Musicians Web pages - Nashville Musicians Association

More documents

Recommendations

Info

30 The Nashville Musician April-June 2007 Fellow Local 257 multi-instrumentalist Greg Cole co-produces Daryle Singletary’s latest album comes ‘Straight From the Heart’ By WALT TROTT Daryle Singletary is the real deal, a rootsoriented singer, who thrives on twang. Inspired by the likes of Jones and Haggard, he nurtured a love of country playing in honkytonks, and in appreciation has released yet a second album saluting golden oldies: “Straight From the Heart.” He’s known best for his original 1996 hits “Too Much Fun” and “Amen Kind of Love,” Singletary’s deep vocals lend themselves well to such classic cuts as Don Williams’ “Some Broken Hearts Never Mend,” Buck Owens’ “A Tiger By the Tail” and Conway Twitty’s “Fifteen Years Ago.” These are among the dozen tunes heard on Daryle’s new CD, co-produced by longtime associate Greg Cole and Chuck Rhodes for the indie Shanachie label, distributed by Koch Entertainment. Singletary and Cole stopped by the musicians’ union for an interview about their latest album project, a chat taped in the parking lot on one of March’s first sunny days here. “I’m passionate about what I do,” says Singletary, who just marked his 36th birthday. “I’m not just going out making a living or just to get a check. I’m doing what I like - and I’m having fun. Since 1995, I’ve consistently played an average 60-to-80 dates a year. If you ask me, that says a lot about the state of our industry. I’ve been very fortunate and I’m thankful. I’ve seen some of my friends come into this business, have a hit and now they’re not out there anymore. I’m still here and I ain’t goin’ anywhere.” Dark-haired Daryle is a burly, no-nonsense guy, who doesn’t gloss over the facts: “I mean here I sit (on the tailgate of Cole’s pickup truck) in a pair of faded-out pants and boots, and I’ve got paint all over my shirt . . . “Our new album came out Feb. 27 and I think we sold a little over 1,100 pieces the first week, with 800 of those sold at Wal-Mart. Koch is our distributor, and Michael Koch owns it. It’s the largest independent distributor in the U.S. So they’re big and even sell in Wal-Mart. Hey, those ain’t the numbers a Tim McGraw sells, but we didn’t make the record for $250,000 either. We made it for under $50 grand and here we are making money, while others are trying their darnedest to sell records, having to buy promotions here and promote there, spending more money. “We’re going about it saying, ‘Let’s go out there and work our behinds off and plug this record where we can make it work.’ I think the positive thing about it is if everybody keeps their minds on doing what’s real, and knows that we’re not trying to play with the big boys, because we can’t. What we’re doing is from the heart (we teasingly interrupt to remind him the title’s ‘Straight From the Heart’ and he chuckles), I mean straight from the heart, exactly. “We’re taking what we have to work with and we’ve got music that we’re proud of. Well, we can go home at night and go to sleep, saying ‘We’ve done our best,’ and in the long run people know it’s out there and they’ll go out and get it. That’s where we’ve been fortunate. “Even though the deal’s been done, we sold 70,000 records of ‘That’s Why I Sing This Way.’ And that’s not bad money. Personally, I feel lucky to still be in this business, doing what I believe in. Greg and I started working together when we were (practicing) in a basement in Antioch (a Nashville neighborhood). He was playing for Jack Greene and I was still singing in a club, an unknown and he played for me on weekends or weekdays, when he wasn’t out with Jack(’s Jolly Greene Giants band).” Cole also produced Singletary’s acclaimed Audium album “That’s Why I Sing This Way,” in 2002, their first tribute to traditional favorites, which also boasted the thennew Billboard Top 40 title track, written by Max D. Barnes. No doubt that much-played tune would have been an easy Top 10 for Daryle had it Daryle Singletary and his co-producer Greg Cole in the Union parking lot as taken by Kathy Shepard. been released by a major label, with its knowing lyric, “Mama used to beat me with a George Jones album/That’s why I sing this way . . .” “I think Audium just didn’t understand the way things worked,” notes Greg. “I mean Koch (Entertainment, the label’s parent company) mostly did adult contemporary out of New York City. It needed a different promotional angle on it, and it would have been (ranked) way up there.” Daryle adds, “Even with the modest success we did get out of that song, it was very much talked about. I guess that’s one of the neat things about it.” So with the success of their “That’s Why I Sing This Way” tribute to traditional, why the need now for a second such release? “Well