Truetone Lounge | Kenny Vaughan

[Music] me [Music] [Applause] [Music] [Music] so [Music] [Applause] [Music] [Music] [Music] [Applause] [Music] [Music] so [Music] welcome to the true tone lounge today our guest is kenny vaughan kenny vaughn is one of the great journeyman guitarist here in nashville that's played with everyone from lucinda williams and patty loveless to mo more recently playing with pretenders or doing the sweetheart of the rodeo tour with uh chris hillman and roger mcguinn he's been with marty stewart for 20 years 20 years 20. saw it do you get a gold watch or anything at that five more years five more years okay so yes so today we have kennywood and thank you so much for coming down thanks for having me i'm glad we finally figured it out yes we've been trying to do this for a while we have been trying so i'm glad we were finally able to do this so i i have to ask uh just how did the sweetheart of the rodeo kind of anniversary tour thing come about because well um we had been rogers band on several occasions he was on our tv show a couple of times on the marty stewart tv show and we backed him up on there and then we did some live dates with him out on the west coast and everywhere he goes all the people that have been his fans for since 1965 show up and and when we were out in california we had all these old folky hippie people coming up and saying you guys are the best band that rogers ever had man we've seen we've been watching him since 65 it never sounded that good you know and we were glad to hear that of course you know but um he's you know he's pretty uh he's kind of a standoffish kind of fellow and uh pretty quiet and easy guy to work with he's really good he still plays all his parts off the record perfectly and sings well and um so he enjoyed it and we we did like a couple of different times where we would back him up you know but you know he kept coming back for more using us and we figured well he must like us you know and then he called marty one day on the phone he said hey uh chris's house was in a fire you know and the kitchen burned and yeah let's help him out and you know we're trying to think of something it's the 50th anniversary of the sweetheart of the rodeo album and uh you know the only two birds from the original band on that album were chris and roger right and then it was grant parsons was in the band for five months and he was on that album um people think he was in the band longer than that but he was they he lasted five months before they said okay you gotta go and um i had chris's cousin was the drummer on that record i don't even know the guy's name he wasn't in there very long either but uh anyway they figured well chris and roger can go out and do this anniversary tour and make chris some money and use us because it'll be easy and so we made our bass player learn all lloyd green's parts and made him play steel on the tunes where lloyd played and he played based on all the songs i switched over to bass when he played steel and hillman played bass on a couple of tunes and man he sounded just like the record it was weird because he was playing our bass player's bass and rigg but when he went into the intro to eight miles high it sounded like the record and it was like wow you know what what is it about hillman's touch on the bass what was it about it he's real forceful and uh it just he just has a sound when he plays he has a tone you know the way he picks it you know uses a pick and just the way he plays it just like there it is you know it was really great and they were really nice to work with i'd known him since the 80s where i had worked with the first band that i played with in nashville was called the sweethearts of the rodeo there were two girls from los angeles two sisters from los angeles and they had a band and they had some country hits and i toured with them for five years and we opened for a desert rose band a lot and that was hillman's band at the time so i knew him from then yeah i got i had read that crosby st owns the uh like the the trademark or the right yes name so this was not marketed as the bird no it was uh it was uh roger mcguinn chris hillman marty stewart and his fabulous superlatives touring uh the bird's album sweetheart of the rodeo 50th anniversary concert and so they used the artwork from the album and you know that was how they did that and uh you know crosby still wants to work with them i think really and um they like dave you know i i don't think that i can't see that that is going to happen going to happen because uh mcgwin has really stringent travel habits he won't get on an airplane if he goes to europe he takes the bull the boat um and he won't go north of um like i-10 in in the winter months you know he's you know he's very picky about where he'll play and when you know according to the weather he lives in florida so his wife and him drive everywhere in their van and that's how they get on they have a great you know he does a lot of solo shows and they have a good time going out on the road they're they're they go out a lot you know in the summertime and the you know late spring and early fall and they do well just as a team there he and his wife so how did you find it and that fit in in that situation where where marty of course is kind of playing clarence's parts and other other things so well you know i played um you know i grew up i had their first album when it came out when i was uh i guess i would have been 11 when their first album came out and i had all their albums until through notorious bird brothers and i kind of like the time by the time clarence was in the band officially he was on a lot of those records that i owned but he was never listed in the band but you know he's on a couple of songs on he's lined at least one on five d he's on two on younger than yesterday he's on notorious notoriousburg brothers and um you know so he's on those three yeah and he he might be on sweetheart of the rodeo i don't know i'm here he is yeah okay not not all the cuts but yeah i think they overdubbed him mental ally he didn't cut they didn't cut everything here just mostly here some of it was cut here and somewhere in l.a i i was very familiar with the material and i some of those songs mcguinn on the record he there's two 12 strings there's the one that's playing the solo and that and the one that's playing the rhythm the figure keeps going through the solo you know so on those songs i played 12 string the rickenbacker 12. so we had to so when he went to the solo part the other guitar didn't drop out right and that worked out well and i played the um the solo that he played on crosby's gretch on have you seen her face yeah yeah that was that was roger on that playing crosby scratch and which i think thought it was a fabulous guitar party yeah i was like who is that man who had roger who played that he said that was me playing david's guitar i was like wow it's really good i played acoustic bass you know you know whatever it needed to be and you know on the wasn't born to follow marty and i both switched on our face shifters and our fuzz faces and uh you know when in the solo section with that psychedelic thing in the middle we did that and it really worked out well like we really did a good job of replicating the sound of the record now to shift gears completely what about the pretenders how did you end up working with chrissy hines i was just i was doing a lot of sessions for dan auerbach yeah and at that time and he was using me a lot and uh he was producing records you know for whoever he could you know whatever he thought was a good idea and he called me up one day he said hey man chrissy hein's going to make a record and um are you available i said yeah i'm available so we had a good time yeah it was uh me on me and dan she didn't play she's saying live in this uh in the room through a speaker through a voice of the theater just a mono yeah speaker you know right there looking at the drummer and um she was really good i mean she a lot of those vocals were you know she she didn't take any time to get it she was a boom boom boom had it and uh then it was a very quick album to make and you know relatively you know compared to most yeah and uh and richard swift on drums sadly he's deceased he was great god he was great he's a great musician he's so good great singer great keyboard player great everything the genius and dave rowe and myself so it was a small little outfit and i think i think that richard probably played the keyboards if there were any on that record i don't think there was any other keyboard player there let's go i'm real curious about uh you know in a lot of a lot of interviews and a lot of your history it's it's bandied about the the whole you know johnny smith and bill frizzell yeah so that gets talked about a lot but talk about luck yeah so you know so i