August 9, 2023 • 27 mins
Vince Gill and Paul Franklin are at it again. 10 years after their high-acclaimed BAKERSFIELD project, they return with SWEET MEMORIES: THE MUSIC OF RAY PRICE & THE CHEROKEE COWBOYS. So how do you go about taking classic music like Ray’s and introducing it to a new generation? Vince and Paul join Lorianne & Charlie to explain their basic, and in some ways, surprising approach in doing so.
With 2 legendary musicians like Vince and Paul in the studio with you, you know the stories, or memories in this case, are gonna fly…boy, do they! Discover the unbelievable number of other artists’ records Vince has worked on, and Paul knows which musician in Ray Price’s band jumped out of a hotel window and why ? Ready ? Let’s hit the studio with Paul Franklin and Vince Gill
See omnystudio.com/listener for privacy information.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Well, hello again, everybody. Charlie Laurie, and here this is
Crook and Chase Nashville chats direct from world famous music
Row in Nashville, Tennessee, where we have a chance to
encounter so many country stars on a regular basis. And
I got to tell you, these folks, especially the musicians,
are crazy. I love them. They are the most creative people,
the most fun people to be around. And we have
two of the best in the business, Vince Gill, wonderful vocalist,
(00:24):
wonderful musician, and then you have Paul Franklin, who has
a history and just constantly nominated as the top musician
on that steel guitar.
Speaker 2 (00:32):
Oh listen. Paul is an icon. He has played with
legendary artists such as of course Vince Gill, but also Sting,
George Strait, Alan Jackson, Shanaia, Barbara streisand even Megadeath Big.
So Paul's ability and Vince's too know no boundaries, and
(00:55):
I think that's why they so enjoy collaborating, as they've
done once again on this new album.
Speaker 1 (01:00):
Yeah. Ten years ago they did a thing called Bakersfield,
primarily focusing on the West Coast music and the influence.
Speaker 2 (01:06):
Okay, Merle Haggard buck Owens.
Speaker 1 (01:07):
Yeah, exactly. And now they put together a tribute to
Rape Price. It's called Memories, Rape Price, Sweet Memories, and
they focus also on the Cherokee Cowboys raised band. Now
this band has a history, and don't you know these
two guys have history, so you know the stories are
going to start flying, and yes they do in this
particular interview. Well, it actually began with you.
Speaker 2 (01:29):
Well, yeah, before we get to the actual interview, just
a little set up here. So when we walked in
to talk with Vince Gill and Paul Franklin, I had
been looking through our archives Charlie and I found this
picture of Vince and me from about oh my gosh,
I'm thinking maybe twenty five thirty years ago. You and
I Charlie were hosting the Amazing Festival Jamboree in the.
Speaker 1 (01:52):
Hills, Wheeling, West Virginia.
Speaker 2 (01:54):
We had just introduced Vince and his band. They were
performing on stage. I was side stage, watching and enjoying.
Speaker 3 (02:01):
Well.
Speaker 2 (02:01):
In the middle of the song, during an instrumental, Vince
Gill does what he rarely does. He put his guitar down,
he grabbed me to the center of the stage, and
started slow dancing with me. Yes, and the crowd went wild.
And that is a picture I cherished, so I brought
it along for the interview to remind Vince. So this
(02:21):
is more historic than I thought it is.
Speaker 4 (02:24):
And I'll tell you the only other time I danced
other than that, I wouldn't have remembered that.
Speaker 2 (02:29):
Of course, yeah, you wouldn't remember.
Speaker 3 (02:34):
That.
Speaker 2 (02:38):
Romantic Amy and.
Speaker 4 (02:39):
I had met doing this Christmas show in ninety three.
You know, obviously smitten.
Speaker 2 (02:45):
Yes, you know.
Speaker 5 (02:47):
Life we bear out.
Speaker 4 (02:48):
But she said something, she said, you know what would
be really cool. She's singing this one song. She says,
if you, if you like, come out, came out and
danced with me. Your mind, I'm not gonna. I don't dance,
and I've got a top hat. I liked her so
much I waltz. I walked out there and danced with
her in the middle of the TV show and she says,
(03:08):
knowing you now, I knew it.
Speaker 2 (03:11):
Was I must say, just now. You took me in
your arms and you twirled me around a little bit,
and it felt very natural, and you're very smooth.
Speaker 4 (03:22):
And here's the other reason I don't dance. It was
impolite as a musician. Really to go into a club
and the band was playing to dance, it was like
you weren't listening to him. It was out of respect.
Speaker 1 (03:34):
Was that the way you feel about it?
Speaker 6 (03:35):
Yeah? Whatever, he says.
Speaker 1 (03:40):
You have been playing a club, you know, and you're
into it. I mean, the whole thing going on, like
Vin says, And then everybody hits the dance floor and
they're trying to, you know, make moves on each other,
and you're just like a good noise.
Speaker 5 (03:55):
We still are, okay, Yeah, dancers here the beat a
different way, and the musicians here, like, you know, it's
hard for me.
Speaker 3 (04:09):
I'll be dancing and then I'll hear a really cool
sixteenth and noteer, they all of a sudden jerk the partner,
and you know, it's not a good thing.
Speaker 1 (04:15):
I've never really thought about this, the fact that you know,
musicians are up there performing, playing their hotel, playing their
hearts out, and you're annoying them. And we look at
it from the standpoint of being in the audience and
on the dance floor as a whole different ball game.
Speaker 6 (04:29):
Yeah, of course. Yeah.
Speaker 4 (04:31):
But now and where I'm from, Oklahoma, Texas, that's how
that's how you know, they like you.
Speaker 2 (04:36):
I was going to tell you the same thing because
I spent a couple of years working in Texas and
to me it was a compliment. I always felt it
was because you moved me to get up.
Speaker 6 (04:46):
To dance and just have that vibe.
Speaker 4 (04:49):
That's how they showed their respect to you where I'm from, you.
Speaker 1 (04:53):
Know, And Paul, I'll tell you what and doing homework
to visit you guys today in additional to listen to
the album which we'll talk about here, which we didn't
but don't.
Speaker 2 (05:05):
You did not research your own album.
Speaker 1 (05:06):
No, Oh, I've got my comments coming out. But Paul,
I was in checking on you. Paul. You you toured
with Barbara Mandrel a lot of touring. I know you're
still doing some touring, and then you decided to stop
and do the studio work. And you worked with all
the country greats like George straight Men, Skill Sting, Mega Death,
(05:28):
you know, the country favorites.
Speaker 6 (05:30):
I couldn't keep a job, got one shot.
