son to play standards such as “Mississippi 

Sawyer” and “Soldier’s Joy.” 

He himself later became a teacher. One student 

Pack instructed was Carmella Ramsey, 

who plays fiddle for artists like Patty Loveless. 

Pack also owned Billy’s Music Stores in Virginia 

and West Virginia, before moving to Nashville 

in the mid-1980s. 

An informative, six-page spread on Billy 

Pack titled “The Lost Banjo Man,” appeared in 

the August 2004 issue of Bluegrass Unlimited, 

written by fellow musician John Rossbach. 

When 13, Billy’s dad bought him a new 

Gibson mandolin. Still a youngster, Billy soon 

bought his first banjo, a green Craftsman with 

resonator, which he taught himself to play threefinger 

string style. 

Growing up, a huge radio influence on him 

were the Lilly Brothers, who performed on 

WJLS-Beckley, W. Va., radio in the late afternoon. 

(The brothers also played on WCHS- 

Charleston’s Old Farm Hour.) 

Billy was so intent on becoming a professional 

picker, he landed his own regular stint 

on WNNR-Beckley’s Saturday Night Jamboree 

at 13. Pack told Rossbach, “I knew what I 

wanted to do. I’d lay in bed and rehearse those 

shows in my mind. I’d go through the whole 

patter - bring myself on - sing myself off. Even 

in school, I was rehearsing in my mind.” 

Reportedly, Billy went to the station, asked 

to see WNNR’s manager, who at first wondered 

why the kid wasn’t in school, but once he saw 

his determination to get an audition, he granted 

the request. To the astonishment of the station 

manager, the youngster went through the whole 

routine he’d practiced and imagined all that 

time, including his planned “sign-off.” Needless 

to say, Billy was hired then-and-there. 

our behalf, while completely ignoring objections 

from the RMA, the representative player 

conference of the recording musicians. 

Instead of trying to make peace with the recording 

musicians and work together, the Federation 

seems to want to keep the battle going. 

We need a strong RMA to remind the Federation 

that Nashville recording musicians are 

The teen-ager soon linked up with another 

picker Les Cook, Billy playing mandolin, as 

they sang brother duets throughout their broadcast 

area. Pack also performed on WOAY-Oak 

Hill (1951), landing his own radio show; then 

as TV emerged, he hosted their early telecast, 

The Friday Night Barn Dance. 

Heading up The Ranch Hands, he also spotlighted 

big sister Naomi Pack on guitar and 

duets with her brother. Then Billy joined his 

early idols Carter & Ralph Stanley’s bluegrass 

band, playing mandolin, and singing high harmony 

parts in trios with the famed brothers. 

When the Stanleys moved out of state, Billy’s 

mom refused to let her boy accompany them, 

rightly concerned about alleged drinking among 

the bandsmen. Next, Billy hooked up with the 

West Virginia brothers Everett and Bea Lilly, 

then touring with banjoist Don Stover, but had 

just returned from a stint in Boston. 

With them, Billy performed on the WWVA- 

Wheeling Jamboree, but when they left the area, 

Billy 17, joined the Lonesome Pine Fiddlers, 

featuring Ezra Cline, Curly Ray Cline, Ray 

Goins and Ezra’s daughter Patsy (not the famed 

songstress), with Billy playing guitar. 

When the Lilly Brothers called again, Billy 

went to Boston to pick with them at the Mohawk 

Ranch and then Hillbilly Ranch, playing banjo. 

After that, Billy’s banjo backed Jim & Jesse & 

The Virginia Boys for the Wheeling Jamboree. 

He was recruited again by the Lilly Brothers to 

work as a trio, working important gigs that 

boasted such notables as Flatt & Scruggs. 

Another Massachusetts band beckoned Billy 

this time, Toby Stroud’s Blue Mountain Boys. 

Then in 1957, Billy and Bill Duncan founded 

their Harmony Mountain Boys, based on 

WOAY-TV, where they appeared regularly. 

In 1960, Cora Lilly became Billy’s bride, and 

according to nephew Roger Pack, the newlyweds 

moved to Cleveland, Ohio, where at first 

Billy co-managed a supermarket. Pickin’ and 

singin’ in his off-duty hours, Billy soon scored 

an assignment as bandleader for WEWS-TV’s 

Big Country Show. 

It was in that Ohio city that he came to know 

Bill and Dottie West, who hadn’t yet made it to 

Nashville. Pack also opened shows for such 

name acts as Jerry Lee Lewis, Flatt & Scruggs 

and the King of Bluegrass Jimmy Martin. 

The versatile Pack became bassist for fellow 

West Virginians, The Robertson Brothers 

in 1964, working the Northeastern Ohio area. 

By 1966, Billy was back in Boston and witnessed 

the fire destroying Hillbilly Ranch, then 

headed back to the ol’ reliable Buckeye State. 

united with our recording brothers and sisters 

throughout the country, and that we desire to 

work with the Federation to insure that our interests 

are protected. At the same time, we will 

not stand by while “process” is ignored, resulting 

in bad decisions by the Federation. 

NO ONE UNDERSTANDS OUR BUSI- 

NESS AS WELL AS WE DO! 

We need to be involved in the process. 

On a local front we are making some 

progress. While we are no longer at odds with 

our Local leadership, we are facing economic 

challenges in the business. I would love to see 

the Nashville RMA play a bigger role in helping 

to bring more music business to Nashville. 

I would like, in concert with President 

Pomeroy, to embark on an aggressive outreach 

with our business and political leaders, both city 

and statewide, and sell them on the value of 

investing in the recording industry. For example, 

more motion pictures are being made here every 

year. They need to be scored here. 

In closing, I would like to reaffirm my commitment 

to preserving our hard- fought gains. 

Together, we can shape our future! 

In Unity, 

Bruce Bouton 

President, RMA 

Incidentally, Carlton Haney’s classic film 

documentary “Country Soul” (1971) depicts 

Pack playing upright bass behind the Lilly 

Brothers. By 1980, however, Billy was back in 

West Virginia, this time based in Rainelle, where 

he formed his own band, Coachella Concert. 

Roger, who played in his Uncle’s unit, recalls, 

“It was like nothing you ever heard before. 

The name came from Coachella Valley in 

California. Well, we had a happy sound, sort of 

a Vegas-style big show band . . . ” 

It was Josh Graves, Billy’s friend who had 

played resonator guitar with Flatt & Scruggs, 

who encouraged him to relocate to Nashville. 

Once in Music City, Billy got a spot in Wilma 

Lee Cooper’s band playing banjo, and was seen 

doing occasional duets with the boss lady on 

WSM’s Grand Ole Opry telecasts. 

From 1987-1995, Pack played back in the 

Cleveland area, before reuniting with Wilma 

Lee’s Clinch Mountain Clan, remaining until 

her stroke in February 2001. Looking back on 

some five decades as a performer, Billy chose 

to retire, as well. 

“The Opry’s Carol Lee Cooper said she’d 

never seen anyone present himself on stage like 

Billy did,” adds Roger. “She also appreciated 

the courtesy he always showed her Mom.” 

Billy Pack is also survived by sons Jeffery 

and Dale Pack; sister Naomi and brother Earl 

Pack of Cleveland.(Editor’s note: A special 

thank you to Roger Pack for furnishing information 

and photos.) - Walt Trott 

Bill Monroe, Father of Bluegrass, and Billy Pack. 

Look for the CMA award 

winners in the next issue of 

The Nashville Musician 

newspaper!


Do not work for . . . 

River County Band/SVC Entertainment 

Accurate Strategies, Inc. (outstanding contracts) 

Adagio Music/Sam Ocampo (outstanding contract) 

Allen McKendree (pension) 

ANA Records/Bruce Allen Wallace (pension) 

Barrow Productions/Richard Barrow (pension) 

Barry Smith (pension) 

Beautiful Monkey/JAB Country (outstanding contract) 

Blue Canyon Music/G. Randolph Compton (pension) 

Casa Vega/Ray Vega (outstanding contracts) 

Com Source Media (pension) 

Coyote Ugly/Jeff Myers (pension) 

Doug Wayne Prod. (pension) 

Elite III Records (pension) 

Eric Legg (outstanding contract) 

FJH Enterprises (pension) 

Gene Avaro (pension) 

Generator Music (pension) 

Goofy Footed (pension) 

Gospocentric (pension) 

Honey Tree Prod. (pension) 

In Light Records/Rick Lloyd (pension) 

Jeffrey Green/Cahernzcole House (pension) 

Jerrod Niemann (pension) 

Jimmy Fohn Music (pension) 

Joseph McClelland (pension) 

Journey Records (pension) 

Kenny Lamb (outstanding contracts) 

Larga Vista Music/Stephanie Cox (outstanding contract/ 

pension) 

Little Red Hen Records/Arjana Olson (pension) 

Lyrically Correct Music Group/Jeff Vice (outstanding 

contract) 

Malaco (pension) 

Matchbox Entertainment/Dwight Baker (outstanding 

contract) 

Maverick Management Group (pension) 

My Records Nashville/Allen Cash (pension) 

Nashville Midnight Oil (pension) 

Nathan Thompson (pension) 

Randy Hatchett (pension) 

Reach Ministries (pension) 

Rick Henry (pension) 

Robert (Bobby) Cyrus (pension) 

Robert David Stacy (pension) 

Ronnie Palmer (pension) 

Round Robin/Jim Pierce (outstanding contract) 

Roy Webb (pension) 

Shaunna Songs/Shaunna Bolton (outstanding contract) 

Small Time Productions, Inc./Randy Boudreaux 

(outstanding contract) 

Sound Resources Prod./Zach Runquist (outstanding 

contracts/pension) 

Spangle 3/Brien Fisher (outstanding contract/pension) 

Steal Hearts Music, Inc. (pension) 

Sterling Production Mgmt/Traci Sterling Bishir 

(outstanding contracts/pension) 

Thomas Dudley Birdsall (pension) 

Write It Lefty/Billy Davis (pension) 

----------------------------------------------------------------------- 

Add A Player.com (pension) 

Al Sostrin (pension) 

Allianz (pension) 

Anthony Smith Prod. (demo signature) 

Chez Musical/Sanchez Harley (outstanding contracts) 

Compass Productions - Alan Phillips and David 

Schneiderman (outstanding contracts) 

Conrheita Lee Flang/Chris Sevier (pension) 

Daddio Prod./Jim Pierce (outstanding contract) 

Data Aquisition Corp./Eric Prestidge (pension) 

Derrin Heroldt (pension) 

Double J Productions/Tony Ramey (pension) 

Engelbert Humperdinck (pension) 

Field Entertainment Group/Joe Field (outstanding 

contract) 

First Tribe Media (pension) 

Ginger Lewis (outstanding contract) 

Goldenvine Prod./Harrison Freeman (outstanding contract) 

Greg Holland (outstanding contract) 

Heritage Records/Lew Curatolo (pension) 

Highland Music Publishing (pension) 

Hot Skillet/Lee Gibson (outstanding contract/limited 

pressing signature) 

Howard Music Group (pension) 

Mark Hybner (outstanding contract) 

J.C. Anderson (pension) 

Jack Wilcox (outstanding contract) 

Joe Meyers (pension) 

Katana Productions/Duwayne “Dada” Mills (outstanding 

contracts) 

Kenny Lamb (outstanding contract) 

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

Matachack James (pension) 

MC Productions/Mark Cheney (outstanding contract) 

MCK Publishing/Rusty Tabor (outstanding contract) 

Michael Sykes Productions (pension, outstanding contract) 

Michael Whalen (pension) 

Miss Ivy Records/Bekka Bramlett (outstanding upgrades) 

MS Entertainment/Michael Scott (outstanding contract) 

O Street Mansion (pension) 

On The Green/Kevin Beamish (outsanding contracts) 

Paul Jenkins (pension) 

Pete Martinez (pension) 

Pitchmaster/Carroll Posey (pension) 

Positive Movement/Tommy Sims (outstanding contracts) 

Quarterback/G Force Music/Doug Anderson (outstanding 

contracts) 

Rebecca Frederick (pension) 

Region One Records (outstnading contract) 

Renaissance Music Group/Deborah Allen (outstanding 

contracts) 

RLS Records-Nashville/Ronald Stone (outstanding 

contract) 

RichDor Music/Keith Brown (outstanding contract) 

Rust Records/Michelle Metzger (outstanding contracts and 

pension) 

Shauna Lynn (outstanding contract) 

Shy Blakeman (outstanding contract) 

Singing Honey Tree (outstanding contract) 

Sleepy Town/David Lowe (outstanding contract) 

Small Time Productions/Randy Boudreaux (outstanding 

contract) 

Songwriters Collective (outstanding contract) 

Star Path Prod./Wayde Battle (pension) 

Summer Dunaway (outstanding contract) 

Tony Graham (pension) 

Travis Allen Productions (pension) 

Two Monkeys (outstanding contracts) 

We 3 Kings (outstanding contract) 

Eddie Wenrick (outstanding conract) 

Will Smith Productions (outstanding contract) 

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 Productions/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) 

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 (bounced checks) 

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 List 

Allen McKendree (demo signature) 

Barrow Productions/Richard Barrow (Demo) 

Barry Smith (Demo) 

Com Source Media (limited pressing) 

Coyote Ugly/Jeff Myers (Demo) 

Danielle Lauderdale (Demo) 

Doug Wayne Prod. (limited pressing) 

Elite III Records (demo signature) 

FJH Enterprises (phono/limited pressing) 

Gene Evaro (demo signature) 

Generator Music (demo signature) 

Ginger Lewis (demo signature) 

Honey Tree Prod. (demo signature) 

Hope Productions (demo signature) 

Jeffrey Green/Cahernzcole House (limited pressing) 

Jerrod Niemann (demo signature) 

Jimmy Collins (Demo) 

Jimmy Fohn Music (demo signature) 

Journey Records (limited pressing) 

Malaco (demo signature) 

Maverick Management Group (phono/demo signature) 

Nashville Midnight Oil (demo signature) 

Nathan Thompson (limited pressing) 

PSM (limited pressing) 

Randy Hatchett (demo signature) 

Rick Henry (limited pressing) 

Robert David Stacy (demo signature) 

Ronnie Palmer (demo signature) 

----------------------------------------------------------------------- 

Allianz (demo signature) 

Anthony Smith Prod. (demo signature) 

Blake Mevis Music (demo signature) 

Blue Desert Music Group (phono) 

Caribbean Country Management (demo signature) 

Chariscourt, Ltd. (phono) 

Conrheita Lee Flang/Chris Sevier (demo signature) 

Data Acquisition Corp./Eric Prestidge (demo signature) 

Double J Productions/Tony Ramey (demo signature) 

Engelbert Humperdinck (demo signature) 

First Tribe Media (phono) 

Heritage Records/Lew Curatolo (demo signature) 

Joe Meyers (phono) 

KJ Entertainment (limited pressing) 

Labeless Records/Coy Ray/RPB Prod. (phono) 

MS Entertainment/Michael Scott (limited pressing) 

Matachack James (limited pressing) 

Michael Sykes Productions (demo signature/limited 

pressing) 

Peter Good (demo signature) 

Pitchmaster/Carroll Posey (demo signature) 

Quarterback/G Force Music/Doug Anderton (phono) 

Region One Records (limited pressing) 

Sawyer Brown (limited pressing) 

Shy Blakeman (limited pressing) 

Starpath Prod./Wayde Battle (demo signature) 

The Pitchmaster (demo signature) 

Title tunes (demo signature) 

Travis Allen Productions (limited pressing) 

Domination Records LLC (Limited Pressing) 

Kurt A..Koble (Limited Pressing) 

Point To Point LLC (limited pressing) 

Sammy Harp Productions (limited pressing) 

Wade Spencer Ministries, Inc. (phono) 

Electronic 

Media 

Services 

Division 

By Melissa 

Hamby Meyer 

Fall is in the air - with a few early winter days scattered about with the leaves! This year has 

literally flown by and the holidays are quickly approaching! 

Pension & SPF Statements 

SRSPF (Sound Recording Special Payments Fund) Annual Statements were mailed out this summer 

with the annual disbursement and Pension Fund Annual Statements were mailed out this fall. 

You should carefully review your annual SRSPF statement and Pension Fund statement to ensure 

you have received the appropriate SPF (for masters/low budget) and pension credit for services you 

have provided. It is ultimately your responsibility to confirm the accuracy of both of these statements. 

Any engagements listed on these statements are for signatory contributions that were received 

and fully processed (prior to the Funds' fiscal year-end) for work done during the previous 

calendar year. Any contributions received or fully processed after the cut-off date, would be included 

on the next annual statement. 

New Time Cards 

If you are doing a Demo session, please take note of the new language at the bottom of the card and 

the signatory language it refers to on the back of each card. Demos can now become signatory at 

your session, rather than signing the agreement after the contract is prepared. Not only is your work 

covered on the spot, but it also streamlines the processing of your pension contributions. Your 

diligence in having the time cards signed during your session will help us all. 

Please turn in both copies of the card to the Local immediately following your session. When the 

contract is billed to your employer, the second copy will be forwarded with the request for payment. 

If you are preparing (and billing) the contract for a session, you should submit a “file copy” 

of your contract to the Local along with the original top copy of the time card at the same time you 

bill it out. 

Signatory, Pension and Special Payments 

It is imperative that you confirm (or secure) signatory for an employer prior to downbeat. Any work 

performed without the appropriate signatory in place is considered non-sig and pension contributions 

cannot be applied at the Fund.If the necessary signatory agreement cannot be secured, your 

pension contribution may ultimately be returned by the Fund! 

Master and Low Budget sessions are also eligible for Special Payments credit, but you cannot 

receive that credit until the pension is paid and fully processed at the Pension Fund. When the 

appropriate signatory is not in place, your future pension and annual Special Payments disbursement 

are in jeopardy!! 

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 oncamera 

musicians (excluding royalty artists). If a time card/contract is not filed, you cannot 

receive your 11% 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 album is going to be released first), be sure to sign a time card and mark it as an ORIGINAL 

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. 

E-mail and Contact Info Updates 

E-mail can be a very effective means of communication. Local 257 also has check notification 

available via e-mail, which will send you a message each time a new check is posted to your 

account. Please contact us to confirm that we have your current e-mail address on file. 

Please keep your contact info (address/phone numbers/e-mail) up to date. We are often contacted 

by other entities attempting to pay new uses, special payments disbursements, etc. to you and 

(Continued on pag 14) 

Wowboy Music Group (demo signature) 

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) 

One G Productions (limited pressing) 

Peer Music (limited pressing) 

Roxanne Entertainment 

Taylor Productions (limited pressing) 

----------------------------------------------------------------------- 

TBN, Paul Crouch (phono/video) 

Campfire Records 

Chapel Music Group 

MTL Limited 

LaToya Jackson & Jack Gordon 

Westwood One 

Worldwide Agency


is a need to address the cost of dues for 2010, Nashville Local 257 General Membership Meeting, May 18, ’09 

Fxecutive Board Meets 

. . . On July 9, 2009 

9:13 a.m. - President Dave Pomeroy called 

the meeting to order. 

Present: President Pomeroy, Secretary/Treasurer 

Craig Krampf, Bruce Bouton (BB), Duncan 

Mullins (DM), Bobby Ogdin (BO), Andre Reiss 

(AR) and Denis Solee DS). 

Not Present: Laura Ross and Jimmy Capps. 

President Pomeroy said that he would like to 

dispense with the President's Report and get to 

the main reason for calling this meeting: to meet 

the potential new website developer, Mitch 

Ballard, and to discuss the new website. 

President Pomeroy gave the board a brief 

update on the meetings that he and Secretary 

Krampf had in regards to the website and the 

bids that came in. After visiting 10 websites 

developed by WV Magic Design, Pomeroy said 

that he and Krampf were recommending Mitch 

Ballard, WV Magic Design. President Pomeroy 

then asked Mitch Ballard to enter the room. 

After Pomeroy's introduction, Mitch gave a 

brief description of his company and the work 

that they have performed. Mitch then took and 

answered questions from the Board. 

President Pomeroy said that a committee will 

be formed and that design ideas will be welcomed 

from the committee and all. It was suggested 

that approval should be deferred in order 

that the board members can visit WV 

websites and check out their work. We all agreed 

that approval/disapproval will be given through 

e-mail correspondence. Mitch Ballard left the 

room. 

President Pomeroy updated the board on the 

state of the ongoing film negotiations. He stated 

that they will continue in September in Los 

Angles, CA. President Pomeroy reported briefly 

on the Mayor's Counci, which is dealing with 

the future of music in Nashville. Pomeroy has 

been named to this important council. 

President Pomeroy updated the board about 

the roof situation. A short update was also provided 

about the current state of the “single song 

overdub scale” and the ongoing talks with publishers 

in regard to working out a fair manner 

for the publishers to release old demos. 

The Secretary/Treasurer's Report given by 

Secretary/Treasurer Krampf. Copies of the minutes 

of two meetings were previously distributed 

via e-mail and hard copies were also made 

available at the meeting. MSC: AR and DM to 

approve the minutes of May 22, 2009. MSC: 

BB and AR to approve the minutes of May 29, 

2009. Krampf then gave The Treasurer's Report. 

MSC to approve: DS and AR. 

In other business, Krampf mentioned that we 

will appeal to the national AFM office in order 

to receive permission to have a recruitment 

drive starting September 1 and lasting through 

December 31, 2009, in accordance with AFM 

by-laws. 

New member applications were distributed. 

MSC: DS and AR to accept all new members. 

After a brief discussion 6 p.m. Tuesday, September 

8, 2009 was set as the date of the next 

membership meeting. 

There was no other business. 

MSC to adjourn: AR and BO. 

Meeting adjourned at 10:37 a.m. 

Respectfully submitted: Craig Krampf. 

as soon as possible. Dave gave an update about 

The General Jackson, saying that a deal is now 

in place. He also reported on the status of the 

“single song overdub scale” and the ongoing 

film negotiations. Dave also said the idea for 

an “open house” is under consideration. A suggestion 

came from Bobby Ogdin about a silent 

auction to be a part of this event to help raise 

funds for the Emergency Relief Fund. 

The Secretary/Treasurer's Report. Dave 

gave the report in Craig's absence. The board 

read the minutes of the last board meeting of 

July 8, 2009. A few changes were suggested. 

MSC to approve the minutes as corrected: AR 

and TW. The minutes were unanimously approved. 

Dave and the board went over the financial 

handouts that Craig had prepared. In 

Craig's absence, it was decided to postpone the 

approval of the Treasurer's report. 

A lengthy discussion then took place about 

the condition of the Funeral Benefit and Emergency 

Relief Funds. Numerous ideas and methods 

for ensuring their health were discussed. A 

long discussion also took place about pension 

for road musicians. Dave said that we are trying 

to publicize this option for road musicians 

and more effort must still go into this to spread 

the word that this option exists. 

Dave said that several items need to be addressed 

ASAP, and they include the 4% work 

dues by-law that expires this coming December, 

the amount of annual dues, more ideas concerning 

the Funeral Benefit and Emergency 

Relief Funds and the date of the next membership 

meeting. It was decided that the board will 

try to meet in two weeks. 

New member applications were looked over. 

MSC to approve new members: BO and LR. 

MSC to adjourn the meeting: BO and DM. 

(please see following note) 

Meeting was adjourned. 

Respectfully submitted: Craig Krampf. 

Buddy Miller dominates 

Americana music awards 

Buddy & Julie Miller 

It was Buddy Miller Night as the Local 257 

musician carted off four bests during the Eighth 

annual Americana Music Association (AMA) 

awards show, Sept.17, at the Ryman Auditorium 

in Nashville. 

The multi-talented artist carted off trophies 

for artist, album (“Written in Chalk”), duo (vocals 

with wife Julie) and best song (“. . . Chalk,” 

penned by Julie; and produced and performed 

Meeting called to order at 6:05 p.m. by President 

Dave Pomeroy. 

Attendees: Tim Smith, Pete Barbeau, Lee 

Francis, Don Fishel, Mike Furkins, Dustin 

Knapp, Bruce Bouton, Chuck Bradley, Brandon 

Taulbee, Larry Smith, Ed Cook, Jr., Denis 

Solee, Phil Arnold, Christopher Phillips, John 

Garr, Andre Reiss, Tiger Fitzhugh, Bob Stevens, 

Bill Poe, Richard Bennett, Kent Goodson, Richard 

Carter, Scot Corey, Ted Tretiak, Todd 

London, John Mattick, Pete Finney, Tom Wild, 

Kirk Johnson, Teresa Hargrove, Matt Davich, 

Ward Stout, Gary Miller, Penn Pennington, 

Steve Duncan. 

President Dave Pomeroy welcomed the 

members who were in attendance for this general 

membership meeting. 

Roll Call of Officers: President: Dave 

Pomeroy, who read a statement from Secretary/ 

Treasurer Craig Krampf that explained his absence 

due to a scheduling conflict. Krampf 

asked for the membership's understanding. 

Note: Secretary Krampf arrived later during the 

meeting. 

Executive Board members in attendance: 

Denis Solee, Bruce Bouton, Andre Reiss, Tim 

Smith, Tim Smith (alternate), Tom Wild (alternate); 

and Trustee: Ron Keller. 

President Pomeroy introduced Ron Keller, 

Local 257's Parliamentarian for the meeting. 

President's Report: President Pomeroy said 

he would like to bypass the President's report 

and move on to the Secretary/Treasurer's Report. 

The Secretary/Treasurer's Report. 

Copies of the minutes from the last membership 

meeting of March 18, 2009, and of the 

financial report were distributed to the members 

in attendance. President Pomeroy read the 

Treasurer's report which included the current 

membership statistics and the account balances. 

Denis Solee noticed a small error with the membership 

figures, which was corrected. A motion 

was put forth by Dave to accept the report as 

amended. Moved to accept: John Mattick; second: 

Tiger Fitzhugh. Report unanimously accepted. 

New Business 

Copies of the bylaw proposals were distributed 

to the members in attendance. 

President Pomeroy read the first bylaw proposal: 

1. NAME CHANGE BYLAW AMEND- 

MENT PROPOSAL 

Whereas, the name "Nashville Association 

of Musicians" does not easily lend itself to acronyms, 

abbreviations, or easy pronunciation, 

and, 

Whereas, in an era where marketing is essential 

to continued success, an effective logo 

and title helps to brand an organization or product 

effectively, and that a name change to 

"Nashville Musicians Association" will help 

identify AFM Local 257 with "Nashville Musicians," 

who we exist to represent, and 

Whereas, we have been advised by legal 

counsel that a name change to "Nashville Musicians 

Association" will not cause any undue 

confusion or legal issues to the way in which 

Local 257 does business within the AFM and 

in the community at large, 

Therefore, be it proposed that the name 

"Nashville Association of Musicians" be 

. . . On Sept. 14, 2009 

by Buddy, who sings it with Patty Griffin). 

Lifetime Achievement awards went to: John 

changed to "Nashville Musicians Association" 

legally and in practice from this day forth. Ac- 

9 a.m. - President Dave Pomeroy called the 

meeting to order. 

Present: Dave Pomeroy, Jimmy Capps (JC), 

Bobby Ogdin (BO), Duncan Mullins (DM), 

Andre Reiss (AR), Laura Ross (LR), and alternate 

Tom Wild (TW). Not present: Secretary/ 

Treasurer Craig Krampf (due to illness), Bruce 

Bouton and Denis Solee. 

The President's Report. Dave gave an update 

about the progress of the new website. He 

passed out a printout that showed the look of 

the front page. He said that the “work-inprogress” 

website will soon be sent to the web 

committee for suggestions. Dave said that there 

Fogerty, songwriter; Ray Benson & Asleep At 

The Wheel, performance; Sam Bush, instrumentalist; 

Jim Rooney, producer-engineer; and 

Ken Levitan, executive capacity. 

New and Emerging Artist of The Year winner 

is Justin Townes Earle, thanks to his recent 

record “Midnight at the Movies.” Recipient of 

the AMA’s President’s Award is Lowell George, 

late of Little Feat, who died at 34 in June 1979. 

Gurf Morlix, a multi-instrumentalist, won 

top instrumentalist, an honor Buddy’s received 

twice previously. Meanwhile, Miller led the 

awards gala show band, which boasted legends 

like Al Perkins, keyboards; and Spooner 

Oldham, on steel guitar. 

cordingly, Article 1, Section 1 of the Local 257 

Bylaws shall be amended as follows... 

