Americana Gazette October/November 2008 Issue

MERICANA GAZETT E A October • November 2008

COVER STORY TODD SNIDER EMMYLOU HARRIS KATHY MATTEA COWBOY JACK HONKY TONK TWISTERS AARON WILLIAMS RED BEET RECORDS FAYSSOUX MCLEAN ART SULLIVAN JOHN FAHEY BACK HOME BOYS ANNE SULLIVAN BOB KING CD REVIEWS

TODD SNIDER An East Nashville Icon

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Fall in Wisconsin, what a beautiful time of year!

What could be more fun than getting out and enjoying the color change,fall festivals,outdoor music venues,and arts and craft shows. I know this is certainly my favorite time of year.

My husband, Andy and I ventured to Nashville the last week of September. Only to arrive in downtown Nashville and find out there was no gasoline. I’m not kidding. For over a 30 mile radius around Nashville,gas stations were completely shut down or rationing gas. We could hardly believe it.

Nevertheless, we were able to find fuel and make the trip back North! (I was so stressed when we arrived, I could have eaten a whole southern pecan pie) The weather was a little warm and humid down South, but we had a very eventful trip. We spent some time at Todd Snider’s home doing an interview, as well as visiting with Cowboy Jack Clement. You will be able to read all about these interviews in this issue of the Americana Gazette.

Performing at the Station Inn was our friend Peter Cooper, along with Eric Brace singing on a couple of tunes. The Americana Music Conference was going on and many venues were filled with outstanding performers. What a great time to be in town.

By the way, Peter Cooper and Eric Brace will be coming to Wisconsin the first weekend of November and will be performing a show at Puempel’s in New Glarus. Be sure to mark your calendars.

We even ran into our friend Beth Kille who was there attending some songwriting classes.We had taken along some New Glarus Beer, Botham wines and Wisconsin cheese. Beth, currently living in Houston,Texas for a year, was trying to figure out how to get some Wisconsin cheese back to Houston for her hubby,Tony!!!

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Welcome to

Americana Gazette TABLE OF CONTENTS FEATURE STORY 16 Todd Snider WHERE TO LOOK: 3

1/2 Notes

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Litt DuBay’s Slant

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Live Music in Wisconsin

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Aaron Williams

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Kathy Mattea

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Cowboy Jack

10 Honky Tonk Twisters 11 Delta’s Book 12 Aaron Williams 13 Belleville Fall Festival 14 Women In The Round 16 Todd Snider 18 Red Beet Records 20 A Pet Note 22 25 Acts...

23 Country Schools 24 Fayssoux McLean 26 Bonaparte’s Retreat with Emmylou 28 Art Sullivan 29 3 for 1 30 CD Reviews

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1/2 Notes Eric Brace & Peter Cooper Nashville singer songwriters return to Puempel’s in New Glarus for a concert on Saturday, November 8, 2008.

The show starts at 8:00 p.m.

Cadillac Joe Anderson a Madison music icon for 30 years is suffering from cancer. There will be a benefit concert on December 26th, 2008 at the High Noon Saloon in Madison, WI for Cadillac Joe. All proceeds will go directly to his health care costs.A website (www.duesfortheblues.com) has been setup for this event that explains in much more detail what they are trying to accomplish and how you can help.

Fedora a band of young musicians playing Blues/Rock from Monroe are holding their CD release party on Saturday October18, 2008 at the Ludlow Bar in Monroe WI at 9:00 p.m. Special guests include Jimmy Voegli, Bird-Dog, and many others.

The Francois Family Band is scheduled to enter Sugar River Studios to record a CD of their favorite country tunes in late October.

The Dixie Earthmover’s are coming out of retirement and playing jobs this fall and winter around Southern Wisconsin. Their “We’re still alive and well tour” got underway on Friday September 26th at Schwoegler’s Sugar River Lanes in Belleville.

Former Clear Blue Betty front woman Beth Kille was in Nashville recently attending a NSA conference and workshop. Word has it she was looking at studios for a solo project in the future.

Joel Pingitore is still looking for a lead vocalist. If you love Blues rock and can really

sing, drop Manager Geoff Wilborn a line at g.wilbourn@earthlink.net to set up an audition.

Tracy Koeller is recovering from surgery and will be getting back into doing some playing again. We wish Tracy a speedy recovery and return to the stage.

Steve Hicks, an exceptional finger style guitarist from England, will be performing on October 25, 2008. Food will be available for ordering until 7 pm.Tickets are $7 per person, and will be available beginning October 7 at the Spring Green General Store, 137 S.Albany Street, Spring Green. FMI:Todd Miller 608-5887070 or todd@springgreengeneralstore.com; www.SpringGreenGeneralStore.com Tour of Baraboo’s Historic Haunts October 25, 7pm. Walk by candlelight along the streets of Baraboo visiting a house the owner swears is haunted,seeing a family preparing to be photographed with their dead loved one, hearing of the wild life and drunken death of Baraboo’s first settler and hearing stories of the lives and deaths of some of Baraboo’s earliest residents.

Cost: $8. Oschner Park Shelter, Baraboo FMI: Sauk County Historical Society, 608-3561001 or history@saukcountyhistory.org

“Weird Wisconsin Tales” October 30, at Noon. Paranormal investigatorTodd Roll to discuss: How to search for ghosts, Wisconsin ghosts and monsters.Bring your own ghost stories to share. Free admission.All welcome.

UW-Richland campus, Miller Library, Richland Center FMI: todd.roll@uwc.edu Halloween Book Signing & Reading from “Night Sisters” by Sara Rath on October 31, 2008. Call store for time and details. Ocooch Books, 145 W. Court Street, Richland Center FMI:www.ocoochbooks.com or 608-647-8826.

Old Time Barn Dance - Kettle Creek & Friends, Caller Sue Hulsether on October 30, Noon at Folklore Village Barn Dances are funfilled evenings of traditional American dances, including old-time squares, New England contras and Appalachian big circles.No experience or special costume required. Families and beginners are always welcome.Tickets: $6 adults (18+), $5 members, $4 seniors (65+) and teens (13-17), $2 children (5-12). Folklore Village, 3210 Cty. Road BB, Dodgeville FMI: 608-924-4000; www.folklorevillage.org

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Litt DuBay’s

Rant!

by Litt DuBay I had written this column and felt pretty smug about it until I had a very interesting discussion with a very good friend of mine about my opinionatedness and my habit of pushing my opinion onto others. I told him that I was a music critic and that’s what I do. He told me that critics are fast to find fault with others work because they can’t be creative themselves. I told him that was not true because I’m a pretty creative guy. He then informed me that I should not judge others because I did not know their background or the reason why they did things the way they chose to do them. I informed him that I did know enough to make an educated guess. My friend then said to me that I was always comparing apples to oranges.

That was why my statements and arguments did not hold up.

So I thought about what my friend had said, and my past discussions and articles I have written and came up with the wondrous bits of philosophy that have governed my life. I hope you enjoy them.

• If it looks like a duck and sounds like a duck, it’s probably a duck.

• If my skin crawls, eyes bleed, or my head hurts when I’m listening to a song, that song sucks.

• Bleach blonde hair, dark eyebrows, and dark roots prove you are not a natural blonde.

• Just because you can play a song just like the record,does not mean you have talent.It means you have a good shot and a long career as a forger.

• I’m Swiss; you’re not NA NA NA NA! • Opinions are like !@#holes. Everybody has one!

• It’s easier for a camel to pass through the eye of a needle than a rich man to get season tickets to Lambeau Field.

• The only difference between an antique and junk is the price someone will pay for it.

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• There are a lot of old Fender Strats, just not a lot of “good” old Fender Strats.

6. Twenty eight tour buses, 15 semi’s, and a crew of 100 are not Country! It’s ridiculous!

• Beauty is in the eye of the beer holder.

My third rant is stop watching all the reality shows on TV. They are not real! They are edited for content. Real is sitting on a river bank and fishing. Real is explaining to your wife about why you came home past your curfew.

Real is getting coffee spilled on you in a diner because the waitress was too busy talking on her cell phone. Real is finding out that the baby monitor was on in your bedroom when you and your spouse were making whoopee and it was broadcast throughout the neighborhood on your neighbor’s Sirus radio feed at his annual Labor Day picnic. Lastly real is finding out that if you move just right you can see that you still have toes.

• Just because the milks free don’t make it good milk!

• Never tell your wife your mom cooked something better than her!

• You can NEVER have too many guitars!

• I always give an Oklahoma Guarantee when I sell something. If it breaks you get to keep both parts.

• Old guys are funny.

• Just because your mama and your wife tell you that whatever you created is good, does not make it good.

• The Burrito Brothers Rock!!!

• It’s better to have a lobster on your piano, than a crab on your organ!

And in my final rant I want to discuss the closing of Starbuck’s around the country. If they close down all those Starbuck’s, where the hell am I going to get my chocolate covered espresso beans?

Till next issue!

• I am as handy as a screen door on a submarine!

• I am as busy as a one-legged man in an ass kicking contest!

• You can pick your friends. You can pick your nose. You just can’t pick your friend’s nose!

Here’s six easy steps to fix Country Music: 1. Have a hostile take over of CMT and GAC by the fans chanting we want Ralph Emery and our Country Music Television Back. In doing so the program directors are all fired and replaced by people who know the difference between Waylon Jennings and the Wailin Jenny’s.

2. If a song or video involves Kid Rock, Bon Jovi, or any other Country wannabe’s, it is not to be played on anything remotely related to Country Music.

3. Any guitarist who traded in hisTelecaster for a SG Firebird,or Les Paul is instantly banned for life from Country Music.

4. Country radio starts programming their own stations and all country stations who have been taken over by Clear Channel or other media conglomerates quickly succeeds from this on holy union and start playing Haggard & Jones at least twice every hour.

5. A new Outlaw movement needs to begin to take back everything Bobby,Waylon,Willie, and the boys won in the 70’s, and the current crop of pickers and singers continues to loose everyday.

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Live Music in Wisconsin, How to make it better for everyone

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• The state of Live Music attendance in Southern Wisconsin is at an all time low according to the musicians I have spoken to in the last 4 months. What’s causing this? A Republican conspiracy? A Democratic fopa? Bands overcharging and putting on crappy shows?

Maybe it’s the economy, or the drinking age, the drunken driving laws, indifference to local talent, the time live music starts in clubs, or it could be that people are just tired of hearing the same old songs played over and over again in the same places.

I’m pretty sure we can rule out the Republicans and Democrats on this one! Last time I checked bar bands were not on either of their hit lists this election season. I think its part of all the other above. I don’t think you can point your finger at one thing and say that’s why!

More than anything though I think it is band’s fault and club owner’s lack of responsibility that is causing this slow down.

The time has come for bands and club owners to work together to come up with some solutions to this problem and get people back in the clubs and enjoying live music again.

So club owners what can you do to get the ball rolling?

• Number one is to start music earlier in the evening. Start your shows at 7:30 p.m. or 8:00 p.m. and finish at 11:30 p.m. People with kids and working people don’t generally go to clubs at 10:00 p.m to see a band.

Concert promoters caught onto this years ago. Most concerts now start at 7:30 p.m. and are finished by 10:30 p.m. They make money doing this in this time period, you can too.

• Don’t overpay bad bands and underpay good ones. Set a base price of $250.00 $300.00 a night. If you do well at the door or bar, give the good bands more money. If you don’t make any money with the band, all you are out is your base price and don’t have that band back again. This will help weed out bad bands and bring about better levels of musicianship.

• Set a tryout night for bands and give them w w w. a m e r i c a n a g a z e t t e . n e t

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$200.00. If you like them, hire them for a weekend night. Keep the tryout night the same all the time and you will get a following for those nights and increased business that you did not have before.

Allow the bands to pass the hat during their performances. This happens pretty much everywhere but Wisconsin. It allows for the bands to make extra cash and it is not coming out of your pocket so everyone is happy.

It is the club owner’s responsibility to put posters up in your own club and to take care of any paper or radio advertising.

Promote original music. Have a few nights a month where you feature bands that play original music. This brings in a whole new crowd for you, and gives original bands a place and night to play. Believe me you won’t have a hard time finding bands to sign up for this.

Concentrate on one or two different styles of music that is played in your club. Don’t try to be all things to everyone. If someone sees a great Bluegrass band on a Saturday night and comes back next week thinking they will see another and instead you have a speed metal band it is going to upset them. Being specific on what you hire and what music is played is important.

By doing this you are establishing a brand for your club and that is the key to becoming successful.

Now here’s what bands and soloists need to do • Stop over charging! Hey everyone wants to get paid the most they can for playing but let’s be real. If a club can only seat 100 people they can’t pay you $500.00 plus a night. If you want live music to continue and grow you have to work with the club owners so that they can stay in business.

Show them you can draw a crowd and are worth big money and they will reciprocate and pay you more.

• Put a tip jar out and pass it around once or twice a set. You will be surprised how much cash you can garner in one of those, especially at the end of the night.

• If you play covers learn some different ones to set yourself apart from the rest of the pack. Also try playing a couple of originals.

• If you play originals learn a couple of covers, but do them your way.

• Just because your amp goes to 10 you don’t have to play that loud. There is nothing more annoying than a LOUD band.

People want to be able to talk to each other. Bring the volume down. Everyone will be happier and you’ll get more jobs because of it.

• If you are not ready to play certain clubs

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don’t try to book yourselves in there until you are ready. Be honest with yourselves about your ability to play and the crowd you can guarantee a club owner that you will draw.

Promote your shows. It is the bar owner’s responsibility to put posters up in their club and take care of the newspaper/radio advertising for a show. It is your responsibility to put up posters around the area and to contact your mailing list and let people know that you are playing at a certain club that night.

If a club owner treats you badly and tries to stiff you let other bands know ASAP. Just like we don’t need bad bands clogging the system, we don’t need unfair club owners either.

Get it in writing. Put together a simple contract stating your price, playing length, amount and length of breaks you will be taking, and how you want to be paid, in cash or check.

Put together a package with your tax number or S.S. #’s so the bar owner has them. Have the WT-9 form filled out.

Strive to be the best you can.

Do not get drunk or show up stoned or wasted to play a job. You are a professional so act like one. If you are using a playing job as an excuse to get wasted you are doing a disservice to all musicians. If you want to get paid like a professional you have to act like a professional.

Work with the club owner to make the experience great for everyone.

I know musicians are saying @#!$ him. Who does he think he is telling us how to run our bands? I’m just passing on this information because it is going to be harder to find good quality playing and paying jobs around here in the future. Musicians in other parts of the Country play for tips, the door, or much less money than we do in Wisconsin. I’m just saying that if musicians and club owners don’t start working together there will be no live music.

I practice what I preach. My bands Jug Prairie and the Dixie Earthmovers play for a reasonable guarantee of $250.00 plus beer and pop for the band. If we do well for the club owners we get paid more. We are also allowed to pass a tip jar if we want too. Bar owners always pay us more than our $250.00 guarantee and everyone is happy. We can come back and play those clubs whenever we want too. So yes I walk the walk.

It is important to rethink how we all do business and come up with solutions that are fair and not weighted in either direction. If we can do this Live music will survive and flourish in Wisconsin.

Written by: Andy Ziehli

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KathyMattea . . .

“WHERE’VE YOU BEEN?” Growing up in a small farming community in Southwestern Wisconsin, my Mom, Dad and brothers always had the radio tuned to the local country western station out of Dodgeville,WDMP, where one could hear the sounds of Buck Owens, Marty Robbins, Dottie West, Loretta Lynn and Bobby Bare just to name a few. I acquired a taste for this music and can recall the beautiful songs of Kathy Mattea during the ‘80’s & ‘90’s. Some of her award winning songs include: “Love at the Five & Dime”;“Walk the Way the Wind Blows”; Eighteen Wheels and a Dozen Roses”; “Where’ve You Been” and “455 Rocket”.