guess yeah so early guitar teachers you had well johnny was johnny was never my guitar teacher but my dad was a jazz buff he wasn't a musician but he was an artist and he was a had a nice big component stereo back in the late 50s and he had a great record collection yeah of jazz stuff and um and it it was pretty extensive you know he had mo's allison and he had like jimmy smith albums with kenny burrell on guitar tony mattola albums johnny smith records and and uh all kinds of cool stuff really great chico hamilton i mean and i didn't know that everybody's dad didn't have those records i i thought that everybody had those records i was like yeah him i think that's what you listen to man woody herman yeah you know i i knew all this stuff and listened to it a lot and and i especially liked the jimmy smith stuff with kenny burrell i thought that was really groovy i was drawn to that sound you know and so what happened was when in 64 of february 64 when the beatles came on tv i was 10. and uh i was like i want to play the guitar man you know i want to do that and everybody did you know i mean it was like overnight everybody you know grew their hair out and one and started listening to british groups like little literally within three weeks the world changed completely you know i mean it was crazy it was like instant you know and then so my dad was like well you know you know and i kept bugging him about it and he's like well i want you know so he one night he says we're gonna go see my friend johnny play and johnny smith you know and i'm like okay you know so he takes me down to shayner's johnny lived in colorado springs and he would drive up every saturday night to play with the neil bridge trio at shaner's and my dad set me right in the front right in front of johnny it's just an alumni club you know and there's this guy you know he looks like a secret service agent in a gray suit with a skinny tie and a crew cut sitting on a stool playing his gibson guitar you know and just you know beautiful you know playing the most beautiful stuff and i'm and he says now pay close attention to the way he plays watch his fingers you know but this guy is a really good guitar player i was like yeah you know so we would go down there quite a bit one night my dad at dinner he's like we got to go to down to shaner's tonight you know i was like okay you know we go down there and he keeps looking at the door and about halfway through the show in walks chet atkins and homer and jothro and they walked in you know and went to the back of the room and johnny ends the song and he's like i see my some of my friends are out here maybe i could get my friend chet to come up and play the guitar and chat's like no way no well maybe i can get my friend homer haynes to get up play the guitar he's a great guitar player and homer's like no he says well i know i can get my friend jethro up to play my guitar so jethro walks up takes johnny's guitar sits down and plays the most incredible jazz ballad i don't remember what song it was but it was amazing played the out of it i was like and i knew who they were because my parents were big homer jethro fans uncharacteristically they didn't listen to country music but they liked homer and jethro because they were comedians and you know kind of hip yeah you know they weren't very square really they they sort of map they pretended to be hillbillies but they were pretty sophisticated cats and anyway he was really good and i was like wow he plays a man olympia he's a great guitar player you know so that got me really wanting to play the guitar and you know between wanting to play rock and roll with you know the beatles stuff and so johnny had a music store and my dad sort of you know made a deal with him i think he gave got us a telecaster for like i think we paid 175 for a brand new 66 telly with a case you know which probably was about a hundred dollars less than it would have been otherwise it was a lot of money yeah yeah and i had a paper route that summer and i managed to save like probably about a hundred bucks and um my dad you know picked up the rest of it and i had this old crummy beater guitar that uh he he was going to trade in but johnny said no you don't need to do that you know and that's how i got my first guitar and then i started taking lessons from a guy who was a rock and roll guitar player it was probably about seven years older than me and he had a 53 telly he was the guy that told me to buy a telecaster i was going to buy a jaguar he said man you can't buy a jaguar i said no man i want to play a jaguar that's what the ventures play you know i want that sound you know the surf sound he's like no man and he i had that record having a rave up with the yardbirds and there's a picture of the yardbirds on the cover and jeff beck's holding up esquire and he pointed to jeff back in the in asgard he says if if you want to sound like that guy you're never going to get there with a jaguar man you got about i tell you i was like okay i do want to sound like that guy you know yeah i'd rather sound like that guy than anybody else on earth at that time you know that was sort of the the pinnacle of rock guitar was jeff back in the yard birds in 1966 you really couldn't go any further yeah at that time you know absolutely he was the number one cat remember when they played on shindig and they were playing live they did i'm a man and at the end they do this rave up and the credits are rolling and he takes his guitar like this and he looks at the camera he takes a slide and goes making all this noise scraping the slide up and down the strings you know with this devilish look on his face as he's looking into the camera and the band's just raging and i'm just like what just happened you know and then the credits were rolling and that that was the end of the show and i was like what just happened yeah what was that what happened what you know it's like the world went from black and white to tight-knit color and like in one you know little you know that last minute of tv i was like he cleared you in yeah i was like wow you know so yeah so johnny smith never gave you a lesson um i would i got you know i would when i was actually a professional guitar player in my uh late teens and early twenties i used to go down and hang out with him sometimes in his store and you know he'd show us stuff okay yeah but and i didn't study with them okay and the bill frazelle thing happened i i used to frequent a place called melody music that was uh originally owned by a husband and wife and they were a gibson dealer and so they would have all they would have won everything every year you know they had all the brand new gibson guitars every year you know and i'd go in there and look at them and that's where i went to buy my strings and pics and stuff and they sold it to a guy named gordon close who was a pretty good guitar player jazz guitar player and a really nice guy and one day i was in there and there was this hippie over in the corner sitting down on a chair playing great guitar you know and i was like gordon who the hell is that man he said that's my new guitar instructor bill frazil and i was like sign me up yeah i want to come and take lessons with this guy you know and i was already you know playing professionally and you know you know practicing a lot and trying to learn stuff but when i studied with bill i didn't even meet him that day by the way i just i was too shy to go over and say anything to him and he didn't really seem like he wanted to talk to anybody anyway and uh so he really opened up my head about the fretboard and accord knowledge and he was he had been studying with jim hall and i think he kind of just transferred what he learned from jim hall on to me you know and that lasted for a couple of months maybe three or four months at the most he can't remember and i can't either but i know i took quite a few lessons from him i mean it had to be in at least eight you know for sure and maybe more and uh do you remember any specifics that you learned from him or any concept it was just you know he showed me how to you know all the positions you know and and how to think about scales and and chromatics and slurs and you know notes that aren't into scale leading tones and all that stuff and then chord theory you know all the basic stuff like you don't need to play the root you don't need to play the fifth but the third and the seventh or the sixth they're that's or the ninth those are the money notes you know those are the ones you need to concentrate on yeah you don't need those other notes you know and you know that that kind of stuff and how to arrange things with the melody on top and you know what you'd need to put underneath it you know being a co economical with your you know you don't have to play a lot of notes you just you know he was all about economy and and