ARTICLE I - NAME AND JURISDICTION 

Section 1. This Association is and shall be 

known as the Nashville Association of Musicians, 

Nashville Musicians Association, Local 

257, American Federation of Musicians. 

It is understood that some time will be needed 

for this transition to be complete, and care shall 

be taken to use all existing materials with the 

previous name as long as possible in order to 

be financially prudent. 

Respectfully submitted by 

Dave Pomeroy, President Local 257 

Craig Krampf, Secretary/Treasurer, Local 257 

Board Recommendation - Favorable. 

Second this proposal: Pete Finney. 

A discussion then took place. Moved to accept: 

Bruce Bouton; second: Tom Wild. 

Bylaw proposal unanimously accepted. 

2. FREE SPEECH CLARIFICATION BY- 

LAW AMENDMENT 

Whereas, Local 257 Bylaws contain two sections: 

Article II, Section 7 - “Any member found 

guilty of fraud upon the Association, or as an 

accessory thereto, or who imperils the interest 

of any member or members shall, after due trial 

and conviction by the Hearing Board, be fined 

an amount to be determined by the Hearing 

Board, and approved by the Executive Board." 

Article III, Section 2 - “Any member who 

by improper conduct, in any way becomes a 

disgrace to this Association, or who imperils 

its interest and existence, might, upon specific 

charges in writing and after due notice of opportunity 

to be heard, proof-hearing and conviction, 

may be fined and/or suspended or expelled 

in accordance with the Bylaws.” 

that protect individual members and the Local 

from improper behavior, libel charges and 

harmful acts damaging to the overall welfare 

of the membership; and 

Whereas, Article II, Section 8 - 

"The members shall consider all the business 

of the Association private. Any member 

found guilty of discussing the private business 

of this Association on the street or any other 

public place, where it imperils the existence of 

any member, or the Local, shall be fined an 

amount to be determined by the Executive 

Board" 

is confusing in its intent and language, is redundant 

and offers no additional protection to 

members, and could potentially be used to suppress 

free speech rights under the First Amendment; 

Therefore, be it 

Resolved, That Article II, Section 8 be struck 

from the Bylaws; and, be it further 

Resolved, That the cross references to Article 

II, Section 8 [which is misidentified as 

Section 9 in the current Bylaws] in Article I, 

Section 26 (Executive Board) and Article I, 

Section 39 (Hearing Board), be deleted as follows: 

Article 1, Section 26 - Executive Board 

members shall refrain from breaching the confidence 

of any Executive Board proceeding and 

shall be guided by Article II, Section 9. 

Article 1, Section 39 - Hearing Board members 

shall refrain from breaching the confidence 

of any Hearing Board proceeding and shall be 

guided by Article II, Section 9. 

And, Be it further Resolved, That the following 

language be added to Article XIV, Standing 

Resolutions as the new No. 12: 

“All meetings of the Executive Board, Hearing 

Board and Emergency Relief Board shall 

be considered private business of the Association 

and shall remain confidential, except for 

any necessary public records such as minutes 

of said meetings. Regarding General Membership 

Meetings: all members attending agree that 

the private business of the Association shall remain 

confidential. 

- Submitted by Dave Pomeroy. 

Board Recommendation: Favorable. 

Second for the proposal: Steve Duncan. 

A discussion took place and the proposal was 

amended (a very slight language change). 

Moved to accept as amended: Dustin Knapp; 

second: Tim Smith 

3. "UPDATING NEW MEMBER APPLI- 

CATION PROCESS" BYLAW AMEND- 

MENT 

Whereas, the application process for Local 

257 membership, as described in Article II, 

Section 2 of the Local 257 bylaws, does not 

reflect current practice or acknowledge the advent 

of the Internet, and, 

Whereas, there may be potential members 

who desire to join Local 257 and it may be impractical 

for them to apply "in person" as stated 

in the current bylaws, and 

(Continued on page 14)


NEW MEMBERS 

SAMANTHA JOELLE ADAMS 

BAS 

7660 JACKMAN ROAD 

TEMPERANCE, MI 48182 

BRENNAN WILLIAM AERTS 

GTR BAS SYN 

920 WOODMONT BLVD. APT. K-3 

NASHVILLE, TN 37204 

VICTORIA BANKS 

GTR 

1806 ELECTRIC AVE. 


Hm-(615)-424-2454 

KIRK HARDO BEWER 

DRM 

4602 MICHIGAN AVENUE 


JESSICA LEE ANN BLACKWELL 

VLN 

444 ELMINGTON AVE #603 


DORSEY WILLIAM BURNETTE, III 

(BILLY BURNETTE) 

822 KIRKWOOD AVENUE 


Hm-(615)-414-5859 

ROBERT K BYUS 

(ROBERT BYUS) 

BAS 

7403 LORDS CHAPEL DR 


Hm-(615)-418-8912 

LEWIS J. CAISSE 

(DRUMER 285) 

DRM 

425 ARTHUR SEAGRAVES ROAD 

SPARTA, TN 38583-8059 

Hm-(931)-277-3196 

JOSHUA S CARTER 

(JOSH CARTER - CARTER TWINS) 

GTR 

CARTER TWINS, LLC 

1103 HALCYON AVENUE 


Hm-(615)-715-6906 

ZACHARY E CARTER 

PIA 

(ZACH CARTER - CARTER TWINS) 

1103 HALCYON AVENUE 


Hm-(615)-715-6906 

JONATHAN DAVID COLEMAN 

(JON COLEMAN) 

KEY VOC 

4518 GRAYCROFT 


Hm-(615)-226-7388 

DAREN JAY COMBS 

(D.J. COMBS) 

DRM 

804 BAKER ROAD 

SMYRNA, TN 37167 

Hm-(321)-536-5098 

DAN EASTON CORBIN 

(EASTON CORBIN) 

GTR VOC 

2300 CHARLOTTE AVENUE, STE 103 


Hm-(615)-329-9902 

BRETT CRISP 

(JOSHUA BRETT CRISP) 

PST 

1777 FURNACE ROAD 

LINCOLNTON, NC 28092 

Hm-(704)-732-4799 

JONATHAN GARRETT CULLIFER 

PST 

2212 BERNARD CIR. 


JOHN SHELBY DEADERICK 

KEY ORG PIA 

320 SOUTH 17TH STREET 


Hm-(615)-294-4400 

AFM Local 257 members’ status 

CRAIG ALAN FLYNN 

BAS VOC 

320 JACKSON DOWNS BLVD. 


ZACHARY A. FORBES 

PIA 

1512 ELM RON COURT 


Hm-(615)-889-9624 Wk-(615)-627-1880 

REEVES G GABRELS 

(REEVES GABRELS) 

GTR 

4004 IVY DRIVE 


Hm-(615)-730-9834 

MICHAEL VINCENT GUTIERREZ 

ASX TSX 

1211 2ND AVENUE SOUTH #B 


MARC ANDREW HAFNER 

(LUCKY) 

GTR 

12250 HIGHWAY 70 WEST 

SPARTA, TN 38583 

Hm-(931)-227-3522 

JOSEPH N HARRIS 

(JODY HARRIS) 

VOC GTR BAS 

201 DEER LAKE DRIVE 

LAVERGNE, TN 37086-2662 

Hm-(615)-220-6927 

JESSE CHARLES HENCEROTH 

DRM 

P.O. BOX 210244 


ROY MICHAEL HENCEROTH 

BAS GTR 

P.O. BOX 210244 


Hm-(330)-692-3382 

ANDREW BARRETT HIGLEY 

PIA 

2811 FORTLAND DRIAVE 


Hm-(513)-374-3910 

DAVID LAGRANDE JONES 

(DAVE LAGRANDE) 

KEY SAX 

1013 MT VERON RD 

BETHPAGE, TN 37022 

Hm-(615)-772-5973 

JEREMY JOSEPH LAROCHELLE 

DRM 

PO BOX 148984 


Hm-(603)-723-6470 

JACK D. LAWLESS 

(JACK LAWLESS) 

GTR VOC 

1000 B CENTER POINT ROAD 

HENDERSONVILLE, TN 37075 

BRYAN ERIC LEWIS 

(BRYAN LEWIS) 

GTR 

330 BEECHCROFT ROAD 

SPRINGHILL, TN 37174 

Hm-(931)-451-7663 Wk-(931)-451-7663 

SOLOMON WILLIAM LITTLEFIELD 

(SOL PHILCOX) 

GTR 

107 SOUTH GOVERNORS COVE 

HENDERSONVILLE, TN 37075 

PAUL WARREN MARTIN 

BAS GTR KEY 

115 BLUEWATER DRIVE 

HENDERSONVILLE, TN 37075-4731 

Hm-(615)-826-2857 Wk-(615)-822-5897 

JEFFREY EVANS MIDDLETON 

GTR 

7548 WATERVALE DRIVE 


Hm-(615)-673-7723 

JACKSON LAYMOND MOODY 

(JACKSON) 

GTR MDN 

119 FAULKNER LN. 

MT. JULIET, TN 37122 

DONALD JOSEPH PICKERT 

(DONALD PICKERT) 

DRM PRC 

PO BOX 120263 


Hm-(615)-386-3242 Wk-(615)-343-1026 

VALERIE SUZANNE ROHRER 

(SUZANNE ROHRER) 

FDL VLN 

3559 BINKLEY ROAD 

JOELTON, TN 37080 

ROBERT EDDY ROSS 

(B. ROSS WELLMAN) 

VOC 

131 RIVER DRIVE 

LOBELVILLE, TN 37097 

Hm-(931)-593-2934 

JAMES R ROUNDS 

(JAMIE ROUNDS) 

GTR 

514 FAIRLANE DRIVE 


Hm-(615)-942-9355 Wk-(888)-445-1119 

LARRY C SHARP 

(CHRIS SHARP) 

GTR VOC 

607 PARDEE ST. 

JOHNSON CITY, TN 37601 

Hm-(423)-557-3820 

JASON P. SOUTHARD 

GTR BAS 

1917 E. FOUNTAIN ST. 

MESA, AZ 85203 

Hm-(480)-834-0660 

DANIAL KEYES TASHIAN 

(ROYAL PLUMB MUSIC) 

BAS GTR VOC 

3421 STOKESMONT 

NASHVILLE,, TN 37215 

Hm-(615)-347-9988 

TYLER THOMAS UNGER 

(TYLER UNGER) 

GTR 

513 CATHY JO CIR. 


Hm-(570)-856-2590 

Holiday closings set 

The following holidays will be observed by 

the Local 257 staff, thus the Union offices will 

be closed on these dates in 2009 and 2010: 

Veterans Day, Wednesday, Nov. 11 

Thanksgiving, Thursday, Nov. 26 

Christmas-New Year’s, Dec. 23-Sunday, Jan. 3 

Martin Luther King Birthday-Monday, Jan. 18 

FINAL NOTES 

REINSTATED 

STEPHEN H BASSETT 

DONNA KAY BLANTON 

KENT D BLANTON 

STEVEN JACOB CALDWELL 

JEFFREY L DAVIS 

CLIFFORD EDWARD LONG 

PHILIP K MADEIRA 

JEREMY FOWLER MCCOY 

RODERICK D MCGAHA 

JEREMY DOUGLAS MEDKIFF 

JOHN JOSEPH MOCK 

DAVID CLARK NEAL 

JAMES MATTHEW NOLEN 

STAN D SHORT 

JAMES R THREET 

ANNE MARIE THURMOND 

ROBBY O TURNER 

DARRIN LEE VINCENT 

TED WAGNER 

KEVIN S WELCH 

JAMES A WHITING 

LINDSEY B WILLIAMS 

WILLIAM ROBERT WILSON 

Guitarist Jack Pearson stopped by the Local 257 

office to receive his 25-year pin from Secretary- 

Treasurer Craig Krampf. Staffer Kathy Shepard 

shot this photo of the exchange, and recently 

snapped another photo of Jack performing 

at 3rd & Lindsley (below) nightclub. 

The officers, staff and members of Local 257 extend our sympathies to the 

families and friends of our members who have passed. You are in our 

thoughts, hearts and prayers. 

DECEASED MEMBERS 

APPLICATION REVOKED 

DUSTIN ROBERT DOMAGALSKI 

LIFETIME NAME Date Deceased Date of Birth Date Joined 

Y ROBERT T CARTER 08/29/2009 01/23/1928 11/03/1945 

JOSEPH E GOUGH 08/14/2009 01/27/1939 02/07/1997 

LAWRENCE W KNECHTEL 08/20/2009 08/04/1940 05/17/1989 

RUTH ANN MCGINNIS 10/06/2009 06/20/1960 01/16/1986 

Y BILL PIERSON 09/12/2009 02/17/1926 04/03/1999 

Y SHELBY S SINGLETON, JR 10/07/2009 12/16/1931 05/09/1963


Dave Mooody, a Local 257 member since July 30, 1984, receives his 25-year membership pin from President 

Dave Pomeroy and Secretary-Treasurer Craig Krampf. Dave, of course, was a key player in the double Grammy 

Award-winning Moody Brothers, thanks to their classic ‘Cotton-Eyed Joe.’ Sharing the scene above with Moody 

is son Josh Moody, himself a drummer and Local 257 member. 

Local 257 member Zeke Dawson received his Life Time Member’s pin from Dave and Craig. Zeke joined 

Local 257 on Jan. 21, 1974. He has since played fiddle for artists such as George Jones, Ray Price and Loretta 

Lynn, among numerous others. Zeke also appeared in the 1980 award-winning “Coal Miner’s Daughter,” the 

film biography of Loretta Lynn, starring Sissy Spacek in the title role, for which Sissy earned an Oscar as best 

acress. Zeke continues to play and appears with local bands in the Nashville area. 

The legendary Willie Ackerman receives his 50-year membership pin from President Pomeroy and Secretary- 

Treasurer Krampf. Willie joined Local 257 on July 22, 1959, and went on to become one of Nashville’s most 

in-demand drummers, playing on thousands of recordings, as well as commercial jingles, radio-TV broadcasts 

and live performances. Ackerman was also staff drummer for WSM’s Grand Ole Opry, the hit TV series Hee 

Haw, and Music Row’s famous RCA Studios. Just a few of the many artist credits attributed to his playing 

include Louis Armstrong, Marty Robbins, Patsy Cline, Willie Nelson, Wanda Jackson and The Monkees. 

Members’ milestones 

Local 257 President Dave Pomeroy presents singer/songwriter/guitarist and man-about-town Fred 

Knobloch with his 25-year membership pin at the Local. Fred’s not only an award-winning writer, but was 

part of the hit-making S-K-O vocal trio (with Thom Schuyler and Paul Overstreet), scoring the 1987 #1 

single ‘Baby’s Got a New Baby,’ which he also co-wrote (with Dan Tyler). 

Robert Wayne (Robby) Shankle receives his 25-year membership pin from Craig. A multi-instrumentalist 

from N.C., Robby has mastered bassoon, oboe, piccolo, flute, English horn, clarinet, and as a professor, 

taught saxophone at Lipscomb University. Robby has also played for Barry Manilow. 

Drummer Pat McInerney accepts his 25-year member’s pin. Pat joined Local 257 Sept.25, 1980. During 

Pat’s career he has worked with many notable artists, including Don Williams, Iris Dement and Doc Watson. 

Additionally, Pat has drummed for 257 member Nanci Griffith for more than 20 years. He and Dave are also 

longtime members of ‘Jim Rooney's Irregulars.’ 

Don’t miss a single issue of The NashvilleMusician 

- it’s part of your membership. So if you’re moving, 

notify Sherri of your new address by calling 

(615) 244-9514, Ext. 240 or on-line Sherri@afm257.org 

Reminder: Local 257’s next General Membership meeting is at 

6 p.m. Wednesday, Nov. 18, in the Union’s George Cooper Hall.


The 2009 inductees into the Steel Guitar Hall of Fame are Barbara Mandrell (seen with SGHoF founder 

DeWitt Scott), Ron Elliott (with plaque) and Bud Carter, honored Sept. 7 in St. Louis, home of the SGHoF. 

Singer Mandrell, a multi-instrumentalist, is the first female enshrined. Elliott, who performed with Hawkshaw 

Hawkins in 1953, and played years on WSM’s Grand Ole Opry, also recorded memorable riffs with artists like 

Jack Greene. Carter, of Mesquite, Texas, is a pioneer builder and engineer. - Photos courtesy Darlene Spivey 

Nashville Local 257 General Membership Meeting, May 18, ’09 


Whereas, the requirement of an "endorsement 

of a current member of the Association" 

is no longer common practice and does not ensure 

any particular qualifications for Union 

membership, and 

Whereas, the Internet has become an important 

source of financial and data transmissions, 

and that the ability to apply for membership 

online would greatly increase our chances 

of gaining new members, 

Therefore, be it resolved that the first sentence 

of Article II, Section 2 of the Local 257 

Bylaws be amended as follows... 

(Original language) Article Section 2. Application 

for membership must be made in writing 

and in person, and be endorsed by one (1) 

member of the Association. 

This sentence shall be changed to the following... 

(new language) Article II, Section 2. 

Application for membership must be made in 

writing or via an online application. 

The rest of Article II, Section 2 shall retain 

the original language, as follows... 

The candidate and his/her application shall 

be examined and verified by the Secretary/Treasurer 

who shall forward all verified applications 

to the Executive Board; and if a favorable report 

is received from the Executive Board he/ 

she shall, on receiving a majority vote of Local 

or Executive Board, be declared elected. 

Submitted by Dave Pomeroy. 

Board Recommendation - Favorable. 

Second the proposal:Tiger Fitzhugh. 

A discussion took place. Move to accept: 

Dustin Knapp; second: John Garr. 

4. RAISING ROAD SCALE BYLAW 

AMENDMENT 

Whereas, Local 257 scale rates for Road Engagements 

have not been changed in over 15 

years, since 1993; and 

Whereas, It is a well recognized fact that 

Road Engagements are an important part of our 

business; and 

Whereas, One of Local 257's goals is to promote 

an increased participation in the AFM-EPF 

(the Pension Fund) by Nashville-based touring 

groups; and 

Whereas, A cost of living increase for those 

15 years would result in a large increase of what 

is considered minimum scale; Therefore, be it 

Resolved, to make the following changes to the 

Nashville Road Scale: 

a. Raise the established minimum of $140 to 

$250 along with the corresponding 10% pension 

contribution; 

b. Add language to clarify that "This rate reflects 

one show in one location"; 

c. Raise Back-Up Performance Scale from 

$50 for each additional artist to $100 and the 

Music Preparation Scale (chord number charts/ 

musical arrangements) be raised from $15 to 

$25 per hour; 

d. Raise the daily per diem from $25 to $35; 

e. Raise the daily per diem rate on days without 

show pay from $35 to $70. 

Submitted by Kathy Shepard and Dave 

Pomeroy 

Board Recommendation: Favorable 

Seconds the proposal: Steve Duncan 

After a good discussion, it was determined 

that more study needs to be done. 

Motion to table this proposal: Tim Smith; second: 

Tom Wild. This bylaw proposal was tabled. 

Discussing this proposal led to a discussion 

about pension for road musicians. President 

Pomeroy talked about pension for road musicians 

and gave details on how this can de accomplished. 

A lengthy discussion took place. 

A suggestion was made to talk to Opry musicians, 

financial managers and accountants. 

Dave reported that these concepts were already 

in the works. Dave answered many questions 

that came from the floor. Dave stated that Local 

257 will also be working on The ABC's of 

Pension to make it more understandable for everyone. 

The President's Report. 

President Pomeroy reported on the updating 

of our website. Dave said that we are currently 

accepting bids and a web committee has been 

formed. A good discussion took place with 

many suggestions coming from the floor. Many 

new features are being planned to make the site 

be more useful. Dave said that WMOT has been 

given a reprieve for another year. Dave reported 

on the status of The Performance Rights Legislation. 

Dave also updated the members about the 

progress of the Single Overdub Scale. He explained 

the workings of this new scale proposal. 

Dave said that we are close to getting this proposed 

scale approved. A discussion took place. 

Dave updated the members on the ongoing Film 

negotiations. These negotiations will resume 

this coming August. Dave reported on the ongoing 

problems that have existed with American 

Roofing (the company that was hired to 

replace our roof). Dave updated the members 

on what has transpired so far. President 

Pomeroy said that education, community outreach, 

road musician, and website committees 

are in the process of being formed. Dave also 

reported on the ongoing discussions that we are 

having with publishers in regard to the releasing 

of old demos. 

There was no correspondence or old business. 

Moved to adjourn meeting by Denis Solee; 

second: Bruce Bouton. 

Meeting was adjourned at 8:10 p.m. 

Respectfully submitted by 

Secretary/Treasurer Craig Krampf 

At the Academy of Western Artists (AWA) awards 

show in Texas, John England (left) was voted best 

male singer, an honor he shares with fiddler Gene 

(Pappy) Merritts and steel-guitarist Tommy Hannum. 

John fronts The Western Swingers, the house band 

at Robert’s Western World in downtown Nashville. 

Leona Atkins liked 

music, and golfing 

Leona Atkins, 85, widow of Local 257 Life 

Member Chet Atkins, died Oct. 21, only days 

after her late husband had been inducted into 

the Musicians Hall of Fame. Her daughter Merle 

Atkins Russell had accepted on behalf of her 

parents. Reportedly, Mrs. Atkins had been suffering 

from a lengthy illness. 

Leona also hailed from a showbusiness background, 

having met her guitarist-husband at radio 

station WLW-Cincinnati, where she sang 

with twin sister Lois as The Johnson Twins. Coincidentally, 

Lois also married a musician, acclaimed 

banjoist Jethro Burns, who won fame 

as half of the country comedy duo Homer & 

Jethro, noted song parodists. Both brothers-inlaw 

are members of the Country Music Hall of 

Fame. 

The Johnson girls were the daughters of 

H.C. and Merle Johnson, parents of 16 children, 

who were residing near Williamsburg, Ohio, 

when their twins were born. During their stint 

at WLW, home of the 1940s’ Boone Country 

Jamboree, the girls didn’t use their real first 

names, Lois was Fern and Leona was called 

Laverne. Following her 1946 marriage to 

Atkins, Leona chose to stay home, while Chet 

worked briefly with Red Foley on WSM’s 

Grand Ole Opry, before departing to work with 

Mother Maybelle & The Carter Sisters farther 

afield. 

Chet died June 30, 2001, from cancer, at age 

77. He had run RCA Records-Nashville, recorded 

hundreds of recordings of his own, earning 

multiple Grammy and CMA awards, including 

the Grammy Lifetime Achievement in 1993, 

was inducted into the Rock Hall of Fame in 

2002, and bestowed with the trade journal 

Billboard’s Century Award in recognition of his 

many accomplishments in music. 

For his 2009 album commemorating his mentor, 

singer-songwriter-guitarist Steve Wariner 

wrote a special song saluting “Leona,” a highlight 

of “My Tribute To Chet Atkins’” 11 tracks. 

During a recent interview with The Nashville 

Musician, Steve shared this exchange with us 

about Chet’s wife of 56 years reaction to 

“Leona.” It’s worth repeating. 

Steve had Bergen White do the string arrangement 

on his piece, noting, “We took the 

song over to play for Leona. You could just see 

she was loving it. I did some kind of arpeggio 

on there, a quick little thing, and she looked at 

me funny, scrunched up her eyebrows and said, 

‘You little devil, you.’ That made me feel good 

that she gave me the big thumbs up. She said, 

‘I just love it, and I know Chester would’ve been 

so proud.’ For me, that’s all I wanted right there, 

just to hear her say that.” 

Reportedly Garrison Keillor, another good 


Leona Atkins 

friend, cited Leona as a model for a character 

he created in his 2006 movie “A Prairie Home 

Companion,” directed by Robert Altman (based 

on Keillor’s popular public radio broadcasts). 

The character Yolanda Johnson was portrayed 

by Meryl Streep, while her sister Rhonda was 

played by Lily Tomlin. 

Wariner claims that Leona was one of his 

biggest boosters, “And when I started having 

hits, there was nobody happier for me. But she 

had such pride in the music Chet made. She’d 

say, ‘Nobody did it like Chester.’” 

Like her husband, she also enjoyed playing 

golf and being among family. 

Besides daughter Merle Russell, survivors 

include granddaughter Amanda Sawyer, grandson 

Jonathan Russell, great-grandsons Jamie 

and Will Sawyer; brother Earl Johnson, sisters 

Norma Jean Fox, Virginia Komo, Catherine 

Smith, Shirley Kautz and Florence Ritchey, all 

of Ohio; and sister-in-law Billie Rose Shockley. 

Memorial services were conducted Oct. 24 at 

Harpeth Hills Funeral Home, with interment in 

the Harpeth Hills Memory Garden. Pallbearers: 

Shannon Bare, David Conrad, Vince Gill, 

Jonathan Russell, Chad Sawyer, Tim Shockley, 

Steve Wariner, Harry Warner and William 

Russell. Honorary Pallbearers were: Gary 

Atkins, Chris Anderson, Gloria Bass, Pat 

Bergeson, Don and Phil Everly, Garrison 

Keillor, Kevin King, Nina Sivek, Ray Stevens, 

Bonnie Taggert, Brandon Taylor, Cindy Taylor, 

Matthew Taylor and Pau Yandell. 

THINGS TO DO LIST! 

When making changes 

that may affect 

your beneficiaries,update 

your records with us. 

Call Sherri, Office 

Manager, (615) 244-9514. 

. . . Melissa’s Electronic Media Services Column 

would like to provide the most accurate information to ensure you receive all appropriate compensation. 

Contact us via e-mail 

E-mail is preferable since you can contact us when it is most convenient for you, as well as, provide 

us with as much information as possible so that we may better serve you. 

• Scale sheet PDFs for Sound Recording, Limited Pressing, Low Budget and Demo scales are 

available on our website (www.afm257.org) or you can e-mail mandy@afm257.org as well. 

• Recording scale questions relating to Sound Recording, Limited Pressing, Low Budget or Demo 

scales, e-mail christie@afm257.org 

• All recording payment inquiries, late penalties and any scale questions relating to TV, Radio, 

Motion Picture, OPRY or CMT, e-mail teri@afm257.org 

• Recording pension and signatory questions, e-mail christie@afm257.org 

As always, if I can be of any assistance to you please contact me at melissa@afm257.org 

I would like to express my gratitude to one of our staff, Shana Allen, who took another full-time 

position this fall. She started with us in 2005 and has been a valued member of this team over the 

years. Shana has continued helping us through this transition on a limited part-time basis, but will 

be greatly missed in the New Year! 

Your Recording Department staff is an outstanding team and I am extremely thankful for each one 

of them! I pray that you would be surrounded with great joy this holiday season! 

**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 or Special Payments credit.**

October-December 2009 Nashville Musician 15 

Larry Knechtel backed Byrds, Elvis 

Larry Knechtel at Hall of Fame induction in 2007. 

Bassist-keyboardist Larry Knechtel, 69, died 

Aug. 20 in Yakima,Wash., where he had been 

living off and on since the 1970s. A 20-year 

member of Nashville AFM Local 257, Larry 

was also a long-time member of Local 47 and a 

part of the famed L.A. "Wrecking Crew" studio 

team. Larry was enshrined in the Musicians 

Hall of Fame, along with fellow Wrecking Crew 

players as charter members in 2007. 

An extremely versatile player, Knechtel was 

an in-demand session man on keyboards, electric 

bass, and occasionally guitar. He backed 

Elvis Presley on bass for the legendary '69 

"comeback special," recorded and performed 

with the soft-rock band Bread, and most recently 

played on the Dixie Chicks’ Grammy 

award-winning album “Taking the Long Way” 

and subsequent world tour. 

Among artists Knechtel backed were Neil 

Diamond, The Doors, Elvis Costello, Leon 

Russell, Randy Newman, Hank Williams, Jr., 

and Simon &Garfunkel, whose smash “Bridge 

Over Troubled Water,” featuring Larry's legendary 

piano part, earned him an arranging 

Grammy in 1970. He also played bass on their 

hit "Mrs. Robinson." 

In 1971, Larry replaced original guitarist 

Robb Royer in Bread, as the band went on to 

further successes, including “Everything I 

Own” and "Guitar Man," on which Larry played 

lead guitar, reportedly in one take. 

