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Official Journal of the American Federation of Musicians AFM Local 257 · 1902-2008 · 106 years


Volume MMVIII · Number 3 · July-September 2008

Billy Sherrill named top producer

Musicians' Hall of Fame: Class of '08

Stone." Al was in Dylan's band at the Newport Festival in 1965, and formed Blood, Sweat & Tears, but bowed out shortly after, and also co-formed The Blues Project. Booker T. & The MGs, a 1960s' group launched among Memphis session players - Booker T. Jones (keyboards), Steve Cropper (guitar), Duck Dunn (bassist) and Al Jackson, Jr. (drums). The initials M. G. meant Memphis Group. Their first gold record was "Green Onions," followed by hits like "Hip Hug-Her," "Hang 'Em High" and "Time is Tight." The band quit in 1968, but reunited briefly in 1973. The Crickets founded by singer-guitarist Buddy Holly, had its roots in Buddy Holly & The Three Tunes - lead picker Sonny Curtis, bassist Don Guess and drummer Jerry Allison - assembled to record for Decca. In February 1957, he added Niki (Continued on page 13)

What's Inside . . . . . . .

Billy Sherrill Billy Sherrill gets the nod for induction into the International Musicians Hall of Fame in the producer category, joining the Class of 2008, to include musicians Al Kooper, The Crickets, Booker T. & The MGs, The Memphis Horns and the Muscle Shoals Rhythm Section. Iconic British guitarist Peter Frampton made the announcement July 1, noting that the honorees would be officially inducted during a ceremony and performance at the Schermerhorn Symphony Center, on Oct. 28. Acknowledging the event's significance, Thomas F. Lee, president, American Federation of Musicians International (AFM), headquartered in New York City, attended; along with the Nashville Association of Musicians, AFM Local 257's President Harold Bradley (also AFM v.p.), who was honored last year. Local 257 Life Member Billy Norris Sherrill garnered equal status in music circles as producer and songwriter, whose hitmaking artists included David Houston, Tammy Wynette, Charlie Rich, Tanya Tucker, Barbara Mandrell, Ray Charles, Janie Fricke, Elvis Costello and George Jones. Meanwhile, recordings produced were the classic "Almost Persuaded," "My Elusive Dreams," "I Don't Wanna Play House," "Stand By Your Man," "The Most Beautiful Girl" and "The Door," all of which he wrote; and also helmed monumental songs like Charlie Rich's "Behind Closed Doors," and George Jones' "He Stopped Loving Her Today." Al Kooper (Alan Kuperschmidt), renowned session man, played guitar, but brought the Hammond organ into prominence as a 1960s rock instrument, most notably on Bob Dylan's "Like a Rolling

Union tracks Show Dog and film folk


Remembering Eddy and Sally Arnold, who died within weeks of one another. - Page 2

The movie "Beer For My Horses," starring and co-authored by Toby Keith, is of concern to the Union, mainly in reference to its participating musicians. Keith, one of country music's top recording and touring artists, is set to release his new action-comedy flick that takes its title from his June 2003 #1 single, a duet with longtime Union champion Willie Nelson, who also appears. ". . . Horses" is coming to theaters nationwide, Aug. 8. We applaud the artist for the many hits he's recorded in Music City over the past 15 years, among them such charttoppers as "Should've Been a Cowboy," "How Do You Like Me Now," "I Wanna Talk About Me" and "As Good As I Once Was." His sessions have provided income for many (Continued on page 13)

Jimmy Buffet's new DVD reviewed, -p.16

Who's Jay DeMarcus producing? - p. 18

Proposals slated for Sept. 8 General Membership meet

High on the agenda for the next Local 257 General Membership meeting, 6:30 p.m. Monday, Sept. 8, are proposals to amend Local 257 Bylaws, regarding work dues, meeting policy, receiving The Nashville Musician via e-mail and a resolution. Below are the suggested topics: Article II, Section IV- Work Dues. Whereas: Electronic Media contracts have been increasing in numbers and thereby requires more time to administer, and Whereas: Some employers have (Continued on page 21)

Visit us on line:

Nashville Association of Musicians P.O. Box 120399 Nashville, TN 37212-0399 - Address Service Requested Nonprofit U.S. Postage PAID Franklin, TN Permit No. 357

What is the PMG?

See Secretary-Treasurer Billy Linneman's column on page 4 of this issue, for information in this regard.


The Nashville Musician

July-September 2008

Country king Eddy Arnold gets royal send-off

Eddy with two behind-the-scenes Nashville veterans, former manager Tom Parker and booker Hubert Long. Eddy visited with fellow Tennessean Dinah Shore on her highly popular daytime TV show `Dinah's Place.'

By WALT TROTT You can't go wrong with a love song, insisted country music's most successful singer, Eddy Arnold. Indeed, Arnold's repertoire of romantic ballads rivaled that of any balladeer, country or pop. Among his 1940s' classics: "That's How Much I Love You," "What Is Life Without Love," "It's a Sin," "I'll Hold You In My Heart," "Anytime," "Bouquet of Roses," "Just a Little Lovin'," and "A Heart Full of Love." The legendary artist died May 8, a week shy of his 90th birthday and only weeks after the death of his beloved wife of 66 years, the former Sally Gayhart (on March 11). "I went out to see him two weeks ago," recalls friend and fellow Hall of Famer Harold Bradley, president of the Nashville Association of Musicians' AFM Local 257, of which Arnold was a Life member. "When he took a turn for the worse, his grandson Shannon (Pollard) told me . . . I personally have lost a dear friend and the world has lost a great entertainer and a wonderful human being." Bradley produced the star's ambitious RCA studio album, "Last of the Love Song Singers: Then & Now," a two-disc 1993 set featuring current cuts arranged by Bradley, and a second retrospective disc produced earlier by Chet Atkins, Jerry Bradley, Mike Lipskin and Jim Mulloy. "I'm a sentimental man. I'm not ashamed to tell you that it's not unusual for me to shed a tear, or get a lump in my throat, during a particularly poignant moment," wrote Arnold in his liner notes. "So a good love song can get to me in a heartbeat." Harold, dean of Nashville's session pickers, continues, "I met him at 17 years old, when I was working with Ernest Tubb's Texas Troubadours. Then, when I got out of the Navy, (Eddy) didn't forget me and hired me to play

with him on the Grand Ole Opry. I was very grateful for that. Later, I was privileged to produce three albums for Eddy. I got to renew our relationship on a personal and professional level. I found him to be very honest and very loyal. Everybody found him to be the epitome of a perfect Southern gentleman via his behavior. Lastly, the Nashville Association of Musicians was honored to present Eddy with its Artist of the Century award in 2002, as we celebrated our centenary." LeAnn Rimes, who revived his signature song "Cattle Call" with Eddy's participation in 1999, says, "I was very sad when I got the news this morning that Eddy had passed away. He was an amazing man, who not only had a beautiful voice and was groundbreaking in so many ways, but also he set the highest standard for being a gentleman. He was kind to everyone and maintained a level of class that we could all learn from. I'm grateful that I had the opportunity to work with a true giant in our industry." By recording that disc, Arnold charted in the 1990s and in 2000, giving him seven decades charting Billboard in his lifetime, a commendable feat. His total disc sales number more than 85 million units. "We were so proud to have Eddy Arnold's sixth and seventh decade chart hits on Curb Records, but more importantly we were proud to know the greatest ambassador Nashville ever had," says Curb owner and CEO Mike Curb. In an effort to honor their former artist of more than 35 years, RCA/Sony/BMG honcho Joe Galante had ordered - in time for Arnold's 90th birthday May 15 - the release of yet another ballad "To Life" as a birthday surprise. Of course, turn of events has made it instead a final farewell tribute to the artist. As a result, by May 26, radio had propelled it to #49 on Billboard's Hot 100 country list.

Another Tennessee vocalist, the late superstar Dinah Shore, had likened Eddy's voice to "warm butter and syrup being poured over wonderful buttermilk pancakes" while introducing him as guest artist on her national TV show. Sonny James, whose 1960s' career paralleled that of Eddy's, shared some thoughts with us. Careerwise in 1965, both had two number one songs on the chart, each enjoyed charttoppers in 1966, and Sonny's "Need You" succeeded Eddy's "Lonely Again" in top spot during April 1967. In 1968, both were back with additional #1s. We asked if Sonny ever noticed that like Eddy he had major hits with "World" titles. "Well, I never thought on it, but we sure did. I had the song I wrote with Bob Tubert `You're the Only World I Know,' then there was `A World Of Our Own' and . . . the other was `What in the World's Come Over You.' Now what were Eddy's world songs? I know he had `What's He Doing in My World,' `Make The World Go Away' and . . ." We quickly reminded him of Eddy's "Turn the World Around." James had just been called to participate in a TV tribute to Arnold but, as we soon detected, the Hall of Famer was suffering from a severe case of laryngitis and sadly declined. "Eddy and I were friends for years," he rasps. "But the last few months had been hard on him. He had that hip surgery; that sort of set him back. Then, of course, Sally died . . . You know Eddy used to like those meat-and-three (vegetable) restaurants, as do Doris (Mrs. James) and I. He'd frequent those places a lot, you know like Vittles, City Cafe and Cracker Barrel. Eddy had that dry sense of humor, but when he laughed, he had a big hearty laugh. "Well, we got this thing going between us one time and kept it up. Doris and I were seated in Cracker Barrel in their back room with friends, and Eddy and Sally were in an adjoining room, and I hadn't seen them. But he saw us, and came over, stuck out his hand and said like a complete stranger, `Ed-dee Ar-nold!' I stood up, put out my hand and said, `Son-nee James!' Then he turned and went right back to his table. That's all was said. Our friends were amused. "It got so when we went to those places, I'd try to spot him first, then I'd go over, stretch out my hand to him and say `Son-nee James!' We did that several times. Eddy liked to kid all the time . . . We'll miss him and Sally, that's for sure."

"What a sad time in Nashville . . . The world loved Eddy Arnold, who was so good to me," e-mails Maxine Brown of The Browns trio (with sister Bonnie and brother Jim Ed Brown). "He loved my book (`Looking Back To See'), wrote a blurb and even called a producer in Hollywood for me. I am so proud I got to be with him to celebrate his 85th birthday, and got pictures that I wouldn't take anything for." Mac Wiseman was surprised, too, hearing of Arnold's passing, "He was certainly a great entertainer. I did shows with him quite a bit, but I knew him best because we were original members of the CMA (board). Now there's only three of us left, `Dee' Kilpatrick, Charlie Lamb and me . . . " (Editor's note: W.D. Kilpatrick, however, has since died - May 21.) (Continued on page 17)

Eddy Arnold from the 1940s.

Be sure and check out our next issue for the latest in what's happening on the Nashville music scene!

Members' notice

Check out Local 257's Member status list on page 12 in this issue!

Read what Becky Hobbs has to say about the man who got her a record deal, starting on page 24.

Eddy worked with nmerous artists, ranging from film actress-dancer Ginger Rogers to singer Roger Miller.

July-September 2008

The Nashville Musician

Volume MMVIII, No.3 July-September 2008


President's Report

By Harold R. Bradley

Harold presents 25-year pins to Bill Sleeter . . .

The Nashville Musician

Official Quarterly Journal of The Non-Profit Union Nashville Association of Musicians, American Federation of Musicians Local 257

(c) 2008 The Nashville Association of Musicians P.O. Box 120399, Nashville TN 37212 ISBN 0-9632684-1-4

NEWSPAPER STAFF Harold R. Bradley, Publisher Billy Linneman, EIC Walt Trott, Editor Sherri Olson, Advertising Kathy Shepard, Photographer LOCAL 257 Harold R. Bradley, President Billy Linneman, Secretary-Treasurer Otto Bash, Sergeant-at-Arms Assistant to the President Laura Ross Assistant to Secretary-Treasurer & Office Manager Sherri Olson Executive Board Bobby Ogdin Dave Pomeroy Laura Ross Denis Solee Bruce Bouton Mike Brignardello Andy Reiss Hearing Board Wm. (Tiger) Fitzhugh Kathy Shepard Danny O'Lannerghty Jim Grosjean Jeff King Tim Smith Ray Von Rotz Hearing Board Clerk Anita Winstead

Dear Members: Again, it's been a busy three months. During those three months, I have spent a tremendous amount of time talking to Toby Keith's management, his lawyers and anyone else I could find connected to the singer-actor's new movie "Beer For My Horses." We've been trying to get them to become signatory to the Film Agreement. This would enable the musicians whose songs are included in the film to receive payment for DVD sales (one per cent of gross receipts). This is a standard practice in the movie industry, under the American Federation of Musicians Film Agreement. Although Nashville is basically a town known for hit records, more and more there are movies coming to Nashville.

The Billy Graham bio movie and the "Hannah Montana" film, currently being shot in Nashville are signatory to the AFM Film Agreement. I expect Nashville to be recording soundtracks for movies more and more in the future. We have the most versatile musicians, best studios and engineers in the world. I think it could be the next big boost for our town - recording film soundtracks. Since the Film Agreement is a Federation agreement, I have asked AFM President Tom Lee to become involved. He understands the situation and will speak on our behalf to try to get "Beer For My Horses" signatory to the AFM Film Agreement. That's why it's so important for the Union and musicians to honor our existing agreements. The Tennessee Film Commissioner Perry Gibson has informed me that she will tell all the film companies she contacts to check in with the Musicians Union before or after arriving in Nashville, if they plan to use Nashville Union musicians. We are still negotiating with RFD (cable network), and hope to reach an agreement in the near future. We have recently lost two musical giants, Eddy Arnold and Danny Davis. They were both Life Members of this Local, and my good friends. (Read all about their many accomplishments elsewhere in this issue.) Everybody stay busy, and stay tuned . . .

. . . to Matt McGee . . .

. . . and to Jerry Bridges.

Photos (3) by Kathy Shepard

Trustees B. James Lowry Paul Leim Shop Stewards 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 Shana Allen Mandy Arostegui Christie Allen MPF Coordinators Kathy Shepard Anita Winstead Business Agent Kathy Shepard Front Office Arleigh Barnett Janet Butler Michele Voan Capps

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.

Back when Harold presented Danny Davis' commemorative anniversary pin.

Harold R. Bradley

U.S. writers nix overseas plan

Songwriters here aren't too keen regarding the plot on the other side of the ocean to standardize writer royalty payments across Europe. The feeling is it will be unfair to composers and their compositions. The European Commission (a subsidiary of the powerful European Union) is nearing completion of its anti-trust investigation into the methods of collecting said royalties, and a proposal to collect payments from one central store would benefit larger retailers like iTunes, meaning lesser sums to songwriters. The European Composer & Songwriters Alliance (ECSA) warns such a change, in lieu of collections from different places in each of the 27 EU nations, would result in reduced royalties, especially to lesser-known writers. Writer Barry Gibb (of the Bee Gees), responsible for penning such standouts as "How Can You Mend a Broken Heart," "Islands in the Stream" and "Stayin' Alive!," grouses, "On a fundamental scale, it's a human right that someone who writes (and copyrights) a piece of work, should have control of it." The ECSA emphasized that major on-line services could negotiate lower fees and artists therefore would receive smaller sums. Meanwhile, more than 200 artists, including Gibb, Mark Knopfler, Michel Legrand and Charles Aznavour, have signed an appeal to the EU, citing such action's irresponsible and will serve only to stifle creativity. - WT

The great Eddy Arnold always made it a point to stop by the Union and visit with his friends.

Nominees announced for Nashville Songwriters' Hall of Fame

There are 10 songwriters being considered by the Nashville Songwriters' Association International (NSAI) for induction into the Songwriters' Hall of Fame this fall. It is expected that three names will be selected for official induction from among the following composers: Matraca Berg, Paul Craft, Kye Fleming, Larry Henley, the late John Jarrard, Bob Morrison, Mark D. Sanders, Tom Shapiro, John Scott Sherrill and Sharon Vaughn. Winners will be feted during NSAI's annual awards banquet this year at the downtown Renaissance Nashville Hotel on Oct. 26. "Each of these nominees has honed the songwriting craft to perfection, and the songs they've given us are absolute treasures," says '05 inductee Roger Murrah, who chairs NSAI's non-profit songsters Hall of Fame foundation.

Give to TEMPO


The Nashville Musician

The Reunion Of Professional Entertainers (ROPE), an organization of music industry pros, will celebrate its Silver Anniversary via its annual awards banquet, Thursday, Oct. 9, . Award-winning band The Time Jumpers will headline the show, featuring Charlie Monk as M.C., at the Al Menah Shriners' Temple, 1354 Brick Church Pike, Nashville (Exit 87 off I-65). The event kicks off with a "Meet and Greet" cocktail hour at 6 p.m. and concludes by 10 p.m. The Time Jumpers will host a special tribute to their late steel guitar ace John Hughey. Open to the public, banquet tickets are $45 each, plus a special reserved seating plan of $1,000 per corporate table (seating 10 persons). For details, call (615) 860-9257. Executive Director Leslie Ann Elliott recalls that ROPE's first president was co-founder Gordon Terry. Others who have served in that capacity include Mac Wiseman, Merle Kilgore, Tandy Rice, and currently President John E. Denny. "Don Helms and Ron Elliott hold the number one and number two membership cards," she smiles. ROPE began in May 1983, when 43 persons in the music industry got together to discuss the idea of such an organization. Prior to ROPE, generally the only times these folks came to-

July-September 2008

gether was to work or to attend funeral services for a comrade. Wanting to correct this situation, prompted the launching of ROPE. Members comprise many different areas in the music industry. ROPE's roster includes artists, musicians, songwriters, record producers, booking agents, record promoters, DJs, journalists and music business executives. Some are retired, though others are still active in their respective fields. Members also represent years of musical and entertainment history. Nominees for this year's Golden ROPE Awards are: Entertainer - Jim Ed Brown, Tommy Cash, Tom T. Hall, George Hamilton IV, Stonewall Jackson and Jimmy C. Newman; Musician - Ray Emmett, D. J. Fontana, Jerry Kennedy, Billy Johnson, Dina Johnson and David Russell; Songwriter - Billy Henson, Red Lane, Dickey Lee, Hugh X. Lewis, George Riddle and Kent Westberry; Media - Uncle Len Ellis, Bob Oermann, TomCat Reeder, Hazel Smith, Walt Trott and Bill Wence; Business Jack Clement, Rose Drake, Billy Galvin, Frank Oakley, Shelby Singleton and Gene Ward. Traditionally, the Ernest Tubb Humanitarian Award, for those who have contributed to the welfare of others, and the Mac Wiseman Nightingale trophies recognizing caregivers for artists who are handicapped or terminally ill, are given during the ROPE gala. - WT

Time Jumpers to help ROPE mark birthday

SecretaryTreasurer's Report

By Billy Linneman

IS ANYONE READING? All musicians should read both The Nashville Musician and the International Musician, as this is just one way to keep in touch with what is happening within our industry that affects us. Also it is important to at least check both our web sites at least weekly. They are and WHO OR WHAT IS THE PMG? The Professional Musicians Guild, or the PMG, is a separate entity set up by some of our own Federation musicians from Local 47 in Los Angeles. One of the officers of PMG is also a RMA International officer. This has nothing to do with our Local 257 RMA Chapter. Some of our older members can remember when a similar incident happened in the early 1960s. PLEASE HELP OUR STAFF Please help our staff, and ultimately yourselves, in getting in proper paperwork, such as time cards, signatories, contracts, and any other pertinent information for your work. This also applies to the live casual engagements! In doing this it frees up time for higher priority work. Remember that at times when a member comes in with a problem, we can not get to it immediately, partly because of this exact problem. This does not even take into account the wasted money paying personnel searching for information you should have provided. ALL OFF-THE-CARD WORK LOWERS THE ENTIRE MUSIC COMMUNITY'S STANDING, NOT JUST YOUR OWN! Working off-the-card, or below scale wages, not only hurts your fellow musicians, but lowers the standard for all musicians everywhere, and ultimately the Nashville Music Community as a whole. Stop and think what you are doing. Don't you think that your talent and work is worth at least Union wages? GIVE THIS MAGAZINE TO A NON UNION MUSICIAN They need to see the Union is helping musicians in all areas. OUR MUSICIANS UNION WAS VERY INSTRUMENTAL IN FORWARDING PERFORMANCE RIGHTS LEGISLATION It's true! We were finally able to get this performance rights act out of the sub-committee, and to the full committee. Hopefully we can get it to the floor this year! SAVE MONEY ON DOMAIN NAME AND HOSTING CHARGES Go to and look under the Go Pro information. You might be able to save enough money to pay for your Local yearly dues. See you at the next General Membership Meeting on Sept. 8, 2008. Fraternally, Billy Linneman, Secretary/Treasurer to the Best Musicians In The World!

Jackson's untimely death

Guitarist George Edward (Leo) Jackson, 73, died May 4, after suffering from cancer. Jackson was lead picker for the late Jim Reeves. Reportedly, he had undergone surgery the week before his death, but was still experiencing great pain. Other artists he had performed with include Alabama, George Strait and Hank Williams, Jr. Born Oct. 22, 1934 in Meridian, Miss., he was the youngest of six children. At age 18, having studied guitar two years, Leo auditioned for Reeves, then on KWKH's Louisiana Hayride. Reeves hired him to form the nucleus of his backing band The Wagonmasters (before relinquishing that title to Porter Wagoner's band, and adopting a new name The Blue Boys). In 1956, Jim moved to Nashville to record and play the Opry, bringing Leo with him. Apart from a stint of military service, Jackson remained with Reeves until the star's death in a plane crash in July 1964. Leo had also performed on several of the artist's recordings, including "I've Lived a Lot In My Time." Jackson carried on as a session player. From Little Rock, Ark., singer Maxine Brown of The Browns trio (with sister Bonnie and brother Jim Ed) writes: "Well, what a sad time in Nashville, the world loved Eddy Arnold, who was so good to me . . And Leo Jackson's death -- what a shock that was! We worked with him during the Jim Reeves' early times, then he played on some of our recordings, mine and `The Brown's Family Bible.' I haven't seen him in years, though he used to call when he came through my neck of the woods." Survivors include Nell (Walls), Jackson's wife of 43 years, son Leo D. Jackson, daughter Joy Lynette Jackson Shull, and numerous grandchildren. Funeral services were conducted at the Hendersonville Funeral Home Chapel with The Reverend Jimmy Snow officiating. Honorary Pallbearers included Jim Pierce, Arnie Benoni, Billy Hodges, Jimmy Pomonis and James Kirkland. Family members served as Active Pallbearers.

Is Billy making a clean sweep?

More than a mix-up

You may have noticed the flub that appeared in the Secretary-Treasurer's column in the last issue; however, that was no fault of his. To explain further, through a miscommunication the General Membership Meeting date was inaccurately listed as Friday, June 6. After much consideration, the officers decided to hold the meeting June 6, though scheduled initially by the Executive Board, June 11. Back to Billy's column: just prior to press time, it was received and perused, then placed. Ye olde editor, however, glanced at the column's closing and thought where he entered a date which should've been a red light that we had the meet date wrong - we would help readers by inserting the day of the meeting - Friday which, of course, didn't tally with the 11th! The Nashville Musician regrets the error. Henceforth, we will remember Dave Pomeroy's comment that the Local never schedules a Membership meeting on a Friday (and right he was, the June 6 meeting failed to attract a quorum).

Nashville stars got involved

Two films that screened at the Nashville Film Festival received a lot of buzz, both focusing on Africa. Local 257's Bela Fleck documentary "Throw Down Your Heart" traces the banjo back to the Dark Continent; while Big Kenny (Alphin)'s "Bearing Light: A Journey to Sudan," attempts to shine a global spotlight on that nation's reported grievances under martial law. These artists donated their own time and money to these worthy reality projects.

Members need to know

Reminder to members: As of Jan. 1, 2008, a small charge of 1% of any credit card payment has been added to your account, to help offset the 2-3% charged to us by the credit card companies.

July-September 2008

The Nashville Musician


Live Engagement Services

By Kathy Shepard

Happy Summer, Brothers and Sisters! We have another CMA Music Fest behind us. Anita and I received a large portion of the checks this week, and as we are processing them into our computer system, we (once again) realize that the majority of the checks are for nonmembers. Many of the bands that performed are entirely non-members, and many are mixed. Ding dang it! The majority of the musicians in our Union who played the Fest are in violation! (Article III, Section 1 of our Local By-Laws) I have been trying to get out and hear more live music lately. Let's hope you will, too. It had been a while since I had heard The Time Jumpers (I needed a fix). What a tight sound! Monday nights the Station Inn is packed to capacity. They seem to be getting more popular every week! Any of you who have not heard this band, then you people need to do it as soon as possible. I went to the Belle Meade Mansion to one of the Tennessee Jazz and Blues Society gigs to hear Bruce Dudley. Making music with him was Jim Ferguson, Bob Mater and Rebecca Sayre. (You can't get much better than that, jazz lovers. See page 20 for pictures.) Also, a while back, Black Wire was performing at Douglas Corner. For those of you who are not aware of this group . . . picture string players performing old rock songs. I just love them! The group is led by violist, Linda Davis. Please remember that there is free big band music now and then during the summer at Centennial Park. They occur certain Saturday nights

from 7:30 to 10. Some of these performances are through the Music Performance Fund (MPF). Being "financially embarrassed" as I am, I try to take advantage of free concerts when I can. Speaking of the MPF, as some of you know, our allotment has been greatly reduced, due to the huge reduction in record sales. This is very sad. The MPF is not sponsoring any live music at hospitals or nursing homes at all now. We are still able to get clearance for school performances, and an outdoor concert now and then. It was a very sad day for me, when the local restaurant-bar Nick and Rudy's, closed their doors. There aren't enough clubs that have live music. Nick and Rudy's piano (and piano bar) has made its way to Whitfields. I wish Nick and Rudy luck in the future, and good health. In looking over the figures from the amounts of work dues collected by this Local, it seems that for 2007, miscellaneous work dues were up, but club work dues were down. It does seem obvious that fewer clubs are having live entertainment than in the past, but also contracts are just not being filed by our members. We all need to do better. By not filing contract information, we are cheating ourselves and our Local. Congratulations to Phyllis and Nick Sparks on the new addition to their family. They adopted a sheltie pup named Shelby. Fiona now has a little brother! I always am glad to see our members bring their canines to see me. My office is very dog friendly. Till next time, have a great summer, be safe, and please remember to support live music.

Secretary-Treasurer Billy Linneman confers with Hearing Board Clerk Anita Winstead.

Fiddler Joe Spivey with young friends Teea Goans and Reagan Goans.

Phyllis Sparks and sheltie pup `Shelby.'

Member David Francis with `Indigo.'

Here's a shot of Jennie Jo and George Chestnut that Kathy snapped in happier times.

George Chestnut, 76, premier instrument repairman, dies . .

Musician and instrument repairman George Henry Chestnut, 76, died July 17, following a lengthy illness. He and wife Jennie Jo lived in Donelson, site of his basement workshop. Chestnut's specialty was restoration and repairing of violins, fiddles, violas, cellos, basses and rehairing of bows. In a spring 2007 interview, Chestnut said, "I also work on fretted instruments, fret work, (Continued on page 28)

Anita Winstead with Alex, son of member Sandy Tipping.

Photos by Kathy Shepard

See more of her pix on page 20.

Members reminder

The next General Membership meeting will be at 6:30 p.m. Monday, Sept. 8, in the Union's George W. Cooper, Jr. Hall.

Jean Hughey, steel guitarist John Hughey's widow, shows recent fan appreciation award she received.


With two more weeks left to the season as I write this, there's still a great deal of activity before we pack up our instruments and clean out our lockers for the summer (you know get the laundry done, the dry cleaning, etc.). I write this in Houston, where I will be attending the AFM's Southern Conference at the end of the week. This year the conference was moved to the end of the month to accommodate all those dads who have spent many a Father's Day away from their family so they could attend the Southern Conference (or SoCo). SoCo is usually held just before the AFM Convention (the third week in June being the traditional dates of the AFM Convention), so it just made sense all these years to hold it at the same time. Anyway! It's in Houston because the SoCo President is also the President of Local 65-699 (Houston TX), Lovie Smith-Schenk. Following the weekend activities, I then fly to New York to meet once again with many of the major managers of our fine orchestras, AFM and Local officers and staff as well as representatives of ICSOM and ROPA orchestras. We will attempt, for a third time, to convince the managers that our proposal back in January and February (to negotiate a convergence electronic media agreement, as opposed to just renegotiating the Audio-Visual agreement) is really the most reasonable and realistic move to make at this point. Here's hoping that it's successful this time. Meanwhile, my NSO colleagues are spending the week first rehearsing and performing a summer concert at Centennial Park and a runout to Lafayette with Kelly Corcoran. Next up is our third Festival series conducted by George Schram who leads the orchestra in an American program by Morton Gould, John Williams, Leonard Bernstein, Richard Rodgers and Samuel Barber's Violin Concerto will be performed by Shannon Lee. The following week, the final week of the season, brings the return of Leonard Slatkin. Maestro Slatkin will lead

The Nashville Musician

July-September 2008

finally consider him a tenure-track musician. Just a few weeks ago we held the principal clarinet audition. Over a two-day period we heard 78 clarinets (from a field of 325 applicants!). Because there were so many candidates, Sunday's committee split into two committees (with a few additions so each would be a 5 member committee) and auditions were held in both the Curb Room and in Laura Turner Hall. There were 15 semi-finalists and four finalists. I'm very impressed with Giancarlo's handling of auditions ­ he's very engaged in the finals, asking candidates to play things again and asking specifics. These four candidates each had a grueling 35-40 minutes final where they were not only asked to play 18 different excerpts (some from the same work), but when they got to the big opening solo in the Gershwin Rhapsody In Blue, each candidate was asked to play it a second time, only different ­ they should surprise him. By 7:15 that evening, we finally had a winner, James Zimmermann, who is currently 2nd clarinet in the Pacific Symphony. We look forward to having James join us in the Fall. I thank all the musicians who gave of their time for these important auditions. What else do we have to look forward to this Fall? The final year of Leonard Slatkin's contract as Artistic Advisor will be celebrated and Giancarlo Guerrero, now as Music Director Designate, will lead 10 weeks of our outstanding and very challenging season. As I said in my last article, Giancarlo told the orchestra he was going to challenge us and he's certainly holding up his end of the bargain. Artists and guest conductors for next season will include James Galway, Yo Yo Ma, Itzhak Perlman, Emanuel Ax, James Ehnes, Horacio Gutierrez, Gunther Herbig, Hugh Wolff, Claus Peter Flor and assistant conductor Kelly Corcoran. There are major works on the schedule next year including Dvorak's New World Symphony, Strauss' Don Quixote, Mozart Requiem, Lutoslawski's Concerto for Orchestra, Daugherty's Metropolis Symphony, Copland's Symphony for Organ and Orchestra, Mahler Symphony #6, Del Tredici Final Alice (which we will record for Naxos), Bruckner Symphony #7, Schubert Symphony #9 "The Great" and Beethoven's Symphony #9. Pops and Jazz Series artists include Mary Wilson of The Supremes, Vince Gill, Ben Vereen, Manhattan Transfer, Doc Severinsen, Dave Bennett saluting Benny Goodman, Dave Koz, and the guys whose pension I take care of ­ Riders In the Sky. I wish you all a terrific summer and look forward to seeing you all as we begin our new season in September. Meanwhile, I'll be traveling, including a trip to San Francisco in August for the ICSOM conference. I'll have lots to report in my next article!