trying to get the most information to the listener with the least amount of you know notes and stuff you know so well you know just to we'll take a little a little side track here how do you approach the neck of the guitar like do you think chord shapes do you think skills how how do you you know how do you look at well it's funny um i i was i i sometimes have to ask myself those kind of questions because i've had a lot of requests and since this pandemic thing happened for me to give lessons to people on zoom you know or you know facetime or whatever and i've kind of decided you know i've never really been a much of a music scholar really about you know the guitar like some people are but i do think in chord shapes or more specifically just i think about triads and i think about the the notes in the chord and what in the extensions you know like maybe the knights and the and the flat fives and know the sixth and the seventh and those kind of things um that's what i think about even when i'm playing single string stuff um i think i got too bogged down for a while when i first started learning to play scales i i was real thorough about it you know like every possible way you could play a g major scale on the guitar and then you know i tried to learn all different keys and where where you know everything is and how to connect everything and and then i thought you know it's better not to think too much about scales because it limits you because a lot of times you can play a lot of different notes that aren't in a scale and it's more if you think more about the chords that'll free your your mind up a little bit to add notes that you wouldn't think about if you were playing a scale you know so yeah that's kind of the way i look at it because i think you know a lot more often than not what i play is a lot of notes that aren't in the scale of the key of the song i'm in you know playing leading tones you know like you know you know that kind of stuff semitone down yeah so you know a lot of that stuff [Music] you know you're playing stuff that's not you know you you if you were thinking about a scale each of those as a part of whatever scale it would boggle your mind but if you're thinking about just the chords you know you know you know you're thinking about the chords and that just then you're playing the notes in the chord and then maybe notes that lead into that so yeah i guess chords and triads sometimes you know you think [Music] yeah i'm thinking you know they're [Music] i'm thinking triads yeah yeah so another thing that you're you're really good at uh jumping in between different styles and playing in the bag so let's say if you're playing with chris scruggs you're gonna play in an appropriate you know way yeah for that type of music if you're gonna play jump blues with somebody if you're gonna play rockabilly if you're gonna play with marty stewart if you're gonna play with pretenders you always kind of jump into those things yeah well a lot of you know a lot of times with those when you're thinking along those lines when you're when i play with chris scruggs for instance we're playing country music that was recorded between 1946 and 1955 and there was basically about five guitar players that played on all those records sammy pruitt z clements grady martin heck garland and uh jabo that guy played with little jimmy dickens yeah a couple of those not very many extras on top of that so basically i'm just trying to sound like hank garland and and sammy pruitt you know when i'm playing with chris gruggs so i'm just kind of thinking along what would they have done and you're playing you know you're trying to ape the sound of a epiphone deluxe with bixby pickups you know arch top guitar you know play play on the neck pickup went down by the bridge i wouldn't be using reverb though with those guys that kind of thing you know [Music] yeah do you ever use like heavier gauge strings on a gig like it to help keep you from like bending yeah i do i don't i use um normally i use a guitar with a wound third and have flat wound strings and you know hollow body yeah kind of thing although i did play this one several times recently because i just got it and i wanted to check it out so jazz master ultra yeah a cool guitar it's a pretty cool guitar it's a great guitar it has a they it has a few different things that the jazz master didn't have like these noiseless pickups and it's good i like it yeah great so let's uh let's let's kind of let's jump back so you uh you made the jump to move to nashville and you start playing with you start playing with the sweethearts of the rodeo and you play actually i came here to play with them i was living back in denver i've been living in chicago i've been playing in new york lived there for a while and i ended up back in denver playing in a country band for money which is something that i did from the mid 70s on when i was when i was 18 19 years old my parents moved to kansas and i was you know i'd grown up in denver and i had i played in like loads of bands and you know had a you know really i was really on my way to doing that and that's all i was going to do and that's all i did and when they moved to kansas like well i can't move to kansas you know they lived in rural kansas they went into business down there which was good for them because it worked out well and my sister was younger than me and so she had to go with them but i didn't have to go so i just stayed in denver and i kicked around with no money and no work or very little work for a while and i stumbled into this uh place down the street from where i was staying and it was just a little nightclub tavern and there were these old guys in there playing country music and they were really good they were excellent and their characters and they were playing old country and this was in the 70s they were playing hank williams and that kind of stuff and merle haggard and ray price that kind of stuff and they were just i'd go in there and watch them play and i was kind of a punk rock looking kid you know you know leather jacket and t-shirt and jeans and tennis shoes and you know they're they're like who is this guy you know but then i got to know him and they found out i was a musician they got me up to sit in and one thing led to another very quickly and i was in the band as the second guitar player and so i was like yeah and i was making forty dollars a night five nights a week you know which when you're you know 20 years old it's pretty good you know i had a fake id and i was you know i was like hey suddenly i was like yeah and i had rock and roll bands that i played him but he didn't work all the time you know i had a i had a progressive jazz band that i played in and we hardly ever played and but we practiced all the time but we did when we did play out we did well i mean you know we were we were one of the jazz bands in denver that was playing we played like carla belay tunes and and uh you know weather report tunes and stuff like that and i was the only guy in the band that played chords so it was a me and a sax player and a bass player and a drummer so it was a real challenge for me to play that kind of music and i'm like you know i'm like i gotta hold down everything you know with the guitar you know playing piano tunes and stuff you know that was really good for me but we didn't you know there was no as johnny smith once told me he said don't be a jazz guitar player son there's no money in it and he was right well yeah so you know i had a rock and roll band and i had a jazz band and i was playing in the country band yeah and and how did the country band turn into moving to nashville well um my i was through a rock my own rock and roll band that i ended up going to chicago and in new york but i always kept my i was really familiar with everybody on the country scene in denver the old country scene and i loved all those guys they were just characters and they were there was a whole subculture that i'd never i just lucked into it you know and i had to it was like i lived two lives really yeah i had my rock and roll life in friends and then i had my country alter yeah you know secret lifestyle because you're like your dad's or and my rock and roll friends would be like what are you playing that country music for man i was like cause these guys are really good and i really like the the music and it's fun and i'm making really good money and i can send in a sub if i get a gig and they don't get mad you know and i met a bunch of great musicians uh ronnie miller was the first steel player that i worked with and he was the steel player for charlie pride for the last 27 years i think something like that wow he's a great player you know killer player and you know us like working with these people really good but i was playing and i had this band we were playing in this biker bar it was a kind