the Shanachie (named after an Irish storyteller) folk had heard our other album, and they wanted us to do another,” grins Daryle. “And I didn’t have any problem with that, being such a big fan of jack country music and some of these songs that we did on the record. Anyway, Shanachie’s sort of known for doing remakes, and they know we had some success with that first one. “You know the thing about it is if they’re ever fortunate enough to get to mainstream radio, the songs may do well, because there’s a lot of listeners today who might think they’re new, not having heard those cuts by the original artists. So they may not know those songs.” Did Greg and Daryle have to be careful about copying the arrangements or watch his vocal style in covering classics cut by such icons as George Jones or John Anderson? “It never scared me to do those songs, taking the attitude we’re not trying to re-do perfection, because they’d already been perfected by the original artists . . . ” The slender producer answers: “We just kinda put our spin on ’em, maybe modernizing them for today’s format . . .” There are some more recent gems, as well, among them Keith Whitley’s “Miami, My Amy” and Randy Travis’ “Promises.” Daryle, chuckling aloud, says, “I didn’t have to watch it, because I copied their style! I cut my teeth trying to sing like Jones and Haggard. So when I moved to Nashville, I saw no reason not to try to sing like these heroes, because they’re so good. It’s inevitable that Randy (Travis) and Keith (Whitley) stole licks from Jones or Haggard. Hell, I stole licks from Randy and Keith. “You know when (Johnny) Paycheck was still Donnie Young on George Jones’ records, singing harmony and playing guitar, I’m sure Jones borrowed some of Paycheck’s style. It’s something that happens all the time. I don’t even think about it, but I personally feel that by combining all those licks I learned, I developed my own style. I’m very thankful for that. I got a call a couple weeks ago from a friend of mine, who was in Memphis. He said, ‘I heard your song on the radio, and the first few words I knew it was you.’ I take that as a compliment.” How does he feel about brand new artists citing him as a musical influence? “I feel very honored to be mentioned by some of the new artists as an inspiration, and I’m like ‘Wow!’ But the recording scene has definitely changed today . . .” Greg adds, “You know we all played those oldies of Jones and Haggard in the clubs for 30 years. So what liberties we took we probably planned that way, but we tried to be true to them as we have a lot of respect for those artists and the songs. I’d hate to change a Mel Street song.'” “One thing that we did do and it was cool, we had musicians playing on this record that played on the originals or in the artists’ live shows,” explains Singletary. “It was great to see a guy like Pig Robbins, who played (keyboards) on five or six of the original songs, recording with us. Mike Johnson, who performed for us on Mel Street’s ‘Lovin' On Back Streets,’ actually added a lick, saying, ‘We played this on our live show.’ Though it didn’t appear on the original recording, it didn’t take away at all from the song and kind of added a little something special that nobody would recognize but us - and it worked.” Producer Cole, when asked why he didn’t play piano or percussion on his joint production ventures with Singletary, says: “First off, I don’t like to play if I’m producing. I just have a different attitude and want to look at it from the other side of the glass. I’d rather be concentrating on that more than anything else. And I’m not all that great on the instruments (when there’s a Pig Robbins or Paul Leim available). It works out better to just wear one hat.” Daryle Bruce Singletary grew up on a farm near Whigham, Ga., and himself was initially inspired by his greatgrandmother’s fiddle playing, and by parents who performed in a gospel group (in which he started singing at age 3). By age 9, the boy had already made up his mind to be a country singer. When he was in his freshman year of high school, Daryle was playing guitar and formed his first band. “My father and grandfather were directors of our church choir, and I grew up singin’ gospel, but was always a big fan of traditional country songs.” He later worked in a Ford tractor dealership and also after graduation, a print shop doing odd jobs, until owner Allen Baggett heard him sing, then urged him to try his luck in Nashville. That major move occurred on Oct. 14, 1990. Singletary wasn’t the first Georgia cracker to sing a mean country ballad. He points out, “I think Georgia has flown its flag in this town pretty good. And you know Rhett Akins is from 65 miles east of me in Valdosta, Doug Stone is from Marietta and Alan Jackson’s from near Atlanta. There’s a new