Kathy Mattea is a very talented artist and songwriter. She is definitely part of my CD collection, and she was able to fit me into her busy schedule to conduct a telephone interview with me. So here I go, all you ever wanted to know about Kathy Mattea and more!

Kathy Mattea was born on June 21, 1959 near South Charleston,West Virginia. Mattea told me her childhood was sort of suburban.

She grew up surrounded by family, with her grandfather and father working in the mining industry, as well as her mother working for the United Mine Workers. (Currently her brother still works in the mining industry.)

At age 6, Mattea began piano lessons, and got her first guitar at age 10. She also plays Penny whistle. Kathy said she was the “whiz kid” in her family, but not the most artistic. She skipped the first grade and advanced on to second; she became bored very easily. Her mother put her in all kinds of activities to try to relieve this boredom. Such activities as dance, piano lessons, choir, church groups, etc. Music was the only thing that seemed to hold her interest. When she took guitar lessons, she said,“I soaked up the licks and chords like a sponge.”

Kathy went off to West Virginia University where she worked on her chemistry major.

One day Mattea called her parents to say she was quitting college and was pursing her musical career. Kathy had met up with a writing partner and wanted to seize the moment. Of 6

course, as any parent would probably say, you need to have an education to fall back on.

Kathy knew she had this one opportunity to go for it, and that is what she did. (A wise move on her part). In 1978 Kathy moved to Nashville where she currently resides and continues her work in music to this day.

Off to Nashville, off to make musical history. In 1988, she had the CMA and ACM single of the year with “Eighteen Wheels and a Dozen Roses”. In 1989 she was named ACM Top Female Vocalist, won Song of the Year with “Where’ve You Been”, CMA Female Vocalist of the year, and Grammy – Best Country Performance/Female.

1993 brought a Grammy for Best Southern Gospel, Country Gospel or Bluegrass Gospel Album – “Good News”. CMA video of the year was won in 1997 with “455 Rocket”; 1998 Nashville Music Award – for Country Album of the Year – “Love Travels” as well as Nashville Music Award for video of the year – “I’m On Your Side”. Then in 2001 Mattea was granted the Minnie Pearl Humanitarian Award. Wow, what a ride!!!

Before our conversation went towards what Kathy has been up to recently, I had to ask a couple of personal questions. Her website states she has a favorite guitar called “Blackie”. I asked how that came about, and Mattea stated,“She still owns Blackie, and it is a black stained maple 612-C Florentine cut away Taylor (a design they did for her). Sometimes on the road they have as many as 20 guitars, and they all have nicknames so they can find the cases for them.” I also could not resist asking her how her nickname, Captain Potato came about? Mattea replied,“Say my name over and over and over again, speed it up, add a couple of beers and my name turns into Captain Potato.” (We both chuckled over this.)

If you had ever watched Kathy Mattea on television in the ‘80’s, you would have no-

ticed she always wore a red ribbon for AIDS awareness. I inquired as to how she got involved with this. Mattea said that back in the ‘80’s when AIDS became widespread, she had an opportunity to speak out on the CMA Awards, and to spread the word. “It was my iconic moment as an activist”, Kathy said.

Now onto what Kathy has been up to.

Earlier this year, in April 2008, Mattea released her CD entitled, “COAL”. When asked what was the inspiration for this CD, Mattea explained, “COAL is a re-education in the way we think about music. I had been thinking about doing an album like this since I was 19 years old, then in 2006, the SAGO Mine Disaster occurred, where 12 West Virginia Miners were killed. COAL is a historic record, a life style of the struggle of mining coal. I had a very hard time with this disaster, and I realized doing this CD would be a good way to deal with my emotions.”

Mattea said she had good luck picking songs for this CD because she went with her w w w. a m e r i c a n a g a z e t t e . n e t

gut instincts. Marty Stuart was the producer, as Mattea wanted someone with a firm, knowledgeable hand to work on this. Kathy says Stuart brought things into focus that she couldn’t do on her own. The performers on this CD feature, Byron House on upright bass, guitarist Bill Cooley, with Stuart Duncan offering mandolin, banjo and fiddle. These pickers were joined by Stuart who played guitar, mandolin, mandola, and provided background vocals along with Patty Loveless and Tim O’Brien and his sister, Mollie O’Brien. Other musicians include John Catchings on cello, Randy Leago on keyboards and accordion accents and legendary steel player Fred Newell also made an appearance. This is a great CD – a must to add to your CD collection.

When I asked Kathy if she had plans for a future CD, she responded that she has been very busy with the whole COAL project, but that she has started to think about it. This will be something well worth waiting for.

Kathy mentioned that she will be playing in Wisconsin, around Brookfield, in the Spring of 2009. Besides performing, Kathy has taken on a new role as she has been teaching and doing some public speaking. She has had an opportunity to train for Al Gore on a service project. This is allowing her to grow out of her shell. Mattea says,“ it is a little scary to get out of your comfort zone, but you know you are awake and alive!” “You are never too old to do what you want,” Mattea said. A friend of hers wanted to go back to school to get her Master’s Degree and told Kathy just think how old I will be when I get my degree? Kathy responded,“Just think how old you will be any way if you don’t go back and get your degree?” Great words of wisdom!!!

Grown in the dirt of middle Tennessee

Big fat roots, big wide leaves,

Full of vitamin A, vitamin E,

all that good stuff.

But mostly, full of good music.

We’re a small label based in East Nashville, Tennessee We love zip code 37206.

There’s a ton of great music

here, and we’re bringing it to you!

I grew up listening to Kathy Mattea sing, watching her on the television country comedy Hee Haw, doing guest appearances on cooking shows, etc. I asked Kathy what she wanted to share with my readers. Mattea says,“I can’t brag on myself, my career comes from word of mouth of people who have seen me perform. I like to keep my music interesting, and nothing makes me happier when I am in the autograph line and people who have just seen me for the first time, tell me they like my songs. This lets me know I am still waking something up in people. I will keep making music as long as I am able.”

I will be watching for Kathy Mattea in the future. Check her music out. Look her up on the web @ www.mattea.com. See where she is performing and make a night of it – you won’t be sorry!!

Written by: Joyce Ziehli Photos supplied by K. Mattea website w w w. a m e r i c a n a g a z e t t e . n e t

RED BEET RECORDS P.O. BOX 68417 NASHVILLE,TN 37206 EMAIL US AT mail@redbeetrecords.com 7

The Man, The Legend

…….. Cowboy Jack Clement

There are people in this world that each of us as individuals are in awe of. Some are athletes, some movie stars, some religious or political leaders. What someone is very seldom impresses me. Hey we all put our pants on the same way, one leg at a time. But in September I got to meet and hang out with a man that made me speechless to be next to (those of you who know me would say that that was quite a feat). That man was Cowboy Jack Clement.

The man is a living legend in the music business. He engineered and produced sessions for Roy Orbison, Carl Perkins, Johnny Cash, Charlie Rich,Jerry Lee Lewis,Elvis Presley,Waylon Jennings, U2, and countless others. He wrote songs that are considered classics today; Ballad of a Teenage Queen and I guess things happen that way for Johnny Cash. He discovered and recorded Charlie Pride. Clement suggested the horn intro for Cash’s hit Ring of fire.

Clement launched the solo career of Don Williams through his JMI record label, a project that also introduced Allen Reynolds as a record producer. Reynolds has since gone on to produce Garth Brooks, Crystal Gayle, Emmylou Harris, Bobby Bare and Kathy Mattea.

Clement was Townes Van Zandt's first publisher, and Bob McDill also wrote for Clement's publishing company. Clement also produced an album for Louis Armstrong.

Joyce and I spent a large part of a Monday afternoon in Nashville with The Cowboy.

Clement’s house is a museum in its self. Pictures of music stars, movie stars, and just plain characters adorn the walls. Gold records hang like family portraits in the halls of this music palace. Clement’s studio is in the upstairs of his Tudor house in Nashville. The space is a combination recording and film studio, with state of the art electronics and vintage analog gear. The walls of the control room hold boxes of 2” recording tapes of Johnny Cash, Charlie Pride, Waylon Jennings and others. Some of Clements own works are also housed here.

Below is the interview we did with The Cowboy (as he is known throughout the industry) sitting in his office with guitars hanging on the walls, piles of CD’s on his desk, and with his cats Fred and Ginger hanging out.

AG: What makes Jack Clement still want to create music after 60 years in the music business?

Cowboy: What else am I going to do?

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AG: Most people retire.

Cowboy: I could mow the lawn. Retire?

From what?

AG: When you first started recording you recorded right to disc didn’t you?

Cowboy: No No No. Sam Philips had a mono reel to reel tape recorder at Sun Records. I started in the early 50’s. I went to work at Sun in 1956. Prior to that I had a little studio with a Magnacorder mono machine. It was considered a professional machine for the time.

Stereo recording came out in 1957, but Sam never upgraded to that. He stayed mono until he built his new studio in 1959. I had left by that point. Sam went to a 3 track recorder at that time.

AG: When you left Sun did you move to Texas?

Cowboy: No I stayed around Memphis for a year or so and started a little record label that did not take off. I then went to Nashville and went to work for Chet Atkins at RCA for a year and a half. I still lived in Memphis and I would commute to Nashville for 3-4 days.

AG: After working for Chet what did you do?

Cowboy: I moved to Beaumont Texas and built a studio. It was a mono yet. We cut a few big hits out of there. We cut Patches by Dickey Lee. There were 7 to 8 splices in the tape.

Back then I was real good with scissors.

AG: Going from a mono system to multi-track tape to now digital, do you prefer one to the other?

Cowboy: I got them all. I have a full Pro Tools setup in the studio.

AG: Did you find that going to Pro Tools was a natural progression, was it easy?

Cowboy: No there’s a bit of a learning curve to it. Once you get it though it has a lot of advantages, one of which is that it’s quick, and you don’t wear the tape out which really use to bother me. We would run tape through a couple of hundred times from mixing and over dubbing which caused the tape to stretch and get thinner with each pass. I don’t have any problem with digital recording. We went fully digital about a year and a half ago here at the studio. I bought it initially because I was working on an album with Eddie Arnold who was 87 at the time and he was having a hard time holding notes and keeping in time.

AG: Back in the early 70’s you were known as sort of a rebel here in Nashville. Did that hurt you or help you get work?

Cowboy: It was more in the late 60’s early 70’s. I signed up Charlie Pride which was a rebellious thing to do,but that turned out alright. w w w. a m e r i c a n a g a z e t t e . n e t

I worked on and produced 20 albums with him. We sold a bunch of records, so I guess things turned out okay.

thinking about it and thought that RCA might used Joe Allan a lot. I’ve always been very parbe passing up another Elvis Presley. He told me ticular about bass players. It depends on what if I got him another copy of you are cutting. Joe has the the tape that he would take finest big thick bass sound I’ve always been different. I’ve never tried to it to an A & R meeting in in the world. I love the way follow the trends. It started with Sam Phillips. Hollywood. Chet took it to Dave slaps his bass. It all deHe would always say bring me something difCalifornia and came back a pends on the song. ferent. He could never compete with the week later and said looks These words to the wise are posted at AG: So you still use an Nashville sound so he would look for somelike we got a deal. So Characoustic bass on your Johnny Cash's cabin and at Jack's thing that was good but different. If all else lie came on RCA. recordings?

Tracks (where Garth Brooks made Cowboy: Yes but both fails get lucky!

AG: Charlie Pride was a history) as well as other discerning Dave and Joe also play elecAG: I love your rules for the studio and songgreat artist. writers (see side bar). I have them posted in Cowboy: Still is. They are tric bass. When Joe got recording studios. my studio. talking about doing a movie here from Minneapolis he Cowboy: I’ve relaxed the one about the headabout him. They are still had only been playing elecBe alert. phones a little! I try not to use headphones working on the script. tric bass a few weeks but Be on time. except for over dubbing.

AG: At Jack’s Tracks some he was the smoothest thing Don't bring or invite anyone.

AG: I also have your saying about Elvis and of the greatest music ever I had ever heard. Joe Allan Johnny Cash in my Studio. recorded was done there. on the meter was right on.

Don't talk about your troubles.

Cowboy: What did I say?

How does that make you Don't mention the words "earphones", Jr. Husky was a musical geAG: Elvis didn’t smoke hash, and would have feel today? Did you ever nius. He was so good. I "headphones", "cans", been a sissy if not for Johnny Cash. think what you were creatused him until he died. I "earmuffs" or the like.

Cowboy: I didn’t say that someone else did. ing music that would have went through two generaBe quiet when the Cowboy AG: Well they are attributing it to you on the the staying power that it tions of Husky’s on bass. web. has?

AG: When you had Jack’s is speaking.

Cowboy: I think John Lennon said that.

Cowboy: Sometimes when Track’s, was it the only stuDon't be timid or shy with AG: Being the rebel that you were and the inI was doing some of the dio you owned at the time? your playing. novator that you are,did you bump heads with Charlie Pride stuff I told Cowboy: I had built Sound Have a good day. the Nashville establishment or did you just do him that people would be Emporium first and had Listen. your own thing and not worry about it? playing this music 40 to 50 that. I got Jack’s Tracks in a Cowboy: I did my own thing. Fortunately I years from now. deal where I loaned a guy Remember that it only takes was close to Chet Atkins. I worked for him as AG: And they are. $65,000.00 to buy theTexas three minutes to cut a hit record.

I said for a year and a half and stayed in contact AG: Why do you think the Book Depository and it fell with him when I moved to Beaumont. He material you cut back then through. He could not pay would hear my stuff and record songs that I have had the staying power besides the fact me back so I got the studio as payment. I was had written. When I decided to produce Charthat they were great songs? A lot of things cut renting it from him. Allan Reynolds wanted a lie Pride I told Chet I years ago do not get the studio for himself because he was recording all would let him have first respect it deserves espethe time. crack at him for RCA, cially on Country Radio AG: Reynolds worked for you when he was which I did. He liked it today. Bar bands still play younger, didn’t he? as did everybody. The it and people still request Cowboy: Oh yea. I started working with him first record was Snakes it, so why is that? back at Sun Records. He was a singer in a vocal Crawl at Night. He kept Cowboy: Well they group and going to college. I moved him and the tape for three weeks were good songs. We had Dickey Lee to Beaumont Texas. I use to reloand then gave it back to a great band.

We had cate people a lot. I published their stuff for a Remember that experts are me because he did not great singers. long time. They moved back to Memphis a year often wrong. know what to do with it.

AG: Did you use the before I moved to Nashville for good, and after Experts tend to be narrow So I set about to get it on same studio musicians a year I moved them up here. I haven’t reloand opinionated. another label but no one most of the time? cated anybody lately. I’m a little out of pracelse wanted it. I was just Cowboy: Yes. I used tice.

Experts don't buy records. getting ready to release it Jerry Reed a lot mostly We then discussed Jack’s guitar collection and There's nothing wrong with myself. I had an office in playing electric rhythm. he took down a beautiful 1953 Gibson J-200 waltzes if they're played right. the RCA building which Roy Husky on bass. It and played us some tunes.

A good song gets better with age.

Chet owned. I was down was pretty much the AG: When you started in the recording busiReveal some of yourself with at the Coke machine by same bunch everyone ness were you a musician or always an engithe studios when I ran else used. There were neer? most of your songs. into him and he said two to three different Cowboy: I was a guitar player.