Born in Bell, Calif., Aug. 4, 1940, Larry 

grew up to play piano, harmonica and bass guitar. 

One of his first groups to play in was Kip 

Tyler & The Flips. It was in 1959, however, 

when the teen-ager joined famed guitarist 

Duane Eddy’s group and started on the road to 

success. 

According to Nashville AFM Local 257 

President Dave Pomeroy, “Larry’s incredible 

career achievements are only equalled by his 

versatility and uniqueness as a player and his 

refusal to settle for mediocrity in any form. 

Among his many musical highpoints were the 

signature piano part on Johnny Rivers' "Rockin' 

Pneumonia and the Boogie Woogie Flu" and 

electric bass on The Byrd’s "Mister Tambourine 

Man" and the Doors' "Light My Fire." 

"I met Larry through Jim Horn and Duane 

Eddy, both of whom he played with for many 

years. After years as a first-call player in L.A. 

and a hiatus when he moved to the Pacific 

Northwest, he came to Nashville in the late 

1980s, and made two solo records for MCA- 

Nashville’s Master Series. I was honored that 

he asked me to play bass on those records, and 

to see Larry smile in recognition of a job well 

done was one of the biggest thrills of my career. 

"We stayed in touch since he moved back to 

Washington state, most recently when he came 

through town touring with the Dixie Chicks, a 

couple of years ago. His performance of 

‘Bridge’ with Vince Gill at his MHOF induction 

in November 2007, was simply stunning. 

Larry was a soulful, earthy, and brilliant musician, 

and was also all those things and more as 

a person." 

Yet another musical cohort was Craig 

Krampf, Local 257 Secretary-Treasurer, who 

notes, “My heart truly sank when Dave gave 

me the news. I have known Larry for 43 years 

and there has always been a special place for 

him in my heart. I first met him when he was 

hired by Snuffy Garrett and Leon Russell to play 

bass on my band's second record for Mercury 

Records back in 1966. It was my first time working 

with a true pro on bass and as a drummer, it 

was a life-changing event. 

“We played and recorded together throughout 

the years and now I am so grateful that we 

had a chance to visit and catch up when Larry 

came to town with the Dixie Chicks' last tour, 

and again when, along with the Wrecking Crew, 

Larry was inducted into the Musicians Hall of 

Fame. 

“Getting to play tambourine with Roger 

McGuinn, Larry and the Wrecking Crew on 

‘Mr. Tambourine Man’ is a moment I will always 

treasure. I believe that it is a reflection of 

a person's life when after that person has passed, 

remembering him/her brings a smile and great, 

happy memories. Sure, you still have that ache, 

but the memories are all good. Larry: You were 

a special person and musician. You made the 

world a better place.” 

Reportedly, Knechtel did his final gig a week 

prior to his passing, participating in Yakima’s 

Summer Concert Series in a performance with 

blues buddy Wayman Chapman. 

Survivors include wife Vickie, daughter 

Shelli Kokenge, son Lonnie Knechtel, his 

mother Edna Knechtel, brothers Don and Bob 

Knechtel, and three grandchildren. Rest in 

Peace, Larry. 

Larry performing in an L.A. studio, along with percussionist Hal Blaine in the 1960s. 

Ruth McGinnis 

Ruth McGinnis, both 

brilliant and inspiring 

Our fondest memory of the virtuoso violinist 

Ruth McGinnis was her brilliant playing at 

the opening concert for the splendid 

Schermerhorn Symphony Center, for which she 

received thunderous applause and a well-deserved 

standing ovation, following her rendition 

of “An Ashoken Farewell” with the Nashville 

Symphony Orchestra. 

Many of us in the audience were unaware of 

her fight against ovarian cancer, which finally 

claimed her life Oct. 6, at her home in Nashville. 

She was 52 years old. 

A member of AFM Nashville Local 257 for 

23 years, Ruth was also a recording artist, author, 

inspirational speaker and founded her 

Acoustic Trio. Classically-trained, Ruth 

McGinnis recorded five albums, covering everything 

from classical to Celtic to Christmas 

music; and she also authored two critically-acclaimed 

books: “Living The Good Life,” which 

explored her theory of wellness and life choices; 

and “Breathing Freely,” her memoirs, covering 

life, love and music. 

She was born to musician parents Freddie Lu 

and Frank McGinnis, and grew up in Illinois, 

until her family moved to California in 1968. 

The elder of five musical sisters, she began her 

music studies at age 8, training as a classical 

violinist. 

Ruth earned a Master’s Degree in Violin 

Performance from the Juilliard School in New 

York City. Following graduation, she became 

intrigued with freer styles, including fiddle music 

in the folk, country and bluegrass genres. 

This interest prompted her move to Nashville 

to pursue that new direction in her career, 

including performing and recording with the 

late John Hartford. She also appeared with close 

friend Amy Grant in venues as diverse as the 

Nashville Symphony, The Oprah Winfrey Show, 

The Kennedy Center, and Paul Newman’s Hole 

In the Wall Gang Camp. 

Ruth also performed with Chet Atkins, 

Michael W. Smith and Vince Gill. Mrs. Gill, 

Amy Grant, issued the following public statement 

on her association with Mrs. McGinnis: 

“The life of a musician is unique and beautiful 

in its never-ending connectedness to others. 

Through her music, Ruth McGinnis was able 

to move so many of us to appreciate the exquisite 

beauty of a well-played melody on her 

violin. Evening-gowned or barefoot, she gave 

her whole self to extracting the emotion of the 

music and of the moment. 

“And oh . . . the moments we shared. I don’t 

believe there was a dry eye in the house when 

Ruth played ‘An Ashoken Farewell’ with the 

Nashville Symphony for the opening of the 

Schermerhorn back in September 2006. Her hair 

was just beginning to thin from her first round 

of chemo treatments, having been diagnosed 

with ovarian cancer two months earlier. In her 

grace and dignity she personified the ‘terrible 

beauty of life’ that so inspired her artistry. 

“One of my favorite memories of Ruth was 

on a trip to Camp Hole In The Wall Gang, in 

the backwoods of Connecticut, during the summer 

of 1998. Several friends from Nashville had 

made the trip, and we found ourselves enjoying 

the porch of Paul Newman and Joanne 

Woodward’s private cabin overlooking the lake. 

Gazing out toward the water, with just the company 

of old friends, Ruth started playing ‘Amazing 

Grace.’ As the last note was fading from 

the strings, we heard a long, slow breath releasing 

and turned to find those legendary Newman 

eyes taking in Ruth and all of her magic. 

“This woman has captivated us with her music 

and stories for years, performing with her 

trio at Davis-Kidd on Friday nights, playing 

with the symphony during the early years of 

the annual Tennessee Christmas Concerts, participating 

in the three-year run of Sam’s Place 

at the Ryman Auditorium. 

“I’ve made music with Ruth from The 

Kennedy Center to the hillsides of Williamson 

County, where we serenaded just the sky. How 

I will miss her easy laughter, her gentle eyes 

and her articulate voice. I’m so grateful for her 

recordings, through which her artistry lives on. 

To reference Frederick Buechner, ‘As long as 

you remember me, I am never entirely gone.’ 

Ruth McGinnis, I will remember you.” 

As a solo artist, she performed internationally, 

including at the 2000 Franklin Graham Festival 

in Scotland. 

Ruth adopted as the theme of her writing, 

speaking, and music, that life is a gift - with all 

its imperfections - and should be accepted, 

lived, and enjoyed, as it is given. In her memoir, 

“Breathing Freely,” she wrote: “All I ever 

really wanted is to breathe freely in the gift of 

life.” Of “Living the Good Life” Amy Grant 

wrote: “This book is a celebration of the sacred 

journey of life. Simple. Profound.” 

Even after her cancer diagnosis in 2006, 

Ruth continued to live fully, write, speak, and 

make music. She wrote: “We all have a ‘music 

of life’ - the inner part of us revealed to the world 

in every way we live, the story we write with 

God’s help. The most beautiful music of life 

happens, not in the perfect moments, but in the 

blend of dreams and reality.” Of her cancer, she 

said, “It has given me the gift of being fully in 

relationship with the beautiful and horrible that 

life has to offer, and finding in the midst of it, 

unexpected joy.” 

Survivors include John Burrell, her husband 

of 13 years; parents Frank and Freddie Lu 

McGinnis; and her sisters Laura, Julie, Rachel 

and Erin. 

A memorial service was conducted Oct. 10 

in Christ Church Cathedral, with arrangements 

made by Marshall Donnelly Combs Funeral 

Home, Nashville. Donations may be made in 

her name to: The Estuary, Inc., 1711 19th Ave. 

South, Nashville, TN 37212. 

IBMA award winner Dan Tyminski shares the victor’s spotlight with fellow Local 257 pals 

Jerry Douglas and Sam Bush, frequent music collaborators. For list of winners, see page 23.


Fred Foster’s musical know-how fostered future stars 

Fred Foster, at his Musicians Hall of Fame induction, 

looks like a perfect choice for Daddy Warbucks 

in ‘Annie,’ and indeed proved a benefactor for budding 

artists such as Orbison, Kristofferson, McCoy, 

Parton and Gatlin. - Photo by Patricia Presley 

By WALT TROTT 

A good way to describe the iconic career of 

Fred Foster is monumental. 

Pun aside, Fred’s forceful leadership turned 

the historic Monument Records label into a virtual 

cradle of the stars, as he promoted such 

newcomers as Roy Orbison, Boots Randolph, 

Jeannie Seely, Kris Kristofferson, Dolly Parton, 

Charlie McCoy and Larry Gatlin to stardom. 

Foster founded it in March 1958, while with 

the London Records empire, and took its name 

from the imposing Washington Monument he’d 

so admired in Washington, D.C. 

Being the maverick he is, it wasn’t long before 

Fred established it as a Nashville-based 

indie company (1959), along with Combine 

Music publishing. Others owing allegiance to 

the producer-pioneer have been the likes of 

movie star Robert Mitchum, Grandpa Jones, 

Dick Flood, Bob Moore, Billy Graves, Ray 

Stevens and Tony Joe White. 

The latter artist was on hand to honor Foster 

while he was being hailed by industry colleagues 

via induction into the Musicians Hall 

of Fame, Oct. 12, in Nashville’s Schermerhorn 

Symphony Center. Tony Joe performed to perfection 

his 1969 Monument pop hit “Polk Salad 

Annie” in tribute to his mentor. 

In 1963, Foster founded Sound Stage 7 to 

produce R&B acts, assigning radio personality 

John R (John Richbourg) as A&R chief, resulting 

in major moneymaking discs, most notably 

Joe Simon’s 1969 #1 million seller “The 

Chokin’ Kind” (penned by Harlan Howard). 

Under his musical umbrella also came the Rising 

Sons label, brainstorm of writers Buzz 

Cason and Mac Gayden, who scored a success 

pop-wise with Robert Knight’s recording of 

“Everlasting Love.” 

“I remember John R. came to me and said, 

‘Any chance you’d have a place for me at Sound 

Stage 7?’ So I had him run it for me. He was 

fantastic. I got Little Milton, Roscoe Shelton 

and Ella Washington, and I never vetoed anything. 

But I almost did one time and I’m glad I 

didn’t. He brought in ‘Chokin’ Kind,’ Harlan’s 

song. I listened and said, ‘John, the bass is too 

loud,’ and he said, ‘Oh no, that’s the way I want 

it.’ I told him all right if he wanted it that way, 

then we’d put it out. When it became a smash, 

I called to tell him, ‘I’m glad you over-ruled 

me.’ He laughed.” 

Roy Orbison became Monument’s flagship 

artist, however, after publisher-manager Wesley 

Rose brought Roy to Foster once he’d been 

dropped by RCA. The challenge for Fred and 

Roy was to find the right song to hit with. Both 

moved to Nashville at the same time in 1960. 

“Roy came up from Texas and me down 

from Maryland, and we were staying at the 

Anchor Motel out on West End (in Nashville),” 

recalls Foster. “We went through all new songs 

and I got stuff I wouldn’t have paid $3 to demo. 

It was pitiful. Then we chose ‘Uptown,’ a doowop 

song which we felt needed strings. I called 

arranger Anita Kerr, who said there are no string 

players, but I told her yes, there were, “like the 

ones you used on the Cain-Sloan commercial; 

that was fabulous.’ She said, ‘I will try to find 

strings for you.’ Well, she called back to say 

she could only find four string players . . .” 

The song’s sung by a bellboy who admires a 

girl from afar, and Foster and company were 

willing to experiment musically: “Uptown in 

penthouse #3/Uptown there lives a doll/Just 

made for me . . . Uptown I see her most every 

day/Uptown but she never, ever looks my way.” 

Foster also reflected on a song that Orbison 

(and Joe Melson) wrote: “He had a 32-bar adlib 

verse, no tempo, and the ‘Only the Lonely’ 

body of the song was very short. Well, he studied 

the Top 40 chart and found a (Mark Dinning) 

song that inspired him, ‘Come Back To 

Me (My Love),’ which was as sad as a two-car 

funeral, as Grandpa Jones used to say. I said 

Roy can’t do that too soon after ‘Teen Angel’ 

(another Dinning song), because you can have 

only one of those every 20 years.” 

Nonetheless, “Come Back To Me” was the 

number that convinced Fred how they could 

record “Only the Lonely” one morning as he 

was leaving the motel to go to breakfast: “I was 

humming the song and when I got to this part, 

instead of doing ‘Come Back To Me,’ I sang 

‘Only the Lonely, and people were walking 

around me while I was singing it, no doubt 

thinking I was crazy. Then I rushed back to the 

motel where Roy was still in bed, and I told 

him what I’d found, and he said, ‘I don’t know 

if it’ll work,’ but I told him it would because I 

already sang it in the parking lot. So I called 

Anita and by this time we could get six string 

players!” 

Of course, “Only the Lonely” became 

Orbison’s first smash on Monument in summer 

1960, following a modest run for “Uptown,” 

which stalled at #72 on Billboard’s Pop 100 

chart. “Only the Lonely” hit #1 in the United 

Kingdom and #2 Stateside. Today Orbison’s 

songs would easily fit into the country charts, 

but back then they hit pop and crossed over into 

the R&B lists, but not the C&W chart. 

Monument had recently enjoyed success with 

Jerry Byrd’s 1960 theme music from the popular 

James Michener’s TV series Adventures in 

Paradise, starring Gardner McKay. 

One of Orbison’s more exiting performances 

on record is “Running Scared,” which boasted 

very high notes in its finale. As co-writer, Roy 

figured on going into falsetto for his ending, 

but hadn’t counted on Foster’s orchestration 

calling for him to sing those difficult notes in 

his regular voice. Despite Roy’s protestation it 

couldn’t be done right, Fred told him to just try. 

The resulting take surprised even Roy, and the 

stunned bandmembers were exultant over the 

remarkable vocal achievement they’d just 

heard. It became Roy’s first #1 single. 

“Then I had my Zenith transoceanic radio on 

and picked up a station in Mexico City. Suddenly 

here comes this striking mariarchi band 

and it was really exciting to hear. I called 

Boudleaux (Bryant) and told him to write something 

for me with two trumpets and a mariarchi 

beat . . . Next day he came to my office, humming 

harmony lines to simulate the trumpets. I 

liked two of them but had to finally decide on 

one melody. 

“I called Bill McIlhiney to write . . . a string 

part, sort of like ‘Uptown.’ I get to the studio 

and Bob Moore (leader on Orbison’s sessions) 

hated it. He said, ‘It’s the worst piece of (crap) 

I’ve heard.’ Then he came back and said, 

‘Whose name you going to put on it?’ I said I 

didn’t know, but what difference did it make? 

It’s going to Germany. If I can’t find anybody 

there, they’ll put my name on it. Bob said, ‘If 

you’re going to put anyone’s name on it, put 

mine.’ Well, ‘Mexico’ was a hit for Bob . . . and 

again Wes Rose wanted us to promote the flip 

side (‘Hot Spot’) instead.” 

Indeed “Mexico” hit #1 in Deutschland, as 

well as in Australia, selling some two million 

records, peaking at #7 on Billboard’s U.S. pop 

chart, crossing over into the R&B Top 20. 

Another instrumental success for Monument 

was Boots Randolph, with his 1963 Top 40 pop 

hit “Yakety Sax,” and similarly his later country 

album “Country Boots.” 

“I called Dutch McMillan (former Local 257 

officer) one day and told him I’d like to do a 

session with him. Dutch said, ‘You don’t want 

me.’ I asked why, after all I’d called him. He 

said, ‘There’s a sax player you need and I 

couldn’t even carry his case.’ Well Boots was 

in Indiana and I called him down and we hit it 

off immediately. I remember there was this jazz 

show and he was the only unknown there and 

got a standing ovation.” 

When Fred learned he had been signed and 

dropped earlier by RCA, “I asked him, ‘Who 

dropped you?’ He told me Charlie Grean (Steve 

Sholes’ assistant). Well, that was the same guy 

who dropped Roy Orbison. I thought to myself, 

I should follow this guy around.” 

Why did Orbison switch to MGM? 

“Wes Rose came up to me one day in the 

middle of ‘Pretty Woman,’ which by the way 

sold over seven million copies, and said, ‘You’re 

entitled to four more songs by the terms of your 

contract, but we don’t want you to be stockpiling 

any records on Roy.’ So his manager told 

Roy to make the change, enticing him with a 

million dollar guarantee, a movie contract and 

20 prime time TV appearances. Hell, any kid 

could get TV appearances after having 15 hits. 

I could grant him that and the million dollars, 

but we couldn’t guarantee a movie contract. 

Then Roy told me, ‘I’ve come to the final conclusion, 

it’s easier to leave Monument than fight 

Wesley.’ After they did two albums (with Rose 

producing), I got a call from them asking if I’d 

produce Roy, saying, ‘We can’t give away the 

stuff they’re sending me.’ Wes wouldn’t agree.” 

(Not only did Roy’s hits stop coming at 

MGM, including the ironically-titled “Breaking 

Up Is Hard To Do,” but his film “Fastest 

Guitar Alive” bombed at the box office.) 

While everyone agreed Kris Kristofferson 

was a great writer, not everyone thought he 

could sing. Foster felt listeners might like to 

hear the hits sung by the man who created them, 

and recorded him. 

“Bob Beckham (who ran Combine for Fred) 

said this guy had been with Buckhorn (music 

publisher) and wasn’t being paid much and 

needed more money,” recalls Fred. “So I told 

Kris to sing me four of what he considered his 

best songs - I think ‘Beat the Devil,’ ‘Best of 

Both Possible Worlds,’ ‘Duvalier’s Dream’ and 

‘Jody & The Kid’ - then I asked him if he’d like 

to record? He said, ‘I sound like a f----- frog.’ I 

said, ‘Yeah, but a frog that can communicate.’ 

Kris said if I was willing, he’d give it a try.” 

All of his albums became best sellers, including 

two #1 LPs “Jesus Was a Capricorn” and 

“Full Moon” (with then-wife Rita Coolidge). 

With his “Why Me,” Kris achieved a #1 country 

single and Top 20 pop crossover hit. 

Kristofferson won a trio of Grammy Awards, 

one for best song “Help Me Make It Through 

The Night” and two for vocals, best duo that is, 

for him and Rita, in 1973 and 1975. 

Foster had the satisfaction of music mogul 

Clive Davis calling him to say, “I have heard 

the poet of our times today. I have to be involved. 

Would you sell me Kris’s contract?” As 

Fred said no way, he asked Clive, “Would you 

sell one of your children?” 

It was Foster who gave his tunesmith a title 

idea to pursue, “Me & Bobby McGee,” which 

credits Fred as co-writer on a song that served 

Kris, Roger Miller, Jerry Lee Lewis and espe- 

cially Janis Joplin well. She achieved a posthumous 

#1 single on the song in March 1971. 

Fred remembers it took Charlie McCoy a bit 

longer to find an audience for his discs. 

“It took eight years to break Charlie as an 

artist. He’d come to me every year and say, we 

didn’t do anything, should we continue? I said 

yes, you’ll find it.” 

In 1972, the harmonica player hit big with 

his albums “Real McCoy,” “Charlie McCoy” 

and in ’73, the #1 “Good Time Charlie,” followed 

by “Fastest Harp in the South.” 

Additional #1 Monument singles include 

Henson Cargill’s 1968 “Skip-A-Rope,” Billy 

Swann’s 1974 “I Can Help.” Foster also surrounded 

himself with top-notch behind-thescenes 

talents such as engineer Bill Porter, arranger 

Bill Justis (of “Raunchy” fame) and 

Anita Kerr, and, of course, Byrd, Moore, David 

Briggs and Jerry Kennedy. He also gave young 

musicians an opportunity to producer other artists, 

including Ray Stevens and Billy Swann. 

Fred also provided pioneer-pal Grandpa 

Jones with his single Billboard Top Five record, 

“T For Texas,” a redo of the Jimmie Rodgers 

standard, in 1962. That gave another former 

RCA signee’s career a needed shot-in-the-arm 

in his pre-Hee Haw days. 

He pointed out that Billy Walker’s run with 

Monument was memorable, too, giving the 

Grand Ole Opry star four album chartings, including 

his 1966 success “A Million And One,” 

which spawned its near # 1 title track. 

“We were recording Billy Walker when I got 

this call - and it’s my policy to not interrupt a 

session - but it was Kris who insisted on me 

taking his call. He said, ‘Hey, there’s a tape I 

want you to hear.’ I said, ‘Bring it by and I’ll 

listen to it tomorrow.’ Kris said, ‘No, I want 

you to hear it today.’ So I told him to bring it 

over. He came by with Dottie West and this 

young guy I didn’t know . . .” 

That was Foster’s introduction to Gatlin, then 

signed by Dottie West, who’d heard him while 

he was singing with The Imperials gospel group. 

She liked Larry’s singing and writing, signed 

him as a staff writer and landed him a cut - “Help 

Me” - on Kristofferson’s recording, on which 

Larry sang backup vocals. 

Fred, equally taken with Gatlin’s talent, adds, 

“That’s when Dottie and I started First Generation 

Music together.” 

When it came time to record Gatlin in 1973, 

the act included brothers Rudy and Steve and 

sister LaDonna, whose keyboard player was her 

husband Tim Johnson. According to Fred, 

“LaDonna was the best of the bunch, I’ll tell 

you, but she left to go back to Texas. Then Rudy 

and Steve got hired by Tammy Wynette (to sing 

in Young Country, her backup group), so all we 

had left was Larry. The first few chartings did 

OK, like Top 40 or something (‘Sweet Becky 


After a good take with Roy Orbison in the 1960s.


Shelby Singleton 

By WALT TROTT 

Another of our behind-the-curtain country 

heroes has departed: Shelby Singleton, Jr., 77, 

who battled cancer several years, died Oct. 7, 

after being hospitalized with a brief illness. 

The music mogul, who got our vote long ago, 

won the 2008 non-profit ROPE organization’s 

best business individual statuette. 

Corporate icon Singleton made major contributions 

to the music world, while running 

Mercury Records (and its subsidiaries Philips 

and Smash), SSS International, Plantation 

Records, and finally Sun Entertainment. 

Among talents he signed were Roger Miller, 

Roy Drusky, Priscilla Mitchell, Paul & Paula, 

Brook Benton, Joe Dowell, Bruce Channel, 

Dave Dudley, Ray Stevens, Jerry Kennedy and 

Jeannie C. Riley. His decisions breathed new 

life into the careers of veteran artists like Faron 

Young, Leroy Van Dyke and Patti Page, while 

unleashing such songs as “Wooden Heart,” 

“Boll Weevil Song,” “Six Days On the Road,” 

“Hey, Paula,” “Walk On By,” “Dang Me,” 

“King Of the Road,” “Ahab the Arab” and his 

triumphant “Harper Valley PTA,” spawning 

both a movie and TV series. 

Shelby once commissioned us for a print 

campaign on behalf of Sun Entertainment artist 

Jason D. Williams, envisioning him as a 

threat to Sun Records legend Jerry Lee Lewis. 

Suffice it to say, Singleton was more colorful 

than any of his artists. 

One of his closest friends, attorney Harlan 

Dodson, delivered the eulogy at Singleton’s 

services, Oct. 10, in First Presbyterian Church 

here. Declaring him a risk-taker of major proportions, 

Dodson also cited his vision, talent 

and business acumen, as well as being a rather 

obstinant individual. 

He was no stranger to the courtroom. Having 

bought Sun Records from its founder Sam 

Phillips in 1969, with profits realized off the 

platinum-plus selling “Harper Valley PTA,” 

Singleton was intent on marketing the label’s 

catalog every which way imaginable. 

For those not in the know, Phillips’ most famous 

discovery Elvis Presley was signed in late 

1955 by RCA, including Elvis’ Sun discography; 

nonetheless, there were times through the 

years when Singleton allegedly infringed upon 

that ownership. 

It was right after Presley’s untimely death 

in August 1977, that Singleton was approached 

regarding whether he had something on “The 

King” in the Sun vaults? 

“I said, ‘Well, I got bits and pieces, things 

like that.’ He told me, ‘Get it out. Anything on 

Elvis is gonna sell within the next few months.’ 

So I produced ‘Interviews & Memories of the 

Sun Years With Elvis.’ I had album covers ready 

within 24 hours of his death and albums on the 

street right afterward. We made eight-tracks, 

cassettes and LPs. In 10 days, we sold 600,000, 

then RCA got an injunction against me to stop 

all sales. I agreed with them and paid a fee of 

$40,000 and they went away.” 

Later, Shelby came out with Sun’s “Million 

Dollar Quartet,” featuring Johnny Cash, Jerry 

Lee Lewis, Carl Perkins and Presley. 

Shelby Singleton succeeded, showcasing stars, songs 

“Then they got out another injunction. We 

fought that in court about 15 years. It wasn’t 

until BMG (which bought RCA) that we were 

able to settle it. Since the quartet was Elvis, 

Johnny, Jerry Lee and Carl, I proved to them 

that I clearly owned 3/4 of it and the most that 

they could own was Elvis’ part. So we agreed 

to settle. 

“Meanwhile, the bootleggers were making 

a fortune off the damned thing, putting it out 

all over the world. So they (BMG) made a deal 

with me where they would put it out, distribute 

it and pay me a royalty. It was a fairly good 

deal by the time it was all worked out.” 

Shelby Sumpter Singleton, Jr., was born Dec. 

16, 1931, in Waskom, Texas, and graduated 

from Byrd High School at age 15. Two years 

later, he married his high school sweetheart 

Margaret Louise Ebey, nicknamed “Margie,” 

who had a desire to sing. 

Her husband encouraged this by giving her 

a guitar as a Christmas present: “And she 

learned to play it. I don’t recall who taught her 

the chords, but she also began writing songs.” 

As for Shelby himself: “I went to business 

college (Meadows-Draughan Business College) 

part time in Shreveport (La.) . . . then I went to 

work with a company called J. B. Beaird, which 

my father worked for, in their accounting department. 

They were into oil well fittings and 

all kinds of things.” 

In 1950, Shelby joined the Marine Corps 

Reserves, seeking additional bucks for attending 

meetings; however, the unit was activated 

to fight in the Korean War. He carried home a 

souvenir from that action, a wound that 

prompted a steel plate implanted in his head. 

Following Shelby’s discharge, he went to 

work as an industrial engineer for Remington- 

Rand, while on the side he tried to make his 

wife’s musical ambition a reality. He began by 

promoting her gigs on Red Foley’s Ozark Jubilee 

in Springfield, Mo.; the Jimmie Rodgers 

Memorial Celebration in Meridian, Miss.; and 

finally on the prestigious KWKH-Shreveport’s 

Louisiana Hayride. 

Singleton cultivated a friendship with veteran 

recording executive Pappy Daily, who ran 

Starday Records, a Texas-based indie label. That 

eventually got Margie signed to the label and 

then Mercury, resulting in solo and duet recordings, 

most notably with artists like George 

Jones (“Waltz of the Angels”) and Faron Young 

(“Keeping Up With the Joneses”). 

Daily had put Singleton to work as a promotion 

man. 

“I didn’t know one note from another when 

I got into this business,” Shelby reflected. “And 

I couldn’t tell you if a singer’s sharp, flat or 

crooked. I started looking at making records like 

the people out there who buy the records (want). 