kid now, Jake Owens, who’s from Tallahassee (Fla.), just across the state line, near where I’m from.” Once in Music City, Daryle worked on the road briefly for Tanya Tucker, then set about playing in local bars, trying to find his own way. “I thought for a while I could make a living entering talent shows,” he laughs aloud, “I won $100 (first place prize) 10 times in a row. You could do those at places like Gabe’s, The Rose Room, all those little honky tonks here back then. After I won the talent contest in one club for awhile, we started working there Sunday and Monday, and we were packin’ that place on what used to be off nights.” Cole follows up: “The first day I met him, I played on a session with him and I thought: ‘This boy can sing.’ So I had invited him out to this club where I played - The Broken Spoke. I talked the manager into letting us play there on the off nights. Billy Bob Shane and Donna Faye were doing what was happening on radio, the Top 40, on Friday and Saturday nights. We were playing 1970s and early 1980s’ stuff that we wanted to play, and we just had a big time. Then they added Tuesday nights . . . ” “I guess we did that for something like two years,” continues Daryle. “In fact, I was playing there when I met David Lowe, who introduced me to Rob Hendon, the guy that ran Giant music (publishing) at the time. So that’s how I demo’d ‘I Let Her Lie,’ and eventually got my record deal. Greg and I had worked together while I was doing demos, way before I got my record deal.” Although “Living Up To Her Low Expectations” was Singletary’s Top 40 Billboard chart debut, his first smash was the nearcharttopping “I Let Her Lie,” both released in 1995. Run by former session drummer-producer James Stroud, Giant was also home to Texan Clay Walker, who like fellow artists Daryle, Deborah Allen, Rhonda Vincent and Neal McCoy, got caught up in that turningof-the-century closing of the label. Meanwhile, Koch Entertainment began meddling in the country field, sucking up behind-the-scenes Giant alumnus like Nick Hunter and Chuck Rhodes for the Audium imprint. In turn, these leaders called on Singletary. “I said, ‘I’d love to come over and talk to you, but I want Greg Cole to produce my records.’ Man, if you listen to my first three records on Giant, and then listen to my three or four records for Koch, well these blow them out of the water. I mean they breathe, they’re open, because here’s a guy who knows me, who’s worked with me and we don’t have to go in there and kill ourselves when we record. Greg knows when I can sing or when I can’t. “At the same time, down here (gesturing out to Music Row), when you book a studio, you’ve got to go sing. At Greg’s (Colemine Studios in suburban Smyrna), we’ve cut every vocal from George Jones to Rhonda Vincent, and all our harmonies have been done at Greg’s. They sound better than the stuff I’ve cut at some of these big-time $2,000 a day studios. The thing is, Greg knows me as a person, as a performer and that makes all the difference. I feel fortunate to have such a talented guy to record with, and it comes across on tape.” Daryle’s first Audium charting was “I Knew I Loved You” in July 2000, followed by “I’ve Thought Of Everything,” both of which were on his album “Now and Again.” (The latter tune was co-written by Texas newcomer Kerry Harvick, who for a time became Kerry Singletary, and even recorded a duet with Daryle: “Miracle In the Making.”) “Another thing with Daryle,” says Cole. “We like the same kind of music, style-wise, singing-wise . . . ” Daryle adds: “Greg knows when it’s good or it’s not, and when you’ve nailed it. He doesn’t mind saying, ‘Hey look, let’s do it another day.’ That comes after working with somebody so long. No offense to the guys who produced me before, but I may have done vocals with one guy, then this other guy comes
April-June 2007 The Nashville Musician 31 in and approves the mixing, and yet another guy does something else. But Greg’s there from the birth, I mean, he’s there from the time the first note’s played until the last note’s mixed. That means a lot to me. He’s always been totally married to every project we’ve done together.” Before Giant, Daryle had recorded with the short-lived indie Evergreen label, owned by Johnny Morris, who co-wrote “An Old Pair of Shoes,” a success for Randy Travis. In fact, Singletary sang the demo for Morris, and Evergreen issued his version in 1992 as a single. When Travis initially heard Daryle’s vocals on the song, he wanted to know who was singing, and pretty much stuck with that original arrangement for his 1993 cover. Thus from 1992-1997, Singletary worked with Lib Hatcher (Mrs. Travis), who managed him - and did the troubadour find Lib a tough taskmaster? “She was easy as long as you stood your ground with her. If you ever let her