Don't get stuck on one song too long. “what did you ever do groups of studio musiAG: The vibe and musical atmosphere you Work on other songs as you go. with that colored boy?” I cians at that time that have created over the years, what do you chalk Learn to grow from setbacks, delays told him that I had not were the ones that that up to? There is an aurora around you for and getting your feelings hurt. done anything with it played on most of the being one of the people who gets it when it yet, but was thinking dates. I used Husky’s son comes to good music, and you attract good Write the worst song you can think of. about pressing it myself.

Jr. on bass after Roy died. people because of it. What do you attribute Write the best song you can think of.

Chet said he had been Now I use Dave Roe. I’ve that to?

Cowboy's rules for band members

Songwriting Tips

By Cowboy Jack Clement

continued on page 15

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The Honky Tonk Twisters, Real Country Music The Honky Tonk Twisters are the four Lohrenz brothers from Hortonville WI. Bruce, Kevin, Richard, and Tim have always made music in some form, but decided to band together and play a straight-up honky tonk / roots country music. Inspired by the music of Buck Owens, Johnny Cash, Merle Haggard, and others, the brothers grabbed their Telecasters and headed for the basement to begin playing and creating the classic material that AM radio once blared loud and proud through the night airwaves. Songs like the ones that made WMAQ a staple of Country Music in the late 60’s and early 70’s. When the chance to play the drinking, driving, cheating type songs that made you cry in your beer or hit the dance floor for a two step came about, the brothers dove head first into it.

Yes those L o h r e n z brothers got it right, with Bruce Lohrenz - electric guitar, steel guitar, lead & back-up vocals, Kevin Lohrenz - electric guitar,lead & back-up vocals, Richard Lohrenz - electric bass guitar, back-up vocals, and Timothy Lohrenz – drums, the Honky Tonk Twisters are the real deal. The Twisters were kind enough to take time out of their busy schedule to visit with the Americana Gazette about the band and the music they love to play. I’ll tell you that 10

it was an interesting interview that was interrupted by raucous laughter and good time ribbing. Here they are in all their glory, the Honky Tonk Twisters.

AG: Who was the first of you to play an instrument?

HTT: Bruce was the first to play the guitar.

AG: Is Bruce the oldest of the four of you?

HTT: No he’s number three. Dick is the oldest. But not the wisest!

AG: Was it brotherly rivalry that made the rest of you want to play?

HTT: No we wouldn’t say that. Our Grandfather was a musician, so we all had the desire to do something with music.

AG: It is quite evident that you guys are influenced by the Bakersfield sound. Do you have any other influences?

HTT: Yea we all love Johnny Cash. I like the stuff that came out of Memphis in the late 50’s on Sun Records comm e n t e d (Bruce). I love Lloyd Greene’s steel guitar playing. Most of these guys are in my band (Bruce as they all laugh) so they have to like it too.

AG: So whose band is it? Who is the head honcho?

HTT: There really isn’t one.

HTT: Change to follow shortly!!!

AG: On your Myspace page it says that you all met on a swing set across the street where you all grew up. Is that because it was like a halfway house for the Wisconsin Prison system?

HTT: Yes we did not know each other before then. (They all laugh loudly).

AG: When did you start playing as a band together?

HTT: Bruce and Kevin started out playing together. Kevin played drums originally in the duo. When Tim started playing drums Kevin switched to guitar. All four of us were in a band together starting in 1985.

Kevin and Bruce were in high school garage bands in the 70’s. We all played in different bands in the early 80’s.

AG: Did you always play Country Music?

HTT: No, we played a variety of music, playing Wedding Dance music for awhile. We got a lot of work that way. We got to hone our chops doing that. This band started in 2002.We did the cover thing and then I (Bruce) wanted to start writing material. I was tired of playing a lot of music I did not like to play, so writing was the next logical step to take. I wanted to take a shot at writing traditional country music. We decided that we were going to do this and play the music basically for us.

We thought if it doesn’t work out then that’s okay.

AG: Is this your full time jobs or do you work full-time and this is just a hobby for you?

HTT: It’s just a hobby for us. Some of us work! (laughter again) We all have full-time real jobs.

AG: Are your spouses and significant others okay with the amount of time you are out playing?

HTT: Yes, some wish we were gone more (a big laugh session begins). Spouses and girlfriends are okay with it (which brings more laughs). Don’t print that though!

AG: Do you play any covers in your shows?

HTT: We play Buck Owens, Johnny Cash, Merle Haggard, Wynn Stewart, Ray Price, and Webb Pierce, anyone from that time period.

Yea we play anybody that‘s dead!

AG: How many dates a year do the Honky Tonk Twisters usually play?

HTT: We usually play 40 - 50 jobs a year.

Mostly they are on the weekends.

AG: I see that you travel to Michigan to play a festival. Is it a classic country music festival?

HTT: Yes.They play pretty much classic country there. The guy that puts it on really likes our sound and style.

AG: In your songwriting how do you start a song?

HTT: We write whatever comes to us first.

Sometimes it’s a melody or chord progression.

Sometimes it’s a lyric. Usually though it starts with an idea and grows from there. As you write more you get better at it and the songs come more freely. It’s always cool the way you w w w. a m e r i c a n a g a z e t t e . n e t

can take an idea and play it at home and then when you work it up with the band it gets a whole new life and sometimes direction. As a songwriter your radar is always on for that next song. We have a lot of material that has not been recorded that we are playing in our live shows now. It is always a work in progress.

AG: Do you write everyday or week?

HTT: No, we write as the songs come to us.

We are not that structured in our writing.

AG: Have you sold any of your songs to artists to record?

HTT: No, but I would really like too (Bruce). I don’t want to be famous as a performer but being a full-time songwriter would be very cool.

AG: My favorite song of the Honky Tonk Twisters is Wine Big Wheels Wine. How did that come about?

HTT: (Bruce) I came up with that idea after thinking about how it must be for a trucker to want to get off the road to be with his wife,and just went from there.

AG: Who have you opened for?

HTT: We played Country USA this year where we opened the show for Ray Price, Loretta Lynn, Merle Haggard, and George Jones who didn’t show (all laugh) imagine that! That has been the biggest show we have played. We also opened a show for Daryle Singletary who really liked our material and original songs. He made the comment that we get it as far as what is real country music. That means a lot to get that kind of validation from people in the industry. Around here in the Fox Valley it’s all that Top 40 country radio stuff that people seem to like. That’s not us.

AG: Are there plans for another CD in the future?

HTT: We hope so. It’s just a matter of when and what time constraint we can meet.

AG: I see equipment wise you’re right there with the vintage style and sound.

HTT: Yes we rely on Fender Twins,Telecasters, Esquires,and other more modern vintage styles of equipment. We own some vintage guitars and Fender Custom Shop reissues.

AG: Well thanks for the story and the laughs.

HTT: Anytime, looking forward to coming down to Madison and the surrounding areas and playing there in the future.

You can check out the Honky Tonk Twisters at 10http://www.honkytonktwisters.com, http://www.myspace.com/honkytonktwisters or get a hold of them at honkytonktwisters@gmail.com. Check these guys out they are the real deal!

Written by: Andy Ziehli Photo supplied.

w w w. a m e r i c a n a g a z e t t e . n e t

DELTA’S BOOK Music has always been a part of my life. I cannot remember when, at a family function, there was no music. If it was a birthday celebration, family reunion, or anniversary there was always someone there who would bring out a guitar, accordion, or concertina, and we would have music. Everyone would sing. We sang old songs, new songs, and mostly country western songs. But we all had fun singing.

Once in awhile someone would even yodel.

My aunts told me that if you could learn the chords to the music then you would always be able to provide the melody on your own. I learned the chords on my grandma’s old pump organ when I was about nine years old.

When we sang songs it was what we had remembered. We’d listen to the radio and learn the words.The melody came easy.

One day my mother purchased a ledger type book at the five and dime. It had a gray cardboard cover and the word Journal was written on it. It had numbered pages with blue lines.

She began to write down the words to the songs we always sang and all the songs in her memory. As new songs hit the airways she would learn the words and add them to the pages in the journal. When we had a family gathering she would bring what she had copied.Pretty soon it became known as Delta’s Book.

The book starts on page one with the words to Paper Doll. It ends on page 187 with the words to Pick Me Up On Your Way Down. In between are train songs. Wreck of the Old 97, Baggage Coach Ahead, - songs of the time – Remember Pearl Harbor, Soldier’s Last Letter, There’s a Star Spangled Banner Waving Somewhere, - Fun songs like The Bugle Boy, I Had But Fifty Cents, - Songs like Tears on My Pillow, Don’t Fence Me In, Cowboy Sweet Heart, When My Blue Moon Turns to Gold Again.

And the list goes on for 187 pages. It is like a

whole set of encyclopedias of music. Sometimes people would ask to borrow the book, but she was very cautious when it came to lending it out.

My mother died in 1993. I became the owner of the book. I kept it for a few years then I began to think,“What will happen to this book when I am no longer here?” Since Andy, my son, is the musical one in our family the solution was simple. I passed the book onto him.

And then I realized I missed not having it.There was just something about seeing the words of the songs written in my mother’s handwriting.

One year at the family reunion the question of Delta’s book was brought up. Who had it now? I told everybody I had given it to Andy.

He wasn’t likely to make every reunion, so we were all pleased when my daughter– in-law Joyce, had made copies and gave out copies to my mom’s sisters, and to me of all the pages in that book.So now,even if my mom isn’t here to share the words to the music we all loved to sing, we all have copies of her book.The old gray journal is still in Andy’s possession.To me it is part of a legacy.

There are times now,when I am home alone in the evening, I get thinking about my mom. I get a little nostalgic. I think about all those times I shared with my relatives singing. I then sit down at my keyboard, plunk out the chords I learned on my grandma’s old pump organ so many years ago. I entertain myself by singing some of those songs that I learned and are written in DELTA’S BOOK. Written by: Rosemary Ziehli

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WHAT A “MAGICAL” SOUND...

It was a quiet afternoon, only sounds of ice being crushed in a blender whipping up a frosty drink, along with people laughing, could be heard in the background as I sat in the Café at Barnes and Noble and visited with the one and only Mr. Aaron Williams of Aaron Williams and the Hoodoo. (A blues band out of the Madison area.) The trio consists of Aaron Williams, guitar and vocals; Eric Shackelford, drums and vocals;and Z.T Auner, bass and vocals.

Now, if you read my article on Aaron Williams in the last issue of the Americana Gazette,you would already have an introduction on what a fantastic guy he is. The band played at BAM Fest (Belleville American Music Festival in July). I had suggested you check him out,buy his CD,and in case you need further persuasion – read the following interview I had with him.

AG: Aaron Williams and the Hoodoo was formed in 2007. Where did this unique name come from?

AW: I had seen a famous artist from New Orleans and his CD was called Hoodoo Moon. I liked the cover and the name, and liked what it represented.

AG: You were a quartet at the beginning, now you are back to a trio. This apparently was a good change for the band. Tell me how you met these guys and how this came about.

AW: Actually, it is a 4 piece band on our CD, but not Pete playing the saxophone. We were only about 1 month old when we recorded this CD. We wanted more or less of a Blues Rock sound,this is hard to get,hard to keep 4 people 12

on the same page. When Pete left, we decided to stay a trio. The 3 of us always got along. It was like 2nd nature. I actually met Eric through playing with my Dad and Mike Turk at jam sessions.

AG: Aaron you have the reputation of a charismatic front man. The crowd gets into you as

soon as you set foot on the stage. You come from a musical family, your father being Cadillac Joe Andersen. You started playing guitar at age 16 and would play at the Silver Moon with the veteran players. What was this like as a teenager of 16? Was being around your Dad and his friends what was the encouraging factor in your music career? w w w. a m e r i c a n a g a z e t t e . n e t

AW: No one really knew about it at school. I went to school in a small town and didn’t talk much about this. It was so intimidating meeting these players at the jam sessions. Dad never pressured me to play, I was surrounded by great music, people coming over to the house, and it was just in my blood. Once I heard the song,Riviera Paradise by Stevie Ray Vaughn, I loved it and thought this couldn’t be beat. How can that much emotion come out of a song and a guitar.

AG: Aaron,you are a phenomenal guitar player.

Who taught you how to play?

AW: I had a few lessons,but mostly self taught.

AG: You toured the Midwest with your Dad – The Cadillac Joe Blues Band. What was this like for a teenager?

AW: I was actually 18 years old at this time. I had played jams for the past two years, since I was 16. I was still learning. Now I was just out of school and I wanted to play real bad. Although Mom and Dad said I needed an education, so I pursued a degree from Whitewater U.W. Music though is a lot more fun!

AG: Aaron,you look so young. Exactly how old are you?

(You don’t have to answer if you don’t want to.)

AW: I will never get bored. It’s just fun!!! Right now we are hauling everything in an old Explorer, but we are working on getting a van.

We are planning an East Coast and Southern states tour in the near future and will need this for the traveling. Things are moving along nicely.

AG: Your Siamese Crocodiles symbol, what does it mean and where did you come up with it?

AW: It means togetherness. I did a search on the Internet – African Symbols and there it was.

AG: Where are you playing next?

AG: Aaron, you played at BAM Festival. Did you get to talk to the other entertainers and what was your overall take on this festival?

Would you play it again?

AW: I was able to talk with a few of the band members,but I didn’t really get to talk to any of the main people. The festival was great and I was honored to be able to play at it as we are a very new band. I would play it again in a heartbeat!

AG: We have a mutual friend, Beth Kille (of Clear Blue Betty). Beth told me she was writing a song for you. Did you receive it yet and what do you think?

AW: We are off to La Crosse again.

More shopping to do at Dave’s Guitar Shop. (My husband became jealous at this point as he listened to this interview.)

AG: What does the future have in store for Aaron Williams and the Hoodoo?

AW: Lots of good things. Going into the studio soon and we have a label/production company interested in a song, so they may be willing to put up the money and a plug for us. We have met some really good people,and this has been very helpful for us as we are just starting out.

...AARON WILLIAMS AND THE HOODOO

AW: (He laughs.) I turned 25 last Thursday.

AG: Is playing your livelihood or do you work somewhere else?

AW: Playing is my job now. I did work a couple of years at U.W. Madison, but I wanted to play music. I give guitar lessons also.

AG: If you had a chance to meet and play with anyone in the world, who would it be and why?

AW: Do they have to be living?

AG: No AG: It would be Ronnie Earl from Boston, MA. He is an unbelievable guitar player. He never sings,just plays. It is amazing to be able to hear what he is saying with just his guitar.

AG: Aaron, do you think you will ever get tired of this? Touring the Midwest, how do you haul all your equipment?

w w w. a m e r i c a n a g a z e t t e . n e t

AW: Yes,Beth is a sweetheart. I did receive the song and it is great. We have performed some shows with Clear Blue Betty and they are great to work with.

AG: You are working on a new CD. Who does the writing of your songs? What inspires your writing?

AW: The first CD is mostly covers. The new CD will be all originals. Of the 14 songs written, we will pick 10 for the CD. Of the 14 songs, I wrote 12 of them, Eric and Z.T each wrote one. One time I saw a picture of an old man sitting on a porch. I wondered what’s going on in this picture and then the words come together. I guess this kind of thing helps me to write. I write both on the electric and acoustic guitars.

AG: What do you use for equipment?

AW: The stage set up is a 72 telecasterthin line, 66 Super Reverb, my new toy that’s only a month old. It’s all original Fender. Pedals are a Keeley tube screamer, crybaby Wah and a few others for certain songs.

AG: Do y o u b o o k y o u r own jobs or do you have an agent?