Speaker 1 (05:34):
I got you. So you're nominated over the years thirty
times for Musician of the Year. Do you still practice
every day?
Speaker 6 (05:42):
Oh? You gotta practice, really, you know, but I don't.
It's not a chore.
Speaker 3 (05:46):
It's like it's I love you know, I'm always hearing
music and vincit tell you we hear things in our
head and it's like you got to grab an instrument
to see, hey, where does that lay? How did would
that work? And you know you just always is working
on a you know, a more perfect picture.
Speaker 2 (06:04):
Well, obviously, as you know Charlie listed there, you can
work with anybody you want to work with. Why do
you keep going back to vents?
Speaker 7 (06:12):
And I don't mean that, yes, that's exact, Well why
not keep stepping on my tone?
Speaker 3 (06:29):
I think as musicians were drawn, it's a call in response,
so we're drawn to singers that can really deliver. And
and he has perfect pitch. I've never been on stage
with him for years, well I've known him since forty
five years years, so I've never heard him fudge a pitch.
(06:49):
You know, it's like hearing a master violinists, you know,
and and like that. They're just perfect and he's the
same way. But it's inspirational. There's heart in the renoe,
and I play an instrument that's also emotional, so I'll
hear him sing something or you know, like any great
singer at that level, and there are very few, but.
Speaker 6 (07:14):
You know it's inspirational. You know, I hear it and I.
Speaker 3 (07:16):
Might not do it that day, but I'll go back
and I'll think, Man, he did this twist on this
melody I played for twenty years, and he's kind of
figure out what they do and add that to your wheelhouse.
Speaker 1 (07:27):
On this album, you make a steal cry, that's the point.
Speaker 3 (07:30):
I was crying, no, thank you, that's the that's what
I want to do. But you know, the history of
Ray Price was okay, the steel guitar, pedal steel guitar
that we hear that we know was also being innovated
in the late fifties when Ray Price, you know, started
having his career and he hired Buddy Emmons, who's he's
(07:55):
our you know, Charlie Parker. You know, he he innovated
the instrument and a lot of that was done on
Raye Price Records through the years, and and on George
he also recorded with everybody. But but uh so that's
what I tried to do. Buddy was very much and
jimmy Day were very much soulful players first above all things.
(08:16):
And so you know, that's what I tried to do.
In my own way. You know, we're both not into copying, uh,
you know, because that those are rem brands Ray Price,
So we wanted to just do bring ourselves in using
the same concept.
Speaker 2 (08:32):
Hey, can I go back to something you said real
quick about Vince's perfect voice. I mean, everybody has a
bad day every now and then. So Vince, what was
your worst performance do you remember?
Speaker 5 (08:43):
And where you Yeah?
Speaker 4 (08:54):
Well, sure, you know, n you know, you know, you're tired.
Voice wears out, it gets you know, And I have
nights like that where I can't sing like I normally do,
so I dropped the keys of songs. Oh, I don't
have to push as much air. And okay, obviously you know.
Speaker 1 (09:10):
Hey Laurie and I haven't told you this, but this
second time I've seen mister Gil here in the past
week or so, because Karen and I were having a
late lunch at a deli over in Green Hills and
we were on our way out and there's Menson Amy
having a late lunch as well. Oh okay, So I'm
just curious, after visiting a deli, can you hit the
high notes on Danny Boy?
Speaker 4 (09:29):
Sure, no problem.
Speaker 7 (09:31):
That enough creative.
Speaker 1 (09:36):
Calls over there.
Speaker 2 (09:39):
That Okay, so let's get serious here speaking of crying
and shedding a few tears. Is this story that Bill
Anderson tells true. For the first time you really saw
Raye Price singing, you just backstage and it all the
emotion came out. Why and what was that?
Speaker 4 (09:57):
Because it matters, you know, it's your DNA, it's what
you've given your life to and when you hear, when
you hear things. I remember the first time, you know,
it was the first time I got in here ray live.
I remember the first time I heard Merle Haggard live,
and it was in a bar in Colorado and it
was one of the greatest experiences of my life.
Speaker 2 (10:18):
Yeah, how long had you been a fan of Raise
before you heard this first performance?
Speaker 7 (10:23):
Well the whole time.
Speaker 4 (10:24):
You know. I love those those beer joint country shuffles,
They're nothing. Country music is great because of those, you know,
And there's great ballad singers and ballads your fun. I'm
a ballad singer for the most part, but man, give
me that honky talk stuff that makes you tap your
toe and fiddle comes in and swinging and all that
stuff is feel like.
Speaker 1 (10:45):
You guys are middleman when you think about it, because
you're taking what I think is some wonderful foundation of
country music and translating to a new generation that has
to give you a new feeling and obviously a sense
of excitement, doesn't it.
Speaker 3 (10:58):
Well, it is, but you know we're when we play,
when we perform this, we're doing it because we love it.
It's a remembrance, you know. It's like, oh, it's likely
when you go back to your old home place, you know,
and you hadn't been there in ten years, you want
to go find a little like I was walking over
here by the creek. All your little stories. Well, this
music brings out all of our stories, you know, the
(11:20):
things we studied. And you know you mentioned crying steal
guitar war from me? It was Buddy Emmons. I got
to be that that guy and Vince got to you know,
the greatest songs. Listen to the melodies of those songs
that are on this record. They're incredible. And to be
a singer at that level, it has to be great
(11:41):
to be able to sing something like that.
Speaker 2 (11:44):
Hey, and I've got to know this backstage thing. I mean,
did did Ray see the emotion he brought out in you?
Speaker 4 (11:52):
Or did you try to hide that I don't think,
so okay, he was too busy trying to hit the
high notes after.
Speaker 2 (12:00):
How well did you know him? Because, oh my goodness,
he was on our show so many times, the funniest
dude ever. In fact, his stories about Willie and whoever
in the business were so bizarre they had to be true.
Speaker 4 (12:16):
Yeah, of course, of course, you know. Just I just
I remember I remember sitting with him at the an
Awards show one year. ACM's out in LA and it
hadn't been that long ago, and I leaned over to
him and I said, I'll bet you five hundred dollars
they don't play one shuffle tonight.
Speaker 6 (12:35):
And he started howling. I won't take that back.
Speaker 1 (12:40):
Yeah, my rape price story, Oh dear, are you going
to tell it as well? We don't have to air it,
we may have to edit it. Well, I'm working Channel four.
I'm going the midday show, Channel four magazine over there.