That was my thing, I guess, because it seemed 

I had an intuition of what DJs would play.” 

When Daily, whose main act was Jones, was 

contacted by Mercury Records about merging 

with the major, he dispatched Singleton to discuss 

the deal in Nashville. 

Indeed Daily, who founded Starday (1953) 

with Jack Starnes, was operating it with Don 

Pierce in 1957 (after buying out Starnes), when 

that deal was struck to combine forces. 

“It was never really a merger,” insisted 

Singleton. “It lasted maybe 18 months (until 

July 1958), Starday had made an agreement 

with Mercury to take over their country division 

and call it Mercury-Starday. It didn’t work 

because Pappy and Don had their way of operating 

and Mercury had its own way of running 

things.” 

Mercury invited Shelby to be their Southeast 

promotion man: “Mercury asked how much 

I was making at Remington-Rand and when I 

told them about $100 a week (good in those 

days), they said they couldn’t pay but $75 plus 

expenses. Well, I took it - and I don’t know why 

I did - I suppose I saw it as an opportunity to 

work with a growing business. In 1957, Mercury 

had some good acts. But their distribution 

was at the bottom of the pack, the lowest in the 

country. I turned that around until in six months 

they were in the top 10.” 

Singleton got out and hustled, checking at 

radio stations, music stores, bars and truck stops, 

wherever records were played, to get a handle 

on what the public wanted. During such regional 

haunts, he picked up masters of promising discs 

getting local airplay, and made key contacts with 

area DJs, assuring guest spots for the label’s 

artists while on the road. 

“When I went in, I would tell them, this 

record’s #1 in Lake Charles, you need to take it 

and start spreading it around . . . I did that for 

‘Chantilly Lace’ (The Big Bopper), ‘Sea of 

Love’ (Phil Phillips & the Twilights) and ‘Running 

Bear’ (Johnny Preston). Pretty soon, Mercury 

gave me the whole South to work. We had 

a distributor in Dallas, one in Houston, one in 

New Orleans, one in Atlanta, one in Charlotte 

and one in Richmond . . . we were really getting 

things going through the South.” 

During a Nashville visit, a Chicago snowstorm 

made it impossible for A&R man David 

Carroll to get to a recording session in Music 

City, and his bosses told Shelby to fill in: “I 

said, ‘I don’t know anything about recording.’ 

They insisted I could do it because I got records 

played! ‘We know you can make a record, so 

go do it anyway.’ I went into the studio and it 

was Rusty Draper (of ‘Gambler’s Guitar’ fame). 

Well, we did two covers - the Fendermen’s 

Shelby with original Sun Records founder Sam Phillips and brother John Singleton. 

‘Mule Skinner Blues’ and Hank Locklin’s 

‘Please Help Me, I’m Falling’ - and the songs 

came out back-to-back (1960). I got in the car 

and when I went to the market where Hank’s 

record wasn’t happening, I’d get them to play 

Rusty’s version, and where the Fendermen’s cut 

wasn’t heard, I’d flip Rusty’s record and get 

them to play ‘Mule Skinner Blues.’ We sold 

maybe 100,000 records promoting it that way, 

which was very good in those days.” 

Impressed, Mercury assigned Shelby to produce 

other acts. 

“Fortunately, I surrounded myself with a lot 

of good musicians, people like Jerry Kennedy, 

Bob Moore, Grady Martin and Harold Bradley, 

you know, those that played regularly in the studios. 

The musicians would tell me if somebody 

hit a bad note. I didn’t know.” 

It wasn’t long before Shelby was offered a 

New York post producing pop acts, but when 

he declined, Mercury agreed to let him be homebased 

in Nashville, but shuttle back and forth 

to New York to do additional production. This 

resulted in his working with such notables as 

Dinah Washington, The Platters, tenor saxophonist 

Sil Austin, Quincy Jones and Sarah 

Vaughan in the Big Apple, and bringing such 

talents as Clyde McPhatter, Patti Page and a 

Bronx group calling themselves Blues Magoos 

to Nashville where the latter act cut their bestselling 

album “Psychedelic Lollipop.” 

Other name acts he worked with included 

Teresa Brewer, Bruce Channel and Charlie 

Rich. One in particular he was proud of was 

Roger Miller, fresh from his modest stint with 

RCA, where he had a single Top 10 “When Two 

Worlds Collide.” 

“He used to come up to New York and head 

over to my office, like the time he wanted me 

to go over to The Tonight Show with him. That 

was before we ever recorded him,” recalled 

Singleton. “I told Roger, ‘You’ve got a lot of 

talent, but the records you’re making at RCA 

are all wrong. If you ever get off the label, let 

me know and we’ll make some records.’ I had 

heard him sing some of those funny songs he 

wrote.” 

Sure enough when RCA dropped him, Mercury 

signed Roger to its Smash label, and those 

“funny songs he wrote” like “Dang Me” and 

“King Of the Road” earned Miller a record 11 

Grammys in 1964 and 1965, and sold a lot of 

records. 

“But remember, it was Jerry (Kennedy) who 

produced all those Roger Miller hits,” Shelby 

reminded us. In fact, it was his pal Jerry who 

succeeded him as Mercury’s country chief. 

“I had signed a group who had a big hit on 

‘Tobacco Road’ and we put out ‘Psychedelic 

Lollipop.’ That’s when the psychedelic craze 

was first booming. Mercury wanted me to sign 

every psychedelic act I could find. I didn’t want 

to do that. Those people were crazy. So that’s 

when I ended up leaving the label, on account 


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


Stonewall Jackson’s ‘Waterloo’ hits 50-year mark 

By WALT TROTT 

Grand Ole Opry favorite Stonewall Jackson 

just marked the 50th anniversary of his charttopping 

signature song “Waterloo,” co-written 

by Marijohn Wilkin and John D. Loudermilk. 

Columbia Records’ multi-million-selling 

single hit #1 five weeks, starting July 27, 1959, 

sandwiched in between two other genre-busting 

story-songs: “The Battle of New Orleans” 

and “The Three Bells.” 

Similarly, Stonewall’s “Waterloo” crossed 

over into both the pop (#4) and the R&B charts 

(#11), a rarity for a country singer. Several 

months earlier, he made his near-#1 chart debut 

via “Life To Go,” which he co-wrote with 

George Jones. 

“George and I were runnin’ buddies back 

then. We bought this idea from an ol’ boy in 

prison where we played a show. Mostly all he 

had was the idea. He’d heard someone answer 

how long he’d been in prison by saying, ‘I’ve 

been in here 18 years, and still got life to go . . 

.’ Well George and I worked on it for about 25 

days on the road. When we finished the other 

acts on the show declared we had a smash! 

“At the time, George had written a hit that 

both he and Webb Pierce (with Red Sovine) recorded 

called ‘Why, Baby, Why.’ So I told 

George, ‘You got a #1 song out and you’ll be 

gettin’ royalties off of that, and I ain’t got nothin’ 

goin’ for me. So we made an agreement that 

one could record it, while the other would get 

(sole) writer credit. 

“I guess I got the best end of that deal,” he 

Ickes-Alvey collaboration yields new sound 

Now for something completely different, 

here’s “Road Song,” a CD showcasing Rob 

Ickes and Michael Alvey, celebrating an exploratory 

pairing of Dobro and piano. 

This Reso-Revolution release sans supporting 

strings or rhythm section, also spotlights 

selected vocals by Robinella (who drops her 

Bailey surname from billing). 

Listeners will welcome the sensuous songbird 

strutting her stylistic stuff on Hoagy 

Carmichael’s “The Nearness Of You,” Hank 

Williams’ “You Win Again” and Wes 

Montgomery’s emotive title tune, on what is 

primarily a jazz-flavored instrumental set conceived 

by Ickes. 

Incidentally, another Montgomery number 

included, “West Coast Blues,” indicates that 

Wes is one of the picker’s influences (along with 

bluegrass guru Mike Auldridge). The iconic 

name Duke Ellington is equally represented, via 

signature songs “Take The A Train” and “Caravan.” 

Horace Silver’s “Song For My Father,” 

popularized by George Benson, makes a strong 

entry as the album opener. 

The innovative blending of Ickes’ Dobro 

(resonator guitar) with Alvey’s 88-keyed instrument, 

works surprisingly well with these tasteful 

arrangements. Each musician gets a share 

of solo stints. Educator Alvey beams brightest 

revisiting Oscar Peterson’s inspirational “Hymn 

To Freedom,” a clear highlight, as is Silver’s 

“Song . . .” (Ickes does add Scheerhorn Acoustic 

Slide to augment Robinella’s torchy renderings 

on tracks three and five.) 

We were impressed how full the sound 

comes across rhythmically throughout via this 

spare pairing, thanks in part to Alvey’s percussive 

chordal punctuations and backbeat, nicely 

complementing Ickes’ precise pickin’ style, and 

their intense feel for melody and harmony. 

According to the Dobroist, “I have always 

enjoyed the way the natural sustain of the Dobro 

blends with the longer and more complex 

chords that piano players use. These chords effectively 

give me more notes to choose from, 

expanding the voice of my instrument.” 

To achieve a more spontaneous take on the 

performances, the musicians played live as 

much as possible. Ickes evidently feels retakes 

and overdubs reduce the studio spontaneity. 

Stonewall’s a Lifetime Member 

of Local 257, as is brother Wade. 

chuckles, “and that’s how I beat George out with 

a #1 record. Oh, he’s gotten a lot of good royalties 

off the song, but he still cusses me out about 

that deal.” 

Still, Stone landed a fine cut with his song 

“East of West Berlin,” which Red Sovine recorded, 

and he recorded a song he’d worked up 

with brother Wade Jackson, titled “Don’t Be Angry.” 

Of course, that tune scored higher upon 

re-release several years later, hitting Top Five 

for him (a feat Donna Fargo matched in 1976). 

Being a descendant of legendary Confederate 

General Thomas (Stonewall) Jackson, his 

railroad-worker father named his boy after the 

Rob’s musical journey takes him back to 

1928 to recover “If I Had You,” popularized in 

that flapper era by Rudy Vallee & His Connecticut 

Yankees, and later covered by such stalwarts 

as Dinah Washington and Nat (King) Cole. Rob 

also dusts off the more recent Mike Reid-Allen 

Shamblin country cut “I Can’t Make You Love 

Me” to good advantage. 

The 11-time International Bluegrass Music 

Association top instrumentalist award-winning 

Ickes, was also IBMA-nominated with (Kentucky 

Thunder) mandolinist Andy Leftwich for 

their collaboration “Angeline The Baker” as top 

instrumental disc of the year, but lost to 

Flamekeeper’s “Jerusalem Ridge.” 

Originally hailing from California, Rob arrived 

in Music City in 1992. He played his first 

session with the Cox Family, became a founding 

member of Blue Highway, racked up numerous 

sessions and in 2006 joined forces with 

Andy Leftwich and veteran bassist Dave 

Pomeroy for an award-caliber album “Three 

Ring Circle.” 

Ickes’ own solo CDs include “Rob Ickes,” 

“Slide City” and “Big Time,” which upon closer 

examination reveal an early jazz inclination. 

Indeed Ickes’ instrumental virtuosity has 

graced the works of a variety of artists, including 

Dale Ann Bradley, Paul Anastasio, Patty 

Loveless, Merle Haggard, Dolly Parton, The 

Cherryholmes, Claire Lynch and Earl Scruggs, 

be it in the studio or on a stage. He’s even taught 

others to play as far afield as Munich, Germany. 

Rob’s a double Grammy Award recipient, 

having won for “The Great Dobro Sessions” in 

1996, and also for “I Know Who Holds Tomorrow” 

(sharing that accolade with Alison Krauss 

& The Cox Family). 

Early in September, Rob and Michael attended 

the Red Sea Jazz Festival in Israel, and 

performed tracks from “Road Song.” National 

Public Radio recently profiled the CD’s players 

and selections during a program hosted by 

author Craig Havighurst (“Air Castle of the 

South: WSM & The Making of Music City”). 

This improvisational venture should broaden 

the fan base of its trio of artists, while providing 

pure and refreshing entertainment for all 

those who just dig darn good music. (CD available 

at RobIckes.com) - Walt Trott 

brilliant military man, though opting for his 

nickname Stonewall over Thomas. (Of course, 

the general earned that monicker for his bravery 

shown at the Battle of Bull Run, in the face 

of seemingly-overwhelming enemy fire.) 

Born Nov. 6, 1932 in Tabor City, N.C., 

“Stone” was still a toddler when his father 

Waymond died: “He was only 28.” Subsequently 

his mother Lulu hitchhiked with her 

children to Georgia, where she would marry 

again. Stonewall’s stepfather was stern, often 

being physically abusive to his charges. 

Fibbing about his age, Jackson joined the 

Army at 16, and after being caught in his deception, 

next chance he got, Stonewall enlisted 

in the U.S. Navy. It was while a sailor in submarine 

service that he learned to play a guitar 

to entertain fellow swabbies singing both traditional 

favorites and original songs. 

Following discharge in 1954, Stone returned 

to Georgia where alternated farming as a sharecropper, 

and working with a logging crew, while 

writing songs and saving to finance a Nashville 

trip. He came to town in an old beat-up truck 

used in his work, took a room at a cheap motel 

across from Acuff-Rose Publishing, and then 

called on them. 

“I’ve gotten away with more than I had ever 

dreamed of; in fact, I didn’t dare dream that 

far,” smiles Stone. “I came to Nashville really 

not expecting to be an artist in my own right. I 

came here to be a writer. I got myself knocked 

right off my own trail, simply by taking some 

stuff over to Wes Rose my first day in town. 

Well, he listened and then called the motel I 

was staying at, telling me, ‘I’ve heard your tape 

and I can hear something on there, though I can’t 

quite put my finger on it. But I got some friends 

down at the Opry who maybe could.’ He sure 

lived up to his word.” 

Jackson has been a member of the Opry since 

1956, when he became the first regular cast 

member named in the modern era without a hit 

record. Indeed it was on the recommendation 

of publishing giant Acuff-Rose that the management 

signed him, and also why A&R chief 

Don Law did the same over at Columbia. 

Yet another person Jackson credits with helping 

him was superstar Ernest Tubb, who not 

only introduced him on the Opry, but also outfitted 

him in suitable attire to perform, and then 

took him on the road. E.T. also signed him to 

his music publishing company, giving him an 

advance to help him get settled in. 

“I was poorer than a snake, I didn’t even have 

a decent guitar. I borrowed one from other acts 

on the show for a long time.” 

One song Tubb had publishing on was “Why 

I’m Walkin’,” originally an album cut, until 

some restless DJs pulled it out to spin as a regular 

cut. 

“I’m really proud that it did like that,” notes 

Jackson. “I think I did ‘Why I’m Walkin’ in one 

take for the album. Some of the sentiment with 

the producer was as a cut he thought it wasn’t 

really that much of a song, but when the DJs 

picked it out of the LP to play it, that forced 

Columbia to release it as a single. So it kinda 

promoted itself more-or-less.That’s the only one 

I had pulled from an album that done that. I 

was glad, for that helped me pay E.T. back a 

little, as he would never let me pay him money 

for the things he had done for me.” 

In 1959, Jackson won DJ Polls as most 

played artist of the year, along with most promising 

artist awards from Billboard, Cash Box, 

Music Reporter and Record World, then the 

major trade journals. 

“Most of my awards were handed to me in a 

hallway or backstage at the Opry. My Gold 

Record for ‘Waterloo,’ they gave me at a party 

in Miami, not like they do it today.” 

As a crossover star, he made multiple appearances 

on Dick Clark’s American Bandstand 

TV program, among others, headlined shows 

at Cobo Hall in Detroit, and the Hollywood 

Bowl in Los Angeles. 

“I met Doris Day and stars like that out there 

. . . I remember they had these publicity pictures 

made of me and gave from 20,000 to 

30,000 away to fans. Carlton Haney (booker) 

quit using me, because it caused him to get run 

down.” 

For 18 years Jackson reigned as the gem of 

Columbia, via career cuts like his #1 “B.J. the 

DJ,” along with “Smoke Along the Track,” “A 

Wound Time Can’t Erase,” “Leona,” “I Washed 

My Hands in Muddy Water” and “Me & You & 

A Dog Named Boo” plus others. Jackson attained 

Top 10 records in three different decades, 

having achieved more than 50 Billboard 

chartings. 

Stone did cameos in a pair of films “Country 

Music On Broadway” and “Sweet Dreams,” the 

Patsy Cline bio flick. Regarding the latter, he 

explains, “I was glad to do this one because I 

was a good friend of Patsy, Cowboy Copas and 

especially Hawkshaw Hawkins. Hawk and I 

were close and we both loved horses and pickup 

trucks. In fact, I had been hauling hay in his 

pick-up and it was still at my house when he 

died.” 

More recently, Jackson recorded an acclaimed 

revival of Phil Harris’ legendary 

“Jungle Book” movie ballad “Bare Necessities” 

for Disney’s “O Mickey, Where Art Thou?” 

In 2002, Jackson was duly honored by a Tennessee 

State Senate Resolution paying homage 

to his distinguished career, presented by Speaker 

of the House Jimmy Naifeh and the Senate body. 

Attesting to his standing among fellow artists, 

ET Records sponsored a 22-track tribute 

CD “Stonewall Jackson & Super Friends,” 

which son Turp Jackson produced. Sharing in 

this retrospective of the burly baritone’s hits 

were a Who’s Who of country talent, past and 

present, including Garth Brooks, Jimmy 

Dickens, Waylon Jennings, Charlie Daniels, Bill 

Anderson, Connie Smith, Marty Stuart, Alison 

Krauss, Mac Wiseman, Ricky Skaggs, Larry 

Gatlin, Lorrie Morgan and Joe Diffie. 

Meanwhile, Collector’s Choice issued its 

own CD, “The Best of Stonewall Jackson,” 

showcasing numerous hits like “Mary Don’t 

You Weep,” “A Little Guy Called Joe,” “One 

Look At Heaven,” “Old Showboat,” “The 

Minute Men” (from which he took his band’s 

name), “Help Stamp Out Loneliness” and “Angry 

Words.” 

It’s ironic that Jackson’s ancestral namesake 

fought for the Confederacy, the losing side, 

while “Waterloo,” the song that gave him lasting 

fame, was a tuneful interpretation of a scene 

of the final defeat of another famous general in 

history, Napoleon Bonaparte (in 1815 Belgium). 

Although Stone served honorably in the military, 

he never considered making it a career, 

but wasn’t one to back down from a fight. He 

and Jones got into their share in their early days. 

It’s been a year since Stonewall settled his 

age discrimination suit against his employer 

Gaylord Broadcasting Company, regarding 

practices of the Opry management at the time. 

Jackson points out that the terms of the settlement 

cannot be disclosed, but he’s satisfied with 

the outcome, and is back at work. 

It was obvious the pioneer performer was 

relieved to put it all behind him, and happier 

being back on the Grand Ole Opry performance 

roster: “I’ve always loved the Opry and I have 

been one of its most-loyal members for the past 

50 years. So I’m really glad to be back.” 

Stonewall and Juanita Jackson have been 

married 51 years, and they’re both devoted to 

their granddaughter Savannah. Although he’s 

cut back by choice on his touring schedule, prior 

to our chat, he had just returned from a Canadian 

concert. 

Meanwhile, he’s just penned a Foreword for 

California writer Jack Selover’s forthcoming 

Nova Books publication “Little Known Facts 

About Country Music,” having earlier recorded 

a Selover song on one of his albums. Come 

January, Stonewall begins his biography, which 

he hopes to complete during 2010, but warns: 

“I’ve got a whole lot of ground to cover.”


Next Local 257 General Membership Meeting promises a full agenda 

(Continued from page 1) Submitted with a favorable recommendation members who are in need of financial assis- on Music Row. 

by the Local 257 Executive Board. 

tance. In addition, the Local shall match on a Should you have any questions regarding 

Vic Willis Emergency Relief Fund By-law dollar for dollar, this amount ($3.00), collected any of the above, please contact Secretary-Trea- 

Amendment proposal. 

from the membership for the Vic Willis Emersurer Craig Kramp, telephone (615) 244-9514 

In yet another proposed Amendment to the gency Relief Fund with such matching amounts or via e-mail: Craig@afm257.org 

Local 257 By-Laws, the changes would be: also to be placed in the Fund ERF. All applica- 

Whereas, The Emergency Relief Fund has 

been an extraordinary service to our members 

tions for relief from this Fund must be submitted 

to the office of the Secretary/Treasurer for 

Tammy Wynette honored posthumously 

in need and the current economic climate has consideration and approval by the Vic Willis Late Local 257 member Tammy Wynette 

caused this Fund to be utilized more than ever Emergency Relief Fund Committee according was inducted into the Nashville Songwriters As- 

before; and 

to the guidelines established by the committee. sociation International’s Songwriters’ Hall of 

Whereas, Currently all funding, including To be eligible for assistance from this Fund, a Fame, Oct. 18, during the NSAI awards gala at 

donations, must be matched by Local 257; and member must be in good standing and have held the Renaissance-Nashville Hotel, Oct. 18. 

Whereas, The Fund should be able to ac- full membership in the Association for not less Among hits Wynette co-wrote are “Stand By 

cept donations beyond the members' annual as- than twelve (12) months immediately prior to Your Man” (a Grammy Hall of Fame song), 

sessment to the ERF, without causing undue fi- the date of application for said assistance. “Singin’ My Song,” “Another Lonely Song” 

nancial hardship to Local 257; and 

Submitted with favorable Recommendation and “’Til I Can Make It On My Own.” She also 

Whereas, It is recognized that the ERF by the Local 257 Executive Board. 

co-wrote “These Days (I Barely Get By)” with 

should be funded in every way possible so that Due to these proposals and recommenda- former husband George Jones, who cut it. 

Local 257 can continue this valuable service to tions, along with other important Union busi- Also inducted were veteran songwriters Kye 

our members; therefore, be it 

ness, it is essential that members make every Fleming (“I Was Country When Country Wasn’t 

Resolved, That Article XIII be amended as effort to attend the next General Membership Cool”), and Mark D. Sanders (“I Hope You 

follows: 

ARTICLE XIII 

VIC WILLIS EMERGENCY RELIEF 

FUND 

Meeting on Wednesday, Nov. 18, at the Union Dance”). 

Section 1. Members shall pay to the Secretary/Treasurer's 

office three-dollars ($3.00) each 

year, to be paid along with their annual membership 

dues, to be placed in the Vic Willis 

Emergency Relief Fund for the benefit of those 

THE TTHE H E NASHVILLE NNASHVILLE A S H V I L L E MUSICIAN 

MMUSICIAN U S I C I A N 

be it 

Resolved, That Article II, Section 4, be 

amended as follows: 

Section 4. Members shall pay three percent 

(3%) Local Work Dues on scale wages on all 

live engagements, and no less than four percent 

(4 %) Local Work Dues on scale wages on 

all Recordings, Electronic Transcriptions (audio 

and/or video), and other National Contracts. 

(See American Federation of Musicians Bylaws, 

Article 9, Sections 32 (a) - (c)). [Work 

dues for electronic media work of four percent 

(4%) applies through the end of 2009, at which 

point these dues will revert to three-and-onehalf 

percent (3-1/2%.).] Such Work Dues shall 

be collected by the Secretary/Treasurer on all 

engagements paid through the office. 

On all other engagements, the leader or contractor 

shall collect the Work Dues weekly, pursuant 

to a Work Dues Deduction Authorization 

signed by members performing such engagements, 

and pay same to the Secretary/Treasurer. 

All work dues shall be due and payable no later 

than the fifteenth (15th) day of the month following 

the month during which the services 

were performed. Any member violating the 

provisions of this Section shall be subject to a 

fine of not less than ten dollars ($10.00) nor 

more than four hundred fifty dollars ($450.00) 

and/or expulsion from the Federation. 

Keyboardist Gough liked playing a good country song 

Pianist Joe Eddie Gough, 70, of Gordonville, 

Texas, died Aug. 14, after a battle with colon 

cancer. He had toured with singer Gene Watson 

for three decades, and performed for two U.S. 

Presidents and the Queen of England. 

A native of Galveston, Gough was born Joseph 

Edwin Gough, Jr., Jan. 27, 1939 to Joseph 

and Sadie Gough. Eddie Joe graduated Lamar 

High School in Houston and attended Trinity 

University in San Antonio. 

Gough served in the U.S. Army’s Security 

Agency. He enjoyed traveling and meeting fans. 

A noted writer, he penned such songs as 

“Cold Brown Bottle,” “Beautiful You” and 

“After the Party.” And also recorded with Gene. 

Survivors include his sons Joseph C., Clinton 

B., Joseph Eddie, Kelly M.; and daughter Sadie 

Gough Kersting; and eight grandchildren: 

Kendall, Clinton Jr., Kyle, Garrett, Brent, Evan, 

Jordan and Parker; plus a sister Frances 

Cameron. Services were conducted Aug. 17, in 

the chapel at Forest Park Westheimer Funeral 

Home. 

Lifetime Member William Frederick (Bill) 

Pierson, 83, of Joplin, Mo., died Sept. 12, surrounded 

by his family. A multi-instrumentalist 

and arranger, he played trumpet, drums and 

flugelhorn, and was also a vocalist. 

“I’m from Joplin also and first met and 

worked with Bill in the mid-to-late 1960s,” 

notes bassist Larry J. Barnes, fellow Local 257 

member. “He, along with a few other notable 

musicians in the area, was a friend and real 

mentor in my early days of playing. He taught 

me how a professional musician conducts himself, 

and his genuine passion for the music has 

been a guiding light in my career. And he played 

‘Sugar Blues’ like no one else.” 

Barnes also points out that Pierson was cited 

many times in the book “Suits Me - The Double 

Life of Billy Tipton” by late biographer Diane 

Wood Middlebrook. 

Pierson was born Feb. 17, 1926, to Johanna 

and Frederick Pierson in Granby, Mo. At a 

young age, Bill began a lifelong love of music. 

By the age of 14, he was playing the trumpet 

professionally and continued doing so throughout 

his life. He played in most of the states, traveled 

this country with bands from New York to 

Eddie Joe Gough 

Bill Pierson had life-long passion for music 

California, and from Minnesota to Louisiana. 

Bill played Straw Hat Matinee on NBC-TV. 

Pierson performed with society bands in Dallas, 

and studied trumpet with Johnny Howell 

in Chicago. 

Pierson married Betty Malone on June 5, 

1957. Tiring of life on the road, he settled in 

the Joplin area, and formed the Bill Pierson 

Band. His musical unit played regularly in many 

popular area clubs, including The Cotton Club, 

Hidden Acres, Rafters, Elks Club, Minnie & 

Milt's, the old Holiday Inn, and Shangri-La, 

among others. A talented arranger and writer, 

Pierson’s hand-written arrangements are still 

sought after. As a well- known local artist, he 

arranged, conducted and played music for 

Joplin's 100th Anniversary Celebration. 

Pierson shared his love of music with many 

students in the Joplin area. Because of his musical 

accomplishments, Bill received an Honorary 

Associate in Arts from Crowder College. 

Besides his wife Betty, survivors include 

daughters Sandy Dubry and Christine (Teenie) 

Smith; seven grandchildren, and 18 great-grandchildren. 

Funeral services were conducted Sept. 

16, at Parker Mortuary Chapel in Joplin. 

Official Journal of the American Federation of Musicians 

AFM Nashville Local 257 -- 1902-2009 

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Ad deadline for January-March 2010 issue, Dec. 23, 2009.


McCoy becomes both a foreign favorite, and a Country Hall of Famer 

By WALT TROTT 

Charlie McCoy, the newest musician member 

of the Country Music Hall of Fame, chatted 

with us for nearly an hour. The multi-instrumentalist 

had just returned from another tour 

in Europe, where he’s emerged a fairly familiar 

face. 

“I’m going in a week-and-a-half to Asia. I 

go every year to Japan. I’ve been there 19 

times,” continues Charlie, charter member of 

the Musicians Hall of Fame, having been inducted 

in 2007, with the Nashville A Team. 

“These people (in Japan) have become great 

friends and it’s a nice thing they’re doing . . . it 

really promotes country music. It also pays well 

and the timing’s good. I call it my property tax 

time tour.” 