Symphony Notes

By Laura Ross

Nashville Symphony Shop Steward

the orchestra in a performance of five works dedicated to Abraham Lincoln. You might remember I mentioned last year that we were recording a CD set of works dedicated to Abraham Lincoln, whose 200th birthday will be celebrated in 2009. These are the final works that will complete what we began last season and will be recorded the final two days of the season. We will be joined by Barry Scott as narrator and by the Nashville Symphony Chorus. However, in between the concert and recording sessions, the NSO took the "barge" again July 4th, with Maestro Slatkin conducting. Sadly, we weren't broadcast on GAC this year, but Channel 5 taped the concert for a one-hour tape-delayed program, and the entire concert was heard on WKDF. And since our hall's so close to the venue, we had a place to "party" afterwards as we waited for the traffic to clear. As the season winds down, it's time to reflect on all that has occurred since last September. First and foremost, we finally announced who our new Music Director would be, and to the thrill of the orchestra, it was Giancarlo Guerrero. The very next day as our season began, we welcomed back concertmaster Mary Kathryn VanOsdale. We celebrated the installation and premiere of the new organ ­ our hall was complete. We sent four musicians and some staff members to Argentina in our first exchange with an orchestra in Mendoza. Our radio program "American Encores" (13 one-hour syndicated shows hosted by Leonard Slatkin and Edgar Meyer) made their debut on the WFMT network and in the European Union. St. Martin in the Fields was the second orchestra, after Cleveland, to perform in the hall (they'll be followed by San Francisco this September). More than 20 members of the orchestra received their 25-year Local 257 pins (see reprinted photo) at an orchestra service. We won a regional Emmy for our Gala opening of the hall and swept the orchestral categories at the Grammy Awards by winning both Best Orchestral Recording (the only one we actually get a Grammy statue for) and Best Classical Recording as well as winning a Grammy for Joan Tower in the category of Best Classical Contemporary Work. Our librarians Wilson Ochoa and Jennifer Goldberg hosted a very successful conference for their librarian colleagues from around the world ­ the organization is known as the Major Orchestra Librarians' Association ­ and they held some very interesting discussions. I'm even more impressed now with all that Wilson and Jennifer do! And with the Sudekum Planetarium opening this weekend, there was a special preview for all the participants, including the NSO, which provided a portion of the soundtrack for their new show "Stars." It has a bit of everything in the 35-minute production for kids and adults. It's a very impressive program. I'd also like to take a minute to thank Steve Brown (bass trombone), who served as this year's orchestra committee chair, and Beth Beeson (2nd horn), the vice-chair. Both rotate off the committee after two years of service. Unfortunately, we're about to lose most of the rest of the committee since Ryan Kamm (bass) has taken a one year leave of absence (plus a portion of this season) to be with his wife in New York, where they will welcome their first child this summer. Ellen Menking (2nd oboe/ assistant principal) will also be leaving her committee duties early as she and husband Jack Jezioro (a former member of the NSO bass section) prepare for the birth of their child this fall. Carrie Bailey (principal 2nd violin) will continue on the committee this fall and will be joined by husband Jeff Bailey (co-principal trumpet), Jeremy Williams (2nd violin), Radu Rusu (assistant 1st horn) and Glen Wanner (assistant principal bass, who served as orchestra committee chair a number of years ago). My thanks to all who served this past year and to those who join us this Fall. We held two auditions at the end of the season, one for fourth horn which had been filled for the season by Hunter Sholar. Happily for everyone, after a two-day period listening to 65 horn players, Hunter won the position. Interestingly enough, Hunter actually won a oneyear position a few years ago but decided to take a job in St. Louis instead. We're pleased to

ASCAP award honors Nashville Symphony

The American Society of Composers, Authors and Publishers (ASCAP) has awarded the Nashville Symphony Orchestra its prestigious ASCAP Adventurous Programming honor for its commitment to contemporary music. The award was presented June 12, during the League of American Orchestra's 63rd Annual Conference in Denver, Colo. As one of 26 American orchestras honored for demonstrating exceptional commitment to contemporary composers, NSO's third-place award came in the category of the largest U.S. orchestras ­ those with annual operating expenses of more than $14.1 million. The Boston Symphony Orchestra and the Los Angeles Philharmonic were honored first and second. The annual ASCAP Adventurous Programming citations recognize American orchestras whose past season prominently featured music written within the last 25 years. "It is an honor for the Nashville Symphony to receive this prestigious award," said Makiko Freeman, NSO Artistic Administration v.p.. "This distinction speaks volumes about the Nashville Symphony's commitment and dedication to performing contemporary music." Now preparing for its third season at Schermerhorn Symphony Center, the NSO continues to support works by American composers. Upcoming highlights during the 2008-09 SunTrust Classical Series include works by David Del Tredici, Michael Daugherty, Jake Heggie, Rob Mathes, Steven Mackey and Cindy McTee. Daugherty's Metropolis Symphony (Nov. 20-22, with Music Director-Designate Giancarlo Guerrero conducting) and Del Tredici's Final Alice (Feb. 26-28, 2009, with Music Advisor Leonard Slatkin conducting) will be recorded for release on Naxos. For details about the NSO, visit

Guitarist rushes to father's aid

Ace guitarist Brent Mason came to his father's rescue April 18, when the men were burning wood in a vacant lot in the Goodlettsville, Tenn. area. Doyt Mason unaware the fire had been started, threw gasoline onto the wood, and the woodpile exploded, shooting fire all over him. Doyt's wife Arlene explained that her son had nothing handy to extinguish the fire, but pushed his dad down to the ground and lay on top of him trying to douse the flames: "He didn't think of himself in danger. He knew he just needed to get that fire out or his dad would have kept burning!" The senior Mason suffered second degree burns on his left leg and a few other places, but will recuperate. Brent, in turn, suffered minor burns. As a session player, young Mason has burned up the strings for such stars as Alan Jackson, George Strait and Brooks & Dunn. Incidentally Brent's new solo CD's title is, appropriately enough, "Smokin' Section."

Symphony Center photo by Kathy Shepard features (from left, front row) Billy Linneman, Mary Kathryn VanOsdale, Norma Rogers, Ann Richards, Julie Tanner, Charlene Harb, Cassie Lee, Mary Helen Law; 2nd row, from left, Roger Wiesmeyer, Ben Lloyd, Bill Wiggins, Harold Bradley, Cynthia Estill, Gary Armstrong, Larry Borden; 3rd row, from left, Gil Long, Jeff Bailey, Gary Lawrence (behind Julie), Bobby Taylor, Paul Tobias (behind Charlene); and 4th row, from left, Deidre Bacco and Sam Bacco. Taylor received a Life Member pin; the others received 25-year member pins from Bradley and Linneman.

Has your address changed?

July-September 2008

The Nashville Musician

fourth consideration: "the effect of the use upon the potential market for or value of the copyrighted work." Ms. Gonzalez contended that downloading on a try-before-you-buy basis is good advertising for copyright proprietors, expanding the value of their inventory. The United States Supreme Court thought otherwise in Grokster. As file sharing has increased, the sales of recorded music has dropped. When music is downloaded for free from the Internet, many people are bound to keep the downloaded files without buying originals. That is exactly what Ms. Gonzalez did for at least 30 songs. It is no surprise, therefore, that the United States Supreme Court held in Grokster that downloading copyrighted songs cannot be defended as fair use. Downloads from peer-to-peer networks such as KaZaA compete with licensed broadcasts and hence undermine the income available to authors. This is true even if a particular person never buys recorded media. Many radio stations stream their content over the Internet, paying a fee for the right to do so. Ms. Gonzalez could have listened to this streaming music to sample songs for purchase; had she done so, the authors would have received royalties from the broadcasters (and reduced the risk that files saved to disk would diminish the urge to pay for the music in the end). Downloading full copies of copyrighted material without compensation to authors cannot be deemed "fair use." Copyright law lets authors make their own decisions about how best to promote their works; copiers such as Ms. Gonzalez cannot ask courts (and juries) to second-guess the market and call wholesale copying "fair use" if they think that authors err in The Hammond Organ Company was there, and an organist was jamming out in the booth with the classic B-3 sound and a blues guitarist whose name escapes me. Musicians are much better at protecting themselves from all this heavy sound nowadays, and the Mack company was offering several types of ear plugs, including a special design for musicians to wear on gigs (I think they called it the H.E.A.R. system) and custom ear molds. If you don't wear ear plugs yet, get with it ­ at least while your chain-sawing that new coffee table for your living room. The Gretsch Company (a legendary name in the world of jazz drums and country guitars) celebrated its 125th Anniversary with a special event at the Country Music Hall of Fame. Yamaha has revived the Rogers drum line (played by Buddy Rich and Louis Bellson in the early 1960's) as an "entry level" drum-set, but they told me their goal is to reproduce the classic Rogers design of the 1950's and '60's, starting with the legendary Dynasonic snare drum sometime next year. Among the drum companies, Bubinga Wood seemed to be this year's fashionable material for drum sets. Gretsch, Tama, and Peare all had new Bubinga sets that looked and sounded lovely. Taye drums had a new plastic finish that looked like brushed copper. Most of these new materials came in big size drums for the blues guys, or small kits with 18" bass drums for the beboppers. "Heavy" drummers could get "slip-on grips" from DrumFun, sort of like shrink tubing for drum sticks. Jazzers could check out the new line of "Jazz Café" sticks from Pro-Mark, and their "Rocket Rods" and "Stealth Rods," new versions of the bundled rod stick concept for a light sound. Remo now has a mellow sounding line of black finish drum heads, very cool looking. Some heavy performances capped each convention day. Nashville's Kenny Vaughan and jazz fusion guitarist Fareed Haque (and his Garaj Mahal band) showed what the Moog Guitar could do at 3rd & Lindsley. Nashville's incredible gypsy jazz guitarist John Jorgenson played an amazing set with his quintet at the Hermitage Hotel for Shub Cappos and Saga Musical Instruments. And Yamaha presented another Muriel Anderson All-Star Guitar Night


understanding their own economic interests or that Congress erred in granting authors the rights in the copyright statute. Nor can she defend by observing that other persons were greater offenders; Gonzalez's theme that she obtained "only 30" copyrighted songs is no more relevant than a thief's contention that he shoplifted "only 30" compact discs, planning to listen to them at home and pay later for any he liked. BMG Music elected to seek statutory damages under 17 U.S.C. Section §504(c)(1) instead of proving actual injury. This section provides that the author's entitlement, per infringed work, is "a sum of not less than $750 or more than $30,000 as the court considers just." But if an "infringer sustains the burden of proving, and the court finds, that such infringer was not aware and had no reason to believe that his or her acts constituted an infringement of copyright, the court in its discretion may reduce the award of statutory damages to a sum of not less than $200." 17 U.S.C. Section §504(c)(2). It is also undisputed that Ms. Gonzalez had "access" to records and compact disks bearing the proper notice. She downloaded data rather than discs, and the data lacked copyright notices, but the statutory question is whether "access" to legitimate works was available rather than whether infringers earlier in the chain attached copyright notices to the pirated works. Ms. Gonzalez readily could have learned, had she inquired, that the music was under copyright. (Marshall M. Snyder is a Music Row attorney who can be reached at 615.742.0833 or by e-mail at [email protected]) at the Ryman with everyone from Rick Vito to Victor Wooten. Now, back to late summer around town. Summer concerts in Metro Parks continue through August, sponsored by the Music Performance Fund. The Friday evening series is at Red Caboose Park in Bellevue and Big Band Dances are Saturday nights in Centennial Park. Regarding our two big Labor Day weekend jazz festivals, the Franklin Jazz Festival in Franklin will be Aug. 30-31and the Music City Jazz, Blues & Heritage Festival at Nashville's Riverfront will include Sept. 1. No announcement yet on artists for either one. Things are ever changing on the club front. The 12 South Taproom may have a doubtful future, plans have been announced for a large new building on 12th Avenue South, wiping out the Taproom and a couple of others. A large new venue, Limelight, down by LP Field (the football stadium) is offering some jazz, including the big band sounds of the Nashville Jazz Orchestra. Guitarist Mel Deal can now be found at most of the Sunday jazz brunches at Bosco's in Hillsboro Village, with vocalist Dallas Starke. On the blues scene, the Music City Blues Society had a successful Legends of Blues Concert in Centennial Park on Memorial Day, in spite of some rain in the area. Maxwell House has blues jams on Monday nights. Local blues legend Marion James hosts blues jams on Sunday at the Waiters Café. On the radio, sadly WRVU's Nashville Jumps show has disappeared somewhere, perhaps just on summer vacation. WMOT has changed its Sunday line up of syndicated shows. Listen Here and Riverfront Jazz are gone, the day now starts with JAZZ On The Side at noon. The 6 p.m. slot is different from week to week and might feature anything from Afro-Cuban jazz to a history of Count Basie. You may not be aware that WAMB's big band sounds can be heard at both 1200AM and 99.3FM. As usual, we've had to say a permanent goodbye to some true greats since the last issue. In April, we lost saxophonist Hal Stein who was with Gene Krupa, Artie Shaw, Charles Mingus, Sammy Davis, Jr., and others. Another unappreciated saxist, Phil Urso, worked many years for Chet Baker after stints with Woody Herman, Jimmy Dorsey and others. (Continued on page 31)

Court awards injunction & statutory damages for unauthorized downloading.

The United States Supreme Court recently held in MGM Studios, Inc. v. Grokster, Ltd., that a distributed file-sharing system is engaged in contributory copyright infringement when its principal object is the dissemination of copyrighted material. The foundation of this holding is a belief that people who post or download music files are primary infringers. Despite this recent United States Supreme Court holding, Cecilia Gonzalez downloaded copyrighted music through the KaZaA file_sharing network. Ms. Gonzalez contended that her activities were fair use rather than infringement. Being sued by BMG Music in Illinois federal district court, the court enjoined Ms. Gonzalez from further infringement and awarded $22,500 in damages under 17 U.S.C. Section 504(c). A "fair use" of copyrighted material is not infringement. Ms. Gonzalez insisted that she was engaged in fair use under the terms of 17 U.S.C. Section 107. It was undisputed, however, that she downloaded at least 30 copyrighted songs during a few weeks and kept them on her computer. She contended that she was just sampling music to determine what she liked enough to buy at retail. Instead of erasing songs that she decided not to buy, Ms. Gonzalez retained them. It is these 30 songs about which there is no dispute concerning ownership that formed the basis of the damages award. A copy downloaded, played, and retained on one's hard drive for future use


By Marshall M. Snyder

Attorney - at - Law

is a direct substitute for a purchased copy and without the benefit of the license fee paid to the broadcaster. The files that Ms. Gonzalez obtained were posted in violation of copyright law; there was no license covering a single transmission or hearing and Ms. Gonzalez kept the copies. 17 U.S.C. Section 107 provides that when considering a defense of fair use, the court must take into account "(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work." Ms. Gonzalez was not engaged in a nonprofit use; she downloaded (and kept) whole copyrighted songs (for which, as with poetry, copying of more than a couplet or two is deemed excessive); and she did this despite the fact that these works often are sold per song as well as per album. This led her to concentrate on the type of guitar synthesizer, and the introductory video I saw sounded pretty amazing. One can only imagine what kind of sounds will be conjured up by the likes of a Bill Frisell, a Pat Metheny, or one of you folks out there. Speaking of guitars, you blues guys can put your old National Steel guitars in the closet and check out the custom guitars of James Trussart. I hardly know how to describe the intricate and fantastic engraved designs of his hand-made steel top guitars. Based on classic Telecaster and Les Paul body shapes, finishes include copper, antique silver, and brushed nickel. These instruments are really exciting and totally unique. Trussart began his career making metal violins in France, and he also makes basses. All I can say is - check him out at Another guitar innovation was a "fold up" acoustic guitar by Voyage-Air. The guitar has a hidden cabinet style hinge where the neck joins the body, and the fully strung "folded" guitar fits into a backpack-style case, perfect for the traveling musician or backwoods troubadour. They told me a version for jazz guitarists is due out soon. Use of synthetic materials in guitar making isn't new, but Composite Acoustics featured a new synthetic carbon compound so moisture resistant, their display featured a guitar under a waterfall! The King Bass Company displayed acoustic basses that looked and sounded like they were designed for rockabilly or jump, jive and wail type blues. Wild finishes and sturdy construction, and a heavy full tone, probably with a built-in pick up. You blues cats know how beat up your equipment can get. Check out Industrial Amps (I love the name!). Besides a unique sound, the cases are 11-ply birch hardwood with heavy wheels and anvil case type handles, and are made in a wood shop that has a program for school drop-outs to learn carpentry. The 1/4' thick aluminum speaker grill and 1/4" clear glass front on the electronics completes the solid as a rock look. Jazzkat is another boutique amp company, but it features smaller amps with a big warm sound. Boppers can use the JazzKat version, or the 20-Watt CoolKat for small rooms, rockers the BluesKat version, and acoustic guitarists, regardless of style, can select the AcoustiKat, designed with jazz guitarist Frank Vignola.

Jazz & Blues Beat


The Dog Days of summer (arf, arf) are here again, and everyone is doing those sweltering outdoor gigs. Tips to sidemen: bring your own fan and water (use a thermos, bottled water is bad for the environment), pack an extra cotton shirt or two, and don't forget the sunscreen for musicians (SPF 4/4). Surprise ­ in addition to concerts and clubs, this quarter we have a major event to report about. As the movies of the 1950's used to say: "Run for your life! It's the return of... NAMM!" The Summer NAMM show is an international trade show for the music products industry. This year's theme was celebrating local community music stores, and we all know where we'd be without those guys. In June, the Convention Center was packed with interesting developments in instruments and merchandizing, but I only have space for a few highlights of interest to you jazz and blues cats. NAMM is very much about education. They annually give more than a half-million dollars to music programs and scholarships, and host lectures and seminars during the convention on retailing, education, community relations, and more. Attendees could get a pre-printed workbook to take notes and make suggestions to the presenters. Professional musicians might want to check into their ongoing support network in all of those areas. You can contact [email protected] In instruments, the big news was the introduction of the Moog Guitar. You remember how Robert Moog's synthesizer revolutionized the sound of music in the 1960's? The Moog Guitar takes a different approach than the current


The Nashville Musician

July-September 2008

Office Manager's Notes . . .


Sherri Olson

RAIN, RAIN, GO-ing AWAY! Our very own "We Couldn't Hide 'em If We Tried ­ Rainy Day Lobby Ensemble" is retiring after all these years. Bye-bye buckets. Our leaky old roof has finally been replaced and the skylights are soon coming. Thank you all! It's been money well-spent and none too soon. With gas prices continuing to rise, we're left with no choice but to trim personal costs and reduce our trips. A speck of good news is that for the cost of postage, we'll automatically mail your checks to you as soon as they're processed. Consider being added to this mailing list. Anywhere you can save a trip is well worth it! Local 257 staff has accepted a Personal Health Challenge! It's a commitment of just one week (at a time). Participants choose three personal goals from a list that they will focus on each day of the following week. There's a wide range of options; from eating healthier, to laughing out loud for a solid minute, to turning off your TV, unless you're exercising in front of it. I hope not only to improve my own health, but would love if we all would work towards healthier, happier lives. And I believe we can have fun encouraging each other to do so. I'm excited to get started with the first week's challenge! Did you happen to stop by the day we held a "Luau Party" where we dressed up a little Hawaiian? No, I don't mean we spiffed up a small dude from Honolulu, but we dressed in Hawaiian style clothing. We decorated the office, ourselves and each other, shared a lot of fruit and food, and mostly just had fun being silly. I guess when the dress-up holidays are few and far between, we just have to create our own reasons to party. You know what I mean. We enjoyed it, and y'all seemed to fit right in. That's the nice thing about musicians ­ you can't come up with much that would leave them believing you're crazy. Webster declares independence to be freedom from the influence, control, or determination of another or others. And being independent includes relying only on oneself or one's own abilities, judgment, etc.; self-confident; self-reliant. It's something we usually all seek in one form or another from the time we're children. Each passing year draws us closer to the day we too will be independent and making our own decisions, choosing our paths and following our dreams. But with that come responsibilities and challenges. The Spirit of 1776 set the pace for our independence as a nation, and I believe Spirit plays a large role in gaining our personal independence, surviving and thriving. Independence should not be taken lightly, nor should it be pursued without caution in some instances. Deep consideration should be given to whom or what you are separating yourselves from before pursuing your life, liberty and happiness. When it's right and when it's necessary, it's exhilarating! Happy Independence Day (if somewhat belatedly)! Country Music Hall of Famer Chet Atkins. Brother Jim, also a musician, was his closest friend. Following their parents' divorce, both boys lived for a time in the Baptist Children's Village in Jackson, Miss. "Dad played a little steel and lead guitar with local bands when we were boys," says Jim. "That was our family musical heritage. Jack was so much more talented than us and stuck with it, self-taught and all." Musician-friend Ben Harris wrote in an email on the Internet: "Jack also loved to fish and could often be found out on Percy Priest Lake, fishing when in town for a few days. He had many friends, including many of the musicians in Nashville, who played with Jack on recordings and on the road. "Jack and I were great friends and fished together many times. I also did his last instrumental recording. We stayed in contact all the years, since both of us were employed by Milsap. Jack was a great lead guitarist and (played) steel guitar, as well." Jack's brother Jim, who still dabbles in music on a local level, adds: "I miss him so . . . We spent a lot of time together here in Pearl." Survivors also include sons David Watkins, Kerry Allen Watkins (his son by Smith), daughter Kathy Johnson, half-sister Nell Hollomon, seven grandchildren and two great-grandchildren. Services were conducted on May 12 at Stringer Family Chapel, with burial in Hopewell Cemetery. - Walt Trott

The Local 257 office staff know how to take a lunch break, Hawaiian-style. They are: (last row, from left) Arleigh, Janet, Anita, Kathy; (2nd row) Sherri, Teri; (3rd row) Melissa, Michele, Christie, Mandy and up front Shana.

Photos (2) by Kathy Shepard

See additional pictures on page 20.

Your next General Membership meeting is slated 6:30 p.m. Monday, Sept. 8 at the Hall. See page 1 for details.

Looking for some publicity?

Jan Fabyankovic, songwriter-music scribe, has contacted us regarding interviewing Nashville musicians who are also songwriters, for her monthly Musesmuse column. The veteran music writer has chatted with among others, Paul McCartney, Taylor Dayne and Chris Allen, reaching some 1.2 million readers. Those who desire to promote their music may contact Jan at [email protected] or telephone (412) 673-9443 for details.

Jimmy and Michele Voan Capps.

Guitarist Lamar (Jack) Watkins, Jr., 70, died May 9 at his home in Pearl, Miss. Jack was a bandleader for Connie Smith, whom he wed briefly, and he went on to play lead guitar for Ronnie Milsap. Watkins also wrote instrumental songs, some recorded by

Changes in beneficiary?

Be sure to report changes in your status to the Union office!

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

Hot dog! That's our own Sherri and Kathy mixing it up with Ms. Mustard and Mr. Hot Dog. Actually, it's SunTrust's festive 10th annual Hot Dog Day! celebration to benefit the bank's customers.

July-September 2008

The Nashville Musician

put forth a huge effort. We closed loopholes, created realistic scales and spelled out the specific uses for the music without giving away essential protections for the musicians. Then we took the final RMA proposal to Local 257 President Bradley and Secretary/ Treasurer Linneman, and further tweaked it to their satisfaction. They submitted it to the IEB for their consideration, which we do appreciate. No decision has been made by the IEB as of now. It is my hope that the IEB will see the merits of the RMA International Videogame Proposal, and do the right thing by approving it ASAP, ending all other options and, once and for all, eliminating the "One-Offs." Those actions would have a much greater beneficial effect than any amount of words could ever achieve. I hope we can bring this very contentious issue to a successful resolution as soon as possible, so we can all move on. We need to be looking ahead, not behind. There are so many areas that need attention we cannot afford to spend our energy fighting each other. The only way that our problems can get better is if everyone involved makes a commitment to working together for achievable and realistic common goals. If an organization such as the AFM is to survive in these turbulent times, it must be flexible, diverse, democratic, and most of all, responsive to the needs of its members. As those needs change, so should the AFM. Just as we are the ones "in the trenches" bringing work to the Union, we are the ones who can change this Union from the inside. It will only be as good as WE decide to make it. I hope that you will consider joining RMA Nashville, and get involved in our effort to keep the AFM relevant in a rapidly changing marketplace. Stay Tuned... To find out more about RMA, please visit In Unity, Dave Pomeroy RMA Nashville Officers: President - Dave Pomeroy Vice President ­ Mike Brignardello Treasurer ­ Tom Wild Secretary ­ Lauren Koch Executive Board Members ­ David Angell, Jim "Moose" Brown, Barry Green, Jeff King, Tim Lauer, Carole Rabinowitz.


Recording Musicians Association

Dave Pomeroy, President, RMA

I have been a proud member of Local 257 and the AFM for 31 years. In 1991, I began my involvement in Union business when I became chair of the newly-formed Local 257 Club Committee. Our first act was to address the Local's insistence that in Nashville "listening rooms" featuring original music, the club owners were (supposedly) paying the band under a Union contract. In reality, the artist and/or bandleader was hiring the room, sound system, and door person for the night, promoting the gig themselves, and paying the band from the proceeds at the door or out of their pocket. We were our own employers, and we didn't want to lie about it anymore. So we fixed it. After years of being forced to file bogus contracts with club owners' forged signatures or be fined, we were finally able to tell the truth to our own Union about club gigs ­ that we weren't being ripped off, we were doing them to further our careers by being heard, pitching our songs, and networking, as well as getting paid and having fun! We also created realistic scales for what someone might actually expect to make at Nashville clubs of different sizes. That system is still in place today and it still works. There were two reasons we were able to achieve progress in that situation. First, Union members got involved in their own business, and second, musicians who were actually doing the work were allowed to participate in crafting a more realistic, marketplace-oriented solution to an existing problem. That was a good example of the Union responding to the needs and desires of its members. Fast forwarding to the present, I find myself in the middle of a lot of Union business these days, as President of RMA Nashville, and as a member of the Local 257 Executive Board and also RMA International's Board. You may notice my use of the phrase "Union business" as opposed to "Union politics." There is a significant difference. There are more than enough politics to go around, but I choose to use the word "business" because that's our line of work. I don't know, maybe that's why they call it THE MUSIC BUSINESS! Just as it seems to do in Washington, politics can get in the way of business in our Union as well. It's no secret that relations between the Federation and the RMA have been strained for some time now. Ever since I became RMA Nashville President in January 2005, I have strived to bring positive and straightforward dialogue to the table and search for the uniting factors in our Union rather than focusing on the negative. I saw a glimmer of hope at the 2005 Convention, when the Special Payments tax was rescinded and all sides pledged to work together to mend the divisions of the past. For whatever reason or reasons, and I'm sure there are many different versions, that just didn't happen. In 2007, The AFM Convention voted to reinstate the Special Payments and the Local 257 resolution to raise funds though a very modest per capita raise fell by the wayside. Videogames and their soundtracks are currently one of the few areas of huge economic growth in the entertainment business, and have become a major area of internal conflict in our Union. The AFM's current "multiple agreement" approach to Videogames was approved by the IEB (the AFM's International Executive Board) in November 2006 with 2 competing options being adopted simultaneously. Some months later, the IEB gave the AFM President and Secretary/Treasurer permission to create additional Agreements with any company of their choosing, without an approval process. The continuing series of "one-off" deals that have ensued lack the proper language and protections to prevent unauthorized New Use of the recorded product. While it is true that we have not yet done a lot of Videogame work here in Nashville, there is no question that we will do more of this type of work in the future. Regardless of where the work is done, we must do all we can to prevent music recorded under a Videogame Agreement from being used elsewhere (i.e. as an album, single, etc.) without proper compensation for additional use. Videogame companies are now getting into the record business in a big way (surprise!) and will soon be breaking new acts through that medium. We must establish a single Videogame Agreement that we ALL can live with that protects us or we risk undermining our Phono, Film and other Agreements. In hopes of resolving this ongoing internal struggle, RMA Nashville has attempted to play "peacemaker," however our efforts to persuade AFM President Tom Lee to meet privately with RMA International President Phil Ayling have been unsuccessful. Nonetheless, RMA International and our individual chapters in New York, Los Angeles, Miami, and Nashville have responded positively as a unified group. Many RMA members across the country have spent a lot of time over the past few months crafting a new, concise, playerdriven Videogame Agreement Proposal designed to replace all existing Options and the "One-Off" Agreements that are causing such dissension in our Union. As Chair of the RMA International Videogame Committee, I am very proud of the group effort put into this Proposal. In particular, Pete Anthony, RMA-LA President,

President Bradley's new honor, benefits students

Local 257 President Harold R. Bradley has been honored by Wachovia, a financial institution headquartered in Irving, Texas, with a music scholarship bearing his name, being made available to students attending Sam Houston University in the Lone Star State. In July 24 correspondence, Charles W. Jones III, senior v.p. of Wachovia Dealer Services, made the announcement, and went on to say, "Throughout the years, you have made your mark, not only on the Nashville Sound, but also on the face of American music. You are undeniably the most recorded session guitarist in the history of popular music, a member of the A Team and elected into the Country Music Hall of Fame, as well as an inductee of the Musicians Hall of Fame. "In addition to your artistic achievements, you were the first president of Nashville's chapter of the National Academy of Recording Arts & Sciences," Jones continued. "In 1991, you began your service as president of Nashville's chapter of the AFM, and currently serve as the organization's international vice president. You also received the AFM's prestigious Lifetime Achievement Award. "More importantly, you have maintained integrity, character and strong values that have served as a guide to others in all occupations," Jones added. "You also stand up for the rights of fellow musicians when they are not paid, taken advantage of, or treated unfairly. You stand as a role model for every upcoming student of music to emulate." The newly-named Harold R. Bradley Scholarship carries an annual stipend of $1,000 for an outstanding student in the Music Arts Department of Sam Houston State University. Jones stated, "This award will go to a music student who holds your values and character traits, and has an ability to achieve their full potential of musical talent. This will enable them to further their advancement in the industry that you hold so dear and have been such an incredible leader for all to aspire." Bradley, a Nashville native, was indeed honored by Wachovia's decision to add a Music Scholarship in his name for the historic school based in Huntsville, Texas. Bradley recalls once playing a gig at the Huntsville State Prison Rodeo, while on tour with Pee Wee King's Golden West Cowboys. Another Texas connection occurred when a teen-aged Harold on summer break from school played with Ernest Tubb's touring band The Texas Troubadours. (Years later, he played guitar on Tubb's Decca sessions, produced by Harold's brother Owen Bradley.) "I was totally surprised when I met Charles Jones and he told me Wachovia was establishing a Scholarship in my name. I accept it gratefully on behalf of all the pioneer Nashville recording musicians and all the Nashville recording musicians who have made this Music City USA." - WT

General Membership meet's slated Monday, Sept. 8, 2008

There's a full agenda on tap for Local 257's members to consider, come meeting time at 6:30 p.m., Monday, Sept. 8, in the rehearsal hall. Among these are a change in work dues, a new meeting policy, receiving your newspaper via the internet and a resolution, as well as an alternative resolution, etc. (See page 1 story.) For details on these or any other topics, contact your Secretary-Treasurer Billy Linneman at (615) 244-9514, Extension 224, or on-line at [email protected]

Oil crisis spawns new country cut by Local's George IV

Grand Ole Opry great George Hamilton IV has let us know his frustration over the high cost of driving to show dates these days. George IV, of course, first became a nameto-be-reckoned-with via his pop smash "A Rose & A Baby Ruth" in 1956, followed by an impressive array of hits, notably "Why Don't They Understand," "Before This Day Ends" and "Three Steps To the Phone." The Local 257 member is sharing with us some new lyrics added to his #1 crossover hit "Abilene" (1963), with all due respects to original lyricist John D. Loudermilk. Feeling similarly frustrated, fans are nodding in agreement, as George sings along to his familiar melody, "Gasoline, gasoline, highest prices that I've ever seen/What on Earth is goin' on/With gasoline, oh gasoline . . . Filled my tank, just the other night/Watched that meter, just spin outa sight/Don't I wish they would lower the price/Of gasoline, oh gasoline . . . Now aren't we tired of getting reamed/By gasoline, oh gasoline." Incidentally, come Sept. 14, IV's "Abilene" recording marks its 45th year in hitting the top, where it remained four weeks. For more information on Hamilton and his song, check out

Local's Mike Britt (left) joins Lonestar team-mates Cody Collins, Keech Rainwater and Dean Sams at the downtown CMA Music Festival in this Patricia Presley photo.They're celebrating a new CD release.


