Comments by Buck Owens
Moderator: Dave Mudgett
- Ken Lang
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- Location: Simi Valley, Ca
Comments by Buck Owens
Question. What's the difference between the Bakersfield sound and the Nashville sound.
Buck: I think what really made the difference was that people like Merle and I, just like Dwight Yoakam, would take our own bands into the studio...if everyone who makes an album uses virtually the same studio and engineers, and picks from the same pool of musicians that all hang out together, the records are all going to sound alike.
Question. What are your feelings about the makeup of country radio today?
Buck: I think its pretty sad. That's my own personal opinion...if you're in commercial radio, you have to make a profit...
I like real music. If it's country, I want it honky-tonk. I'm a honky-tonker.
These are pulls from an article on Buck Owens in Guitar Player magazine dated Feb.'89.
It struck me how current his comments are still today.
Ken
Buck: I think what really made the difference was that people like Merle and I, just like Dwight Yoakam, would take our own bands into the studio...if everyone who makes an album uses virtually the same studio and engineers, and picks from the same pool of musicians that all hang out together, the records are all going to sound alike.
Question. What are your feelings about the makeup of country radio today?
Buck: I think its pretty sad. That's my own personal opinion...if you're in commercial radio, you have to make a profit...
I like real music. If it's country, I want it honky-tonk. I'm a honky-tonker.
These are pulls from an article on Buck Owens in Guitar Player magazine dated Feb.'89.
It struck me how current his comments are still today.
Ken
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I used to think that the artists thought their road bands weren't good enough to play in the studio,but it didn't take me long to figure out that the producers were in control.If the artist had a backbone he could request one or two players but not the whole band.
If anyone remembers about 25 yrs ago the early CMA had a special category for best band.Bill Andersons guys won just about every year.
I don't mean to offend any Willie Nelson fans because I do like Willie,but some of the stuff I hear from him on TV sounds like a chinese fire drill.My point being,if that is exceptable in the studio than any band can qualify.
I did most of Jim Ed Browns sessions from 70 to 76 and let me tell you the A Team guys let you know you were an outsider because I was knocking one of their buddies out of a job.It was not a very comfortable environment, especially the guitar players.I guess they thought of me being a threat to their security.
If anyone remembers about 25 yrs ago the early CMA had a special category for best band.Bill Andersons guys won just about every year.
I don't mean to offend any Willie Nelson fans because I do like Willie,but some of the stuff I hear from him on TV sounds like a chinese fire drill.My point being,if that is exceptable in the studio than any band can qualify.
I did most of Jim Ed Browns sessions from 70 to 76 and let me tell you the A Team guys let you know you were an outsider because I was knocking one of their buddies out of a job.It was not a very comfortable environment, especially the guitar players.I guess they thought of me being a threat to their security.
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- Jack Stoner
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- Location: Kansas City, MO
Earl, you hit a nerve. I remember some of the "A" team pickers (steelers included) that didn't want another musician around when they were doing a session. Beside the job security, they were paranoid that you were going to steal their licks.
Also in the early 70's, when I was there, it appeared you had to be in the clique before you could even get your foot in the door. It didn't matter how good a picker you were, sort of like the old saying about "it's not what you know, it's who you b..w".
I don't want to infer that that's how the pickers got into studio work - just what it seemed, from the outside.
I'm a prime example, because I worked for Little Roy Wiggins at the music store. I got into a lot of places "outsiders" wouldn't or couldn't and also got to meet a lot of people that "outsiders" would not - or at least not on that level. I was a nobody and not a very good picker (times haven't changed much) but being where I was opened a lot of doors.
Also in the early 70's, when I was there, it appeared you had to be in the clique before you could even get your foot in the door. It didn't matter how good a picker you were, sort of like the old saying about "it's not what you know, it's who you b..w".
I don't want to infer that that's how the pickers got into studio work - just what it seemed, from the outside.
I'm a prime example, because I worked for Little Roy Wiggins at the music store. I got into a lot of places "outsiders" wouldn't or couldn't and also got to meet a lot of people that "outsiders" would not - or at least not on that level. I was a nobody and not a very good picker (times haven't changed much) but being where I was opened a lot of doors.
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Hey Jack,Clique is the magic word.That was the big nut I was never really able to crack.I remember I had a meeting with Bob Fergusion of RCA and told him anything he could do for me to break into the session thing after I got off the road would be appreciated.When I left Jim Ed in 1976 I never heard another word from him again.
Getting the big break is definately politics and not talent thats why I am gald to see guys like PF hanging in there but there are still many more great players out there that will never get that kind of break.
Over the years there were a few people who could have helped me break in but for whatever reason they chose not to.Maybe it was my breath.
I remember when the first Nashville Now band was being put together I got an advanced notice to get my foot in the door so I called Jerry Whitehurst and told him I was interested and he informed me that he already hired Fred Newell.I guess my day late and a dollar short was shorter than I thought.
Getting the big break is definately politics and not talent thats why I am gald to see guys like PF hanging in there but there are still many more great players out there that will never get that kind of break.
Over the years there were a few people who could have helped me break in but for whatever reason they chose not to.Maybe it was my breath.
I remember when the first Nashville Now band was being put together I got an advanced notice to get my foot in the door so I called Jerry Whitehurst and told him I was interested and he informed me that he already hired Fred Newell.I guess my day late and a dollar short was shorter than I thought.
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- Richard Sinkler
- Posts: 17675
- Joined: 15 Aug 1998 12:01 am
- Location: aka: Rusty Strings -- Missoula, Montana
Hey Earl. It's not your breath. It's your name. You should have used Early Bird.

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Carter D10 8p/10k
www.sinkler.com





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Carter D10 8p/10k
www.sinkler.com
- Richard Sinkler
- Posts: 17675
- Joined: 15 Aug 1998 12:01 am
- Location: aka: Rusty Strings -- Missoula, Montana
OOPS. I just cleaned my mouse and it is trying to get back at me.
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Carter D10 8p/10k
www.sinkler.com
<p ALIGN=CENTER><FONT SIZE=1 COLOR="#8e236b">[This message was edited by Richard Sinkler on 11-23-99]</FONT></P>
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Carter D10 8p/10k
www.sinkler.com
<p ALIGN=CENTER><FONT SIZE=1 COLOR="#8e236b">[This message was edited by Richard Sinkler on 11-23-99]</FONT></P>
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Sleepy,my father has been a mason for 50 yrs and my brother has been one for 20 and I will tell you that the brotherhood is not exempt from back stabbing.Just when you think you can count on somebody they will let you down.Its ashame that Reggie went to all the trouble to become a member only to find out he would have gotten just as far without it.