Each time he goes, Charlie gets a different 

artist to accompany him: “This year, I’m taking 

Dawn and Kenny Sears. That’s gonna be 

great. I don’t know how much longer I’ll continue 

to do that, but as long as I feel good, I 

guess I’ll keep going. People ask me all the time 

when I’m retiring. Hey, as long as I can make 

the man in the mirror proud of what I do, I’ll 

go. When that ends, I quit. One of the saddest 

things in the world to me is to see an athlete or 

an entertainer who goes on too long. That’s truly 

sad.” 

McCoy is one of three artists being inducted 

in 2009 into the Country Music Hall of Fame. 

Charlie’s no stranger to the other two, Barbara 

Mandrell and Roy Clark. 

“I played on most of Barbara’s hits and it’s 

a little known fact, I recruited Barbara’s boy to 

play ice hockey. That was when I was involved 

in the Nashville Youth Hockey program, because 

my son played. I remember on a session 

with her, I asked, ‘Has Matt ever shown any 

interest in ice skating?’ She said no, he’d never 

tried it. I told her, ‘You ought to bring him down 

and let him try. He might want to play ice 

hockey.’ She said, ‘Well, he’s only 7 years old!’ 

I told her my son started at 5 and at that age 

kids can learn to skate just like that! My son 

played hockey for 10 years. Now Barbara’s a 

big fan of the Nashville Predators hockey team 

(and reserves a box seat for their games here).” 

McCoy joined Roy Clark as a regular on the 

popular syndicated TV series Hee Haw for 

many years, most notably heading up the show’s 

Million Dollar Band. 

“When Sam Lovullo called me to play regularly, 

I thought I don’t know if I can do that, as 

I was playing on so many sessions. My first 

call from him was to play behind Ray Charles, 

and that was fun. The following year, Sam called 

to say he wanted me to play in the Hee Haw 

Band, telling me it would only be for five or 

six days a month. So I tried it. Then I got there 

and saw a roomful of legends like Grandpa 

Jones, Minnie Pearl, Roy Acuff, Archie 

Campbell, along with Buck (Owens) and Roy. 

Everybody was so nice . . . then Sam said, 

‘How’d you like it?’ I agreed it was great fun. 

- Photo by Kathy Shepard 

Charlie with wife Pat and granddaughters Abby 

and Hannah during a visit at the Union. 

A candid Charlie McCoy. 

The next thing I knew he told me George Richey 

was leaving and wanted me to consider being 

music director. I tried it one time, and did it for 

18 years.” 

When did McCoy first decide to go abroad? 

“It started when I recorded with a French 

superstar in the 1970s named Eddie Mitchell. 

He came here, recorded, then took the whole 

band that played on his record over . . . we 

played a week in Paris in 1975. So in 1977, he 

took me (session leader), Russ Hicks (guitarist) 

and the Holiday Sisters back and we did a 

tour of France, Belgium and Switzerland with 

this band.” 

Does he know Eddie’s French name? 

“Sure, Claude Moine (who’s also an actor 

appearing in films like ‘La Parisiennes’ and 

‘Springtime in Paris’) . . . I played on eight 

records with the guy.” 

In 1987, Charlie recorded with Danish star 

Jodle (yodeler) Birge, “and his record guy asked 

me if I could do some records with them. I said, 

‘Yeah, but what do you want me to do?’ He 

said, ‘I don’t care, do what you want.’ So I recorded 

two albums for a Danish company. Then 

I went back to Denmark and did a radio tour. 

The following summer they called to ask me to 

do a tour with the Danish singer I’d recorded 

with (Birge), as his special guest (1988). 

“His band was pulled together by a top Danish 

guitarist named Nils Tuxen. Well, it was the 

most unique band I’d ever heard. They called it 

United Steels of Europe, as they had four steel 

guitars. That was unusual. Now when they 

would back an artist, one steel player would 

switch to keyboards, and another would change 

to acoustic guitar . . . They were all very versatile. 

We even played a couple shows together 

after the tour.” 

McCoy can look back on an enviable career 

that began when he initially sang rock and roll 

songs, shortly after coming to town at the behest 

of buddy Mel Tillis. 

“I’ve accomplished everything I ever 

dreamed about,” Charlie smiles. “No sir, you’ll 

never hear me complain.” 

Still, the man celebrated for his harmonica 

wizardry, worries maybe music videos, radio’s 

abbreviated playlist and record label honchos’ 

formulaic focus may be playing mind-games 

with today’s music lovers. 

“I think the media just pounds on people 

about who’s great and who’s not,” muses 

McCoy. “It’s like people don’t have a mind of 

their own after watching all the stuff they feed 

them. In my humble opinion, I think the worst 

thing that’s happened to our business was music 

videos. All of a sudden, the emphasis goes 

away from the sound to focus on the visual. The 

nice thing about Nashville is we have a history 

of great songs written by top songwriters here. 

Anybody with a medium intelligence can hear 

good lyrics and paint a picture in their minds. 

They don’t need somebody else to tell them 

what the song’s all about. The music video 

makers meanwhile get all artsy, crafty and say, 

‘Let’s see what we can do with this song.’ Another 

thing is the emphasis is so much on visuals 

that the first question they ask is this artist 

video-friendly?” 

Does McCoy think this is true globally? 

“It amazes me. People all over the world love 

good music. I find in Europe that they’re less 

tied to TV than Americans, so they’re not that 

affected by CMT pumping out videos to tell who 

is hot and who is not. Over there, they go to 

concerts with an open mind, kind of saying, 

‘OK, I’m gonna listen and if it’s good, fine; if 

not, I can leave.’ That’s really all a musician 

can ask. Come and listen with an open mind.” 

As a first-call session player, McCoy’s supported 

a wide variety of artists in the studio, 

including Perry Como, Manhattan Transfer, 

Simon & Garfunkel, Eddy Arnold, Kitty Wells, 

Ringo Starr, Brenda Lee, Bobby Bare, Tammy 

Wynette, Charley Pride and Elvis Presley (playing 

on eight of his movie soundtracks). 

Listen closely to classic cuts like Patti Page’s 

“Hush, Hush, Sweet Charlotte,” Johnny Cash’s 

“Orange Blossom Special,” Waylon Jennings’ 

“Only Daddy That’ll Walk the Line,” Tanya 

Tucker’s “Delta Dawn,” Tom T. Hall’s “Old 

Dogs, Children and Watermelon Wine,” Dolly 

Parton’s “Tennessee Mountain Home” and 

George Jones’ “He Stopped Loving Her Today,” 

and hear Charlie’s considerable contributions. 

Proudly he points out participating in Bob 

Dylan’s “Blonde On Blonde,” “John Wesley 

Harding” and “Nashville Skyline,” milestone 

recordings for Music City. 

“People hear I played on Dylan’s records and 

say 'You must have made a ton of money on 

that.' I’d say, ‘No, I made scale.’ They think 

that’s bad I only made scale. I’d say, ‘No, that’s 

good, because if the album had tanked, I still 

made scale on that.” 

Dylan’s original late 1960s’ recordings here 

proved beneficial in other ways, for Charlie 

feels it opened the floodgates for non-country 

acts to record here. 

“I’m working on a book myself and I call it 

‘The Nashville Explosion.’ After Dylan came, 

all these acts - at that time, we called them folkrock 

artists - started coming here, Joan Baez, 

Buffy Sainte-Marie, The Byrds, Peter, Paul & 

Mary, Gino Vanelli, Manhattan Transfer, Dan 

Fogleberg, Gordon Lightfoot, people who didn’t 

come until he did. It was almost like Dylan put 

a stamp of approval, saying ‘It’s gonna work,’ 

on this town.” 

Born March 28, 1941 in Oak Hill, W.Va. (the 

town where Hank Williams died), Charles Ray 

McCoy began playing harmonica at age 8, then 

learned to play bass and trumpet. He attended 

high school in Miami, Fla., and after seeing Bill 

Haley’s mid-1950s' movie “Rock Around the 

Clock,” started learning to play electric guitar. 

“I was learning as much as I could, since I 

wanted to teach music,” recalls McCoy. “I studied 

conducting, theory, arranging and singing . 

. . I’ve worked in some sort of group since I 

was 12, playing any kind of gig from society 

parties to rock dances.” 

One of his major bookings was the Old South 

Jamboree in Miami. After meeting Mel Tillis, 

another Florida talent, he was advised to try the 

Nashville recording scene. 

“I came up here to be a singer and auditioned 

for Owen (Bradley) and Chet (Atkins), and got 

turned down,” explains McCoy. “But Owen let 

me watch a session when he was recording 

Brenda Lee on ‘Sweet Nothin’s’ and she was 

13. I watched Grady (Martin), Harold (Bradley), 

Bob (Moore) and Buddy (Harman) at that 

studio session. That’s when I thought, ‘To heck 

with being a singer, I want to be a studio player,’ 

and do that. A year later, I came back to town to 

stay.” 

Meanwhile, he’d returned to Florida for college 

classes. 

So how did he connect with Archie Bleyer’s 

Cadence label? 

“What happened is when I was trying to 

write some songs with Kent Westberry 

(‘Memory Maker,’ ‘Be Glad’), who was writing 

for Jim Denny, we had this pop-sounding 

song ‘Cherry Berry Wine.’ He told Jim, ‘Hey, 

this song’s not my style, let Charlie sing it on 

the demo.’ I did and a couple months later, Jim 

called me in and said, ‘I played this demo for 

Archie Bleyer, and he wants to record you.’ I 

said OK, I’ll try it. So we recorded the song 

and in 1961, the record went into the Billboard 

pop charts at #99 and stayed one week. So I 

have been in the pop charts.” (Now laughing 

aloud.) 

Regarding bandsman Bleyer, who had been 

Arthur Godfrey’s music director and himself 

had a 1954 near-charttopper, “Hernando’s 

Hideway,” he founded Cadence: “That was an 

amazing company. Archie was like Fred Foster 

and Sam Phillips, a great discoverer of talent. 

Think of the artists he found, The Everly Brothers, 

Andy Williams, Johnny Tillotson, The 

Chordettes, and all on an independent label.” 

It was in 1962 that Charlie became a free 

agent again: “Archie had a record by a comedian 

Vaughn Meader called ‘The First Family,’ 

a spoof on the Kennedys, and it was a huge success. 

So Archie called me in and said, ‘You 

know I got this album going and we can’t keep 

it in stock, it’s selling so fast. I’ll tell you what, 

I’ve been in this business a long time and this 

album’s my ticket and I’m getting out. I’m 

sorry.’ 

“I told him, hey, it was OK, I was a studio 

musician and happy to be one. I had tried being 

an artist and so it fell through. I was cool with 

that. 

“Then one day on a session, Fred Foster 

called me aside and said, ‘Hey, I heard your 

Cadence deal fell through.’ I said yeah, but 

didn’t know he knew that, and I was happy being 

a studio musician. Fred said, ‘I know that. 

But it won’t hurt you to do this on the side.’ So 

he told me to come out to Hendersonville to 

talk with him about recording my own tracks. I 

asked, ‘What do you want me to do?’ Fred said, 

‘I don’t care, just cut me some records.’ So here 

I go again. I started doing the same old thing I 

did for Cadence, singing rock and roll. He’d 

said fine, nobody else in town’s doing it. I made 

records eight years for Monument and we 

couldn’t give them away. 

“Every year I’d say, ‘Fred, it’s not working. 

Are we wasting your time and money?’ He said, 

‘No, just keep looking, you’ll find it.’ Then we 

hit on the instrumental albums all of a sudden, 

and now I’ve just released album #35 (14 were 

for Monument). Since we done it, and it all came 

about, I enjoy being an artist and I like the combination 

of live performing and playing in the 

studio. It’s a nice balance.” 

Charlie’s 1972 Monument album “The Real 

McCoy” hit #2 and earned him a Grammy, then 

the next year, he hit #1 with his LP “Good Time 

Charlie,” followed by another #2 “The Fastest 

Harp in the South.” Thus far, his longest charter 

was the album “Charlie McCoy” (#7, 1972), 

lasting 44 weeks. His best showing on the Billboard 

singles chart is the 1972 Top 20 “Today, 

I Started Loving You Again,” co-written by 

Buck Owens & Merle Haggard. 

When did he get his first major break as a 

studio player? 

“Chet hired me to play on movie star Ann- 

Margret’s single ‘I Just Don’t Understand’ (#17, 

1961) and Fred engaged me to do Roy Orbison’s 

‘Candy Man’ (#25, 1961). Fortunately, as good 

luck would have it, I played on those two hits 

back-to-back. I was a 20-year-old kid, scared 

to death, and they were kind enough to encourage 

me. Timing was everything. There was an 

opening and I guess a need that I filled. It 

couldn’t have been any better.” 

Having been player, session leader and artist, 

how does Charlie feel about the audio advancements 

he's witnessed in the studio over 

50 years? 

“Well with technology, sometimes the more 

forward we go, the more behind we get. Technology 

can either be a tool or it can be a crutch. 

I’ve seen it used both ways. In my mind there’s 

less attention paid now by musicians when you 

start to record a song, because they know you 

have that opportunity to correct and repair. 

“When I started with the A Team, you didn’t


have that luxury. So I think we all paid better 

attention. Nobody wanted to be that guy who 

made everyone else have to do it again, especially 

if it had been a great take with a good 

feel. 

“Perhaps we took fewer chances, but hey, 

the records speak for themselves. They’re still 

being played. You listen to Owen’s and Chet’s 

records from back in that (Nashville Sound) era, 

including Brenda, Patsy, Conway, The Browns, 

Don Gibson, they still sound great. Now I think 

from a fidelity standpoint, maybe the discs today 

sound better because people have better 

equipment to listen to them on . . . and you save 

space with CDs (rather) than those big LPs. 

“But I don’t know if we’re any farther along. 

Yet, it’s all been good for me. I’m even doing 

sessions from Fort Myers in the winter, down 

in Florida. People send me files on the internet 

and I take it in a small studio down there, do 

my part and send the results on back. In that 

regard, technology’s great. I mean that was unheard 

of back in the 1960s or 1970s. 

“What saddens me now is when I do get a 

call for a mainstream session, I never see another 

musician. That’s sad because I liked it 

when everybody got together and you could feel 

the energy in the room. Oh, they still record the 

rhythm section all together, but a lot of the lead 

instruments are all an after-thought. Another 

frustrating thing is sometimes I get called in to 

play and the track I’m going to play on is already 

full of stuff. I say, ‘Where do I play? I 

don’t hear any place.’ They say, ‘Just play, we’ll 

figure it out later.’ Nobody wants to make a 

commitment on arrangements, you know. It’s 

like, ‘Let’s put all this stuff on the record and 

we’ll sort it out in the studio later when we mix.’ 

That’s tough on a musician, having to play that 

way. I mean for me, a harmonica works better 

in certain parts of songs. Well Walt, that’s my 

little frustration.” 

Is this something being done worldwide? 

“Overseas, there’s a lot of computer drums 

and computer programming done to make music 

tracks. I had a guy from France who came 

up and said, ‘Listen to this,’ and he played me a 

cassette of drums programmed for a track, telling 

me, ‘I put this together on my computer and 

worked three hours on this.’ I told him, ‘Hey, I 

know 18 drummers that could do that on the 

Charlie McCoy 

first take.’ So what have we gained? 

“But there are still some great records being 

made here. I think Nashville is the last place in 

the world where people can record with a live 

rhythm section. Nashville is the #1 recording 

center in the world now, no doubt about it. The 

musicians in L.A. have moved here. In New 

York, it’s kind of like there’s not much being 

done there anymore. But, of course, they made 

some great records there, also in Memphis, 

Detroit, Muscle Shoals, Philadelphia and Atlanta 

. . . 

“The current Nashville A Team, well, these 

guys are just fantastic. So I feel we’re leaving 

the business in good hands. On the other side 

of the coin, regarding the business end, I’m not 

so sure. When you’ve worked with geniuses like 

Owen, Chet, Fred, Billy Sherrill, Jerry Kennedy, 

it’s hard to compare those guys (to the present 

ones).” 

Charlie recalls asking Owen once which 

song he produced that still stands out in his 

memory as being among the greatest? 

“Owen told me Wilma Burgess’ track on 

‘Baby’ was the favorite record he ever produced. 

I expected him to say ‘Crazy’ or ‘I’m Sorry,’ 

but he said that one by Wilma (a Billboard #7, 

1965) was the one . . . You know, they had the 

Colgate Country Showdown in January, and did 

a little tribute to me with all the contestants. 

Well, they had a little medley of hits I’d played 

on and let me put the songs together. You should 

have heard LeAnn Rimes sing ‘Baby.’ My gosh, 

it was super; she nailed it to the wall!” 

McCoy still digs being on stage himself. 

Whether it be in France, Scandinavia or Japan, 

he’s ready and willing. 

“The French don’t really know what country 

music is. They just love it as good music, 

especially if it’s moving. I found out if you play 

too many ballads, it’s not a good idea. I mean 

they like bluegrass, Cajun, country rock, a good 

variety, but they like it to be up and hot. I’ve 

now played 91 cities in France. I still love it 

and the French are great.” 

Charlie has also taken his wife Pat (who is 

the granddaughter of AFM Nashville Local 257 

pioneer George Cooper, who served as union 

president 36 years) abroad: “Of course, we go 

over in conjunction with the concerts and then 

we’ll rent a house somewhere for about a week. 

We did it on the latest trip, which makes the 

sixth time. We stayed this time on the Atlantic 

coast by Spain. I mean we were two miles from 

the ocean and the weather was perfect, so it 

made a great holiday.” 

Ironically, this year as Charlie was inducted 

into the Country Music Hall of Fame, Pat 

McCoy became a recipient of the SOURCE 

Award, recognizing Music Row’s pioneering 

females. 

“Pat said, ‘I finally have a year when something 

big happens to me, and you trump it!’ Obviously, 

I had no control over that,” he grins. 

“But, that was a very special night for her, and 

I was so proud. It was great. Even two of her 

best friends came in for that ceremony, one from 

Ohio and another from North Carolina.” 

How did it feel being only the second musician 

singled out for the Country Music Hall of 

Fame (following guitarist Harold Bradley)? 

“That’s the second instrumental selection 

under the new rule. We’ve already got such 

greats as Chet Atkins and Floyd Cramer in there 

(under the old rules). I’m so proud and honored 

to be inducted. I do think they need another 

catch-up induction (as they did in 2001, 

naming 12 acts) to include the remaining A 

Team and then the Anita Kerr Singers, because 

when I came to town, they were doing it all. It 

was amazing the amount of sessions they were 

doing. I kept thinking, ‘My God, how do they 

keep the energy up.’ 

“You know, the Musicians Hall of Fame is 

also real special to me. That’s a great thing Joe 

Chambers (its founder) has done. It’s an ambitious 

venture he took on; unfortunately, a lot of 

people don’t get it or they don’t care . . . Americans 

are more into stars. Europeans are into 

musicians, and who plays behind the artists on 

a record. 

“Last year, I went into the West Virginia 

Music Hall of Fame, their second year to give 

out awards. Jimmy Dickens was their first country 

inductee (along with Molly O’Day and Billy 

Edd Wheeler), and last year Red Sovine, Wilma 

Lee & Stoney Cooper (and The Lilly Brothers) 

were inducted, which I thought was great. This 

year, Hawkshaw Hawkins, the Bailes Brothers 

and Chickie & Doc Williams from the Wheeling 

Jamboree will be inducted. There’s a lot of 

great talent from that small state. This year, I’m 

co-hosting it with Kathy Mattea (fellow West 

Virginian). I’ve never tried to co-host a TV 

show. That ought to be interesting. ” 

Does he hope to have more time for his family 

in his twilight years? 

“Oh, I have plenty of time. My kids are grown 

and I have five grandchildren, three living here 

and two in South Carolina. Why even in my 

older age, I’m taking up writing songs again. I 

haven’t had any success yet, but I’m working 

on it.” 

McCoy reunited in 2006 with Fred Foster 

to perform his musical magic on the Grammynominated 

Willie Nelson tribute album “You 

Don’t Know Me: The Songs of Cindy Walker,” 

and Willie’s “The Last Of the Breed” 2007 release 

featuring Merle Haggard and Ray Price. 

Does Charlie have a “bucket list” of things 

yet to do? 

“Yes. I’d love to do an album of Stephen 

Foster songs, and I would want Fred to work 

on that with me. I think he really has a feel for 

it . . . I also want to do an album with The Time 

Jumpers (Station Inn’s acclaimed Monday night 

house band). I could give them a totally different 

sound, with a harmonica in the middle of 

all those Western Swing fiddles. I’ll just have 

to find somebody who believes in it enough to 

pay for it all.” 

Musician Robert Carter was also a successful engineer 

Robert Tony (Bob) Carter, age 81, died at 

home Aug. 29, following an extended illness. 

A resident of Tullahoma, Tenn., he played clarinet, 

saxophone, bass clarinet and was a musical 

arranger. 

A Life Member of Local 257, he joined on 

Nov. 3, 1945. 

A native of Pulaski, Tenn., he was the son of 

Thomas B. Carter and Nancy (White) Carter. 

He attended classes at Giles County High 

School, and was elected student body president 

all four years. Bob was awarded an academic 

scholarship to Vanderbilt University in Nashville, 

where he graduated with a degree in electrical 

engineering. He was a member of Vandy’s 

Quinz Club, an alumni association of graduates. 

Mr. Carter served three years in the U.S. 

Army Signal Corps during the Korean Conflict, 

and was later employed by Tennessee Valley 

Authority in Knoxville. For TVA, he worked 

on the Nickajack Dam project. 

In 1954, he was employed by Arnold Research 

Organization, Inc. at Arnold Center near 

Tullahoma. He was an innovative engineer and 

established the Highland Rim Vanderbilt Club, 

and was a major fundraiser. Mr. Carter retired 

as an engineer in 1992, after 38 years at Arnold. 

His widow, Emma Jean Carter, said he main- 

tained a passion for music and musicians. Besides 

playing instruments and arranging, he was 

also a gifted composer. 

She recalled that her husband played and 

toured with many popular jazz bands in the 

Nashville and Middle Tennessee area up to 

2008, and at one time worked in the Owen Bradley 

Orchestra. 

In additition to mentoring young engineers, 

Mr. Carter also mentored many young musicians. 

In the early 1960s, Bob Carter founded 

the South Jackson Street Band, and continued 

to lead that band until the onset of his illness in 

January 2009. He was an elder and choir member 

of First Presbyterian Church, as well. 

Survivors include his wife of 47 years Emma 

(Parker) Carter; sons Robert Thomas and William 

McClellan Carter; grandchildren Hughes, 

Emmeline, William and Mary Carter; a sisterin-law 

Polly Harwell Carter. 

Funeral services were conducted Sept. 3 at 

the First Presbyterian Church in Tullahoma. Arrangements 

were handled by the Kilgore Funeral 

Home, Tullahoma. The family has suggested 

that memorial donations may be made 

in his name to the First Presbyterian Church, 

WPLN Radio, Lannom Memorial Public Library 

or the Cancer Research Fund. 

Parton reading program grows 

In 1996, Local 257 member Dolly Parton 

created her dream project, an Imagination Library, 

for her native Sevier County, Tenn., a 

program providing each pre-schooler a book 

every month until the child turned 5. 

Funded in part by her Dollywood theme 

park, the project proved so popular that other 

communities and then the state of Tennessee 

endorsed Dolly Parton’s Imagination Library. 

It’s now available throughout the USA, 

Canada and the United Kingdom! Dolly’s 

agencies still fund all its administrative fees. 

Reportedly more than 500,000 books are 

mailed each month to youngsters, including 

such titles as “The Little Engine That Could” 

and “Ready, Set, Skip!’ To register a child prior 

to age 5, call (865) 428-9607 or visit 

www.imaginationlibrary.com for more details.


NASHVILLE MUSICIANS ASSOCIATION 

AMERICAN FEDERATION OF MUSICIANS 

LOCAL 257 

NASHVILLE ROAD SCALE 

Effective January 1, 2010 

This scale applies to Live Performances only. Local or National Radio, Internet, TV 

or any type of recording or broadcast are not included in this scale and must be paid 

separately according to applicable AFM recording or broadcast scales. 

EMPLOYMENT BY THE DAY: (Playing only for Leader/Artist employing them) 

Nashville Road Scales Per Day 

Daily Rate* $200.00 

10% AFM-EPF (Pension) $20.00 

Total Scale: $220.00 

*This rate reflects one show in one location. 

BACK-UP SCALE: 

A. Musicians playing for an artist other than the artist/leader employing them: 

[This scale also applies to musicians on guaranteed salary] 

(1) Performance: $100.00 extra for each artists/act backed, 

including one hour of rehearsal. 

B. Music Preparation: $25.00/hr paid to musician preparing chord charts or 

musical arrangements. 

ACCOMMODATIONS: 

Proper hotel or sleeping accommodations must be furnished on all traveling 

engagements. 

PER DIEM: 

A. Daily Rate on Performance Date: $35.00 per musician 

B. Daily Rate on Non-Performance Date: $70.00 per musician 

C. While On Tour: One per diem payment is due and payable for each 

twenty-four (24) hour period, or fraction thereof. ADDITIONALLY, musicians 

must be paid one per diem for each non-performance day (Per Diem B.) 

WEEKLY SALARIES: 

Rates for musicians employed by artist/leaders on a weekly and/or guaranteed 

salary should be discussed with Local 257, artist/leader and musicians being 

employed. 

PAYMENTS AND CONTRACTS: 

A. Responsibility for Payment: Artist/leader shall be responsible for payment to 

musicians employed; including back up fees. Artist/leaders or booking agents 

must not insert anything in their contracts which would deny payment of these 

rates. 

B. Contracts: All contracts must be filed with the office of Local 257, AFM. 

PENSION: 

A. Employment-by-the-day/Weekly Salaries: Pension payments shall be made 

based on the number of days actually worked on Employment-by-the-day basis 

(Pension is 10% of the current daily scale) or on the guaranteed weekly rate. 

B. Payment to the Pension Fund: Artist/leaders agree to pay 10% pension 

contribution as specified above on each musician's earnings, each payroll 

period, to the American Federation of Musicians and Employers Pension Fund, 

made payable to the AFM-EPF, through the office of Local 257. 

C. Special Agreements: Touring artist/leaders and musicians may negotiate a 

special pension agreement with Local 257. 

D. Non-Signatory Artist/Employers: Artist/employers who have not signed the 

AFM-EPF Trust document or fileD an AFM LM-1 contract to pay pension, 

shall pay at least the total scale amount of $220.00 per day to each musician. 

NEW YEAR'S EVE ENGAGEMENTS: Double Scale 

AFM BYLAWS ARTICLE 13, SECTION 13(a & b): 

a. In case of Traveling Engagements of not less than five working days within a 

period of seven consecutive days, or of three or four days per week for two or 

more consecutive weeks, the minimum wage shall be no less than the Local 

wage scale where the services are rendered; 

b. In case of a Traveling Engagement of less than the periods set forth above, such 

minimum wage shall be no less than either the Local wage scale where the 

services are rendered or the Local wage scale where the group (or individual 

member performing alone) has its base of operations, whichever is greater. 

NOTICE: THIS SCALE APPLIES ONLY TO A LIVE MUSICAL PERFOR- 

MANCE AND DOES NOT INCLUDE COMPENSATION FOR NON-MUSICAL 

SERVICES OF ANY KIND, WHICH SHALL BE COMPOENSATED BY MU- 

TUAL AGREEMENT BETWEEN EMPLOYERS AND EMPLOYEES. 

Note: Here’s the explanation and basic details of the new Single Song Overdub Scale below. It’s 

primarily intended to capture home studio overdubs that are often completely Internet based transactions. 

It recognizes the song as a unit of commerce for the first time in AFM history,, and the 

sliding scale, negotiated by the player, is also a first. You can pay into your own pension with a 

personal check and the Agreement that the employer signs will be offered on-line for the first time. 

This cannot be used to overdub on original tracks recorded as Low Budget or Master, but can be 

used to overdub on a previously-recorded Limited Pressing track. This should be up and running 

VERY soon, and we will keep you posted. For details, contact Dave Pomeroy at the Union office. 

Happy overdubbing! 