The Nashville Musician

July-September 2008

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 con tract) 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)

Electronic Media Services Division

By Melissa Hamby Meyer

Confirm Signatory Status Prior To Downbeat! It is critical that you confirm an employer's signatory status prior to your session. When you are called for a Master, Low Budget or Limited Pressing session, please contact the Local to confirm that your prospective employer has current signatory on file. Feel free to come by the Local or e-mail your inquiry to [email protected], [email protected], [email protected] or [email protected] will be more than happy to provide you with the appropriate paperwork to ensure your session is covered. Without the appropriate signatory agreement on file, you cannot receive credit for pension contributions that are made to the Pension Fund and would not receive Sound Recording Special Payments credit for eligible sessions (Master/Low Budget), even though your wages have been paid! Your Recording Department spends an incredible amount of time securing signatory after the fact, which is a tremendous drain on personnel hours that could be dedicated to benefit you in other areas. It is the Leader and/or Contractor's responsibility to ensure that the current signatory is in place prior to downbeat. I cannot stress enough...when the appropriate signatory is not in place, your future pension and annual Special Payments disbursement are in jeopardy!! Please confirm signatory before your session! Music Videos... If you are called to participate in a music video taping, sign a time card and turn it in! Record labels are required to file Video Promo contracts under their Sound Recording signatory for any on-camera musicians (excluding royalty artists). If a time card/contract is not filed, you cannot receive your 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 soundtrack 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. GAC & RFD-TV . . . It is imperative that you contact this Local, or the AFM, prior to doing any work for GAC (other than OPRY LIVE) or RFD-TV (other than Crook & Chase). Programs for these networks must currently be handled on an individual basis. Contact this Local, or the AFM, ahead of time to ensure that your services will be covered. As a reminder, any work done outside of our jurisdiction should be filed with and handled by the Local that has jurisdiction. We will be happy to provide you with the appropriate Local's contact information. Do you know these individuals? The Local has been awarded a judgment against Dewayne "Dada" Mills in the total amount of $49,860.26. This Phono work for Mr. Mills/Katana Productions was done within our jurisdiction in February 2005. If you have any information concerning the current whereabouts of Mr. Mills or any work he is doing, please contact [email protected] Also, if you have any information regarding the current whereabouts of Gregg Brown/ Revelator Records or any work he is doing, please contact [email protected] 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. · Recording scale questions relating to Sound Recording, Limited Pressing, Low Budget or Demo scales [email protected] or [email protected] · All recording payment inquiries, late penalties and any scale questions relating to TV, Radio, Motion Picture, OPRY or CMT [email protected] · Recording pension and signatory questions [email protected] As always, if I can be of any assistance to you please contact me at [email protected] Your Recording Staff is an outstanding team! I am so thankful for each one of them! Wishing you great success in the months to come! * * Review the Do Not Work For and Non-Signatory Lists in each edition (on this page). If you have worked for one of these employers, you may have unsecured pension and/or special payments credit. Both of these lists represent some of your fellow musicians being taken advantage of...don't allow this to happen to you too! * *

Do not work for . . .

Add A (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) Hot Skillet/Lee Gibson (outstanding contract/limited pressing signature) Howard Music Group (pension) Mark Hybner (outstanding contract) J.C. Anderson (pension) Rory Lee Feek/Giant Slayer (outstanding contract) Jack Wilcox (outstanding contract) Joe Meyers (pension) Katana Productions/Duwayne "Dada" Mills (outstanding contracts) Kenny Lamb (outstanding contract) King Craft, Inc./Michael King (outstanding contracts) Matachack James (pension) McKim Creek Productions (pension) MC Productions/Mark Cheney (outstanding contract) MCK Publishing/Rusty Tabor (outstanding contract) Michael Sykes Productions (pension, outstanding contract) Michael Whalen (pension) Miss Ivy Records/Bekka Bramlett (outstanding upgrades) MS Entertainment/Michael Scott (outstanding contract)

AFM non-signatory agents

The following companies or individuals are not signatory to the AFM Agreements; therefore, do not work for those listed below, without first checking with the President, telephone (615) 244-8514: Allianz (demo signature) Anthony Smith Prod. (demo signature) Blake Mevis Music (demo signature) Blue Desert Music Group (phono) 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) Ronald Light (limited pressing) MS Entertainment/Michael Scott (limited pressing) McKim Creek Productions (limited pressing) Matachack James (limited pressing) Michael Sykes Productions (demo signature) Parris Productions/Garrett Paris (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) 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) 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) Madacy Music Publishing (limited pressing) One G Productions (limited pressing) Peer Music (limited pressing) Roxanne Entertainment Taylor Productions (limited pressing) --------------------------------------------------------------TBN, Paul Crouch (phono/video) Campfire Records Chapel Music Group MTL Limited LaToya Jackson & Jack Gordon Westwood One Ci-Ber Records International Worldwide Agency

O Street Mansion (pension) On The Green/Kevin Beamish (outsanding contracts) Parris Productions/Garrett Paris (pension) 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


RichDor Music/Keith Brown (outstanding contract) Rust Records/Michelle Metzger (outstanding contracts and pension) Sam Hogin Songs (outstanding contract) 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) Village Square (pension) We 3 Kings (outstanding contract) Eddie Wenrick (outstanding conract) Will Smith Productions (outstanding contract) Woody Bradshaw (pension) YGT 40/Lawrence B. Gotliebs (pension)

Baldwin Entertainment/Will Smith (pension) (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)

Give to TEMPO

July-September 2008

The Nashville Musician


Danny Davis turned his Nashville Brass into pure Gold

Cannonball" ('70), which also garnered pop airplay; and a Top 20 "Night Life" (1980) with Willie Nelson. A Life Member of the Nashville Association of Musicians' AFM Local 257, Davis was highly regarded and respected among his peers. "He glorified country music in a different way, by using the horns. It was a new sound and the way he presented it made a lot of people appreciate this music. What he did was unique," says Harold Bradley, Local 257 president and fellow A Team session player. Born George Nowlan on April 29, 1925, in Dorchester, Mass., Davis was the son of an opera-teaching mom, who taught him the difference between Beethoven, Bach and Bing (Crosby, that is). Indeed, he studied trumpet and at age 14 soloed with the Massachusetts All-State Symphony Orchestra. Thanks to a four-year scholarship earned, young Nowlan attended the New England Conservatory of Music, to continue his studies. A fan of big band music, the young adult accepted an offer to play in the Bobby Byrne Orchestra (famed for "Maybe") at CBS (Byrne served as bandleader for Steve Allen's 1953 Tonight Show, followed by Skitch Henderson). Then the trumpeter hit the road big time, touring first with Gene Krupa's group. Other big bands Davis worked with were Bob Crosby's Bobcats, and the orchestras of Hal McIntyre and Art Mooney. While with the bands of Blue Barron, Freddy Martin, Vincent Lopez and Sammy Kaye, Danny also doubled as a vocalist, warbling with their respective units The Blue Notes, The Martin Men, Kaydets et al. It was with Martin, however, that he sang a solo effort: "The Object Of My Affection." Reportedly, Danny entered and won competitions on Arthur Godfrey's Talent Scouts and similar contests on Dennis James' The Chance Of a Lifetime program, both on major network television. In the mid-1960s, he began working as a repertoire producer at RCA in New York, but a few seasons later shifted to the Nashville branch, where he became an executive producer and assistant to boss-man Chet Atkins. Of course, Davis had recorded earlier in Nashville, notably his series of hit singles on Connie Francis for MGM from 1962. For RCA in the Big Apple, he produced Lana Cantrell and Nina Simone. Once in Music City, he helmed the likes of Shea, Hank Locklin, Floyd Cramer, Dottie West & Don Gibson, and Waylon Jennings. He was especially proud of producing Jennings' "MacArthur Park" with The Kimberlys, which won a 1969 Grammy; and the Gibson-West country hit "Rings Of Gold" (#2, 1969). Inspired by the popularity of A&M's Herb Alpert & The Tijuana Brass, Davis envisioned an act with more of a country flavor, thus The Nashville Brass was born. With the support of Atkins, Davis & company mainly utilized two trumpets, drums, bass, two trombones and occasionally a rhythm banjo. Despite subsequent successes, Danny had to face down many purists who criticized the use of brass in country music. Meanwhile, he forged forward making it country's top big band. Davis' Nashville Brass helped pave the way for the Nashville Sound farther afield, whether in gilded Las Vegas or touristy Branson. Additionally, his band was likely the first to do guest spots with major symphony orchestras, and enjoyed frequent appearances on national TV, including shows with Ed Sullivan, Red Skelton and Dinah Shore, and played during the Presidential Inaugurations for both Nixon and Reagan in Washington, D.C. One of Davis' less successful ventures was the short-lived Stardust Theatre showcase here with saxophonist-pal Boots Randolph on Music Valley Drive (1995). Danny also produced his own syndicated TV series Danny Davis On

Danny Davis

By WALT TROTT Veteran musician-producer-bandleader Danny Davis, 83, died June 12 at St. Thomas Hospital in Nashville, after suffering a massive heart attack. Davis headed up the Grammy and CMA award-winning Nashville Brass band, and produced hits on such diverse acts as Connie Francis, George Beverly Shea and Herman's Hermits. Davis founded his Nashville Brass in 1968, cutting their RCA album bow "The Nashville Sound," which also crossed over into the pop album charts. That Top 40 success led to a follow-up 1969 LP, "More Nashville Sounds," spending 24 weeks on the Billboard list, peaking at #6. It also earned his band best country instrumental Grammy in '69. Among the band's 20 RCA album chartings were his 1977 entry "Chet, Floyd & Danny" (a collaborative effort with Chet Atkins and Floyd Cramer), and in 1980, "Danny Davis & Willie Nelson With The Nashville Brass." Additionally, from 1969-1974 inclusive, Danny Davis & The Nashville Brass won CMA's best instrumental group awards. Among his nine Billboard singles chartings are "Please Help Me, I'm Falling" and "Flying South," both with Hank Locklin vocals (1970); "Wabash

Boots Randolph and Danny.

Danny and his beloved horn.

the Move. He became a familiar face on the long-running series Hee Haw, as part of their fabled Million Dollar Band. A new tribute is a single "Danny Play," in which younger singer-songwriter Royal Wade Kimes pays homage to the legend, whose horn sounds are heard. "I was honored to represent Danny as a press agent throughout the entire time he had the Nashville Brass, and he was one of the most appreciative clients I've ever worked with," says Nashville publicist Betty Hofer. "It didn't matter if I delivered a big national magazine story or a short blurb in the local paper, he would always go out of his way to thank me. And that same attitude of sweet kindness seemed to permeate his entire personality. It was his trademark. It's what made him the true gentle man he was, in everything he did." Survivors include wife Barbara, daughters Kim and Tara Nowlan; sons Gavin and Kerry Nowlan; three grandsons, Kerry (Jamie) Nowlan, Jr., Elliott Nowlan and Nicholas Nowlan; great-granddaughter MiKayla Nowlan; and brother John Nowlan. Services were conducted June 16 at St. Edwards Church, with Father Joseph Breen officiating. In lieu of flowers, the family suggested donations may be made instead to: St. Henry's Church, 6401 Harding Pike, Nashville 37205.

Artist remembers former stickman Snuffy Miller

(Editor's note: The following commentary regarding the recent death of former musician Leonard B. Miller, written by Life Member Bill Anderson for his website, is worthy of reprinting here for the benefit of our readers.) "I have received some sad news that perhaps only my longtime fans can fully understand. Len "Snuffy" Miller, who was the drummer in my original Po' Boys band, and with whom I created some of the wackiest, most spontaneous and off-the-wall humor in country music, was found dead in his Nashville home yesterday afternoon (June 24). "I don't know his exact age, but I assume he was somewhere in his 60s. (He was 66.) As I wrote in my autobiography years ago, I nicknamed him `Snuffy' because of his nervous habits when we would travel. "In those days, we rode to our concert dates in cars, and Snuffy was always afraid we were going to have an accident. `Look out!' he would constantly yell at whomever was driving, `That car's gonna pull out in front of us and we're all gonna be snuffed out.' "I finally heard `snuffed out' one too many times. `Len, if you say that one more time, when we go onstage tonight, I'm going to introduce you as `Snuff Miller,' I threatened. He did and I did, and from that moment on nobody ever called him Len again. "He was a big fan favorite on our road shows, because he was so animated and so naturally funny. The wacky nickname didn't hurt either. But Snuffy also possessed a good singing voice, and just when the audiences would think he was the funniest man they ever saw, he would launch into a serious song and leave them breathless. "Snuffy could be funny in ways the audience never saw or heard. On nights when I might be having trouble getting the crowd into the flow of the show, he'd call out encouragement from his perch back on the drums. `Hang in there, Willy,' he would say just loud enough for me to hear, `we'll get 'em. Just rear back and whisper!' "One of his proudest moments came when a major newspaper in New York City wrote a review of our show at the Taft Hotel in Manhattan. The writer referred to Snuffy's stage antics as `cornball humor done well.' He beamed for days over the `done well' part. "For various reasons, I had to let Snuffy go after six years of our working closely together. For awhile he tried to make it on his own as an artist, then later he played drums for both Dottie West and Nat Stuckey. "He produced records for awhile, the most notable being the very successful comedy albums for Jerry Clower. He worked in various capacities behind-the-scenes for Conway Twitty, but eventually gave up on the music business altogether and became a bus driver for the Nashville Sounds minor league baseball team. He also drove for some of the athletic teams at Vanderbilt University. "The last time I saw him was when we sat together this past spring at a Vanderbilt baseball game. "It's always tough to lose a friend, especially one to whom so many good memories are attached. Thanks for the good times, Snuff. May you forever rest in peace."

Danny and TV series `On the Move' Brassers.

Bobby Osborne given honor

Heralding his promotion of bluegrass music, Grand Ole Opry star Bobby Osborne was presented the Heritage Award at the 31st Uncle Dave Macon Days celebration, on July 12. Conducted annually in Cannonsburgh Pioneer Village in Murfreesboro, Tenn., the old-time music festival pays tribute to the Opry's first superstar, Dave Macon, who performed on the WSM show from 1925 until 1952, the year he died.

- Whisperin' Bill Anderson

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Members should be aware that the entire issue of your newspaper The Nashville Musician is also on our website for your convenience. Punch in

Union music is the best!



The Nashville Musician

July-September 2008

Jackson enjoying `Good Time(s)'

Alan Jackson's latest #1's titled "Small Town Southern Man," but he looked more like what he is - a country superstar - as he arrived at ASCAP to mark the occasion. It's the 23rd Billboard charttopper for the Georgia-born artist, who has sold some 49 million records to date. Jackson wrote this hit solo, as well as the other 16 tracks on his Arista "Good Time" album, which debuted at #1 country (and pop) and held in there a second week. "Small Town Southern Man" was also #1 two weeks on the Billboard singles chart (March 29 and April 5), his first since his self-penned "Remember When," that topped the chart Feb. 27, 2004 (also two weeks). Incidentally, Jackson has written 15 of his #1 records. During a "round-robin" interview session, prior to receiving accolades from ASCAP, CMA, Country Radio Broadcasters and Country Weekly magazine, we asked the honoree if ". . . Southern Man" was his idea to be lead single off the CD? Surprisingly, he said no, that he would've preferred a more uptempo tune and a less typical Alan Jackson-style song as the first release: "I wanted to come out with `Good Time' first. I wanted something more fun and uptempo, but the label felt `Small Town Southern Man' was a good choice. I guess it was winter-time and more on-topic of what people expect from me." Obviously, Alan's pleased that "Good Time" is now out. (At press time, the single was already in the Top Five.) This album has reunited Alan with longtime producer Keith Stegall, who also co-wrote such Jackson toppers as "Don't Rock the Jukebox," "Dallas" and "Love's Got a Hold On You." Jackson's previous album "Like Red On a Rose" was produced by fellow vocalist Alison Krauss, but though it had made #1, it lacked the "legs" of previous releases. In time for Christmas 2006, Alan recorded an album primarily for his mom and mother-in-law, who dig gospel sounds. Label chief Joe Galante, however, liked "Precious Memories" so much, he released it commercially, and remarkably it debuted #1 on the country and pop charts, a first for a gospel CD. Regarding his collaboration with Stegall, Jackson, 49, noted, "This is our first studio album in several years. The gospel album was kind of just something that jumped out here on its own, and the Alison Krauss project was the same thing . . . (it) was always supposed to be a one-time thing." (Actually, Alan and Keith, both 257 members, worked on a 2004 release, "What I Do.") "When we got ready to make another album, Keith and I got together and found some songs, and put it back on cruise control, used the same players pretty much, and went in there and knocked it out." Stegall spoke in praise of his artist, "It's an honor to get to make records with this man. Every time we do it, I'm just amazed at how much better he gets . . . the songwriting on this record just kills me!" Jackson, not one for a lot of conversation, did acknowledge appreciation for the successful career he's enjoyed since his 1989 Top 40 chart debut "Blue-Blooded Woman," co-written by him, Keith and Roger Murrah. He added, "If I never have another number one record, I'll be fine . . . I've had a wonderful career. I've been lucky." - Walt Trott

AFM Local 257 members' status






AFM Local 257 office closings

The following holidays will be observed by the Local 257 staff, therefore the Union offices will be closed on these dates: Labor Day, Monday, Sept. 1 Columbus Day, Monday, Oct. 13



General membership meet set

AFM Local 257's next meeting of the general membership has been scheduled for 6:30 p.m. Monday, Sept. 8, in Cooper Hall. See pages 1and 21 for explanations of the highly important proposals being put forth by the Board, for members' consideration.

Union Music Is Best!

(As of 06/27/2008)



Date Deceased Birth of Date 05/08/2008 05/13/2008 06/12/2008 05/04/2008 05/09/2008 05/15/1918 12/02/1948 05/29/1925 10/22/1934 04/28/1938

Date Joined 11/04/1939 07/07/1967 03/04/1968 10/02/1956 10/03/1966


July-September 2008

The Nashville Musician


. . . Bradley tracks Show Dog, film folk

(Continued from page 1) musicians, as well as songwriters and publishers. Harold Bradley, AFM Nashville Local 257 president, has been on the trail of Keith, the film's star, his label Show Dog Records, and backers B4MH Productions, MTV-CMT Films (who bankrolled his prior big screen debut "Broken Bridges") and Roadside Attractions, a distributor-affiliate of Lion's Gate. He merely wants to make sure his musician-members get what's due them via an American Federation of Musicians' Film Agreement. The 6'5" former oil field and rodeo roustabout engaged Local pickers to play on the soundtrack of his $10 million movie, which after its theatrical run will generate further revenue off DVD sales. What the union wants is for the film folk and their recording arm to sign the standard AFM Film Agreement. Bradley points out that two movie crews recently shooting in the area "Hannah Montana" and "Billy: The Early Years" (story of The Reverend Billy Graham in his youth) - became signatory. According to Bradley, "This same situation happened once before on Toby Keith's first film `Broken Bridges' (2006), where the musicians did not receive the appropriate payments . . . It is unfortunate when some producers come to Nashville and think they are in Hicksville and try to take advantage of our wonderfully talented musicians. "But it is even more distressing when our local artists/record companies refuse to sign the appropriate agreements and set an unacceptable practice other companies will try to emulate. Nashville would not be Music City USA if Decca, Capitol, RCA and Columbia had not been signatory to AFM agreements when the recording industry started in 1947 in Nashville, and continued to re-sign all these years." This latest brouhaha is reminiscent of last year's skirmish between Bradley and the makers of the reality TV series Nashville, when its company Go Go Luckey/Luckey-1 skirted signing proper documents. When Fox first aired their show, however, viewers tuned 'em out, prompting the cable network to yank the series off its Friday night schedule. Judging by a few advance scenes seen on "Beer For My Horses," it seems destined for scant theatrical showings, and thereby relegated mainly to the DVD market. Show Dog Records and B4MH Productions are being paid to the musicians appearing in the songs used in the film. The AFM is wrong to claim that the musicians appearing in the film did not receive from this company all compensation to which they were entitled." Its affiliate, Show Dog Records' separate statement read: "Show Dog Records has paid musicians as required by the AFM for their work on the Show Dog Records' recordings including on the `Beer For My Horses' album; it will pay them a second time as required by the AFM for inclusions of those recordings in the film; and it will pay them additional compensation based upon sales of the album. "The AFM's suggestion that Show Dog Records and Toby Keith are somehow failing to support musicians is misleading and incorrect. Show Dog Records has in all aspects fulfilled its obligation as an AFM signatory, and any inference to the contrary is simply untrue." Reportedly, the label has employed more than 70 Union musicians on more than 140 sessions in compliance with AFM requirements. Meanwhile, CMT chose not to comment on the allegations by Bradley. "The payments Show Dog has made to musicians is for music performed under the AFM Phono Agreement," says President Bradley. "Those payments are not in dispute. Those are past payments. The correct agreement that needs to be signed is the AFM Film Agreement, which would enable the film musicians to receive future payments from the sales of DVD's. "We can only hope that Toby Keith's advisors will have a change of heart and sign the appropriate agreement, so that Nashville can live happily after. Today, when I came in the office (Monday, July 21), one of our supervisors showed me a huge stack of correct checks to the musicians performing music for the `Hannah Montana' movie. This is the way it's suppose to work."

Kathy Shepard's camera caught Toby Keith at BMI.

contend that the Union's charges they're not supporting musicians is wrong and misleading, insisting they have fulfilled obligations as an AFM signatory. "Beer For My Horses," directed by Michael Salomon, depicts the struggle of two deputies who defy their sheriff to save a girlfriend from drug king-pin kidnappers. The movie was shot mainly on location in New Mexico, but meantime called on the services of numerous Nashville-based musicians. Keith who stars, wrote the music and created the screenplay with co-star Rodney Carrington. He also had a hand in casting cameos: Nelson, Mel Tillis, David Allan Coe and Mac Davis. Regular cast members include Claire Forlani, Ted Nugent, Tom Skerritt and Barry Corbin. A statement released by representatives of B4MH Productions, printed in The Tennessean daily newspaper, noted: "B4MH Productions LLC, the producer of the upcoming theatrical motion picture `Beer For My Horses,' has learned that the American Federation of Musicians (the `AFM') has complained about the treatment of musicians whose performances are used in the film. While we have no relationship with the AFM, we have licensed AFM-covered tracks from a variety of sources, including three tracks from Show Dog Records, the record label that we have also licensed to produce and release an album comprised of songs featured in the film. "Under our license with Show Dog Records, all fees and benefits required by the terms of the agreement between Show Dog and the AFM

Life member Jack Greene's still out there entertaining traditional fans.

Presley on the prowl at CMA Music Fest

Randy Travis meets with Deborah Allen.

Newcomer Taylor Swift at CMA Music Fest.

. . . Musicians Hall of Fame names inductees for Class of '08

(Continued from page 1) Sullivan on rhythm guitar, Joel Mauldin on bass, to accompany him and Allison as The Crickets, recording at Norman Petty's Studio in Clovis, N.M. Months before his death in 1959, Holly split with The Crickets. Recording for Brunswick and Decca subsidiary Coral the group enjoyed such hits as "That'll Be the Day," "Peggy Sue" and "Oh Boy." Inductees the Memphis Horns, Wayne Jackson (trumpet) and Andrew Love (tenor saxophone), added style and inspiration to hits by Otis Redding, Sam & Dave, Isaac Hayes, U-2 and Neil Young. Originally a sextet, they were heard on numerous Stax Records' singles, and also appeared on memorable recordings like Rufus Thomas' "Memphis Soul Stew," The Doobie Brothers' "What Were Once Vices Are Now Habits" and U-2's "Rattle & Hum." The Muscle Shoals Rhythm Section, so named because their stomping grounds was the studio town of Muscle Shoals, Ala., reigned supreme thanks to the unique sounds recorded. Among the great singles emanating from Muscle Shoals were Wilson Pickett's "Mustang Sally," Aretha Franklin's "Respect" and Paul Simon's "Kodachrome." The Hall of Fame MSRS line-up includes guitarist Jimmy Johnson, pianist Barry Beckham, bassist David Hood, and associates Spooner Oldham, Clayton Ivey, Randy McCormick, Pete Carr and Will McFarlane. During the major media announcement at the downtown Musicians Hall of Fame, veteran musician-songwriter Joe Chambers (the Hall's director/curator) pointed out that another inductee will be disclosed prior to the awards ceremony. Assisting Frampton, a former Nashville resident and frequent visitor, was Country Music Hall of Famer George Jones, on hand to pay homage to his longtime producer and friend Billy Sherrill. "I call him the `Little Genius' (Billy)," said Jones, whose Sherrill-produced "He Stopped Loving Her Today" (co-written by Bobby Braddock & Curly Putman) revived his flagging career in 1980, earning both Grammy and CMA awards for "The Possum." (Named CMA Song of the Year two years' running, the Braddock-Putman collaboration has been called by many critics the best country ballad of all time.) "Billy had business on his mind all the time, but he wrote some of the greatest songs I've ever heard," added Jones. Chambers has yet to name the performers for the Oct. 28 gala, but we might expect Frampton to make a return engagement for the festivities. He was a highlight at the first annual presentation last fall, when the prestigious first medals went to Nashville's original A Team session players, Detroit's Funk Brothers, The Memphis Boys, The Blue Moon Boys, The Tennessee Two and L.A.'s Wrecking Crew. According to Frampton, who prior to solo stardom was an instrumentalist who formed Humble Pie: "I started out as a session player, and I feel like a musician first and foremost. . . I'm honored to be here."

Our Readers write:

Dear Walt: Many thanks for the kind words in your generous review of `Adcock, Gaudreau, Waller & Gray - The Country Gentlemen Reunion Band'! The guys will really appreciate it. I'd love to quote a comment or two from it - would you

let me know if that's not OK? All the best, Martha Adcock Lebanon, Tenn. (Editor's note: Since you said to let you know if it's not OK, we saw no need to bother you. Needless to say we'd be honored to have you use whatever's needed.) Dear Editor: I'm a Life Member of the Musicians' Union, but you may not know me. Age here is 88, and I sit around and read everything . . . I think the April-June 2008 issue of The Nashville Musician can rightly deserve praise for the fine effort you gave to it. I stay at home nights and go out days, so I don't get much to the Union headquarters, but (Continued on page 31)

14 George W. Cooper, Jr., President (1937-1973)

The Nashville Musician

July-September 2008

Pioneer musician and Union leader Cooper, recalled

George Wesley Cooper, Jr. would be 110 years old now, but of course, died in July 1974, several months after stepping down as AFM Local 257 president. The Nashville native held his position 36 years, longer than any other Union chief to date (from 1937-'73) at Local 257, originally chartered Dec. 11, 1902. Cooper championed the rights of "hillbilly" and "race" musicians, promoted Nashville into a major recording center, hiked scales, established "demo" rates to aid the little guy, linked members to the Pension Fund, while keeping 257's funeral fund out of the hands of insurance companies. "If organized labor in America had been as fair-minded and rational as Mr. Cooper, there would be a far better and more equitable system in place for Union workers in this country," says musician-artist-bandleader Charlie Daniels, a Local 257 Life Member. An admirer of Cooper, Daniels took out a full page ad in tribute to him in The Nashville Musician's 100th anniversary commemorative issue in 2002. Singer Daniels' ad stated: "Dedicated to Mr. George Cooper, who was a big part of this Local #257 lasting 100 years . . . Congratulations #257!" Harold R. Bradley, Local 257's current president, is the second longest-serving chief behind Cooper, having chalked up 18 years. Cooper was the 10th person to serve as president; however, there had been 14 or 15 earlier elections and Charles F. Davis was president intermittently, totaling some 13 years. When Cooper took the reins, there were only about 75 members, as the nation had just came through the Great Depression (since October 1929). Throughout his tenure, Cooper worked with three different Secretaries, the first R. T. (Bobby) Payne spent 36 years in that post (having been elected first in 1932), followed in 1968 by Cecil Bailey who was succeeded by Johnny DeGeorge in 1970. (Of course, DeGeorge succeeded Cooper as Local 257 president in 1974.) A ceremony honored Cooper's lengthy service on behalf of the musicians (whom he often called "my boys") on Oct. 18, 1973 at the Country Music Hall of Fame & Museum. William F. Ivey, the Hall's executive director, pointed out Cooper's tenure "more than covers the real period of growth in Nashville as a music center." A bronze plaque presented by Cooper's friend Harold Bradley, then an in-demand A Team session guitarist (who initiated the tribute in cooperation with CMF), read in part: "George W. Cooper, Jr., president, Nashville Association of Musicians AFM - whose high degree of integrity in dealing with both musicians, and in the industry; whose firmness yet fairness in enforcing regulations to the betterment of everyone concerned; who distinguished himself as a musicians' musician; who is greatly that order, and also opened the door for blues musicians, who previously were detoured to another local in Alabama. In an interview, he said, "We've got guys making $40,000-to-$50,000 per year who don't know one note from another . . . They've got a God-given talent to do this thing." Still he was a no-nonsense sort of leader, who had little truck for those with the big head: "Music has to be a competitive business. Some people think when they get a card with this Union, they go right to work. Now we don't put anybody to work. We try to get job opportunities . . . There's an opportunity here for a musician if he's good, if he's qualified and not a darn idiot or a `star.' The opportunities are here to earn good money. A musician gets good money because we negotiated it. Such things as rest periods, pension - they've got it." Cooper's retirement was effective in December 1973, and he had turned 77 years old. Several months later he died - July 17, 1974 - leaving his "boys" to mourn the loss of their fearless former leader. Carrying on for a time at Local 257 were his two granddaughters: Pat Maguire one-time assistant to the president (who retired as Mrs. Charlie McCoy); and Carol Hardin, who was secretary to the president. Following Johnny DeGeorge, Jay Collins was president, succeeded in 1991 by Harold Bradley. He had long admired and respected Mr. Cooper, citing him as "One of the dominant figures in the early Nashville recording scene, and along with Owen Bradley (Decca) and Chet Atkins (RCA) set the high standards for the music industry that Nashville enjoys today. "When I joined the Nashville Association of Musicians (Local 257) at age 16 in 1942, George Cooper was a well-liked and highlyrespected Union president. He always positioned himself to deal with a firm hand, in all matters involving chances to better the plight of the members, but did so with fairness, justice and understanding. He was known for taking a stand on the tough issues. He is credited with initiating the recognition of demonstration (demo) recordings with the AFM, and thereby establishing demo scales. "George Cooper was my hero," continued Bradley. "And I'm trying to follow in his footsteps by enforcing the By-Laws and my charge

Decca/MCA Records chief Owen Bradley and brother Harold (center) pay their respects to Mr. Cooper.

