Nashville Music Scene

EXCLUSIVE INTERVIEW: Joe Nichols has been one of the best vocalists in country music for several years now. And with the release of his latest CD, It’s All Good, in late 2011, he solidified his position as a great interpreter of great country songs. With his latest single, “Take It Off,” climbing the charts and Valentine’s Day upon us, it seems like a good time to talk with Joe about his latest record, true love and the one simple thing any guy has to do to come through as Mr. Romantic on the most romantic day of the year. Here’s some of what Joe had to say.

Nash: Good talking with you again. I think the last time was back in the Truman administration, so glad to know we’re both still among the living.

Joe: (laughs) It has been a while, hasn’t it?

Nash: I’ve gotta tell you, before we jump into talking about music, yesterday I told me 82-year-old mother I was going to be talking to you and reminded her that you had done “Tequila Makes Her Clothes Fall Off.” And she said, “Oh, I love that song!” So I just wanted you to know that you appear to have the 80-year-old demographic pretty much wrapped up. That part of your market is taken care of.

Joe: (laughs again) Great. Glad to hear it. Tell her hello for me.

Nash: Let’s talk a little about some of the tunes on your It’s All Good CD. “Take It Off” is a great way to kick of the record, and it seems like these days there probably are a lot of folks who need to take the weight of the world off their shoulders, for a lot of different reasons. But I’m guessing you’re not as prone to grab a cold one and twist the top as you might have been a few years ago.

Joe: (chuckles) Well, a cold one for me can be a Diet Dr. Pepper or . . . (laughs) . . . that’s pretty much my speed. Or a cold iced tea would be all right with me these days. But the gist of it is to have a little fun and don’t let stuff get you down. Take it easy a little bit. We probably stress a lot more than we have to and a lot more than we should nowadays. It’s probably led us to a lot of problems that aren’t even necessary.

Nash: “It’s All Good” is another tune that seems to be very timely, with a lot of folks wanting and needing a hero to save the day. Do you think the message of this tune is a help to those going through hard times? Being able to find a big bright spot in what might appear to be a pretty dire circumstance?

Joe: I really think happiness is not something you find in stuff. I never thought I’d hear myself say a cliché like that, ‘cause I always thought that was ridiculous. But it’s true. Happiness is not something you find in stuff at all. And the song is not some profound message, but it has kind of a bigger meaning, which is, hey, as long as I’m okay, then I can deal with anything. And having the right person next to you helping you get through it doesn’t hurt at all, whether they put you in your place or prop you up when you need it.

Nash: Are you generally a glass-half-full kind of guy in terms of your outlook?

Joe: Oooh. “General” is a tough term for me to handle (chuckles). I’d like to think I am a glass-half-full kind of guy, but, honestly, I just don’t know. Sometimes I am; sometimes I’m not. It depends. Things I have problems with the most are, if things don’t go my way, how do I handle that? ‘Cause when things are goin’ my way, hell, it’s easy to look at it half full.

Nash: And some things are totally beyond your control, so whether you’re optimistic or not, hoping and praying is just about all you can do.

Joe: Absolutely. I think the idea is to find contentment even when things aren’t going your way.

Nash: “Somebody’s Mama” struck a chord with me, because I remember the first time one of my ex’s got married and had a baby. No matter who ended it, the fact is, “well, she’s not going to be devastated for the rest of her life. She somehow managed to find a way to move on without me.”  Have you been there?

Joe: Oh my God, of course. No matter what happened or what the reality is, my perception is that everybody else is having fun but me. Somebody else is out there being happy, and damnit, I want that! (chuckles) So sometimes it’s something, like you said, you may be the one who broke it off and may be extremely over that relationship, but there’s that lonely feeling . . . that disconnect. Man, I screwed that up. Or they’re having fun and I could be that person having fun.

Nash: Let’s talk about “I can’t Take My Eyes Off You.” I know we talked about (wife) Heather in the context of your tune “Gimmie That Girl” and how just the simple, not trying to look great look can be more appealing than anything. This tune really kind of continues that theme a bit. like, it doesn’t matter how great the sunset is or anything else going on around me, you’re what I want to be looking at. Does it get any more romantic than saying that to a woman?

Joe: Somebody once told me, and I think it’s a very wise statement, that intimacy is better described as into me see. I heard that and thought it was just really brilliant. So I think this song is about intimacy. Seeing somebody, not just what they’re wearing or how they look, but seeing somebody. And I think “I Can’t Take My Eyes Off You” is more like, “I’m infatuated with you.” It’s not that your beauty is so overpowering. It’s partly that, but more than that, it’s, gosh, I can’t believe I know somebody this well. I see you. I see completely. And to me, that’s what love is. Loving what you see with your heart, no matter what your eyes see. I think that’s the ultimate compliment.

Nash: It really is a very romantic way to view love. Do you consider yourself a romantic guy?

Joe: God, no! (big laugh) No, I’ve never been a romantic guy, not on purpose anyway. I’ve gotten lucky a few times, and it’s been accidental. Sometimes the littlest thought makes a world of difference. I’m still learnin’ about this woman thing.

Nash: I talked to Trace Adkins once and he said, “You know, if you set the bar low enough, it’s not that hard to jump over it. Just pickin’ your socks up off the floor can seem romantic.” And, of course, it’s not that hard to top yourself the next year.

Joe: (huge laugh) Well, that’s probably pretty profound!

Nash: So, do you sweat it when Valentine’s Day is approaching? Does Heather expect big things?

Joe: I think every girl does. But I don’t sweat it. I would sweat it if it was every Monday (laughs). I would sweat it then—Oh, my God, what am I gonna do this week? But it’s only once a year. And you only have four or five really important days that you’ve gotta get right. One is Valentine’s Day. And her birthday, Christmas. Mother’s Day. Those are big deals and your anniversary is number one. But it’s not that big of a task to come up with something for Valentine’s Day. A card is good; flowers are good. I don’t always do it perfectly. I’m not trying to sit here and tell you I’m the world’s greatest husband and I’ve done everything just right. But it only comes around once a year and I’ve got plenty of warning before it does. I think guys really make it a way bigger deal than it really is. It’s really not that big a deal. It’s a big deal of you miss it. But it’s not that big a deal if you just do something. Just . . . remember! You damn sure remember when that Super Bowl is every year.

Nash: Tell me about the first time you heard “How I Wanna Go.” That’s probably my favorite song on the record.

Joe: Rivers Rutherford wrote that song and I’m a huge Rivers Rutherford fan. I have been for a long time. He’s so good at painting a really good visual picture of what he’s trying to get across. And I think any time you have that, you’re engaged. Good songs engage you. This is one of those songs that describes things so well that, before long, you’re sitting in the picture. And that’s great craftsmanship.

Nash: There are some lines about going out with a bang and being a risk taker. Do you think these days about how you want to go out? Or is it more about the life you live before you get to that point? And being ready, no matter how it ends?

Joe: What I think nowadays is pretty much exactly what the song says. I really thought that I couldn’t wait to get to the end. And the most exciting, loud, extravagant, incredible way to get there was perfect for me. Couldn’t be loud enough, couldn’t be quick enough. I wasn’t consciously thinking that, but subconsciously, that was the record I was playing in my mind—let’s go out guns ablazin’. And let’s burn it all down on the way. I think Heather played a huge part in turning that entire thinking around. I look forward to growing old, if I get that chance. I look forward to taking it easy with her and slowing everything down and experiencing life. Rather than, as I said, burnin’ it down.

Nash: Anything special you’re really looking forward to in the coming year?

Joe: This year I am looking forward to what I call a discovery year. I’ve got a lot to do this year. I think is a perfect time for me to rediscover what I do well and write the songs I am meant to write. Spend my time writing and getting to know myself a little more. And prepare for the next record and the next challenge. I want to be good at what I do. And whatever it takes to do that, I’m gonna do. I want to discover what I’m good at, what makes me unique and what I love.—David Scarlett

Do you want to win Joe Nichols’ New CD? An Autographed CD? Just go to our Facebook page “Like” us and post “Joe Nichols and Nashville.com, It’s all good! Winners will be selected at random.