This is like in the early eighties, and raise a
guest on the show. You know, he comes in and
he's got on the brown suit as you would imagine,
and matching boy boots, just real classic, you know, And
(13:02):
we're in the green room down there at the bottom
of the steps as you come in channel four. And
I always like to go out and say hello to
the guests. I said, hey, you know, see what kind
of mood they're in, that sort of thing before we
go into your life. And uh, he said, man, just
a little little tense. I said. So he without hesitation,
reached down, pulled up his pants leg, grabbed a reefer
out of his boot.
Speaker 6 (13:22):
Fire it up.
Speaker 4 (13:23):
I bet that great.
Speaker 1 (13:25):
Guess we had all kinds of Oh, he was remembering
stuff in the forties.
Speaker 4 (13:33):
I remember we we did. We did some show together
and up in d C or something. I was kind
of hosting it and bringing people on and off, and
and he went out there and just destroyed this audience.
He killed it. And he was gonna he was he
was going to get an encore and he wasn't sure
if he was going to go back out. And I
went over and put morem around him. I said, man,
(13:55):
I said, if you do, Danny boy, I said, you'd
kill him. He looked at me and goes, damn Son,
you want blood.
Speaker 1 (14:08):
Translate things?
Speaker 6 (14:10):
That's good, Okay.
Speaker 1 (14:12):
Much more on the way with Paul Franklin and Vince
gil including the unbelievable number of appearances Vince has made
on other artists records. Can you believe that number he
gave us.
Speaker 2 (14:21):
Laura, Yeah, it's much more than a hundred.
Speaker 1 (14:23):
Whoo. And just who was it in Raye Price's band
that once jumped out of a hotel window? Well, Paul
knows who and why that's coming up on Crooked Chase
Nashville Chats.
Speaker 2 (14:35):
So how do you describe both of you? What made
him great? And how on this project did you bring
out the elements of that greatness.
Speaker 4 (14:48):
I think he just opened his mouth and it was undeniable.
It's not any different than when you hear Chris Stapleton
sing today. Yeah, he opens his mouth and you go, Okay,
game over.
Speaker 7 (14:57):
He's just great.
Speaker 4 (14:59):
Yeah, And that's what ray Price is and was you know,
it was just it was undeniable. He sang different than
anybody else. He sang in a way that when it
came on, you knew you didn't have to go through
a long list of who it might be. You knew
exactly who it was. Every time he opened his mouth,
whether it was singing like in these early days, he
(15:21):
kind of sang like Hank Williams a little bit. And
then he started doing the shuffles, and then he got
a little more cosmopolitan with the big strings, a little
more you know, broad voiced balladeer. But it didn't matter
what it was that he did, he could do it.
And we tried to borrow from a little bit of
all of those periods of his career, not just the
(15:41):
shuffles from the late fifties. We did Danny Boy, We
did a couple of you know, a couple of crooners
you wouldn't know love it, looked you in the eye
and whatnot. But we also did Weary Blues from his
Hank Williams years of being friends with Hank, and so
we just, you know, we just following what we what
we love. That's all we can do.
Speaker 1 (16:02):
You talk about the music and having fun with the music.
Let's talk about the lyrics here, because you hear songs
like the same Two Lips written by Marty Robbins, right
Kissing Your Picture written by Tillis, Wayne Walker and Ray himself.
The lyrics when you listen to it, are very simple,
but they are classic. As you said, they're like rem brands.
Speaker 4 (16:26):
Well, I think the key to a great song is
making it timeless, where a lyric if it was written
seventy years ago, would still be applicable today. We'll still
move you, it would still be emotional. And that's what
I mean. I'm a songwriter and I try to write
songs that in a way that you would speak them.
Speaker 7 (16:46):
You know.
Speaker 4 (16:47):
They're not full of prose and full of cleverness and
poetry and things like that. They're how we would talk, yeah,
you know, And I think that's what people are drawn to,
is hearing songs that say what maybe they don't know
how to say in a relationship or something, and they going,
like this guy, I wish I could say. I've had
a million guys come up to me and say, man,
(17:07):
I wish I could tell my spouse, or tell my
my friend or my companion, whatever it is. I wish
I could tell them how you what you say in
some of these songs. So that's that's all it is.
And these guys are you know you you look at
that list of songwriters Willie Hey Cochrane, you know, Mickey Newberry,
It just goes on and on on. Sure you know, well,
(17:29):
no wonder they're great because those songwriters all prove to
be the best of the best.
Speaker 1 (17:35):
You guys are messing with loyalty. You know that, don't you?
Speaker 2 (17:37):
Yeah, doing this, but hey, look it's uh, You've never
been scared of anything, so you know, it is one
thing Vince like you're talking about to express feelings and
emotions with voice, the great voice such as yours and
raise and with lyrics. Both of you are also just
(18:00):
the best of the best musicians. How much more difficult
is it or not to express that same kind of
emotion through your hands and through the instrument.
Speaker 6 (18:11):
I'll tell you what was told to me.
Speaker 3 (18:13):
I joined Jerry Reid's band, which I couldn't believe as
steel guitar player was going to get to play with
Jerry Reid. And I was in awe and of course
I'm thinking all the fast stuff.
Speaker 6 (18:24):
And all that.
Speaker 3 (18:25):
And he one moment on the bus he said, just
just settle down, you know, And he said, and I said, well,
I don't know if people are going to like this instrument,
you know, because he was giving me solos and I
didn't know if they'd like it. And he said, if
you love it, every note you play, he said, they'll
follow you. And that was, you know, And then I
(18:48):
heard that in other ways through you know, mentors, like
Pete Drake and players forward as I'd get into the
studio and events a lot.
Speaker 6 (18:56):
Of times when I call your name.
Speaker 3 (18:59):
I don't know if he told the story before, but
I tracked with the band, and so I played what
I played, and I was playing within the boundaries of
what everybody else was doing in the town.
Speaker 6 (19:09):
You know.
Speaker 3 (19:10):
I was playing some traditional music with George Straight and
Alan Jackson and getting to play. But Vince wanted to
go back farther back in time where he said, I
just want that steal to cry. So he calls me
into overdub. I said, you sure, you know, well, yeah,
I'm sure, but but he brought Barry Beckett back in
(19:30):
and we replayed you know, the intros and the turnarounds,
and he said, no, I want to go back. So
I kind of it was great and then and I
actually loved after I got to play it. I loved
what I played on the session date. I was half
love and half thinking, Okay, this is what I can do.
But when when he said all right, feel this thing,
(19:53):
nance you were right.