of a country band that played blues and and uh uh also blues and boogie but mostly country kind of stuff and we had a real good uh singer our bass player was a really good singer he could sing like great price ballads and really sell him you know that kind of stuff he could he it's always good if you have a guy that can really sing a ballad and really he had a style and a sound and you know he's very cool and uh that was a good band we played this biker bar that was just insane for quite a few years but they paid us really well the people that ran the place really liked us and they let us do whatever we wanted you know and it was like it was a kind of a you know rough clientele but they liked us they were never you know there was never any trouble or anything like that but anyway um yeah i was playing at this bar and my friend called me he'd been living in l.a he's a keyboard player and he's uh calling from nashville saying the sweethearts of the rodeo we're gonna go gonna open for alabama on this tour and they've got a hit record on the charts do i want to come down and do it and i was like sure man he said well there's a catch i said what's the catch he said well rehearsal starts in three days i was like oh he said can you do it i said yeah i'll do it you know i never thought about going to nashville i'd never been to the south i'd lived in new york city lived in chicago grew up in denver been to l.a but i'd never been anywhere in the south ever you know and i never had thought about it you know just never crossed my mind i was like yeah i'll go down to nashville rehearse for a couple of days and go do a three-week tour see how that works yeah man why not i can always come back here and play my little silly gigs here in denver and you know i'll be fine whatever and so i was thinking that it would just be for a short time and one thing led to another i had ended up i eventually became the band leader and i had that gig for five years you know and they were great people to work for just like they ran a smooth operation you know everything was always right nothing ever was messed up it was always just easy you know easy people to work were really nice so then you kind of went through a secession of of of you know country artists that you you played with i think you i went from there to patti lovelace because i i got called to audition on that i thought you know she was at that time she she'd had like two or three three albums out i think four i think yeah maybe she just released her fourth i don't know and um i was a big fan of her early work yeah you know i really thought she was good i liked her singing a lot and so i went down to audition and i ended up getting the gig and uh so i did that for two years but then she was she had switched labels and it was at this time when you know when garth brooks came into the picture and and suddenly there was pressure on everybody to put on a show right you know and all this and she was just like one of those people just stood there and sang into the mic you know she wasn't a show person at all and they you know were hiring corey choreographer and you know i mean your stylist and all this stuff and i'm just like and they cut all this pop sappy syrupy stuff and i was like up there playing on that stuff and i was like i can't do this anymore i gotta get out of here i just couldn't dig the direction of the music right you know i was like it wasn't what it her early records sound like and it was you know keyboard synth oriented pop kind of stuff and i didn't care for those the songs at all and i was like okay it's time to go so i just i i exited yeah and um and then i got a gig playing with rodney crowl and that was fun i enjoyed that and did some recording with him and uh that was post stuart smith yeah yeah what a great guitar player whoo that guy's so good man i love him he's really good one of the best that's ever come through this town man great on a session you know just what he would play would just be so good was it daunting to cover his parts with rodney yeah it was fun to learn it yeah yeah it was difficult for me to you know but i've been in a band right before that where i was covering albert lee's parts so [Laughter] steve gibson's uh you know g you know palm bender stuff yeah you did you had to cover those things you don't really use a bin well i guess you do now well i i did have a for a minute i bought one of those fender things that had a built-in bender but it was a crummy guitar yeah it was terrible it had a strat pick up in the middle you know and i was like it just sounded dead to me yeah there was no tone in that guitar ever i was just kerplunk you know i was like i can't put i but i did dig the vendor you know i i learned some of steve's parts yeah for in albert's parts yeah it was a lot easier to play him with the bender but i could never get any tone out of the guitar i sold it yeah now i have two guitars with vendors vendors now i'm gonna get a third one yeah then the new you know we'll look at it later but the glazer the new glazer bender so it's really really yeah it's a long throw yeah and um i've got a a really nice tele with a parsons white in it that gene put in it's really nice super nice sounds great so you went on from uh from rodney and then you kind of started getting into these kind of uh you know there was like kim richie yeah i played with her for kim's gig was i did that for two years and that was really a good situation because she was on mercury and luke lewis was the guy that was running mercury at the time he loved kim and he's like i got all this money that i've made off of shania twain i'm going to spend it on you and i'm going to put you out on the road and on your bus and pay your band and and he paid us you know we went out on the road for two years and it was a great situation and you know she's the greatest person to work for ever yeah tim richie the nicest songwriter yeah the net the great songwriter killer singer so good i mean you never heard her sing one bad note ever not in two years not one bad note shoe and you had those those those records which the the richard bennett produced one and then you had the i'm on the second one yeah with angelo produced one of the one track yeah yeah and that was the one that wasn't on that track but he did that up at his place in new york just with her yeah and uh that was a good tune but uh yeah that was really fun i'm still friends with her man she's great i really i love her stuff and then lucinda williams how did that come about i was um i had um when i was playing with rodney i was we weren't working very much and my wife was out on the road with patty playing fiddly and singing and so i was i i was wanting to take some lessons and i found this guy that just graduated from berkeley i thought that's what i need as a guy that just graduated learn all the latest stuff you know so i took some lessons from this guy and his name was justin thompson and he was really a good knowledgeable jazz guy you know knew a lot of stuff and he was i actually learned some stuff from him and he was playing guitar with greg gearing and greg was playing down in the back room at tootsie's which didn't have a roof on it back in those days and so there was no roof on the back room and you could walk into the bar to get beer but right but but if you weren't going in inside you were you didn't have to be 21 to be there you could be in watching us and be you know 15 years old and it wasn't it wasn't illegal so he was he was doing these gigs in the back there with no under the stars and there was a wall around us but there was no roof and uh i went down there to see him and i didn't know greg but uh i went down to see justin and bucky bagster was standing there talking to greg and bucky said hey greg you got to get this guy up to play you know and greg was like oh yeah yeah and he said hi to me and you know that was it you know so so i'm sitting there watching and i'm like holy this guy is amazing where did this guy come from you know like this he blew my mind you know and about four songs and he says we're gonna get a friend of ours kenny ivana up here to play you know i was like so i go up there you know and i take somebody's guitar i can't remember the guy's name you know you know let me play his guitar and i'm standing there you know and greg launches into one of his things you know and i i take a couple of solos and we he says you know uh you know play another one you know so we played another song same thing you know i played something then he he passed the soul of somebody else he during the song he says what are you doing tomorrow night i said uh i don't know he said be here at 9. i was like okay so uh i started playing there every friday and saturday with greg it was like that summer i was hardly working at all so it was really fun and it was just like wild