Contact: dscarlett@nashville.com or jerry@nashville.com

At a loss as to what to get the country music fan on your list as the holiday gift-giving season rapidly draws to a close? Fortunately, thanks to country music radio icon Blair Garner, your worries may be over as he releases BEYOND The Hits Volume 1, a collection of 20 great songs—none of them previously released as singles—from many of the top stars in the genre. Best-known as host of his own nightly syndicated radio show, “After MidNite,” Blair is heard by millions weekly throughout the U.S. and Canada and is a passionate supporter and lover of country music. And, as someone who grew up before the days of downloading individual tunes, Blair has always loved exploring every song on an artist’s new album, looking for those gems he somehow just knows will eventually be hits. BEYOND is a collection of those tunes, all taken from previously released albums by Trace Adkins, Lady Antebellum, Tim McGraw, Miranda Lambert, Kenny Chesney, Keith Urban, Martina McBride and more of country’s biggest stars. In addition to helping showcase 20 wonderful songs, the new project—the debut release from Blair’s on TriPower Production Company—also is a fundraising vehicle for causes near and dear to Blair’s heart: St. Jude Children’s Research Hospital, The CMA Foundation’s Keep the Music Playing and the ACM’s Lifting Lives. BEYOND The Hits is now available on iTunes as a $9.99 digital album. Pick it up for the true country music lover in your life. Blair recently took time to chat with Nashville.com about the project and some of the stories beyond the wonderful tunes on the record. Here’s some of what he had to say.

Nash: First, thanks so much for doing this project. Not only because of the great music you’ve compiled, but because of what it will do for songwriters. Can you talk a little about your motivation for putting out BEYOND The Hits?

Blair: I’m really doing this for a couple of reasons. Of course, sharing these great songs that people may not have heard is important. But I also know how much songwriters depend on people downloading their music to make a living. And with so many people no longer buying complete albums, a lot of writers who, in the past, might have been able to make a living getting album cuts until they’re fortunate enough to have a single or two released are now losing a lot of their income. And then, there’s the charity aspect. I’m really excited about being able to devote a portion of the proceeds from this project to causes I truly believe in. Of course, as the father of 8-year-old twins, who thank goodness are healthy and happy, I have a special place in my heart for the great work St. Jude’s does. Also, my dad was band director at West Texas State University, and I know how important it is to support and encourage young people as they pursue their passion for music. So, having some of the proceeds from the project go to those causes is extremely important to me.

Nash: Are the songs on the record totally your selections or were the artists involved in choosing them?

Blair: I picked them all, because I always discover songs on albums that I know will be hits if they’re released as singles. These songs are all in that category, but none of them ever were released as singles, so this is my way of giving them the attention I always thought they deserved.

Nash: Why do you think they were never released? Is it just a numbers game . . . only so many singles can be released from any one album?

Blair: It can be as simple as a song being too long. Or it could be scheduling. If they release a single and it stays on the charts as long as they expect it to, then it will delay the release of the next album, so they’ll just not put that single out. Or, Jason Aldean told me that he really wanted “I Believe in Ghosts” to be a single, but “Live Like You Were Dying” had just been out, and people at the label thought they were similar enough in concept that it just wasn’t a good time to put Jason’s song out. So there can be a lot of reasons songs aren’t released as singles. In many cases it has nothing to do with the quality of the song.

Nash: When you hear a group of songs like these, do they give you insights into an artist that you may not get through hearing all of their big hits?

Blair: Absolutely. I think listening to all the songs on an album helps you get to know an artist so much better than just listening to hit singles. They help paint a picture of the entire spectrum of what an artist is about and do it far better than two or three individual songs plucked from the album can do. I think people who only download select tunes from an artist are really missing out on a chance to get to know them better.

Nash: I think one of the best examples of that is a great song Trace Adkins had on his X album, “I Can’t Outrun You.” It’s probably my favorite performance by him . . . ever. But a lot of people never heard it because it was just Trace singing a powerful ballad with a piano and a cello and it just didn’t lend itself to being a radio single. Maybe you can put that on Volume II!

Blair: You know, it’s great that you suggested that. And I’ve found that some of the artists I’ve approached are doing that, too, not about their own albums, but about the albums of other artists. Saying, “Hey, you’ve gotta go back and listen to this song on so-and-so’s record. It’s great.”

Nash: I know we don’t have time to discuss all 20 songs on the project, but let’s mention some of them. I love Alan Jackson’s “If Jesus Walked the World Today.”

Blair: I do, too. And it’s such a great song with such a great message. A lot of people would shy away from a song like that, just because it has the world “Jesus” in the title. But Alan’s always written from his heart, and I think this song is one of his best.

Nash: Toby’s “Hurt A Lot Worse When You Go” is really striking because it helps perfectly illustrate the great ability he has to write such really powerful, moving songs and then shoot up the charts with something as playful and nonsensical as “Solo Cup.” Brad Paisley does that and so does Trace, and a very few others. It takes a special artist to believably deliver one song that’ll break your heart and another that’ll make your roar out loud, doesn’t it?

Blair: (laughs) You’re right! But that’s another great thing about getting an entire album. You get to see all of those sides of an artist that you might not see otherwise. And Brad’s song “Better Than This” from this project is a great illustration of that, just a great, fun song about guys sitting around saying, “true, this is pretty good . . . but if all of these wonderful things happened, it could be better than this.” What a great country song. And Brad has such knowledge of country music history and such respect for it and the artists who paved the way for him. I truly believe that as time goes by, he’ll eventually be one of the elder statesmen of the genre.

And so many of the songs on this record have great stories behind them. Tim McGraw told me how totally he relates to his song “Can’t Tell Me Nothin’” . . . and “Guilty In Here” was one of the very early songs Miranda Lambert ever wrote. She’s such a great writer, and that song was written when she was still a teenager. And Keith Urban’s story of how “My Heart Is Open” came about is very touching. He said it was inspired by one of his very early times with Nicole Kidman when he just said to her, “How’s your heart?” And she responded, “It’s open.” What a wonderful thing to say about your heart . . . that it’s open. It touched Keith, and he and his co-writer, John Shanks, got together and wrote such a beautiful song about it.

Nash: There are some huge names that aren’t represented on this record . . . the Rebas, the George Straits, the Blake Sheltons and others. And it is called Volume 1, so I assume you have another group of great artists waiting in the wings for another collection?

Blair: Definitely, there will be more. And I can’t wait to share some other great songs that I truly believe would’ve been big hits if they’d been released as singles. I hope listeners enjoy them.

Nash: I know they will. Thanks so much for taking the initiative to compile these great songs and share them with fellow country music lovers. And thanks, too, for taking time out of your holiday schedule to chat for a few minutes. I appreciate it. Merry Christmas.

Blair: You, too. Thanks, David, always a pleasure.

BEYOND The Hits track listing:

Alan Jackson              “If Jesus Walked the World Today”
Martina McBride         “Sunny Side Up”
Luke Bryan                  “First Love Song”
Tim McGraw               “Can’t Tell Me Nothin’”
Brad Paisley                “Better Than This”
Jason Aldean              “I Believe In Ghosts”
Sara Evans                  “You Don’t”
Trace Adkins               “Southern Hallelujah”
Lady Antebellum        “Slow Down Sister”
Darius Rucker             “Be Wary of a Woman”
Miranda Lambert        “Guilty In Here”
Kenny Chesney          “In a Small Town”
Carrie Underwood      “You Won’t Find This”
Keith Urban                 “My Heart Is Open”
Josh Turner                 “Gravity”
Rascal Flatts               “Cool Thing”
Toby Keith                   “Hurt a Lot Worse When You Go”
Sugarland                    “One Blue Sky”
Billy Currington           “Heal Me”
LeAnn Rimes              “You Take Me Home”

—David Scarlett

Contact: dscarlett@nashville.com or jerry@nashville.com

Exclusive Interview: Jake Owen had certainly not been a stranger to success during the first six years of his Nashville recording career. With substantial hits such as 2006’s “Startin’ with Me,” 2008’s “Don’t Think I Can’t Love You” and 2009’s “Eight Second Ride”—and his performance of “Life in a Northern Town” with Sugarland and Little Big Town in 2008, which earned Grammy and CMA nominations—the affable Florida native had proven he is definitely in country music for the long haul. And his ACM Top New Male Vocalist award in 2009 absolutely solidified that contention. But, while his career to this point has been impressive indeed, his new album already shows unmistakable signs that Jake’s earlier accomplishments are likely just a prelude to some wonderful things to come. So what kind of signs are we talking about? The debut single and title cut from Jake’s new album Barefoot Blue Jean Night was at No. 1 on Billboard’s Hot Country Songs chart for two consecutive weeks, and the song has been certified platinum based on sales of more than one million digital downloads—so far. As if that weren’t enough, the album also debuted at No. 1 on Billboard’s Top Country Albums chart. And a listen to the rest of the tunes on Jake’s new record makes a resounding statement that the success of “Barefoot” was no fluke. There are a lot more great songs on the record, and Jake is singing better than ever. He took time to give us a call at Nashville.com while on the road in his old Florida stomping grounds. Here’s some of what Jake had to say.