AW: In the area we book our own, but we have a booking agent for some out of the area jobs.

AG: What would you like people to know about Aaron Williams?

AW: I would like people to say, he is a good guy, respectful. A real down to earth person and hopefully be known as a good guitar player.

Well there you have it. What more can I say about Aaron Williams? He is one of the nicest, most gracious people I have ever met. And he isn’t hard on the eyes either! He is a phenomenal guitar player, and he has truly earned a space in my heart as a dear friend. I hope you enjoyed this interview and by all means check him out on the web @ aaronwilliamsandthe hoodoo.com, watch for his new CD and go see him in person. I will be following his journey as he advances to the big time, you should jump on the bus too!

Written by: Joyce Ziehli Photo by: Lynn Nimsomboon

13

watch for awhile if it is an OK venue. (A couple of the women in the group play in bands with their significant other, so obviously he is there!)

AG: What does your spouse or significant other think about you playing in a band? Especially if there are other “guys” in the band?

“thoughts from women musicians…” has recorded several CD’s. Anne plays guitar and likes to perform at coffee houses.

This issue of the Americana Gazette’s Women in the Round is featuring “thoughts from Women Musicians”. The following women musicians participated in the discussion.

LAURA ENGLAND – Female singer/songwriter for the past 3 ½ years in the band, Mudd Angels. This is Laura’s first real band, she has performed in choirs, directed an a cappella group in college,and sang back up for her twin sister’s band.

JENNIFER HENDRICKSON – Female singer off and on for the past 14 years in the band, The Crashers. Jennifer has been involved in music since she was 6 years old. She took private vocal lessons and has performed with Jerry Coplien and Steve Meisner just to name a couple.

ROSALIE HUNTINGTON – Performed in the past with Russ Wilson Band and currently plays accordion with her partner Ron Kittleson and his brother. They mostly play dances, anniversaries, birthday parties and entertain at area nursing homes. Her group also helps out at the New Glarus Hotel when needed.

ANNE SPENCER – Female singer/songwriter.

Anne started writing at age 39 and has written a number of songs. She does folk singing and 14

BETH KILLE – Female singer/songwriter in the band, Watershed from 2000 – 2002 and Clear Blue Betty from 2002 – 2008. Beth plays guitar, mandolin, bass, keys and used to play clarinet and saxophone.

After introductions were made and everyone was settled in with some coffee, lattes and fresh baked pastries from the Fat Cat Coffee Works, we settled down and started to chat.

The following are some comments from questions I shot out to them: AG: Are you married or have a significant other? If yes,are they supportive of your music career?

WITR: All agreed that their current “hubby or significant other” was very supportive of their music career. The guys have always been there for them and they wouldn’t be where they are at now without the support of these men. The guys are proud of us playing. On the other hand, the x-husbands are another story completely.

AG: Does your spouse or significant other go along when you play? If not, why?

WITR: Yes, most of the time. The guys usually drag some of their friends along.One comment was,“If I feel it is a big job or important to me, he usually will come along.” Sometimes they have to stay home because of the kids, and sometimes he just brings the kids along to

WITR: When you are playing in a band with others, you become very close to them. They become like family. Sometimes these other band members know more about you than your partner. They are like brothers to us. You have to be good friends with the other band members, or your band will probably not stay together. There really isn’t a lot of jealously detected, the trust runs pretty deep between us.

We do think the guys worry more about our safety, especially when we have to travel a distance. Guys in the audience always seem to assume you are married to one of the other band members. This is kind of funny.

AG: If you have children, what is their prospective on you playing in a band?

WITR: It’s like running the gamut, there are highs and lows. We try to spend as much quality time with them as possible before we go play, then once we are on the road to the gig, we start focusing on the music. Cell phones are great as we can call the kids whenever we want and check in on them. It is hard when we have to play and can’t attend a concert or other program. This really tugs at our heart strings.

AG: How has being a musician affected your personal life?

WITR: Playing music keeps us whole and happy. Who doesn’t want to be happy? Music is essential in life. Playing has helped me overcome my shyness. The joy of seeing the happy faces on our audiences is what does it for me, there’s nothing better than making others happy and this is personal gratification for me.

It really has changed my circle of friends from a bunch of college buddies and coworkers to this huge network of musicians. I haven’t lost touch with my other friends, but I spend a lot more time in the company of other musicians and songwriters than anyone else these days.

I’ve met some incredible people.

AG: What types of music do you like to play?

Is this also the type of music you like to listen to? w w w. a m e r i c a n a g a z e t t e . n e t

WITR: The type of music I listen to depends on my mood. Most agreed that they liked happy music. There was quite a variety mentioned, everything from rock, folk, old time country to rhythm and blues.

AG: Do you write songs and if so what influences your writing?

WITR: Influences were people,places,friends, nature, environmental issues and real life experiences. Watching movies also was mentioned.

AG: If you play in a band (or have played in a band) with your significant other, have you felt competition with each other?

WITR: Not really, once in awhile there may have been a little competition. The women would like to know how their husbands or significant others would answer this question. I can’t say who said this, but I have to share this direct quote’“Great question! I’ve never felt like we were competing. I think he’s content with what he does. While he’s very charismatic and adorable,he’s not one to seek the spotlight like me. God help us if I’d ended up with a Diva like myself!”

AG: What are your musical dreams or goals?

WITR: Try to make it and get our songs published. Continue to make music and make people happy. When we were younger our goals were different, they change as we grow older, and will probably change again in the next 5 years. Just keep making music,write a number one song so our hubbys/significant others don’t have to work anymore!

AG: What are your favorite types of venues to play?

WITR: SMOKE FREE!!!!!!! The big outdoor festivals are great,but we also like the quiet coffee shop/listening room kind of show where people are really there to hear the music and want to learn more about what was behind the making of a song. We love that kind of intimacy.

AG: What do you think about the music scene around our area? The music scene nationally?

WITR: It is great. There are a lot of great performers out there. We have a lot of really talented people in this area. We just need to get people to go out and hear the bands and support our music. Nationally there seems to be a lot of diversity out there which allows writers w w w. a m e r i c a n a g a z e t t e . n e t

a little more freedom to explore different sounds.

AG: What advice would you have for any woman wanting to get started in the music business?

WITR: Be a night owl!! Be ready to work your ass off! You have to wear many hats in this position and you need to be very versatile. You really need to love the business and make it part of your life. You have to be able to immerse yourself in the scene – join a writer’s group or take a course, anything that will help you start making connections. Then surround yourself with people that love and support you – they will understand when it’s time for you to move on and they will always be there to support you. And of course, always welcome feedback from those you admire and use it to better yourself!

AG: What about the men in the crowd “giving you the look”? How does that make you feel and what does your hubby or significant other say about this?

WITR: Hmmm. . . . .the guys aren’t threatened by this. If it’s the drunk guy falling off his bar stool giving you the bedroom eyes, that is just foolishness. But if it is a look from someone in the crowd that we’ve made a true connection with – that is a connection we consider a gift.

continued from page 9

Cowboy: I don’t know. It’s just something I’ve done forever. Never think about it much.

AG: I always think that successful people attract other successful people to them. Your pedigree speaks for itself with all the talented people you have worked with. What do you think attracted those people to you?

Cowboy: I never tried to be trendy. I just never did like what was going on in the trends in music. I was always just looking for something else.

AG: In today’s Country market is there anybody that trips your trigger that might have the staying power of the past greats?

Cowboy: Na. People ask me what I think about music these days and I say“burn it all and start over”. Really.

AG: We agree 100%.

Cowboy: I don’t hear anything that moves me today. I’m kind of at a loss and don’t know what to do. Heck I’ll get lucky. When all else fails get lucky! Someone will walk in here one day or I’ll find someone. I’m going to Memphis tomorrow I might find someone there.

AG: In all your years of doing interviews is there any question you wish someone would ask you or do you have anything you want to say that has not been said?

Cowboy: Well I got a whole list of Cowboyism’s here somewhere. (Cowboy dug them out for me and they were great.

AG: Positives and Negatives of being a woman musician?

WITR: You can really develop some great relationships with others, able to travel and be creative. It is great being able to do what you love. On the negative side, there is the commitment. Dates are booked so far in advance, you end up missing family stuff. You have to perform even if you aren’t feeling the best, or low and behold, you are having a bad hair day or don’t look the best, you have to stand up there and have people looking at you.

Thanks to the women who participated in this group discussion. It was a great morning and as always, the coffee and treats were delicious from the Fat Cat Coffee Works. (Thanks to John and Anne Miller for letting us have our meetings there.)

Written by: Joyce Ziehli

Andy and Cowboy Jac k.

My favorites are: Every church needs a pet sinner and Even an air conditioner has to warm up before it can be cool, If it works check it again, I’m behind cause I’m catching up, Never blow into a dusty bowl, and There is a fine line between being slick and being smooth.)

We talked at length about Polka music, Roger Bright, and Joey Muskiln, his neighbor and Cowboy’s love of dancing. He then took us on a tour of his studio and the grounds. It was one of the best afternoons I have spent, and would love to have the opportunity to spend more time with the Cowboy. A man whose shoes will never be filled.

Written by: Andy Ziehli Photos by: Andy and Joyce Ziehli

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E

ast Nashville has a plethora of folk, alternate country, Americana singer/songwriters. Todd Snider being amongst this group, one of the most clever songwriters I have ever heard with his shows being intimate settings giving Todd a chance to share his wit and ingenious humor with his audiences.

Todd was born in October 1966 in Portland, Oregon.

Snider is best known for his hilarious story telling prior to his song performances.

Todd tells his audiences that sometimes he’ll “go on for a many as eighteen minutes in between songs.” Snider steps barefoot onto the stage, usually armed with an acoustic guitar, harmonica and microphone. Todd’s discography consists of: 1994 – Songs for the Daily Planet 1996 – Step Right Up 1998 – Viva Satellite 2000 – Happy to be Here 2002 – New Connection’ 2003 – Near Truths and Hotel Rooms 2004 – East Nashville Skyline 2005 – That Was Me: The Best of Todd Snider 1994-1998 2006 – The Devil You Know 2007 – Peace Love and Anarchy Live with the Devil You Know 2008 – Peace Queer (Being released on October 14, 2008) In late September, my husband, Andy and myself took a trip South to Nashville. Todd Snider was having a Sunday afternoon Tennessee Titan’s Football party at his home, with a few friends over, including our friend Peter Cooper and his wife Charlotte. Todd invited us over where we were greeted by his wife, Melita and his two dogs, Mr. Jim and Lu Lu. Todd graciously granted us an entertaining interview during half time. Here we go!

AG: What is the one question you wish someone would ask you at an interview?

TS: Oh, right off with a hard question. That is a good question, I will have to come back to that one.

AG: Where did the line come from in your song (If Tomorrow Never Comes) If worms had daggers, birds wouldn’t _ _ _ _ with them?

TS: I don’t know. I think I heard someone say it somewhere. I use stuff I hear in bars. I usually sit in a bar for about an hour and a half before a show and make up my sets, I think I heard it there.

AG: Your stories are so funny. Where do you come up with this stuff?

Are they real life experiences? (Feel free to go on for eighteen minutes or so with your answer if you like) TS: From bar conversations. It all happens, it’s all true, sometimes I

lie a little so I look smarter, or change something to make it shorter. It’s all true stuff that happens to me! This is the way I talk, and I tell it distinctly the way Jimmy Buffet taught me. He has 3 or 4 rules to follow, don’t leave it, get back to your song hopefully without embarrassing yourself too bad.

AG: What or who inspired your song, You Think You Know Somebody?

TS: It was a true experience.

AG: You are requested to play Beer Run and Alright Guy frequently. Do you ever get tired of playing the same songs over and over?

TS: I usually don’t get tired of playing my songs, if I do I stop playing them for awhile and then play them randomly again.

AG: How is being a songwriter today different than when you first started in the recording business?

TS: Personally it is not as stressful.

When I was young, it was a different kind of stress. But I think any 26 year old would feel the same stress today as I did, and it is a different kind of stress when you are older.

AG: Does your record label require you to meet a certain number of sales?

TS: No, I don’t have to get so many sales. I just have to do my stuff, I’m lucky with that.

AG: Do you think the East Nashville vibe and music scene could be the savior of the music industry, or is it just a cottage industry destined to remain a subculture of Nashville’s music machine?

TS: I get the question. I would have to say the latter. I am a fan of the other side of the river. East Nashville is a neighborhood, a rock’n’roll part of town that doesn’t hate country music. It is the same with people who listen to Americana music. You paint the picture the way you want to, so do the other artists.

AG: You record a lot at Eric McConnell’s studio. Is it the atmosphere or the sound quality that draws you to record there?

TS: I record a lot at Eric’s, but I use other studios around here too. I record at Rough Tracks, and Battle Tape where I did a track for an Australian version, I think.

AG: What do you do to relax?

EAST NASHVILLE’S TODD SNIDER “AN ALRIGHT GUY”

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TS: Drink beer, gamble sports, and pick guitar. My wife and I have a special place we like to go to get away. I heard someone say, “When I’m not making music, I’m making music”. I play guitar all day, I get up early and when the Cubs come on, I stop and start cooking. I would like to fish someday, and maybe try karate, no I can’t do karate. Would like to try though. I sing from 5:00 – 10:00, my wife, Melita paints from 6:00 – 11:00, then we mess with the dogs the rest of the day!

AG: Any new side projects in the works?

TS: There’s Peace Queer coming out in October, my new CD. I have a batch of songs going, 5 or 6, some Chuck Berry type of rock’n’roll stuff. Peace Queer is a political record. The one after is kind of like, Carla or If Tomorrow Never Comes, and then the Chuck Berry type of songs.

I want to put out 3 records in the next year. I will be lucky if I can get that done.

AG: What is your take on the music scene in Nashville?

TS: I like all sides of it. I listen to jazz, 40’s music or stuff to clean my palette. I have my favorite Peter Cooper song and my favorite Allan Jackson song I listen to, they are happy songs about life and I like that.

AG: What is your idea of a perfect evening?

TS: Last night was a perfect evening.

Cubs clincher, me and my wife home alone with a fire going. We cooked something and played with the dogs. I also like going to our special get away place, and I like a good show.

AG: Why do you play barefoot?

TS: I don’t like shoes. Most big footed people don’t like shoes. There is a whole society of us.

AG: How did you meet Peter Cooper?

TS: He did an article on me. He came on a road trip and we played some songs together afterwards. I told him he should be a singer. It made sense to me. Most people who write about music, usually play music also. w w w. a m e r i c a n a g a z e t t e . n e t

AG: If you could perform with anyone, who would it be?

TS: The Stones.

AG: What types of music do you listen to?

TS: Dylan and the Stones exclusively. If it is anybody Dylan and the Stones are looking up to, I listen to that group also.

AG: Who taught you to play guitar and harmonica?

TS: The harmonica from some Samoan guys when I was very young, 18. I tried junior college, but it didn’t work. Guitar from Kim Wilson and Fingers Taylor. I was told to do it till it sounds like what you want. I said, hey thanks for the guitar lessons! I am trying to do something that Fingers Taylor taught me, but I can’t do it yet. It’s like trying to play blues over folk and country. I don’t know how else to explain it.

AG: When are you coming to Wisconsin to play again?

TS: February, probably in Milwaukee.

We usually do a month of a cold weather tour in Wisconsin and Chicago.

I usually end up sick by the end of this tour; my goal this year is to not get sick.

Todd has his new CD release on October 14th,. It is entitled, Peace Queer and is a record of brevity, humor and hope.