every night it was crazy in there and we had a really big crowd and and all these people you know like raul would be in the audience lucinda williams was there i was a big fan of hers and uh he greg would take a break sometimes and we we you know we'd do one show and to take a break and come back do another show we were kind of a two-show band and uh and so uh he could loose end up to play his guitar and she'd get up and sing a couple of her songs while we were taking a break and then there was a kind of a party crowd that would that developed where we go over to this guy's house that had a studio over by uh centennial park there in an old house and we'd you know party over there like four or five in the morning on fridays and saturday nights it was all in good fun it was like nice music art artists and musicians and stuff you know it was kind of an intellectual crowd of cool people through that crowd and hanging out with greg and playing with greg i got to know lucinda a little bit you know and uh she was recording her record called car wheels on a gravel road and she just fired her guitar player and and uh she i think they had called buddy miller into to replace what gerf had done gerf morlix was her guitar player he was kind of like her keith richards to her mick jagger you know he was sort of the architect of her early two records with with a band you know she she had made two records before she had a band just solo acoustic records for uh folkways and uh and then she had those two out that you i think they recorded those in la or austin i'm not sure i think they could record it in l.a and so that's this third album was uh steve earl and ray kennedy were producing it in nashville and it was kind of a ordeal i guess they kind of had to re-record it and it's whatever and you know i was like yeah whatever you know that's cool and i was friends with steve earl and uh i guess at one point they decided that you know they're gonna have to put a band together and go out and tour and they called me and i was unavailable at first and they kept calling and finally her manager frank clary called me up and said hey you know this is going to we're going to amp this thing up we're really going to get serious with it we would really like you to do it and it started out just me and another guitar player and her and then her boyfriend started playing bass and then we got a drummer you know and the tourists kept getting bigger and we just kind of kept going and we did like three straight years of working all the time wow and we ended up doing 30 32 or 34 nights uh opening for tom petty on a big tour which was really great yeah you know it was like yeah and i got to be friends with tom and mike and um we you know they would we'd hang out every day in the dressing room and look at their guitars and play guitars you know which at one time my best story is tom had a uh an early 70s ibanez flying v yeah then mike had a real one and tom was like now play my fee now play mike's you can't tell me that mike's is better than mine mine is really good you know and tom always had the best guitars like his guitars were better than anybody he's like the best examples of mike had good guitars but his were more quirky like maybe there was something wrong with it you know like player chase chase changed pickup or something you know like whatever he had a great guitar he has great guitars but toms were like pristine you know really good and he had this flying v that he insisted was better than mike's and i didn't have the heart to tell him that mike's was better i had to agree with him but those guys were so nice to me man they were just like the greatest guys nicest people just you know salt of the earth florida hippies that kind of were very standoffish you know you know they're kind of like them against the world they didn't feel like they belonged to any scene at all you know they were insular with their little they're yeah but really serious you know like super serious about every song they recorded man every song they would record it would be like their last song you know this is gonna be it this is the this is the big one you know yeah that was the way they approached everything wow that's what i like about that intensity great so good you know that was great to work with him so after lucinda how long was it before you hooked up with marty about a year i was just hanging out here in town doing um recording sessions which was at the time it was lucrative but i didn't really wasn't getting much out of it you know it wasn't really doing anything that was exciting it was just like that at that time we're talking about 2000 i you know i had quit listening to country music like on the radio about 10 years prior to that you know i came when i came to nashville it was during the great credibility scare as steve really called it right and which you know he was on steve was on the radio with guitar town and you know desert rose band was on the radio dwight was just starting to come on you also had like lyle love it you had all these yeah nancy griffith you had all that all these guys that were all you know you know writers that had deals and and you know not writers that had three people writing the songs you know these guys like singular writers you know that were really good and and they're you know it was it was i i thought when i came here that's what it was going to be like when i came to nashville you know and at the for the first year in 87 it was and then it just like went the other way and it became you know cookie cutter kind of music and i was just like not interested you know anymore and then when i started playing a lot of sessions in the 90s at first i was like really excited you know but then like once you wore the new off of it i was like i don't fit in here you know like this music has nothing to do with me whatsoever you know yeah i had zero in common with you know i just didn't you know and one day i was sitting at home and marty stewart called and he said hey man you want to start a band i was like yeah i'll start a van yeah i'm sure you know had you toured with him in the past no no no i just knew him i met him one time and he doesn't remember meeting me uh there i met him at uh alabama's june jam or whatever that thing was called is that what it's called i don't remember it so they had some festival in their hometown yeah i can't remember what it was called but i think it was called that and i remember that day i met him backstage and uh but then there was some other event that i was playing um in nashville and he was at that and he got my number yeah he asked for my number why why do you think he was drawn to you i don't know no i don't know it it seems like he's he's drawn to uh you know weirdos well musicians that like me that have a a style yeah and also and and usually that also kind of goes along with them having a a look right right so well you know when from the very first time we played we got along real well musically it was easy and we didn't really rehearse very much we just we ran through some songs and he said well okay let's go play you know let's play some shows and that's what we did we just sort of cobbled it together as we went along and it happened real quick you know where we had this really good band you know and it was i really liked it because it was real strong vocally you know it was like there was a lot of emphasis emphasis on the on the vocals right and i really liked that that was like yeah so many times that's the difference between really good bands yes the focus on vocals when you've got marty and then you've got harry stinson yeah yeah we always had a good third singer you know and i could sing the fourth part if need be you know so we had you know three-part harmony and four-part harmony all the time you know so that was good and he let me sing a couple of my tunes you know like that i wrote he would have those you know have me do that on stage when nobody else ever had me do that you know that was a first for me yeah because that's kind of old school you know yeah country where you yeah spotlight yeah he spotlight everybody in the band you know everybody sings a song or two you know and it's still that way you know i still and you know the songs i sing i wrote them you know yeah which is you know good for me yeah that's great you get to push some of some of your songs yeah yeah you know and uh it's it's been a really good situation for a long time yeah and uh you are you know one of those guys that's you know not sitting at home you're always getting out you're always working i mean you're you're playing out in the clubs with with your trio you're playing with marty uh you haven't been playing with chris scruggs but with the chris scruggs things again that's the older yeah yeah we were doing that every sunday night for quite a we did that for