Nash: I remember when you came and played for us in the office not long after you got your record deal and talked about how quickly things happened for you once you got to Nashville; you managed to bypass the typical scenario of waiting tables, singing demos and doing all the other things so many young artists do to survive while waiting for a break. Looking at where you are now with the recent No. 1, acclaimed album, etc. . . . are you about where you thought you’d be after that quick start? Or has the pace of things surprised you one way or the other?

Jake: I think it’s been awesome that it’s worked out to be a slow and steady climb. And you’re exactly right, when I came to play for you guys, I had gotten a record deal pretty quickly, and a publishing deal as well. That was just kind of the way it went. Then I made my first album, went out and promoted it and it was off to the races. Now, here we are almost 6 1/2 years down the road. And “Barefoot Blue Jean Night” was my sixth single, so it took about a year to promoted each single; a year of my life it took to go out on the road and promote a song. And I’ve learned a lot in that time. Some people come out of the blocks and have a big hit right away, and others, you’ve just got to keep knocking on the door at radio, getting in front of people and letting them know who you are. And that’s really what I’ve been doing since ’05.

Nash: Times really have changed. I know the Beatles at one time had four or five tunes in the Top 10 at the same time, and now it takes a year for a tune to work its way up the charts.

Jake: “Don’t Think I Can’t Love You” was a pretty big hit for me; it went to number two on the chart. And that was a couple years ago. During the 48 weeks that song was on the charts, Kenny Chesney had already had two number ones, and a third song was just about to pass me by the time I got to number two. (big laughs) He had two songs jump me and go to number one by the time I got to number two. Once you get to a certain spot, once radio embraces you and fans and listeners start wanting your music, it’ll happen. But until then, you’ve gotta keep grinding and keep your head up.

Nash: You’re obviously on a nice roll now, with the recent No. 1 and gold and platinum thrown in for good measure, but have there been some downs along the way, things that surprised you because they didn’t go the way you thought they would?

Jake: Yeah. I’ve come to learn that I don’t know if it’s harder to get a record deal or harder to keep one. Anyone who has money at a label can give someone a record deal and put a bunch of cash behind the song and beat people up at radio to try to get them to play it. And spend a bunch of money on promotion and things like that. But if the artist doesn’t have something completely identifiable and real and people don’t recognize themselves and it’s just a product being forced down their throat; sometimes that doesn’t work. So to answer your question, there’ve been multiple times in my career that I look back and think about things that we did based on marketing or perhaps a corporate decision that might have jaded the public’s perception of who I am. Until I finally was able to have the freedom of going in and making this new record the way I wanted to; putting aside my own songwriting to embrace the Nashville community of songwriters, which I hadn’t done before. I didn’t realize how much that would help change my career. But it has.

Nash: This is not a comment on your songwriting at all, because you’ve written some things that I absolutely love, but I do think that overall this batch of songs is just very impressive—some great songs there.

Jake: To be honest with you, when I moved to town and got a record deal, I was working with my buddy, Jimmy Richie, who produced my first two albums. We wrote pretty much everything together. At the time, in my mind, I really honestly believed that the only way the people of Nashville would embrace me and help me out and believe in me—and for me to validate myself on the charts—was for me to write my own songs. So that’s what I tried to do. And for two albums and about four years of my life, I wrote everything and was kind of blinded to the rest of Nashville when it came to other songwriters. So I decided this time around to change producers and go out and look for songs. I didn’t realize how deep this town got with songs and, especially, with songwriters and how great they are. And I’ve made so many new songwriter friends, and I never knew who they were. And they now are pulling for me, waving the Jake Owen flag and hoping I do well because I recorded their songs, and so do the publishers. A lot of people in town are really involved now who weren’t before.

Nash: And there’s no telling how many great songs you could’ve had offered to you if there hadn’t been the perception that, “Hey, he writes all his own songs, so there’s no point in pitching him anything.”

Jake: That’s what I’m learning now. And, like you said, I’m proud of the first couple records I made—I wrote all that stuff. But, you might be a great songwriter, but you’re not going to outwrite all of Nashville. You know what I mean? I recorded one tune on my record that I wrote this time around. And the rest of the songs are songs I just listened to as a fan of music and as someone looking forward to putting his voice on a song. This time I just cut songs that I personally loved. That’ll never get old to me.

Nash: Now you probably have another problem—having so many great songs pitched to you that you have more than you have room for.

Jake: I’m really fortunate that a lot of guys are contacting me telling me they have songs for me. Even though I didn’t write “Barefoot Blue Jean Night,” the reason I chose it is because I’m a Florida guy. I was born and raised in Florida. I grew up in the sunshine, running around barefoot and just hanging out. That song really hit home to me and represented a lot of my life. I think once I tied that in with my video—me wake boarding, doing my thing that I’ve always done—people finally saw that side of me and really bought into thinking, “Okay, I get this guy now. I see what he’s all about.”

Nash: I remember doing a story on you several years ago, I think it was called “Go Big or Go Home,” and you talked about your nothing ventured nothing gained, go for it attitude in wake boarding and other aspects of your life. Where did that confidence come from? Your parents? Just something that’s always been there?

Jake: I grew up with a twin brother and was just a really competitive kid. Exactly the same age, shared a bedroom as kids. And every day we were playing basketball in the front yard together, or we were throwing a baseball or swimming or fishing and trying to beat each other. So when you have somebody like that in your life where you’re constantly trying to one-up them, it really gives you confidence to take out into the world with the attitude that I can do whatever I want. I’ve always felt like that. I think I’ve done a lot of things in my life that at first glance I had no idea how to do, but I just threw myself into it and said, “Well, there are people out there who can do this, so why can’t I?” That’s what I did with guitar, and singing and songwriting. I’d never done it before and didn’t come from a family band or anything. But I’ve always been the kind of person who is just confident. If I’m going to do something, I’m gonna give it a 100 percent effort and do it.

Nash: Let’s talk about the record a little bit. And, again, I really do think that it’s excellent, across the board. And one of the ones I really like is “Anywhere With You.” And I have to ask, what’s the most “wild hair” thing you’ve ever done? Have you done the spur-of-the-moment trip to Mexico? Anything else? Just totally spontaneous?

Jake: Oh yeah. Many instances like that, some that might not be suitable for a family publication! (laughs) That’s the reason I put that song as the first tune on the album. You turn the album on and hear this swelling of guitars cranking up and then—bam! It just kind of hits you in the face. That dueling twin guitars sound. When I first heard it, I closed my eyes and it’s got this breezy Allman Brothers kind of feel to it. And, once again, being from Florida where the Allman Brothers are from, that sound in general was appealing to me. And the lyric and the melody of the chorus, it’s just really easy to sing along with. That’s what it’s all about for me, man. I just want people to have a good time and sing along. Whether I play music or not, when people hang out with me and want them to walk away saying, “That guy likes to have fun. He likes to smile and make people laugh.” That’s what I want to do with my music and my show out on the road.

Nash: So, it’s safe to say that being spontaneous is pretty important to you.

Jake: Totally. I’ve always been spontaneous. I remember waking up one morning in Tallahassee, Florida, with nine hours of college left. And something in my gut told me I needed to move to Nashville. And I picked up the phone and called my parents and told them something in my gut told me I should move to Nashville, and I was going to move there tomorrow. I did. They first thought I was crazy. But I said, I’ll only have one chance in life to do this and I feel like I can do it. I’d saved up enough money from playing bar gigs. And my father told me, “If you’re man enough to call me and tell me this and if you’re man enough to support yourself, I’ll give you my blessing as your father.” And so I did. That was a pretty spontaneous thing, you know?

Nash: And the kind of thing that will minimize the chance of your looking in the mirror in 30 years and saying, “Damn, why didn’t I give that a shot.”

Jake: Right. I can honestly say, there aren’t many things I can look back on in my life and say, “Damn, why didn’t I do that?” But, there’s been a lot of things I can look back on and say, “Why did I.”

Nash: I’d rather have those.

Jake: Exactly. It’s the things you do and fail or succeed at that you learn the most from. You never learn anything from not doing something. I like to do it all and give it my best effort.