George W. Cooper, Jr.

responsible for the growth of the `Nashville Sound,' is hereby honored by the recording musicians of Nashville, Local #257, for his leadership, example and honesty." Ivey said that the plaque would be placed next to the Recording Session display in remembrance of Cooper's contribution: "Everybody realizes what he's done for the musicians and for the overall music industry here . . . (It's) our attempt to pay tribute to the musicians and studio men who have contributed to the high quality of Nashville's musicianship. The Musicians Union has been both fair and flexible, and those two elements have helped to create the relaxed feeling we call the `Nashville Sound.' It is appropriate that this plaque be located near the display." Cooper, who had suffered a few heart attacks in the previous 18 months, turned the tables on those paying homage to him by his spontaneous announcement that he would retire at year's end. Born in Nashville, Dec. 20, 1896, he was the son of musician George Cooper, who played tuba and double bassoon. In fact, when George Jr. joined Local 257 at 19, Senior was also a member. In later recollections, George Jr. said he'd played tuba in the Boy's Club Band. Among early jobs, he was a soda-jerk in a drugstore, then ran an elevator: "But I kept this music kick and took up trumpet lessons for awhile. After playing that for a time as an amateur, I learned to play the French horn. Shortly after that, in 1916, I joined the Musicians Union." The young brass player noted that his first professional gig was with the Mighty Haag Circus, run by the father of famed future bandleader Harry James, a trumpeter, who recorded #1 hits like "I Don't Want To Walk Without You," "I've Heard That Song Before" and "I'll Get By." George played French horn in that traveling circus which moved about via wagons, and featured young Harry working as "The Youngest Contortionist in the World." Harry's mother was a trapeze artist headliner on the high wire. After a year, Cooper came home where he landed a stint in Tony Rose's brass band. Next, he played accompaniment tooting his horn for silent movies as audiences thrilled to Pearl White's "Perils of Pauline," or the derring do of Douglas Fairbanks' and Rudolph Valentino's screen heroics. "When the movies were silent, they cued the music to the picture. That was a pretty darn

tough job. The music was tough," Cooper told a Tennessean newspaper reporter. "The people who wrote the movies would send the score ahead and hire musicians. The movie would usually run a week. I played horn in all those, and the horn played a helluva part. Not that I was important, but the horn was. I played these several years and when the `talkies' came in, thousands of musicians all over the country were left out of work." Looking to the future, Cooper taught himself to play bass. Back then vaudeville was king, and after having honed his talents playing between films at the Orpheum Theater, graduated to performing live shows at the Princess Theater. Among artists playing this major vaudeville house, whom he helped back musically, were radio comedian Jack Benny and dance kid Donald O'Connor. "During that time the theaters would close through the summer and open in the fall," Cooper explained. "In those days we had a 25-piece concert band that played in the parks. The city paid for it. We would play an afternoon concert in Shelby Park, for example, and then we'd play in Centennial (Park) that night. That was a big job. They would put a wooden stand up and the Parthenon would act as a background to send the sound out. People came by the hundreds and thousands." When the demand for live bands in the theaters died down, George got in with WSM radio, where he worked initially with Jack Stapp, program director (who later founded the lucrative Tree Publishing). "George and I worked together many years at WSM," Stapp said, adding, " . . . he was head of the Union and a playing musician all the while. He's a wonderful bass player." Later, George would also perform on WSMTV's Channel 4 Noon Show, while also appearing on the radio network's Waking Crew a.m. broadcasts. After some 25 years with the station, he had to pull back and concentrate entirely on his presidential duties at Local 257. When he first took office, there were only about 75 members - "We couldn't send a wire without checking to see if we had any money" - but during his years of service Nashville developed into a major music center grossing some $200 million annually. Cooper took exception to the practice of administering a stringent exam to potential members, taking into consideration many country pickers who couldn't read music. He rescinded

The man with the gavel!

`A musician gets good money because we negotiated it,' said George W. Cooper, Jr.

July-September 2008

The Nashville Musician


Jerry Douglas begins stint as Artist-In-Residence

Jerry Douglas' resume includes 12 Grammy awards, appearances on more than 2,000 albums and a decade as featured soloist with Alison Krauss & Union Station. Later this summer, the three-time (and reigning) CMA Musician of the Year will add a new accolade to the list: The Country Music Hall of Fame & Museum's 2008 Artist-In-Residence. Dobro in hand, Douglas will host four memorable evenings, each carefully curated by the artist to illustrate different facets of his glittering career. Jerry will hold court in the Museum's Ford Theater on Aug. 19 and 27, and Sept. 16 and 30; each show begins at 7 p.m. Hailed as "Dobro's matchless contemporary master" by The New York Times and lauded as "my favorite musician" by John Fogerty, Douglas has taken a once-obscure and relativelyunexplored instrument and harnessed it, through the power of his immense skill and creativity, creating some of the most distinctive sounds in American popular music. Those attending Douglas's residency shows should expect four unique evenings, with set lists and special guests, drawn from across the wide swath he has cut into contemporary acoustic music. Douglas, whose latest solo album, "Glide," will be released by Koch Records Aug. 19, follows Cowboy Jack Clement, Earl Scruggs, Tom T. Hall, Guy Clark and Kris Kristofferson as the Museum's sixth Artist-In-Residence. "The tapestry of modern American acoustic music is woven with Jerry Douglas's rich musical embroidery," says Museum Director Kyle Young. "He has embellished recordings by Eric Clapton and Ray Charles, Earl Scruggs and Garth Brooks, James Taylor and Paul Simon, Pat Metheny and Phish, and a couple thousand more. He is a composer, producer, band member, recording artist and session player extraordinaire. But his talents are perhaps best enjoyed live, where he coaxes his Dobro through surprising and satisfying twists and turns and demonstrates its versatility across many genres of music. "Whether fronting his own band, performing with Alison Krauss & Union Station or working on one of his many side projects, Jerry continues to explore and expand the Dobro's vocabulary. He possesses a restless and majestic creative spirit that is constantly seeking new forms of expression, and in our residency tradition, we are excited to give him our stage for four one-of-a-kind performances." The son of an Ohio steelworker who played bluegrass on the side, Gerald Calvin Douglas was 8 years old when he first heard both Bashful Brother Oswald and Josh Graves at a Flatt & Scruggs concert. Young Jerry originally wanted to play the banjo, but became smitten by the Dobro's sound: "The Dobro really caught my ear, the way Josh Graves played it . . . it was like a voice." Douglas' dad altered a guitar so that the strings were high, allowing the youngster to play it like a Dobro. When Douglas was 12, his father bought him a real Dobro, and he began playing with his father's band, The West Virginia Travelers. In 1973, 17-year-old Jerry joined innovative bluegrass band The Country Gentlemen who, while respectful of tradition and steadfast in their use of acoustic instruments, were known for taking the genre into new arenas of repertoire and stylistic performance. He toured with them between his junior and senior years of high school, and again after his graduation. Douglas next served a brief stint as a member of J.D. Crowe's New South; he and bandmate Ricky Skaggs left in 1976 to form their own group, Boone Creek. The group's tenure was brief, and ended when Skaggs was asked to join Emmylou Harris's Hot Band. As the decade's end drew near, Douglas rejoined the Gentlemen and began work on his first solo record, "Fluxology." The album, which was released by Rounder Records in 1979, drew its title from Douglas's nickname, "Flux." This was the first of many solo projects recorded by Douglas when not recording or touring with others. Again in 1979, Douglas left the Gentlemen and this time joined Buck White & The Down Home Folks, who were touring as the opening act for Emmylou Harris. Douglas played on Harris's seminal acoustic album, "Roses in the Snow," and quickly became a sought-after session man in country's emerging traditionalist vanguard. Jerry's work could be heard on some of the most highly-regarded albums in the acoustic music field, including Tony Rice's classic 1979 album "Manzanita." In 1983, Douglas won a Grammy Award for Best Country Instrumental for his work on J.D. Crowe & the New South's instrumental track "Fireball." It was the first of dozens of music industry honors for him. Douglas retired from The Whites' road band in 1985 to concentrate on session work, appearing on recordings by Johnny Cash, Ray Charles, Gail Davies, Skaggs and dozens of others. Simultaneously, he fronted two of MCA's Master Series albums, "Under the Wire" (1986) and "Plant Early" (1989), which explored "newgrass" and Nashville New Age. In 1989, Douglas joined Strength in Numbers, an irregular ensemble whose members included Sam Bush, Bela Fleck, Edgar Meyer and Mark O'Connor. He also continued his session work. By the late 1990s, Jerry not only continued to be in constant demand for recording sessions but had begun producing a growing number of albums, for himself as well as artists such as the Del McCoury Band, the Nashville Bluegrass Band and Jesse Winchester. As the Millennium neared, Douglas was invited to join Alison Krauss & Union Station, with whom he is about to celebrate his 10-year anniversary. Now known as Alison Krauss & Union Station Featuring Jerry Douglas, the band has allowed Douglas the best of both worlds: the opportunity for adventurous sonic collaboration with one of American music's most respected artists, as well as ample free time to continue pursuing his own projects. On one such break, Douglas worked with producer TBone Burnett on the soundtrack for the film "O Brother, Where Art Thou?" The smash CD, which has sold nearly 10 million copies, has been credited with reviving and broadening interest in acoustic roots music. He also formed the Jerry Douglas Band, where he has continued to break stylistic barriers. The group has headlined such diverse and prestigious festivals as Bonnaroo, the Telluride Bluegrass Festival and the Edmonton Folk Music Festival, and toured as the opening act for Paul Simon in 2006. In June of 2004, the National Endowment for the Arts honored Douglas with a National Heritage Fellowship award (the country's high(Continued on page 19)

George and his wife Jewel.

is the same as his, `Do whatever is best for the good and welfare of the membership.' If I can do that in my terms of office, I hope to help maintain the honesty and integrity and respect for Local 257 that George Cooper brought to this office." (The editor gives credit and appreciation to the following for their contribution to this remembrance of George W. Cooper, Jr.: Otto Bash, The Tennessean daily newspaper, Paula Szeigis and, of course, Harold Bradley.)



Official Journal of the American Federation of Musicians AFM Nashville Local 257 -- 1902-2008

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P. O Box 120399 Nashville, TN 37212-0399

Granddaughter Pat Maguire McCoy.

Granddaughter Carol Hardin.

INQUIRIES: Contact Sherri Dickerson at (615) 244-9514, Ext. 240 or on line: [email protected] DISCOUNTS: Paying for four issues up-front saves 15%;. AFM 257 members save 10% per issue; or 15% for four issues up-front; 10% discount for non-profits; and 15% educational discount to accredited music schools.

NOTE: All advertising is subject to the Publisher's approval, and must be paid in advance.

Jerry Douglas

(Deadline forOctober-December 2008 issue ads: Sept. 26, 2008)


The Nashville Musician

like aliens from another planet, but by the end of the show, the Parrotheads and Parisiens were dancing in the street together. Music still does make the world go 'round." Show stops also include Cincinnati, Noblesville (near Indianapolis), Hawaii's Waikiki Beach, New Orleans (where Jimmy was once a busker) and Dallas. Ably blending vocals with Buffett on "It's 5 O'Clock Somewhere" is Mac McAnally, longtime Buffett guitarist in the Coral Reefer Band. Other Coral Reefer players: Mike Utley, keyboards; Roger Guth, drums; Jim Mayer, bass; Peter Mayer, guitar; Doyle Grisham, pedal steel guitar; Ralph MacDonald, percussion; and Robert Greenidge, steel drums. Backup singers Tina Gullickson and Nadirah Shakoor are sultry, sexy and vocally superb, the latter most notably on the softer "A Pirate Looks at 40." "It's 5 O'Clock Somewhere," a Happy Hour anthem that hugged #1 eight weeks in summer 2003 (first in four years to do so on Billboard), is one of two bonus songs added to the DVD. The other, his Top 10 cover "Hey, Good Lookin'," given a hard-driving delivery in Texas, during which Tina and Nadirah don cowgirl hats. Buffett, once considered controversial, has become an accepted player on America's music scene. His tours gross some $40 million annually. To date, the singer-songwriter's best selling LPs are ABC Records' "Changes in Latitudes, Changes in Attitudes" (#2, 1977), and "Son Of a Son Of a Sailor" (#6, 1978), both millionsellers. However, his 1985 MCA album "Songs You Know By Heart: Jimmy Buffett's Greatest Hits" has sold in excess of six million units. Peering out at the DVD's crowds, we view a virtual sea of young faces sharing space with mature music enthusiasts, indicating that Parrotheads - aging along with the singer - are indeed passing the torch to new generations to dig his sounds. On "Changes in Latitudes," the Parrotheads shout his lyrics right back at him. Buffett appears a decade younger than his 61 years, at least on this video. In performing "Fins" - as fans raise their hands, shaped like a dorsal fin to wave left and right - in Cincinnati, Ohio, he shouts it's most appropriate, being "where it all started" (that tradition). In the Hoosier State, Jimmy spoofs old Hollywood and TV icons via "Pencil Thin Mustache," noting nostalgically, "I wish I had a pencil thin mustache/The Boston Blackie kind/A two-toned Ricky Ricardo jacket/And an autographed picture of Andy Devine . . ." Yet another favorite is a folksy, autobiographical "Son of a Son of a Sailor Man," alluding to his late skipper granddad, warbling tongue-in-cheek, "Son of a son/Son of a son/ Son of a son of a sailor/Son of a gun/Load the last ton/One step ahead of the jailer . . ." Coaxing everybody into a fun mood, the ol' conch does drinking songs de rigueur, i.e. "Boat Drinks," "Grapefruit-Juicy Fruit" and his po-

July-September 2008

litically incorrect chant, "Why Don't We Get Drunk . . ." The latter's rendered in Hawaii with members of the Army, Navy and Marines in attendance, prompting the boss's sing-song jest: "I don't know who's defending our country tonight/It ain't me, and it sure ain't you . . ." Obviously the most in-demand party song for the tried-and-true fan remains the melodic "Margaritaville," his timeless self-penned signature song. Although Buffett long-ago quit counting how many times he's been "searchin' for my lost shaker of salt," we get the impression he's not yet ready to toss it from his show. The man merely loves to perform: "I'm descended from court jesters - I just go out there to entertain." On his 1979 Gold album title tune "Volcano," Buffett gets a slick ukelele assist from Jake Shimabukuro (courtesy Sony/Japan Records). Other augmenting stints here include input from Bill Payne, pianist; Amy Lee and Tom Mitchell on saxophones; plus dancers Heather Perry, Julie Harkness, Louise Kendrick and Marcos Santana. Buffett's baritone's strong and pleasant, and he accompanies himself well enough on guitar, but his real strength's as a showman. While it all looks laidback and easygoing, that facade no doubt masks an intense, masterful maestro, putting much thought and planning into each production, covering key items like repertoire, repartee, garb, concessions and stage props. A scene in which he's spotted wearing a Tshirt emblazoned with "Pascagoula," reminds us of the Mississippi town where he was born, although he spent much of his youth in Mobile, Ala. Nonetheless, Jimmy earned a journalism degree at the University of Southern Mississippi in 1969. After a move to Nashville, where he began his professional music career, he also served as a correspondent for Billboard, the trade weekly. Encouraged by Buzz Cason, he began playing shows locally, and landed his first record deal with Barnaby Records, which issued his first, best-forgotten album "Down To Earth." Following some down time, he split for Key West, Fla., but was lured back to Music City, where Don Gant and Norbert Putnam co-produced his 1973 attention-getting Top 40 ABC album "A White Sport Coat & A Pink Crustaceon." Buffett was off and running, and hasn't stopped since. He's now in his fourth decade. We recall him once saying, "If we can give them the best night they have all year, and they can take home something musically that lasts the rest of the year, I've done my job for them." "Scenes You Know By Heart" is just another way America's perennial beach boy entertains an audience, and simply put, it manages to do so most effectively. Meanwhile, Parrotheads around the country are welcoming the unconventional artist's 2008 The Year of Still Here tour, currently at the halfway mark. Check out

By WALT TROTT Alan Jackson and Kenny Chesney "Parrotheads"? Maybe that's a bit of a stretch, but like those fabled fans of Jimmy Buffett, they're admirers of their fellow Local 257 musician. Remember Alan's participation in Jimmy's revitalized "Margaritaville," the newer "It's 5 O'Clock Somewhere" (a #1 which earned them both a Grammy and CMA Event awards), and an energized cover of Hank Williams' "Hey, Good Lookin'," also featuring friend Chesney, whose own concerts have been compared to the Buffett bashes, drawing SRO stadium crowds. Parrotheads, a snidely titled take-off on Grateful Dead's Deadheads, identifies life-ofthe-party Buffett's cult-like followers, who regularly show up for his Big Eight list of hits. Seemingly he blends in rock, country and soul, adding a dash of calypso, for a tantalyzing mix that's uniquely Jimmy Buffett. Ever been to a Buffett show? It's wild and spontaneous, resembling a Hawaiian luau, except the assemblage act more like boisterous partygoers, while singing lyrics along with their congenial, one-time counter-cultural host. But never fear, there's now a Jimmy Buffett DVD "Scenes You Know By Heart" (a play on his hit album "Songs You Know By Heart"), a presentation that puts you in the seat at several such shows. Among the DVD's 15 songs are his usual concert fare: "Cheeseburger in Paradise," "Come Monday," "Margaritaville," "Changes in Latitudes, Changes in Attitudes," "A Pirate Looks at 40" and the not so radio-friendly "Why Don't We Get Drunk . . ." etc. No narrator's needed for this one-hour-plus cinematic feast, as the musical performances, audience action, combined with a series of locale shots, propel this along at a brisk, but even pace. One of the more remarkable pieces of film has a surfboard-riding Buffett being towed through the waves by his seaplane! Concerts covered in this musical travelogue range from an intimate Parisian bistro to Wrigley Field in Chicago; or for further contrast, from a gig in Las Vegas' luxuriant MGM Grand, to a seaside soiree on the Caribbean isle of Anguilla. (Earlier footage's utilized from Buffett's 2005 Live At Wrigley Field and 2007 Live At Anguilla videos.) Skillfully directed by Stan Killam, who also co-produced the colorful project with Nina Avramides and Buffett, the documentary-style film was shot and recorded for Mailboat Records. Assisting Stan in the all-important editing process was Perry Scofield. Strange watching French fans mingling with expatriot Americans in their shark fin hats, cheering Buffett's musical recollection of a visit he made to the City of Light as a callow youth: "He went to Paris/Lookin' for answers/To questions that bothered him so . . . He was impressive/Young and aggressive/Savin' the world on his own . . ." Buffett shouts a welcome aside to "Two guys from London, you come to every show!" The camera captures the crew in rehearsal at their hotel, and later at a theater soundcheck. Interspersed, too, are shots of Paris landmarks, as our hero plays the part of tourist, and then pens for the DVD liner notes: "I loved playing a small club in the 10th arrondissement, as I still just think of myself as a bar singer, but what was the icing on the `gateau' (cake) was seeing the Parrotheads who showed up in Paris and reaction of Parisiens to them. At first, I think they were looked upon

July-September 2008

The Nashville Musician


. . . Country king Eddy Arnold receives royal send-off

accompanied by fiddler Speedy McNatt. He and Speedy also performed on radio in Memphis and St. Louis, where he stayed with a married sister to make ends meet. In January 1940, popular accordionist-entertainer Pee Wee King engaged the talented newcomer (and McNatt) for his Golden West Cowboys, where Eddy became featured vocalist. As part of the Cowboys, he performed regularly on WSM's Opry. By late 1942, his following was such that he lit out on his own.Two of his champions were WSM manager Harry Stone, who got him a daytime station slot in 1943, and Chicago publisher Fred Forster, who helped convince RCA to sign him later that year. After a musicians' strike delayed his initial session (done at WSM), Eddy first recorded as a solo artist Dec. 4, 1944. That session produced "Mommy, Please Stay Home With Me," backed with "A Mother's Prayer," as released early in 1945 on the major's Bluebird subsidiary label. Another recording, Tex Owens' "Cattle Call," would become Eddy's theme song and a remake several years later topped the country chart. In 1945, Tom Parker, who went on to guide the careers of Hank Snow and Elvis Presley, became his manager, one who put his hustling skills to good use in advancing Arnold's professional standing in those postwar years. He coordinated a deal with Mutual Broadcasting to air a show hosted by Arnold called Checkerboard Square Jamboree, sponsored by Ralston Purina directly in competition with WSM. Not much has been written about Arnold's own helping hand to others in the business, most notably Lonzo & Oscar, who were showcased on Eddy's Checkerboard Square program, as well as The Willis Brothers - Guy, Skeeter and Vic - and later Wilma Burgess. Writers who have benefitted from him recording their songs included Jenny Lou Carson, Zeke Clements, Boudleaux Bryant, Vic McAlpin, Ed & Steve Nelson, Cindy Walker, Cy Coben, Tommy Dilbeck and Hank Cochran. On June 30, 1945, Arnold chalked up his first Billboard Top Five charting: "Each Minute Seems a Million Years," featuring The Tennessee Plowboys, including the near-trademark sound of Little Roy Wiggins' steel guitar. This was a Bluebird release. One year later on July 13, on RCA he had his second Top 10, "All Alone In This World Without You," followed by his first two-sided hit single: "That's How Much I Love You" and "Chained To a Memory." The following year Eddy scored his first #1 single "What is Life Wihout Love" co-written by Arnold, Owen Bradley and Vic McAlpin. That same year he attained two more charttoppers "It's a Sin" and "I'll Hold You in My Heart (Till I Can Hold You in My Arms)." Adding to that impressive 1947 line-up were the near-charttopper "To My Sorrow" by Vernice McAlpin (Vic's wife), and another Top Five "I Couldn't Believe It Was True," credited to Arnold and Wally Fowler. "I"ll Hold You in My Heart," on which Arnold shares writer credit (with Tommy Dilbeck and Hal Horton), remained at #1 for 21 weeks in 1947-'48, the first single to do so. According to Arnold, "I used to get letters from mamas and sweethearts. It was a universal kind of song, because it said something everybody could identify with," Eddy explained. "A mama could say it about her own son away from home . . . or lovers could use the same expression. I wish I could find another one like that." "I'll hold you in my heart/Till I can hold you in my arms/Like you've never been held before/ I'll think of you each day/And then I'll dream the night away/Till you are in my arms once more . . ." Arnold would hit #1 28 times, totaling a record 145 weeks in Billboard's top spot, and he charted 147 times on the country singles list, 92 of them Top 10, setting yet another record.

Eddy Arnold in this recent Patricia Presley photo.

Eddy and Sally were Mr. & Mrs. for 66 years.

(Continued from page 2) Arnold's good friend, engineer Bobby Campbell notes, his voice choking back sobs, "He never thought he was better than anybody else. I don't care if they had big fame or had none, he treated everybody the same . . . " He was born Richard Edward Arnold, May 15, 1918 near Henderson, Tenn., a farmer's son, who on his 11th birthday in 1929, witnessed his father's death. Sadly, months later he watched the county auction off his late father's property to try and satisfy debtors. As a farmboy, he had husked corn, picked cotton and spent time behind the plow (thus his later nickname Tennessee Plowboy). Eddy's father Will had played fiddle and sang bass in the church choir, an inspiration to his son. By age 9, Eddy was playing harmonica and trying to teach himself guitar on a cousin's Sears' Silvertone model he borrowed. His mother Georgia taught him a few chords, and maternal granddad Dick Wright also helped Eddy learn to play. He recalled that his mom's favorite song was "Sweet Bunches of Daisies," which he finally got around to recording in the early 1970s. Eddy had attended a one-room schoolhouse in Chester County, before attending Pinson High School in town. After dad's death, he and his two brothers worked on a rented farm, and eventually Eddy dropped out of school to enhance the family coffers during the Great Depression. Eddy began playing publicly at square dances and candy-pulls, earning from 50-cents to $1-a-night. He also worked for a funeral parlor and drove an ambulance. Word-of-mouth on how great a vocalist Arnold was, landed him a stint on Jackson radio station WTJS in 1935,

Mac Wiseman being hailed

Bluegrass Hall of Famer Mac Wiseman, 83, has been named as a recipient of the 2008 National Endowment For the Arts' National Heritage Fellowship, which will be presented in a September ceremony at the White House in Washington, D.C. That award, America's highest honor bestowed in the folk and traditional arts, is accompanied by a medal and $20,000 check.

He also attained 15 Top 40 pop crossover chartings, as well as 33 Top 40 albums, nine of which went #1 (since 1964, when albums were finally covered by Billboard). Attesting to his chart conquests, for the week of May 22, 1948, Arnold dominated half the Top 10 listings: #1 repeating with "Anytime," #2 "What a Fool I Was (To Ever Let You Go)," #3 "Texarkana Baby," #4 "Bouquet of Roses" (making its first week debut) and, after 39 weeks still up there, at #9 "I'll Hold You in My Heart." That year, he was the only country artist at #1 except for Jimmy Wakely with "One Has My Name." What a remarkable feat. A song he charted #1 on May 15, 1954 remained his all-time favorite "I Really Don't Want To Know," co-written by Don Robertson and Howard Barmes. Its melody and heartfelt lyrics tell it all: "How many lips have kissed you/And set your soul aglow/How many, how many, I wonder/But I really don't want to know," quickly won him over. "What can I say about that," said Arnold. "I am asked which is the favorite of the songs that I have recorded. I love them all, but this is my favorite." It was 1956 before he failed to chart #1, though he did manage two Top 10s, the Richard Jones ballad "Trouble in Mind," and his title-inspired classic with co-writer Cindy Walker, "You Don't Know Me." "I don't do much writing, but `You Don't Know Me' is a song title that had been running through my head for a couple years," said Arnold, who invited Walker to flesh it out, adding, "It is really about a boy that's very bashful, very quiet, who is in love with a girl, but he never had the courage to tell her so . . ." Fortunately, young Eddy did have courage to pop the question to the pretty girl behind the soda fountain at Woolworth's in Louisville, who captured his eye and soon his heart. He and Sally Gayhart were wed Nov. 28, 1941, and became parents to JoAnn in 1945, and Dickie, Eddy's namesake, in '48. With the mid-to-late 1950s onslaught of rockabilly and rock and roll, like many country favorites, Eddy experienced a downturn in record sales and airplay. The years 1957 and '58 were far from banner years, though Arnold continued to be much in-demand for personal appearances. Jimmie Driftwood's uptempo "Tennessee Stud" brought him back into the Top Five list in 1959, after not even charting in 1958, but 1960 saw him absent again from the Billboard list. Eddy was too good a businessman, however, to let his career slide into oblivion. He devised his own strategy to make his music more appealing to a new generation and to keep from being dropped off RCA. "What happened to me was I'd been going

along having hit after hit after hit after hit. Then as time goes by, you get cold. I got to thinking, if I just took the same kind of songs I'd been singing and added violins to them, I'd have a new sound," he said in recalling his style change in the 1960s. "They cussed me, but the disc jockeys grabbed it . . ." A new manager Gerald Purcell had the contacts necessary to bring it all into play. Meanwhile, country purists resented their Tennessee Plowboy going uptown, leaving behind his boots and cowboy hat in favor of a dinner jacket and a more urbane style, more from the Frank Sinatra or Tony Bennett playbook. Arnold soon weathered the storm of protest, however, with another string of hits, capturing a whole new fan-base for him. He scored nine #1 albums on the country charts. His venues became Las Vegas luxury hotel lounges, major arenas like Carnegie Hall or the Hollywood Bowl, and even symphony halls where he was backed by 20-40 piece orchestras. Among the resulting successes were "A Little Heartache" (#3) and its hit B-side "After Loving You" (#7) in 1962, along with "Does He Mean That Much To You," a Top Five. Then came the charttoppers from 1965-'68: "What's He Doing In My World," "Make The World Go Away" (a Grammy Hall of Fame recording), "I Want To Go With You," "Somebody Like Me," "Lonely Again," "Turn the World Around" and "Then You Can Tell Me Goodbye." That made it all the sweeter, and turned him into an international superstar. He guested on all the best network programs including Johnny Carson's Tonight Show, The Ed Sullivan Show, and variety series headlining the likes of Dean Martin, Red Skelton and Dinah Shore. Eddy himself hosted a series of Kraft Summer Music Hall specials. In 1966, Eddy Arnold was inducted into the Country Music Hall of Fame at age 48, then the youngest living member to be named to that august institution. A year later, he confounded the industry by winning the first Country Music Association's Entertainer of the Year award, proving he wasn't yet ready to toss in the towel. Looking for yet another revitalization of his career in 1972, he switched labels, signing with MGM, former home to such stalwarts as Hank Williams and Conway Twitty. Out of nine chartings, however, the best he garnered was the Top 20 single "I Wish That I Had Loved You Better" in 1974. In 1976, Jerry Bradley inked Arnold again to RCA, where he would achieve another pair of Top 10 chartings (in 1980): "Let's Get It While the Gettin's Good" and "That's What I Get For Loving You." Eddy Arnold's personal life wasn't all smooth sailing. (Continued on page 22)