The EP, on Snider’s own imprint (Aimless Records, distributed by RED, a division of Sony BMG Music Entertainment) will also be available as a free download at ToddSnider.net from October 11th to October 31st. (“The 11th is my birthday,” Snider says, “so I figured, why not give the gift of music?”)

The overtly political “Peace Queer” takes a bit of left turn for the outspoken Snider, beginning with the cover photo, which depicts Snider being held at gunpoint by a shirtless hippie. “Clearly anyone who looks at the photograph can tell that I had been abducted by an international league of peace queers and forced to write protest music. You know, for their cause,” says Snider.

The eight tracks include a Civil War sea shanty, a plaintive cover of the classic “Fortunate Son”, a spoken-word number, a rocket fueled meditation on contemporary culture and a Fred Sandfordish funeral dirge. Credits on this CD include Patty Griffith, Kevin Kinney, Don Heron, Doug Lancio, Will Kimbrough and other luminaries.

“Things happen in this album besides you being told that war is wrong, with a beat.” Snider says, “I don’t know that war is wrong. I just know that I’m a peace queer, and I’m totally into it when people aren’t fighting, in my home, at the bar where I hang out, or in a field a million miles away.”

Andy and I have been to several of Todd Snider’s concerts and I can’t even put into words how great they are. You just have to experience them for yourself!!! Of course, we had a little discussion with Todd about the Green Bay Packers and setting up a fishing trip in Wisconsin, then we left Todd with some New Glarus Beer and some good old fashioned Wisconsin cheese. There could not have been a better way to finish off a Titan football Sunday in East Nashville, Tennessee. Check out more on Todd’s website: www.toddsnider.net, buy his new CD and watch for him when he comes to Wisconsin. Todd Snider is definitely “AN ALRIGHT GUY”!

Story written by: Joyce Ziehli CD information and photos provided by Todd Snider’s publicist.

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Red Beet Records,

East Nashville Home Grown

Many things have been said about the neighborhood on the east side of the Cumberland River in Nashville. It’s not fancy, and it’s not where the major country music labels and stars make their home. But there’s a special kind of music that comes out of this part of town. With its earthy texture and indie spirit, the East Nashville sound is not unlike the music that was created there in past decades when the likes of Townes Van Zandt and Guy Clark were roaming its streets and writing their songs. A music that came from the heart, not from the pocket book. A little bit gritty and more affordable than the tonier neighborhoods across the river, East Nashville is the home of a community of artists and musicians, like Todd Snider and Gillian Welch, who are putting their unique stamp on the place. The lights from Music Row don’t need to shine here. Small clubs host some of the best and truest music Nashville is producing. A number of quality recording studios dot the landscape and a stalwart new indie record label is making its presence felt. Red Beet Records is that label. Eric Brace, a talented musician and performer who is the leader of the superb roots rock band Last Train Home, runs Red Beet with his wife, Mary Ann Werner.

Red Beet Records was launched to provide an outlet and label for Last Train Home and Brace’s other projects,including a 2006 release by the Skylighters, a bluegrass tinged group Brace founded with a couple of his heroes, Mike Auldridge (on dobro and pedal steel) and Jimmy Gaudreau (on mandolin). Once the label was underway, Brace and Werner thought that a compilation disc of songs by their friends and neighbors in East Nashville was a natural next step. Soon the project took on a life of its own and became a double CD collection of some of the brightest and hippest songwriters in East Nashville titled The Other Side: Music From East Nashville, this CD was the start of an expanding journey for Brace and Werner. I was able to visit with them on a sunny afternoon on their patio to discuss Red Beet Records and Americana Music.

AG: How did you get started with Red Beet Records?

Brace: No one wanted to sign LastTrain Home 18

to a big fat recording contract when we started recording in 1997. I had operated a label that did vinyl in the late 80’s and knew how hard it was to get something going so I wanted someone else to put out the Last Train Home record.

I was shopping Last Train Home around to all the Root’s Rock labels and finding no success.

A friend of mine who was a drummer for the band Minor Threat co-founded the Punk Rock label Dischord Records and knew how to do all the things necessary to get it done. He was looking to expand and have a side project and suggested that we put it out together. So we put the record out on Adult Swim Records (no relation to the cable TV show). Adult Swim released three records for us (Last Train Home, True North, and Time and Water), and we released our next CD, Bound Away, on Blue Buffalo, another indie label. By that point the business had changed considerably, and I was managing a lot of the work myself in terms of publicity and promotion, so it made sense to take it over. So Mary Ann and I decided to start Red Beet Records.

Werner: After moving to East Nashville and seeing the wealth of talent in this neighborhood, we wanted to do something to showcase it. That’s how the East Nashville compilation came about.

Brace: We started out planning to do a Nashville sampler but then narrowed it down to East Nashville and thought it would include perhaps just 12 of our friends, but once we started getting submissions, it just grew from there. There was just too much good music to leave off. That is what launched Red Beet Records. We then put out the Skylighters CD. It just made sense to keep going. When we set up the label we made a conscious decision not to market with a prominent retail distributor.

First of all it’s like pulling teeth to get money from distributors in general, and the retail marketing system as we have known it, especially for indie music, is disappearing.

Werner: We made the CD available on the web through our own website (redbeetrecords.com), as well as on Amazon and CD Baby, a wonderful company that makes on-line and digital distribution incredibly easy. CD Baby is a dream to work with. We also dis-

tributed it as promotion to all the attendees at the Americana Music Association Conference in 2006. In East Nashville we were able to retail the CD’s in coffee shops, bars, gift shops, etc. It was a community retail project. It was sort of like locally grown organic vegetables.

Brace: We wanted it to feel local.

We then talked about Brace’s past projects and how I came to know his music through a compilation of songs from the Washington D.C.area called Americana Motel, a CD on which a collection of great songwriters played each others songs. We talked about how the thread of music works its way through to people in many different forms and ways. Brace mentioned how music connects people together and how listening to one song or CD leads to wanting to find others like the ones you love.

Brace stated that using the template of the Americana Motel CD where all these great songwriters played each others songs was very tempting to use for the The Other Side: Music From East Nashville and is still on his mind as a project to do, but just could not be done at the time this CD was recorded.

Brace: What we really want to do is to generate interest in everyone here who plays great music.

Werner: Another point is the fact that the old distribution model was not working for marketing and selling CD’s anymore. When it became apparent that an artist or small label could find outlets for their music on their own, it became easier to put together a template for Last Train Home and it was then easy to adapt it for Red Beet. After you establish contacts with the radio stations and DJ’s who play roots music, the media outlets that write about it, and the local merchants willing to sell your releases, it became easier for us to distribute artists like Peter Cooper and Fayssoux.

Brace: Marketing and selling records locally and to on-line distributors was an easy decision to make. The ability to sell from the stage and make the contacts first hand with the people who listen to the music makes it easier to promote. Word of mouth plays a huge part in selling music today. Downloads and internet radio help to move products. That’s the way people do business now. The old model of initially w w w. a m e r i c a n a g a z e t t e . n e t

pressing thousands and thousands of copies of a CD does not work anymore. You don’t need to do that. First of all there is no place to store that many copies of a CD for most artists and small labels. The template became to press a limited number for on-line sales, sales back to the artist for them to sell at shows, and some for promotional distribution to media and radio. Small numbers means small cash outlays.

And if it grows, then great, you press some more.

AG: Guerilla marketing at it’s best.

AG: When you are working with an artist like Peter Cooper or Fayssoux you are not operating like a conventional label?

Brace: I hope not!

AG: You are not fronting them the money to record. They are paying for the recording themselves. You are pressing it and using your marketing system.

Werner: Peter Cooper and Fayssoux both came to the table with a completed mastered product that was ready to go into production. We are responsible for what goes into the release after that. Of course the artists put their own money and effort into touring and such, which is an extremely important part of having a successful record.

Brace: It is similar to what they used to call a Licensing Deal, but with a little more to it. The artists control the masters.They bring it mixed, mastered, and sequenced the way they want it.

Werner: We are then allowed to market it for a specific period of time. Financial returns change as time progresses for both sides.

Brace: We will probably only work with good friends on this label. Good friends and great music is what is important. We want to make sure that it is a labor of love on all fronts. When we sit down to talk about it we don’t want any of our personal relationships hurt or destroyed by the business end. We are very open and frank about this. So if there are any issues they are discussed openly and in a straightforward fashion.

Werner: We are very clear on who has responsibility for what’s going into any project.

AG: Who decides on the artwork for the CD’s, the artist or the label?

Werner: We provide the art design and graphics work for the covers. But we collaborate closely with the artist and wouldn’t want to put out something the y weren’t really happy with. We want them to love it too.

Brace: We want to have a certain look to our releases. Not that everyone should be the

same, but a definite style that says this is a Red Beet Record release.

AG: The covers are beautiful. Very eye catching.

Brace: Thank you, we are very proud of how they turned out.

AG: Fayssoux’s CD gets played a lot in Madison on WORT,any chance of getting her to tour up there?.

Brace: We would love to get Fayssoux on a Wisconsin tour. She just hasn’t toured far from home yet. We are getting a lot of press and airplay in Europe for her. Part of the model is to get the artist to do some touring. It just has to work logistically for everyone.

AG: In the beginning when you created Red Beet Records did you have a specific model or label you admired and wanted to emulate? Was there a Vibe you wanted to be part of?

Mary Ann Werner and Eric Brace

Brace: I don’t think so. We had an idea of what we did not want to be. We did not want to be a label that has total control. We wanted the artists to own the master and have creative control. We wanted it to be artist driven.

Werner: It grew organically over time with the addition of Peter and Fayssoux. We did not want to be like larger labels where the artist did not see any money for the work that they put in. We wanted to have a model where, at least to a reasonable extent,the artist got to see some money right off the bat and they could see that they were actually being productive and earning cash for what they did. They may not see large numbers for the size label we are but they will see a return on their effort from the very beginning.

Brace: Another way Red Beet is different is that we don’t take publishing rights to the songs themselves. Today many labels only

offer 360 deals where they get a piece of everything the artist sells,T-shirts, CD’s, publishing, etc. We do not operate like that. The artists can exploit those ancillary rights themselves.

AG: Are you pursuing new artists for your label at this time?

Werner: No, we are quite busy as it is! We do receive submissions, and we try to give everything a good solid listen. But we are very clear with people that we have small bandwidth, are very hands-on and we don’t generally work with folks we don’t know well. That is not to say that we won’t if the right material or artist presents itself. We are a very small label and we have already put out two releases this year with another coming out in the fall, a duo record by Peter Cooper. Eric has a couple of projects in the formation stages too.

AG: You just approach artists with a one CD deal?

Brace: Yes. The world moves so fast right now. We are not a business with a 20 year business plan.

So it doesn’t really matter to us if we have options on our artists for additional CD’s. If one of our artists gets a super record deal with a major label, that’s great. We’ll help them celebrate.

AG: What are your goals for the future?

Brace: To keep Last Train Home going, to release the Eric Brace & Peter Cooper Album, and I have a couple of things in the pipeline. We just want to stay on top of the market we are in. It’s hard to keep track of all the changes in the information and entertainment world; who are the program directors, who are the writers, which magazine has gone out of business and which magazine has started up. If we had not crossed paths with you, for example, how would we have known about the Americana Gazette? We also want to make sure we can keep up on technology and get a better handle on the internet.

Werner: When you don’t have a staff of ten it’s hard to keep up on everything that is happening. Eric needs to carve out creative time to write, and it gets hard to do that when you have so many other business-related things to do.

Brace: We want to keep Red Beet in the pipeline. We want to find ways to promote our music. We came up with the name when we were gardening. There is precedent with that sort of name from Apple Records, or Tomato Records for the Townes Van Zandt releases.

Werner: It’s been a labor of love putting out all our CD’s. After the success of the “East continued on page 27

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A PET NOTE My name is Wuggles – Can you believe I’m 98 years old in dog years?

I don’t think I look a day over 50.

I bet I know what your first question is.

Where did the name “Wuggles” come from?

Wuggles is an old family expression for “hugs”. And hugs are exactly what I like to receive!

I’m a 14 year old Jack Russell Terrier and I live in the outskirts of town in South Carolina with my owner, Fayssoux McLean. (Fayssoux is a wonderful songwriter/performer – in fact you can read all about her in this issue of the Americana Gazette.) Fayssoux had read me the PET NOTE article from the 1st Americana Gazette about Russell Cooper, Peter and Charlotte Cooper’s miniature dachshund from Nashville, and I felt I would like to grant an interview also. Now, I have never met Russell Cooper in person, but I think he has a pretty cool life and he’s so lucky to be able to enjoy his warm piles of clothes right from the dryer.

I on the other hand, have short bristly hair which falls out everywhere, so I’m not allowed to jump on the clothes piles. (In fact, Fayssoux has considered buying a white bathrobe as my white hair stands out on her velvety blue robe.)

I may be older, but I am still spry, and a little set in my ways. I really like structure in 20

THE TALE OF TWO GOLDEN TAILS my life. I like my meals at a predictable time, and of course I like the people I live with to be on schedule. If they goof up the routine and start acting spontaneously, I become a little agitated at them, and have to give them that certain bark to get them back on track.

Jack Russell Terrier breed comes from England, where they were bred to seek out foxes and small game. I don’t have much access to any foxes, but I am quick to the draw on any squirrels or other critters disturbing the landscape. (Fayssoux told me to leave the frogs and snakes alone – sniffing only from a respectful distance!)

My days are quite busy. I enjoy a snack of tidbits of toast and am willing to do many tricks for a bite. I will sit, shake hands, stay or lie down, but under no circumstances will I roll over! I also enjoy roaming around the house, sniffing the plants, and taking a nice long snooze. When Fayssoux plays guitar, I lie down and wait. I love listening to her sing, and I can tell by the way she looks at me, that she loves me too. And if I should ever want anything, I just bark quite vehemently until she does something about it. Life is good!!!!

Written by: Joyce Ziehli (Info and photo furnished by Fayssoux)

Dear Auntie, Joyce, Dad told me that for my first assignment of the school year, I must write a bio-graphy of Daisy Mae and an autobiography of me. If you need more I work cheap.TREATS!!!!!

I was born on October 1, 2006. My hometown is St. Croix, in northern Wisconsin. I must be of the upper class for I was born to a long, long of hunters. Bred for retrieving, a field-dog the experts say, and being next to my master at all times. Dad does not hunt but does trout fish and has promised to take me with him next spring. Often I asked why I couldn’t go now and he says,“no!” He attempts to explain that I am too young and squirms like a snake when I get all happy and excited and probably will scare all the trout away. I’ll be patient, loyal and will wait just like a good dog I am. Besides, I have enough fun retrieving the ball and riding in the front passenger seat of the Pathfinder when we go places. But there are the times I have to give-up the passenger seat for Mom and then crawl into the back with my sister Daisy Mae. Now my sister on the other hand, is from Mason City, Iowa. Don’t tell her, but she was a rescue dog.I tolerate her and also love her.Dad says Daisy and I are like peas and carrots, always together. She has grown bigger than me w w w. a m e r i c a n a g a z e t t e . n e t

If you have read the first two issues of the Americana Gazette, you know that I write the Pet Note column.

Well, our creative director, Ric Genthe, has two golden retrievers that were very upset that two issues have gone out and they had not yet been interviewed. And since they help their Dad, Ric with his daily work, I did not want them (or him) to go on strike – so I asked Ric to please do an interview with his “girls”, Sadieand Daisy. Here is the “tail of two golden tails”, story told by Sadie and written by Ric Genthe. (Sadie’s handwriting wasn’t the best.)

By: Joyce Ziehli

Sadie Marie and Daisy Mae.

and we are forever roughhousing and playing.