Speaker 1 (19:54):
Yeah. Once you guys are automatic when it comes to
playing the music. And in light of all we've discussed
about this project here, the fact that you're dealing with
classic songs, the fact that you're bringing back some wonderful
music and introducing to a new audience. How challenging was
(20:15):
it or how difficult was it or was it just easy?
Piec No.
Speaker 4 (20:19):
I think it was easy in the way that all
we can do is what we do. You know, when
when I play something, if I'm if I'm playing guitar,
before I play it, I go in my head, I go,
how would I sing this? And that's what informs me
what to do. When I'm singing something, I would say
to myself, how would I play this? And it all
(20:41):
comes from the same spirit, the same heart. All that
so I think sound like records are boring. You know,
you can you can ape a record note for note
and go, yeah, well you improved anything. And but the
but the thing that I that I that it's hard
to do. It's hard to I guess you know, deal
with is more the comparison. You know, when you put
(21:04):
something out and you take on something that someone that
was great, I think they they think in their minds
that if they're going to be critical of it, well,
who do you think you are? Thinking you can do
a better job? Of of that. So we don't think
we can do a better job. We're doing a different job.
I just love what we're doing. We're doing it because
we love it and we revere it and we respect it,
(21:26):
and and so when it when it when it comes
back to you as you know that comparison, I like
the original better, I like that those you know, it's
not a competition. No, this music has never been about
who's better, who's anything.
Speaker 2 (21:39):
Like you said, it's about love and it's about honoring
what you love. Quick question early fast. Both of you
are just mega collaborators, just so good at it. But
I was just thinking this morning, is there any genre
or any artists you don't have to name names because
I know you're both gentlemen, but that you probably wouldn't
collaborate with because it's not in your heart, or can
(22:01):
you do anything?
Speaker 4 (22:02):
Well. I can't speak for Paul, but someone was shocked
to find out. You know, I've worked on I don't
think I've worked on as many records as Paul, but
well over a thousand artists records in my career. And yeah,
and I not one time have ever asked them to
send me what it is that they want me to
work on to me. Then that puts me in the
(22:25):
in the the position of judgment and saying, well, I don't,
I don't. I don't want to do that because I
don't like it. I would never want to project that
onto anybody. So I said yes to everything that I
that has ever come across my desk that I could,
and I and I and I give them fair warning.
I said, hey, this may not work, feel free to
(22:48):
fire me.
Speaker 6 (22:49):
You know it's okay.
Speaker 1 (22:50):
You know you won't.
Speaker 6 (22:56):
Paul said, you can't fire me.
Speaker 1 (22:57):
You Rave's band, the Cherokee Cowboys. I was looking at
the launching pad for so many artists like Paycheck, Yep,
Roger Miller, Willie Nelson, Lord knows when that band came
intown on tour you locked the doors.
Speaker 6 (23:16):
Yeah.
Speaker 1 (23:19):
Have you heard stories about the Cherokee Cowboys. I mean
I really have it. I mean I've worked with Ray
and all that, but we never talked about the band.
Speaker 3 (23:26):
Yeah, I mean, well that just other than they're great.
There are a lot of funny stories. I don't know
how many we could tell here, but there's there's one
that Ray hired Buddy Emmons when he was a kid,
and I don't know that if there's a punchline to it,
but anyway, they got it tickled at him because as
you would be thirty and forty year old players with this,
they were always daring Buddy to do things. And so
(23:48):
they said he had this cape because he'd seen some
comic and he was running around like that and like
he could fly.
Speaker 6 (23:55):
He got he was enthused.
Speaker 3 (23:56):
About the cape, you know, going you know, a worn
and someone said, well, I bet you couldn't jump off
this hotel fly and Buddy, they said, Buddy, just without
missing a beat. It was about one story up, but
he fell down and I think he broke his arm whatever. Yeah, yeah,
but they were you know, they were like, you know,
(24:17):
they traveled at a time when they didn't have Apple
TV on the bus satellites and they couldn't watch anything,
and so they entertained themselves.
Speaker 1 (24:27):
That's just tame.
Speaker 3 (24:28):
That Yeah, that's tame or whatever. There's all the Johnny
Cash stories.
Speaker 2 (24:32):
Okay, so this is okay, very last question. We got
to go here. But so this is weird. We have
had just the blessing and the thrill of interviewing, like
Grand Funk Railroad, Three Dog Night and all those people
and just asked him about these wild stories about these
crazy parties and things that they did, and they basically said, yeah,
(24:55):
they were true because we just wanted to live and
be rock and roll and live that life. Have either
of you ever just gone nuts and try to be
rock and roll at least for one night or a
week and just go crazy? Well have you noticed, Charlie,
they're both silent now.
Speaker 4 (25:15):
It's been pretty tame.
Speaker 6 (25:17):
Yeah.
Speaker 4 (25:17):
The only thing I ever did was drink too much. Okay,
have a fool. But I tour with a guy now
that that wrote the book on crazy, Joe Walsh. He
would remodel hotel rooms.
Speaker 2 (25:28):
Well and remind me to tell you I don't have
time here. But the time I judged the Miss USA
pageant with Joe Walsh by my side.
Speaker 6 (25:35):
There you go there, Yeah, old thing that you love.
Speaker 1 (25:39):
You're great with the Eagles, you really are, and I
know you're hanging with stable. Yes, this is a wonderful project.
Thanks for doing it you friends.
Speaker 2 (25:49):
Yeah it is. It's a thrill just to know you
and be with you for this long for sure.
Speaker 6 (25:53):
Thank you.
Speaker 4 (25:54):
You're a hell of a dancer, So.
Speaker 1 (26:01):
I don't think you had any compliments for your dancing, Lorianne, I.
Speaker 6 (26:04):
Don't know what.
Speaker 2 (26:07):
It sounded like. You inventsive dance together.
Speaker 1 (26:10):
Oh no, no, of course not, of course.
Speaker 3 (26:11):
You know.
Speaker 1 (26:12):
The thing is we've known both those guys forever, and
when you sit there in the studio you can just
start having fun jabs one another. It brings out a
lot of their personality. They're wonderful people and tremendous talents
and you can see the gleam in their eye. They
love what they do.
Speaker 2 (26:29):
Oh, they absolutely do. And I'm telling you, if you
want to just hear the type of magic that the
best in the business can make, not only individually but together,
get this album Sweet Memories, the music of Ray Price
and the Cherokee Campbell.
Speaker 6 (26:46):
And what they do.
Speaker 1 (26:46):
They find some songs I think you mentioned, they find
songs that you really haven't heard, and they put their
spin on it and it's it's really fascinating.