The Nashville Musician Rascal Flatts' DeMarcus and Big & Rich's Rich co-produce

July-September 2008

- Photos by Patricia Presley

Jay joins James and John in the studio

country soul. So when the song was done production-wise, it seemed pretty obvious to me that it needed to be a single." Sharing the accolades at the #1 reception was the song's co-writer Jim Femino, who explained their third writer D. Vincent Williams was off entertaining Marines at Camp Lejeune, N.C. (Williams, incidentally, co-wrote Rascal Flatt's signature song "I'm Moving On.") "Actually, I had never written with D. Vincent prior to this song," volunteers James. "But I had written songs with Jim for years, so when I had some free time, I gave him a call to see if he wanted to get together. Well, he said sure, but that he had another writer-friend (Williams) with him, so we decided to include him in our session. "When I got there, D. Vincent had the melody idea, the beginning verse melody for the song; he kind of played it more like an Eagles' kind of vibe than the groove that eventually made it to the album. The melody sort of set the tone for the rest of the song. It had a sexy feel to it, and the lyrics kind of came in an hour-and-a-half, really quick. I think I came up with the title. From there, man, it came together fast, almost like it wrote itself. I felt like it was the hand of God, it came so easy." "You don't have to go now, honey/Call and tell 'em you won't be in today/Baby, there ain't nothin' at the office/So important it can't wait . . . This is gonna take forever, darlin'/Girl, I just got started lovin' you . . ." Was it unanimous to spin this off as the CD's first single? "Well, I don't know, I think all the people, the promo staff and myself all agreed that this song needs to be the first single," says Otto, adding the subject was one he identified with. "Me and my wife actually used to do that when we first started dating. You know, every once in a while, skip work to spend the day together . . . Look, she's turnin' red already, because I told you that (laughing heartily). Hey, we probably need to do a little bit more of that, now that everything's getting off the ground, and I'm never home." Following that first meeting, we agreed to conduct a more indepth interview later (June 16). At the end of that week, "For You" charted at #55, hopefully off to a brisk start. James was pleased, too, being invited to perform the Atlanta Braves ball team's new theme song "The Braves Play Here," co-written by writing pals Greg Barnhill and Randy Wachtler. Born James Allen Otto, July 29, 1973, in a Ft. Lewis Army hospital (near Tacoma, Wash.), his dad was a Rangers' drill sergeant. When James was 3 years old, his parents divorced. "I started out playing violin when I was like in second grade and went on to play sax (saxophone) six years, and played a little keyboards. But, I wouldn't say I was proficient at any one of those, nor would I say I was too proficient at playing guitar. I just kind of get by, doing what I do. There are so many great guitar players out there that are just untouchable. But I love to play, it's my passion. I've been playing like 20 years. While I do my best, I'm no Brent Mason, for sure." James' father and (paternal) grandfather, both played guitar. His dad taught him three chords on the guitar, C, G and D, when James was 13. "Unfortunately, my grandfather on my dad's side was a pretty bad alcoholic. He was a really talented guy who loved oldtimey country, but never realized the talent he had as a country musician. My dad was more a rocker, into like Led Zeppelin and all kinds of great rock and roll from the past. I got my influences from them ... "The funny thing is when my grandfather came home from workin' the bars, he'd have my father play all those country songs. So while growing up and we'd go like camping, the songs my dad would play me were those of Hank Williams, Hank Snow or Gene Autry. All those classic country songs coming from a guy who was a rocker." James' dad did play in bands, mainly on weekends. "A lot of things I got into (when younger) included music by groups like Van Halen. Hearing their `1984' album, and then seeing Prince, I just wanted to be a guitar player." James' country side was more into the likes of John Anderson and Randy Travis, which made the fact that as a songwriter landing cuts by both artists all the more sweeter: Travis recorded his "Song Of The Violin," and Anderson cut "Easy Money," also the title track to his 2007 album. Does Otto's new-found success as a recording artist, make him wish now that he'd held those songs for himself? "No, I'm happy to have cuts by guys who are my heroes. It makes me proud to hear John Anderson sing back to us lyrics that we wrote. It literally raised the hair on my arms. That's an amazing feeling, having Anderson or Travis admire your work enough to want to sing your song or write with you. It's as good a validation as you're ever gonna get." As a boy, James spent time on his grandparents farm in North Dakota, until upon going into junior high, he moved with his mom to Sand Mountain, Ala. "All the kids there were into Lynyrd Skynyrd, Alabama or Hank Jr. and Charlie Daniels. Hearing those (Southern rock) sounds really changed my perception of music," he confides. Following 1992 graduation from KiowaBenton High School in Benton City, Wash., he moved to Seattle, where it was tough going finding a country-oriented band: "I wasn't old enough to legally get into the clubs, really." Next, James joined the Navy. Fresh from boot training, the young sailor found himself assigned on Guam, an island base in the Western Pacific Ocean area. "I was also on the USS Haliakala and the USS White Plains during my service time, (docking) in more than 20 different countries. I really enjoy traveling. I'd love to go overseas now to play my music and to help spread the word about what I do. You know, if the opportunity presents itself, we're going over to Iraq and perform for the troops over there. It would be a wonderful thing. " After his two-year service stint, he returned to Seattle where he hooked up with the Desert 5 Band, playing cover songs around the area. Realizing that to improve his lot in music, it was time to move on. In late 1997, Otto came to Nashville. He hit a lot of the open mic and writers nights about town, most notably The Broken Spoke, a honky tonk. Meanwhile, his day job was driving an oil truck around middle Tennessee, carrying and off-loading 55-gallon oil drums. (Talk about a muscle builder.) After a couple years of perfecting his writing style, James landed a deal with Scream Music publishers, where his biggest success was landing a cut on a Confederate Railroad CD. Yet another champion was Mercury Records' Scott Parker, who by 2000 had James signed to the label. An album, "Days Of Our Lives," was originally scheduled as a 2002 release, but was delayed due to the lackluster showing of its first two singles: "The Ball," which peaked #45 chartwise; and "Long Way Down," which didn't even chart. Some three years after coming to town, Otto began mixing in with fellow progressives, no-

Jay DeMarcus

By WALT TROTT It takes an army of pros to produce a musical hit. Ask James Otto, whose hot new CD "Sunset Man" owes its success, in part, to celebrated co-producers Jay DeMarcus (of Rascal Flatts) and John Rich (of Big & Rich), plus fellow musicians Tom Bukovac, Eric Darken, Troy Lancaster, Michael Rojas, Glenn Worf, Mike Johnson, Johnny Neel and Jonathan Yudkin, among other A-list players. The album debuted at #2 (not bad for a nonname), just behind George Strait's, and has already spawned a #1 single: "Just Got Started Lovin' You." DeMarcus, who produced the rock group Chicago's first album in a decade "Chicago XX," was happy to join in his brother-in-law's first CD for the Warner Bros. Raybaw imprint. Jay, who confided he loves the creative process of making music - whether singing himself or producing - maintains, "I love to get in there and figure out new ways to sing a song. Where other people would normally go for the obvious part. I like to try to find an alternative that makes it a little bit more interesting, and kind of different from the norm . . . " A Local 257 member Jay's wed to former Miss Tennessee Allison Alderson (sister to Amy Otto), and he also co-produced James' followup single "For You." "The vocal on `For You' I think is probably the best vocal on the album," grins Otto. "That's my personal opinion. It was an emotional subject that I wanted to tackle and was something we hadn't covered yet. I thought that Jay produced an excellent track on that." Multi-talented Rich has called Otto "the biggest voice in country music" So who picked the second single, John, Jay or James? "Well, if this song doesn't do well, there's nobody to blame but me," replies James. "I'm the one that chose `For You.' That's been the greatest thing about Raybaw, they really kind of let me determine my own fate. That's important to me as an artist, knowing that my opinion is valid and to be listened to. It's something that all artists work hard to get in this business. I like working with people that really thought a lot about my opinion and I thought a lot about theirs, as well. It's awesome." Standing 6'-5", James is an imposing figure possessing powerful pipes, highlighted by a memorable whiskey tenor. Besides assisting James in production, Jay and John also supplied their high-profiled talents to the project, both having co-written songs here, and pitched in instrumentally and via vocal harmony, respectively. Rich found time to produce other acts, notably Jewel and Randy Owen's solo effort. We caught up to Otto at his first #1 party for "Just Got Started Lovin' You" - at Nashville's Limelight Club, June 5, during the CMA Music Festival. "I consider myself a country soul singer and that song's a country soul song," says Otto, who co-wrote it. "I felt like it was exactly what I thought that I wanted to bring myself out as,

James Otto and co-writer Jim Femino accept #1 plaque for their song `Just Got Started Loving You' (above with wives Leslie and Amy).

tably John Rich, Kenny Alphin and Gretchen Wilson, all of whom somewhat tongue-in-cheek tagged their melodic "movement" MuzikMafia. At the time, Rich had bombed in his solo RCA effort (after departing the successful Lonestar act), leaving Otto as the only member with a major label pact. On Oct. 14, 2003 "Days . . ." was released, and its title track peaked at #33. The album itself notched in at a disappointing #61. He went out on the road opening shows for the label's top artist Shania Twain's Up! Tour, which helped introduce him to a wider audience. A fourth single "Sunday Morning and Saturday Night," however, failed to break Top 40 in '04 - and became Otto's Mercury swan-song. In the meantime, Kenny and John became a hot Warner Bros. duo - Big & Rich - while Gretchen Wilson signed to Columbia, and suddenly Otto was the one out on the street. Loyal to fellow members, they invited Otto to join them in performance, including a CMT reality series MuzikMafiaTV, headlining the prestigious Country Radio Seminar 's SuperFaces show, and on the road, as well. "John's been a big booster of mine for years," says James. "He's the guy who got up, screamed my name from the hilltop for a long, long time, and he was dedicated in getting them to give me a shot. John believed in what I was doing." Incidentally, Otto appears in two 2006 feature films that helped build a following for the singer: "Yeah, I was in a movie called `Road House 2 (Last Call),' and they used four of my songs on the movie soundtrack. I even had a little acting part in it (as part of the club's house band). I should have been cast as a bouncer in that club, because I used to be one. I would have liked bustin' up at least one barroom brawl in that movie. But, we had a blast during the filming. "Then Larry asked us to do a song for his `Larry the Cable Guy: Health Inspector' movie, so we went in and recorded `They Call Me The Breeze,' the old J.J. Cale song that Lynyrd Skynyrd cut. We did it our way. It's a really cool cut. You know, it's kind of nice to go out and view yourself on the big screen." James is reluctant to go into any detail on his false start with Mercury, though it's well known that their A&R department went through a number of changes during the artist's stay. "I don't blame any one person over there. They were a company in flux and I was an artist in flux, and I wound up where I wound up for a reason. Man, I'm just happy to be here, doing what I'm doing today." The best thing he took away from his Mercury days was a new bride: "Amy was working in their marketing department when I was there. I kept pestering her to go out with me for a long time, and she finally broke down and said yes." The couple wed in 2005. Amy's sister Allison (with whom she had done some singing) met Jay during the filming

July-September 2008

Rascal Flatts' #1 "These Days" music video in which Allison appeared during summer 2002, then married him in May 2004. "Actually, Amy and I were dating probably a year before they ever met," James continues. "Then we began double dating and got to know each other. After they got married, he and I began hanging together a lot. We'd see each other at family holidays and such . . . then we started to write together." Having had a hand in writing nine of the 11 songs on "Sunset Man," can we assume it's really representative of James' sound and style? "I feel like it really is, man. It's been 11 years, and this is my second record deal and after all the things that I've been through over the course of my time in Nashville, I think like this CD truly represents me. It's the best piece of work I've ever done," Otto says, adding, "I really am very, very proud of the work on this album and both of my producers, plus all the people that got involved in helping me make it. It's an incredible show of support really." Were the tracks he and Jay worked on together done earlier than his regular session with John? "No. Actually, they were done right there at the end. Sure it started out as a demo session I'd done with Jay for our song `You Don't Act Like My Woman,' once that song was written (with Monty Powell and Roger Riley). We had that and a couple other things that we'd written together to do a session on, and I had a couple songs I just wanted to try out to see what happened with them. Then Jay came in there and we produced them together." James' friend Rich co-wrote three of the Otto songs: "Ain't Gonna Stop," "Drink and Dial" and "Sunset Man." "The title track is one of my favorite songs on the album," says James. "We wrote that with Shannon Lawson. I wanted this album to be a country album, but I wanted it to be a country soul record. This song is one that's firmly planted in traditional country and I love traditional country music . . . There were a couple of songs on my first album that were straightup traditional country, and I think that this song is a good representation of that. "Country music is deeply engrained in me, but I have this other side that loves soul. I feel they fit really well together, country and soul. I think that Conway Twitty and Ronnie Milsap did a really great job of melding those sounds together . . . I'm not gonna sound like anybody else, I'm going to do my own blend of country soul. That's very important. It's OK to have some of that influence in you, but you don't ever want to become your favorite artists." One of the CD's more dramatic ballads, "Where Angels Hang Around," focuses on a father's fear and hope as he drives his cancerafflicted daughter to St. Jude's Hospital in Memphis.

The Nashville Musician

"It's a song Monty (Criswell) and I wrote for St. Jude's, from the perspective of a father thinking about his child, who's been through the trials of cancer. We really wanted to handle the subject very delicately. I've heard the subject treated in songs before, but it always seemed a little heavy-handed. "We decided to talk about the emotions inside that the family experiences, and what a parent must feel like. Monty had known somebody who had to deal that that same thing. He told me about that, and asked if I wanted to write about it. "I told him my mom has been through cancer, my grandmother had died from cancer a couple years back, and my great-grandfather died of cancer, so my family's been deeply affected by it. I cannot imagine having my child go through something like that. So that was something with which I felt very connected to." "Damn Right," James says, "Is a good country ballad that I wrote with Monty Powell. I kind of imagined it as a song that were Ray Charles around today and wanted to cut a country record, he might be into this sort of song. Know what I mean? To me, country music is sort of white man's blues and it's in that kind of a story and in delivering the emotions of the song that Ray did a real good job of expressing that, especially coming from a soul artist's perspective." Is James a fan of Craig Wiseman's writing, and is that why he included "The Man That I Am"? "Well, I've got a song of his on both my records (CDs). I am a big fan of Craig's songwriting. He's like a chameleon who's written for everybody and their dad. I mean he's had hit after hit after hit. But actually, I didn't know that Craig was a writer on this cut. A friend of mine, Cory Mayo, gave it to my managers, who played it for me and they told me it was a Cory Mayo song. Cory's a guy I've always been buddies with. Well, I fell in love with this song and didn't know that Craig was a co-writer on it, until after I recorded it. He's a prolific writer without a doubt." Regarding "Ain't Gonna Stop," Otto notes, "It's one of those songs that was kind of an anthem at the time, a `planting my flag' sort of song for me. When we played MuzikMafia shows, it was no holds barred. It was whatever kind of music you wanted to play, as long as you entertained the people. That's one of the reasons why MuzikMafia's been great for me. "So when I started making this record, I was determined to make one that reflected who I am as an artist, by doing songs that I like and the kind of music I feel like my audience is going to enjoy. I think that honors those that like my music; you know, by doing what influences me and that I love, because that's what attracted them to me, and I feel they are the people who really connect with my music." James has a busy schedule ahead of him, including gigs with such acts as Brooks & Dunn, Hank Williams, Jr. and Lynyrd Skynyrd: "I've got my own band and bus and we're doing our thing, working pretty constant. I know we've got some dates coming up where we're out of town like three weeks straight . . . My little brother (Jack) is actually going on the road with me this summer. He plays guitar. I guess it sort of runs in our blood." Does Amy and James have any children yet? "No children yet," he chuckles. "Our `little one' is a chihuahua." Are MuzikMafia members still active together? "I think MuzikMafia is thriving, though all the musicians and people who are part of it are busy working on their own projects. So, it's not as easy to get together as it initially was. In that sense its own success became a barrier in itself, in a way, but not in a bad way. It's just harder to get anything scheduled together; you know, I can barely get to town to see my wife, much less a day to play a show in Nashville. I'd love to do it though. That would be great!" With such a hectic schedule, will James have free time to write songs for a follow-up album? "I'm not worried about getting songs for an album. I've written probably 1,000 songs since I've been in Nashville. I don't know if there's ever enough songs. The best song is the next song, as far as I'm concerned. We're always working on something. There are a couple of new songs we've written lately that I'm excited about. And I've got a lot of great songwriter friends in town to write with, or I'll get one of their excellent songs."


tions (kid sister to gospel singer Martha Carson, and writer of Eddy Arnold's #1 "Lonely Again"): "The Morning After," a strong Top 20 in 1971; and "To Get To You," a near Top 10 and title to his 1972 #1 LP that charted 33 weeks. That album also spawned his only #1 single, "If You Leave Me Tonight, I'll Cry," which served as the theme for a Rod Serling Night Gallery TV episode titled "The Tune In Dan's Cafe." Wallace composed music for other TV series, including Daniel Boone, Hec Ramsey and himself appeared in the movies "Flipper's New Adventure" with Luke Halpin, and "Goodbye, Charlie" starring Debbie Reynolds and Pat Boone. Wallace's take on "Do You Know What It's Like To Be Lonesome" was a near charttopper in 1973, hitting the #2 spot," followed by another strong entry "Don't Give Up On Me" at #3 that year. His final Top 10 was "My Wife's House" in 1974, though he continued to chart into the 1980s. Among his albums, Liberty's 1968 release "Another Time, Another World," produced by Jack Tracy - featuring arrangements by Bill Justis and Billy Strange - was a standout, boasting songs by such composers as Mitch Torok, Mickey Newbury, Freddie Hart, Mac Davis, Leon Payne and Eddie Dean. The biggest sellers, however, were the #1 "To Get To You," another #1 "Primrose Lane" (1973), and Top 10s "This Is Jerry Wallace" (1972) and "Do You Know What It's Like To Be Lonesome?" (1973). Wallace also recorded for MGM, BMA, 4Star, and Door Knob (Gene Kennedy's indie label). He charted 35 singles on Billboard's charts. A dark-haired, handsome man through much of his career, Jerry was not vain, and in later years proudly sported natural silver locks. Survivors include four children, and two grandchildren. Memorial services were conducted May 9 at Thomas Miller Mortuary in Corona, Calif., with burial in Riverside, Calif. - Walt Trott

Singer Wallace succumbs

Musicians like nothing better in the studio than to work with an artist who can truly sing. Many here have had that opportunity by playing with Jerry Wallace. Sadly, "Mr. Smooth" Wallace, died May 5 of heart failure at his home in Corona, Calif. He was 79. In his heyday, Jerry helped blue the lines between pop and country, thanks to hits like "Primrose Lane," "In the Misty Moonlight" and "If You Leave Me Tonight, I'll Cry." We recall stories regarding Jerry Wallace, as told by former producer Scott Turner, who had some songs recorded by the velvet-voiced crooner. Scotty would drop by our office for morning coffee and chit-chat, and updated us on Wallace, one of his favorite artists to record. Among Turner's tunes cut by Wallace were "Shutters & Boards," "When the Wind Blows in Chicago" and "Son." The first two co-written by Scotty and Audie Murphy, the war heroturned-actor-songwriter. Turner said that Wallace was keen on song titles. He felt a title should suggest the story, and that became part of his selection process. Nobody could relate the rest of the story in song any better than Jerry Wallace. Born Dec. 15, 1928 in Guilford, Mo., near Kansas City, Jerry was raised mainly in Glendale, Ariz. He always loved to sing and learned to play guitar to back up his vocals. In 1951, he made his first recordings for the small Allied label, and after a slow start, hit with "Little Miss One" (backed by Eddie Oliver & The Olive Twisters) scoring a Top 40 pop single in early 1954. After another long dry spell, it was on movie cowboy Gene Autry's Challenge label that he scored back-to-back pop successes, first with his silky smooth delivery on Cole Porter's "How the Time Flies" (#11) in 1958, and "Primrose Lane" (#8) in 1959. Ironically, those tracks registered equally strong on Billboard's R&B chart. "Primrose Lane" also became the theme music for a Henry Fonda sitcom TV series The Smith Family. Wallace's Top 40 pop singles on Challenge, included Durwood Haddock's "There She Goes," "Shutter & Boards," and finally Cindy Walker's "In the Misty Moonlight" in 1964. In 1965, Wallace switched to Mercury Records, and chose decidedly more country-oriented songs, notably "Life's Gone and Slipped Away," a Top 20 cut credited to Webb Pierce, Max Powell and booker Lucky Moeller; "Wallpaper Roses" by Don Robertson & Harold Spina; and yet another Cindy Walker tune "Not That I Care," the latter two Top 40 singles. Next up, he signed with Liberty, where he managed to chart several songs, but nothing of significance. He fared better on Decca, however, thanks to a couple Jean Chapel composi-

Douglas at work.

. . . Douglas begins residency

(Continued from page 15) est honor in the folk and traditional arts) for his contributions to the excellence of Dobro guitar music. In addition to his Grammy and CMA awards accolades, he has also been honored by the Academy of Country Music, the International Bluegrass Music Association and the Americana Music Association. While he may be the most-lauded Dobro player in music history, Douglas finds his greatest reward in pushing musical boundaries and expanding the vocabulary of his beloved instrument. "Being a musician . . . keeps me happy. It's my job but it's also my quest." Tickets, currently on sale to the public, are also on-line: For information, call (615) 416-2001. Museum doors open at 6 p.m. for the 7 p.m. shows.

Go to the next meeting at the Hall

Attend the next General Membership meeting of your Local, at 6:30 p.m. Monday, Sept. 8, in the Union's George W. Cooper Hall. For details, see page 1 or call (615) 244-9514.

Pet chihuahua Isabella shares James and Amy's joy.


The Nashville Musician

July-September 2008

Shutterbug snaps members in motion

Bob Mater on drums at Belle Meade Mansion.

Photos (5) by Kathy Shepard

It's Jim Ferguson on bass at Belle Meade Mansion. Vocalist Rebecca Sayre gets able backing from Bob Mater and Jim Ferguson at Belle Meade Mansion.

Bruce Dudley on keyboards at Belle Meade Mansion.

Linda Davis' Black Wire band (at Douglas Corner) features violinists Craig Duncan and Toni Ferguson.

Covering CMA's Music Festival with Patricia Presley

Denise and Alan Jackson sign autographs for fans. (See his story on page 12.) Lady Antebellum: Dave Haywood, Charles Kelley and Hillary Scott. They're hot! Former Mavericks bassist Robert Reynolds. New Hall of Famer Jimmy (Statlers) Fortune. New artist Corey Morrow. Bucky Covington excited visitors.

July-September 2008

(Continued from page 1)

The Nashville Musician


. . . proposed changes to Local 257 Bylaws

changed their mode of operation making normal collection more complicated than it should be, and Whereas: Some leader/contractors are not obtaining a copy of the Local 257 timecard at the session and furnish them to the Local, and along with untimely contracts, thereby creating new work for the office personnel, and Whereas: Some leader/Contractors are not doing their work by checking to see if the employer is signatory, thereby creating additional hours per contract for the staff attempting to obtain signatory status, which not obtained would keep a musician from receiving proper pension or Special Payment fund credit, and Whereas: The Electronic Media Service Department is under-funded by the work dues created by the department, which is offset by other departments and annual dues, and Whereas: This is creating a financial strain upon the Local's overall finances: therefore be it Resolved, That the electronic work dues percentage be changed from 2.25% to 3.25 % of Local work dues plus the applicable Federation work dues (see AFM bylaw reference section changes), which will be no less than a total combined amount of 4.5 %. Section 4. Members shall pay three percent (3%) Local Work Dues on scale wages on all live engagements, and no less than four and one-half percent (4-1/2%) 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)). 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. Respectfully Submitted By Billy Linneman, Secretary-Treasurer. Whereas, Article VIII, Section 1 in the Local 257 Bylaws relating to conduct at a Local 257 meeting is vague in language and therefore unclear in its intent, and Whereas, it is not in the best interest of the Local to have such language contained in our ByLaws, and Whereas, it would be to the benefit of all members to have the rules of conduct at a Union meeting to be clear and understandable, Therefore, be it resolved that the existing language in Article VIII, Section 1 be replaced as follows, with new language in bold. (existing language) ARTICLE VIII - RULES AND ORDER OF BUSINESS Section 1. Any member speaking shall address the President, standing, confine himself/herself to the question and avoid personalities. (replaced with) ARTICLE VIII - RULES AND ORDER OF BUSINESS Section 1. Any member speaking shall stand and address the President and confine himself/herself to the topic of discussion. Respectfully submitted by Dave Pomeroy. Board recommendation ­ favorable. Whereas, the Local 257 newspaper, "The Nashville Musician," is the primary means for members to receive written notice of Union activity, meetings, etc., as called for in the Local 257 Bylaws, and Whereas, the paper is currently made available on-line as a PDF on the Local's website, and Whereas, economic and environmental concerns make it prudent to examine whether we are printing too many papers, therefore spending too much money and creating unnecessary waste, Therefore be it resolved, that the Local 257 newspaper, "The Nashville Musician," be offered as an e-mail PDF to members who do not wish to receive a hard copy of the paper, therefore saving the Local printing and postage expenses. If a member has not notified the Local in writing of their desire to receive "The Nashville Musician" online, he or she will continue to receive it via U.S. Mail. The following Local 257 Bylaw pertaining to the newspaper and providing members written notice shall be amended as follows. New language is in bold and in parentheses. ARTICLE X - AMENDMENTS AND RESOLUTIONS Section 1. Resolutions, motions, or proposed amendments to the Bylaws must be submitted in writing to the Executive Board for its recommendation to the membership prior to the regular meeting. At the next regular meeting, or at a special meeting called for such purpose, the resolution(s), motion(s), or proposed amendment(s) shall be read and the Executive Board's recommendation announced and then action may be taken on the proposal(s). The membership shall be notified in writing (, or via e-mail) at least fifteen (15) days prior to any meeting at which resolutions, motions, or proposed amendments are to be acted upon. The notice shall contain the date, time and place of the meeting and the written proposal(s). Any proposal calling for an assessment or for a change in dues or fees must be voted upon by secret ballot. Section 5. Resolutions or motions other than proposed Bylaw amendments or additions, presented from the floor, which pertain to an announced topic of consideration for a Special Meeting, or to a special order of business for a Regular Meeting, shall be acted upon. The membership shall be notified in writing (, or via e-mail) at least fifteen (15) days prior to any meeting at which such topics will be considered for action. Respectfully submitted by Kristin Wilkinson and Dave P omeroy. Board recommendation - favorable. (Concluded on page 28)

Back in the late 1960s, songwriters (from left) Merle Kilgore, Norro Wilson and Glenn Sutton strike up a deal with publisher Al Gallico (see related story on page 24).

Overseas label remembers on disc, late members Cowboy Copas and Hawkshaw Hawkins, who died 45 years ago. See reviews in next issue!

Read past issues on-line:

242-2907 Downtown Nashville 718 6th Ave S 37203

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The Nashville Musician

"Charlotte's Web" and "Oh, Baby Mine" (a cover of the 1954 Johnnie & Jack #1). The Statlers also hosted a highly successful weekly variety series on The Nashville Network, working with music director Bill Walker. Finally, the "Brothers" opted to end their run with a farewell tour, retiring from the road in 2002. The Medallion All-Star Band, directed by pianist John Hobbs, features session players Eddy Bayers, drums; Brent Mason, guitar; Paul Franklin, steel; Michael Rhodes, bass; Deanie Richardson, fiddle; and Biff Watson, guitar. Supplying vocals: Tania Hancheroff and Wes Hightower. Two other Class of 2008 acts - Emmylou Harris and the late Ernest (Pop) Stoneman were honored in an earlier Medallion ceremony, April 27, with the All-Star Band. Harris admirers on hand to pay homage musically were Guy Clark, Lucinda Wlliams, Patty Griffin, Buddy Miller, Sam Bush, Jon Randall and Vince Gill. Vince earlier opened the session with a rendition of "Drifting Too Far From the Shore." After honing her talents touring with folkrockers The Byrds, The Flying Burrito Brothers and Gram Parsons, Emmylou kicked off a solo recording career charting the single "Too Far Gone" (written by Billy Sherrill) in 1973, the year good friend Parsons died. It was her 1975 Gold album "Pieces of the Sky" for Warner-Reprise, however, that established her as an artist to be reckoned with. She recruited some of the more promising musicians for her bands, among them Tony Brown, Ricky Skaggs, Rodney Crowell and Emory Gordy Jr., who went on to bigger successes on their own. Emmylou found a formula that worked, too, reviving golden oldies with great success, notably Buck Owens' "Together Again," Don Gibson's "Sweet Dreams," Kitty Wells' "Makin' Believe," Hank Snow's "I'm Movin' On,," Loretta Lynn's "Blue Kentucky Girl" and the Floyd Cramer-Conway Twitty collaborative "On Our Last Date." Of course, the Grammy winner had original country clicks, too, think "Two More Bottles of Wine," "Born to Run" and "We Believe in Happy Endings." Harris won CMA's Best Female Vocal trophy in 1980, became an Opry cast regular in 1992, all the while enjoying hits with other singers a la Herb Pedersen, Buck Owens, Roy Orbison, Earl Thomas Conley, and as part of The Trio with Linda Ronstadt and Dolly Parton. In a musical salute to Pop Stoneman, the Old Crow Medicine Show recreated "Tell Mother I Will Meet Her," Cowboy Jack Clement offered "Blue Ridge Mountain Blues," then The Jordanaires & Jim Lauderdale joined voices for the inspirational "Are You Washed in the Blood." Pop's proud daughters - Patsy, Roni and Donna - delivered on his 1925 million-selling storysong "The Titanic." Stoneman, whose wife Hattie played fiddle, encouraged pioneer producer Ralph Peer's nowhistoric summer 1927 Bristol Sessions in Virginia for Victor Records. At that gathering which some call the birthplace of country music commercially-speaking - Pop was the star act. But it did produce such soon-to-be legendary-names, The Original Carter Family and Jimmie Rodgers, who strangely enough became known as The Father of Country Music, yet his success came a few years after Stoneman's and that of Vernon ("The Prisoner Song') Dalhart's. With the Great Depression, Stoneman's fortunes took a downturn, but Pop began grooming his children (Hattie gave birth to 23 babies!). He saw that they had instruments and learned the fundamentals of playing them. The family continued to perform, home-based in the Washington, D.C. area for many years. Thanks in part to Jack Clement, The Stonemans made a comeback on the 1960s' national scene, resulting in several MGM singles, such as "The Five Little Johnson Girls" and "Back To Nashville, Tennessee," and a syndicated TV series. All of which earned the family group, including daughters Donna and Roni, sons Scotty, Jim and Van, the Country Music Association's first Best Vocal Group award in 1967. Incidentally, Pop's Country Music Hall of Fame induction is really way overdue, but a welcome one for fans of this talented family. At both of the split ceremonies for the new inductees - Emmylou Harris, Tom T. Hall, The Statlers and Ernest V. Stoneman - each closed with a traditional performance of the Carter Family classic that charted Billboard as "Can the Circle Be Unbroken" in 1935. - Walt Trott

July-September 2008

got some common sense, and he runs the musicians union that way. The money that you have spent here tonight goes for people that haven't prepared themselves for a disaster, and when that happens, they have no money. That's what this money will go for." Ironically, the main instigator of the fund which bears his name was Vic Willis, who with his brothers worked several years as backup boys for Arnold's troupe touring in the late 1940s and 1950s. Arnold was an astute businessman himself, having invested the bulk of his fortune in real estate. The Great Depression no doubt taught him to prepare for his family's future. The former Tennessee Plowboy bought up property in the Nashville area, notably Madison, Franklin and especially Brentwood. In March 2008, Arnold fell outside his home, injuring his hip, necessitating hip replacement surgery that same month. Unfortunately, he was in a Nashville hospital when his wife was admitted to a Williamson County hospital, where she died March 11. Eddy himself entered a rehabilitation care center following surgery and grew weaker until he died May 8, with his family by his side. Among Arnold survivors are daughter JoAnn Pollard, son Richard Arnold, Jr., and grandchildren Michelle Johns and R. Shannon Pollard. A public memorial service was conducted May 14 in the Ryman Auditorium. Meanwhile, Arnold's body lay in state in the rotunda of the Country Music Hall of Fame, May 13-14, the first time this honor was accorded any artist. Burial was in Madison. Pallbearers were Jerry and Frank Arnold, Bobby Campbell, Mike Curb, Charlie Chase, Don Cusic, Joe Galante, Bryan Howard, Jim Lance and Dan Miller. Honorary Pallbearers included U.S. Senator Lamar Alexander, Harold Bradley, John Carter Cash, Jerry Chestnut, Jack Clement, former U.S. Representative Bob Clement, Danny Davis, Charlie Douglas, former Governor Winfield Dunn, Ralph Emery, Jim Foglesong, Andy Griffith, Tom Jones, Frances Preston, Jo Walker-Meador, Bill & Janine Walker, Norro Wilson, Kyle Young and members of both the Nashville Association of Musicians Local 257, and Country Hall of Fame.