about seven years every sunday night it was a great time i'm sure we'll get back to it we've played a few shows this summer outdoors at the post 82 on gallatin road we played on saturday afternoons that was really fun yeah that was really man that was cool he he went in there they've got a deck with a cover on it and we went out there with he put he he always plays into a mic you know he doesn't use we don't use contact pickups or or under saddle pickups on on that gig and he sticks yeah he plays his acoustic guitar he plays a lot of lead on this acoustic but he plays into a mic so we when we went out to play the outdoor show he just brought up an old uh vox vibe i'm as fender vibralux and he plugged his acoustic guitar mic into channel one and his vocal mic into channel two and that's the pa yeah and it sounded so good i couldn't believe it like you know the bass player had a little amp for his upright bass i've got my little pro junior for my guitar billy contreras brought a little amp for his fiddle and pete's got a little fender amp for his steel and and then you know the you know the acoustic guitar is just going through the mic and the vibralux man it sounded like this is the best we've ever sounded yeah you know it's just like that music really works at a low volume you know yeah it's there's no drums in that band yeah because we at that time you know those records recorded they weren't using drums yet yeah there's no drums on hank williams records but they sure do they rock they just don't have drones but you don't think about it you don't know drums yeah but when you listen back to those those early early tracks pre-drums yeah so i'm guessing through the years of touring and such you've gotten to meet some of your you know guitar heroes or or you know who are some of them that you have memorable you know experiences maybe being around some of your guitar heroes well let me see um working with rodney i got to work with albert lee in the studio that was certainly a a great thing you know he was just mind-bogglingly great i remember one time we did this one tune and he played this just recklessly wild solo it's like a roller coaster ride it's like you're listening to it like whoa you know and uh the producer's like well maybe yeah we take another pass to that so we're all like no man so they they broke and went to lunch and i stayed with the producer and albert and he did like 10 more takes on this and every one of them was different completely different you know i was like wow every one of these is great and they ended up creeping in the original yeah you know because it was so exciting you know it was just like wow what a nut he's really good and that was really cool richard bennett was a hero of mine and um i've i i'll tell you i've my whole studio career was basically my mantra was if i got stuck on something i could always get out of it with what would richard bennett do or what would mike campbell do those two guys if i could just like channel them i would get out of my rut like if i would be you know like sometimes you're you know they put a chart in front of you and you're expected to come up with a part quickly you know and then sometimes you're like what am i going to play man and sometimes you don't come up with something right you know sometimes you you come up with a perfect thing off the top of your head sometimes you're like oh man i'm the worst guitar player in the world what am i going to do and i would break that by imitating richard bennett or imitating mike campbell okay i'm going to put you on the spot so what would be an example of you imitating richard bennett oh of course i'm going to ask you to imitate mike campbell so it would be um it'd be you know be something like um [Music] you know something like that or maybe [Music] something like you know simple chordal double stops but pretty you know and and you know like low string melodies and and cool voices you know stuff you know just simple things like that whereas you know mike campbell would have been maybe more like um you know you know you know you know this might be too loud [Music] yeah something [Music] you know something simple like that [Music] you know whatever yeah but those those two uh those two characters yes they can pull you out of a lot of a lot yeah a lot of problems you know some a lot of times some you know you think of stuff that's maybe too complicated and you you sometimes you have to just stop and play something really simple and then the producer's like you're you're his favorite guy that day yeah if you play something you know it's catchy but simple and something that doesn't get anybody's way but it's still got an attitude you know that's what you know oftentimes the simple thing gets gets all the raves you know you've played uh you've played a lot of different guitars through the years so you know it's just again as someone that's you know watched and you know and enjoyed music and and been you know part of the scene it's like i i remember seeing you playing like a a pink 60s strat you know with like sweethearts of the rodeo yeah that was the guitar that was a guitar i came to town only it was a 66 strat yeah might you know you know one thing about you know i grew up in the 60s my first guitar was a telly and looking back on my you know development as a guitarist all over all these years i've learned i've kind of figured out what i did was i had to learn how to play each guitar like a tele is a very sometimes difficult instrument because it's kind of spiky you know sometimes the bridge pickup or whatever you have to learn how to play that guitar and make it work you know and that was my first guitar so i got good at playing a telecaster and my second guitar was a les paul standard with two p90s and that was a whole different animal i had to learn how to play that guitar because it didn't sound like natalie didn't operate like it it had a different tone and a different thing about it you know and i i got good at playing that guitar my third guitar was a strat and that was really hard because it was like this is totally different you know this is like really like the i like i loved him the whammy bar you know on there i i i'm not one of those guys that would block my trim low i would use it and i set it up floating like you were supposed to and i had to learn how to keep it in tune which took forever to learn how to operate a strat in tune you know i finally figured it out but it was a lot of trial and error for me and then i had to learn how to get all the different tones on it and how to make that um thin little bridge pickup sound good you know and then i got good at making that guitar sound like i wanted it to sound but it took me you know a lot of effort and a lot of time to make that guitar sound the way i wanted to and then i had an es175 and i had to learn how to make that guitar work it was easier on that guitar i thought and um so those were my first guitars and i i think when you get a guitar you have to kind of approach it you know you have to see what it'll do and you have to you know there's some things that they won't do you know so it it seems with the you know again not that you've played some excessive amount of guitars or anything but you've played a lot of different guitars through the years and yet you're telling me that you have to learn each guitar so is that something that you enjoy the challenge of of getting another instrument is that something that well you kind of i think you know it wasn't so i i'm of course i enjoy playing you know but i think it was always like like at first it was like every time i got a guitar i was like i would come i would like it wasn't what wasn't working for me you know yeah like especially the strat you know i really had to like completely readjust everything when i had a strat you know it's like this doesn't operate at all i could tell you it's the lower my left paul this is totally different you know yeah and i remember when i got i bought a in in the mid 70s i ran across a 61 jazz master that was a really good guitar super good and i got it for nothing and i was like man man this is cool and again that was like a totally different kind of guitar you know like this doesn't operate like the other fender guitars i have this little different sound different characteristic i got good at playing that guitar too you know it's just you know they're all they all have something they can do i i went through a period a lot doing sessions with taking my jaguar with flat wound strings on it and i found out that i could get a lot out of the jaguar in the studio yeah like it would cut through the track in a way that other guitars wouldn't had a slice to it this kind of gnarly thing that would just like sit in the mix and jump out at you without taking up any space but still had a lot of yeah you know edge to it you know