Nash: “Wide Awake” is another tune I really like, partly because, like several others on the record, it’s pretty universal in its theme. We’ve all been unable to sleep at one time or another, either because we’re totally excited about someone and can’t get them off our minds or because there’s trouble in the relationship. I assume you’ve been there in both scenarios?

Jake: Oh, totally. Both. I can remember being a kid in middle school and had a little crush on some girl and not being able to sleep looking forward to going to school the next day and seeing her again. Or fast forward in life to now, dating someone and falling in love and thinking about them. Or, being an idiot and doing something stupid, lying there thinking why did I do that? But whether it’s about regret or about not being able to wait until you see someone again, that song relates to a lot of people. And it can also be just some background music to their lifestyle that just makes them feel good.

Nash: This sees an appropriate time to ask, you are involved with someone now, correct?

Jake: I have a girlfriend who is awesome and is actually on the road with me now. She’s from Florida, so while I’m down here on my Florida trip, we’re rockin’ around together on the bus and she’s coming out to some shows. I wanted to bring her out here and let her see what I do. It’s hard to explain being on the road all the time. Going from arenas to playing clubs and from clubs back to arenas. She’s seen me do the whole arena thing, with the Keith Urban tour and all that, which was amazing. But I was like, “All right. Now you get to see fairs and festivals and clubs . . . the way it is most of the time.” (laughs)

Nash: Probably my favorite song on here, I’m not sure why . . . maybe it’s that universal thing . . . is “The One That Got Away.” I love that song. I’m wondering is there someone specific in your mind you look back on with regret for having let her get away?

Jake: Yeah, and that’s funny that it’s your favorite song because that’s the one song on the album I wrote.

Nash: Great, and I didn’t know that when I asked about it. I really do like it.

Jake: Thanks, man. Yeah, I wrote that. And I wrote it a while ago based on just growing up in Florida. It’s funny, in the summer months, Vero Beach where I grew up is known as “Zero Beach” 99.9 percent of the year, until summer rolls around when out of towners from up North or out West come to town with their sons and daughters. And I’d be the local hangout guy who could always show people around. I’d meet girls on the beach or down at the Riverside Café and then, since I was the local guy, I’d know where the parties were. But I’d meet these girls or guys and become friends with them, then at the end of the summer they’d leave to go back to school, wherever they were from. So that was written about a girl who came to town and I remember her and hitting it off with her. Then she left and we were so young we didn’t keep in touch. And I never saw her again. It’s got that Tom Petty flavor to it, another song with that kind of Florida rockin’ feel. I’m glad you like that, man, it’s one of my favorites as well. I wasn’t planning on putting any songs I wrote on this record, but that one just stood out and I had to put it on there.

Nash: “Setting the World On Fire” has a line in it about leaving a trail of smoke behind those tires. And I’m not sure it’s necessarily referring to this, but it certainly could be thought of as wanting to leave a mark when you’re gone, making sure people knew you were there. Is that important to you . . . whether you ever achieve huge tangible things like Opry membership or the Hall of Fame or whatever . . . just that you touched people and made them remember you? That you left a mark?

Jake: That song is probably my favorite on the record, just based on the fact that it represents my life and what I’ve done to get here and what I’ll always continue to do. Loves that I’ve lost because of it, because of my passion for it. It’s just a song about getting out there and giving it all you’ve got. But it’s funny, the song doesn’t say anything about playing music, but it’s about being a rambler. That’s what my life’s all about, being on the road and chasing this dream. Spark the match and make it happen. And I’ll always be out here trying to set the world on fire with my music. That’s what I do. And you’re right, leaving a mark. Whatever town we’re playing in, I love playing that song and I explain to them that, thanks to them, they’re the fuel in my fire. And without them, I’d never be able to set the world on fire. And that’s what I’ll always do. And whoever is going to put up with me for the rest of my life and be my significant other has to understand that’s what I’ll be doing. It’s what I gave up college for and my family back home, to travel on a bus with 12 other dudes and see this country and play some songs.

Nash: Can you talk about your next single?

Jake: Yeah, the next single is “Alone With You.” The label wanted to put out “The One That Got Away,” but I said I’d rather go with this one, because I think people will really relate to “Alone With You.” I know I relate to it. That’ll be the next one, and after that, we’ll see what happens.

Nash: There’s a lot of uncertainty in life these days, from the economy to the general state of the world. Can you give me three things you’re absolutely sure of?

Jake: Yeah. I can tell you for sure, no matter what happens, I’ll always be content with who I am, what I’ve done and what’s happened. I have dreams and goals, but I can tell you, if it all ended tomorrow, I could die a happy man, just knowing that I’ve done what I’ve wanted to do without any regrets. Also, I know that my family will always be there for me. That’s a big part of my life, my parents and my brother. And I also believe that the smile I try to wear on my face each day will always stay there. One of the reasons I love to play music is because of the effect is has on people and the way it can make them forget about their day to day life and smile and have a beer. And feel like I can be friends with them. That’s what I love. And, again, if this fickle business all ended tomorrow, I could just go back to playing my guitar on a bar stool in a bar somewhere in Key West or Vero Beach, Florida, at the Riverside Café. And to be honest with you, I really wouldn’t care. I felt like I made it the first time I played on a bar stool and someone gave me a pitcher of beer and asked me to sing “Sittin’ on the Dock of the Bay” or a David Allan Coe song or something. I remember how much it felt like I’d made it at that point. I’m still doing the same thing, just playing bigger venues with more people inside of them. But it all boils down to the same thing, sitting down with my guitar and playing a melody and just feeling completely relaxed. And no matter what happens, that’ll always be there.—David Scarlett

Photo: David Scarlett

Contact: dscarlett@nashville.com or jerry@nashville.com

Exclusive Interview—It’s been an eventful year for Eddie Montgomery and Troy Gentry—a.k.a. Montgomery Gentry—with a record label change combined with Eddie’s personal struggles with prostate cancer and a protracted divorce that still has not been finalized. But there have definitely been bright spots for the guys along the way and few have been brighter than the freedom they’ve found with their new label, Average Joes Entertainment, and the great experience they had recording Rebels On The Run, their first project for the label. The project hits the streets tomorrow and Nashville.com recently had a chance to sit down and chat with Eddie and Troy about the new CD, the powerful video for first single “Where I Come From,” recording with legends and friends Charlie Daniels and Randy Owen, political correctness and much more. The guys are singing better than ever, and the new record is vintage Montgomery Gentry, pulling no punches, lyrically or musically. Here’s some of what Eddie and Troy had to say during our chat.

Nash: Let’s jump right into the new music. I really like the new record. Can you talk for a minute about working with (producer) Michael Knox and what he brought to the project?

Eddie: (New record label) Average Joes, man, just love ‘em to death. They told me and T, “Ya’ll go in and make a Montgomery Gentry record and bring it back. It took me back to the days of Tattoos and Scars (the first MG album, released in 1999). We just had a blast bein’ in the studio with Michael and finding songs, cuttin’ the songs . . .

Nash: And writing some good songs. You guys have some good material of your own on the new record.

Eddie: Not to take anything away from (former label) Columbia/Sony, but with all the mergers and everything, we went through five presidents. And there were getting to be so many cooks in the kitchen, nobody could make a decision . . .

Troy: We just had too many chiefs. And it just felt great to be able to go back in with just Michael Knox and go find the songs and just cut a Montgomery Gentry record without any outside influences, without any other hands in the batter. And it was awesome. It was fun again. We didn’t struggle and it wasn’t like pulling teeth to figure out what songs we were gonna cut. We knew what we were gonna cut as soon as we went into the studio, and had a blast doin’ it.

Eddie: To me, when I grew up, the heroes that you admired and listened to—like your Waylons and Willies and the Charlies—to me, that’s what made Nashville. It was the character and the music that they sang. They didn’t let anybody tell ‘em what to do. They were like, “No, this is who the hell I am.”

Nash: They didn’t let people who couldn’t play the first chord on a guitar tell them how to make music.

Eddie: That’s exactly it.

Troy: They call us artists for a reason.

Nash: Tell me about the single, and especially the video. Was the concept of that something you guys had a hand in?

Troy: No, Potsy (director Potsy Ponciroli) brought that idea to us and I love the fact that he was thinking outside the box. He took us into consideration, our pride and our love for our military, entangling that into the story. I would’ve never thought anything like that. When you hear the song, it’s not something you picture.

Nash: I love “Damn Right I Am.” It sounds like you guys are both singing better than ever. Do you think so?

Eddie: Oh, I think so.