Medallion ceremonies for new Hall of Famers

Emmylou Harris

Tom T. Hall and the Statler Brothers received their Country Music Hall of Fame Medallions, June 29, in the company of such past Hall of Famers as Brenda Lee, Sonny James, Harold Bradley, Ralph Emery, Jim Foglesong, Bud Wendell, Jo Walker-Meador and Alabama's Teddy Gentry. Also there to cheer them on, was Vince Gill, who opened the Statler-Hall celebration singing "The President's Hymn." Among performers attending who sang Hall or Statler classics were Reba McEntire, Bobby Bare, Dailey & Vincent, Michelle Nixon, the duo Heather Berry & Tony Mabe, and accompanying Hall on his mega-hit "Watermelon Wine" legendary Jelly Roll Morton. Hall came to town, thanks to his writing skills, quickly supplying hits to Jimmy C.Newman ("DJ For a Day"), Dave Dudley ("Mad") both peaking in 1964. The following year, newly solo Johnny Wright (late of Johnnie & Jack fame) scored a #1 record (Hall's first charttopper) with "Hello, Vietnam," and a few seasons later came the smash "Harper Valley PTA" for newcomer Jeannie C. Riley, as Hall saw his composition hit #1 country, #1 pop (1968) and went on to sell several million units. Mercury was happy to take a chance on the songwriter-turned-singer, who scored his breakthrough single "Ballad of Forty Dollars," peaking at #4 on Jan. 25, 1969. Hall became known as "The Storyteller" via successive story songs, such as the #1's "A Week In a Country Jail," "The Year That Clayton Delany Died" and "Faster Horses" Following Tom T.'s final Top 10 to date, a revival of the Johnny Mercer classic "P.S. I Love You" in 1984, he began cutting back on touring, until now he concentrates on his writing, be it bluegrass songs or novels like "The Laughing Man of Woodmont Cove." The Statlers, after being serenaded by Grandstaff via "The Statler Brothers Song," also took the stage during the Medallion event to do one of their standards, "I'll Go To My Grave Loving You." One of the five Statlers named to the Hall of Fame, Lew DeWitt died in 1990, but earlier - due to ill health - departed the group in 1982. Succeeding DeWitt later that year was Jimmy Fortune, a younger musician, who joined original members Harold Reid, Don Reid and Phil Balsley. Jimmy added a songwriting prowess that produced three more number one songs to their credits: "Elizabeth," "My Only Love" and "Too Much On My Heart." The early Statlers launched their remarkable career chartwise with DeWitt's winning composition "Flowers On the Wall" (#2, 1965) on Columbia Records. They toured extensively with The Johnny Cash Show. Follow-up hits included "Bed of Rose's," "Do You Remember These," "Class of '57" and "The Movies." For some 20+ years, the Statlers turned out successful singles for the Mercury label, among them the #1 "Do You Know You Are My Sunshine" plus Top Fivers "Don't Wait On Me,"

. . . Country king's last royal send-off

(Continued from page 17) Son Dicky suffered a tragic automobile accident that left him hospitalized three months in the early 1970s, and it was quite a while before he could even walk again. That was quite distressing for the Arnold family. Eddy himself underwent double bypass heart surgery in 1990, but soon recovered to resume recording. In 2002, an RCA album "Looking Back" primarily covered songs of yesteryear, among them "Gentle On My Mind," ."Half As Much," "Faded Love" and "Lonely Street." His friend Cowboy Jack Clement produced yet another RCA collection in 2005 (with Jim Mulloy), titled "After All These Years" it included a variety of cuts such as "The Old Porch Swing," "When I Dream" and "To Life." Eddy may have been the youngest living artist voted into the Country Music Hall of Fame in 1966 at age 48, but was a senior citizen of 66 in 1984, when the voters awarded him the Academy of Country Music's prestigious Pioneer Award. An honor that touched him deeply was when the American Federation of Musicians' Nashville Local 257 awarded him their Artist of the Century honor, particularly during the chapter's centenary anniversary. Arnold joined the union in late 1939. In part, the plaque cited his numerous successes as singer-songwriter-musician-entertainer over more than seven decades, including a record-setting 145 weeks in the number one spot on Billboard trade charts; having achieved the most country Top 10s with 92; scoring 38 pop crossover singles; became the first country star to host his own national TV series via Eddy Arnold Time for NBC in 1952; and was voted CMA's first Entertainer of the Year award in 1967, a year after being enshrined in the Country Music Hall of Fame. Arnold's candid comment in accepting the union accolade surprised some. "I'm not a great fan of unions, but this Union has been a great thing for this community," replied Arnold. "I joined the union in 1940 (actually Local 257 records indicate Nov. 4, 1939). I was just a pup. In those days, in many cities, particularly Chicago, they wouldn't allow the country boys to be in the musicians union. But George Cooper, who was then the president here, fought a battle for his boys, and they needed a battle fought for 'em. So, it's a great thing here tonight to honor the musicians union. "We've had several presidents. Some of them good, some so-so, but Harold Bradley has

Americana Music Fest, Sept. 17-20

Levon Helm's Ramble On the Road show will be the opening night headliner event at the 2008 Americana Music Festival & Conference, 7 p.m. Sept. 17. Helm, formerly with The Band and Ronnie Hawkins' Hawks, plays drums and has recorded extensively with Bob Dylan. The 7th annual Americana Festival is slated Sept. 17-20 at the downtown Renaissance Hotel & Nashville Convention Center. Its awards show is scheduled at the Ryman Auditorium, Sept.18. For tickets, call (615) 386-6936. Nominees for Americana awards are: Artist of the Year - Levon Helm, Steve Earle, Jim Lauderdale, James McMurtry; Best Album - Helm's "Dirt Farmer," Hayes Carll's "Trouble in Mind", McMurtry's "Just Us Kids" and the Alison Krauss & Robert Plant CD "Raising Sand"; Top Instrumentalist - Sam Bush, Buddy Miller, Gurf Morlix, Chris Thile; Best Song - Carll's "She Left Me For Jesus," Helm's "Poor Old Dirt Farmer," McMurtry's "Cheney's Toy," Tift Merritt's "Broken" and the Krauss-Plant "Gone, Gone, Gone"; Best New Artist - Ryan Bingham, Justin Townes Earle, Mike Farris and The Steeldrivers; and Best Duo or Group - Avett Brothers, Drive By Truckers, Kane Welch Kaplin and Krauss & Plant. "Artists housed under the Americana umbrella truly create today's most critically acclaimed, socially relevant and culturally profound music," says Jed Hilly, AMA honcho. Veteran folk vocalist Joan Baez will receive the Spirit of Americana's Free Speech honor, noting her music's challenged the status quo. Additionally, singer-songwriter John Hiatt will receive the organization's Lifetime Achievement Award in the songwriting category, while Jason & The Scorchers score likewise in the performance class. - Walt Trott

Call in off-the-cuff recording sessions anonymously to (615) 244-9514, Extension 225.

Tom T. Hall

July-September 2008

The Nashville Musician


Trottin' about the Nashville music scene

Ronnie McDowell was so digusted by spiraling gas prices that make touring more costly, he wrote a song about it. The result "Hey, Mr. Oilman" soon garnered local airplay. According to radio, their telephones lit up after it's played, as disgruntled listeners call in to request it again and again. Ronnie's label Curb wants it on his new album and in the meantime has digitally dispatched his song to some 4,000 U.S. radio stations. Incidentally, the CD's been retitled "Hey, Mr. Oilman." McDowell reports: "They are rushing this album out. I finished a new album and it took a year to do it. But nothing sparked until this song." Ronnie wrote, in part, "Hey Mr. Oilman, we sure could use a break/Old Glory is cryin', how much more can we take/Our wallets are gettin' thinner/While yours is gettin' fat/And me and all my neighbors, are mad as hell about that . . ." Scene Stealers: It smacked of a family outing as Trace Adkins and co-writers Ashley Gorley and Lee Miller celebrated their #1 song "You're Gonna Miss This" at both BMI and ASCAP, June 18. Aside from label, trade and media types, attending were Rhonda Adkins and children Mackenzie, Brianna and Trinity; cowriter Gorley's wife Mandy, their kiddies Caleb and Sadie; third co-writer Miller's wife Jana and four young'uns: Levi, Noah, Emma and Jacy . . . Iconic TV veteran Andy Griffith was also here for a guest stint in #1 recording artist Brad Paisley's music video "Waitin' On a Woman" . . . Doyle Lawson & Quicksilver's recent revival of songwriter Bill Anderson's 1960s' hit "We Missed You" has been fashioned into a commercial for U.S. retail giant Sears. (Anderson penned the ballad for country queen Kitty Wells, who took it into the 1962 Top 10) . . . Veteran vocalist-songwriter Ed Bruce was tabbed to play a supporting role as a senator in the Johnny Depp-starrer "Public Enemies." That crime movie was directed by Michael Mann on location in Madison, Wisc. Oh yes, Depp plays Dillinger, done in by the infamous Lady in Red, outside a Chicago Loop theater playing Clark Gable's "Manhattan Melodrama." No acting novice, Bruce appeared prominently in the Maverick TV series. Bits & Pieces: Can it be? iTunes has logged in sales of more than five billion songs since its inception five years ago, making it the most popular U.S. website for legal music downloads . . . The University of Illinois press is promoting a new country-oriented book by Kristin McCusker, titled "Lonesome Cowgirls and Honky Tonk Angels" . . . In town for their induction into the Country Hall of Fame, Statlers' Don and Harold Reid were spotted signing copies of their "Random Memories" tome at the Ernest Tubb Record Shop, June 30 . . . In these times of high gas prices and slumping economy, Kenny Chesney packed some 49,000 fans into the Titans' home-base football field, July 5, as part of his profitable Poets & Pirates tour. Of course, he had a little help from his friends Keith Urban, Gary Allan, LeAnn Rimes and Sammy Hagar as guest artists. Nice going, Kenny . . . The Browns - Maxine, Jim Ed and Bonnie - are in demand once more saleswise, thanks to a new retrospective set, currently #3 on the Collector's Choice Top 10 chart, outpacing such pop packages as Frank Sinatra's "Nothing But the Best" and Frankie Valli's "Solo/Timeless." Sales of the melodic 1950s country trio's 21-song disc, containing popular cross-over cuts "The Three Bells," "Looking Back To See," "I Take the Chance," "The Old Lamplighter" and "Scarlet Ribbons," have been brisk. The CD boasts rare photos and detailed liner notes by Grammywinning annotator Colin Escott. Honors: Whisperin' Bill Anderson, 70, has been named a charter member of the Grady Fellowship by members of the University of Georgia's Board of Trust. Anderson was a local DJ while studying at the UofG, and graduated in the Grady College of Journalism & Mass Communications. Before graduation, Bill had already embarked on a country music career, thanks to his #1 song "City Lights," initially recorded by Ray Price in 1958, when Bill was 19. Out of 20,000 University alumni, he is one of only 50 named as charter members, in recognition of his distinguished career as singersongwriter . . . High school dropout Gretchen Wilson studied readin' ritin' and'rithmetic again, to pass her high school GED (an equivalency diploma) tests, as she didn't want her daughter thinking she could achieve success without an education . . . David McCormick's Ernest Tubb Record Shop in downtown Nashville named one of America's Top 20 coolest places by Paste, a national trade journal. It took 'em long enough; we knew that all along . . . Meanwhile, Nashville Songwriters' Hall of Famer Sanger (Whitey) Shafer was saluted by the Country Music Hall of Fame & Museum, June 21, in the institution's ongoing Poets & Prophets: Legendary Artists series. A Texas native, Shafer, 73, has created such classic country songs as "I Never Go Around Mirrors," "It Was Always So Easy," "Bandy the Rodeo Clown," "Does Ft. Worth Ever Cross Your Mind" and "All My Ex's Live in Texas" . . . A special 60th birthday bash was conducted for seemingly-ageless diva Gail Davies, June 5, at Nashville's Station Inn nitery, co-hosted by hubby bassist Rob Price, and versatile musician son Chris Davies-Scruggs, who dedicated to mom the first set's closing number "Bells of St. Mary's," a sterling steel solo. In a benevolent twist, Davies did all the gift-giving, performing two sets for the SRO crowd, including her many hits - "Poison Love," "Blue Heartache," "Round-the-Clock Lovin'," etc. - supplied birthday cake, and sold CDs at $1 each! Davies' vocals and yodel were as fresh and vibrant as when she burst onto the late 1970s' Nashville scene, via her self-penned "Someone Is Looking For Someone Like You," and became country's first major label female to produce albums. Stork Club: Music City's proud singersongwriter Keith Urban and movie star wife Nicole Kidman, natives from Down Under, chose to welcome the birth of daughter Sunday Rose Kidman-Urban here (Monday) July 7 at Baptist Hospital. It's the singer's first child, while Nicole's mom to teens Isabella and Conner (from her marriage to Tom Cruise). Get Well Wishes: To top singer-songwriter Dan Seals, 58, undergoing a series of radiation treatments for throat cancer. Depending on his response to treatments in Houston, he may be eligible for a stem cell transplant. Among his 11 #1 singles are "Bop" and "Love On Arrival," following initial success in the pop duo England Dan & John Ford Coley. Seals' album with brother Jim - "She's Waiting" - was just released . . . Drifting Cowboy and Steel Guitar Hall of Famer Don Helms, 81, suffered a stroke and a heart attack, July 5, and was rushed to Skyline Hospital. He'd just finished a tour in Canada. Helms has since been transferred to Centennial

At their `You're Gonna Miss This' #1 party (from left): Co-writers Lee Miller, Trace Adkins, with Connie Bradley (ASCAP sr. v.p.), third writer Ashley Gorley and Dan Keen (ASCAP v.p.)

Dolly and Dottie in the recording studio.

Hospital for heart bypass surgery to correct blockages . . . Legendary singer-songwriter Johnnie Wright, 94, also to Skyline, suffering from an infection . . . Bluegrass icon Doc Watson, 85, diagnosed with lung cancer, underwent surgery to remove a cancerous portion July 1, at Duke University Hospital in Durham, N.C. Final Curtain: Producer-broadcaster Elmer L. Alley, 87, died here June 9. Alley was 18 when he began his career at WSM radio. Among his behind-the-scenes stints were serving as an audio engineer for recording greats Hank Williams and Burl Ives; being program director at WSM-TV; doing comedy for The Waking Crew morning show; writer and producer with the Hee Haw syndicated series; and helped launch The Nashville Network cable system . . . Singermusician-comic James (Goober) Buchanan died of natural causes June 16, in Bowling Green, Ky., one day before his 101st birthday. Buchanan's band Goober & His Kentuckians were a popular band on various radio stations such as WLAC-Nashville and WHOPHopkinsville (Ky.). Buchanan also worked as musician and rube comic on major shows like the WLS-Chicago National Barn Dance and WIRV's Renfro Valley Barn Dance. He toured in troupes, ranging from Uncle Dave Macon's to Porter Wagoner and Hank Williams, Jr., playing guitar and mandolin. He was also a veteran of medicine tent shows, and vaudeville onenighters. Nashville writer-historian Ruth White chronicled his colorful career in her 2004 book "The Original Goober: The Life & Times of James G. Buchanan. There are no survivors . . . Country-blues musician-writer Danny Rhodes, 58, died May 23 at Verde Valley Medical Center in Arizona, due to gastric cancer. The guitarist toured the U.S.and abroad performing with stars Brenda Lee, Charlie Rich and Mel McDaniel. He was a staff writer for WarnerChappell Music. One of his more celebrated cuts was Etta James' soulful "Get Funky". . . Former producer Walter (Dee) Kilpatrick, 88, died May 21, following a lengthy illness. The former Marine was a co-founder of the CMA in 1958, serving on its first Board of Directors, and as WSM Grand Ole Opry general manager (1956-'59). He worked in sales and as A&R director at labels like Capitol, Mercury and Warner Bros., and also with Acuff-Rose Publishing and Hickory Records. Among acts he recorded were James & Martha Carson, Hank Thompson, Tex Ritter, Johnny Horton and Bill Carlisle. He is survived by wife Mary Jane, son W. David Kilpatrick, daughter Judy Tucker, and three grandchildren . . . Condolences to Christian singer-songwriter Steven Curtis Chapman and wife Mary Beth, whose 5-year-old adopted Chinese daughter Maria Sue died May 21, af-

ter being accidentally backed over by a car driven by her brother in the driveway of the Chapman's Williamson County home. Survivors include five siblings: Caleb, Will, Emily, Shaohannah and Stevey . . . Broadcaster-vocalist Hugh Jarrett, 78, died May 31 in an Atlanta hospital, following injuries suffered in a March car crash. From 1954-1958, Jarrett was a member of The Jordanaires. Among disc hits he's heard on are Jim Reeves' "Anna Marie" and Elvis Presley's "Don't Be Cruel." He appeared with the Rock & Roll King on The Ed Sullivan Show, sang with The Jordanaires on Arthur Godfrey's Talent Scouts, and for the Presley films "King Creole" and "Loving You." He also worked with Bill Lowery's publishing group, and was an on-air radio personality in Nashville and Atlanta. Surviving are wife Jean, their son Jeff, a grandson and a great-granddaughter . . . Gospel Hall of Fame singersongwriter Dottie Rambo, 74, died May 11, from injuries sustained when her '97 tour bus crashed near Mt. Vernon, Mo., during a spring storm. Rambo recorded with such country stars as Dolly Parton, Porter Wagoner, The Whites, Jimmie Davis and George Jones. In 1968, she won a gospel Grammy for her LP "It's the Soul of Me"; and last year, Barbara Mandrell presented her plaque acknowledging induction into the Nashville Songwriters Association International's Songwriters Hall of Fame. . . Jim Gaskin, a 28-year veteran of the historic WIRV Renfro Valley Barn Dance, died May 3, at the Ephraim McDowell Hospital in Danville, Ky., following a lengthy illness. He was 70. He and wife Sue had bought station WIRV, but sold it in 1976. Since 1983, he had been host of the historic program, launched in 1943. Only two other people ever narrated the show, its founder John Lair and Grant Turner, later of the WSM Grand Ole Opry. - WT

Kenny Chesney

Read Chesney comments on page 31.


The Nashville Musician

July-September 2008

Billy Sherrill, Becky Hobbs, Jerry Kennedy among those paying homage to former publisher Al Gallico

By WALT TROTT From New York's Tin Pan Alley, onward to Nashville's Music Row, and then on the Hollywood scene, Al Gallico made his mark. The celebrated publisher died of respiratory failure and pulmonary disease at Cedars-Sinai Medical Center in Los Angeles, May 15. Services were held for the 88-year-old icon, on May 22, in L.A. "He was such a good, good person, who was always up, and he had such a big heart," says elder daughter Gail Gallico-Sherwin in L.A. "I start to cry when I think about my Dad. He never complained, even when he had to have oxygen 24/7 . . . He was also really funny and had some great stories to tell." Indeed, the pioneer publisher gave a major helping hand to then-new writers like Billy Sherrill, Norro Wilson, Glenn Sutton, George Richey, Earl (Peanut) Montgomery, and singersongwriter Donna Fargo, co-publishing her million-selling #1 debut hit "The Happiest Girl in the Whole USA," a Grammy winner. He managed country artist Joe Stampley, and also garnered label pacts for such notables as David Houston, Becky Hobbs, Big Al Downing and John Anderson. Gallico company copyrights included such standouts as "Almost Persuaded," "Stand By Your Man," "The Most Beautiful Girl," and "If You Love Me (Let Me Know)." Al also played a part in the so-called 1960s' British rock invasion, supplying songs to The Animals, The Kinks and The Zombies. Among cuts furnished were "The House of the Rising Sun," "You Really Got Me" and "Time Of the Season." He later provided Cat Stevens' success "Here Comes My Baby," Olivia NewtonJohn's Grammy-winner "Let Me Be There" and helped Chrissie Hynde's rockin' group The Pretenders score. Movies boasting Gallico sounds include "Five Easy Piece" (1970), "The Blues Brothers" (1980), "Blue Velvet" (1986), "Dogfight" (1991) and "Sordid Lives" (2000). In 1995, crediting his many contributions to music, Gallico received the National Songwriters' Hall of Fame's prestigious Abe Olman Publishers Award. His publishing companies shared in winning BMI's Robert J. Burton Award for most performed song of the year, first in 1967 for "Almost Persuaded," again in 1973 for "Happiest Girl in the Whole USA," in '74 for "Let Me Be There" and in '75 for "If You Love Me (Let Me Know)." "He was as big a driving force in country music in Nashville, even though he was behindthe-scenes," says producer-songwriter Billy Sherrill. "He was good friends with Owen (Bradley), Chet (Atkins), Jerry Kennedy and Shelby Singleton, all of the heavyweights." Sherrill, thanks in part to Gallico, became an important name himself in country music production, while creating some 25+ Billboard #1 songs including "Almost Persuaded," "My Elusive Dreams," "Stand By Your Man" and "A Stand By My Woman Man," and in 1984 was inducted into the Nashville Songwriters' Hall of Fame. Several years ago, before ill health set in, Al Gallico offered this recollection of his and Sherrill's involvement in one of country's major copyrights, "The Most Beautiful Girl (In the World)." It was in the summer 2002 issue of Harry Fox Agency's National Music Publisher Association periodical, Gallico pointed out that the song started off co-written by Norro Wilson and Rory Bourke, with different lyrics and a different title: "These two kids, Norro and Rory, had written a song called `Hey, Mister,' which was a good tune and had been released on Mercury . . ." (Actually, it was on Mercury's subsidiary Algee (a play on his name) with Billy Sherrill, and Al-Tam with Tammy Wynette. "In the late 1970s, when I was living out in L.A., I started writing for Al Gallico," recalls Becky Hobbs, known best for the hits "Let's Get Over Them Together" and "Jones On the Jukebox." "I mean I was born and raised in Oklahoma, and wanted to get into music and like a fool went out to Los Angeles. Well, everyone who heard me out there said I belonged in Nashville, I wasn't pop, I was country, duh . . ." So how did blonde Beckaroo link up with Gallico's publishing arm? "I've been trying to remember exactly how that came about. I think I just picked up the phone and asked, `Can I play some songs for you?' Al was always interested in the new kid on the block. He was a songwriter's publisher, that is, he either believed in your song as it was, or he left it alone. He was very cut-and-dried like that. "Al Gallico got me my Nashville record deal (with Mercury). I was sitting, talking to him one day in L.A. when he asked if I wanted a Nashville deal? Of course, I said yes, and Al, who had one of those phones with the big numbers on it, picked it up and called Jerry Kennedy. He told him about me and my music and that he thought he should sign me. Then he hung up the phone and said, `You got your record deal!' "I'll never forget when I got to Nashville. Al sent Danny Darst (who wrote the #1 `Roll On Big Mama') to pick me up at the airport. I could tell Danny didn't want to like me, figuring I was this rockin' gal from L.A. who came here to record. But he soon found out I was an Okie who liked to sing and kick up her heels, and we became good friends. We later went to Billy Sherrill's, and I was so in awe being there in Billy's house with Billy Sherrill, his wife and Al Gallico! . . . Billy listened to my song `I Can't Say Goodbye To You,' and liked it, but suggested it might sound less drastic if I sang `without you, I'd cry' rather than my `without you, I'd die,' but I told Billy, `That's the way I felt (when her inspirational romance ended)' . . Damn, I was stupid." Hobbs' song had won the American Song Festival award in 1978, however, and became her first Top 40 single for Mercury a year later. Hobbs' writing efforts also scored for Conway Twitty ("I Want To Know You Before We Make Love") and Alabama ("Angels Among Us"). "Al Gallico was a major turning point in my career," she concludes. "The last time I saw him was about two years ago. Deni Anton, a friend, and I had lunch with Al, his wife Grace and daughter Gail at this Italian restaurant. He still had that little gleam in his eye, like a little kid that made you wonder what he was up to . . . I think Al was the greatest publisher country music ever had."

Al with fellow award winners Tammy Wynette and Billy Sherrill, above, with BMI President Ed Cramer.

Smash label and B side of artist Norro Wilson's first Billboard charting, his 1969 cover on the R&B Platters' classic "Only You.") When the song didn't ring the bell, it seemed to be all over for that number. But Al believed in the song: "One night I was having dinner with Billy Sherrill in Nashville and we got to talking. Billy mentioned that he liked the song and was particularly taken with its melody, and we both agreed that it was too bad it hadn't been a hit. Then he got to wondering if Norro and Rory would mind if he rewrote the lyrics? I agreed that he should take a shot at it, and the boys did, as well. When he did rewrite it, it came out as `The Most Beauriful Girl.'" So how did it get to Epic's Charlie Rich? Billy Sherrill, of course. He produced Rich, just off the mega-hit "Behind Closed Doors," a #1 country multi-million seller (and Grammy Hall of Fame Record), that also scored Top 20 pop. It was written by Kenny O'Dell. Needing a follow-up to ". . . Closed Doors," Gallico had one in mind - "The Most Beautiful Girl" - for the producer. But Billy hesitated, insisting they needed a killer song, because O'Dell's was such a smash. "Later, I heard Charlie do it in a dub and the reaction was just fantastic," continued Gallico. "People were just knocked out by it." Still slightly skeptical, Sherrill finally relented and released Rich's track as a single, right after ". . . Closed Doors" ran its course. "If anything, it was even more successful than its predecessor, dominating the country chart," Al added. "And again crossing over to pop where it spent 17 weeks and ultimately went to #1." Thus, Gallico's faith in "The Most Beautiful Girl" was fulfilled, when it stayed a week longer at #1 on Billboard's country chart, and spent two weeks at the top of the pop list, where "Behind Closed Doors" stalled at #15. Gallico also praised Bourke and Wilson for having the foresight to agree to the changes to their song. Of course, their cooperation paid off handsomely. Of Italian descent, Alphonse Galeese was born on June 5, 1919, in Brooklyn, N.Y., one of 10 children. His father was a housepainter, and Al grew up in a tough neighborhood, gaining the nickname "Sharpie." "My father quit school before he finished the eighth grade to help his family," Gail points out. "He sold bananas, whatever he could, to help out." In 1938, during the days of Tin Pan Alley, Al began working odd jobs for the classical music house, G. Schirmer Music in New York City, including stacking music sheets and running errands. The following year, while delivering sheet music to Lou Levy at Leeds Music, Al landed a position as songplugger but no regular paycheck. (Levy managed the superstar Andrews Sisters act, marrying one of them, Maxine.) "I have a check of Dad's here from Lou Levy and it's dated 1940," adds Gail, Al's longtime

executive secretary. "During World War II, he was in the Army for awhile. I think he brought entertainers in to improve the morale of the troops, but I don't think he saw any action. I have a picture of him in his Army suit, and I heard he used to drive the general around." Before long, Al like Lou, found his own sister act, and he, too, married one: Grace Lane. "I believe he met my mom, when she and her sisters were going to audition for Major Bowes (Original Amateur Hour) talent show. He was asked to pick them up and take them to the (CBS radio) broadcast." Dad wasn't an instrumentalist, singer, composer or producer, says Gail, but he admired those talents in others and went out of his way to promote those he thought exceptional. That was especially true of his singer-songwriter wife Grace. Before and after their marriage in October 1945, she achieved considerable success on the music scene. The former Grace Lane and sisters Dottie and Betty, chose to call themselves the Norton Sisters to avoid confusion with film sisters: Lola, Priscilla and Rosemary Lane. "My grandmother Carrie played piano and chaperoned them. Her youngest daughter Betty had to be tutored on the road," notes Gail. "My grandfather ran Lane's Diner in Connecticut." The Norton Sisters added a fourth singer while with the Vaughn Monroe Orchestra, when the boss wanted a quartet: Maree Lee. During their mid-1940s tenure with Monroe, they scored harmony on his million-selling #1 pop singles "There! I've Said It Again" and "Let It Snow! Let It Snow! Let It Snow!" Other '40s' Top 10 singles they graced include "Rum and Coca Cola" and "Seems Like Old Times." One of the sisters' solo vocal successes was "Birmingham Rag," which Grace wrote with Mort Garson. Attesting to her versatility, she later penned "Clinging Vine," a 1964 pop hit for Bobby Vinton; "Bla Bla Bla, Cha Cha Cha," recorded by both Titus Turner of "Stagger Lee" fame (1961), and the Petty Booka ukelele-playing duo from Japan (2006); "Margarita," cut by Al Hirt & The Lalo Schifrin Orchestra for their 1966 LP, "Latin in the Horn"; and Joe Stampley's Top 10 country single "Penny." Gallico became general manager for the renowned N.Y. music publishing house ShapiroBernstein in 1953. Later, he headed up Painted Desert publishing in Nashville (1961), an affiliate of Shapiro-Bernstein. Al was a gambler who liked to shoot dice. Numbered among his gambling buddies were music men Sam Phillips, Steve Sholes and Paul Cohen. Gail says her father was always family-oriented: "Friday night was always dinner with my dad, then on Sundays we'd go to his parents' house in Brooklyn, or sometimes we'd go see my mother's family in Connecticut." Following crossover success with the Merle Kilgore-Claude King penned million-seller "Wolverton Mountain," he created Al Gallico Music (in 1963). Al added affiliates such as

The Norton Sisters: Grace, left; Dottie, top; Betty.

July-September 2008

The Nashville Musician

movie soundtracks? "I don't know the first time that happened," replies Gail. "He was lucky enough to also get his songs picked up for commercials and television (including Clint Eastwood's Rawhide series.)." What piqued his interest in country music? "That's a good question," she says, laughingly. "He absolutely loved big band music and also later in life ended up loving (Luciano) Pavarotti's music. That became his favorite thing for the past 20 years or so, to listen to Pavarotti sing. So when he came home or in the car, he'd play Pavarotti. He wanted to meet him one day. "I think he liked country music's simplicity. He would always say, `It's all in the song,' and that the song was the most important thing. What's so amazing about him is how he changed people's lives. I heard it a lot, `If it weren't for your dad, I wouldn't have had this career' . . . "What he enjoyed was helping the underdog, and he always loved finding new songwriters, and if he believed in them, he liked giving them a chance and encouraging them." Joe Stampley was one he chose to manage: "That was really one of the very few times, because he wasn't really much into management. I guess that happened because he believed in Joe and took him under his wing." Stampley says, "I'll tell you what. Al Gallico was the best there was at finding great songs. Al just knew a good song when he heard it. He said, `You never ask radio what a hit is on an album, you tell them because you should know what the hit is.' "Al and I go back to 1964 (Joe was 20), when I was at Paula Records down in Shreveport (La.). The first hit I had (as lead singer) with that rock and roll group The Uniques, was a song that Merle Kilgore wrote called `Not Too Long Ago.' Al had the publishing on it. "After that record came out, Al told me, `Hey Joe, after your contract runs out on Paula, I'm going to move The Uniques to Paramount Records and I'm going to put you by yourself on (ABC-)Dot. Sure enough, he remembered and did. Somewhere along about 1970, when our contract ran out, he put The Uniques on Paramount and me on Dot, then he said, `Let's see which act takes off first.' I had actually been writing a few country songs, so that's how it all happened, and he had me co-writing with guys like Norro (Wilson) and Carmol (Taylor). "I was the first artist here in Nashville that Norro produced," continues Stampley. "That was 1970 or 1971. Norro and I had a list a mile long and later, Al put me with Billy Sherrill. He had a knack for doing that. Al was a motivator who could make things happen. I believe he helped place Billy there at CBS and got Norro at Dot and Warner Bros. "Al was also my manager five or six years, when I first got into this (as a solo). He said, `I want to try and do some stuff with you, and if it works, fine; and if it don't, it don't.' He did a lot of good things for me though. He was a hard worker. I really loved that man. "Here's something Al told me that meant a lot to me. He said, `I believe what you're singing. I don't care if it's about a truck, then you're a truckdriver singing; or if it's a love ballad whatever, you sound like the guy in the story of the song. That's why you're going to have a lot of hit records for me.' "I remember when I heard `Roll On Big Mama,' I said that really should be a Hank Snow record, because when Danny Darst made the demo, he sounded like Hank singing it. But Al and Norro said, `No, we got ideas for this record. We've got a truck cranking up, air horns and a guitar going toodoo, toodoo (resembling a semi) . . .' So I said, `Well, you've convinced me,' and sure enough it was a #1 record." Stampley adds, "His wife Grace could sing great, and I cut one of her songs she wrote for me (`Penny') with a fellow named Steve Davis. I don't believe Al could sing that well himself, he just had a good ear for a song. (Continued on page 26)


Al with teen-aged Tanya Tucker and Joe Stampley.

