|I'd forgotten what a schlock town
Nashville actually is until I arrived back in June '92. Talk about culture shock. Music
City, USA was in the beginning of it's current spell, making rock and pop records with the
hat, belt buckle, and boots on the cover, being careful not to spook the horse. I figured
who better to help record such noises for posterity than an LA rock guy.
|I'd sent out about 50
letters to all the producers in town trying to find a gig and got a response from Rodney
Crowell. An old LA guy, he called one day and said "I'm game to working with new
people", and we did 17 demos for "Let the Picture Paint Itself" in March of
1993. The Studio was one of those converted houses on Music Row, and everyone crammed
in various rooms all throughout the joint.
A little different I will say.
I got laughed at during the
setup when I stuck that 58 out there for the lead vocal, but when they heard some
playback, no more laughing. Michael Rhodes said, "Rodney. that's your record right
there". The 17 songs took three days, and I quit my temp job afterwards in personal
protest for having done good work.
|About a month later Rodney called and had a gig doing a couple
songs for the movie "The Thing Called Love", which we tracked and mixed at
Woodland. They had an old Neve in one room and a V-Series in the other, and Rodney booked
the wrong room, so we ended up on the V-Series (they did have real echo).
One of my greatest moments was the privilege of recording Mr. Steve Cropper,
who arrived late and had to squeeze into what space was left. After, he came in the
control room to listen and smiled. He sounded like Steve Cropper.
Unquestionably a "man's man".
|A friend of mine was a big
Melissa Etheridge fan, and I'd gotten her tickets and passes to a show at the Opry. Kevin
and Fritz had quit by now, so it wasn't quite the same.
get to meet "Barbara from Nashville" and got Melissa to sign my friends picture.
I think it made her life.