He said: This guy deserves to be on a major label. He said, I like what you do. He had seen - heard some of my demos, and what have you. And he said, would you like to sign with us? And of course, you know, that's the right hand of God - is Chet Atkins, Losers. And so I signed with him, and that was it. And this was also your first single to reach number one on the country charts, recorded in You know, that song, Chet is all over that.
Wayne Moss is playing the guitar on it, and the band is wonderful. This song was out by someone else and I said, well, I'd love to do that but I'm going to give him a chance. So I waited six months and then he re-released it, and I had to wait another six months to do it, because I wasn't going to cover him. You keep a steppin' out of line and be messin' with my mind. If you had any sense you'd quit. Now you better do some thinkin' then you'll find you got the only daddy that'll walk the line.
I keep a workin' every day all you want to do is play. I'm tired of stayin' out all night. I'm a comin' unglued from your funny little moods. Now, honey baby that ain't right. In your book, you write the more your records sold, the further they receded from what you had in mind, the sounds you wanted to hear. And I come Boozers And Heroes and they had put horns and all kinds of things on it. This was when Danny Davis started producing me.
Chet was trying to get away from producing and more back into his own artistry, and playing guitar more.
And he put me with Danny Davis. And he was just overworked. But anyway, what I wanted to hear was what I was feeling and what I had in mind. It was kind of like a painting. I don't know. That sounds corny, I guess. I could write a song or find a song I like, and I could describe to you what it was going to sound like when I got through. And I got into a position where it didn't. And that's very frustrating and drives you crazy.
I can't remember who was producing the session - it might have been Herb Alpert - where you decided that you just couldn't stand pickup notes Herb Alpert would throw something at me.
It was a Buntline. He took it out in his fishing boat. And Merle Haggard wound up with it, somehow, and he brought it back to me. And so I was just putting it on the holster. You know, I still got it and everything - and put it on. And I went in there and I thought, well. And there was - some British journalists were in there in the studio - in the little studio, there at RCA. I walked in, and I said, now, the first guy that I hear use a pickup note, I'm going to shoot his fingers off.
And the guy that's sitting Losers looking at those numbers on that paper, after the third rundown, I'm going to just kill him.
And I said, man, you're a lot of - you're funny. I didn't know you were funny. I said, I thought you were some kind of mad guy or something like that. And he said, me? He said: Listen, people in England think you shoot folks. And then tell us why you're so opposed to them. You know, like - and there you - you know, why not just keep it rolling and rolling and having a good time, and then come in where you're supposed to?
And you haven't given everything away. You know, that's what pickup notes do. And it's the easy way, too, because it keeps - you know, you don't have to pay that much attention. When you hear a pickup note coming, you know you've got to change keys. It was like cookie cutters, you know, everything you did. And here are these guys playing four sessions a day, sometime.
How creative can you be, you know? And they wouldn't let you use your own band. They didn't want you to use your - I'm not saying one thing bad about the musicians here. They were the greatest musicians in the world because, I mean, they could - they had that number system. And for that music, it was wonderful. I just didn't like, you know, pickup notes, like I said. It's like And they kind of picked Boozers And Heroes up there. And then, when in search of something, they called me everything for a long time.
They called me outlaw. They called me rebel. They didn't know quite what pocket to put me in. And then when they decided to put out the album with me and Tom, Paul, Jesse and Willie, they used it there, and it kind of caught on.
This is something you co-wrote with Willie Nelson, and you both sing on it. The good Lord only knows Seems like it was just the other day I was down at Green Gables, hawking them tables And generally blowing all my hard earned pay. Piano rolled blues, danced holes in my shoes There weren't another other way to be For lovable Boozers And Heroes, no account boozers And honky tonk heroes like me.
The good Lord only knows Seems like it was just the other day I was down at Green Gables, hawking them tables Generally blowing Losers my hard earned pay. Piano rolled blues, danced holes in my shoes There weren't another other way to be For lovable losers and no account boozers And honky tonk heroes like me. The good Lord only knows And seems like it was just the other day I was down at Green Gables and hawking them tables And generally blowing all my hard earned pay.
Piano rolled blues, danced holes in my shoes There weren't another other way to be For them lovable losers and no account boozers And honky tonk heroes like me. Please click here if you are not redirected within a few seconds.
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