Jerry Kennedy, musician-producer who indeed ran Mercury Records 15 years, also has fond memories of Gallico: "The last time I saw him was in Las Vegas in about 1999. He was a very colorful guy. In fact, a lot of the people who knew him, particularly Norro Wilson, all tell great Gallico stories and Norro can really imitate Al's gruff way of talking. I'm glad you're doing this article. Al deserves to be remembered. He was a good one . . . " Kennedy explained their original relationship: "Al was just somebody who pitched me songs. Either he or his writers would bring me songs. One in particular I remember was `What's Made Milwaukee Famous,' the Jerry Lee Lewis thing that Glenn Sutton wrote. (It was a Smash release.) "Of all the other people who came in from out of town, I always thought that Al had some of the best contacts here," Kennedy continues. "We were also real good friends. Actually, Al was one of the best friends I ever had. We were worlds apart in where we were from, him from Brooklyn and me from Shreveport, but we sure came together here in Nashville." Gallico became somewhat of a character, too, due in part to his penchant for wearing loud suitcoats and talking in a stereotypical tough guy manner with that raspy voice of his. Sherrill says: "He liked to have a good time. He stood out with that Brooklyn accent when he came to Nashville, and all the folks seemed to embrace him. He had such a great personality. You know usually an outsider took a lot longer to get in with all the right people that mattered in music. But Al handled it real well, and he was known all over New York and Los Angeles, so he had connections." How does a Phil Campbell, Ala. boy like Billy warm up to a Brooklyn "Sharpie"? "Slowly," drawls Sherrill, with a chuckle. "We just had the same common interests really; good songs, good recordings, and hooking those songs up with the right artists." Was he sort of a mentor to Sherrill? "Yeah, that would be the right word to use. Al Gallico did his job and was the best at what he did. He groomed writers and hooked up writers with other writers and with artists. He knew business and how to take care of it." In thinking back about Al, what stands out in Billy's mind today? "That would be unprintable. Seriously, I think Al was very important to both country and pop music, as he introduced a lot of artists and writers to others in different parts of the business, which expanded their roles. It's really hard to put it into words, especially for me." Was he helpful to young writers and artists he believed in? "Big time!" Where did he see the publisher last? "That was just before he got sick a couple years back, when he came to town. Clearly, he wasn't feeling very well . . . Now we did talk a lot on the phone until he got to where he was too tired to talk, so we phased all that out." When did Gallico begin supplying songs to

The gang's all here, sort of: (from left) Harry Warner, Billy Sherrill, (his Mrs.) Charlene Sherrill, BMI's Ed Cramer, Grace and Al, Lynn Anderson and Glenn Sutton, then Mr. & Mrs.

Sharing in a BMI awards night are Al, Donna Fargo and husband-manager Stan Silver.

The family helps Al and Grace celebrate their 60th anniversary. Daughters Linda and Gail are behind Dad, while behind Grace is grandson Alex, who scanned our photos (with the exception of Donna Fargo's).



The Nashville Musician

July-September 2008

anybody and always looked on the bright side. We just loved him." In fact, for her 1979 Warner Bros. album "Just For You," Donna wrote a song saluting Al Gallico, titled appropriately enough "I Wrote This Song Just For You." She said, "The first line is, `This song's for you, Big Al,' and the chorus goes, `Keep on singing your song/And shining your love light/God bless you good in everything you do' . . ." Donna reflects further, "I do think his taste in music put him ahead of the pack. He just liked a great song. I remember one time he asked me, `Who's that guy that sings `Here In the Real World'?' I told him Alan Jackson, and he said, `He's gonna be a big star.' That was before Alan made it big. Al Gallico had a great sense of music and star-ism." According to Gail, her father sold off most of his publishing catalog: "He sold a lot of his music to Columbia Pictures Music in 1986, it's probably EMI now, one of the big conglomerates; then he sold two other companies, probably Al-Tam and Galron, maybe in 1990 . . ." Contacted in L.A. later, younger daughter Linda Gallico was gracious in taking our call. As vice president of Diane Warren's publishing company, she keeps tabs on the hit writer's songs like "How Do I Live" and "I'll Be." "When I was 19, I first went to work for my father, but it wasn't because I wanted to be in the publishing business," she explains. "I really wanted to go into acting and I knew by working for my father, he wouldn't mind if I went on casting calls during work hours. But my acting career went nowhere, and I just ended up staying with my father. "By staying, I got more into the creative side, and in those days writers would just drop in at our office and say, `I've got a song I want to play for you.' They would play it on a piano we had in the office, and then some were on reelto-reel. That's how long ago that was, like in the early 1970s. We'd listen to everything, then if we liked it, we would play it for dad. I learned so much from my father, like about copyrights and how owning music copyrights was a great thing . . . "I saw, too, that he went to work every day, absolutely loving what he did. I thought what a great thing. There's nothing worse than going into a job you hate every day . . . He was also the most honest publisher I ever knew, always looking out for the writer; Dad wanted to get him the best deal possible and was never about cheating anybody. "I remember him saying people would come to him anxious for a deal and say, `If you do this, I'll put on the record you're the co-writer.' But he would say, `I'm not a writer. I've never written a song in my life. I don't want my name on anything in that way.' You know a lot of publishers do that and take a part of the writer's money. Dad would never do that. "Yes, Diane has run into that, where people have said after hearing her song that they wouldn't do it if she didn't list them as co-writer. But she won't compromise. I mean she has cowritten with writers like Albert Hammond and Michael Bolton, but when asked to co-write now, she mostly says flat-out No!" It's often been said that Al Gallico was the best ally a song ever had, would Linda agree that was pretty much on the mark? "Definitely! He would get behind that song and push it, push it, push it. He'd get someone to record it, and then get it played on the radio. He got behind everything he believed in wholeheartedly." Had she heard whether there was going to be a memorial service for her father in Nashville at a later date? "I heard that Billy's daughter Kathy Sherrill and some other people there are trying to put something together in that regard. If they have it, I'd want to be there for it." Gallico's survivors also include three grandchildren and three great-grandchildren. (Special thanks to Areeda Schneider, Stan Silver, Kathy Sherrill and Alex Aristei for their extra effort in helping with this tribute.)

Members remember late music mogul . .

(Continued from page 25) "You know, Al and I would call each other right around our birthdays, because mine's the 6th of June and his was something like the 5th . . . But Norro can tell you stories on Al Gallico, funny things about him. Al was just a great, great guy. It's sad he's gone, but age catches up to everyone. I think the last time I saw him must have been at a BMI awards dinner about five or six years ago, some place like that." Norro Wilson was getting his car serviced when we caught up to him via cell phone, but agreeable to a chat once he heard Mr. G. was the topic: "There's never going to be another Al Gallico. He was an individual who operated pretty much on his own. He had a couple little satellite operations, but then I was the guy who headed up his Nashville office, one little room actually." Backtracking a bit, the Kentucky native explained when he started out he was trying to be an artist rather than work behind the scenes: "I never had it in my mind that I was going to be a superstar. I just thought I would sing and was a little quartet singer (a tenor in the Southlanders). They all said I was capable - and I got on every label in town. I was in Las Vegas when I gave up working the road. So it was on to Plan B. "That first year, I went to work like everybody else, you know normal people. I worked for Screen Gems (as songplugger), then got fired after a year. Not for anything I did wrong, it was just a political thing, something that still happens all the time (like staff shakeups). "Then somebody talked to Al (maybe Bob Beckham of Combine Music) and said I'd be a good man to work with him. We met somewhere, talked and he said (mimicking Al's voice) `Norro Wilson, you'd be a good guy for the operation.' It was that New York, heavyduty Italian accent that got me. It was sorta like the cartoon character Fred Flintstone, without question. I've spent my life since doing his voice. "Al was a true-blue character who came here and was loved by all. He had a warm feeling about us country folk down here and that came across, making him an individual hero in the community. To do a good job for him, I started trying to learn about songs and how to figure which were the hits. Well, I'm 70 now, and I guess you never really know . . . what will hit. "That's one of his greatest assets, he had a healthy attitude about helping the little guy," continues Wilson. "If somebody was a bit uppity, well that just disgusted him. He didn't like that. One time, and I think I just told this to another writer, Billy Sherrill and I were in his office, and Al walked in and had a little ol' acetate in his hand - those were the days of the acetate - and he said (again mimicking Al's accent), `You know guys, I'm on to this song I want to play you. I met these kids who had this song, and they were nice guys. They needed the dough and I gave 'em five thou ($5,000) for it.' "Billy said, `No kidding. It must be something.' So when he played it, Al was coughing or doing something, turning away and didn't

Tippin's latest CD salutes his late dad

By WALT TROTT Two major label deals later, big-voiced Aaron Tippin's still belting 'em out; his latest "He Believed: A Son's Tribute" - is an independent release. We gave it a hearing, ironically on Aaron's 50th birthday (July 3), marveling at his solid, cutting edge performances, registering the right combination of strength and tenderness, as needed. Delivered in his distinctive nasal vocal style are a mix of RCA Golden Oldies, and newlyrecorded tracks, all special favorites of Tippin's father Willis (who died in 2005). "My Blue Angel," "I Wouldn't Have It Any Other Way," "I Got It Honest" and Aaron's blue-collar anthem "Working Man's Ph.D," never sounded better. Tippin's reprised recordings "Country Boy's Toolbox," first featured on his "Lookin' Back At Myself" CD; "Trim Yourself To Fit the World," introduced on his "Call Of the Wild" album; and a bluesy, but upbeat "Bad Latitude," one of the set's best ballads, sizzle. Musicians gracing these tracks are: Tim Grogan, drums; Pat Buchanan, guitar; Dave Ristrim, steel; Stuart Duncan, fiddle; and Rich Herring, acoustic guitar. Aaron and wife Thea sing harmony. A trio of tracks - "He Believed," "Could Not Stop Myself" and "Ready to Rock" - Tippin coproduced with Jimmie Sloas. CD REVIEW Incidentally, Tippin had a hand in writing all the songs. Bandsmen credited on additional sessions: Kelly Beck, guitar; Wayne Killius, drums; Mark Johnson, bass; Glen Duncan, mandolin/fiddle; Mike Johnson, steel; Gary Prim, piano; and Steven Sheehan, acoustic guitar. Perry Coleman sang the selections' background vocals. Having heard Aaron's heartfelt single "Whole Lotta Love On the Line" initially in '93, it became an instant favorite. It showed us a sensitive side alternative to his rousing inyour-face redneck recordings "You've Got To Stand For Something" and "There Ain't Nothin' Wrong With the Radio." Charley Pride first cut "Whole Lotta Love . . . " though the writer held his own by comparison; still, Tippin's disc stalled at #30. A welcome change-of-pace is "Ready To Rock (In a Country Kinda Way)," co-written with Marcus Johnson and Tim Owens, and as anticipated, it's a lively, raucous rendition. From 1990-1997 Tippin charted 19 singles for RCA, then switched to Disney's Lyric Street imprint (1998-2004), scoring another dozen chartings, chief of which were his #1 co-write "Kiss This" (at 33 weeks, his longest chart entry), and the near-charttopping "Where The Stars & Stripes and The Eagle Fly" (actually #1 in sales six weeks). There were brief runs on indies Hollywood and R.U.T. Records, before Aaron founded Nippit (name reversal) Records in 2006, for which he co-produced "He Believed," though distributed solely via Cracker Barrel stores. The Local 257 artist can take pride in this collection. On the downbeat, late June news reports indicate the restaurant chain's suffering a sales slump. Maybe Aaron should've chose WalMart. Order Tippin's "He Believed" on line, via (list price: $11.99).

Al in his heyday.

see Billy's response or mine. We were both rolling our eyes at one another, no doubt thinking what in the world was he thinking, giving so much money for that song. To us, it sounded like s--t! "Well, a year went by or something, and we were once again back talking, sitting around and Al said, `You know that guy I gave five thou to for that song I played you?' We thought what's going on with that deal now? He said, `Those were The Zombies and they gave me eight songs to publish and their album sold four million.' We about (crapped) our pants. "I think what I'm saying is, I don't know that the song meant all that much to Al, he just did those boys a favor to help them out. But you see, he took care of them and they took care of him. There are many things like that to tell about Al . . . I mean he had a temper. He could get upset, but he also gave me every opportunity in a creative sort of way. Joe Stampley was my first artist and he set all that up. He did the deals and I produced the records and most of the ones that we did, we had hits." Another time while in New York on the town with Al, Norro got quite a surprise: "Oh yeah, that was about 30 years ago when he took me to Danny's Hideaway to see Henny Youngman, the comedian . . . We were mingling in the crowd when I heard Al say to me, `I want you to meet my friend Frankie,' and when I turned around there was Frank Sinatra! Well `Frankie' treated Al like an old friend. He said something to me like, `Hello kid, how're you?' I was floored." Wilson emphasizes that from his association with Al, he learned a lot about music publishing, writing and how to succeed as an independent producer, having gone on to direct such stellar talents in the studio as Eddy Arnold, George Jones, John Anderson, Mickey Gilley, Keith Whitley and Kenny Chesney. "I've looked back on it many times and it was just perfect. I must say to you that I have wished nothing had ever changed, that I had been able to work continually for Al. I give him total credit for how I've rendered my life in the music business." Donna Fargo and producer-husband Stan Silver couldn't be in L.A. for Al's services, but she sent along a tribute that read in part: "So blessed we are to have (had) Al Gallico for a friend. He never imposed, but was always there for the people he cared about and who cared about him. He went out of his way to see you and spend time with you. He encouraged rather than discouraged. He was the kind of guy whose loyalty to his friends made him so special that few others could live up to his example. He practiced love . . ." The singer, who wrote and recorded such #1 songs as "Funny Face," "Superman" and "You Were Always There," recalls she was living in Covina, Calif., where she taught high school, when she first met Al Gallico. "I wrote `The Happiest Girl in the Whole USA,' and flew to Nashville to record it and a couple other things . . . The story I was told is that Al heard the song on his car radio and pulled over to the side of the road, to call the station to ask (DJ) Larry Scott who the singer was? So Larry put him in touch with Stan, who had a small publishing company with an office in Beverly Hills. Stan sold him part of the publishing; so that was our first business arrangement." The song was pitched around to the labels before Dot Records eventually put it out in 1972. Of course, the record was a major success, charting #1 country and a near pop Top 10, while selling a million records,and earning CMA and Academy of Country Music Single of the Year awards, plus BMI's most performed song award, shared by Algee Music and Prima Donna Publishing. "We've been close all through the years. Whenever he came to Nashville, we'd all go out to eat, and we were friends with his whole family, his wife Grace and their daughters Gail and Linda, both very nice ladies. Al was a great spirit. He never said anything negative about

July-September 2008

The Nashville Musician

Rhodes - augmented by string and horn sections. String players: David Angell, Monica Angell, David Davidson, Mary Kathryn VanOsdale, Allen Umsted, Kathy Umsted, Pam Sixfin, Jim Grosjean, Carol Rabinowitz and Anthony Lamarchina. Horn players: Roy Agee, Jeff Bailey, Barry Green, Mike Haynes, Prentiss Hobbs, Sam Levine and Steve Patrick. Keith Mason assisted Michael on horn arrangements. Usually, a country classic is a lyric song that within the limitations of a three-minute time period, depicts a romantic situation, either broken or lasting, that's presented straight-forward via a simple three-chord melody, structured to support the story's content. On Stanton's ". . . Greatest Melodies" the two newest choices are both hits from 1990, Garth Brooks' "The Dance" and Vince Gill's "Never Knew Lonely," beautifully penned and performed, then and now. CD REVIEW Stanton and company kindle sweet memories with melodies of such long-ago love laments as "All I Have To Do Is Dream," "Have I Told You Lately That I Love You" and "Let It Be Me." Then there are the loved-and-lost hearttuggers "The Tennessee Waltz," "She Thinks I Still Care" and "Cold, Cold Heart," ballads that boast numerous hit interpretations by the likes of Pee Wee King, Patti Page, George Jones, Anne Murray, Hank Williams and Tony Bennett et al. "Wild Side of Life" was not only a #1 megahit in 1952 by Hank Thompson, but a Top 10 cover for Burl Ives, and its melody earlier inspired the Carter Family's Top 10 pop success "I'm Thinking Tonight of My Blue Eyes" (1929), and the gospel-tinged Roy Acuff Top 20 classic "The Great Speckled Bird" (1938). Kitty Wells' #1 answer song "It Wasn't God Who Made Honky Tonk Angels" (1952) responded to Thompson's smash. Obviously, it's an awesome melody. The producer-arranger didn't select merely the smoothest sounds, but also tackled more intricate tunes. The band scores with Hank Williams' "Hey, Good Lookin'," Roger Miller's "King Of the Road" and the Patsy Cline breakthrough "Walking After Midnight" (co-written by Don Hecht and Alan Block). Another of our personal favorites is "The End of the World," a haunting 1963 countrypop crossover hit by RCA's Skeeter Davis. Stanton's credits alone are considerable. As a youngster on pedal steel guitar, he performed with a sister as The Stanton Kids; by age 16, he mother Margaret worked for the Edmonton police station. "I was always singing and I wrote my first song when I was 12 years old. I began vocal and guitar lessons at the age of 8 . . . My Mom set me down one day - I played soccer as a youngster - and she said, `Adam, it's pretty expensive to be able to do both, so we're going to need you to pick one or the other.' So I picked music. "I grew up listening to George Strait, Garth Brooks, Wynonna and Vince Gill on the radio, and watching country videos. Country was popular in Alberta, even with the kids," he adds. Before he was 16, Adam scored four Top 10 records and was a cover boy on Canada's only country-oriented periodical Country Music News. According to its' publisher Larry Delaney in May 2001, "Adam Gregory's instant success with his music and charm, has all the makings of the birth of a superstar. It's a tag that goes along with anyone who has created such a dynamic entry into the world of country music, but the young teen-ager has already created an industry buzz; and he's got the teeny-bopper following to prove it!" What sort of show does he do in concert? "I just try to work real hard. My show's between high energy, ballads and mid-tempos. I feed off the audience in that rush that I get. But I love to leave the crowd wanting more." Adam was in awe of the stellar line-up of pickers Midas producer Keith Follese assembled for his Nashville recording session, including Dan Dugmore, Scotty Sanders, steel guitars; Jimmy Nichols, keyboards; Steve


was working with the Judy Lynn troupe in Las Vegas. Michael later toured with Bobby Goldsboro; spent time as Ray Price's bandleader; and was music director for Kathy Mattea. In association with Goldsboro, he scored music for the CBS-TV Burt Reynolds' series Evening Shade, and composed songs for CBS' Designing Women. Behind the scenes of Marty Robbins' syndicated TV . . . Spotlight series, he backed VIPs like Carol Channing, Dennis Weaver and Ruth Buzzi. As an artist himself, he's appeared on such telecasts as Johnny Carson's Tonight Show and daytime talk-fests like Mike Douglas' and Joey Bishop's. "All my life I've had a passion for the big band sounds and lush string arrangements of the greats, like Nelson Riddle and Quincy Jones," said Stanton. "At last I have an opportunity to let the steel guitar take the lead in the orchestra with this collection of the greatest melodies in country music." What a treat, as the Stanton contingent performs 18 well-loved numbers, not the least of which are "Crazy," "You Don't Know Me," "Faded Love," "Always On My Mind" and "Sweet Dreams." That's what you'll have, when you go to bed listening to this melodic set. - Walt Trott Brewster, drums; Pat Buchanan and Gary Burnett, guitars; Kerry Marx, Spady Brannon, basses; and fellow Canuck Charlie Major, a top singer-musician himself north of the border. "Those guys were great!" Who does he credit with giving him his start in Nashville? "Jeff Walker and Lawrence Mathis. Jeff helped me tremendously. I came to town and was green. Jeff just took me under his wing. He took me around and introduced me to business people, then brought Lawrence in here . . . Jeff told him, `I haven't been this excited since our Keith Urban days.' That intrigued Lawrence." Mathis, who guided Jason Aldean to stardom, linked his new client up with Midas Records, an independent that also boasts Emerson Drive on its roster. "I knew I wanted to work with Adam because everyone that knew him lit up when they talked about him," says Mathis. "As I've learned, you can't help but like him, both as an artist and a person." Will we find any other songs on the debut album penned by Adam? Of 17 to 18 tracks recorded, he had a hand in writing "probably nine or 10. When we get a moment, we're going to cut it down to 11 or 12 tracks though. Who knows what songs will survive that process." Why wouldn't a connection with Sony Music-Nashville not be a natural fit, since he had hits with their Canadian branch? "I don't know. We tried to go down that alley, but it never worked . . . But, like in the song, they tell me I can't, I'm gonna persevere and do my best to do otherwise."

In a word, pleasurable best describes our reaction upon listening to the Michael Stanton orchestral album presentation "All Time Greatest Country Melodies." With Stanton's steel guitar as the unit's lead instrument, what we hear are fresh arrangements on some of the genre's more familiar refrains from the last century. Michael co-produced with Tom Davis for MSO Records release. Stanton's assembled some of Nashville's finest session all-stars on rhythm - Eddie Bayers, Thom Bresh, Matt Rowlings, Michael

Star sings summertime song


On a positive note, singer Adam Gregory has a great summer song "Crazy Days" to introduce him to American country music fans. Oddly enough, Sony Music-Nashville's not the imprint on that recording or video, which marks the 23-year-old Canadian's U.S. debut. Already a star in his homeland, the handsome singer-songwriter's scored a pair of platinum albums and several Top 10 singles, since signing a decade ago by Sony/Epic-Canada. Adam's debut album's release date on the indie Midas label - tentatively titled "No Strings Attached" - has been delayed: "We're shooting for Sept. 16. We've got the single out and want to see how it flies in the chart. The video we've released to GAC and CMT already. In fact, GAC's trying it right now and we're waiting for CMT to hop aboard." During our interview in Nashville publicist Jeff Walker's office, the blond entertainer seemed slightly fatigued, following a fast round of interviews with various media folk. "Usually the single's out first and the video comes after it," notes Adam. "The whole meaning behind the song is the guy lives a crazy life, makes a promise to the girl he's with that once he's settled down, he's coming back for her and it'll be `you and I' time . . . " On May 17, around the time of our chat, "Crazy Days" charted Billboard's Hot 100 Country Song chart mid-way, as a Hot Shot Debut. Adam co-wrote it with Joe Leathers, Kyle Jacobs and Lee Brice (the latter two also collaborated on Garth Brooks' last charttopper "More Than a Memory"). "You know Lee's got a crazy life now, out on the radio tour, being on the road," explains Adam, referring to Brice's meet and greets at radio stations across the nation, following the release of back-to-back singles "She Ain't Right" and "Happy Endings." "I'm doing that right now, too, the radio tour," grins Adam, who when asked if there's a significant other waiting back home, replies, "I ain't married, if that's what you mean." Despite dodging discussion on that topic, there's no doubt a loyal following of Canucks anxiously awaiting news of their vocal star's progress South of the border. "I've never classified myself as a star, though I've got some credits. At age 13, I got signed with Sony and now I've got a couple platinum albums and some amazing dedicated fans. I've always had the dream of coming down here and my fans have been supportive of that idea." One admires his humility; however, a few seasons back he was nominated for the CMA's Global Country Artist Award; Teen magazine chose Adam as their musical pick for "The Next

Adam Gregory, the guy with two first names.

Big Thing"; and "Crazy Days" recently made the R&R trade publication's top 10 most-added singles for three consecutive weeks. Adam might have added that his high-profile gained him another career challenge, but didn't. We literally had to pry from him the information that the talented trouper had completed a star role in a brand new film. "Yes, I was actually in a movie. It was called `Sharp As Marbles,' a modern-day Three Stooges, you know a `Dumb & Dumber' kind of thing. I was one of the dumber ones . . . Speaking of `Dumb & Dumber,' I loved that movie." Adam also failed to mention his Canadian film premiered favorably in Vancouver, B.C. in February, or that he co-wrote its title tune (with Derek Seed) and sings it and another song "Never Be Another" on the flick's soundtrack. As Albert, he gets top billing beside Sean Owen Roberts and Elizabeth Thai in this John Banovich-directed contemporary comedy. Although he concedes it was fun to do, Adam insists recording and songwriting remain his number one priorities: "God's blessed me with this gift and I'm just proud to share it. I'd love to see this single continue to climb, and the video do well. Then maybe I can get out and do some tours and just progress in the right way." He immigrated to the USA the right way: "I've got a visa I travel on, good for three years at a time." Adam's major albums are "The Way I'm Made" (2000) and "Workin' On It" (2002), spinning off such hit singles as "Horseshoes," "Big Star," "Only Know I Do," "Too Young To Know," "Ain't It Cool" and "One Breath From a Heartache." Yet another Top 10 Canadian cut was "When I Leave This House," a duet with blue Kentucky boy Billy Ray Cyrus (off Adam's "Workin' On It" CD). Adam's last Canadian Top 10 "Get It On," came off his self-titled 2006 Menza Records album. Meanwhile, "Crazy Days" is climbing the Can-Country chart. Adam Gregory was born July 12, 1985, in Edmonton, Alberta, the week that Exile's "She's a Miracle" was country's #1 record. His dad Greg Dahmer drove for Greyhound Bus, while

GAC-TV presents Kitty Wells' 10-month exhibit

Country music's first female superstar is being honored via the Great American Country TV Network's "Kitty Wells: Queen of Country Music," a biographical exhibit opening Friday, Aug.15, for a 10-month run in the Country Music Hall of Fame & Museum's East Gallery. The exhibit will run through June 14, 2009. Opening weekend festivities will include a Curator's Talk, 11 a.m. Friday, Aug. 15; a 45minute exhibit tour with a Museum guide; a 1:30 p.m. Saturday, Aug. 16 interview with Wells, hosted by 650-WSM announcer Eddie Stubbs in the Ford Theater; a 3 p.m. Saturday autograph signing by Wells in the Museum Shop; and a screening of the 1982 Showtime special A Tribute to Kitty Wells, hosted by the late Tammy Wynette, all day Sunday, Aug. 17. Employing a wealth of splendid stage costumes, vintage photos, awards, instruments, posters and advertisements, personal correspon dence and career-spanning audio and video of both Wells and artist husband Johnnie Wright; the display will explore how a soft-spoken, dignified mother of three, succeeded in tearing down country music's gender barrier, and became a role model for several generations of female artists. The exhibit will also chronicle Wright's successful recording career--both with the duo Johnnie & Jack and as a solo artist--and his role in managing Wells' career. Among her biggest hits are "It Wasn't God Who Made Honky Tonk Angels" and "Makin' Believe." All programs (Aug. 15-17) are included with Museum admission and free to members. "Kitty Wells: Queen of Country Music" will be accompanied by an ongoing series of programs during the exhibit's run. More information's available at or by calling (615) 416-2001. .


The Nashville Musician

July-September 2008

. . . Changes to 257 Bylaws being proposed

(Continued from page 21)

President Bradley issues an Open Letter to fellow members of AFM Nashville Local 257

To Local 257 Members: I urge every member to attend the General Membership meeting, Monday, Sept. 8, 2008, starting at 6:30 p.m. in the Union rehearsal hall. My future as your President is at stake. At the Local Executive Board meeting on July 23, 2008, RMA President David Pomeroy (also a Local Executive Board officer) presented a resolution to the Board that censored me and your Secretary-Treasurer Billy Linneman. Next to this column is the resolution in its entirety. It alleges that it is a conflict of interest for Secretary-Treasurer Linneman and myself to be Local officers and national officers, and that we don't represent Local 257's members. How ridiculous! I am proud to be the first Local officer of this 106-year (AFM) Local branch to become a national officer, and I'm very proud that Secretary-Treasurer Linneman is the second Local officer to be elected to a national office. I don't know any other Local in the AFM that has two officers on the International Executive Board (IEB), and are more knowledgeable about recording. The real issue is that the RMA would like to run this Local, and I feel that the 188 people who signed this petition should not run the Local just because they are recording musicians. I believe in the Union concept where the Local officers (myself and Billy Linneman) represent all the Union members, according to the oath of office we took when elected. I also took an oath as (AFM) Vice President to uphold the constitution and bylaws of the American Federation of Musicians. To date, the IEB has not taken action to terminate the conference status of the RMA, but has passed a resolution that the question of terminating the RMA status be addressed as soon as possible, but no later than the September 2008 IEB Meeting. This resolution, submitted by RMA President David Pomeroy, is intended to influence my vote! I will continue to vote my conscience (based on the facts before me), and I resent this attempt to force me to vote otherwise. Obviously, the IEB would not consider such a drastic action without reviewing the RMA's actions since the 2005 Convention. Rather than give you all the gory details (which are rather lengthy), I suggest that all Local 257 members attend the Sept. 8, 2008 meeting. Especially, the 188 members who signed the petition, and hear the rest of the story. Fraternally,


We, the members of AFM Local 257, hereby approve and present this resolution to all members of the AFM and its leadership, stating our belief that AFM International Executive Board (IEB) members Harold Bradley and Billy Linneman, who are respectively President and Secretary/Treasurer of Local 257, are not properly representing the issues and concerns of working Nashville musicians to the remainder of the AFM and the IEB. The recent resolution, passed unanimously by the IEB, considering the revocation of the Player Conference status of RMA International is, in our view, ill-advised, and very dangerous. If executed, the potential negative consequences of this resolution, intended or otherwise, could very well include the demise of the AFM. Working musicians have been caught in the crossfire of AFM politics for too long. We seek an end to confrontation. Rank and File musicians are being excluded from the decision making processes of the AFM. This is not acceptable or prudent, especially given the rapidly changing landscape of the music business. For example, the continuing series of "One-Off" recording agreements, sanctioned by the IEB, consistently omit proper new use protections, and should be stopped. These non-negotiated Agreements could easily compromise our negotiated contracts, such as film, phono, and television. De-conferencing the RMA so no one can question these promulgated agreements is contrary to the principles of a democratic organization. We do not want to see internal political battles and personality conflicts tear apart the AFM while the music industry of the future passes us by. We expect transparency, openness and responsiveness from our Union leadership. We want to know that our concerns are being heard, and our contributions to the strength and unity of this Local and the AFM are acknowledged. As a group, we implore Mr. Bradley and Mr. Linneman to remember that we elected them in good faith to represent our best interests, and pay them a full time salary to do so. Supporting measures and policies that are detrimental to their Local membership when acting as members of the IEB, such as considering the termination of an authorized Player Conference, is a conflict of interest, and runs counter to that trust. We urge Mr. Bradley, Mr. Linneman, and the IEB to vote "no" to the decertification of the RMA. The future of the AFM is at stake, and we urge all its leaders to act accordingly. Respectfully submitted by the following Local 257 members: Tim Akers, David Angell, Monisa Angell, Kelly Back, Carrie Bailey, Jeff Bailey, Eddie Bayers, Eli Beaird, Pat Bergeson, Bruce Bouton, Steve Brewster, Spady Brannan, Mike Brignardello, Bob Britt, Jim "Moose" Brown, Steve Bryant, Pat Buchanan, Nick Buda, Tom Bukovac, Mark Burchfield, John Carroll, Jimmy Carter, Mark Casstevens, Mike Casteel, Joe Chemay, Pat Coil, Steve Conn, J.T. Corenflos, Chris Cottros, Chad Cromwell, Tim Crouch, Smith Curry, Mike Daly, Janet Darnall, Chris Donohue, Mike Douchette, Mark Douthit, Howard Duck, Glen Duncan, Chris Dunn, Mike Durham, Steve Ebe, Rich Eckhardt, William Ellis, Conni Ellisor, Luis Espaillat, Larry Franklin, Paul Franklin, Brian Fullen, John Gardner, Carl Gorodetzky, Kevin Grantt, Barry Green, Jim Grosjean, John Hammond, Rick Hanson, Tommy Harden, Tony Harrell, Mike Haynes, Aubrey Haynie, Tom Hemby, Mark Hill, Prentice Hobbs, Jim Hoke, Byron House, Andy Hubbard, David Hungate, Jim Hunt, Rob Ickes, Jack Jezzro, Mike Johnson, Mark T. Jordan, John Jorgenson, Mike Joyce, Doug Kahan, Don Kerce, Jim Kimball, Jerry Kimbrough, Jeff King, Tammy Rogers King, Hubert Knight, Lauren Koch, Jennifer Kummer, Craig Krampf, Mark T. Jordan, Charles Judge, Anthony LaMarchina, Betsy Lamb, Troy Lancaster, Tim Lauer, Dave Lawbaugh, Andy Leftwich, Paul Leim, Chris Leuzinger, Ken Lewis, Lee Levine, Sam Levine, Billy Livsey, Todd London, Rick Lonow, Tim Lorsch, B. James Lowry, Jim Lotz, Gary Lunn, Steve Mackey, Phil Madeira, Tim Marks, Lance Martin, Catherine Marx, Kerry Marx, Brent Mason, Chris McDonald, Pat McGrath, Kevin McKendree, Matt McKenzie, Rob McNelly, Jerry McPherson, Blue Miller, Tony Morra, Greg Morrow, Gary Morse, Duncan Mullins, Gordon Mote, Steve Nathan, Dan Needham, Craig Nelson, Jimmy Nichols, Chris Nole, David Northrup, Russ Pahl, Billy Panda, Danny Parks, Bob Patin, Steve Patrick, Larry Paxton, Mike Payne, Al Perkins, Joel Perry, Dave Pomeroy, Mark Prentice, Gary Prim, Duane Propes, Brian Pruitt, Carole Rabinowitz, Carmella Ramsey, Joel Reist, Sair Reist, Marshall Richardson, Dave Ristrim, Michael Rhodes, Michael Samis, Scotty Sanders, Vince Santoro, Paul Scholten, Mike Severs, Pat Severs, Doug Sisemore, Pam Sixfin, Steven Sheehan, Matt Slocum, Phyllis Sparks, Joe Spivey, Michael Spriggs, Brian Sorbo, Chris Stenstrom, Liz Stewart, Bryan Sutton, Julia Tanner, John Terrence, Todd Anderson, Lou Toomey, Gary Lee Tussing, Alan Umstead, Cathy Umstead, Kenny Vaughn, Roy Vogt, Barry Walsh, Biff Watson, Roger Wiesmeyer, Derek Wells, Tommy Wells,Tom Wild, Kristin Wilkinson, Bob Williams, Scott Williamson, John Willis, Lonnie Wilson, Karen Winkelmann, Mike Wolofsky, Bill Woodworth, Peter Young, Jonathan Yudkin. Board recommendation - unfavorable.