and it was that's sometimes that's important you know it's like finding a tone that works in a track and it's not going to get in anybody's way but yet say something you know that's hard to do sometimes i'm gonna go down a rabbit trail for a second uh you have an instrumental that uh that's called burton's move oh yeah okay uh like jamesburg yeah um yeah i haven't played that in a while yeah um just with the with the the story you know well james is james is a character as i'm sure you know yes and um i i was in the best way possible oh he's fabulous i love him but james is one of these guys that like um if you play a session with him i always sit next to him because we're the guitar players you know so anytime he's you know playing a session with me he he'd always like switch over to the neck pickup in between takes and he'd be like playing like jazz licks like you know like and playing [Music] stuff like that you know and then he would play like uh you know like maybe you know like you play stuff like that just to show you that he could you know right you know like he and they're all it's always really good you know he's like over there playing stuff you're like yeah he's not mentioned yeah and then one day i was well i think it was at the opry oh this is a good story um we marty invited him to play on the ground a lot because he never played on a saturday night at the grand ole opry wow right because he played on he was part of the hayride and he'd done all sorts of things right elvis presley but he never played in the opera on a saturday night and marty said we got to fix that so he came out to the opry and he played with us and we had our we always bring our amps to the opry you know because they we don't like their amps very much because you know we're good at playing through our amps but maybe not so good at playing through their hands yeah so uh you know we we've invested a lot into our sound so we that we bring our amps and james just plugged into this awful twin that they used to have over by the piano it was a blackface twin reissue and it was a terrible one and i know that ain't awful yeah it is horrible james walks out there with this crummy guitar of his it's like this it has like three fender lace sensor pickups and and he has like eight gauge the gauges are eights and i picked up his guitar as like how do you play this thing you know like this thing is a piece of junk you know it's like how do you even get anything out of it so we go into this song of ours that we do and marty takes the first soul and just rips it just like he's up there just tearing at a new wind you know and i'm like yeah you know and he gives it to me and i do my best all i can you know go for it you know and then marty says take it james and he completely obliterates us he sounds twice as good as we do and he's playing his ass off and he's like looking at the audience like i'm james burton and i'm gonna show these guys how to play the guitar and he did man and i was like no pedals no nothing into that crummy up with that crummy guitar and he sounds ten times better than we sound and i'm like holy you know my god the guy is amazing but anyway he was backstage and yeah i was like wow that's cool he said hey yeah [Music] so i was like you know i was on the bus the next day and i was like check it out marty [Music] yeah so i made a little tune and called it burton's move [Music] that's it yeah and what's neat about that what's unusual is most time when you play that kind of lick it's usually played up higher on the neck right and so because of the fact that you're playing it on the on the low wound strings it just has that and and also it's a nice variation of the kind of overplayed like working man blues yeah yeah yeah it just it sounds better and it's more interesting so yeah yeah i really like you know when i when i heard that i was like yeah so it's funny you know when you think about working man's blues when you go back and listen to the record there's really not anybody playing too much it's only in there a little bit but really it's hardly there you know it's he just plays it a couple of times but it's so so great man yeah and you know burton's you know it it sounds like he's using a capo yeah it sounds like he he could be using a capo you know because they're playing an a flat and it almost sounds like he's playing they're just tuned down a half step okay yeah they um buck owens and merle hacker both tuned down half step a lot and buck even tuned down a full step on some of those songs yeah yeah because there's a couple where don rich is playing in um he's playing in a but they're in g yeah you know that's he's because he's playing a low d and he's not tuned down just the low ds the whole guitar is down yeah wow yeah a lot of their stuff's in e flat and haggard's too especially in the 60s yeah they never did that in the 70s but they did in the 60s and i'm you know the there's uh bill monroe sometimes tuned up to f tuned up a half step high wow higher to get more um cut you know tension cut and impact yeah and the who tuned up a half step a lot right no idea yeah yeah i saw the who in 1970 man whoa that was the most fierce show i ever saw talk about going for the throat man i've never seen anything like it before or since they were like a swat team you know they just never quit and they never said anything to the audience they just came up and there was just one song after another just they just kept pummeling the audience they never quit man there was no time between the songs it was just like it was like a rat a terrier shaking a rat by the neck yeah just never gave up that never and man they were relentless and they were so good yeah well let's let's talk let's talk gear a little bit so you uh let's because you've got this uh this telly in hand let's uh let's talk about this so it looks like this is a brad paisley yeah it's a brad paisley um uh model it's a fantastic guitar i was down at the fender shop when these things came out and yeah i was like oh another silver sparkle guitar that's just what the world needs you know so i you know i pulled it down you know and i said man this guitar is really nice they said yeah that's the new brad paisley model i said yeah wow and they said you want to try it just take it man you know so i took it and i liked it and this pickup is uh the tim shaw came up with the pickup yeah and brad has a load of pickups as you know yeah and he has that one pickup that he thinks is his favorite and it's off of 63 telly i think yeah well tim shaw said he said there was something about that pickup that kept bugging me he said and he was laying in bed like you know he had measured it and you know looked at it and trying to figure out he says why is it showing this amount of output and he says he said something in the back of my mind he said laying in bed he's like it's a p bass he said that's what it is and so he went and um wound to pick up with the same amount of windings as a p bass and that's what this is he said obviously he he thinks so that somebody had um forgotten to recalibrate the winding machine yeah that fender when they were winding pickups and they got too many wines and they put out quite a few pickups i think that had this sound yeah in 63. i think it was a mistake that's what he thinks anyway yeah and you've you've done some modifications to it you got one of these three strings yeah that's glazer put that on when he put the bender on so anyway yeah this is uh it has the long throw glazer bender the cool pickup [Music] so i got the bender thing going on so what was there were you tempted to avoid the bee bender because of marty for a while or did it just um no i always messed around with them you know yeah and um i always liked them and uh i just decided to put one on this guitar because glazer had been working on the long throw yeah and um i wanted a long throw bender i have a parsons white with that long throne i really like that sound you know and glazers were always a short throw right but then he changed to to accommodate people who wanted the long throw so you can get the [Music] there's just it's it's nice yeah there's just a difference in the the sound that you're able to get when it takes longer to get to the yeah the end result you're able to have more control over the music yeah yeah it's just a different sound you know it's kind of like the difference between a show but an image you know yeah diamonds are quicker the show bug but it's a longer throw on the steel you know so you you've also uh changed the wiring up here you have you have yeah some phase yeah there's a face adjustable face shifter i mean out of phase circuit here that i can there's a pod under here that can control the amount of out of phase you gotta look i got a little bit more low end than than if it was completely dead out of phase so i got it got backed