Troy: I think we’re both rested. We had plenty of time off before going into the studio, so our vocal chords were not worn out from being on the road. And being with a new label and a new producer was like a breath of fresh air. The change was good for us at the time. I think it excited us and made us more eager to get into the studio and work.

Eddie: Your mind and your body work different when you’re very excited about something. It’s like when you’re running three miles and the endorphins kick in. You’re in there singing and just go, “Damn!”

Nash: Well, speaking of running and fitness, Eddie, how is your health these days?

Eddie: I’m doin’ great, 100 percent cancer free. I don’t have to have treatments or anything. And I can’t thank everybody enough for their cards, letters, emails and prayers. That stuff works, man.

Nash: “Damn Right I Am” is one of the songs on the record that represents what’s always been a given with you guys-—you never have shied away from saying what you’re proud of, what you like and who you are. The last song on the record, “Work Hard, Play Harder,” is another tune that does that. Do you guys feel that people are more inclined to speak up these days? Seems like a lot of people just went along with whatever happened in order to not rock the boat for years, whether it’s not saying a team prayer before a high school football game or whatever. It appears that we’ve reached a point that people are now stepping up and saying, “Wait a minute. There are some freedoms guaranteed in America and it’s time to stand up for them.”

Troy: Yeah, I think we got too politically correct for too long and I think people are tired of that. They feel like they’re losing some of themselves and their opinions by playing the ballgame with everybody else. And people are just tired of it.

Nash: Speaking of ballgames, I recently saw a story about a high school football game not far from Nashville where a couple of coaches got in trouble because their team knelt to say a prayer on the field after a game. The coaches weren’t part of it, but they stepped away and bowed their heads out of respect for a prayer being said and got in trouble for endorsing religion at a school related function.

[Play the audio clip for Eddie’s candid response]

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Nash: Let’s get back to the music. Great vocal on “Missing You,” Troy.

Eddie: Let me tell you. As far as I’m concerned, I think that’s the best vocal I’ve ever heard him sing. It’s awesome. You can tell, the soul’s comin’ out of him.

Troy: I know I busted my butt to sing that song. I think I did an okay job on it. I guess it’s just because I’m comparing what I did on it to the demo. Whoever sang on the demo did an awesome job. I just tried to do my best to represent the song the best I could in the studio. I appreciate it. Goin’ back, I think we were both fresh and both excited about the music we were singing, like this song. And like “Empty” that Eddie sang on.

Eddie: What I love about it, too, is that, even though we love to rock and we love to party, and we’re known for that and bein’ in your face, when it comes to country, we can hang in there with anybody.

Nash: Well, talk about “Empty” a little bit. Did that hit you in the gut the first time you heard that?

Eddie: Oh, yeah. Actually, I wasn’t gonna sing the song, but Troy and Michael talked me into singing it. “You need to sing the song, dude.” When I went in there . . . oooh. Had a couple of false starts. And I tell you, once you start singing it, it’s hard not to start thinking it. And, hell, I’m 10 or 11 months into this divorce now and I’m sittin’ in a house that’s empty. So it makes you think about it.

Nash: So, Eddie, what’s the status of your divorce? I know that process started nearly a year ago.

Eddie: I hate it for anybody who has to go through a divorce—on either side. The main thing is you hate it for the kids. Because, no matter how hard people try not to, the kids end up in the middle. That’s just the bottom line, and you hate that. It’s a damn mess, and you hate it. And I’ll be glad when it’s all over. I’m sure everybody else will be, too.

Nash: Have you done “Empty” live?

Eddie: I have not done it live.

Nash: Will you? Are you going to put yourself under that kind of pressure in front of a few thousand people?

Eddie: (laughs)

Troy: That’ll probably be something we decide on next year when we put a new show together. I know Eddie can do it, ‘cause back when we recorded “Clouds” (a song Eddie co-wrote about the death of his young son years ago), Eddie did that live for a while. The first few times it was a struggle, but he found the place to be in to sing that song. So I have no doubt that if he wanted to sing it next year, he could do it.

Nash: “I Like Those People”—great song. What did it mean to have Charlie Daniels and Randy Owen involved in that?

Troy: We grew up on Charlie. When we first came to town, he played on “All Night Long” with us and came out and shot a video with us at the Kentucky State Fair. So we’ve been buddies with Charlie for a long time and I was glad to reconnect with him and get him back in the studio with us once again.

And Randy Owen is another guy we grew up on with Alabama. I was kinda in awe having him in the studio with us for the first time. It’s really cool that we’re still doing what we’re going, but still able to have the mentors we grew up on come in there and join us.

Eddie: And I tell you, outside of T. Roy and John Boy (brother John Michael Montgomery) helpin’ me get through the whole cancer thing—‘cause you know I found out I had cancer, then just weeks later I found out I was getting divorced—and Randy got ahold of me and he’s helped me a bunch. You don’t know what it’s meant through this prostate cancer scare. And Charlie’s been there, too.

But to have both of them, and they are legends—with their songwriting and singing, anyway you want to look at it—they are legends. To have them tell me and T. Roy that they love our stuff and to help us, it is unreal. When you go in the studio and hear ‘em singing and you’re standin’ beside ‘em . . . and they don’t have to do it. They just done it ‘cause they like us, and it’s unreal. No matter how many times you meet ‘em, when you’re standing next to ‘em and they’re singing . . .

Troy: It’s definitely different than just sitting beside ‘em at an award show and rubbing shoulders and talkin’ to them than being in the studio and having to perform in front of them

Nash: Let me ask you about “Rebels On The Run.” Love the song and I’ve gotta ask, how many times have you guys played chicken, with a train, a pickup or whatever?

Eddie: (laughs) Ah, we can’t go into that!

Troy: I can remember back as a teenager when railroad crossings had enough width that once the gates first came down, you could try to drive your car in between ‘em to beat the train. I can’t say I did it a lot, but I can remember several times I did do it as a kid, seeing the train way down there and knowin’ I could get through.

Eddie: We did some crazy things. And I remember just traveling—and this is when you know you love music and want to do it—but we would travel and load up on top of cars, a Pinto or Camaro or whatever it was, and we would drive 100 miles. And we’d end up payin’ more for gas than we ever got paid for the gig. We never made any money. But we got to play for new people and were making friends. And I think that’s what it was all about, and that’s what’s kept us in the business and kept us going. And if you’re into playing at honky tonks for the money, you’re in the wrong business. We didn’t get into this to be stars. We did it ‘cause we loved it. His dad ran a bar. My parents were honky tonk musicians. So I reckon it was a thing sent from above. He’s got a thing he wants us to do  and we don’t know where it’s gonna take us, but we’re still following it.

Nash: What are you guys most looking forward to in the next few months?

Eddie: My number one thing? Getting’ my damn divorce finished! (laughs) But number one for me is being around the kids and making sure they’re happy. And playing music with my brother and seeing everybody out there. And when I hit the stage and they’re singing our songs back to us, I don’t even think about the divorce or anything else. It’s great therapy. That’s it.

—David Scarlett

Contact: dscarlett@nashville.com or jerry@nashville.com

 

Exclusive Interview—With total sales of more than 40 million albums since she exploded on the scene nearly 15 years ago with multi-month No. 1 debut album Blue and the Top 10 title cut, LeAnn Rimes has already carved out a career many artists twice her 29 years would be proud to call their own. She’s won a slew of awards and was both the youngest ever to win a Grammy and the first country artist to win a best new artist Grammy. Since those early days, she has danced to her own drum, musically and personally, whether recording multi-genre records or turning a tune like “Nothin’ Better to Do” into a highly choreographed video extravaganza. LeAnn has also branched out into acting and appears with Burt Reynolds in the upcoming CMT Original Movie “Reel Love,” which will premiere in November 2011. And, while tabloids have been abuzz over LeAnn’s divorce and marriage to actor Eddie Cibrian, as well as over her very lean appearance recently, she has received far less attention for the causes she supports, most notably StandUp for Kids, an organization that helps homeless youth. LeAnn’s powerful video for “Give,” a new song on her just-released album, Lady & Gentlemen, was shot in Chicago with some of the homeless and street youth in the city’s StandUp for Kids program. True to form for LeAnn, the remainder of the new album isn’t packed full of new songs destined to be chart-toppers, but rather is a collection of classic country songs from her childhood—all near and dear to her heart and all made famous being sung by men. LeAnn found half the tunes herself and Vince Gill who executive produced the project and welcomed LeAnn into his home studio, brought the rest to the table. And LeAnn’s stunning vocals nailed absolutely every one of them, bringing a fresh take to songs that have become old friends, without turning them into something they were never intended to be. The one possible exception is “Rose Colored Glasses,” which John Conlee recorded as one of the great country waltzes ever, but which LeAnn opted not to do as a waltz. Her version is great, just not what a listener would expect to hear. But, then, as she says in her interview with Nashville.com, if you’re going to record a classic song exactly the way it was done originally, why bother? It’s hard to argue with that, and it’s hard not to respect LeAnn’s willingness to take on a project that, on the surface, seems like such a daunting task—taking songs made famous by men and making them her own. To her credit, while she could never and would never try to make listeners forget the originals, LeAnn has shown that there’s more than one way to skin a classic. Lady & Gentlemen is a great record performed by a great singer. Here’s some of what LeAnn had to say about it.