Sometimes she gets a little too playful and I have the scars to prove it. I figure I’ll just let her have her fun.We just like showing off for Mom and Dad and visiting guest when they stop by.We must be doing something right for they are always giving us treats.

I always fine time to be with my Dad.Wherever he is you’ll find me.Daisy Mae is more attracted Mom and will spend the time going back and forth between Mom and Dad just see where they are at all times. She loves bounding in the house from her morning walk and run upstairs to see where Mom is. But strangely enough when we all go to bed Daisy would rather sleep on her own couch in the bedroom.You’ll find me between Mom and Dad at the foot of the bed. Coming from a litter of 8 pups maybe that's the reason I like to snuggle and be with them.

Daisy loves to run and run and run again.When Dad lets her and I out to do our thing in the morning she’ll take off through the backyard.

Running around the trees,through the flowers, which upset Mom, around the trees again and finally finds her favorite spot to do her mornw w w. a m e r i c a n a g a z e t t e . n e t

ing ritual. I like to take my time and check out the new scents that came through the yard during the night and finally locate just the right spot. I think you know what I mean. Patience is a virtue.

Daisy Mae Duke was born on October 23,2007 and Dad claims that having two young pups around is like having two 5-year olds in the house. We do tire him out at times. But, he needs the playtime with us. His work is a little stressful and I can sense when my sister and I need to take him for a walk and get him away from his computer for a few minutes.We help to keep him in a healthy frame of mind. We keep him company during the day while he works from his design studio over the garage.

Often I hear him say that he could not ask for better employees. Something about the pay being cheap. He often wishes that we could learn to answer the phone. But, we do let him know when someone is at the front door.

One of our favorite things to with Dad is to sit on the floor and just be two pups and play with him. Daisy Mae refuses to retrieve a ball like a golden retriever should. Dad says that Daisy is golden, but not much of a retriever.

When you do look closely at Daisy you do see a little bit of a coon dog in her. Dad thinks that she probably has some Smokey Mountain heritage. Probably a bloodline that goes back to the War Between the States. Her great distant relatives probably served with General Stonewall.

Dad often kids me that I’ll probably grow-up to be a biochemist. But, he thinks Daisy Mae will probably be happy working the third-shift at the local truck stop as a waitress.

All I know is that Daisy and I have a great life with Mom and Dad. Would not want it any other way. Each evening as the day comes to an end and the house grows quiet and dark nothing is better than being with Mom, Dad, and Daisy. Either on our three-season porch during the spring, summer and early fall, or in front of the fireplace during those winter months.Two golden retrievers could not ask for a better life.

Written by: Ric Genthe Photo furnished by Ric Genthe

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25 acts... ...you should check out on My Space The following are 25 Wisconsin based Country, Alt-country, or Americana based bands and performers you should check out live and on My Space.com. They are both cover bands and bands that play originals. Each is unique and worth the effort to listen too. They are not listed in any particular order. Some of these acts have the ability to be playing in the “big time” soon, so take a listen to them so you can say I knew them when!

1. Emmettivlle from Madison,WI. They play Americana, Alt-Country, Folk music. Tom Dehlinger on Steel guitar, say no more! A great band.

2. Corey Jenny from Southwest WI. Play AltCountry and Americana music.

3. Back Home Boys from Prairie du Chien, WI. They play Top 40 country music. They are an awesome band to see live. Lead guitarist Tim is one of the top guitar players in Wisconsin.

4. Blue Heels from Neenah,WI. They play AltCountry music. They are different than most Alt-country outfits.There seems to be a lot of hype about them. Hope they can live up to it.

5. Dirty Shirts from Madison, WI. They play Honky-Tonk country music. These guys sound great. A little out of tune, but they play it proud. If you like Hank Williams music you’ll love these guys.

6. Brown Derby from Madison,WI. They play Americana and Alt-country music. They are all over the web.

7. Desperate Otto’s from Waupaca,WI. Great old style Honky Tonk music. They are probably too cool for Madison audiences to get.

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8. Shilo from Madison, WI. They play Top 40 Country Music. Great vocals! They were the Q-106 Country Pickoff winners in 2008.

9. Oklahoma Dumpster Kitty from Madison, WI. They play Alt-Country music. Very earthy sounding. They remind me of early Whiskytown.

10. Auburn from Madison,WI. They play AltCountry music. These guys rock! Very talented, sound like Wilco or Son Volt.

17. Chasin Mason from Milwaukee,WI. They play Top 40 Country music. A lot of talk about them. Not my cup of tea, but I’ve been wrong before.

18. Brain Daniels and the Barrel Boys from Racine,WI. They play Top 40 Country music.

Very talented bunch. People love them on the coast of Lake Michigan.

19. Dear August Madison, WI. They play Americana music. One of my favorite bands of all time. Check these folks out. Period!

11. Blake Thomas from Madison WI. He plays very Americana/Alt Country music. He is a great songwriter. Thomas has the chops to go somewhere where he can really shine.

20. Pat Watters Sparta, WI. He plays Top 40 Country music. Great songwriter. Watch for him.

12. Krause Family Band from Middleton,WI. They play Bluegrass music. They are very talented.

21. The Bar Tab Band Green Bay, WI. They play Alt-country and Country music. A more earthy style Country band.

13. Honky Tonk Twisters from Hooterville, WI. Look out Buck and Merle! These guys are incredible. My vote for best band on My Space.

Cool bowling shirts! True Honky Tonk Bakersfield country music.

22. Kerry McConaway and the Element Milwaukee,WI. She and the boys play Top 40 Country music. A WAMI winner. Great original songs.

14. Cross County Junction from Waukesha, WI. They play top 40 Country music. Two female vocalists. Seven members total. They are very, very good at what they do.

15. Rachelle & the Red Hot Rattlers from Madison,WI. They play Country Music. Have been a staple in the Country Music scene in Madison for years. Dave Ahrens and Steve Gunlach are great musicians.

16. Madison County from Madison,WI. They play Top 40 Country music. These guys are the Super Tuesday of Country Music in Southern Wisconsin. Kevin Hendrickson is one of the best Country drummers playing today. People love these guys.

23. The Thompson Brothers from Sturgeon Bay, WI. Old timey Country music and Bluegrass. They are phenomenal!

24. Big Butt and the Brew Masters Eau Claire,WI. They play Country and? Great pickers. A little different, but that’s okay 25. Spittoon Madison,WI. I don’t know what to call their music. They are really, really different. I don’t know if this is on purpose, or if paint chips were consumed as children. It’s country but not your Daddy’s country. Check out I’m on a jag and Bender. Let me know what you think.

By: Andy Ziehli

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Country Schools Venture Into Show Business

They were called country schools by some people, rural schools by others, and some people called them one-room schools (although some had two rooms). They were the main sources of elementary education in rural Wisconsin until they began to phase out in the 1940’s and by the 1960’s were probably all closed. The country-side was speckled with those one room school houses with two outhouses behind them. Today you can spot some of them as homes or storage sheds and some are not used at all and can be spotted falling into ruin. I went to a rural school for my first six years of grade school, and when I began teaching, I started in one in Attica, Wisconsin (located between Belleville and Albany). The big social and cultural event of those schools was the annual Christmas Program. Yes,we did not sugar coat a thing. They were not holiday programs or winter shows, but they were Christmas programs including Christmas music and plays or skits with a Christmas theme.

Some schools even included a pageant that could really be considered a religious pageant.

Bathrobes were most common as the costume for the three Wise Men. I was a student in six of those Christmas programs, and I was the teacher directing five of them.

The Christmas program was well attended by everyone in the school district even those families without children then attending that school. Grandparents and aunts and uncles and cousins and friends attended. The one room was generally packed with all these theater goers. A big Christmas tree decorated by the students crowded into one corner. Piles of presents filled the area under the tree. Students drew names, teachers gave gifts to each pupil, and the pupils gave the teacher a gift, too. Bags of treats were prepared, usually by the teacher, as gifts to the younger children in attendance that night. The night of the program was usually a few days before December the 25th.

Let me tell you about the program from a teacher’s view point. They were fun, but they were a lot of work. I would attend the state teacher’s convention in Milwaukee the last week of October or first week of November.

There were tables upon tables of education tools and books and equipment for sale at the w w w. a m e r i c a n a g a z e t t e . n e t

convention. I would head to the tables selling books of plays and skits and recitations. Once home I would go through my new purchases and select things I would use for that year’s program. I had to consider how many persons in the cast before I could select a certain play.

Skits were easier to fill and the recitations were easily matched to my student population. I would write my own skits, too. I had a student that was very good on the accordion, and she and I would pick the music we would use that year. We would select a few Christmas carols, but we also would pick some pop songs of that year to include in our program—often our versions of Your Hit Parade. Our art classes would be making the props for the program. Parts would be handed out the day after Thanksgiving as we had school that day in those days.

Practice began the following Monday.

Classes would be condensed into shorter periods of time and a recess dropped so that around 2:15 we could begin our daily practice.

Some citizens of Attica had bought an old empty church building, and that was our “Broadway Theater”. We would walk there and rehearse on a daily basis. A curtain would cover the entire front of the pulpit area and sheets strung on wires acted as the theater wings. I would go to a tree farm to find the biggest tree I could carry home, and the students and I would string the lights and put on the decorations. I can still picture the tree and that great space we had in Attica. People filled every chair. At the appointed time the students arrived and made their way behind the curtain.

A few could not control their curiosity,and you would see them looking out between the curtain to see who was in the audience. Glad cries of happiness could be heard when a special person was spotted there in the audience.

The teacher would step out from the pulled curtain to welcome the guests and thank them for coming. The announcement would be made that Santa Claus had agreed to appear at the program that very evening. The program began with a first grader stepping out to make a short welcoming recitation usually including a line about “being so small or young”. Songs and skits and plays followed with more recitations between the longer items of the program to give the cast time to get set up for the next

event that would occur once the curtains were opened again. The one hour or longer show would speed on its way, and then everyone waited for the sound of Santa. And soon he would make his entrance, greet individuals, pass out gifts, and make wishes for a Merry Christmas, and then he would announce he had to leave for another school down the road.

Oliver Maas and Jake Wettach were my Santas.

Years have gone by since those days, and I still get Christmas cards from some of those students, and occasionally someone will spot me and fondly recall those golden moments of the Rural School Christmas Program.

Written by: Bob Hoffman

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FAYSSOUX MCLEAN AN ANGEL’S VOICE IN SPARTANBURG, SOUTH CAROLINA This last March while I was in Nashville, I attended a CD release party for Peter Cooper and Fayssoux (pronounced Fay Sue) McLean. What an evening of entertainment this was! Our first issue of the Americana Gazette featured an article on Peter Cooper. Now it is time to let you readers know all about Fayssoux. I was lucky enough to meet Fayssoux that night and she was delighted to do this recent interview with me.

Fayssoux McLean was born in Spartanburg, South Carolina. She is 4th generation Spartanburg! Fayssoux spent her childhood in Spartanburg and then went off to college, moving back to Spartanburg in 1993. From her college days until 1993, McLean lived in many different places, Mississippi, Alabama, North Carolina, California, Georgia, Washington, Maryland,Virginia and Pennsylvania. McLean is a very talented songwriter and performer and overall fabulous lady – read on and see for yourself.

AG: How old were you when you got involved in music and how did you get inspired in your musical career?

FM: I was always musically aligned. I heard songs as a child and I would try to pick them out on the piano. I started taking piano lessons at age 5. Music has always affected me emotionally. I would never sing by myself, I’m very shy. I would never even sing in the shower, I didn’t want anyone to hear me. I’m still shy, especially when they let people in early during a sound check. (I told Fayssoux she didn’t seem shy when I watched her perform at the Station Inn in Nashville, and she replied. “I fooled everyone”.)

AG: Was your family supportive in your career choice?

FM: I didn’t really make music a career choice until last year. I grew up with the idea that your vocation wasn’t supposed to be your career. I went to school and majored in English, then I attended Graduate School and received a Masters in Speech Pathology. I was busy teaching school and it never occurred to me to do music as a career. When I met up with Peter Cooper again, he encouraged me to write and start playing guitar and singing out in public.

AG: Is making music/writing songs your main source of livelihood?

FM: Yes, it is now. This is all I am doing. I’m talking to other musicians, doing interviews, managing 2 websites, and keeping 5 calendars going. This takes up many hours a day; I didn’t realize how much work it was. But I am truly in hog heaven!!!

AG: Are you going to move to Nashville?

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Fayssoux and Em mylou

FM: Sometimes I would like to. (She laughs) It would be a lot easier to play with my friends there without having to drive 300 miles.

AG: You already stated you play piano. Do you play any other instruments?

FM: I play guitar and piano. When I can’t find the notes on the guitar, I go back to the piano.

I got my first guitar at a rather late age, when I was 35 years old living in Washington. I only knew how to play Bluegrass chords then and my fingers really stayed at the top of the neck in that one little area. The guitar is not second nature to me and I knew nothing about the neck. Absolutely no bar chords at all. When I moved back to Spartanburg in 1993, I started taking lessons and asked the teacher to please show me some bar chords and what was really going on between the top of the neck and the sound hole. When I get lost playing, I refer back to my security chords, my Bluegrass chords, then I have to make my fingers work the new chords. I play the same old guitar, a 1953 Martin D18 which I bought in 1975 from a Bluegrass musician named Smiley Hobbs. It is old, plain, wonderful sounding, easy to play and it just suits me just fine! I like to look at decorative guitars when I visit Gruen Guitars in Nashville, but I prefer just my plain old basic meat and potatoes.

AG: When did you start writing songs?

FM: In 1988 when my daughter Sara was about 6 months old, I made up a song for her on the piano. I called it the “Jumping Song” She used to jump in one of those bouncy seats

suspended from the doorway, and the rhythm of that jumping just required a tune. I still play this song when I perform at schools and always invite the kids to come up and jump along,usually having the teacher chose the antsiest boys in the class. I also wrote another one for a church retreat I attended called,“All Things Are Possible.” This song is a mantra to encourage people who are having difficulties and to help them feel hopeful. My mother loved this song.

AG: Who inspired your songwriting?

FM: When I met Peter Cooper I began playing a lot. Peter was writing songs, and he introduced me to other songwriters, which opened me up to a whole new creative period. I need to come up with more stuff now for my next CD. AG: What inspires you to write?

FM: Obviously my daughter jumping. (laughing as she says this) I want to encourage people and affect people in a positive way.

Personal experience encourages me. Sometimes I sit with the guitar and just experiment with chords, or the interval between a couple of notes,and this sometimes calls up the words, and then I go from there. I always start in a different way and let my mind wander. I am not a structured person, so I have no formula that I follow.

AG: You sang harmony on Emmylou Harris’s track,“The Connection”. The Grammy Award winner in 2005. How did you meet Emmylou Harris? w w w. a m e r i c a n a g a z e t t e . n e t

FM: I was living in Washington at the time with my former husband, John Starling. John was a Bluegrass musician and a surgeon at Walter Reed Army Hospital. He and his group The Seldom Scene played at a local club and also frequented other clubs, where one night he went to hear Emmylou, and ended up bringing her home to meet me. The three of us stayed up till wee hours in the morning singing. Emmylou loved my harmony singing and I loved Emmylou’s singing. We hit it off right away. After Emmylou had Brandon Turner been discovered and moved to California, she had me come out there to record with her on her first 5 albums produced

by Brian Ahern. About 35 years later, she asked me to come from Spartanburg to Nashville to do harmony on“The Connection”which was a bonus track, again produced by Brian, for a retrospective album. It was a great experience.

AG: You always refer back to Peter Cooper.