Speaker 2 (26:54):
They call it deep cuts. They're going to deep into
two albums, music that maybe people haven't heard in a while.
Speaker 1 (26:59):
All right, friends, we've got your country covered right here.
Be sure to listen to the Crook and Chase Countdown
every weekend. It's on hundreds of radio stations all across
America and streaming on iHeartRadio.
Speaker 2 (27:09):
Follow us on Facebook, Twitter, and Instagram at Crook and
Chase
Well, hello again, everybody. Charlie Laurie, and here this is
Crook and Chase Nashville chats direct from world famous music
Row in Nashville, Tennessee, where we have a chance to
encounter so many country stars on a regular basis. And
I got to tell you, these folks, especially the musicians,
are crazy. I love them. They are the most creative people,
the most fun people to be around. And we have
two of the best in the business, Vince Gill, wonderful vocalist,
(00:24):
wonderful musician, and then you have Paul Franklin, who has
a history and just constantly nominated as the top musician
on that steel guitar.
Speaker 2 (00:32):
Oh listen. Paul is an icon. He has played with
legendary artists such as of course Vince Gill, but also Sting,
George Strait, Alan Jackson, Shanaia, Barbara streisand even Megadeath Big.
So Paul's ability and Vince's too know no boundaries, and
(00:55):
I think that's why they so enjoy collaborating, as they've
done once again on this new album.
Speaker 1 (01:00):
Yeah. Ten years ago they did a thing called Bakersfield,
primarily focusing on the West Coast music and the influence.
Speaker 2 (01:06):
Okay, Merle Haggard buck Owens.
Speaker 1 (01:07):
Yeah, exactly. And now they put together a tribute to
Rape Price. It's called Memories, Rape Price, Sweet Memories, and
they focus also on the Cherokee Cowboys raised band. Now
this band has a history, and don't you know these
two guys have history, so you know the stories are
going to start flying, and yes they do in this
particular interview. Well, it actually began with you.
Speaker 2 (01:29):
Well, yeah, before we get to the actual interview, just
a little set up here. So when we walked in
to talk with Vince Gill and Paul Franklin, I had
been looking through our archives Charlie and I found this
picture of Vince and me from about oh my gosh,
I'm thinking maybe twenty five thirty years ago. You and
I Charlie were hosting the Amazing Festival Jamboree in the.
Speaker 1 (01:52):
Hills, Wheeling, West Virginia.
Speaker 2 (01:54):
We had just introduced Vince and his band. They were
performing on stage. I was side stage, watching and enjoying.
Speaker 3 (02:01):
Well.
Speaker 2 (02:01):
In the middle of the song, during an instrumental, Vince
Gill does what he rarely does. He put his guitar down,
he grabbed me to the center of the stage, and
started slow dancing with me. Yes, and the crowd went wild.
And that is a picture I cherished, so I brought
it along for the interview to remind Vince. So this
(02:21):
is more historic than I thought it is.
Speaker 4 (02:24):
And I'll tell you the only other time I danced
other than that, I wouldn't have remembered that.
Speaker 2 (02:29):
Of course, yeah, you wouldn't remember.
Speaker 3 (02:34):
That.
Speaker 2 (02:38):
Romantic Amy and.
Speaker 4 (02:39):
I had met doing this Christmas show in ninety three.
You know, obviously smitten.
Speaker 2 (02:45):
Yes, you know.
Speaker 5 (02:47):
Life we bear out.
Speaker 4 (02:48):
But she said something, she said, you know what would
be really cool. She's singing this one song. She says,
if you, if you like, come out, came out and
danced with me. Your mind, I'm not gonna. I don't dance,
and I've got a top hat. I liked her so
much I waltz. I walked out there and danced with
her in the middle of the TV show and she says,
(03:08):
knowing you now, I knew it.
Speaker 2 (03:11):
Was I must say, just now. You took me in
your arms and you twirled me around a little bit,
and it felt very natural, and you're very smooth.
Speaker 4 (03:22):
And here's the other reason I don't dance. It was
impolite as a musician. Really to go into a club
and the band was playing to dance, it was like
you weren't listening to him. It was out of respect.
Speaker 1 (03:34):
Was that the way you feel about it?
Speaker 6 (03:35):
Yeah? Whatever, he says.
Speaker 1 (03:40):
You have been playing a club, you know, and you're
into it. I mean, the whole thing going on, like
Vin says, And then everybody hits the dance floor and
they're trying to, you know, make moves on each other,
and you're just like a good noise.
Speaker 5 (03:55):
We still are, okay, Yeah, dancers here the beat a
different way, and the musicians here, like, you know, it's
hard for me.
Speaker 3 (04:09):
I'll be dancing and then I'll hear a really cool
sixteenth and noteer, they all of a sudden jerk the partner,
and you know, it's not a good thing.
Speaker 1 (04:15):
I've never really thought about this, the fact that you know,
musicians are up there performing, playing their hotel, playing their
hearts out, and you're annoying them. And we look at
it from the standpoint of being in the audience and
on the dance floor as a whole different ball game.
Speaker 6 (04:29):
Yeah, of course. Yeah.
Speaker 4 (04:31):
But now and where I'm from, Oklahoma, Texas, that's how
that's how you know, they like you.
Speaker 2 (04:36):
I was going to tell you the same thing because
I spent a couple of years working in Texas and
to me it was a compliment. I always felt it
was because you moved me to get up.
Speaker 6 (04:46):
To dance and just have that vibe.
Speaker 4 (04:49):
That's how they showed their respect to you where I'm from, you.
Speaker 1 (04:53):
Know, And Paul, I'll tell you what and doing homework
to visit you guys today in additional to listen to
the album which we'll talk about here, which we didn't
but don't.
Speaker 2 (05:05):
You did not research your own album.
Speaker 1 (05:06):
No, Oh, I've got my comments coming out. But Paul,
I was in checking on you. Paul. You you toured
with Barbara Mandrel a lot of touring. I know you're
still doing some touring, and then you decided to stop
and do the studio work. And you worked with all
the country greats like George straight Men, Skill Sting, Mega Death,
(05:28):
you know, the country favorites.
Speaker 6 (05:30):
I couldn't keep a job, got one shot.
Speaker 1 (05:34):
I got you. So you're nominated over the years thirty
times for Musician of the Year. Do you still practice
every day?
Speaker 6 (05:42):
Oh? You gotta practice, really, you know, but I don't.
It's not a chore.
Speaker 3 (05:46):
It's like it's I love you know, I'm always hearing
music and vincit tell you we hear things in our
head and it's like you got to grab an instrument
to see, hey, where does that lay? How did would
that work? And you know you just always is working
on a you know, a more perfect picture.