Nash: Before we get going, I have to tell you, as we head into October, I miss seeing your great Halloween and Christmas decorations at your old house on Hillsboro Road when I drive by. It was always a bright spot on my trips to Music Row.

LeAnn: Aw, I know. I love putting those up. Oh my gosh. I’ve already begun. Even though we’re not even in L.A. much, we’ll be there for Halloween, so we’ve begun to put them up.

Nash: Let’s jump into the record. I love the concept of doing classic country tunes originally performed by male artists. And I’m wondering how many your found that didn’t make this record that you could put on another one if you ever wanted to.

LeAnn: Oh yeah. We had about 75 songs that we narrowed down to 12. So I definitely could do another one. I’ve also thought about doing a whole other genre, so that could be interesting. I grew up on everything. But these are the songs I think probably have influenced me the most or fit my voice the best that Vince brought to the table. I’m very proud of this album.

Nash: I know when I’ve listened to covers of big hits, I’ve usually thought, you did it exactly like the original, so why bother? . . . or . . . that’s a great song, but you changed it so much, I don’t recognize what I loved about it anymore. Did you have any thoughts about trying to avoid either of those extremes?

LeAnn: To be honest, I think my biggest concern was that I didn’t want to be right on more than that I didn’t want to deviate too much. Like you said, why re-do it if it basically sounds like you’re singing karaoke? We kind of approached it as, what if these were my songs and we had a great demo and we wanted to take pieces of that, but then we had all these other ideas how to make it mine. So, we had these great hits to start from and with songs like “He Stopped Loving Her Today,” we put Vince’s voice on it, we added an instrumental that wasn’t there originally, there’s a little different flavor, we didn’t do the modulation. Certain things like that make it a little more modern and make it mine. There were little nuances we took away that some people probably won’t even miss, and then to be able to sing in Spanish on “Wasted Days and Wasted Nights” and change the groove on “Rose Colored Glasses” and turn it into a swing . . . those kinds of things that are more tempo oriented or instrumentation oriented and trying to bring it to a new generation of fans, as well as never alienating anyone who grew up with these songs and having them fall back in love with them again. So, yes, it was a fine line we walked, but I think that’s why I’m so proud of it. I think we really pulled off what we set out to do. And it happened so organically. I wish I could say we fought so hard to figure out how to do things and what to do and not to do, but it just happened organically because I think we all loved the project we were making.

Nash: The first song I listened to on this record wasn’t the first track. I skipped right to “16 Tons” because it’s one of my favorite tunes and I absolutely could see no way for a woman to convincingly sing that song. It’s always been the ultimate testosterone tune for me, right up there with “Big Bad John.” But you pulled it off. Tell me about choosing that, and how you approached singing a tune from the point of view of a miner.

LeAnn: I always say we pulled the sex out of that song. Because, truthfully, it’s super sexy. And I don’t know how you make a coal mine sexy, but we somehow did. The horns really take you back you back to a different era. That was one of the only things I was ever concerned about. I realized when I was sitting there, was singing it, groovin’ to it and lovin’ what we were doing and I’m like, “Wait a minute. I’m singing about a coal mine! This can’t work!” But it did. I’ve always believed that if I could make you believe what I was singing, it really didn’t matter the gender of what the hell I was singing about, as long as you believed it. And there was something about it that was just so cool. I always said this is our Quentin Tarantino version of the song, with the guitar and the arrangement. It’s just genius; it really is. I wish I could take all the credit for it. But I definitely can’t. the cool thing about the creativity of this album is that every single person in the room had a say, down to the drummer and the guitar player.

On “When I Call Your Name,” we didn’t really know where to go with it, and Vince had been so connected to the song for so many years. Then the guitar player, Tom Bukovac, started playing this blues lick and we were like, “Ooh, let’s go that way.” So we called it the open mic room where everybody was free to offer their opinion. I think that’s why it came out so cool.

Nash: I know a lot of the original artists have commented on how your did their songs, some of them on your web page. Tell me how you feel about what they said to you.

LeAnn: George Jones said he listened to the whole album, front to back. All their quotes are there. It’s truly humbling. Every time I got an email from somebody, I started crying. I thought, well, crap, we really didn’t screw it up. We did a good job. We these men who’ve been around forever and a lot of people have covered their songs, they don’t have to say anything. So it’s cool to get that seal of approval from them, and to also carry on their legacy, having a new generation hear these songs. They’re incredibly grateful for that, which is super cool to see, too. I know Merle’s road manager said, “I wish I had a video camera on his face. He’s great with words, but his facial expressions would’ve said so much more.” So hearing things like that . . . it’s definitely an honor having these guys put their stamp of approval on it.

Nash: I saw the video for “Give” and wanted to tell you how much I like it. Those kids were, in reality, homeless weren’t they?

LeAnn: Yes, they were homeless kids and have been working with StandUp for Kids for a while. We actually had a base camp out of a church in Chicago on the south side near Wrigley Field under the El train. They slip there at night, they have about 30 mats and blankets. It basically is a raffle. You get there and get a number and they call your number and you get a bed, and there are 30 places. You have to come clean. You have to be sober and can’t be on drugs. They also serve food there every night at 7:30. If you get there at 7:45, you don’t get fed. They try to keep them as responsible as possible. These volunteers are dedicated to changing these children’s lives and giving them a chance. My life was forever changed by that. The thought of not knowing where my next meal is gonna come from or if I could sleep at night with both eyes closed, I take that for granted. These kids sleep at night with one eye open, afraid they’re gonna get killed or robbed or beat up. It’s unfathomable to me, to be honest. That day, I got to walk beside them. I could never walk in their shoes, but I sat and had lunch with them and heard some incredible stories and heard some poetry. One of the girls recited some of her poetry for me and she told me she didn’t have any of it written down because she was afraid someone was going to steal it. As a songwriter, I take for granted that I have a piece of paper or a computer and I’m never afraid someone is going to steal my stuff like that. But these kids are so talented and have aspirations to be successful. Some of them wanted to be chefs or go to beauty school or be actors. They have all of these dreams and I think StandUp for Kids is putting them on the path to living those out eventually.

Nash: I know you describe yourself as a “bonus mom” now. Does having those two little boys in your life make you even more appreciative of how blessed you and your step kids are?

LeAnn: Yeah, I heard from one of them, “My mom was a crack addict. I’m the seventh of 17 children of a crack addict mother who committed suicide when I was six.” I heard a lot of those stories. And to see my step children, who have plenty of people to love them. Yeah, you go home and hug them a little tighter. They actually came to the set that day. Mason, the oldest, is eight. And he was looking around trying to take it all in. He was understanding what it was. You could see it in his eyes. And Jake, my four-year-old step son, it freaked him out. You could tell. But it was good for them to see another side of the world that they are never exposed to. A lot of kids take their toys for granted—I want this and I want that. But one of the biggest things Eddie and I are trying to teach them is just giving . . . to give back. This year, especially at Christmas, will be a good year to help them embark on a path of giving. To me, that’s the most gratifying thing. I’d rather give than get; I’ve always been that way.

Nash: Tell me how life has been since you’ve been married and spent so much time with the kids. Are you happy?

LeAnn: Yeah. It’s definitely challenging, that’s for sure. And nothing worth having is easy. I loved getting married. It was a beautiful. And I love Eddie’s boys. It’s been a huge juggling process of his job and my job and the kids. Se we cherish the quiet moments. And we look forward one day to not traveling quite as much and being a little more settled. But we’re happy right now. It’s a good life. I have nothing to complain about, that’s for sure.—David Scarlett

Contact: dscarlett@nashville.com or jerry@nashville.com

 

Exclusive Interview, Part 2— This is the continuation of an interview with the Oak Ridge Boys that began with Monday’s first installment. Be sure to check the end of this interview for an opportunity to win a special item from the Oak Ridge Boys and Cracker Barrel. And pick up a copy of the Oaks’ great new record, It’s Only Natural, at any Cracker Barrel store.