How did you hook up with Peter Cooper and Eric Brace?

FM: After my present husband retired in 1993, he, my daughter and I moved back to Spartanburg. In 1997, Peter Cooper called to ask if he could interview me for a book he was writing on local musicians, called Hub City Music Makers, which he wrote in 1997. I asked him why on earth he would want to interview me.

Peter responded that I had sung on some very important records with Emmylou Harris. We did the interview and ended up doing some singing together at book signing parties, and at a concert celebrating the book. I wouldn’t be singing and playing now, if it weren’t for Peter Cooper. Then in 2000, Peter moved to Nashville and started writing for the Nashville Tennessean. Shortly after Peter left, I thought I maybe had enough songs for a record. Peter told me to come to Nashville and do it and he would set everything up in the studio. That’s where I met Eric Brace,a friend of Peter’s. Eric was commuting back and forth, writing for the Washington Post and playing in a Nashville Band, called Last Train Home. He stayed an extra day in Nashville to play a very special guitar part for me on the California Earthquake, a Rodney Crowell song. At this time I had no idea Eric would be the owner of Red Beet Records and that my new CD would have a home as well! Eric Brace and Mary Ann Werner were great inspirations.

AG: Tell me about the making of your CD – “Early”.

FM: It was incredible, exciting, scary, and terribly intimidating. I had been working with a phenomenal guitar player,BrandonTurner,who was the best guitar player around, just 25 years w w w. a m e r i c a n a g a z e t t e . n e t

old at the time. I brought him with me, hoping he would be just right for the CD, as we were used to playing my songs. I had no idea how things would work in the studio, but I wanted people in Nashville to hear him play.

Peter Cooper had lined up these incredible Nashville studio musicians with pedigrees, and we were driving up to Nashville to see how it would all come together. As it turned out, Brandon fit in perfectly, and played on most all of the cuts,trading off on bass,guitar and keyboards. I had never met Lloyd Green, pedal steel icon, who made so many songs come alive with steel and DoBro, and turned them into real beauties. He was very sensitive to the writing and developed sub-melodies that instantly enhanced the songs, taking them in unpredictable directions . I asked Emmylou to sing harmony with me, Ricky Skaggs to play mandolin, and with his wife Sharon and her sister Cheryl –The Whites,and David Ball (from Spartanburg) to help sing on my original songs as well as songs I learned from my grandmother that were very important to me. It was a fabulous experience.To have been a steward of family songs for so long, and finally hear them in their final form with these incredible musicians playing with me was unbelievable. Two weeks and we cranked it out. Peter Cooper produced it with a wonderful eye toward simplicity and taste. Peter is also the winner of multi-tasking.

When Peter surprised me with champagne at the listening of the rough mixes that last night, I just burst into tears listening to what had actually come true in the studio.At Emmylou’s that night, I told her I had boohooed through the whole thing, and she said happily, “ That’s what you’re supposed to do!”

AG: Plans for making another Lloyd Green CD in the works?

FM: I would sure like to. I’m working on stuff.

AG: What was your CD release party like?

FM: I was so happy in that loving crowd of friends and strangers at the Station Inn, and to have Emmylou and Lloyd Green there. I had seen Emmylou backstage a month earlier at a concert near my home,and I told her that I was coming to Nashville for the CD release party and she said,“Put me in coach.” Emmylou said she had to leave by 9:00 P.M. to feed her dogs.

She got way into it though,and stayed way past her curfew. (Emmylou has a dog rescue program called Bonaparte’s Retreat. Actually there is an article on it in this issue.)

AG: People don’t know much about you. Can

you tell me a little about yourself, stuff you would like people to know about you?

FM: I prefer people to discover me on their own. I would rather talk to other people about themselves, instead of me. I just want people to know it is never too late to do what you enjoy doing. I encourage them to do it.

AG: If you could perform with anyone, who would it be and why?

FM: I don’t know how to answer this. I treasure the variety of people I perform with now, and hope that it will continue.

AG: What are your future goals?

FM: I would love to visit Wisconsin. Peter tells me all about the wonderful people he has met in Wisconsin. I want to enjoy success and visit the places where people enjoy my songs. I would love to tour. And I want to go ice fishing, and catch me a Northern Pike.

AG: When people hear the name Fayssoux, what’s the one thing you want people to think about you?

FM: That I sing and play with taste and quality.

Also that my songs affect people in a positive way.

AG: Where can people buy your CD? FM: Check out the web on Red Beet Records, CD Baby, ITunes and Amazon.com.

AG: Where can people see you perform?

FM: They can check out my websites for dates, www.myspace.com/fayssouxmclean or www.fayssouxmusic.com. I also am involved in a program called the Healing Arts, which include music in hospitals, Dialysis clinics, nursing homes,preschools for children with special needs, and halfway houses for mentally challenged adults. Fayssoux shared that music touches people where other healing cannot.

Music is very necessary and produces wonderful results.

AG: Any plans to come to Wisconsin to perform in the future?

FM: Yes, I want a real bratwurst and some Wisconsin sharp cheddar cheese. (I reminded her about what a wonderful place Wisconsin is to go ice fishing and how great walleye tastes.)

Fayssoux was a joy to talk with and you could feel the enthusiasm and joy in her voice when she discussed music. Her words of wisdom are,“Don’t sit in a chair, Do it!”

Fayssoux’s songs can be heard on the Bill Malone show on WORT. Better yet buy one of her CD’s. Take a listen as I’m sure we will be hearing much more from this angelic voice from Spartanburg, South Carolina!!!!

Written by: Joyce Ziehli Photos by: Alex Hicks, Jr. and Andy Ziehli

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BONAPARTE’S RETREAT EMMYLOU HARRIS TO THE RESCUE!!!!

Sally

June Bug Emmylou & her companion Bonaparte (Bonaparte's Retreat)

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hen you hear the name Emmylou Harris,what’s the first thing that pops into your head? If you are like most people, you think she’s a beautiful talented lady with an incredible voice and you love her singing! And you are absolutely right, that is exactly who she is.

But did you know that besides being a Grammy Award Entertainer and having a great love for music, Emmylou Harris has a devotion to animals, dogs in particular. Living in her Nashville household, with 4 dogs and 5 cats of her own,Emmylou has developed and oversees a Pet Adoption Program.

for this project was quite evident as she continued to tell me about the program. Emmylou said it all started about 6 years ago when she lost her soul companion, Bonaparte, who died suddenly. Bonaparte was her companion (dog) of 10 years; he slept in her room, traveled with her on her music tours, was a true member of her family. Emmylou took this very hard and felt that she didn’t want another companion for herself at this time. She felt that she would like to do some “fostering” and maybe become a satellite in Nashville, and that’s exactly what she did.

I had the pleasure of meeting and visiting with Emmylou Harris last March as I attended Peter Cooper’s CD release party in Nashville, where Emmylou Harris performed with Peter.

Indeed you are all probably wondering is she really as pretty and as nice as she is on TV? Yes, by all means. I told Emmylou that my Dad always said she was the prettiest lady in Country Music, and she has the personality to go along with it. She is an amazing lady and Emmylou was kind enough to take time out of her busy schedule and speak with me via telephone about this wonderful program she has started.

Harris has named her backyard shelter on her Nashville property, Bonaparte’s Retreat in memory of her late companion. It has been in operation for about 4 years now. The Nashville Humane Society is a No Kill Shelter, therefore Emmylou rescues most of her dogs from the Metro Animal Control Center in Nashville, as they are probably awaiting death row shortly.

Emmylou’s operation is set up for 3 dogs, but she has had up to 5 at one time. She also works with people to foster dogs in their own homes.

Emmylou states, “If people will provide the space, time and love for these dogs, we will take care of the expense. Most of these dogs are on death row - dogs in danger of being euthanized.”

It’s obvious Emmylou is a pet lover. She had many pets during her childhood, and her Dad was even training to be a vet, so I asked her what made her decide to get involved with this project? Let me tell you, I hardly had a chance to ask any more questions. Emmylou’s passion

Back on Emmylou’s Nashville property, her set up consists of a dog run, igloos and a place for the dogs to be crated at night. If there is inclement weather, or the dogs are feeling under the weather, or have had a medical procedure, they then stay in the Bunkhouse. (Emmylou

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says this is a place just like a room in a house.)

Emmylou along with her staff and recruited volunteers do the basic training for the dogs.

Most of them are just in need of some basic commands and love. Harris states all the dogs are extraordinary and it is heartbreaking to her to think about the ones that don’t get taken from the shelter.

I asked how many dogs she has rescued over the years? Harris replied a few dozen have come through her program and some have taken up to a year to 18 months to find the right placement for them. “There are too many dogs and too few available homes”, Emmylou stated.

On a much happier note, a new addition has just arrived at Bonaparte’s Retreat. As we speak, Emmylou Harris has just rescued an 80# Black Lab mix, named Trooper, whom Harris says has a wonderful personality and is good with kids. I could hear the joy and excitement in Emmylou’s voice as she continued to tell me about Trooper’s arrival and some of her other rescue stories. Trooper joins June Bug and Sally, already residents at Bonaparte’s Retreat.

Emmylou says Sally hopefully will be going to her new home next week, and Emmylou already has her eye on her next guest that will assume this vacancy.

If someone wanted to adopt one of these dogs, I asked Emmylou how the process works? Harris said there is a detailed screening process to go through and you have to be willing to have a home visit by her staff. You can w w w. a m e r i c a n a g a z e t t e . n e t

go online to www.emmylou.net, pull up the link Bonaparte’s Retreat and get the contact information. The process consists of filling out an application with such questions as,have you had animals before, do you have animals now and how many, who is your vet and may we contact them for information on care of your other pets, how many hours will the dog be left alone during the day while you are at work, do you have a fenced in yard, etc.

After this application process is complete, her staff meets with the people and even a home visit is planned.

Harris said they are looking for the best fit for both the animal and the people. It must be a satisfying relationship for both. Once the dog is placed, there is a 2-3 week grace period,in case it is not working out for the dog or the people, you can bring the dog back to the Retreat. And Emmylou was adamant about if you are no longer able to keep the animal, or you are moving and can’t take them with you,Bonaparte’s Retreat is your first call!!!

Me being such an animal lover myself, I had to ask, “How do you handle when it comes time for them to leave your retreat?” Emmylou replied,“I have my own animals. The whole point of this program is to find them their own home. Then I get to go get another – I never run out of them.” (My husband is glad I haven’t started one of these retreats, as I probably would never let them leave.)

I inquired if people are unable to adopt a pet (since most are done locally due to the home visit requirement), can they make a donation to your Retreat? Emmylou was thankful for the thought, but she is not set up as a 501(c) 3 so is unable to accept donations,but she suggested that you support your local no kill shelters, or Happy Tails, w w w. a m e r i c a n a g a z e t t e . n e t

which is a really good organization. There is also the Keeta Fund which supports the rescue, care and placement for animals displaced during a disaster. The Keeta Fund is named after one of Harris’dogs also. For more information, you can contact the Humane Society of the States.

United (hsus.org) Harris says doing this stuff make us all better human beings.

Pets are great! Emmylou has quoted in the past, “Animals can teach us how to be better human beings” Over the years, with doing this program, I asked Emmylou what is the most important thing she has gotten out of this? How have these dogs made her a better human being?

Emmylou replied, “They teach us compassion. Animals give us unconditional love and they don’t ask for anything in return. They are a gift given to us, they enrich our lives. They teach us how to be kind.

There is nothing better than to be greeted at your door by wagging tails” Emmylou and I shared some of our “pet stories”. Her dogs travel with her on tour; they love the hotels, and love just hanging out with her. The singer stated,‘My dogs love me.” I told her that if dogs like you, you are a good person! Well,there you have it. Besides having an angel’s voice, Emmylou Harris is a good person and a voice for the dogs. I thanked her for her time and for her passion in this mission. As long as there are dogs being abandoned or abused, Emmylou will be to the rescue!!

Story by: Joyce Ziehli Photos by: Emmylou Harris & Andy Ziehli

Emmy Lou and Joyce Ziehli in Nashville @ The Station Inn

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Side”compilation, we followed up last year by releasing another compilation of Christmas music from east Nashville musicians, called “Yuletide from the Other Side: More Music from East Nashville”. It turned out to be a beautiful record that we’re really proud of, so we want to continue to release records and promote the artists in East Nashville, and contribute to the music community here.

We wish Eric and Mary Ann the best with Red Beet Records and encourage all our readers to check out Red Beet’s website at www.redbeetrecords.com. You can purchase any of the music listed at their on-line store or at CD Baby. Look for Red Beet Artists Eric Brace and Peter Cooper when they come to Wisconsin for a return performance at Puempel’s Tavern in New Glarus,WI on Saturday November 8th, 2008. They will be performing at 8:00 p.m until approximately 10:00 p.m.

Written by: Andy Ziehli Photo supplied by Red Beet Records.

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Art Sullivan Green County’s Musical Alchemist

I suppose that most people in Monroe don’t realize what a musical treasure and history maker they have living amongst them. Art Sullivan Jr. is a walking zip drive of information on early Rock n Roll in Southern Wisconsin. Not because he memorized it, because he lived it.

Sullivan and his musical compodrea Dick Campbell were the Barry Gordy and Smokey Robinsons of Southern Wisconsin. They managed bands, started record labels, were photographers, songwriters,A & R men, and even engineered and published songs.

Sullivan grew up on the east coast. His cousin Campbell grew up in Monroe. They both loved music, especially the new Rock n Roll sound that was making headlines in the late 1950’s. Sullivan was headed to boot camp when Campbell told him to learn how to play guitar, so when he got out they could perform together. Campbell moved to New England and they started recording bands with the help of Sullivan’s father in their basement. They had an Apex reel to reel recorder and two microphones that they dropped through floor grates to record the bands. The bands recorded the songs that Sullivan and Campbell wrote. They then took them to labels and got them pressed on their own label Cam Sul. The records were sold on consignment at local stores. They even got airplay with their material. When a band did not have the right sound or vocalists Campbell would send for Monroe Rock n Roller Billy Stoker to come out east and record. Campbell sounded and looked like Buddy Holly. Their records were released on Great Records and Swan Records.

After a few years they decided that they could increase their fortune by moving back to Wisconsin and record bands there. They moved to Monroe and set up shop in their Grandmother’s attic. Here they started two labels Sinavista and Cam Sul. They decided at this time just to be songwriters. They started their own publishing company which was very difficult. BMI was their licensing agency. They recorded at Cucca Studios in Sauk City and at a studio in Janesville. They used local musicians Marv Van Horn, Bill Stoker, and Mort Armstrong who all played for free. Sullivan said that in all the years they recorded music all the studios and musicians worked for free on the promise if they hit the “big-time” they would get a piece of the action. Being the entrepreneurs that they were they even pressed their own 45’s and albums at Cucca's pressing plant.

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In the middle 1960’s Sullivan and Campbell hooked up with Ken Adamany out of Janesville. Sullivan remarks that “he was the coolest guy” he had a telephone in his car. They would ride around and talk business and look for acts to sign. Adamany controlled most of the bands bookings in the southern part of Wisconsin. Sullivan and Campbell took pictures of the bands and made lithographs and sold them for extra money. They discovered Jules Blantner playing at Joe’s White Elephant in Monroe and signed him to a record deal. They recorded “2001 a Space Odyssey” by Blatner and 24 other singles.

At the same time the UW in Madison was producing a play abut Peter Pan and featured a nude Peter Pan. Campbell wrote a song about this that was released. Singer Jennifer O’Brien was singing at the Green County House in Monroe and they signed here to a recording contract. She now sings backup for Dolly Parton. To make ends meet Sullivan sold Swiss Records for Cucca and sold advertising for a local paper. Campbell was a sports writer for the same paper.

