Dwight Yoakam

in bristol tennessee with modern commercial country ralph pierre goes from new york with the first portable recording devices yeah down to bristol tennessee and advertises come one come all sing for me yeah and he's and the two people that came the first week he went on down to carolina and set up again but the two that came in that became

in bristol tennessee with modern commercial country ralph pierre goes from new york with the first portable recording devices yeah down to bristol tennessee and advertises come one come all sing for me yeah and he's and the two people that came the first week he went on down to carolina and set up again but the two that came in that became

in bristol tennessee with modern commercial country ralph pierre goes from new york with the first portable recording devices yeah down to bristol tennessee and advertises come one come all sing for me yeah and he's and the two people that came the first week he went on down to carolina and set up again but the two that came in that became

modern country music were jimmy rogers yeah you know the singing brakeman singing brakeman yeah the blue yodeler yeah and the carter family ap mother mayville so you start there yeah i start there with this resident to explain to the live audience they see The beginning, the depression. They see how you get to California. How everybody gets to California. How that music gets to California.

modern country music were jimmy rogers yeah you know the singing brakeman singing brakeman yeah the blue yodeler yeah and the carter family ap mother mayville so you start there yeah i start there with this resident to explain to the live audience they see The beginning, the depression. They see how you get to California. How everybody gets to California. How that music gets to California.

modern country music were jimmy rogers yeah you know the singing brakeman singing brakeman yeah the blue yodeler yeah and the carter family ap mother mayville so you start there yeah i start there with this resident to explain to the live audience they see The beginning, the depression. They see how you get to California. How everybody gets to California. How that music gets to California.

How all of us get to California. The Tom Joad Road. And I go out and begin that. So I used... this jacked up Stones-esque, I said to the band, I said, I got an idea about rethinking Sunnyside. And that's what's on the record. So, come full circle, two years, I go, I'm gonna cut that, because we're now in the doldrums of, you know, everything we lived through with the pandemic. And I'm like,

How all of us get to California. The Tom Joad Road. And I go out and begin that. So I used... this jacked up Stones-esque, I said to the band, I said, I got an idea about rethinking Sunnyside. And that's what's on the record. So, come full circle, two years, I go, I'm gonna cut that, because we're now in the doldrums of, you know, everything we lived through with the pandemic. And I'm like,

How all of us get to California. The Tom Joad Road. And I go out and begin that. So I used... this jacked up Stones-esque, I said to the band, I said, I got an idea about rethinking Sunnyside. And that's what's on the record. So, come full circle, two years, I go, I'm gonna cut that, because we're now in the doldrums of, you know, everything we lived through with the pandemic. And I'm like,

Sunny Side, keep on the sunny side. Even in the height of the depression. So it fit the record. But with an aggression.

Sunny Side, keep on the sunny side. Even in the height of the depression. So it fit the record. But with an aggression.

Sunny Side, keep on the sunny side. Even in the height of the depression. So it fit the record. But with an aggression.

There's a funny story about Jimmy Martins band, this bluegrass, when you put that up, when the guitar plays, you put that up. J.D. Crow, I don't know if you know that name, but he had the New South. Great bluegrass banjo player. And he was playing in Jimmy Martins bluegrass band after Jimmy left Das ist, wie Jimmy Martin Flattens Krugs verwendet hat. Oder Lester Flatt. Er ist der Sänger.

There's a funny story about Jimmy Martins band, this bluegrass, when you put that up, when the guitar plays, you put that up. J.D. Crow, I don't know if you know that name, but he had the New South. Great bluegrass banjo player. And he was playing in Jimmy Martins bluegrass band after Jimmy left Das ist, wie Jimmy Martin Flattens Krugs verwendet hat. Oder Lester Flatt. Er ist der Sänger.

There's a funny story about Jimmy Martins band, this bluegrass, when you put that up, when the guitar plays, you put that up. J.D. Crow, I don't know if you know that name, but he had the New South. Great bluegrass banjo player. And he was playing in Jimmy Martins bluegrass band after Jimmy left Das ist, wie Jimmy Martin Flattens Krugs verwendet hat. Oder Lester Flatt. Er ist der Sänger.

Und dann verlässt er Bill, weil er seine Designs auf sich selbst bekommt. Und er wurde nie ein Opernmember, weil Bill Monroe das für immer blockiert hat. Aber er hat seine Band. Und J.D. Crow spielt mit ihm Banjo. Und er sagt, dass er eines Tages... Etwas kam auf und sie stehen da und schauen sich um. Und er sagt, Jimmy, als du singst... Du bist der Star.

Und dann verlässt er Bill, weil er seine Designs auf sich selbst bekommt. Und er wurde nie ein Opernmember, weil Bill Monroe das für immer blockiert hat. Aber er hat seine Band. Und J.D. Crow spielt mit ihm Banjo. Und er sagt, dass er eines Tages... Etwas kam auf und sie stehen da und schauen sich um. Und er sagt, Jimmy, als du singst... Du bist der Star.

Und dann verlässt er Bill, weil er seine Designs auf sich selbst bekommt. Und er wurde nie ein Opernmember, weil Bill Monroe das für immer blockiert hat. Aber er hat seine Band. Und J.D. Crow spielt mit ihm Banjo. Und er sagt, dass er eines Tages... Etwas kam auf und sie stehen da und schauen sich um. Und er sagt, Jimmy, als du singst... Du bist der Star.

Er sagte, wenn ich das Banjo spiele, bin ich der fucking Star. Also sagt Fogarty das, ja. Du hast das aufgeschrieben. Ich bin alt genug, dass ich als erstes in einem Rekordstudio die kleinen braunen, schwarzen Boxen, Oratons, gesehen hast. Die kleinsten, günstigsten 6-Inch-Hörer. Ja. Das ist das, was du mit Final vermischst, weil das ist das, was es klingen würde, wenn sie sagen, in einem Auto.

Er sagte, wenn ich das Banjo spiele, bin ich der fucking Star. Also sagt Fogarty das, ja. Du hast das aufgeschrieben. Ich bin alt genug, dass ich als erstes in einem Rekordstudio die kleinen braunen, schwarzen Boxen, Oratons, gesehen hast. Die kleinsten, günstigsten 6-Inch-Hörer. Ja. Das ist das, was du mit Final vermischst, weil das ist das, was es klingen würde, wenn sie sagen, in einem Auto.