Nash: You’ve obviously got a great legacy in terms of awards, No. 1 records, sales, Opry membership and all the other tangible achievements in your career. But can you talk a little about the more personal impact you’ve had on artists like Eric Church and others?

Joe: Last year we did several festivals with Miranda Lambert and we were in her little Airstream afterwards just havin’ a good time talking. And we really like Miranda a lot. And she said, “You know, I have to admit, there for a long time I didn’t really now anything about the Oak Ridge Boys. Blake taught me. He’d get me in the truck and play your CDs over and over and over. He couldn’t believe I wasn’t familiar with the Oak Ridge Boys.” I thought it was cool that Blake taught Miranda about the Oak Ridge Boys. Then we ended up talking about the importance of country music and how it comes down, from generation to generation and how different acts influence each other. And with that, Miranda lifted her glass and said, “To the Hag!” And we all toasted the Hag.

Nash: Let’s talk about a few songs on the new record. There’s a line in “True Heart” about never knowin’ what I’m workin’ for. Have you all pretty much always had a handle on what you’re workin’ for and what the important things in life are? Or do you occasionally need to be smacked in the head and told, “wait a minute; this isn’t what you’re about. This is what you’re about”?

Duane: Oh, I think we’ve had our times. We all do. There’ve been times when everybody in our society will wake up in the morning and wish you’d kicked yourself the night before instead of doing what you did. I’m guilty of that; I make no bones about it. But as a child, I was taught right from wrong. And along the way I’ve done many things that were wrong. But there’s always been a guiding spiritual side of me that has always let me know what’s right and wrong. And I try to listen to that spirit more as I get older. Because I’ve learned to appreciate that you can live longer and be happier if you try to live right . . . And as we have grown older to be fathers and grandfathers, we’ve learned that having your health is a very precious gift from God. And to abuse it is a choice, but as you get older you try to make better choices.

Joe: I heard a great Springsteen line once that said I feel sorry for the man livin’ in his own skin that can’t stand the company. So it all comes down to liking yourself and being happy with what you’re doing . . . and to have a vision and to know why you’re singing, why you’re out there doing that.

Duane: And material things are great. But what you’ve had enough hit records you can pay off all your bills, and you don’t owe anybody anything, then it’s not about the money. And, not as a boastful thing but just as a matter of fact, when you get to the point that you don’t owe anybody anything, then you’re doing it for the real reason. I could’ve retired at 50. But I’m still singing. I don’t want to retire! What would I do? I love what Willie Nelson said when somebody asked him when he was gonna retire. He said, “I play and I play golf. Which one you want me to quit?” I don’t even play golf. What do I quit? (laughs)

(Play this clip to hear Duane talk about his dreams)

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Nash: “Before I Die” is another favorite. It sounds like the ultimate bucket list, for lack of a better term. Do you each have things that you’d like to do before you die? Your personal bucket lists of sorts?

Duane: I got an email this morning from a friend of ours who was also a very good friend of Marshal Grant, who for years played with Johnny Cash. And Marshal was a good friend of ours, too. And in the email, he said, “I just wish I could’ve seen Marshal one more time to tell him I love him.” And . . . (Duane gets choked up). That got to me.

Joe: That song right there is a very meaningful song, and William Lee sings it from his heart. That song is obviously very meaning for you, William, because of the way it comes out of you.

William: It is. You know, I’ve got three older sons, and I’ve got a 10-year-old son, Solomon. It also makes me think of all the things in life I would like to share with him. In fact, next Sunday we’re flying to London for four or five days, then we’re taking the train to Paris for another five days, then we’re flying back. We’re going to see some things they’ve never seen. I get to share some places and things with them that I’ve been to. It’s important to me in life . . . to put off things like that at this stage of the game is something I don’t want to do. As you get older, being a father and leaving memories for them that will carry them through their life, I think those are important things to me in my life. And with Solomon, where Brenda and I go, basically he goes. He’s been so much joy in our lives. He’s a talented kid, plays violin. Been playing since he was two years old. So making memories is not all about me, it’s about what I can do as a father.

Nash: Richard, anything on your list?

Richard: On a lighter side . . . the second part of that first verse talks about going to the stadium in New York and being in right field . . . because I’ve read books about Mickey Mantle and Roger Maris. That would be a great thing for me to do. It’s not a heavy thing at all, but just a nice light thing that’s a favorite thing of mine. That’s something I’d love to do.

Joe: I think some of these bucket list things appear on our way, and we didn’t even know they were coming. Like our grandkids. We didn’t know we were gonna have grandkids before, and now we’ve got ‘em. There’s a bucket list thing. What’s more fun than that? Like Golden having a young son. I was out on my farm the other day, cutting a field on my small tractor, and I remember I was back there once with my grandson when he was about two. And he fell asleep and I rode that tractor for about two hours with that hunky kid asleep on my lap. What’s better than that?

Nash: We mentioned Little Jimmy earlier. Are you guys wanting to be like Little Jimmy? Still performing when you’re 90 years old? As long as you’re healthy?

Duane: Why not? Why not?

Joe: If we can do it and not ever look stupid doing it or sound like crap, I want to do it.

Nash: Will you know when you get to that point?

Joe: I’ll know, I’ll know. Just last night at the Kentucky State Fair, we knocked that place down. We sang our be-hinds off. I want to always be able to do that. And if I can’t do that, I’d want some young guy to come in here and stand in my place and do it.

Nash: Especially if people are seeing you for the first time and that’s going to be their first, and maybe only, impression of you.

Duane: I don’t want to leave that kind of impression (if we can’t deliver anymore).

Joe: If you’d have told us 30 years ago when “Elvira” was out that 30 years from now, you’re still gonna be together and still havin’ fun, you’re still gonna be healthy and still singing your be-hinds off, we probably would have thought it would be tough to believe. But 30 years have gone by, and here we are. We’ll do it as long as we can, and as long as God gives us good health.

William: We’re shooting to be like Gov. Jimmy Davis who was still recording when he was 100. He was probably just as excited huntin’ songs for his new album as he was when he wrote “You Are My Sunshine.”

Joe: We sing songs for a living! Who would not want to keep doing that?

 

To win a complimentary two-meal pass to Cracker Barrel, just answer the following question: Which of the Oak Ridge Boys is called “Pop Pop” by his grand kids?  email jerry@nashville.com with your answer.

It’s Only Natural track list

• What’cha Gonna Do?
• True Heart
• Before I Die
• Gonna Take a Lot of River
• No Matter How High
• The Shade
• Elvira
• Louisiana Red Dirt Highway
• Beyond Those Years
• Wish You Could Have Been There
• Lucky Moon
• Sacrifice . . . For Me

—David Scarlett

Contact: dscarlett@nashville.com or jerry@nashville.com

Exclusive Interview—Since signing with the Arista Nashville record label in 2006, North Carolina preacher’s kid Jason Michael Carroll has demonstrated time and again that he not only knows how to deliver a country hit with his distinctive baritone voice—he knows how to write one, too. He did both with his emotionally charged debut release, “Alyssa Lies,” a powerfully moving tune that connected with fans and radio alike, kicking off a string of several more hits, including “Livin’ Our Love Song,” “I Can Sleep When I’m Dead,” and “Where I’m From.” While his two Arista albums produced a total of five hits, earned Jason thousands of die-hard fans with his authentic, country-to-the-core vocals and enabled him to tour with Alan Jackson, Brooks & Dunn and others, he and the label parted ways in 2010. But, based on the quality of music on Jason’s recently released new record, Numbers—the latest addition to the Cracker Barrel music series and available exclusively at Cracker Barrel stores and at crackerbarrel.com—he not only hasn’t missed a beat, he may just be creating the best music of his career, as a writer and as a vocalist. Jason took time to chat with Nashville.com recently about his excellent new single, the new CD’s title cut, how it feels to be in control of his own destiny as an artist, what country boys like to do in the barn, his special co-write with Radney Foster . . . and much more. Here’s some of what he had to say.

Nash: Congratulations on the new record. I think you’re singing better than ever. Do you think so?

Jason: I appreciate that, honestly. I’m getting more and more fans Tweeting about it and telling me they think it’s my best record yet . . .

Nash: I think it is, too.