Speaker 2 (06:04):
Well, obviously, as you know Charlie listed there, you can
work with anybody you want to work with. Why do
you keep going back to vents?
Speaker 7 (06:12):
And I don't mean that, yes, that's exact, Well why
not keep stepping on my tone?
Speaker 3 (06:29):
I think as musicians were drawn, it's a call in response,
so we're drawn to singers that can really deliver. And
and he has perfect pitch. I've never been on stage
with him for years, well I've known him since forty
five years years, so I've never heard him fudge a pitch.
(06:49):
You know, it's like hearing a master violinists, you know,
and and like that. They're just perfect and he's the
same way. But it's inspirational. There's heart in the renoe,
and I play an instrument that's also emotional, so I'll
hear him sing something or you know, like any great
singer at that level, and there are very few, but.
Speaker 6 (07:14):
You know it's inspirational. You know, I hear it and I.
Speaker 3 (07:16):
Might not do it that day, but I'll go back
and I'll think, Man, he did this twist on this
melody I played for twenty years, and he's kind of
figure out what they do and add that to your wheelhouse.
Speaker 1 (07:27):
On this album, you make a steal cry, that's the point.
Speaker 3 (07:30):
I was crying, no, thank you, that's the that's what
I want to do. But you know, the history of
Ray Price was okay, the steel guitar, pedal steel guitar
that we hear that we know was also being innovated
in the late fifties when Ray Price, you know, started
having his career and he hired Buddy Emmons, who's he's
(07:55):
our you know, Charlie Parker. You know, he he innovated
the instrument and a lot of that was done on
Raye Price Records through the years, and and on George
he also recorded with everybody. But but uh so that's
what I tried to do. Buddy was very much and
jimmy Day were very much soulful players first above all things.
(08:16):
And so you know, that's what I tried to do.
In my own way. You know, we're both not into copying, uh,
you know, because that those are rem brands Ray Price,
So we wanted to just do bring ourselves in using
the same concept.
Speaker 2 (08:32):
Hey, can I go back to something you said real
quick about Vince's perfect voice. I mean, everybody has a
bad day every now and then. So Vince, what was
your worst performance do you remember?
Speaker 5 (08:43):
And where you Yeah?
Speaker 4 (08:54):
Well, sure, you know, n you know, you know, you're tired.
Voice wears out, it gets you know, And I have
nights like that where I can't sing like I normally do,
so I dropped the keys of songs. Oh, I don't
have to push as much air. And okay, obviously you know.
Speaker 1 (09:10):
Hey Laurie and I haven't told you this, but this
second time I've seen mister Gil here in the past
week or so, because Karen and I were having a
late lunch at a deli over in Green Hills and
we were on our way out and there's Menson Amy
having a late lunch as well. Oh okay, So I'm
just curious, after visiting a deli, can you hit the
high notes on Danny Boy?
Speaker 4 (09:29):
Sure, no problem.
Speaker 7 (09:31):
That enough creative.
Speaker 1 (09:36):
Calls over there.
Speaker 2 (09:39):
That Okay, so let's get serious here speaking of crying
and shedding a few tears. Is this story that Bill
Anderson tells true. For the first time you really saw
Raye Price singing, you just backstage and it all the
emotion came out. Why and what was that?
Speaker 4 (09:57):
Because it matters, you know, it's your DNA, it's what
you've given your life to and when you hear, when
you hear things. I remember the first time, you know,
it was the first time I got in here ray live.
I remember the first time I heard Merle Haggard live,
and it was in a bar in Colorado and it
was one of the greatest experiences of my life.
Speaker 2 (10:18):
Yeah, how long had you been a fan of Raise
before you heard this first performance?
Speaker 7 (10:23):
Well the whole time.
Speaker 4 (10:24):
You know. I love those those beer joint country shuffles,
They're nothing. Country music is great because of those, you know,
And there's great ballad singers and ballads your fun. I'm
a ballad singer for the most part, but man, give
me that honky talk stuff that makes you tap your
toe and fiddle comes in and swinging and all that
stuff is feel like.
Speaker 1 (10:45):
You guys are middleman when you think about it, because
you're taking what I think is some wonderful foundation of
country music and translating to a new generation that has
to give you a new feeling and obviously a sense
of excitement, doesn't it.
Speaker 3 (10:58):
Well, it is, but you know we're when we play,
when we perform this, we're doing it because we love it.
It's a remembrance, you know. It's like, oh, it's likely
when you go back to your old home place, you know,
and you hadn't been there in ten years, you want
to go find a little like I was walking over
here by the creek. All your little stories. Well, this
music brings out all of our stories, you know, the
(11:20):
things we studied. And you know you mentioned crying steal
guitar war from me? It was Buddy Emmons. I got
to be that that guy and Vince got to you know,
the greatest songs. Listen to the melodies of those songs
that are on this record. They're incredible. And to be
a singer at that level, it has to be great
(11:41):
to be able to sing something like that.
Speaker 2 (11:44):
Hey, and I've got to know this backstage thing. I mean,
did did Ray see the emotion he brought out in you?
Speaker 4 (11:52):
Or did you try to hide that I don't think,
so okay, he was too busy trying to hit the
high notes after.
Speaker 2 (12:00):
How well did you know him? Because, oh my goodness,
he was on our show so many times, the funniest
dude ever. In fact, his stories about Willie and whoever
in the business were so bizarre they had to be true.
Speaker 4 (12:16):
Yeah, of course, of course, you know. Just I just
I remember I remember sitting with him at the an
Awards show one year. ACM's out in LA and it
hadn't been that long ago, and I leaned over to
him and I said, I'll bet you five hundred dollars
they don't play one shuffle tonight.
Speaker 6 (12:35):
And he started howling. I won't take that back.
Speaker 1 (12:40):
Yeah, my rape price story, Oh dear, are you going
to tell it as well? We don't have to air it,
we may have to edit it. Well, I'm working Channel four.
I'm going the midday show, Channel four magazine over there.
This is like in the early eighties, and raise a
guest on the show. You know, he comes in and
he's got on the brown suit as you would imagine,
and matching boy boots, just real classic, you know, And
(13:02):
we're in the green room down there at the bottom
of the steps as you come in channel four. And
I always like to go out and say hello to
the guests. I said, hey, you know, see what kind
of mood they're in, that sort of thing before we
go into your life. And uh, he said, man, just
a little little tense. I said. So he without hesitation,
reached down, pulled up his pants leg, grabbed a reefer
out of his boot.