off a little so it's not completely out but you can adjust it a guy named pete canaris in baltimore makes these things and you can just buy the whole plate and just drop it right into your guitar pre-wired so there's a pot under here that's glued in and when you pull up on your tone knob that activates the out of phase circuit as long as you're in between in the middle setting here [Music] [Music] so it's a lot of fun you've got an old thomas oregon vox yeah man that's a vox cambridge reverbs great great amp i first started using one of those over at a studio in nashville there they had one there a place called home depot it was greg morrow's amp and i used to play through it all the time and i was like man i got to get one of those i was down in new orleans and they had one in the store at international vintage steven staples and i said sell me that he did yeah yeah they're really really neat it's so man it's just so versatile i can get so much out of that amp it's uh two el 84s it's like a princeton reverb with a vox tone kinda yeah it's more really like a princeton than it is a vox but man it's really great it sounds very very fendery yeah yeah yeah yeah the that's totally fender yeah [Music] it's great yeah that's a very nice yeah tremolo on there yeah all right let's uh let's let's pull some you you had this guitar earlier yeah uh so this is a jazz master jazz master ultra man i've been using that a lot in the studio i have flat wound strings on it uh they're kind of light gauge and um i think they're tins yeah you know but um i use it all the time it's a really good tone you mentioned string so what like on that guitar what do you for do you do you mainly use flat ones or round ones no these are round ones okay what gauge um these are uh what are they called those are the ones that brent mason uses um i think they're 9.5 yeah but is that what he uses yeah that's what he at least used for a while yeah yeah i don't know what he uses now but yeah that's what he was using for quite a while i worked with him a couple of times i was like what are you using man yeah and um i tried them i really liked them on the telly i don't use them on anything else but the tele and this guitar had a really nice uh this circuit yeah instead of being like the uh like it was in the in the olden days where it was kind of a preset yeah it was a cool i really like the old circuit too but this is their latest model here and so what they have on here is a couple of um things like they have a [Music] series parallel switch for the middle position [Music] and then they have a individual tone controls for the two pickups here's for the neck pickup and here's for the treble pickup and then over here they have a an adjustable out of face circuit also so you can you can up you can adjust the amount of out of phase [Music] so you can get the t-bone walker [Music] [Applause] [Music] and that's such a huge improvement over the out of phase thing on the offenders you know on both those guitars yeah because that's the the advantage that the gibson guys had is that when they had a pickup out of phase well you just have the separate volume controls and you can kind of back up find the perfect sweet spot yeah yeah yeah yeah and then uh let's see which let's let's pull out you've also got your strat yeah i always take a strat with me two sessions tell us about this strat uh this is a guitar that i bought in nashville about 21 22 years ago for 200 bucks and i've owned so many strats over the years and this one is one that i will never get rid of i just like this it's an 84 squire of all things and it's just a great guitar man it just feels so good you know it's just just sounds good to me i've got the uh bridge pickup wire to this tone control here and then this pickup this tone control is for the neck pickup i switched it from from this to that so i could take some of the edge off the bridge [Music] i'm a big johnny guitar watson guy and i always loved his his uh strat sounds and his uh crazy guitar tones it was always really trebley and just like totally rude you know like just the rudest sound but it just sounded so good and i always like playing a strat to get that johnny guitar watson sound [Music] let's love it [Music] [Music] do [Music] clear but but yeah but fat yeah it's got that bell tone man what kind of pick are you using uh this is a dunlop 96 millimeter i use this for electric a lot i use mediums on acoustic mostly yeah and i always make sure i take a a thin pick to a session yeah because man sometimes you got to have a thin pick on a session yeah it's a better tone sometimes yeah because you you get less of i mean well it can be papery sanding or you could just get less of the pixels yeah sometimes you want that papery sound especially on acoustic for playing rhythm stuff it sounds yeah you know like if you plant a 12-string acoustic rhythm part it sounds so good with a thin pick it just sounds perfect yeah picks are very important tell us about your board well this is just a basic board i have um i yeah i have an amp reverb an amp tremolo on my amp but i've got a fuzz face and i've got a mxr timmy normally that's a tube screamer in this position but i'm trying this out i kind of like it it's pretty cool it's just a distortion pedal the timmy's are made here right yeah the the the original one the original one so i mean those are made by by mxr i think he had a licensing thing yeah he couldn't keep up with demand yeah so yeah and i think that's a really good yeah paul cochran yeah yeah right and uh then this is a compressor i really like it it's a barefoot a pale green compressor that's a c verb reverb spring reverb simulator sort of that's a dumb lot jimi hendrix wah that's a barefoot univibe let's get some it gets good warbly sounds you know [Music] it's really fun i like that yeah then this is a strymon uh delay pedal which is really a good delay it just works really well [Music] [Music] i love delay stuff [Music] it does does everything you need yeah it's pretty simple really it doesn't um it's not uh it's it just does delay stuff really it's not really a looper it does have a loop thing you can use but i don't use it for looping at all i'd rather use a separate looper pedal if i was going to use a looper it has a spring reverb on it turn off my reverb um [Music] let's see where is it here we go it's really yeah there's something about when you combine the delay and reverb on this pedal it really is really great and you can control the your um the the fidelity of the you can simulate tape decay and transport um inefficiencies yeah you know it's pretty cool [Music] [Applause] [Music] [Laughter] [Music] yeah i dig them the reverb and delay together is really cool because they almost feed into each other or something when they're on the same pedal [Music] [Music] and it has a different heads you can activate you can do like um [Music] which is the old benson echo wreck kind of sound yeah [Music] so [Music] [Music] so [Music] very nice yeah it's fun well i was i was glad to see you know as you're coming in and we were plugging in your board i was it was it was nice to see that you had a true tone uh i was glad to see that too i went to corner music uh when my uh i just needed to get a power supply real quick and i was like tell me the best one you got and that's what they they sold the true trump so we have a friend at corner musics that we do thank you corner music yeah it wasn't my it was it was i totally i've been shopping there for 35 years yeah and um they've never done me wrong it's all i mean the thing about a local music store like that is like i've bought pedals that failed and i could have called the manufacturer up and said hey you know or i could just get in the car and go over the corner and put it on the counter and said hey man this quit working they just come back give me another one and take it no they don't even ask a question they're like sorry you know yeah they just top it out yeah i mean they're so good about stuff like that you know they've always done you know they're really good with prices and yeah and quick service and all that kind of stuff they're just a good good local store support your local music store absolutely man there's something to be said for having a personal relationship with them you know they they do really well yeah well kenny thank you so much for uh for coming down thank you so much for you know sharing some of your story and experiences and and uh and playing for us are really appreciative oh sure man thanks for having me i'm glad we finally got it together yes [Music] do [Music] do [Music] [Music] [Music] do [Applause] [Music] so [Music] [Music] [Music] do [Music] you

Channel: Truetone

Views: 64,942

Rating: 4.9310718 out of 5

Keywords: Kenny Vaughan, trutone

Id: sb4JKW4bs7M

Length: 95min 21sec (5721 seconds)

Published: Thu Sep 23 2021