AFM Single Song/Single Player Overdub Scale 

This scale is designed to capture the current market in Single Song “Internet Overdubs” by one player, 

typically in a home studio, for a single employer, most often for an independent artist or label. This scale 

cannot be used if the track has been recorded under any other AFM Recording Agreement (i.e. Master 

Low Budget, Jingle or Demo) with the exception of Limited Pressing Scale. 

The unit of commerce in this business model is the song, not the hour, and this scale acknowledges that 

reality by allowing the player to negotiate the scale amount according to supply and demand. It is our 

view that a player should be able to charge by the song in a straightforward fashion without any deception 

or misconception about the rate. 

For comparison purposes, the AFM signatory scale that most closely fits this scenario would be the 1.5 hr 

Special Master Session ($501.62) minimum. Understanding that independent artists may not have the 

financial resources of a Major Label, the AFM will allow a discount from this minimum in return for 

limiting the amount of product that can be produced before triggering an additional payment. 

The MINIMUM Single Song Overdub scale is $100/song or hour (at the discretion of the musician), with 

the actual wage determined by mutual agreement between the musician and employer. This is an “all-in” 

scale with H&W and Pension benefits included in the total wage, along with a small percentage for Pay 

Pal or its equivalent to facilitate the transaction. The 11% pension contribution is derived from the scale 

component only, according to current AFM practice. 

To facilitate the “all in” aspect, a scale sheet is included with rates with all benefits outlined in increments 

of $100, $150, up to $500. Scales higher than $500/song are easily calculated by adding lower amounts 

together. For example, a $600/song rate would be calculated by adding the $500 and $100 wage amounts 

together. The rate sheet is included in this memo and will also be attached to the agreement form. 

The typical procedure is as follows: 

1. Employer contacts player and sends a recording of the song on CD or via the Internet, and Musician 

responds with an offer of his/her per song rate. 

2. When price is agreed upon, Employer and Musician ‘sign’ an agreement online (enclosed below) 

clarifying wages, mutual benefits and procedures. 

3. When work is completed, Musician sends track mix for approval. Upon approval by Employer, payment 

is sent to player via check or Internet transaction, and Musician will send the individual tracks to 

Employer in an agreed upon format and method. 

4. Player will deliver the AFM-EP Fund pension contribution to the Local in the form of a money order, 

cashier’s check, or personal check, on behalf of the Employer, along with the time card, which will be 

available as a downloadable pdf at www.afm.org, or from the applicable Local’s website. Multiple songs 

and time cards are permissible under one Agreement, up to 12 songs in a six month period. All song titles 

recorded under this Agreement must be provided, and a separate Agreement must be filed for any additional 

songs recorded for the same Employer after the six month period has expired. 

5. If the song reaches a manufacturing or sales threshold of 10,000 units, player will be additionally 

compensated for a Special Master Session (1.5 hrs) at Master Scale, currently $501.62 with an 11% 

Pension contribution and the appropriate Special Payment contribution by the Employer. No additional 

Health and Welfare payment is required. 

6. If the recording is picked up for distribution or signed to major record label, the conditions of #5 above 

will apply, along with an Assumption Agreement. 

Single Song Overdub Scale - Wage Breakdown 

Total Compensation Scale H&W Pension PayPal 

6% of 11% of 3% of 

scale scale scale 

$100 83.33 5.00 9.17 2.50 

$150 125.00 7.50 13.75 3.76 

$200 166.66 10.00 18.33 5.01 

$250 208.33 12.50 22.92 6.26 

$300 249.99 15.00 27.50 7.51 

$350 291.66 17.50 32.08 8.76 

$400 333.32 20.00 36.67 10.02 

$450 374.99 22.50 41.25 11.27 

$500 416.65 25.00 45.83 12.52 

Amounts above $500 can be calculated by adding the above figures as needed. All of the numbers are 

rounded to the nearest whole cent.


Dailey & Vincent, and Dan Tyminski win big at IBMA 

Local 257’s Dailey & Vincent were voted 

their second International Bluegrass Music Association 

(IBMA) Entertainer of the Year statuette 

at the trade organization’s 20th annual 

awards broadcast, Oct. 1, in Nashville’s Ryman 

Auditorium. Their full D&V band received Vocal 

Group of 2009, as well as Gospel Recorded 

Performance for the song “On the Other Side,” 

written by Local 257’s Jimmy Fortune (with 

Kevin Denney & Tom Botkin). 

Despite suffering from laryngitis, 257’s Dan 

Tyminski managed to whisper thanks to those 

voting him top male vocalist, and for best album, 

“Wheels,” which he also produced. Fellow 

members Josh Williams and Rob Ickes (cofounder 

of Blue Highway) earned best instrumental 

honors for guitar and dobro, respectively. 

Co-hosting the event were Kathy Mattea and 

Hot Rize, notably Tim O’Brien, who also performed. 

The SteelDrivers, consisting of Mike 

Henderson, Richard Bailey, Tammy Rogers, 

Mike Fleming and Chris Stapleton, earned 

Emerging Artist honors, thanks to their acclaimed 

self-titled debut album. Dale Ann Bradley 

won her third best female singer award. 

Tom T. & Dixie Hall’s Blue Circle label won 

best recorded event of the year for their all-star 

distaff album “Proud To Be a Daughter of Bluegrass,” 

which Dixie co-produced and performed 

on with such sisters of the genre as Dale Ann 

Bradley, Rhonda Vincent, Sonya Isaacs and 

Carol Lee Cooper. 

Local 257’s Bobby Osborne of the Bluegrass 

Hall of Fame Osborne Brothers (with 

Sonny Osborne), became the only person voted 

twice into the Bluegrass Hall of Fame (formerly 

Hall of Honor), accepting this year as part of 

the poneering Lonesome Pine Fiddlers with 

Paul Williams and Melvin Goins. Also named 

this year to the Bluegrass Hall of Fame is the 

group The Dillards (best known as the 1960s’ 

fictional band The Darlings on CBS-TV’s The 

Andy Griffth Show) featuring Doug Dillard, 

Ricky Skaggs and wife Sharon presented the IBMA 

Entertainer of the Year plaque to Dailey & Vincent. 

Dixie Hall accepts award for her and hubby Tom 

T.’s ‘Proud To Be a Daughter of Bluegrass’ disc, 

winning IBMA’s 2009 best recorded event honor. 

Mitch Jayne, Rodney Dillard and Dean Webb. 

Other best instrumentalist winners: Jesse 

Brock, mandolin; Marshall Wilborn, bass; 

Michael Cleveland, fiddle; and The Grascal’s 

Kristin Scott Benson, banjoist. Cleveland’s band 

Flamekeeper won best instrumental group, and 

also took the instrumental recorded performance 

award for “Jerusalem Ridge,” their cover 

of Bill Monroe’s classic number. 

Best Song of the Year winner: “Don’t Throw 

Mama’s Flowers Away,” performed by Danny 

Paisley & The Southern Grass, co-written by 

Chris Stuart & Ivan Rosenberg. 

Distinguished Achievement Award Recipients 

were Hylo Brown, Pati Crooker, Jody Rainwater, 

Dick Spottswood and Joe Wilson. 

IBMA’s annual World of Bluegrass week in 

Nashville, ran from Sept. 28 -Oct. 4. - WT 

Photos by Patricia Presley 

Rob Ickes won his 11th best dobro player award. 

Hot Rize’s Tim O’Brien and Kathy Mattea co-hosted. 

IBMA’s 2009 Hall of Famers 

Bobby Osborne and Doug Dillard. 

Local 257 members Jamie Dailey, Jimmy Fortune and Darrin Vincent, winners all. 

SteelDrivers’ members (from left) Tammy Rogers, Richard Bailey and Mike Fleming accept as best new band. 

The Grascals - (above) Jamie Johnson, Terry Smith and Terry Eldredge - proved a popular act in the 

entertainment line-up, and their stunning banjoist Kristin Scott Benson won an instrumentalist trophy. 

Local 257’s Ronnie McCoury congratulates movie comic-turned-banjoist Steve Martin on his double win 

in the IBMA awards competition, taking home best CD liner notes and best graphics for his ‘The Crow.’


Nashville Music Awards nominating committee (from left) co-chair Jason Moon Wilkins (Director and 

Owner, Next Big Nashville), Mike Henderson and Tammy Rogers (Steeldrivers), Tracy Gershon (NMA cochair 

& VP A&R Warner Bros.), Mike Fleming (Steeldrivers), and Robert K.Oermann (NMA co-chair, 

author, music critic and historian). 

Local 257 artists earn share of Nashville Music awards 

Local 257’s Steeldrivers band earned best 

album honors for their self-titled CD from the 

revived Nashville Music Awards, during a ceremony 

at the Cannery Ballroom, Oct. 7. 

Originally presented from 1995 through 2000 

by Leadership Music, the program was discontinued 

until the Next Big Nashville festival combined 

with Leadership to resume paying homage 

to the best of Nashville area-based artists 

and their music in all genres. 

Winners of the 2009 Nashville Music Awards 

included a good number of Local 257 mem- 

Nashville’s Kings of Leon rockers (from left) 

Matthew, Caleb, Nathan and Jared Followill. 

The quartet’s ‘Only By the Night’ earned best 

pop-rock album in the Nashville Music Awards’ 

Best Of . . . 2009 competition, Oct. 7. 

ACM off-camera awards 

honor Local 257 members 

In Nashville, Sept. 22, the West Coast-based 

Academy of Country Music (ACM) publicly 

honored those 2009 award winners who were 

not presented awards on camera, during their 

live telecast last spring in Las Vegas. 

During the retroactive honors ceremony at 

the Schermerhorn Symphony Center here, those 

receiving accolades included Local 257 members 

Randy Travis, Hank Williams Jr., and the 

late Jerry Reed receiving the prestigious Cliffie 

Stone Pioneer trophies, as did Kenny Rogers. 

Dolly Parton took home the Jim Reeves’ International 

Award, in recognition of her accomplishments 

abroad to promote the country music 

image. 

Toby Keith’s action flick in collaboration 

with Country Music Television - “Beer For My 

Horses” - won the Tex Ritter Movie Award. Of 

course, it was inspired by Keith’s #1 single of 

that title recorded in duet with Willie Nelson 

(2002). 

Other ACM winners included Tom Bukovac, 

top guitarist; Aubrey Haynie, fiddler; Greg 

Morrow, drummer; Gordon Mote, pianist; 

Glenn Worf, bassist; Dan Dugmore, steel guitarist; 

while percussionist Eric Darken and 

harmonicat Jelly Roll Johnson, tied for best specialty 

instrument honors. 

Pianist Tony Brown was named top producer; 

and Chuck Ainley, won as best engineer. 

ACM Poets awards went to Merle Haggard and 

the late Nashville writer Harlan Howard. 

bers, notably best pop-rock album to Kings of 

Leon’s “Only By the Night”; The SteelDrivers’ 

self-titled CD won best bluegrass album; and 

Rascal Flatts’ “Here Comes Goodbye” earned 

them and director Shaun Silva the best music 

video-film honor. 

During the ceremony, Taylor Swift won a trio 

of awards (in absentia): Best Artist, Best Country 

Album for “Fearless,” and Best Artist- 

Songwriter, while co-writer Liz Rose, whose 

credits also include “White Horse” and “Picture 

to Burn,” earned Best Songwriter. 

Here’s the list of other victors: Take 6’s “The 

Standard,” best jazz and blues CD; Jars of 

Clay’s “Long Fall Back to Earth,” best Christian 

album; Jack White, best instrumentalist; 

Lady Antelbellum, best new act; Brooke 

Waggoner, emerging artist; Sarah Suskind’s 

“Say It Louder,” best Americana album; and 

the Heritage Award to the Fisk Jubilee Singers. 

Elvis Costello’s “Secret, Profane & Sugarcane” 

earned best Made in Music City record, 

featuring such 257 musicians as Jerry Douglas 

(dobro), Stuart Duncan (fiddle), Mike Compton 

(mandolin), Jeff Taylor (accordion) and Dennis 

Crouch (double bass), some of the most 

highly-regarded recording musicians in traditional 

American country music, Bluegrass and 

beyond. Congratulations, guys. 

- Photo by Pamela Morrow 

Congratulations to all of our Local 257 members 

who are Academy of Country Music winners of 

musicician awards,including (above) Eric Darken, 

percussionist (specialty instruments) and Greg Morrow, 

drums; plus winners Tom Bukovac, guitar; Gordon 

Mote, piano/keyboards; Glenn Worf, bass; Dan 

Dugmore, steel guitar; Aubrey Haynie, fiddle; and 

Jelly Roll Johnson, harmonica. 

Union music is always best! 

ROPE awards honor industry’s veterans 

Men of Steel - Russ Hicks, Lynn Owsley, Ron Elliott, Billy Robinson - saluted late Drifting Cowboy Don Helms. 

Local 257’s Dickey Lee wins overdue writer award. 

Local 257’s Bobby Wright of McHale’s Navy TV 

fame and sister Sue Sturdivant honored with the 

annual caregivers Florence Nightingale plaques, 

for helping father Johnny Wright, and her late 

husband John Sturdivant during their down-times. 

Headliner Jett Williams saluted her dad Hank Sr. 

The 2009 Reunion of Professional Entertainers’ 

(ROPE) winners include: George Hamilton 

IV, Entertainer; Jerry Kennedy, Musician; 

Dickey Lee, Songwriter; Tommy Cash, Business; 

Marty Martel, Media; John Hobbs, E.T. 

Humanitarian Award; Bobby Wright & Sue 

Sturdivant, Nightingale caregivers, an award 

conceived by Mac Wiseman, chairman, ROPE 

Board of Directors and former president. 

Photos by Patricia Presley (5) 

Business award winner Tommy Cash, with Marilyn 

Sellars, displays his statuette for the photographer. 

- Photo courtesy Jim Case 

Local 257’s George Hamilton IV, voted top Entertainer’s trophy for 2009, was congratulated by two 

industry friends, agent Jim Case (left) and fellow member Darnell Miller, himself a singer-musician.


. . . Fred Foster inducted into the Musicians Hall of Fame 


Walker’ and ‘Bitter They Are, Harder They 

Fall’), songs he wrote. 

“Then Larry came in with this number ‘Penny 

Annie’ about a little girl who grew up to be a 

hooker and a drug addict. I told Larry, ‘We can’t 

do that.’ He said, ‘I have to do it . . . It’ll be 

good for the Rescue Mission bunch.’ I told him, 

‘I’m in the recording business, not soul saving, 

and we have to sell records.’ (Nonetheless 

‘Penny Annie’s the final track on his debut album 

‘The Pilgrim.’) I had two great songs that 

suited his vocals, (Orbison’s) ‘Candy Man’ and 

(The BoxTops’) ‘Soul Deep,’ so I told him we’re 

going to record some songs you didn’t write, 

and Larry said, ‘I told you I’d rather not record 

a song I didn’t write,’ but they were brilliant. 

“Then he got panicky and called me the night 

before the single was to come out. He said, 

‘What if I wrote you something better?’ I said 

I’d listen . . . and it was ‘Broken Lady.’ It was a 

smash and won a Grammy. Then here he comes 

with another funeral dirge to follow it up. I said 

no, we’ll go with ‘Soul Deep,’ and again he asks, 

‘What if I write another one better?’ So that’s 

how I got Larry to write such great numbers, 

and sure enough he came up with ‘Statues Without 

Hearts,’ another big one.” 

Looking over Monument’s roster there’s a 

lack of distaff artists, with notable exceptions 

Jeannie Seely and Dolly Parton. Seely, then 

married to ace writer Hank Cochran, came to 

the label with some great songs written for her, 

including Grammy winner “Don’t Touch Me.” 

“Ray Stevens produced Dolly for me and 

was taking her pop,” muses Foster. “She was 

very disenchanted and said, ‘I want to do country, 

otherwise take me off the label.’ I thought 

that’s simple, I’ll produce her. Then Curly 

Putman played me his ‘Dumb Blonde’ song (for 

her debut LP ‘Hello, I’m Dolly,’ 1967).” 

Foster chose her self-penned “Something 

Fishy,” which scored Top 20, as follow-up. It 

was Dolly’s teaming with Opry stalwart Porter 

Wagoner that pulled Parton from Monument. 

A major draw on Wagoner’s TV series, he 

wanted to produce her and do duets at RCA. 

Fred Luther Foster was born July 26, 1931, 

into a North Carolina farm family, last of eight 

children, residing in rural Rutherford County. 

“My sister died at 22 months old in April, 

just before I was born. She had tonsillitis,” Foster 

relates. “I really wasn’t planned. My mother 

was almost 44 when I was born, and I had severe 

asthma. At age 12-to-14 months, I got 

diptheria. The doctor said if I rolled over, it 

would kill me. So they sat up with me 24 hours 

for several days. If I started to move, they put 

their hands on my chest to stop me.” 

Having come through that ordeal, Fred 

struggled with his affliction and worked the 

family farm: “You couldn’t be fragile to work 

on a farm . . . I outgrew asthma at age 13 or so.” 

Fred’s not quite sure if it’s his great- or greatgreat 

grandmother, who was a full-blooded 

Cherokee squaw, but verified this fact, by 

checking with the Indian Affairs office: “They 

told me to sign up and register myself, but I 

said no, ‘If there’s any benefits to come in, let 

somebody who needs them have it.’ 

“With her jet black hair and standing six-feet 

tall, my Aunt Minnie looked like an Indian. It 

was spooky how intuitive she was about stuff.” 

She healed herself and others with home remedies, 

like drawing rosin from cedar trees, which 

could cut through anything (including helping 

Fred through a bad asthmatic bout), or the Mullein 

plant leaves to treat pneumonia sufferers. 

Fred also has fond memories of his father: 

“My Dad was a wonderful harmonica player. 

When I was a little boy, he took the harvest in 

and sold the crops. Well, he came back with a 

new Edison Victrola and radio (which operated 

off a battery, as the Fosters didn’t get electricity 

until Fred was 8). You to be careful not to 

run the battery down. You could play the radio 

just like you do an electric one. In fact, I’d slip 

off with it in the middle of the night when everyone 

was asleep to play it low and listen.” 

When Fred was 15, his dad died, so he quit 

school to work the farm: “There was a service 

station nearby, run by Rob Sims and his wife, 

who had 26 children. He put a jukebox in the 

station and while in the field working, I could 

hear records playing. I couldn’t always make 

out the lyrics, except those of one artist, Ernest 

Tubb. Later, I got to meet him and told him 

about that. He said, ‘Bless your heart.’ I used to 

think if I ever had a record company, I’d get 

artists who when they sing, you hear every 

word, and who don’t sound like anybody else.” 

At 17, Fred was determined to leave North 

Carolina: “I’d farmed two years and that did it 

for me. I didn’t want to work in the textile mill. 

My elder brother, a loom fixer, worked in the 

business and it killed him. That wasn’t for me.” 

Visiting an older sister, a government worker 

in Washington, D.C., he began thinking about 

relocating to the nation’s capital: “Her husband 

was a nice guy from Pennsylvania. A service 

manager (for an auto dealer), he also played guitar 

and sang Jimmie Rodgers’ songs.” 

What instrument does Fred play? 

“Guitar, but not enough to worry anybody.” 

After his initial D.C. visit, it wasn’t long before 

Fred talked it out with his mother, then 

made his move: “I knew I needed more education. 

During the day I studied, working on my 

education and got a job at night with the Hot 

Shoppe (a combination diner and drive-up restaurant), 

owned by the Marriott chain. 

“I got a job as a car hop for $12 a week (plus 

tips). My first week I made about $30. The next 

week I made over a $100 . . . I’d wait on congressmen 

and such . . .” 

Then they began promoting Fred, who found 

himself making less money, having forfeited 

tips. Later, he even met the founder, J. Willard 

Marriott, of Utah: “Mr. Marriott said, ‘You have 

a great future with our company. I’ll send you 

to Salt Lake City to school, and when you come 

out, you’ll be an executive in our company with 

a starting salary of $30,000 a year, a huge sum 

in those days. 

“Meanwhile, I’d met Billy Strickland, one 

of the best M.C.’s I’d seen. Roy Clark worked 

for him one time. He could sing anything on 

stage, and was a more-than-passable steel guitar 

player. I went to this place where he was, 

which seated about 1,200 . . . always packed. 

“One time I went down and he made this big 

announcement from the stage, saying, ‘One of 

my dearest friends is in the audience, one of 

the greatest songwriters of all time. I want you 

to give a big Washington welcome to Fred 

Rose.’ The place went wild and there was a big 

applause as the spotlight hit me in the face! I 

had no choice but to stand up and feel humiliated. 

Even I knew who Fred Rose was, and I 

wasn’t yet in the business. Then Billy said, ‘I 

don’t like to impose on my good buddy, but I 

now he’ll do it. How’d y’all like to see a song 

written right before your eyes?’ The crowd went 

wild. Now I was cornered and couldn’t get 

away. They brought me pads, pencils - and 

drinks . . . So I just wrote a poem as fast as I 

could. To show you the man’s talent, however, 

Billy took the poem and said, ‘That’s a great 

idea,’ then proceeded to sing it to his own 

melody, after calling chord changes out to the 

band, and it sounded like he’d been singing it 

for years. 

“Next day he came by and I told him to get 

outta the car ’cause one of us was gonna get a 

lickin’. But he said, ‘No, you wrote a good song, 

we need to start writing together’ . . . we did.” 

That meant telling Marriott he’d pass on the 

opportunity offered, to concentrate on music. 

To augment his songwriting, Fred found work 

at Irving Music at $45 a week, representing 

quite a drop in wages. 

One Sunday at a pancake restaurant, Fred 

heard of Hank Williams’ untimely death in Oak 

Hill, W. Va., at age 29: “I sat there crying . . . 

and then I got to thinking about a distributor I 

knew in Baltimore, who took orders from Irving. 

So I found his home number and called 

him. I asked how many Hank Williams’ records 

he had in stock. ‘How do I know? Fred, for 

Fred snapped at the Union by Kathy Shepard. 

God’s sake, it’s a holiday.’ I told him to give 

me a guess and he said probably about 30,000. 

I asked, ‘Can I have them all? And I want any 

posters, pictures or promotional materials you 

have to go with this order.’ 

“The next morning from about 8:15 to 10, 

three guys unloaded records, that we stocked 

in storage rooms upstairs and downstairs, and 

on the steps and in the aisles.These were the 

old 78rpm’s. At 11, the owner came in and said, 

‘Something’s different, Freddie, what is it?’ 

“So I told him of my plan and he shouted, 

‘Are you crazy? You’ve bankrupted me!,’ but I 

said, ‘No, I’m making you a lot of money.’ Then 

I told him we’d run a one-minute spot on the 

Connie B. Gay show saying we had the entire 

Hank Williams catalog and were the only store 

that did. He wondered who was paying for that? 

I told him me. So I took the spot I’d written to 

Connie and he thought it was a helluva’n idea. 

Before I could get back to the shop, I heard the 

spot run two or three times free of charge, due 

to overwhelming response he was getting. 

“We had to call in extra help, to run the register 

while I sacked the records. The owner 

could not believe it. Then he told his wife that 

he had to pay me back for the ad, and kept putting 

dollars in my pocket . . . We ended up selling 

more than 100,000 records!” 

Word got out on Fred’s sales Chutzpah. Next 

up, he went to work for a Baltimore-D.C. wholesale 

distributor, the Schwartz Brothers, as their 

first promotion man. When Fred started, 

Schwartz didn’t have one of the records they 

handled listed in the area’s Top 10 radio records. 

Three weeks later, they had five of the 10. 

Once Fred learned J&F Distributors primarily 

promoted classical discs, he convinced them 

to let him start up a pop department. Fred also 

produced his first record, “Bummin’ Around” 

by Jimmy Dean. Foster knew Dean from his 

stint at the Covered Wagon in Washington. Bill 

McCall’s 4-Star label, which had recorded newcomers 

like Hank Locklin and Patsy Cline, released 

it: “It became a 1953 Top Five single for 

Jimmy, but neither of us ever got paid.” 

Fred worked briefly as a promotion man for 

Mercury Records, rufflng feathers by telling the 

executives why they weren’t selling enough 

records: “We need to get more rhythm into our 

music, including a heavier beat, less banjos and 

fiddles, and more electric guitars.” 

Fred also handled sales and promotion for 

ABC-Paramount Records, which in 1956, 

boasted an eclectic roster of acts like Lloyd 

Price, Eydie Gorme and Bobby Scott. 

In 1957-’58, he worked for London Records, 

a major label based in the UK, owned by Sir 

Edward Lewis. Most notably, he handled their 

licensed subsidiaries, a la Apt, boasting The 

Elegants’ “Little Star,” a #1 pop and R&B 

single, and Big Top, scoring Sammy Turner’s 

#3 pop “Lavender Blue,” followed by his #2 

R&B song “Always,” both crossover cuts. 

“All of a sudden we were just swimming in 

’em. Then in March, Walt Maguire, London’s 

marketing director, came down. He talked about 

these efforts, then looking at me said, ‘And you, 

Foster, are doing a lousy job with our pop product.’ 

I said, ‘You don’t have any, Walt.’ He had 

a typical Irish temper and blew up. I told him 

London had Vera Lynn, a traditional artist and 

went down their list, all traditional acts: ‘If I 

show any of their records to the DJs, which I 

have, believe me, they laugh at me. This is the 

age of Fats Domino and Elvis Presley’ . . . To 

his credit, Walt reigned in his temper somewhat 

and said, ‘I suppose you think you could do better?’ 

I replied, ‘I do.’ 

“The next day in March 1958, I started Monument, 

and I knew I had to have the right song to 

do anything. Without the right song, stay home. 

At the time, my wife and I were living at an 

apartment project in Maryland. Above us were 

John and Ginny Dilding. He worked as an announcer 

with WGMS, the only FM station in 

the world at the time, and he was a folk enthusiast 

. . . I’d listen to acts he’d find.” 

One voice caught Fred’s ear: “I asked him, 

‘Who is this guy?’ It was Paul Clayton, probably 

one of the most knowledgeable people on 

folklore. When I inquired about the song he was 

singing, John said it was public domain. I liked 

it but thought it was a bit redundant and that 

the chorus needed rewriting . . . I felt the song 

needed a love interest, so I wrote: ‘I want to 

see my baby, I want to see her bad . . . ” 

Foster had found the song he wanted, titled 

“Gotta Travel On,” but opted for another singer 

he’d heard performing with Jimmy Dean (on 

Dean’s CBS-TV show), named Billy Grammer. 

“Jimmy Dean had moved his show to New 

York, so I tracked down Billy, whom I had seen 

work in the club and found him a great communicator 

with a crowd, which I think is essential 

in an artist. I asked Billy how he’d like 

to be the first artist on Monument, and he said, 

‘I’d love it’ . . . 

“Then I called Chet Atkins in Nashville and 

not only asked him for studio time, but told him 

to get the musicians, and could he play electric 

guitar for us? I didn’t realize at the time, that he 

was pulling away from session playing (as he 

was A&R man for RCA), but he said, ‘Yeah, I 

can do that, I guess.’ By that time, Bucky Deane 

had invested $300 in our company for 25 per 

cent, so I had a grand total of $1,200 to do the 

session. When I finished, I had $80 left.” 

What to do now? He had a record he was 

proud of, but needed it distributed? 

“I called Walt and said, ‘You told me to do 

better, and I did.’ He asked, ‘Where are you?’ 

Then he jumped on a shuttle and was there in 

an hour-and-a-half. After listening, he said, 

‘That’s exactly what we need. It’s a monster!’ 

When he said we could put it on their Felsted 

label, I said ‘No! It has to be on Monument!’ 

Walt said, ‘I can’t do that.’ So I told him to forget 

about it then. Well, he talked to his immediate 

supervisor who as he figured, turned him 

down. But then Walt took a real gamble, he 

called Sir Edward (Lewis in London), the guy 

who started everything. So he gave us the goahead. 

That aggravated Walt’s boss, who didn’t 

like it, but had to do the big guy’s bidding.” 

Thus “Gotta Travel On” was released in October 

1958, and it became the label’s first hit, a 

million seller, that scored Top Five on both 

Billboard’s pop and country chart. 

“It sold 900,000 by February (1959),” giving 

Foster the force needed to become a fully 

independent label. 

A quarter century later, Monument’s financial 

status was such that the label was sold to 

Sony, and Combine to SBK. Fred, however, remained 

active via his Sunstone productions. 