push you over a little bit, she might be hard to deal with. Randy and Lib were good to me. He produced my first record (on Giant) and they were very helpful. You know I give a lot of credit to the fact that I’ve been able to keep my sanity in this business to Lib. Very few times did she pat me on the back or blow smoke up my butt. She was very realistic. Lib complimented when she thought I needed encouragement, but as far as going above and beyond and tell me I was a superstar and was this or that, she didn’t waste her breath. “I appreciate that because I’ve seen a lot in this industry where managers and booking agents blow all this smoke at you and then when the rug’s snatched out from under you, it’s like what happened to them telling me I was this or that? Lib was very much about (telling me) be appreciative of what you’ve got. Randy’s a good guy, too.” Travis insisted he open shows for him on tour, another break. Did Daryle happen to demo “Promises,” which he includes on his latest collection (in homage to Travis)? “No, I didn’t do that one. It came out in the late 1980s’ before I was with them.” In retrospect, Singletary feels the demos Cole produced on him for Giant ears were better than the tracks released: “Yeah, I started doing records with all those ‘big’ producers and I’d go back later and listen to my demos and thought, ‘Man, these are ten times better than the records.’ But I was brand new and thought you gotta use the big guys. I was kinda like a puppet-on-a-string, just glad to have a major deal.” For his first covers album on Audium, “That’s Why I Sing This Way,” the Singletary- Cole team thought they had wrapped it up with 11 tracks. “The session was done or so we thought,” says Cole. “But early on Nick Hunter had said, ‘I’d like you to do (Hank Mills’) ‘Kay,’ originally a hit by John Wesley Ryles.” Singletary notes: “So I said, ‘Whatever . .’ and we went to Greg’s studio and put a band together. We even got John Wesley to sing harmony on it, and you know it turned out to be one of my favorites on the record, and oddly enough it’s probably been one of the most-requested songs off that album in live concerts. I fought tooth-and-nail not to record it, because I didn’t think it was right for me, but it’s just one of those things that turned out to be an awesome song.” One number he was pressured to do at Giant definitely didn’t please Daryle: “My producer Doug Johnson wanted me to sing this Jerry Reed song ‘A Thing Called Love,’ which had been cut by Jerry and others like Johnny Cash (Jimmy Dean, Lynn Anderson and Elvis Presley). I didn’t feel comfortable performing it, but I had to do it or know the album wouldn’t be released. After singing it, I knew it could be done better, but the producer said, ‘That’s it. We’re done.’ Now when I hear it on the radio I cringe.” In 2005, Cole co-produced Singletary’s “Rockin’ In the Country,” Daryle’s sixth album, one that both are proud of, but it remains unreleased. “When Shanachie came to us, we had an album done for Audium-Koch. When that Singletary record label closed, the album went with it and that was one with all original songs (including a guest performance by Charlie Daniels),” Daryle laments. “But first we had previewed that record on XM Satellite Radio, and they’re still playing it. We get calls from people who say, ‘Where can I get this record?’ Well, you can’t find it. It’s never been out. It’s sittin’ on a shelf.” Greg interjects, “There’s a song called ‘She Sure Looks Good In Black’ that gets a lot of requests. So it’s probably one of the biggest songs that was never a hit record (true enough, we found numerous e-mails on CMT’s website wondering how to find the song). Four or five songs we recorded for ‘Rockin’ In the Country’ have been covered by other artists. Alan Jackson cut ‘To Do What I Do,’ and the song Billy Yates wrote, ‘If I Ever Get Her Back,’ Joe Nichols has cut.” So as Audium closed its doors, Daryle again was out on the street. Then along came Richard Nevins, who in 1976 launched Shanachie with Dan Collins, a label that has since become one of the largest independents boasting a wide variety of international acts, ranging early on from The Chieftains and Steeleye Span to such contemporary acts as the jazz scene’s Charles Mingus, Celtic group Solas, gospel’s Ladysmith Black Mambazo, Americana’s Norman Blake, ska’s Meshell Ndegeocello, the soulful Silk and reggae’s Rita Marley, wife of the late Bob Marley. “Richard, who owns Shanachie, was the guy instrumental in doing the deal with me,” Singletary recollects. “He’s a fan of traditional music and my sound.They do gospel, R&B, folk, jazz, and I’m their baby in country. The good thing is they’re hungry to get into the country market and they’re getting me to do things I hadn’t done in six or seven years, like getting me onto