As their talent grew they started going to Chicago and recording at Liberty Records. Studio musicians who recorded for them were Pete Cetera (played bass for Chicago), Paul Butterfield, and Marty Grimm (of the Buckingham’s). At the time these guys were just young studio cats looking for work. They also used a band they had discovered in Wisconsin named the Easy Beats that recorded one of their songs and got it released on Universal Records.

The guys ended up meeting two girls whom they married. Campbell split for LA and Sullivan went to work locally. In 1969 Campbell called and told Sullivan to move out to California and work in the record business with him.

Sullivan picked up everything and moved to California. Campbell had hooked up with Gary Usher who worked and wrote songs (409, In my Room) with the Beach Boys and produced the Byrds. Sullivan ended up selling advertising for a LA paper and Campbell went to work for RCA Records as West Coast A & R Director.

They hung out with movie stars and the top

Art Sullivan

musicians in LA. Reprise Records hired Campbell to write songs for them. Jim Weatherly recorded many of these. He also wrote commercial jingles for Honda. Sullivan moved back to Monroe and ran an office supply business for many years before starting an ink jet replacement company with his son.

Campbell eventually moved back too, but died shortly there after from complications of a lung transplant. Sullivan says that it was a great ride. They were the kings riding around in their convertibles with there guitars hanging out the back. They were featured in a 1966 issue of Teen Top 10 with the Beatles. The records they made still sell today on EBay where the Germans collect them. With boxes of memorabilia and memories Sullivan is writing a book on their adventures. Dick Campbell has a website that is run by his son where you can see pictures of their past musical life.

Art Sullivan today is proud of his and Campbell’s accomplishments. They were just two small town kids who wanted to be in the music business. They had no experience and no manuals to show them how. They just decided that this is what they wanted and learned as they went.

If you ever get to Monroe stop at the Cartridge Connection and ask for Art. His boxes of music treasures and his stories are something you will never be sorry you asked about.

Musicians today can learn a lot from Sullivan.

Dream your dreams, and act on them. Two small town kids did, and found fame along the way.

Written by: Andy Ziehli w w w. a m e r i c a n a g a z e t t e . n e t

He is the consomant entertainer. Check John out next time one of these bands is playing.

You’ll love it!

3 for 1

The Village Booksmith Baraboo

Story and photos by Andy Ziehli

John Fahey

Barbershop Quartet.

Other events are scheduled all month. Past events included Ben Franklin’s 300th Birthday Celebration, a yearly reading of Ulysses, lectures, Casablanca Night, and many other fun filled events.

Randall explained that the Community has made the Village Booksmith what it is. It embraces it. She compares the shop to a coral reef, it is just a place to start and it grows from there. “The Village Booksmith embraces everyone” says Randall. It is a home to all people who are creative and who enjoy life.

The Back Home Boys

John Fahey is a suburb vocalist and entertainer. He has been playing in bands around Southern Wisconsin for the last 32 years. John started out singing on the tractor as he worked the fields on his dad’s dairy farm outside of Belleville. He sang loudly to be heard above the tractor noise. He loved 60’s Rock & Roll and the Country music he heard on the radio in the barn as he also milked cows.

After he graduated from High School he attended MATC in the Carpentry Program. At MATC Fahey met others who shared his love of singing. He soon joined the cast of Jesus Christ Superstar with Lodi native Tom Wopat.

This experience really got into Fahey’s blood and he soon found another avenue in music to pursue Artillery and the Cannons a 50’s R&R show band in the model of Sha Na Na. The time spent with these talented musicians only enforced Fahey’s drive to become a performer in his own right. He took up the guitar and was soon accompanying himself to John Denver songs and the Rock & Roll favorites of his youth. A desire to travel to Nashville was put aside to work and raise a family.

Soon after his first child was born, Fahey joined a Country/R&R band that was forming in Belleville named Sundance. The other four members included Butch Bublitz, Doug Wilson, Bob Wynan, and Andy Ziehli. They performed for about 4 years with different members before disbanding in early 1983. Fahey then joined Open Sights and continues to play with them a couple of times a year. He also plays with his main band Jug Prairie and the Dixie Earthmovers. He has played and sang in Nashville annually for the last 4 years.

John Fahey is an exceptional vocalist, bass player,and all around good guy. His stage antics and banter is legendary in Southern Wisconsin. w w w. a m e r i c a n a g a z e t t e . n e t

It survived the floods of 2008 even though its owner had to boat to her house each night because the road home was washed out. On the Far East side of the Square in Baraboo amongst the shops and eateries lays a neighborly retreat that contains words, pictures, memories, knowledge, and music. This haven for those who thirst for such eldorado is known locally as the Village Booksmith. The Village Booksmith has a huge selection of new, used, and rare books and also operates a full service coffee house with local baked goods.

The matron of this institution is Anne Randall. She has owned and operated this shop since May of 1998. Along with its resident purveyor of homespun knowledge Dave Chickering, Randall has created an oasis of small town culture and fun. Located on the Square in Historic Downtown Baraboo District,The Village Booksmith serves as a community gathering place and center for the literary arts. Owner Randall has created a warm inviting atmosphere that draws people in for conversation, poetry readings and musical performances in addition to the fun of browsing the stacks of well-chosen books.The Village Booksmith occupies a restored 1880’s historical building on Baraboo Central Square which has won awards and other recognition for historical restoration and energy efficiency.

Each Wednesday evening ¬free live music is featured from 7-10 P.M. by local songwriters who perform their latest songs. Every third Friday evening, starting at 7:30 p.m. an open mic event named “Toast of the Town” after the preEd Sullivan show is scheduled. Everyone is welcome to perform at this event. Just show up and sign in. This event is hosted by local songwriters. All forms of music are appreciated. Past entertainers have included Heath Rush (who just received an invitation to join the San Francisco Opera), an 11 year old jazz trombonist, Steve Ringlestetter a songwriter from Spring Green, Knife jugglers, Show Tune performers, Celtic Musicians, a harpist, Bluegrass pickers, and the Cheddar Chicks a female

The Back Home Boys are a High Energy Country Rock group based out of Southwest Wisconsin and Northeast Iowa. They have been performing in front of large crowds for 11 years.

The group has played for some of Wisconsin's largest Country Music Festivals. They have had the opportunity to open for many National Acts including Rascal Flatts, Alabama, Montgomery Gentry, Brad Paisley, Ronnie Milsap, Nitty Gritty Dirt Band,Martina McBride,GaryAllen,and Josh Turner just to name a few.In 2006 the Band won the HODAG competition in Rhinelander,WI and won the Title, "Wisconsin Country Band of the Year". Having done this in 2002 as well,they are only the second band to achieve this accomplishment twice in the 30 year History of this Festival. They have performed in 5 states and have a fan following from Rhinelander, WI to Western Nebraska.

LeadVocalist GregWebster,Lead GuitaristTim Severson, and Drummer Joe Schroeder started the band in 1996. Other members are Steel and Lead Guitar player Michael Hartz,Bassist Charlie Chapman,and Fiddler Player Doug. They played their first job in 1996 for a small but enthusiastic crowd, which set the stage for them to decide to play out on a regular basis throughout Wisconsin, Iowa, Nebraska, South Dakota, and Minnesota.

Musically these guys have few peers. If I were you I’d check out the Bands website at www.the backhomeboys.com and their myspace page http://www.myspace.com/backhomeboys to keep up with their schedule, so the next time they are in your neck of the woods you can check them out.

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CD Review

ness and bleakness to how bullies in life should be confronted. Stuck on the Corner is true Snider in his best form. A message you have to earn by listening a few times to the song.

Snider even shares an instrumental song Ponce of the Flaming Peace Queer. A beautiful melody handily finger picked by Snider. The disclaimer is priceless.

A good friend of mine once said that “Todd Snider is the best when he is just being Todd Snider”,andTodd Snider is himself through this whole CD. This is an excellent CD!!! It ranks number two on my favoriteTodd Snider CD list next to East Nashville Skyline. By them both!!! They make a great pair.

Written by: Andy Ziehli

Todd Snider Peace Queer ♪♪♪♪ Aimless Records Style: Folk It’s not very often that one gets to enjoy three of their favorite things at one time in life but September turned out to bring that opportunity to me. With reviews of Rodney Crowell’s and Hal Ketchum’s CD’s the mail brought the third in the holist trilogy of songwriters - Todd Snider’s new CD Peace Queer.

This CD is very different than Snider's past releases. First it’s kind of a protest CD his “Ohio”of sorts. The tales of war, unrest, and injustice range throughout the songs and the CD. It would be great if the country would listen to artists who work hard to promote fairness and humanity, but as long as most people turn a blind eye to what’s going on words like these fall on deaf ears. But hey Snider gets 5 stars for trying in my book. I really liked this CD. The more I listened to it the more I got it. Recorded at Eric McConnell’s studio in East Nashville where Snider has recorded his last couple of CD’s the sparse and spatial use of effects makes this CD even stronger in trying to get its message across.

Mission Accomplished starts the CD off with a Not Fade Away vibe that gets your blood going and foot tapping. The ballad of Cape Henry written by Snider and long time co-hart Will Kimbrough is a fantastic story song.

You can feel the battle going on around you as you listen. A different take on recording is Is this thing Working? A tale of a bully who gets his in the end only not the way you would think. The spoken word here brings a stark30

This CD rocks! It is Crowell’s best work to date. I mean I loved the Diamonds and Dirt, Houston Kid, Fate’s Right Hand, and my all time favorite Rodney Crowell, but this could fastley become my favorite Crowell CD. The songwriting is impeccable, vocals better than ever, and the production and recording just blows me out of the water. Producer Henry captured and recorded the instruments so raw and cool that it makes me wish I produced it.

For the average listener this probably is not so important but to anyone who loves the true sound of great acoustic instruments and drums to die for you will not be disappointed purchasing this CD. Standout tunes are Sex and Gasoline, The Rise and Fall of Intelligent Design, I want you #35, Who Do You Trust, Funky and the FarmBoy, Closer to Heaven. Superb guitar work by Doyle Bramhall III and multi-instrumentalist Greg Leisz. The musicians on this CD are not the regular crew Crowell records with and it shows. This is a fresh sound, something to really sink your teeth into. It was recorded in California at the Garfield House.

I really like this CD and I’m sure past fans of Crowell’s work will too. New fans will enjoy this CD. It’s a great place to start listening to Rodney Crowell, and then check out his past catalog. I’ve been a fan since the Hot Band days. Rock on Rodney!!!

Written by: Andy Ziehli

Rodney Crowell Sex and Gasoline ♪♪♪♪ 1/2 YepRoc Records Style: Americana/Folk Rodney Crowell has always been one of my five favorite writers in the world. I own everything he has ever recorded in vinyl and on CD. Besides being one of the greatest producers that ever walked the earth, he is the same as a songwriter. Crowell’s songs include the classics Ain’t livin long like this, Leaving Louisiana in the broad daylight, Even cowgirls get the blues, Blue Bird Wine, An American Dream, Long hard road, Till I gain control Again, Making memories of us, and Ashes by now. His songs have been recorded by everyone from Bob Seeger,Emmylou Harris, Waylon Jennings, Keith Urban, and Willie Nelson.

He produced all the great Rosanne Cash Albums of the late 70’s and 80’s. He produced Bobby Bare, Guy Clark, and Hal Ketchum. He had the first CD to have five number one hits in the 90’s with Diamonds and Dirt. On this CD he hands the production chores over to Joe Henry a more than capable producer, and John Miller’s favorite artist.

Hal Ketchum Father Time ♪♪♪ 1/2 Curb Records, Nashville Style: Americana/Folk Hal Ketchum has always been one of my top five songwriters since his debut back in 1989.

I have all his CD’s including a cassette tape of his first recording Threadbare Alibi. Over the years I have seen Ketchum go from a radio friendly superstar to a very laidback Americana w w w. a m e r i c a n a g a z e t t e . n e t

Written by: Andy Ziehli

but with the release of this CD it soon will be.

This CD is filled with wonderful songs, beautiful harmonies, and unbelievable guitar playing.

Fayssoux wrote two of the tracks, the title cut Early and I know it’s over. The other 9 songs range from traditional tunes to impeccable covers of Rodney Crowell’s California Earthquake and Paul Craft’s Walking in the Rain.

This CD has some of the most beautiful recorded acoustic guitar you will ever hear supplied by producer Peter Cooper and multitalented guitar picker Brandon Turner from Spartanburg South Carolinian. Lloyd Green steel guitar wizard fills all the right spots with licks from heaven.

Cooper duets with Fayssoux on a Rufus Shoffer tune Save it! Save it! A rollicking hillbilly tune. Emmylou Harris returns the background vocals favor to Fayssoux on three of the songs. Fayssoux sang background on Emmylou’s first five albums back in the 70’s. The two have remained friends all these years. Other Nashville stalwarts that help out on the CD are Ricky Skaggs, The Whites, Jen Gunderman, Eric Brace, Joy Lynn White, Paul Griffith, and Dave Roe. Roe, Brace, Griffith and Gunderman are main stays on Red Beet recordings.

The songs on this CD are all fine examples of what is still right about Nashville. The East Nashville connection here makes a huge statement. It screams“there is still great traditional music being made in Nashville. You just have to turn left off I 24 onto Woodland and go east” Fayssoux interprets all these songs and interjects her wonderful personality into them.

The arrangements of the traditional songs are fresh. No studio tricks. The other songs on this CD ring with life and love. Cooper did an excellent job producing this CD. He captured Fayssoux in her true element. That element is a wonderful story teller, fabulous singer, and one of the warmest friendly people you will ever meet.

My favorite cuts are I know it’s over, Save it Save it, Bugler, I know how it feels to love, (great piano by Gunderman), and Miss the Mississippi. This CD should be in all your collections. Bill Malone has played cuts on his Wednesday morning Country show on WORT many times. It is a proud addition to my CD collection. Fayssoux,remember the name,love the music.

Written by: Andy Ziehli

Fayssoux McLean Early ♪♪♪♪ 1/2 Red Beet Records Style: Americana/Folk/Countrty/Bluegrass I love Fayssoux! She is talented, gracious, and funny. Fayssoux may not be a household word in many peoples musical vocabulary now, w w w. a m e r i c a n a g a z e t t e . n e t

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songwriter. Ketchum never really fit into the Nashville Country Scene in the 90’s. He was always a little deeper than the radio fluff he was put in with. Ketchum, Mary Chapin Carpenter, Todd Snider, and Rodney Crowell always wrote more thought provoking songs than their radio counterparts. Back then there was no Americana genera like today. Ketchum has found a home and this CD is a great statement to the fact that he is one of the best songwriters in Nashville, period!

This CD is a very acoustic based CD compared to his other releases. It is filled with wonderful thought provoking songs that touch your inner soul. The pictures he congers up of his grandma’s kitchen, the homeless, and his barfly character all spring to life in your mind’s eye. The CD is well recorded. The vocals stand out and all the instruments are in just the right places. This is actually one of the best recorded CD’s I have heard in a long time. Ketchum produced this CD and deserves the credit for making it sound so good.

Top cuts are Invisible, Yesterday’s Gone, Million Dollar Baby, Continental Farewell, The Day he called you’re name, and If you don’t love me baby. The other cuts are all good songs but the above really stand out. It’s good to see that Ketchum has finally taken control of his career, and moved back to where his strength’s lie. This is a good CD. I would have liked a couple more up tempo tunes but hey Hal’s back and that’s all that counts. A good choice to add to any CD collection.

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