Jason: And that means so much, because I had so much creative control on this album . . . things that I didn’t have before. Don’t get me wrong, I’m very proud of my first two albums. But to have the creative freedom and do what I wanted to and translate what we do live, and what my fans love about our show, into audio form was a challenge. But it was very exciting.

Nash: I understand that some of your earliest public performances were when you were a waiter at a Cracker Barrel, started singing along with the in-store radio and customers heard you and asked you to sing for them.

Jason: Cracker Barrel did provide a platform for me to kind of overcome my fears while I was waiting tables . . . singing to people I didn’t know, in a low-stress situation. And it worked me into performing easy and led to getting into a band and doing shows there and playing in honky-tonks and eventually doing shows with Alan Jackson and Brooks & Dunn playing shows for 20,000 people.

Nash: Did you ever hit the Cracker Barrel management up for more money . . . “Well, you know, I’m a singing waiting now.”

Jason: (laughs) I may have tried it, but it didn’t work.

Nash: Let’s talk about the record. The vocals are really very good, but you’ve also written some excellent songs . . . and you’ve managed to find a few slouches to write with—Radney Foster, Rivers Rutherford, Tommy Lee James, Dallas Davidson, Kelley Lovelace, Josh Thompson, George Teren, Terry McBride and others. Would you have been intimidated writing with those people when you first moved to town? They’ve probably written at least 50-75 No. 1 songs among them. Great group of writers.

Jason: It’s funny you’d ask me about that, because one of the songs on this record was my very first co-write in Nashville, Tennessee, and it was with Radney Foster. And I’m a huge Radney Foster fan. To not only write with Radney, but to be invited to his house and sit in his basement across from him, with my guitar in hand and Radney with his guitar over there. And to be sitting there, for the first thirty minutes, all I had in my head was, “Oh my God, this is Radney Foster!”

I felt that Radney kind of picked up on that, because after 30 minutes he set his guitar down and started to walk away. He said, “Let’s just walk away from it, and we’ll come back later.” And I remember my heart sinkin’ to the bottom of my chest and I was thinkin’, “If I let this go, I might not get this opportunity back.” So I started playing something on my guitar, and he stopped halfway up the stairs and he said, “What’s that?” I said, “Somethin’ I came up with last night in the hotel room.” He said, “Keep playin’ it.” And I kept on playing it and he came back. And two-and-a-half hours later we wrote a song called “Stray.” For some reason my previous labels wouldn’t let me put it on my albums for one reason or another. I don’t understand it. But we’ve been playing it love for going on six years now, and it’s been one of the most-requested songs in my shows. And it was never a single, or even on an album. So finally, on this Cracker Barrel album, “Stray” is on the record. And it feels so good.

Nash: Was “Numbers” the only one you didn’t write? It’s a great idea for a song.

Jason: It is. How many times do numbers affect your everyday life? From the time you had to get up this morning, to the time you had to be here for the interview and what date is your deadline? Think about all that. And gas prices, for goodness sake. You think about everything that affects our life, and numbers are involved in every bit of it. And hearing the song that Patrick Davis wrote with Rodney Clawson, I wanted to record it right away. But you find out so much more when you go back and talk to the writers. I talked with Patrick and a date in June is his wife’s birthday. It’s a very happy day; they celebrate it every year. However, that same date in June in 2008, he lost his brother in a drunk driving accident. So there’s one date, two totally different meanings. And out of that tragedy, the song “Numbers” was born. So listening to the song again after hearing that story made it even more of a story I wanted to tell.

Nash: If you’d wanted to, do you think the writers would have let you put in number that had a special meaning for you?

Jason: I’m sure they would have. But there are so many in there already. I grew up in a real religious home, so talking about John 3:16 at the beginning of the bridge and then, at the very end of the bridge, we’re all waitin’ on the second coming. It’s got so many of the Christian ideas that I grew up with that I could’ve written. So, even though I didn’t write a word of it, it really felt like I had a lot of influence in this song already.

Nash: “Ray of Hope” may be one of my two or three favorite songs on the record. It’s just gorgeous.

Jason: You know, “Ray of Hope” is one of my favorite songs on the album, so thank you. To have a song like that . . . why is it that every time we go through something in our lives—and I’m talkin’ from my own experience—no matter what it is, not matter how bad or okay it is, we always feel while we’re going through it that no one knows what we’re going through? And no one understands where I am right now.

I started writing that song in Virginia. My wife Wendy and one of my sons, J.W., had driven up and some friends of mine came. And they wanted to go out to the fair and look at pig races and stuff. And I told them I really wasn’t feelin’ it and just needed to sit there for a while. So I was on the bus, then the band came back on the bus, so I went out and sat in the grass on a hill and started pickin’ out lines. And I wrote half the first verse and part of the chorus. So close, yet so far away from where I wanted to be that I can’t even notice how far I’ve come.

A couple days later, I had a writing session in Nashville with Josh Thompson, a good friend of mine. We had this idea that we were gonna write the next big honky-tonker, beer drinkin’ burn-the-honky-tonk-down kind of song. We kicked out four or five ideas and nothin’ was stickin’. So I played him the idea I’d started. I played what I had for him and told him, if he liked it, we could finish that together. I played it and he said, “Jason, I’d love to finish that with you, but I’d feel bad puttin’ my name on it, because you’ve almost got it done.” I said, “If you’ll help me finish it, your name’s on it.” So we sat down and finished “Ray of Hope,” and it’s one of my favorite songs on the record.

Nash: It really is excellent, very powerful. In the lyrics, you ask for guidance and forgiveness. Are you pretty good about discerning an answer when you ask for things like that? Are you willing to follow that guidance, even if it may be saying, “You might need to go this way instead of where your heart is telling you or where you thought you wanted to go?” Or do you have to be really hit over the head with it a couple of times?

Jason: (chuckles) I’m stubborn. So sometimes I might have to be hit over the head with it a couple times. But other times I know the right answer. Make no mistake, I believe in God. I believe God’s there lookin’ out for us and he’ll give us the answers that He sees fit. But when you’re going through those moments, those moments of doubt, you doubt everything. You wonder if anybody is even there to hear what I have to say.

Nash: On the other end of the emotional spectrum is “Meet Me in the Barn.” Did you draw from personal experience? Or is that just a fantasy every country boy has?

Jason: I literally grew up on an 82-acre tobacco farm, and wasn’t allowed to listen to anything but gospel music when I was growing up. So, when I got old enough to leave the house, a friend of mine might call me and say, “Hey man, I’m swingin’ by the house. I’ll pick you up in the truck.” Sometimes I’d have to sneak out the window and go, and we’d go down by the river and let the tailgates down and turn the country music up and start a bonfire, and about 40 of our friends would show up. It was just crazy. But it was right there on the farm, and if a pretty little thing walked up and said, “meet me in the barn” you knew the night was gonna get a little bit better. (laughs)

Nash: Another of my favorites is “Can I Get an Amen.” I especially like the opening line, I believe in a helpin’ hand, but I believe a man ought to stand up for himself. I’m not trying to get you into a political debate, but do you think Americans are generally less prone to believe in that spirit of self-reliance these days than they have been in the past?

Jason: Honestly, you look in he media today and you see stories all the time about how this person didn’t get where they are because of this, or this person got where they are because of this. And, while I do believe your environment can definitely influence your outcome, your outcome is mostly affected by your decisions. That is something that is really important to me. If people would start taking a little more responsibility for their actions, we would’ve have the PC mess we’re in in the country. I wanted to hit on some of those ideas and be a little less PC about them . . .

Nash: Without alienating half your audience?

Jason: Absolutely (chuckles)

Nash: You talk about lovin’ the Lord and raisin’ a little hell. Have you always recognized and accepted those two parts of yourself? I’m sure your dad tried to sway you in one direction more than the other.

Jason: He swayed me all right, with a leather strap. But I did accept both of those sides of myself. I blame it on the fact that I was the oldest. And my parents will even tell you that I was the guinea pig. They learned everything they know about raising kids with me. It’s funny, my dad asked my brother one time, “John, you weren’t half as much trouble as Jason. Why didn’t you do any of the things Jason did growin’ up?” And John said, “Well, Dad, I saw the things Jason did for fun, and how much trouble he got in for it. And it just wasn’t worth it.” (big laugh)

Nash: Tell me what your heart feels for country music.

Jason: I’ve always loved country music. I’ve only given myself to this. And this is something that, no matter what happens down the road, I’m gonna be doin’ this for a long time. As long as people want to hear my music, we’re gonna be playin’ it.

—David Scarlett

Contact: dscarlett@nashville.com or jerry@nashville.com