Speaker 6 (13:22):
Fire it up.
Speaker 4 (13:23):
I bet that great.
Speaker 1 (13:25):
Guess we had all kinds of Oh, he was remembering
stuff in the forties.
Speaker 4 (13:33):
I remember we we did. We did some show together
and up in d C or something. I was kind
of hosting it and bringing people on and off, and
and he went out there and just destroyed this audience.
He killed it. And he was gonna he was he
was going to get an encore and he wasn't sure
if he was going to go back out. And I
went over and put morem around him. I said, man,
(13:55):
I said, if you do, Danny boy, I said, you'd
kill him. He looked at me and goes, damn Son,
you want blood.
Speaker 1 (14:08):
Translate things?
Speaker 6 (14:10):
That's good, Okay.
Speaker 1 (14:12):
Much more on the way with Paul Franklin and Vince
gil including the unbelievable number of appearances Vince has made
on other artists records. Can you believe that number he
gave us.
Speaker 2 (14:21):
Laura, Yeah, it's much more than a hundred.
Speaker 1 (14:23):
Whoo. And just who was it in Raye Price's band
that once jumped out of a hotel window? Well, Paul
knows who and why that's coming up on Crooked Chase
Nashville Chats.
Speaker 2 (14:35):
So how do you describe both of you? What made
him great? And how on this project did you bring
out the elements of that greatness.
Speaker 4 (14:48):
I think he just opened his mouth and it was undeniable.
It's not any different than when you hear Chris Stapleton
sing today. Yeah, he opens his mouth and you go, Okay,
game over.
Speaker 7 (14:57):
He's just great.
Speaker 4 (14:59):
Yeah, And that's what ray Price is and was you know,
it was just it was undeniable. He sang different than
anybody else. He sang in a way that when it
came on, you knew you didn't have to go through
a long list of who it might be. You knew
exactly who it was. Every time he opened his mouth,
whether it was singing like in these early days, he
(15:21):
kind of sang like Hank Williams a little bit. And
then he started doing the shuffles, and then he got
a little more cosmopolitan with the big strings, a little
more you know, broad voiced balladeer. But it didn't matter
what it was that he did, he could do it.
And we tried to borrow from a little bit of
all of those periods of his career, not just the
(15:41):
shuffles from the late fifties. We did Danny Boy, We
did a couple of you know, a couple of crooners
you wouldn't know love it, looked you in the eye
and whatnot. But we also did Weary Blues from his
Hank Williams years of being friends with Hank, and so
we just, you know, we just following what we what
we love. That's all we can do.
Speaker 1 (16:02):
You talk about the music and having fun with the music.
Let's talk about the lyrics here, because you hear songs
like the same Two Lips written by Marty Robbins, right
Kissing Your Picture written by Tillis, Wayne Walker and Ray himself.
The lyrics when you listen to it, are very simple,
but they are classic. As you said, they're like rem brands.
Speaker 4 (16:26):
Well, I think the key to a great song is
making it timeless, where a lyric if it was written
seventy years ago, would still be applicable today. We'll still
move you, it would still be emotional. And that's what
I mean. I'm a songwriter and I try to write
songs that in a way that you would speak them.
Speaker 7 (16:46):
You know.
Speaker 4 (16:47):
They're not full of prose and full of cleverness and
poetry and things like that. They're how we would talk, yeah,
you know, And I think that's what people are drawn to,
is hearing songs that say what maybe they don't know
how to say in a relationship or something, and they going,
like this guy, I wish I could say. I've had
a million guys come up to me and say, man,
(17:07):
I wish I could tell my spouse, or tell my
my friend or my companion, whatever it is. I wish
I could tell them how you what you say in
some of these songs. So that's that's all it is.
And these guys are you know you you look at
that list of songwriters Willie Hey Cochrane, you know, Mickey Newberry,
It just goes on and on on. Sure you know, well,
(17:29):
no wonder they're great because those songwriters all prove to
be the best of the best.
Speaker 1 (17:35):
You guys are messing with loyalty. You know that, don't you?
Speaker 2 (17:37):
Yeah, doing this, but hey, look it's uh, You've never
been scared of anything, so you know, it is one
thing Vince like you're talking about to express feelings and
emotions with voice, the great voice such as yours and
raise and with lyrics. Both of you are also just
(18:00):
the best of the best musicians. How much more difficult
is it or not to express that same kind of
emotion through your hands and through the instrument.
Speaker 6 (18:11):
I'll tell you what was told to me.
Speaker 3 (18:13):
I joined Jerry Reid's band, which I couldn't believe as
steel guitar player was going to get to play with
Jerry Reid. And I was in awe and of course
I'm thinking all the fast stuff.
Speaker 6 (18:24):
And all that.
Speaker 3 (18:25):
And he one moment on the bus he said, just
just settle down, you know, And he said, and I said, well,
I don't know if people are going to like this instrument,
you know, because he was giving me solos and I
didn't know if they'd like it. And he said, if
you love it, every note you play, he said, they'll
follow you. And that was, you know, And then I
(18:48):
heard that in other ways through you know, mentors, like
Pete Drake and players forward as I'd get into the
studio and events a lot.
Speaker 6 (18:56):
Of times when I call your name.
Speaker 3 (18:59):
I don't know if he told the story before, but
I tracked with the band, and so I played what
I played, and I was playing within the boundaries of
what everybody else was doing in the town.
Speaker 6 (19:09):
You know.
Speaker 3 (19:10):
I was playing some traditional music with George Straight and
Alan Jackson and getting to play. But Vince wanted to
go back farther back in time where he said, I
just want that steal to cry. So he calls me
into overdub. I said, you sure, you know, well, yeah,
I'm sure, but but he brought Barry Beckett back in
(19:30):
and we replayed you know, the intros and the turnarounds,
and he said, no, I want to go back. So
I kind of it was great and then and I
actually loved after I got to play it. I loved
what I played on the session date. I was half
love and half thinking, Okay, this is what I can do.
But when when he said all right, feel this thing,
(19:53):
nance you were right.
Speaker 1 (19:54):
Yeah. Once you guys are automatic when it comes to
playing the music. And in light of all we've discussed
about this project here, the fact that you're dealing with
classic songs, the fact that you're bringing back some wonderful
music and introducing to a new audience. How challenging was
(20:15):
it or how difficult was it or was it just easy?
Piec No.