Willie Nelson encouraged friend Fred to return 

to the studio in recent years, to produce 

Nelson’s 13-song tribute album “You Don’t 

Know Me: The Songs of Cindy Walker,” a 2006 

release which won a Grammy Award; followed 

by a trio recording “Last Of the Breed,” the following 

year featuring Nelson, Merle Haggard 

and Ray Price, Hall of Famers all. 

“That started when Cindy Walker called me 

one day to say, ‘I have a song I want Willie to 

hear, and don’t know how to get it to him. Do 

you?’ 

“At one time, he and I had talked about a 

Cindy salute, but never got around to doing it. 

So when I asked him about getting in touch with 

her, he said, ‘Why don’t we just do that album 

we talked about?’ 

“Later when she heard him singing ‘You 

Don’t Know Me,’ Cindy said, ‘I’ve had so many 

beautiful recordings of that song, but Willie’s 

is the only one I’ve ever believed.’ I called 

Willie to tell him that . . . Cindy was getting 

weaker all the time. But the New York Times 

did a beautiful article (on her) in living color 

(shortly before her death).”


Legislation & Labor reporting 

Local 257 artists open for U.S. President in Cincinnati, Ohio 

Kathy Mattea 

Singer and Local 257 member Kathy Mattea 

and her great band - Bill Cooley, David Spicher 

and Eamonn O'Rourke - opened for President 

Barack Obama on Sept. 8. They played for a 

gathering of top AFL-CIO leaders, politicians, 

union members, and activists at Cincinnati’s 

Coney Island Park as they awaited the 

President’s remarks. 

(Mattea, a native of Cross Lanes, W. Va., was 

voted Country Music Association’s best female 

vocalist in 1989 and ’90, thanks to such hit 

songs as “Eighteen Wheels & A Dozen Roses,” 

“Come From the Heart,” “Burnin’ Old Memories” 

and “She Came from Fort Worth.”) 

Kathy and her band were acknowledged by 

the President from the stage and reports that 

came in said the performance was awesome. 

At the annual picnic, hosted by the Cincinnati 

AFL-CIO Labor Council, The President 

discussed the progress of his economic recovery 

plan. Over 10,000 people were in attendance. 

A little background: Local 257 was contacted 

by labor leaders from Cincinnati, the Friday 

before Labor Day, hoping that we could help 

with finding an artist that could perform. 

After following protocol of talking to President 

Frey, AFM Local 1-Cincinnati, and receiving 

his blessing for us to help supply a Nashville 

artist, many phone calls were made. 

Mattea was reached out on the road, and she 

graciously agreed to head for Cincinnati. 

Thanks Kathy, band, and everyone involved 

with making this happen. - Craig Krampf 

Ellen DeGeneres’ music hits sour notes 

According to news reports, The Ellen 

DeGeneres’ Show is being sued by Nashville 

firms for allegedly violating copyright laws by 

utilizing recorded music, to which she dances, 

on her TV talk show, without properly compensating 

the artists, writers and publishers. 

NBC’s producers contend she’s giving free 

promotion for the songs used, by playing them 

during her DJ segment, and also when guests 

make an entrance. 

Additionally, the star has been inked to serve 

as the fourth judge on Fox’s American Idol talent 

show replacing Paula Abdul. Meanwhile, 

the Nashville-based Warner Music Group, 

Sony Music Entertainment, Universal Music 

Group and the EMI Group have filed their lawsuit 

in Nashville, citing the DeGeneres show’s 

A Very Good Production producers with using 

more than 1,000 songs without permission, and 

seek an unspecified sum for violation of copyrights. 

When asked why they did not obtain the music 

through performance rights agencies, the 

show’s representative stated they “did not roll 

that way.” The legal document filed by the companies 

contains this written response: “As sophisticated 

consumers of music, defendants 

knew fully well that regardless of the way they 

roll, under the Copyright Act . . . they needed a 

license to use the sound recordings lawfully.” 

DeGeneres, 51, launched her career 

as a standup comic, cutting records, then appeared 

in the movies “Conehead” and “Love 

Letter,” but gained her greatest renown with the 

two TV series Ellen and now her talk show The 

Ellen DeGeneres Show. 

Art donated to Local 257 offices 

Family Donates Painting - Lifetime Member Lillian Vann Hunt passed away May 3. (Please see the July- 

Sept. issue for Ms. Hunt’s obituary.) The violinist retired from the Nashville Symphony in 1982, after suffering 

a health setback. When her brilliant career in music came to an end, Lillian became a visual artist, giving her 

a new creative outlet. She focused her work primarily on similarities between classical music forms and abstract 

painting. Her family graciously donated one of Lillian’s paintings to Local 257. Lillian’s daughter, Carol 

Vann Hunt McElwain, said that her mom would be thrilled to know that one of her paintings is now hanging in 

our lobby. (EIC’s note: I believe that Lillian knows :) This painting was first done in acrylic and repainted in oil 

in 1994. Pictured here with the painting are son-in-law Jack McElwain and Carol Vann Hunt McElwain. 

The Tennessee AFL-CIO 26th Biennial Convention was held Aug. 16-18 at the Sheraton Music City Hotel 

in Nashville. Pictured above, following the banquet, are: Eddie Bryan (Secretary/Treasurer AFL-CIO TN), 

Jan Jennings (Local 257's attorney), Lindsay Jerry Lee (President AFL-CIO TN), Craig Krampf (Local 257 

Secretary/Treasuer), and Lewis Beck (President, Central Labor Council of Nashville and TN). 

Notice: Got legislative news concerning musicians? If so, send it to Local 

257 Secretary-Treasurer Craig Krampf on-line at Craig@AFM257.org 

Sharing facts about the AFM Pension Fund 

By LAURA ANN ROSS 

Local 257 Symphony Steward 

Recently, a few of my friends and colleagues 

have mentioned that they are planning to file 

for early retirement with the AFM-EPF - the 

pension fund. I thought it might be a good idea 

to share some of the information that has been 

passed onto me at both the Southern Conference 

in June and again at both the ROPA and 

ICSOM conferences, which included the presence 

of Director of Benefits Vinni LoPresti and 

Director of Finance Will Leubking. 

In the past few years The Fund has tightened 

up some of their policies and one in particular 

affects our members. Participants (that's 

all of you who are vested in The Fund) who 

desire to retire earlier than the standard age of 

65 can do so beginning at age 55, with certain 

conditions. 

1. The benefit paid each month will be actuarially 

adjusted to your age because you will 

be receiving your benefit for a significantly 

longer period than if you waited to age 65; 

2. You must discontinue any “covered” employment 

once you have made your intent to 

retire known to the pension fund and set the 

date of retirement. (Covered employment 

means anything you would receive a pension 

contribution for. If you play a gig that has no 

pension, that’s OK, or if you have a different 

job that doesn’t pay pension, that’s OK, too.); 

3. For the next two months after you retire, 

you may not perform any work that would incur 

a pension contribution - this is critical. Any 

payments received during this period, with the 

exception of new use payments made for work 

previously performed, will halt your pension 

payments and any monies received could trigger 

any number of scenarios, including repayment 

of all monies received and possibly prohibiting 

you from any possible early retirement 

consideration - in other words, you’d have to 

wait until you were 65 to collect; 

4. Any participant who has steady employment 

and an expectation of continuing that 

employment MUST RETIRE FROM THAT 

EMPLOYER. This applies to me as a Symphony 

musician, to the employees and officers 

of Local 257, the House Band at the Opry and 

probably a lot of you who are members of tour 

ing bands. 

This particular situation has undergone additional 

scrutiny in the last few years, and The 

Fund monitors this much more diligently now. 

They will not only monitor the two-month 

“break in service,” as they call it at The Fund, 

but they also call the employer to assure that 

the participant has, in fact, retired and has no 

expectation of being hired any time in the future. 

(Since employers are signatory to the Pension 

Trust Agreement, it’s doubtful they will 

be willing to incur problems on their end . . . ) 

Additionally, beyond calling the employer 

and monitoring the contributions during the 

two-month break in service, they will also continue 

to monitor activity and if they see it as 

returning to the same pattern in that next year, 

they will act to remedy the situation. 

So in my case, I can’t ask my employer to 

lie for me during a two-month break and go right 

back to work - I have tenure and I have an expectation 

of returning to work after that time. 

If I retired (I still have a few years to go, by the 

way), and then later on I’m hired to sub with 

the orchestra, that would be acceptable to The 

Fund, but that is because I had no guarantee 

and I was legitimately retired. 

This is why our colleagues who freelance in 

the recording community can retire early with 

just a two-month break in service. As RMA 

President Phil Ayling recently characterized it 

at ICSOM, he never knows from week-to-week 

whether he will have employment two months 

from now, he just hopes he will, but he could 

just as easily be out of work. That’s the difference 

- some of us have job guarantees and others 

don’t. 

Let me urge you, if you have any questions 

about your status regarding early retirement, the 

final authority will be the Pension Fund, their 

attorneys and their trustees. If you have any 

questions, the person to address your questions 

to (in writing) would be Vinni LoPresti, the director 

of benefits for The Fund. The pension 

fund address is: AFM-EPF, One Penn Plaza 

#3115, New York, N.Y. 10119. 

And last, but not least, if you haven’t already 

registered online on the new pension fund 

website, go to www.afm-epf.org and begin the 

registration process.


Community outreach . . . and more 

- Photo by Mickey Dobo 

Three Ring Circle (Andy Leftwich, Dave Pomeroy and Rob Ickes) perform with Jeff Taylor sitting in on 

accordion at last year's Nashville Unlimited Christmas show in Christ Church Cathedral. 

. 

Surprise guests to perform at 10th annual Christmas 

show to benefit Room In The Inn’s homeless program 

The 10th Annual NASHVILLE UNLIMITED CHRISTMAS CONCERT will be conducted, 7 

p.m. Wednesday, Dec. 16, in Nashville’s Christ Church Cathedral, 900 Broadway downtown. 

This Nashville holiday tradition is devoted to raising funds for ROOM IN THE INN’s homeless 

program. Each year at Christmastime, bassist/producer Dave Pomeroy pulls together a dazzling 

array of the finest singers and players in Music City for his annual holiday concert to benefit 

Nashville’s Campus for Human Development’s Room In The Inn’s homeless program. 

The concert in Christ Church Cathedral’s beautiful sanctuary is being co-hosted this season by 

Dave and Don Henry, and as always is free, with a suggested minimum donation of $20. All proceeds 

go to Room In The Inn. 

There will be a host of great Nashville holiday music, and as always, some surprise “mystery 

guests.” Past performers have included Emmylou Harris, John Prine, The Fisk Jubilee Singers, 

John Cowan, Tim O’Brien, Beth Nielsen Chapman, Maura O’Connell, Sam Bush, Suzy Bogguss, 

Ashley Cleveland and Three Ring Circle, just to name a few. Highlights from last year’s show will 

be aired on WPLN, 7 p.m. Dec. 19 as the Ninth Annual Nashville Unlimited Christmas Special. 

Since 1992, Dave’s holiday concerts have raised over $100,000 for the Room In The Inn program. 

However, the noble work of Room In the Inn is never done. We hope you will join us in celebrating 

the season with great holiday music, while raising much-needed funds and increasing Nashville's 

awareness of the great acts of love, kindness and understanding done for our community by Room 

In The Inn, over the past 20 years. For details, contact Room In the Inn, telephone (615) 251-7019. 

Musicians prep to participate in Veterans’ Day parade 

Veterans’ Day is Nov. 11, and for the first time in recent memory, Local 257 will be involved in 

Nashville’s Veterans’ Day parade. 

Local 257 member Ralph Land heads up the Tennessee Chapter of the Vietnam Veterans Association 

and has made us aware of all the works in progress for Veterans Rights, including Fisher 

House (a place for families of sick veterans to stay during hospital stays, a la Ronald McDonald 

House) and "Operation Stand Down" a veterans service center on 12th Avenue South that recently 

processed 428 homeless veterans. - Dave Pomeroy 

First annual ‘Caroling On The Row’ scheduled Dec. 11 

On Dec. 11, Nashville's Music Row will be the setting for the first ever "Caroling On the Row - 

A March for The Homeless," an event honoring national Project Homeless Connect Week, which 

runs from Dec. 7 -13. The event, which is being organized by Local 257, USAGEM, MCCF and 

other organizations, is intended to raise awareness of Nashville's homelessness problem, and raise 

funds for Metro Nashville's "Key Alliance," which helps the local homeless community have a 

voice. The event will run from 11 a.m. to 1:30 p.m. on Dec. 11 and will cover much of Music Row. 

Please help support this noble cause. Thanks! - Dave Pomeroy 

Movie focuses on drummer’s search for a donor 

Community Cinema hosted a screening of the Independent Lens film “DTour” this past September 

at the Nashville Public Library. The film chronicles musician Pat Spurgeon’s emotional search 

for a living kidney donor and the challenges associated with finding a viable match. Locla 257 

officers Dave Pomeroy and Craig were on the panel for the post movie discussion. 

This is an incredibly moving film. A brief synopsis: Pat has big dreams to make it as an indie 

rock musician with his band, Rogue Wave. Just as his career is about to take off, he suffers an 

incredible setback when one of his kidneys begins to fail. The movie follows Pat on his emotional 

search for a living organ donor, and his attempt to balance his health with a rock ’n’ roll lifestyle. 

This young drummer’s journey is captured in this movie with the hopes that it can raise awareness 

of organ donation, aptly called “the gift of life.” Some of the true life, unexpected plot twists are 

gut-wrenching. Keep an eye out for its planned November PBS broadcast. 

Pictured are (from left) Regional Outreach Coordinator Allison Inman, Dave Pomeroy, Kenny Walker 

(kidney recipient and former heavy-metal drummer), Craig Krampf, Teresa Davidson, Executive Director, 

National Kidney Foundation, Mid-TN (NKFMT), and Samantha Rogers, Program Director, NKFMT. 

With this group of panelists, just about every angle of the film was covered during the postscreening 

discussion. Kenny, Teresa and Samantha schooled everyone on organ donation, and helped 

the gathering understand both the urgent need for donors and the simple steps we can take to sign 

up. The importance of talking with family about an individual’s choice to be an organ donor (even 

if you’re signed up, they can overrule) was also discussed. Dave and Craig addressed the audience 

about the options for health care insurance now available through AFM Local 257. Afterwards, 

Dave and Craig spent time with several young musicians who were in attendance, answering their 

questions about the AFM and explaining the many benefits of becoming a Local 257 member. 

Local 257 volunteered to help United Way's ‘Day of Action’ in September. Over 200 volunteers met at 

The Sommet Center to pack boxes of food for the needy. We learned calls for assistance with food is up 

some 65% over this time last year. Musicians strolled through the work area playing songs and bringing 

lots of smiles and good cheer. United Way said that everyone really appreciated this most unique way 

to help the effort. Pictured above (from left): Craig Krampf, Danny Flowers, Dave Pomeroy, 

Eric Dewey (President & CEO United Way Metro Nashville) and Jonathan Yudkin. 

Symphony players and Americana artists link up to make sweet sounds 

As part of the Americana Music Festival and Conference, The Nashville Symphony performed a 

special show on Saturday, Sept. 12. It was billed as their inaugural "Classical Americana" concert 

at the Schermerhorn Symphony Center in downtown Nashville. 

The theme for this show was an exploration of the links between classical and roots music. A 

number of bluegrass and old-time artists were featured performers – Alison Brown, Sam Bush, 

Jerry Douglas, Byron House, Buddy Miller, Abigail Washburn and surprise guest, Country Music 

Hall of Famer Emmylou Harris, among them. 

They joined the Nashville Symphony, led by Resident Conductor Albert-George Schram, on a 

program of American music, including gospel, blues and folk melodies, plus works from American 

composers George Gershwin and Aaron Copland, both born in Brooklyn, New York, within two 

years of one another. - Craig Krampf 

Celebrating ‘Classical Americana’ in photo at left are (left to right) David Macias (President, Thirty Tigers), 

principal tympanist Bill Wiggins, Americana artist Buddy Miller, pianist John Deaderick, violinist Laura 

Ross, flutist Ann Richards and Craig Krampf, Local 257 Secretary-Treasurer, and drummer in his own right.


Ropin’ them in at 12th & Porter 

- Photos by Patricia Presley 

Sweethearts of the Rodeo finding a solid groove 

“To everything there is a season,” so sang The 

Byrds, who inspired the Sweethearts Of the 

Rodeo, “A time to gain . . . I swear it’s not too 

late.” 

“Turn, Turn, Turn” was the Byrds' December 

1965 #1: “A time to heal, a time to laugh . . 

To everything, there is a season/Turn, turn, 

turn.” 

Musically, it’s time again for Janis and 

Kristine Oliver, who selected their stage name 

from The Byrds’ milestone 1968 country-rock 

album “Sweetheart Of the Rodeo.” 

“I can’t believe we stopped singing for so 

many years,” chides Kristine, staring at sister 

Janis on stage at Nashville’s trendy 12th & Porter 

Club, to entertain invited industry members, 

Sept. 16. 

Over a five-year period (1986-’91), Sweethearts’ 

tight harmonies scored a dozen Billboard 

chartings for Columbia Records, including Top 

Fivers’ “Midnight Girl, Sunset Town” and 

“Chains Of Gold.” 

The siblings reunited last spring for a new 

album being produced by bassist extraordinaire 

Dave Pomeroy, whose indie Earwave Music issued 

the acclaimed album “Three Ring Circle,” 

a two-time IBMA nominee in 2006. 

According to Emily Bragg of Monty 

Hitchcock Management, representing the act, 

“The exact release date is not confirmed, but 

planned for first quarter 2010.” 

Besides music director Pomeroy, their 12th 

& Porter players included other studio elite: 

electric guitarist Richard Bennett, drummervocalist 

Rick Lonow, steel guitarist Al Perkins, 

guitarist Kenny Vaughan and keyboardist Jim 

(Moose) Brown. Further backing vocals and 

tambourine supplied by percussionist Vince 

Santoro (who recorded for stars Rosanne Cash 

and John Prine). 

These guys, literally country and rock royalty, 

were smokin’ hot! Gibson Guitar calls 

Perkins (Big Dog 3), “the world’s most influential 

dobro player.” The modest steelie’s recorded 

and toured with such notables as Byrdman 

Gram Parsons, Emmylou Harris’ Nash 

Ramblers, Stephen Stills’ Manassas, Bob Dylan, 

Flying Burrito Brothers, Desert Rose Band, The 

Eagles and The Rolling Stones. 

Watching and listening to laconic (Fabulous 

Superlative) Vaughan, who earlier backed the 

Sweethearts, is a treat in itself. Although 

laidback, Kenny exhibits a terrific range and 

great respect for guitar and lyrics. An in-demand 

session picker, he’s worked with formidables 

Patty Loveless, Rodney Crowell, Lucinda Williams 

and Marshall Chapman. 

Bennett is Mr. Versatile, having supported 

an array of players, including Mark Knopfler, 

Billy Joel, Barbra Streisand, Rodney Crowell 

and the Bellamy Brothers. He co-wrote “Forever 

in Blue Jeans” (for bossman Neil Diamond), 

and produced Emmylou’s acclaimed 

album “Bluebird.” 

Lonow, late of The Bellamy Brothers, 

Burrito Deluxe, Cup’a Joe, Poco and Jamie 

Hartford bands, also played on disc with the 

likes of Johnny & June Carter Cash, Nicolette 

Larson, Richard Manuel, Nanci Griffith, and has 

co-written songs such as “Call It Love” (Poco, 

Mr. Hyde). 

Brown, a Grammy-winning songwriter (“It’s 

5 O’Clock Somewhere”), has played piano for 

many contemporary artists, among them Trace 

Adkins, Craig Morgan and Trick Pony. 

The seemingly ageless Sweethearts offer an 

easy-to-embrace fusion of country and rock that 

does credit to their mentor. Their generous set 

boasted an eclectic mix of medium and uptempo 

tunes, several recalling their chart heyday, 

including the girls’ soulful Billboard Sales 

#1, “Blue To the Bone.” 

Janis in her six-inch high-heels is stunning, 

while Kristine’s sexy lead singing stands out, 

but it’s their captivating sisterly vocals that defines 

their style. Although we couldn’t catch all 

the song titles, their performances were flawless; 

enhanced by a band, both assured and spirited, 

helping to carry the crowd away on a wave 

of excitement. 

During a band break, the duo launch into 

their classic “Midnight Girl, Sunset Town,” accompanying 

themselves to good effect. As they 

kick off their rendition of Johnny Cash’s Sun 

Records’ rouser “Get Rhythm,” Pomeroy and 

his musicians stealthily slip back onstage, 

blending into their signature sound. 

Janis and Dave share irrepressible musical 

interplay that creates a contagious magical 

mood. The entire crew adds much entertainment-wise; 

however, the evening’s true revelation 

is the sisters’ winsome rekindling of vocals. 

They announce a number as being quite special 

to both, “Chains of Gold,” followed by another 

Janis was inspired to write metaphorically 

after a tractor was left out in the rain on her 

farm, titling it something wistful like “Heart Out 

In the Rain.” 

Kristine confides she’s not a songwriter, 

noting that big sister does rather well in that 

department, having collaborated with fellow hit 

writers like Danny Flowers and Don Schlitz. 

In turn, Janis made mention of ex-hubby 

Vince Gill, introducing a song they co-wrote: 

“Maybe Tonight” (heard on his 1994 triple platinum 

album “When Love Finds You”). 

“He’s a man who knows something about 

songwriting . . . (and) to whom I was married 

for many, many, many years (17 actually). But 

I don’t sing it like Vince sings it.” 

Even so, it was well-received at this watering 

hole. Among other songs Janis wrote are 

“There One Morning,” “Bluegrass Boy,” 

“Gotta Get Away” and “Satisfy You” (the latter 

two Sweethearts’ chart hits). She’s writing 

again, and off stage enjoys nothing more than 

riding horses, or being with her daughter Jenny 

Gill (a singer in her own right, who has a small 

band that plays locally). 

The Sweethearts, Janis and Kristine, with costume designer Manuel and producer Dave Pomeroy. 

Kristine and Janis perform at 12th & Porter (that’s Dave Pomeroy and Kenny Vaughan behind them). 

“We haven’t had a record out in 10 years 

and this is so important to us, and we thank you 

for coming out and giving us your support” - 

complete with standing ovations. 

Kristine, who in private life is wife of musician 

Leonard Arnold, mainly sings lead, though 

it’s their family harmonies that prove so pleasing 

to the ear. 

A spellbound audience appeared astonished 

by the piercing power emerging in the Sweet- 

Futureman’s innovative sounds 

A true showman, Wooten as ‘Roy-El,’ the pirate. 

Over the past several months, we’ve had calls 

and queries regarding a teaser that ran in an earlier 

issue, promising a story on “Futureman” - 

a.k.a. Roy Wooten - and his Black Mozart Ensemble 

Experience, which we’d hoped to share 

with readers. 

Like most successful people, Local 257 

member Wooten has been super busy, and thus 

had to postpone our interview until a future date. 

Futureman, a long-time member of the Bela 

Fleck & The Flecktones jazz-blues group, and 

multiple Grammy winner, created his visionary 

Black Mozart Ensemble, as something of a 

personal statement, bringing the classical roots 

into the modern world. 

The concerts salute 18th century composer 

Joseph Boulogne de Saint Georges, the Black 

Mozart whom James Madison, in the period of 

The Renaissance, hailed as “the most accomplished 

man in Europe.” America’s fourth President 

was alluding to his compositional skills, 

AFM Legislative Action Fund 

hearts’ 12th & Porter performance. Obviously, 

it’s every bit as meaningful as two decades back 

when they covered The Clovers’ “Hey, Doll 

Baby,” then suddenly broke through with 

“Since I Found You” (#7, 1986). 

Perhaps it’s even more meaningful now, 

considering their experiences since, and oh yes, 

to everything there is a season. Indeed, this time 

it was warm and wonderful for the sisters, 

Sweethearts still. - Walt Trott 

along with his ability at fencing, riding, shooting 

and dancing. 

Saint Georges, the son of a slave, fought 

against racism all his life, and Wooten sees him 

as a heroic model for those who face racism 

and divisiveness even in today’s world. 

The Black Mozart Ensemble is comprised 

of vibrant young virtuoso violinists and cellists, 

performing classical works written or inspired 

by the composer, playing under 

Wooten’s direction. Reportedly, these are 

blended with African-American spiritual 

sounds, complemented by contemporary fusions 

of funk, jazz, hip-hop, bluegrass and modern 

dance. Wooten, known for costumes, such 

as his piratical garb at left, laces his presentations 

with humor, adding up to pure entertainment 

for concertgoers. 

Futureman sees his composition as having 

social aspirations for all races of humanity, and 

has suggested that it can promote positive community 

involvement regarding local youths 

hoping for a better future, as well. 

Percussionist Wooten is also inventor of the 

“drumitar,” a combination keyboard and drum 

kit designed in the shape of a guitar. Hailing 

from a family of musicians, his talented siblings 

are Regi Wooten (guitarist), Victor 

Wooten (electric bass), Rudy Wooten (saxophonist) 

and Joseph Wooten (keyboards), who 

performed together as The Wooten Brothers, 

while growing up in their home state of Virginia. 

After graduating from high school in Newport 

News, Va., Roy studied music for a time 

at Norfolk State University. Long-time fans 

also know him by the nickname “Futche.” 

Roy moved to Nashville during the mid- 

1980s. With Fleck’s The Flecktones Quartet, 

he performed and recorded with Bela, Jeff 

Coffin (sax), and Victor Wooten. 

Other of Roy’s own solo recordings include 

“The Seamless Script,” “Pi Lullaby” and “Evolution 

de la Musique.” He continues to tour extensively 

today, and fans can check out his 

schedule via futuremanmusic.com - WT 

Consider donating to the AFM Legislative Action Fund, formerly known 

as TEMPO. Donors of $10 or more receive an AFM lapel pin, while those 

donating $50 or more, receive a black AFM T-shirt. Send check to AFM Legislative 

Action Fund, Ste. 600, 1501 Broadway, New York, N.Y. 10036.


Kitty Wells feted at 90th birthday bash in E.T.’s Texas Troubadour Theatre 

Sonny James greets Kitty, a friend since the 1940s. 

Second generation singer 

Ruby Wright, 69, succumbs 

Singer Ruby Wright Taylor died Sept. 27, 

one month shy of her 70th birthday, apparently 

from a heart attack at her home in suburban 

Madison. She’s the daughter of Local 257 Life 

Members’ Kitty Wells and Johnnie Wright. 

Some may remember her as the first Princess 

of Country Music, having received an RCA 

contract at 14, while still cheerleading at Madison 

High School. The label lightened her brown 

locks, christened their new blonde find Ruby 

Wells (borrowing from the stage name of Decca 

superstar Kitty Wells), and recorded her in an 

unlikely duet with Grandpa Jones for a cover 

version of “Lookin’ Back To See.” 

Like mom, Ruby recorded an answer song, 

“Why Fall So Slowly,” a feminine retort to 

Webb Pierce’s smash “Slowly.” She hit the road, 

touring with the King & Queen of Country 

Music no less, Roy Acuff & Kitty Wells, scoring 

big as a 15-year-old featured player, along 

with third headliner Johnnie & Jack. Their 1954 

gig in New York City’s famed Palace Theatre 

proved SRO, prompting management to extend 

their stay a few more weeks. 

In 1955, RCA created the ’Nita, Rita & Ruby 

rockabilly trio consisting of her, Anita Carter 

and Rita Robbins. Among their cuts were Cindy 

Walker’s “Give Me Love,” along with teen fare 

“Leroy,” “Lovey Lips” and “Rock Love.” Despite 

being cited by Cash Box’s DJ Poll as second 

most promising new group (behind The 

Browns), they soon disbanded, as Anita insisted 

on touring with Mother Maybelle and sisters 

Helen and June. 

Ruby kept reaching for her own opportunity 

outside the shadows of her famous kin, achieving 

smidgens of success with the teen set, via 

songs such as Hank Mills’ “Billy Broke My 

Heart at Walgreen’s (And I Cried All the Way 

to Sears).” 