Harold R. Bradley

Union music is best!

. . . George Chestnut, 76, dies

(Continued from page 5) repair bridges, setting intonation and work on dobros." At one time, Chestnut also repaired instruments for the Nashville Metro School System. As a youngster, recalled George, "my granddaddy raised me. I asked him once about playing (an instrument), but he knocked that in the head . . . he didn't want me to be no musician." While living in Lakeland, Fla., Chestnut was intent on playing music and learned guitar, and later bass fiddle. He was a key member of his brother's band, Dallas Chestnut & The Country Ramblers: "We fronted for Nashville musicians like Pete Drake, his brother Jack Drake, Dale Sellers and a whole lot of those guys. We played regularly at a big dude ranch. My brother played guitar and sang. He was amazing. I sang some and played electric bass and guitar. We did that about 12 years." It was in Florida that George got into instrumental repair. He had made good contacts with national musicians, while a performer. "Jim & Jesse, The Osbornes, Bill Monroe, all those Nashville acts used to come down for the bluegrass festivals. We'd go, carry a barbecue grill, buy some T-bone steaks, find us a little hideout and have a big dinner for them, with plenty of cold beer . . . " George soon tired of playing gigs: "For four or five years, I wouldn't touch a bass to play. I'd work on 'em though. I thought, you make more money working on instruments than playing on them . . . " Word-of-mouth regarding his repair expertise reached the ears of notables like Bill Mon


Here's an alternative resolution: In the interest of avoiding a fractious and potentially divisive membership meeting, while achieving our central aim of protecting conference status for the RMA, I propose to the upcoming General Membership meeting: "The members of Local 257, a major center of recording, urge the International Executive Board of the AFM not to take any actions to suspend or terminate the status of the Recording Musicians Association as a Player Conference." Proposal submitted by Bobby Ogdin. Board recommendation - favorable. Should any member have any questions regarding the next General Membership meeting, call your Local 257 Secretary-Treasurer Billy Linneman for clarification. He can be reached at telephone number (615) 244-9514, Extension 224, or via e-mail [email protected]

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roe, Roy Acuff, Tommy Jackson, Jerry Rivers and Skeeter Willis (of the Willis Brothers). "When I first started coming up to Nashville, there were shops doing guitar repair, so I thought I would cater to the fiddle players." Indeed, Chestnut made regular visits, picking up fiddles in need of repair or restoration, take them home to Florida to work on and then return to make his deliveries. After moving to Nashville, George's client list grew, adding such luminaries as Vassar Clements, Merle Haggard, Henry Strzelecki, Johnny Gimble, Johnny Cash, Tom Rutledge, Randy Howard, Bob Babbitt, Stella Parton, Dave Pomeroy, Glen Duncan, Rufus Thibodeaux, Louise Mandrell, Roland White, Marty Raybon, James Monroe, Mike Bub, Billy Grammer, Rick Morton, Roy Huskey, Jr. and Kenny Baker. Some visited Chestnut's workshop on occasion to "jam" with him, including Bill Monroe, Roy Acuff, Earl Scruggs, Mac Wiseman and Bashful Brother Oswald. Actually, Chestnut created something special for fiddler Larry Franklin, trademarked as a Chin-Cello, by converting a four-string into a five-string, using his own brand of strings. "There's a big difference between being a repairman and a maker. I think in the long run, it takes a sharper person to be a repairman." Besides Jennie Jo, his wife of 29 years, survivors include daughter Deanna Townsend, son David Chestnut, stepson Chris Bowers, several grandchildren and great-grandchildren. Services were conducted July 22 at Hibbett & Hailey Funeral Home Chapel in Donelson. Interment's in Nobel, Ark. In lieu of flowers, donations may be made to the George Chestnut Fund, c/o Bank of America. - Walt Trott

July-September 2008

The Nashville Musician


Regarding the ongoing Performance Rights Legislation

The following pertinent information for members of the music community comes from a June 26, 2008 comment by Senator Patrick Leahy (D-Vt.), Chairman, Senate Judiciary Committee, On The House Subcommittee Markup Of Performance Rights Legislation The Senate Judiciary Committee Chairman reacted to the House Judiciary Subcommittee on Courts, the Internet, and Intellectual Property's markup of legislation to recognize the rights of musical performers. Last year, Leahy introduced legislation to end an exemption benefiting traditional, over-the-air broadcasters and to ensure that performing artists are compensated when their sound recordings are played on the radio. Representative Howard Berman (D-Calif.), who chairs the House subcommittee, introduced companion legislation. In November, Leahy chaired a hearing on the legislation in the Senate Judiciary Committee, and Berman chaired a hearing in the House earlier in June 2008. "Members of the House Judiciary Committee today took the first steps in moving forward legislation to provide fair performance rights to artists. Since I joined with Senator Hatch and our friends in the House last year to introduce performance rights legislation," said Leahy, "I have heard from both performers and local radio stations about this legislation. The House Subcommittee's mark today has continued the debate on how best to protect the rights of performers and songwriters, and the needs of noncommercial and small commercial radio stations, like many stations in Vermont. I hope the Judiciary Committee might be able to turn its attention to this issue before the end of the year." Further, Regarding Performance Rights Legislation A Message from Hal Ponder, Director of Govt. Relations AFM National Office "Ever since sound recordings were made part of copyright law in 1972, AFM has been trying to get a royalty for performers when music is played on over-the-air AM/FM radio. With the introduction of the Performance Rights Act yesterday, our time has finally come to obtain a performance right in sound recordings. This will not be an easy fight. The broadcasters are very powerful. That's why I urge you to send the attached letter to your representatives in Congress so that they will know that a musician who is their constituent will be affected by this legislation. Please feel free to modify and personalize the letter. To learn more about the performance rights campaign, go to Thank you very much for your help." Letters On Topic of Performance Rights Legislation

Send a letter to the following decision maker(s): Your Congressperson Your Senators Below is the sample letter: Subject: Performance Rights Act Dear [decision maker name needed]: I am writing to ask you to co-sponsor the Performance Rights Act, H.R. 4789, S. 2500, a bill to grant a long-overdue performance right to performers when their music is played on the radio. I am a member of the American Federation of Musicians, a nationwide organization of over 90,000 professional musicians who will benefit from this legislation. Performers create the music which terrestrial AM/FM radio needs to lure its advertisers. But AM/FM radio refuses to pay a cent to those performers. It's time to correct this inequity. Over-the-air AM/FM radio is still the dominant music platform in spite of the introduction of satellite, internet, and cable radio in recent years. But over-the-air radio gets an unfair advantage over its competitors because the other music platforms pay a royalty to performers. It's time to level the playing field. Performers lose out twice. They are not paid when their music is played on U.S. radio and they are not paid when their music is played overseas. Royalties are collected abroad for U.S. performers (because almost every other country in the world has a performance right), but these royalties are not given to U.S. performers because we do not have a reciprocal law. I hope you will co-sponsor the Performance Rights Act, which will bring our law up to par with all the other developed nations. It is finally time to recognize and appropriately compensate those who make our country's music - and broadcasting - industry the most vibrant in the world. Thank you. Sincerely, <your name>

This vintage Pee Wee King shot should bring back nice, nostalgic memories for some of our members.

Singer Darryl Worley at MusicFest.

Mel Tillis mixes it up with Jamie O'Neal and Lorianne Crook at CMA Music Festival.

Photos (4) by Patricia Presley

Kelly Lang Sheppard visits with The Oaks' William Lee Golden and wife Brenda (left).

Member Jay DeMarcus (of Rascal Flatts).

We Won One!

Delta Airlines has put new policies in place for musical instruments. You can go to the Delta site, but here is what they say: (From Delta Airlines website) We know that your musical instrument is important to you and depending on the size, we accept musical instruments of epuipment as checked baggage, carry-on baggage, or cabin-seat baggage. Please help us to keep your instrument safe by bringing it in a hard-shell case. CHECKED BAGGAGE You can check your musical instuments and equipment as baggage if the outside linear dimensions (length + width + height) do not exceed 120 inches (305cm) and provided the weight, including the case, does not exceed 100 pounds (45kgs). Standard rules and fees for Excess Baggage will apply. CARRY-ON LUGGAGE Guitars and other smaller musical instrments, such as violins, will be accepted as your free carry-on baggage on Delta operated flights (You must still check commuter flights and they are sometimes not operated by Delta). These items must easily fit in the overhead compartment or approved stowage location in the cabin, on a space available basis at the time of boarding. If adequate space is not available, the item must be checked. CABIN-SEAT BAGGAGE You may purchase a full fare ticket for an item that you feel is too fragile to be handled as checked baggage. You may stow the baggage in any passenger seat with a bulkhead or divider in front of the compartment. This is a good resolution to this problem. There is power in numbers! However, the fight is not completely over. The Federation will continue to lobby all airlines to allow carry-on musical intruments.

REMINDER: Members Expelled forfeit all rights and titles to the funds and property of the Local.


The Nashville Musician

Regarding her acceptance by fans, she noted such success made it possible for her to be the first female in country to afford a Cadillac to transport her band to gigs. Two 257 members we knew who had known Cousin Emmy were Martha Carson and Rollin Sullivan a.k.a. Oscar (of Lonzo & - fame). Their memories contrasted somewhat. Sullivan says, "First, we used to listen to her perform on our old Atwater-Kent radio. I got to know her fairly well. I remember that she was bony and more on the plain side in her looks . . . She was a natural talent, who lived everything she did and was an excellent banjo player. We worked together on p.a.'s. Now she might not of got an encore every time, but she'd get a good hand." Martha's experience with Cousin Emmy was not as endearing. The late gospel star's big sister Minnie (Amburgey) Garcia remembers Cousin Emmy as a radio star and a deserving headliner, but not very gracious towards newcomers. Their introduction to her occurred in 1937, after the teen-aged trio, including younger sibling Opal Jean, won a talent contest on WLAP-Lexington, prompting a try-out at WHAS-Louisville. The Amburgeys were given stage names of Minnie (Bertha), Marthie (who later altered it to Martha) and Mattie (Opal Jean), the Hoot Owl Holler Girls, by entrepreneur John Lair. "Cousin Emmy put us in her apartment and holed us up there about a week," recalls Minnie, now 89, who sang and played fiddle. "Then she said we were too young and told us to go back home. Emmy said she would send for us later, but she hasn't sent for us yet! She kept our instruments, too! . . . "I think she was a little bit jealous of us because Jean could play rings around her on the banjo. She didn't like that. Jean (who as Jean Chapel later wrote such hits as `Lonely Again' and `To Get To You') played oldtimey like my Dad. The next thing we knew, she said she couldn't use us anymore. She told us something like they couldn't afford to pay any more performers at the station . . . Cousin Emmy said she would release our instruments if our Daddy would pay back our board. We chalked it up to professional jealousy . . . A few years later, we met her again, but she acted as though she didn't know us." When whirlwind Cousin Emmy left WHAS for a short spell to play at WWVA-Wheeling, W. Va., she met up-and-coming Louis Marshall, who won lasting fame as Grandpa Jones. In his biography "Everybody's Favorite Grandpa," he spoke glowingly of the gal, who would teach him her style of playing banjo: "She was awfully popular. She had them big wide teeth, you know, she'd grin and they'd just shine. And she was mighty good on the old five-string banjo . . . She was a good showman, I'll tell you that." (Incidentally, Jones like the Amburgeys and Sullivan, were all Kentucky natives.) Other stations where Cousin Emmy played were WSB-Atlanta, WNOX-Knoxville, KWKH-Shreveport's Louisiana Hayride, and XERF-Del Rio, Texas. In 1955, Cousin Emmy was invited to appear out of character in another Universal movie "The Second Greatest Sex," a modern Western, toplining Jeanne Crain, George Nader, Mamie Van Doren and Bert Lahr. She and Nader hit it off, as he was a frustrated picker who cajoled her into jamming between scenes. With television tuning out radio variety programs, Cousin Emmy migrated to California where still dynamic, she entertained visitors in early 1960s' Disneyland. That's where folklorist Mike Seeger found her and became so enamored of her talents, he invited her to tour with his New Lost City Ramblers. Legendary comedian Jack Benny featured her, too, on his national TV sitcom series - a 1962 episode titled "Jack Takes In a Border," literally playing herself, a country cousin. In 1965, thanks to Seeger, she wowed fans debuting her downhome performing style at the Newport Folk Festival. With changing times, Emmy had dropped her cutesy calico character to "modernize" her image, wearing more formal gowns and gaudy

July-September 2008

earrings, while allowing her natural gray hair to grow out. In 1968, Mike Seeger recorded her for a Folkways album. In an epilogue to the Bear Family booklet, he recalls first impressions of her: "Cousin Emmy had more life and fun in her than just about anybody I've ever met. When she hit that small California Disneyland stage in 1961 on a show billed with Roger Miller and Tex Ritter, it was she who had the energy and forcefully reached out and grabbed the audience, dressed in a dressy dress, hair up, playing clawhammer banjo fast and smooth, and singing `Going Down the Road Feeling Bad.'" In retrospect, Cousin Emmy was already toiling in her chosen field when such rustic pioneer female performers as Patsy Montana, Lulu Belle (& Scotty) Wiseman, Judy Canova and Minnie Pearl made their national breakthrough. The rural comedy favorite doesn't have a large body of recorded work to draw upon; no doubt in her eyes a recording studio was little different than a radio studio, where she gave forth on a daily basis, so she didn't necessarily hanker to record. Bear Family dug deep into Decca's vaults to come up with 14 vocals. Folklorist Alan Lomax convinced Decca to record Emmy as part of an LP "Kentucky Mountain Ballads," produced for their American Folk Music series. She was recorded initially on April 12, 1946 in New York, a session that resulted in her first single "Ruby (Are You Mad At Your Man)" with "The Broken-Hearted One You Left Alone" as its B side. It was released June 24, 1946. By then she was divorced from manager Johnny Creasy and wed to Missouri farmer Elmer Schaller, a marriage that would also end in the court. When Decca next recorded Emmy it was in Hollywood (March 26 & 31, 1947), where producer Perry Botkin had assembled session players Wesley Tuttle, Arthur Shapiro, George Winston, Jimmy Powers and, of course, Bill Drake, a Kinfolks bandsman. Equally captivating are the actual taped radio shows from WHAS-Louisville, which undoubtedly had the ear of farm families and working class stiffs alike. She ruled at stations like KMOX-St. Louis (1941-'44), prompting this brash description of herself during one interview, as "the biggest thing to hit any man's radio station." Cynthia May as Cousin Emmy was an unlikely blend vocally of Judy Canova and Kitty Wells, both of whom she preceded. She had fire, drive, sass and style. There's every indication Emmy could've made it in the thriving 1930s' world of big band singers, had she so chosen. Two of the album's best vocal performances are her own "Ruby," which she adapted from an old instrumental "Ruben," and John Lair's "Freight Train Blues," originally written for Red Foley in 1935. Emmy's range is impressive, these two adorned by convincing falsetto flairs. What we hear gives us keener insight into the talents that helped make her a cross-country favorite among listeners. Two segments she saluted daily were shut-ins (the disabled) and children, primarily the latter to whom she pandered each morning: "Wash your little hands and face, brush your little teeth and comb your hair real, real pretty." Cousin Emmy's opening theme was "Little Old Log Cabin in the Lane," a rousing rendition for a 5:45 a.m. broadcast. While not as polished as session stalwarts, the bucolic Kinfolks were well-rooted and charmingly spontaneous in their minimalist musical movements. Cousin Emmy may have dressed funny, but her songs weren't cornball or simple ditties. This rare set will appeal to oldtime fans with traditional tastes, but also serves as a history lesson for young fans interested in roots music. Although she had played such prestigious venues as the Hollywood Bowl and the Smithsonian Festival of American Folklife, there was little fanfare when Cousin Emmy died April 11, 1980 at age 77, in Sherman Oaks, Calif. She was the gal, however, who first put fun in the country field, way before such stars as Dolly or Reba were a twinkle in their daddies' eyes.


"It has everything to make your heart stop . . . Your pulse leap . . . Your eyes pop . . . Just picture the fun when you see these funstars in one picture," proclaimed the 1944 theatrical poster promoting a Columbia B-film "Swing in the Saddle," toplining Jane Frazee, Slim Summerville, Guinn (Big Boy) Williams and Cousin Emmy. That could easily have described the latter lady alone: Eye-popping Cousin Emmy who made a striking stage character, with platinum blonde hair ablaze in bright bows, her cherryred lips grinning wide, exposing gleaming white teeth, while decked out in colorful gingham dress and cotton stockings, accentuated by hightop laced boots! "Swing in the Saddle," released as "Swing and Sway" in the UK, seems an excuse to tap the talents of radio favorites like the Hoosier Hot Shots, Red River Dave (McEnery), Jimmy Wakely & The Oklahoma Cowboys and the King Cole Trio, first black act charting country with "Straighten Up and Fly Right" also in 1944. She may never have charted Billboard, but Cousin Emmy's a true country music pioneer, "showing off," as she called it, since age 7, playing to family and friends. She was hailed in a 1943 Time magazine piece that highlighted her hillbilly showmanship on KMOX-St. Louis radio, at a time when mainstream media generally ignored such non-cowboy country cousins (to favor the likes of a Gene Autry or Bob Wills). Although few recall her countrified celebrity today, she entertained millions via radio, personal appearances and film guest spots, including "Under Western Skies," yet another low-budget film featuring Martha O'Driscoll and Leon Errol, a Universal release in January 1945 (five months after " . . . Saddle"). On the strength of such credits, Decca Records summoned her into the studio in 1946, for the first of a relatively sparse repertory of recordings by this pre-TV phenomenon, including her now-classic creation "Ruby (Are You Mad At Your Man)," popularized a quarter century later by the Osborne Brothers. Fortunately, Bear Family in Europe has collaborated with American folkie Mike Seeger (New Lost City Ramblers) to present the current CD collection "Cousin Emmy & Her Kinfolks - 1939-1947)." Of its 38 tracks, 14 were studio generated, the other selections derived from WHAS-Louisville 1939 radio transcriptions, featuring fewer vocals, but rounded out via instrumental runs. The transcriptions' sound quality is surprisingly good.

Christened Cynthia May Carver, March 14, 1903, she was smack-dab in the middle of eight children born to sharecroppers Molly and (William) Henry Carver, near Lamb, Ky. Her early years were spent living in a two-room cabin in south-central Barren County. Thinking back on her early years as part of a tobacco sharecropping family, she was grateful for the pathway she chose: "Thank God that He gave me the talent, and the good common sense to get out of there." Emmy started as a youngster performing with her fiddler-father and siblings to play local fairs or town gatherings. She first learned guitar, then perfected her banjo skills (an instrument her mom played). Soon she also mastered mandolin, fiddle, harmonica and even played "musical handsaw." By the 1920s, Emmy was sharing the stage with younger brother Burton, playing area civic clubs, square dances and outdoor festivals. In 1927, their pickin' and singin' landed them on station WMBD-Peoria, enabling personal appearance plugs. That worked well until Burton decided show business wasn't his bag after all. Emmy thus hitched her star to that of her performing Carver cousins' on station WHBKansas City: Warner, Robert and Noble, who added Uncle Bozo to his stage name, were the nucleus of the Carver Brothers String Band. According to Bear Family's liner notes, penned by historian Jim Nelson of St. Louis, Emmy formed her own group in Kansas to perform on Topeka radio, for a time. Along about 1935, however, Emmy joined forces with Frankie More & His Log Cabin Boys troupe, then headlining on WHAS-Louisville. (More would later relocate to Nashville in the early 1950s, to manage major Nashville acts, including Kitty Wells and Johnnie & Jack.) It wasn't long until she was stirring up a storm with her own band dubbed The Kinfolks, spotlighting such varied talents along the way as Uncle Bozo, Bernie Smith, Bud & Benny Kissinger, Red Herron, Bill & Jack Drake (who later became an Ernest Tubb Texas Troubadour), Roy Wooliver, Mac Atcheson, Wade Ray, Chuck Davis, Hal Choisser, George Money, Jack Nichols, niece Joy Creasy, Ruth & Jean DeVore, and other females joining her as the Georgia Cakewalkers. At the center of all this was Cousin Emmy. In 1936, she became the first female to win Louisville's National Old Time Fiddling Contest. Meanwhile, she was inspiring such other women musicians as Lily Mae Ledford, who led the Coon Creek Girls.

July-September 2008

The Nashville Musician

how hard you can push people's buttons on the Internet. "As much as I love the ACMs and what they've done for my life, that's how I really feel about it. And I can say that because I won tonight . . . Don't get me wrong, I'm excited the fans have voted me Entertainer of the Year. It means the world . . . but you have to admit, if they (ACM) continue to do this, it's a different award." For the 10th time, Reba McEntire hosted the CBS-TV event, held in the MGM Grand Arena. A highlight of the evening was the Paisley-Underwood vocal salute to Eddy Arnold (who died 10 days earlier) on his hit "Make the World Go Away." How about Taylor Swift lipsynching part of her number "Should've Said No"? But then she was literally dumped on by a makeshift waterfall, leaving hair and gown soaked. Incidentally, George Strait performed "I Saw God Today," and it was the cowboy's 56th birthday. Winning in the newcomer categories were: Lady Antebellum, best new group; Taylor Swift, best new female singer; and Jack Ingram, best new male singer. Other victors included Paisley's music video "On-Line," directed by Alexander; Tracy Lawrence's "Find Out Who Your Friends Are" featuring Chesney and Tim McGraw, top Vocal Event; Sugarland's "Stay" won best song and best single, composed by member Jennifer Nettles, and co-produced by Byron Gallimore, Nettles and Kristian Bush; while Miranda Lambert's "Crazy Ex-Girlfriend" was voted best album - co-produced by Frank Liddell and Mike Wrucke. Rascal Flatts was recipient of the 7th annual Home Depot Humanitarian award in recognition of their charitable efforts; and Dick Clark was named winner of the Jim Reeves International Award. - Walt Trott


Chesney's top prize

Kenny Chesney took home his fourth Entertainer of the Year trophy from the 43rd annual Academy of Country Music awards show, while fellow Local 257 member Brad Paisley earned his second straight ACM Best Male Vocalist honor. Carrie Underwood repeated as Best Female Vocalist, during the live Las Vegas telecast, May 18. Rascal Flatts and Brooks & Dunn also repeated as Best Vocal Group (their sixth) and Best Duo (their 15th), respectively. The late 257 member Conway Twitty won their Pioneer Award (now known as the Cliffie Stone statuette), a terrific honor; however, ACM didn't feel it warranted a spot on their TV program. Guess honoring the man responsible for 41 #1 pop and country singles wasn't as important as appearances by David Spade or soap stars, real country buffs, right! The Cliffie Stone statuettes also went to the late Porter Waggoner, Brenda Lee and the Oak Ridge Boys. Meanwhile, Garth Brooks received something new called the Crystal Milestone in recognition of his achievements, and close to 10 minutes were allotted on the show to his hits. Awards for top musicians of the year were announced earlier (May 7), and our off-camera honorees are: Dann Huff, guitar; Matt Rollings, keyboards; Michael Rhodes, bass; Shannon Forrest, drums; Stuart Duncan, fiddle; Paul Franklin, steel; Jerry Douglas, dobro (under specialty instrument); Justin Niebank, top studio engineer; and Mark Wright, producer. Another new category is ACM's Poets award, naming two 2008 recipients: The late Fred Rose, co-founder of Acuff-Rose publishing and writer of such standards as "Settin' the Woods On Fire," "Take These Chains From My Heart" and "Roly Poly"; and 257 Life Member Bill Anderson, writer of "City Lights," "Still," "Tips Of My Fingers" and "Whiskey Lullaby." ACM probably wasn't too thrilled to hear Chesney chiming in on their change in selecting the top award (even though he won it!), previously determined by the organization's members. Now it's voted by fans on-line (which obviously eliminates those who don't surf the Internet). "I think it's important to know that I do think the fans should be a part of this awards show. I really do. But I'm probably one of the guys in the audience that didn't think it should be for Entertainer of the Year," says Kenny. "I think it's a complete disrespect of the artist, what they've lowered us to, to get Entertainer of the Year. Because of that, it really diminishes the integrity of the music that we're making and how much work goes into it. That's what really matters. That's what Entertainer of the Year really is. It's not about flying somebody to some shows, and giving free songs away - and giving this and that - and seeing

Jo Stafford, a friend to Nashville writers, succumbs at 90

Pop vocalist Jo Stafford, 90, died July 16, of congested heart failure at her home in Los Angeles. Although known primarily in pop circles, this daughter of a Tennessean had great success singing country-style songs, whether novelty numbers like her Top Five "Feudin' and Fightin'," or ballads such as her biggest all-time seller, the Pee Wee King-Redd Stewart-Chilton Price co-write "You Belong To Me." Stafford pop covers of country tunes comprise a major part of her catalog of hits, among them "I'm My Own Grandmaw," "Ragtime Cowboy Joe," "Scarlet Ribbons," "Goodnight Irene," "It Is No Secret," "A Fool Such As I," "The Tennessee Waltz" and its B-side "If You've Got the Money, I've Got the Time." Born in Coalinga, Calif., she got her major league start singing with The Pied Pipers," a featured act with Tommy Dorsey's Orchestra. The Pipers' greatest single was the #1 "Candy" (with Johnny Mercer). At one point, Jo shared the mic with fellow lead vocalists Dick Haymes and Frank Sinatra. All went on to solo stardom. Another of her major successes was the #1 "Temptation (Tim-Tay-Shun)" crossover in 1947, with countrified Red Ingle. "Feudin' and Fightin'," a Top Five country charter, also hit #7 on the pop list. It featured backing of Paul Weston's Orchestra, billed as his Mountain Boys. He later made her Mrs. Weston. Stafford also had a Top 10 duet in 1951, with Frankie Laine on "Hey, Good Lookin'," a Hank Williams composition. Yet another of Hank's songs, "Jambalaya," was a million-selling Top Five single for her in 1952. Of course, that same year, "You Belong To Me," was released, selling more than two million discs, charting 25 weeks (12 of which were at #1). In '52, Jo also covered the Williams' hit "Settin' the Woods On Fire," co-written by Fred Rose. African-American songwriter Jessie Mae Robinson's "Keep It a Secret" became both a 1952 country hit for Slim Whitman (peaking at #3) and Stafford (whose version was a #4 pop success). Indeed the "Shrimp Boats" singer proved a major Nashville booster. - Walt Trott


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. . . more Letters to the Editor

(Continued from page 13) your staff has been very nice to me. Again, I wish to commend you for the current issue. Best wishes, - Robert Wessel Old Hickory, Tenn. (Editor's note: Thank you Mr. Wessel - that's him below - for the kind words. He says originally he joined AFM's Salinas, Kan., Local in 1955, and then transferred to Local 257.)


Insurance products are offered through insurance companies with which Waddell & Reed has sales arrangements.

. . . more news from the Jazz & Blues scene

(Continued from page 7) Blues guitarist Sean Costello died at age 28. In May, perhaps the last of the classic souljazz Hammond Organ players, Jimmy McGriff, passed on, as did one of the great jazz tap dancing stylists, Jimmy Slyde. Walt Dickerson was one of the first vibraphonists to experiment with the avant garde style of the 1960's, with recordings on Prestige and Verve. Chicago saxist Franz Jackson was perhaps the last remaining jazz man who recorded before 1940, working with Fletcher Henderson, and many others during his career here and abroad. In June, we lost bandleader-arranger Bill Finegan who worked for Glenn Miller (of "Little Brown Jug" and "Sunrise Serenade" fame), Tommy Dorsey and others before forming the classic Sauter-Finegan Orchestra (remember "Doodletown Fifers" and "Nina Never Knew"?). Blues guitarist and legend of early rock'n'roll Bo Diddley, 79, died. And we must remember Nashville trumpet man-producer Danny Davis (see separate story in this issue). Get out and celebrate our artists while they're here. See you in the fall.


The Nashville Musician

July-September 2008

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Notice: 2008 Annual Dues


Local Dues A.F. of M. Per Capita Dues Funeral Benefit Fee Funeral Benefit Vic Willis Emergency Relief Fund TEMPO (Voluntary) TOTAL: $24.25 40.00 15.00 60.00 3.00 3.00 $145.25


Local Dues A.F. of M. Per Capita Dues Funeral Benefit Fee Funeral Benefit Vic Willis Emergency Relief Fund TEMPO (Voluntary) TOTAL: $97.00 56.00 15.00 60.00 3.00 3.00 $234.00

Members must pay their dues annually on or before Jan. 31. If dues are not paid by Jan. 31, 2008, such member shall stand suspended. To reinstate after Jan. 31, and no later than March 31, such member shall pay a reinstatement fee of $10, together with all dues, fines and assessments. After March 31, such member shall be expelled. To reinstate after expulsion, a reinstatement fee of $25, together with all dues, late fees and assessments must be submitted (ARTICLE II, Section 3).

General Membership Meet · 6:30 p.m. Monday, Sept. 8 at the Union!


Musicians Jan - 01

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