GAC and CMT again. It’s awesome.” (David Ball is their latest country recruit.) Daryle has also joined sportsman Wayne Burns as co-host for Outdoor All-Stars, a hunting show currently beaming on cable television. Meanwhile, its sponsor Bill Heard Chevrolet of Huntsville, Ala., has furnished Singletary with a heavy-duty, black Chevy Duramax diesel pick-up truck (that bears an ad promoting their weekly program). In turn, Daryle attracts other Nashville names, such as Rhett Akins, Blake Shelton, Andy Griggs and Bryan White, as guest stars. On the current CD, Ricky Skaggs shares vocals with Daryle on “I’ve Got a Tiger By the Tail,” John Anderson joins in on his former hit “Black Sheep,” and Rhonda Vincent duets on the George and Tammy classic “We’re Gonna Hold On.” “There’s not many girl singers that just blows my skirt up per se, but I’m a huge fan of Rhonda’s. She’s definitely one of those singers who’s so unique, a real stylist. Rhonda sang with me on my first records, like the old Keith Whitley song I remade on my first Giant record ‘Would These Arms Be In Your Way.’ She sang harmony and we’ve kinda kept in touch since. I think she and her brother Darrin have done harmony on all the projects Greg and I have done together. You know she did ‘After the Fire Is Gone’ with me on the first (covers) album. That’s the old Conway and Loretta hit.” Has Daryle incorporated any of the numbers from his current CD in his roadshow? “We’ve got 35-to-40 dates on the schedule right now and we’re doing songs from the new project. From the first cover album, we do a medley to keep that promotion out there, and from the new product, we do full-length songs like ‘Black Sheep (Of the Family)’ and the new single ‘I Still Sing This Way.’ The band I work with has a girl singer and we’re startin' to work on ‘We’re Gonna Hold On,’ to do that. But I have them learn every one of the songs, so if I turn around and call out a title, they can jump in there and play that one, too.” One song Greg and Daryle considered that didn’t make the final cut was the poignant ballad “The Long Black Limousine,” previously cut by Lefty Frizzell, Jody Miller and Keith Whitley. “It’s hard to include so many favorites and still keep it balanced, you know, mid-tempo and up-tempo. I mean I’d do 12 ballads if I could get away with it. I love singing those songs,” acknowledges Daryle. “But you don’t want it to be too ballad heavy.” The CD’s only new offering is “I Still Sing This Way,” which Daryle co-wrote, as sort of an update on the original Max D. Barnes ballad he introduced on the 2002 covers album. “The song talks about what’s going on in our industry. I mean I’m a guy who when I came out in the mid-’90s, I weighed 175 pounds and was hot-to-trot. Now I’ve bellied up to the table a little too often and maybe put on too much weight. I still put all the emphasis on my vocals, however; I’m a singer, I’m not an actor or a model. Someone asked me the other day if I thought I came along in the wrong era? I may have. I grew up when being a singer was what it was all about. You didn’t have to look pretty in a pair of leather jeans or have a bunch of glamour girls dancing half-naked behind you. “So that’s kind of what our idea was in writing this song. That’s why ‘I Still Sing This Way’ is my influence. Yes, I’ll still sing this way, even if you have a pop producer putting me in front of a rock and roll band. You can do whatever you want with Daryle Singletary, but I’m still gonna sing this way. As the last line in the second verse says, ‘It’ll all go south/When I open my mouth . . .’ You can take the steel guitar and fiddle out, but hey, when I open my mouth, I’m still gonna sing this way!” In August 2003, Daryle wed surgical nurse Holly Mercer in a church ceremony at St. Simon’s Island, Ga., before 130 guests. How has she adjusted to marriage with an entertainer? “Well, when you get into a relationship with a singer you know it’s not the norm,” replies Singletary. “If you’re compatible and there’s a balance there of, ‘OK you go on the road three or four days a week and you come home to me two or three days, and we’re good to go.’ Then, when you change that after several years, I mean, there’s three years of courtin’ and then gettin’ married, and then it kinda slacks off, as the work slows down. “I ain’t gonna sit here and blow smoke and say I still work 150 days, just to make somebody think I’m out there doin’ it, ’cause I ain’t. My work has slowed down considerably, so my time at home is a little more and when I get too much time at home, the hairs start standing up a little bit. Yeah man, when I get too much time at home, it starts getting harried around the house. So it’s a nice balance to go out and work and get back home to hang out a little bit. But, as long as I’m keeping bread in the pantry and meat in the refrigerator, I’m good to go.” Last summer during the CMA Music Festival’s annual celebrity ballgame fund raiser, Daryle collided with another player, injuring his arm. So how’s it doing now? “It’s healed pretty good. But when they ask me to play for the next fan festival, I’ll tell ’em I’m gonna coach this time.” Noting Daryle had been painting, we wondered why he didn’t beg off the fixer-upper chore at home, claiming a bad arm? “Are you kidding? She’d just tell me I still got another good arm.” Are there any children yet? “I’ve got some howlin’ dogs, but no kids - as far as I know.” . . . DJ’s book lauds traditional country players -- and others (Continued from page 27) at the Opry of having Floyd play the piano as I was singing the song.” (Hank did have some crossover action earlier with “Geisha Girl,” “Send Me the Pillow You Dream On” and “You’re the Reason,” but not enough to make them bona fide pop hits.) At least one of Tracy’s interview subjects is not of country music and seemed out of place. But he explains that Tammy Faye Baker Messner, she of the PTL scandal, did host numerous country personalities on her TV program, including Grandpa Jones of Hee Haw fame. Tammy Faye added, “Lulu (Roman) was also on our program a lot. She and I are still good friends. We had a lot of country srtists on our program throughout the years.” More interesting was Little Jimmy Dickens’ chat with Pitcox, offering the pint-sized dynamo’s version of how the King of Country Music helped in his career climb. “He is the one who brought me to the Opry. He got me my recording contract and I even lived in his home for a year when I first came to the Opry. I met Roy in 1945 when I was at WLW in Cincinnati. I was doing an early morning program and he was there in concert. He let me do a guest appearance on his show, and he liked what I did. Three years later, I met him again in Saginaw, Mich. and he invited me to come down to the Grand Ole Opry. I did a couple of guest appearances and then he arranged for me to stay.” The late Opry star Skeeter Davis told of her early anxiety in performing for a live audience, after the death of her singing partner Betty Jack Davis, and Ernest Tubb helping her overcome it by pointing out how to communicate with the crowd. “He said I never looked at anybody. I didn’t even know he was watching me. I will never forget to this day what he told me. He said for me to look out in the audience and look in the eyes until I find somebody that loves me, and then I sing to them. It helped me learn how to make eye contact. I was feeling very insecure and I was scared about singing by myself. He was a wonderful mentor. He was the daddy of us all.” It was a pleasure to see David McCormick’s 1998 interview with Pitcox, considering all that the Ernest Tubb Record Shops and WSM Midnight Jamboree producer-proprietor has done behind-the-scenes for country music. The DJ wondered how helpful having the Jamboree program has been in his operation? “It built the record shops into what they are today. It is the right arm of the record shop. We have had a wonderful on-going relationship with WSM for over 50 years (now nearing 60 years). It continues to be that today.” There’s lots more in Tracy’s memory book. Incidentally, he won’t shut up about traditional country, so he’s put up, meaning his own record label - Heart of Texas - and opening a museum honoring classic country, right there in Brady. Among the artists he and buddy Justin Trevino have produced CDs for on Heart of Texas Records are Ferlin Husky, Frankie Miller, Norma Jean, Darrell McCall, Amber Digby, Big Bill Lister, Curtis Potter, Dave Kirby and his widow Leona Williams. When Tracy asked Tom T. Hall what inspired him to pen his #1 “(Old Dogs, Children And) Watermelon Wine,” he couldn’t help but reflect wife Dixie’s charitable, long-time championing of animals, as well. “I do have an affection for dogs and children and they depend on you. I have some donkeys and when I go down to the barn, they are standing there waiting for you, he-hawing. They are glad to see me and how many people are really that glad to see you? I love animals, dogs, children, those things that cannot take care of themselves, and I believe we have a moral obligation to take care of the things that cannot take care of themselves.” (Editor’s note: If this book of interviews interests you and you can’t find it at local bookstores, then contact Heart of Texas Country, 1701 South Bridge, Brady, Texas 76825, or go on line to check out heartoftexascountry.com)
Page 1 and 2: www.afm257.org Official Journal of
Page 3 and 4: April-June 2007 The Nashville Music
Page 29: April-June 2007 The Nashville Music

Musicians Web pages - Nashville Musicians Association

Create successful ePaper yourself

Delete template?

Save as template?