Speaker 4 (20:19):
I think it was easy in the way that all
we can do is what we do. You know, when
when I play something, if I'm if I'm playing guitar,
before I play it, I go in my head, I go,
how would I sing this? And that's what informs me
what to do. When I'm singing something, I would say
to myself, how would I play this? And it all
(20:41):
comes from the same spirit, the same heart. All that
so I think sound like records are boring. You know,
you can you can ape a record note for note
and go, yeah, well you improved anything. And but the
but the thing that I that I that it's hard
to do. It's hard to I guess you know, deal
with is more the comparison. You know, when you put
(21:04):
something out and you take on something that someone that
was great, I think they they think in their minds
that if they're going to be critical of it, well,
who do you think you are? Thinking you can do
a better job? Of of that. So we don't think
we can do a better job. We're doing a different job.
I just love what we're doing. We're doing it because
we love it and we revere it and we respect it,
(21:26):
and and so when it when it when it comes
back to you as you know that comparison, I like
the original better, I like that those you know, it's
not a competition. No, this music has never been about
who's better, who's anything.
Speaker 2 (21:39):
Like you said, it's about love and it's about honoring
what you love. Quick question early fast. Both of you
are just mega collaborators, just so good at it. But
I was just thinking this morning, is there any genre
or any artists you don't have to name names because
I know you're both gentlemen, but that you probably wouldn't
collaborate with because it's not in your heart, or can
(22:01):
you do anything?
Speaker 4 (22:02):
Well. I can't speak for Paul, but someone was shocked
to find out. You know, I've worked on I don't
think I've worked on as many records as Paul, but
well over a thousand artists records in my career. And yeah,
and I not one time have ever asked them to
send me what it is that they want me to
work on to me. Then that puts me in the
(22:25):
in the the position of judgment and saying, well, I don't,
I don't. I don't want to do that because I
don't like it. I would never want to project that
onto anybody. So I said yes to everything that I
that has ever come across my desk that I could,
and I and I and I give them fair warning.
I said, hey, this may not work, feel free to
(22:48):
fire me.
Speaker 6 (22:49):
You know it's okay.
Speaker 1 (22:50):
You know you won't.
Speaker 6 (22:56):
Paul said, you can't fire me.
Speaker 1 (22:57):
You Rave's band, the Cherokee Cowboys. I was looking at
the launching pad for so many artists like Paycheck, Yep,
Roger Miller, Willie Nelson, Lord knows when that band came
intown on tour you locked the doors.
Speaker 6 (23:16):
Yeah.
Speaker 1 (23:19):
Have you heard stories about the Cherokee Cowboys. I mean
I really have it. I mean I've worked with Ray
and all that, but we never talked about the band.
Speaker 3 (23:26):
Yeah, I mean, well that just other than they're great.
There are a lot of funny stories. I don't know
how many we could tell here, but there's there's one
that Ray hired Buddy Emmons when he was a kid,
and I don't know that if there's a punchline to it,
but anyway, they got it tickled at him because as
you would be thirty and forty year old players with this,
they were always daring Buddy to do things. And so
(23:48):
they said he had this cape because he'd seen some
comic and he was running around like that and like
he could fly.
Speaker 6 (23:55):
He got he was enthused.
Speaker 3 (23:56):
About the cape, you know, going you know, a worn
and someone said, well, I bet you couldn't jump off
this hotel fly and Buddy, they said, Buddy, just without
missing a beat. It was about one story up, but
he fell down and I think he broke his arm whatever. Yeah, yeah,
but they were you know, they were like, you know,
(24:17):
they traveled at a time when they didn't have Apple
TV on the bus satellites and they couldn't watch anything,
and so they entertained themselves.
Speaker 1 (24:27):
That's just tame.
Speaker 3 (24:28):
That Yeah, that's tame or whatever. There's all the Johnny
Cash stories.
Speaker 2 (24:32):
Okay, so this is okay, very last question. We got
to go here. But so this is weird. We have
had just the blessing and the thrill of interviewing, like
Grand Funk Railroad, Three Dog Night and all those people
and just asked him about these wild stories about these
crazy parties and things that they did, and they basically said, yeah,
(24:55):
they were true because we just wanted to live and
be rock and roll and live that life. Have either
of you ever just gone nuts and try to be
rock and roll at least for one night or a
week and just go crazy? Well have you noticed, Charlie,
they're both silent now.
Speaker 4 (25:15):
It's been pretty tame.
Speaker 6 (25:17):
Yeah.
Speaker 4 (25:17):
The only thing I ever did was drink too much. Okay,
have a fool. But I tour with a guy now
that that wrote the book on crazy, Joe Walsh. He
would remodel hotel rooms.
Speaker 2 (25:28):
Well and remind me to tell you I don't have
time here. But the time I judged the Miss USA
pageant with Joe Walsh by my side.
Speaker 6 (25:35):
There you go there, Yeah, old thing that you love.
Speaker 1 (25:39):
You're great with the Eagles, you really are, and I
know you're hanging with stable. Yes, this is a wonderful project.
Thanks for doing it you friends.
Speaker 2 (25:49):
Yeah it is. It's a thrill just to know you
and be with you for this long for sure.
Speaker 6 (25:53):
Thank you.
Speaker 4 (25:54):
You're a hell of a dancer, So.
Speaker 1 (26:01):
I don't think you had any compliments for your dancing, Lorianne, I.
Speaker 6 (26:04):
Don't know what.
Speaker 2 (26:07):
It sounded like. You inventsive dance together.
Speaker 1 (26:10):
Oh no, no, of course not, of course.
Speaker 3 (26:11):
You know.
Speaker 1 (26:12):
The thing is we've known both those guys forever, and
when you sit there in the studio you can just
start having fun jabs one another. It brings out a
lot of their personality. They're wonderful people and tremendous talents
and you can see the gleam in their eye. They
love what they do.
Speaker 2 (26:29):
Oh, they absolutely do. And I'm telling you, if you
want to just hear the type of magic that the
best in the business can make, not only individually but together,
get this album Sweet Memories, the music of Ray Price
and the Cherokee Campbell.
Speaker 6 (26:46):
And what they do.
Speaker 1 (26:46):
They find some songs I think you mentioned, they find
songs that you really haven't heard, and they put their
spin on it and it's it's really fascinating.
Speaker 2 (26:54):
They call it deep cuts. They're going to deep into
two albums, music that maybe people haven't heard in a while.
Speaker 1 (26:59):
All right, friends, we've got your country covered right here.
Be sure to listen to the Crook and Chase Countdown
every weekend. It's on hundreds of radio stations all across
America and streaming on iHeartRadio.
Speaker 2 (27:09):
Follow us on Facebook, Twitter, and Instagram at Crook and
Chase
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