Nonetheless, her biggest recording of the 

1950s, occurred by singing “trio” with Dad and 

Uncle Jack Anglin on the Johnnie & Jack near- 

Top 10 “I Wanna Be Loved (But Only By You),” 

released in spring ’56. Meanwhile, she’d married 

high school sweetheart Larry Stephenson, 

a grid-iron hero, and welcomed their first baby 

Larry Jr. (giving country’s queen a first grandchild) 

in December 1956. Appropriately within 

country’s royal family, he was nicknamed 

“Duke”; and their second child Kitty Elizabeth 

in 1962, was named to honor Mom. 

During the early 1960s, Ruby and younger 

sister Sue teamed briefly, being signed to Archie 

Bleyer’s Cadence Records, a label boasting 

another pair of siblings as its flagship act: The 

Everly Brothers. The Wright Sisters’ best showing 

was “That’s OK,” with “Crazy Over You.” 

Then sweet Sue met and married musician 

Johnny Sturdivant and settled down to raise a 

family of her own. 

Ruby Wright continued to tour with the family 

show, before being signed to the independent 

Ric Records, also home to Lynn & The 

Mersey Maids, whose major cut was a take-off 

on Herman’s Hermits “Mrs. Brown, You’ve Got 

a Lovely Daughter” with their “Mrs. Jones, Your 

Son Gives Up Too Easy,” and Ruby Wright’s 

“Dern Ya” answering Roger Miller’s smash 

Country Music Hall of Famer Kitty Wells, 

was guest of honor at the Ernest Tubb Texas 

Troubadour Theatre, Aug. 30, to mark her 90th 

birthday. Theatre owner David McCormick 

sponsored two hours on WSM-AM radio to 

honor the lady who broke down barriers against 

country females, scoring 38 Top 10s at a time 

when women fought for airplay, and hit the #1 

spot with songs such as “It Wasn’t God Who 

Made Honky Tonk Angels,” first #1 for a country 

female; “One By One” (which charted 41 

weeks); and “Heartbreak USA,” first 

charttopper by a female in the 1960s. 

WSM historian Eddie Stubbs, a fellow member 

of Local 257, interviewed the Nashville 

native, born six years before the show that 

“Dang Me,” going Top 10 Cash Box and #13 

Billboard in 1964. She followed it with the wistful 

“Yester-Me, Yester-You, Yesterday,” a Stevie 

Wonder song. 

The second-generation artist appeared with 

second husband, drummer Leo Taylor in a Hollywood-meets-Nashville 

movie co-produced by 

Audrey Williams (formerly Mrs. Hank Williams) 

in 1965’s all-star “Second Fiddle To a 

Steel Guitar.” It starred comedian Arnold Stang 

and Bowery Boys’ Leo Gorcey and Huntz Hall, 

along with country elites like Faron Young, 

Kitty Wells, Webb Pierce, Dottie West, Homer 

& Jethro, Sonny James, Minnie Pearl, Jimmy 

Dickens and Johnny Wright. Changing the 

spelling of his first name, Wright enjoyed a solo 

#1 Decca disc that year “Hello, Vietnam,” following 

the untimely death of vocal partner Jack 

Anglin. Backing vocals were supplied by The 

Kitty Wells Singers, featuring Ruby. 

She next recorded for Columbia/Epic, notably 

“A New Place To Hang Your Hat”(1966) 

and (Stu Basore’s) “I Can Find A Better Deal 

Than That” (1967), but these proved less successful. 

“Billy Sherrill produced it. That was right 

when Billy was just getting started,” she said, 

in our earlier interview. “I believe I was the first 

girl singer Billy produced (of course he went 

on to do so for blonde divas Barbara Mandrell, 

Tammy Wynettte and Tanya Tucker).” 

Reportedly, Curly Putman, who co-wrote “A 

New Place . . .” with Ruby, penned “Dumb 

Blonde” for her, but Fred Foster assigned it to 

newcomer Dolly Parton, and it became her first 

Billboard charting in 1967. Ruby Wright continued 

to tour with the family show and costarred 

on their popular color TV series The 

Kitty Wells Family Show up to 1969. 

Then in the late 1980s, declining health 

prompted Ruby’s retirement. Her last public appearance 

(in a wheelchair) was at Mom's 90th 

birthday celebration in the Texas Troubadour 

Theatre, Aug. 30. 

Survivors are son Duke Stephenson, daughters 

Kitty Elizabeth Ervin and Corrie Louise 

Cluck (by her marriage to Taylor); her parents; 

brother Bobby Wright, also a 257 member; and 

sister Sue Sturdivant; grandchildren Kourtney, 

Kaitlin and Brandon; and two great-grandchildren, 

Max and Aaron. Funeral services were 

held Oct. 1 at Spring Hill Funeral Home, Madison, 

with interment in Spring Hill Cemetery. 

Coincidentally, Ruby’s close friend Joyce 

Jackson has included a career overview of the 

former artist in her forthcoming biography, “My 

Memories of Jim Reeves & Other Celebrities” 

(Nova Books, 2009). - Walt Trott 

would become the Grand Ole Opry. On Oct.30, 

1937, she wed fellow vocalist Johnnie Wright 

of Mt. Juliet, who not only guided her career to 

the heights, but developed his own act with 

brother-in-law Jack Anglin as RCA’s hitmaking 

Johnnie & Jack duo, and later as a solo star. 

Johnnie, 95, attended her party, as did son 

Bobby and daughters Ruby and Sue. Other VIPs 

saluting the Queen of Country Music included 

Ferlin Husky, Jean Shepard, Sonny James, Jan 

Howard, Rhonda Vincent, Charlie Louvin, 

Stella Parton, The Whites, Leona Williams, Liz 

Anderson, Helen Cornelius, Roni Stoneman and 

Bill Phillips, plus some members of her backup 

band, Tennessee Mountain Boys, like Paul 

Yandell, Stu Basore, George Edwards, Russ 

Hicks and Keith Bradford. Kitty’s Canadian 

booking agent Brian Edwards flew in for the 

occasion from Toronto; as did Heart Of Texas 

Records chief Tracy Pitcox from Brady, Texas, 

who reportedly is producing an all-star tribute 

album to Kitty. Meanwhile, she is in the final 

stages of publishing her book, “Kitty Wells, 

Makin’ Believe.” A sad postscript for her bio, 

will be the loss of her first-born, Ruby, who died 

within a month of the birthday gala. (See separate 

story.) 

Photos by Patricia Presley 

(5) & Kathy Shepard (2) 

Steel guitar ace Weldon Myrick is yet another fan 

of this country pioneer’s traditional vocals. 

Member Chris Davies Scruggs and singer mom 

Gail Davies, whose dad was on the KWKH 

Louisiana Hayride with Kitty and her husband. 

Member Doug Green with Opry vocalist Jan 

Howard, who once cut demos aimed at Kitty. 

Member Rhonda Vincent first met Kitty in Florida. 

Guitarist Leon Rhodes, former Texas Troubadour, 

pays his respects to Sonny James and Miss Kitty. 

Lifetime Member Kitty Wells visits with new AFM Nashville Musicians Association President Dave Pomeroy.


. . .Singleton succeeded showcasing stars, songs 


of that - and my contract was up.” 

Singleton’s attorney in New York advised 

he go on his own (something he had already 

done on a personal level when he and Margie 

divorced): “If you go into business for yourself 

and do 10 per cent of what you’d be doing for 

Mercury, you’ll make a lot of money.” 

This necessitated Shelby borrowing funds 

to finance his own company. According to 

Harlan Dodson, “He said, ‘I borrowed a $1,000 

to start my own company, and I’ve lived like a 

millionaire ever since.’ Shelby was a true character.” 

SSS International Records was born: “That 

was in 1967, and the first two or three singles I 

put out were basically R&B type tunes. I had a 

record called ‘Shout Bama Lama’ by Mickey 

Murray (#11, 1967), and then in 1968 we had 

Peggy Scott & Jo Jo Benson’s Top 10 ‘Lover’s 

Holiday,’ which was out when ‘Harper Valley’ 

came out as the third single we released on (subsidiary) 

Plantation. I started Plantation to 

handle our country side.” 

The phenomenal “Harper Valley PTA” was 

written by Tom T. Hall, whose earlier successes 

as writer included Top 10s “DJ For a Day,” 

“Artificial Rose,” “Back Pocket Money,” 

“Mad,” “What We’re Fighting For” and his first 

#1 “Hello, Vietnam,” cut by Johnny Wright. 

When the Opry’s Billy Grammer turned it 

down, telling Hall it was more of a woman’s 

song, he gave a demo of it sung by vocalist Alice 

Joy to Singleton, who put it in his desk drawer. 

Then WENO radio DJ Paul Perry brought a 

demo spotlighting wannabe Jeannie C. Riley, 

Shelby listened, liked her vocals, not the song. 

“I told him to bring her in and let me see 

what she looks like, ‘I might be able to do something 

for her, if she’s interested.’ I think I probably 

scared her to death. She was working parttime 

for Jerry Chesnutt as a secretary and her 

husband Mickey Riley was working at a filling 

station. 

“I happened to think of the Tom T. Hall song, 

so I told her to learn the words and be at Columbia 

studio on Friday night, ‘I’ll make you a 

pop hit.’ She told me, ‘I don’t want a pop hit, I 

want a country hit.’ So I said, ‘Well, we might 

make one that goes both ways.’ I was afraid 

she wouldn’t show up, so I had two other girls 

learn the lyrics. I was determined by now I was 

going to cut the song.” 

Believing in the song even more after 

Jeannie’s version was recorded, Singleton & 

company worked overtime getting the record 

to radio stations: “The first one to play it in town 

was Dick Kent, a DJ at WMAK. His listeners 

just went wild when he played it. So I passed 

the word along to people all around the country 

and within days we were getting a record number 

of orders.” 

It wasn’t long before they shipped 900,000 

units, noted Singleton, “It’s one of the very few 

records I’ve ever seen in my life that I had ab- 

Singleton 

solutely no returns on it.” 

So what was the final tally, reportedly in 

excess of several million? “I don’t know . . . 

and it still sells. I send Jeannie royalty checks 

every six months.” 

It was #1 country and #1 pop as a single, 

while the album was #1 four weeks, and it 

earned Riley a Grammy for best country performance 

and a CMA Award as best country 

single. A decade later, Shelby enjoyed another 

financial windfall when the song inspired a 

movie and subsequent TV sitcom, starring Barbara 

Eden. 

Through the years, Singleton has purchased 

the masters to many hit records, and this has 

resulted in lucrative pacts with TV and movie 

companies seeking them for their projects. Sun 

Entertainment songs are heard on such movie 

soundtracks as “Overboard,” “Stand By Me,” 

“Great Balls of Fire,” “I Walk the Line” and 

TV specials like “Back to America: Yakuza II” 

and “Crossroads.” 

“Companies are always coming to us for 

clips for commercials, too; especially on songs 

like ‘Great Balls of Fire,’ ‘Whole Lotta Shakin’ 

Goin’ On’ and ‘Folsom Prison Blues.’” 

Sun sells a lot of souvenirs, including Tshirts 

and mugs, due to its world-famous logo: 

“They get ’em by mail-order off the website 

(www.sunrecords.com).” 

Although he suffered through cancer, we 

never heard him complain; in fact, he lived life 

as though it would go on forever. Shelby ordered 

a Rolls Royce off e-Bay - which arrived 

while he lay in a coma at the hospital - and just 

days before his death, opened a new club - Sun 

Beach - in suburban Gallatin, in partnership with 

a young man. That was so typical of Shelby, to 

keep looking ahead, despite a fatal diagnosis. 

“I’ve had two or three different kinds of cancer. 

I had cancer of the jaw and had it removed 

on the one side,” he explained. “And two years 

later, from the other side. Then I had bladder 

cancer - a growth in there that they took out. 

Well, six months later, they found another in 

there and that’s what I had surgery for last week 

(four years ago). This time they put something 

inside the bladder they think will stop it from 

coming back. You know, they call it a nuisance 

cancer, because this type continues to grow or 

multiply, more than any other kind. Hopefully, 

this new form of medication will stop it.” 

Shelby pointed out that the medics warned 

him he would be sick and lose his hair from six 

weeks of chemotherapy and six weeks of radiation. 

Grinning, he added: “None of that happened.” 

Survivors include his wife Mary (Roberts) 

Singleton, sons Stuart, Sidney and Steve Singleton, 

daughter Shana Dyer; grandchildren 

Emersyn and Drake Dyer, Scarlett, Sofia, Stefanie 

and Shelby Singleton III; brother John A. 

Singleton, his business partner for 41 years. 

Funeral services were conducted by Dr. Todd 

Jones. Also participating were Ray Stevens, 

singing “Everything Is Beautiful”; Dr. Douglas 

Murray playing organ; and Jim Sales, instrumentalist. 

Interment is in Harpeth Hills Memory 

Garden, Nashville. 

Good buddy Jerry Kennedy, 

award-winning guitarist and successor 

to Singleton at Mercury, 

says a lot of folk in Nashville owe 

Shelby, big time: ‘He created a 

place here for a lot of us. Shelby 

did things in a different way. He 

was a maverick . . . the all-around 

record guy. Just a great merchandising 

guy, promoter and producer. 

He did it all, and he seemed 

to get along with everybody. 

Shelby was one of the biggesthearted 

people around.’ 

Backstage at WSM’s Opry, Shelby and his guest artist Carol Channing chat 

with the show’s popular Wilburn Brothers duo, Doyle and Teddy. 

Hank Snow bandsman pays homage to Titanic’s victims 

By ROGER CARROLL 

I first traveled to the Province of Nova 

Scotia, Canada, while playing bass for Hank 

Snow’s Rainbow Ranch Boys. Hank was born 

in Brooklyn, N.S. (May 9, 1914), so he had a 

lot of family and friends in the area. 

During the 20 years I worked with Hank, 

we performed there three times. (The Country 

Music Hall of Famer died Dec. 20, 1999.) In 

the past 10 years, I have attended the Hank Snow 

Tribute weekend in Bridgewater, N.S., nine 

times. 

This is always the third weekend in August; 

needless to say, I have made many friends there 

and it is always a great trip. (Hank, a Grand 

Ole Opry superstar, had such classic hits as “I’m 

Movin’ On” and “I’ve Been Everywhere.”) 

Nova Scotia is rich in history, and I knew 

about the RMS Titanic tragedy (the British 

luxury liner that on its maiden voyage sank on 

April 15, 1912, after having hit an iceberg April 

14), and of its victims being brought to Halifax, 

N.S., for burial (reportedly 150 of the bodies 

retrieved were buried in Halifax cemeteries. It 

was the nearest maritime city to the site of the 

Atlantic Ocean disaster). 

A few years ago, I bought a CD by bass 

player Irl Hess. I do not know Irl, but bought it 

based on the title “I’m Just a Bass Player.” It is 

a great CD by the way, and Irl is a great players. 

On the CD, Irl dedicated the music to John 

Frederick Preston Clarke, the bass player that 

died on the Titanic, and was buried in Halifax. 

Usually when I go to N.S., it is a fast trip in and 

back out. 

This year, I had an extra day and extra time. 

I decided to visit Mt. Olivet Cemetery. I gave 

all the information to George Longard, a singer 

and friend who lives in Halifax. He knew right 

where to go. 

Once at the cemetery, I was looking for a 

taller monument than what I had assumed it to 

be. There were shrubs and trees covering his 

small monument. It was a great thing that he 

was even identified. 

There are many victims buried with just a 

number that was given to them, by the order 

that they were recovered from the sea. 

It was a very touching experience to visit 

John’s grave. One of the most tragic things 

about John’s death was that his was just a temporary 

job on the ship, RMS Titanic. 

(Editor’s note: Roger G. Carroll is a Local 

257 bassist, who lives in Springfield, Tenn.) 

Cemetery visit in Halifax, Nova Scotia, Canada, an emotional stop for U.S. musician Roger Carroll. 

Union music is always best!


Musician Les Paul earned world acclaim 

(Editor’s note: Although Les Paul wasn’t a 

member of the Local 257, he had a major impact 

on many of its members past and present, 

and also recorded in Music City. Therefore, we 

honor the man with this final farewell .) 

“Mister Guitar” Les Paul, who enjoyed a series 

of 1940s’ instrumental hits with his Trio, 

and 1950s’ hits with singer-wife Mary Ford, 

died Aug. 13 at age 94. 

Paul, credited with inventing the multi-track 

recording system and building a better guitar, 

worked right up until he contracted pneumonia, 

which claimed his life. He was in White 

Plains Hospital in New York, with his family 

by his side. 

The Grammy Award-winning instrumentalist 

became a fixture on Monday nights in the 

Manhattan-based Iridium jazz club. Paul, a 

member of the Rock & Roll Hall of Fame, also 

holds a Lifetime Grammy Award and received 

a Presidential 2007 National Medal of the Arts. 

Despite Paul’s advanced arthritis rendering 

two fingers on one hand useless and three fingers 

on the other, Les could still pick a mean 

tune with the fingers and thumb that did work. 

Contemporary country hitmaker Keith Urban, 

known for his flashy guitar playing, as well 

as stirring vocals, says, “I have a mix of emotions 

today. On one hand, I am deeply saddened 

at Les Paul’s passing, and on the other, (there’s) 

a feeling of incredible gratitude and awe for his 

unquantifiable contribution to the world of 

music. His name adorns so many of the creations 

that I communicate through every night 

out here on the road. He is also very present 

every time I set foot in the studio and am able 

to lay multiple tracks as I record . . .” 

After Les Paul’s stint as a 1930s’ country 

musician (Rhubarb Red), he became one of the 

top swing guitarists of the 1940s, while experimenting 

on projects such as a solid-body electric 

guitar design, and later mutiple track studio 

recordings. Such things helped give birth 

to rock & roll (which ironically ended his string 

of hits with Mary Ford), but later gained him 

induction into both the Rock . . . and the National 

Inventors’ Hall of Fame (2005). 

For the unauthorized 1993 biography “Les 

Paul, An American Original,” by writer Mary 

Alice Shaughnessy, Rolling Stones’ bassist Bill 

Wyman confided, “Les Paul was the first person 

to turn me on to the guitar . . . (His) ‘How 

High the Moon’ had terrific verve, proof at last 

that pop could provide stylish, instrumental inventiveness.” 

Six years ago at 88, Les Paul wrote in the 

New York Times’ magazine section: “Why am I 

still at it? The short answer is that I like being 

around people, especially all these gifted players 

who come to sit in with us, the Jimmy Pages 

and Paul McCartneys and Eric Claptons and Al 

DiMeolas.” 

Paul’s multiple Grammy wins were for 

“Chester & Lester,” 1976 (with Chet Atkins, 

the first of two duet LPs); and dual 2006 

Grammys for “Les Paul & Friends: American 

Made, World Played,” featuring such disciples 

as Beck, Clapton, Sambora, Buddy Guy, Peter 

Frampton and Keith Richards. 

The man who would become one of 

America’s most renowned guitarists played 

harmonica at 14 on radio station WRJN-Racine, 

an instrument he learned at age 8. He later invented 

a neck-held device that enabled him to 

play harmonica while also playing guitar (a 

device still utilized in performance by contemporary 

artists like Mary Gauthier). 

In 1936, Les first recorded as Rhubarb Red 

Rockabilly legend Sleepy LaBeef came to town in September to play at the opening of Sun Records Music 

Valley Branch. At the age of 72, he can still rock the house! After the show, Sleepy visited with former band 

members Terry Duncan, Gene Dunlap and Dave Pomeroy. Sleepy was Dave's first Nashville employer in 1977. 

Local 257’s Randall Franks (center) receives the Atlanta Society of Entertainers’ (ASE) Songwriter of the 

Year Award, from Johnny Carson and Phyllis Cole, most notably for his song ‘The Old Black Fiddle.’ His 

compositions and arrangements have been featured in films and on television. He had a continuing role in the 

hit series In The Heat Of the Night with Carroll O’Connor and Howard Rollins. (Photo courtesy ASE) 

Les Paul in his heyday (left), and as a later icon. 

and also played that year on blues singer Georgia 

White’s recordings. It was in 1938 that Les 

joined Fred Waring’s Pennsylvanians band on 

both radio in New York, and on tour. His credits 

also include playing guitar in the bands of 

clarinetist Benny Goodman and jazz pianist Art 

Tatum as sideman. 

After having designed his first full-bodied 

guitar known as “The Log,” in 1941, featuring 

2x4 wood inside a regular shaped guitar, he said 

it solved the problems of feedback and poor 

sustain. Les also later helped develop the Les 

Paul Electric Gibson Guitar, which soon became 

the biggest-selling instrument of its day. (Incidentally, 

Paul donated his historic Log Guitar 

to the Country Music Hall of Fame during one 

of his visits to Nashville to appear on the WSM 

Grand Ole Opry and record here.) 

One of the Les Paul Trio’s more recognizable 

recording accomplishments was teaming 

with Bing Crosby on the #1 Decca disc, “It’s 

Been a Long, Long Time” (1945). 

Les and Bing became fast friends. The legendary 

Crosby once told Paul, a constant complainer 

in the studio regarding technological 

limitations, “Les, why don’t you just build your 

own studio.” In turn, Bing helped by offering 

technical input via associates and finances. 

The Trio even recorded with the Andrews 

Sisters, scoring the Top Five pop single “Rumors 

Are Flying,” a 1946 Decca release. 

After switching labels, signing with Capitol 

Records, from 1948-1953, he charted 16 Top 

40 instrumental singles, including five Top 10 

releases: “Nola,” on which Les played both 

Spanish and steel guitar, “Whispering,” “Jingle 

Bells,” “Lady of Spain” and “Sleep.” 

Impressed by the vocal sound of the 

Andrews, he sought a new sound made possible 

through the echo system he was perfecting. 

Teaming with sweet-voiced Mary Ford, the 

melodic pair became an immediate success, 

starting with their first Billboard charting in 

1950, “The Tennessee Waltz,” a strong Top 10. 

It was the first of 21 major money-makers, combining 

his guitar stylings with Mary’s smooth 

vocals (including overdubbing, which literally 

featured her singing duets with herself), some 

of which were two-sided hits. Les also superimposed 

his several guitar parts behind her vocals 

for another innovative effect. 

Les and Mary (former country vocalist Iris 

Colleen Summers) had wed on Dec. 29, 1949. 

She'd performed country songs earlier with the 

likes of Jimmy Wakely and Eddie Dean, including 

appearances on 1940s’ radio shows such as 

CBS’ Hollywood Barn Dance. 

Million sellers for Les Paul & Mary Ford 

were “Mockin’ Bird Hill,” “How High the 

Moon,” “The World Is Waiting For the Sunrise” 

and “Vaya Con Dios.” The latter, #1 for 

11 weeks, charted 31 weeks, and sold more than 

four million units. 

In 1952, in the early years of his association 

with Gibson Guitar, the company released their 

fabled Les Paul Goldtop Guitar, followed in 

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1954 with their Les Paul Black Beauty mahogany 

custom model, and more to follow. 

Also in 1954, Les commissioned Ampex to 

build the first eight-track tape recorder, dubbed 

the “Sel-Sync,” which could simultaneously 

record a new track and playback previous ones. 

It was one of the early projects that directly led 

to multi-track recorders. 

Les and Mary’s 1951 recording of “How 

High the Moon,” #1 nine weeks, is now in the 

Grammy Record Hall of Fame. Their final Capitol 

Top 10 was “Hummingbird” in the summer 

of 1955, and by late July the duo had signed 

with Columbia Records, hoping to breathe new 

life into their recordings. But personal differences 

impeded their career resurgence. 

Les Paul & Mary Ford was that rare act that 

charted all three Billboard singles charts, apart 

from pop, the duo scored #2 R&B with “How 

High the Moon,” and Top 10 Country with 

“Mockin’ Bird Hill.” The couple divorced. 

During the late 1970s, Paul had to undergo 

heart bypass surgery, but stubbornly refused to 

be sidelined for too long. As Les Paul aged, the 

honors coming his way were many, including 

in 1980, a film documentary - “The Wizard of 

Waukesha” - which depicted his innovative life 

as inventor and musician. In recognition of his 

radio and TV appearances, he was also inducted 

into the National Broadcasters Hall of Fame. 

Yet another book came out in 2008, “The 

Early Years of The Les Paul Legacy: 1915- 

1963,” by Robb Lawrence, courtesy of Hal 

Leonard Publishing. 

Les Paul survivors include sons Gene, Russ, 

Bobby and daughter Colleen Wess, five grandchildren, 

five great-grandchildren, and a longtime 

special friend, Arlene Palmer. 

More Shepard shots of Members . . . 

Kathy welcomes member George Riddle from 

Indiana during recent visit to the Union. 

Drummer Willie Ackerman and his sister 

Sammie Guthrie stop in at the Union. 

Bass Bow Quivers, Chin Rest Pads, 

Shoulder/Chin Pads 

Cello & Bass Aprons, Stool Cushions 

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Proposed Dues For 2010 

These amounts subject to member approval 

at the Nov. 18 Membership Meeting. 

Please do not remit until after that date. 

2010 ANNUAL REGULAR MEMBERSHIP DUES 

Local Dues $101.00 

A.F. of M. Per Capita Dues 56.00 

Funeral Benefit Fee 15.00 

Funeral Benefit Assessment 75.00 

Vic Willis Emergency Relief Fund 3.00 

Total: $250.00 

Legislative Action Fund – formerly TEMPO (Voluntary) 5.00 

Additional ERF Donation (Voluntary) 2.00 

Total: $257.00 

2010 ANNUAL LIFETIME MEMBERSHIP DUES 

Local Dues $25.25 

A.F. of M. Per Capita Dues 40.00 

Funeral Benefit Fee 15.00 

Funeral Benefit Assessment 75.00 

Vic Willis Emergency Relief Fund 3.00 

Total: $158.25 

Legislative Action Fund – formerly TEMPO (Voluntary) 5.00 

Additional ERF Donation (Voluntary) 2.00 

Total: $165.25 

Members must pay their dues annually on or before January 31. If dues are not 

paid by January 31, such members shall stand suspended. To reinstate after 

January 31, and no later than March 31, such member shall pay a reinstatement 

fee of $10.00, together with all dues, fines and assessments. After March 31, 

such member shall be expelled. To reinstate after expulsion, a reinstatement fee 

of $25.00, together with all dues, late fees and assessments must be submitted. 

(ARTICLE II Section 3) 

Next General Membership meeting scheduled 6 p.m. Wednesday, 

Nov. 18, at the George Cooper, Jr. Union Hall. See page 1. 

United Way of 

Metropolitan Nashville 

Local 257 is becoming more active in working with United Way. We will keep you posted on 

various activities, fund raisers and services available as we go one. Here are some services that they 

are now offering which may be of great benefit to the Nashville community. 

United Way Responds: 

Over the past several months our community and nation have faced overwhelming new economic 

challenges and Living United has become more important than ever. Layoffs, foreclosures 

and shrinking family budgets mean more of our neighbors, co-workers and friends are living on the 

edge-some for the first time ever. In response to the economic challenges we now face, United Way 

is launching Tools for Tough Times. From financial planning to free tax preparation to foreclosure 

prevention, United Way can help you and those you know get the help they need. 

Tools for Tough Times 

United Way 2-1-1---Dial United Way's 2-1-1 community services helpline to speak with a trained 

information and referral specialist who can identify what local resources are best suited to help 

your unique needs. 

Financial Stability Resource Guide---Are you unemployed or facing unemployment in the near 

future? This guide provides answers to questions and basic information on resources available in 

our community. 

Free tax preparation---Free tax preparation is available to ensure hardworking families take advantage 

of all Earned Income and Child tax credits, leading to larger refunds and nearly immediate 

extra cash. 

Food stamps pre-screening---Take a quick screening to find out if you're eligible for food stamps. 

My money plan---My Money Plan is a free, confidential, one-on-one, one-hour session with a 

trained My Money Planner. In just one hour, you get a realistic budget that you help create, an 

action plan to help reach your goals, and information on additional resources to help you along the 

way. 

Coping with stress---Coping with Stress | find out how stress can impact your life and health and 

tips and resources you can use to cope. 

Steps to weathering the financial storm---Use this worksheet to discover the resources to help 

you through difficult situations such as layoffs, foreclosure, banking issues, bankruptcy and retirement 

concerns. 

Please visit: www.unitedwaynashville.org/toughtimes

Musicians Jan - 01 - Nashville Musicians Association

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