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And Jimbeau Hinson taught me that its good karma to help others reach their dreams. So I learned how major label producers hear other peoples work.
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Doyle Wilburn let me pitch songs one day when their song plugger, Johnny Russell, had the flu.
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Owen Bradley taught me the value of getting your craft right so the singers don’t stumble over the lyrics (a lesson I learned the hard way).
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Sammy Kahn taught me how to pattern, speed write and co-write with anyone, living or dead. Leslie Wilburn taught me to put feeling into a song. What you’re trying to get across has got to be crystal clear to anyone, in any walk of life. Roy: Chuck Glaser taught me that a hit song is one that everybody can relate to. What would you say are the most vital tips that they gave you? IC: You’ve been taught by some of the all time songwriting masters. Once they made me a key to their office, and I slept there until I found a daytime job at Davis Cabinet Co. They were really great to my family and I. Later on I had help from so many music greats in the golden age of country music, such as Leslie, Teddy, Doyle and Lester Wilburn.
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Roy Baham also taught me song construction. Chuck Glaser taught me how to construct my songs. Security threw me out.īefore I met the Wilburn brothers and wrote for their company, I met Chuck Glaser, of Tom Paul and the Glaser Brothers. So with suitcase in hand, I went in the Andrew Jackson hotel and asked Red Foley and Doyle Wilburn where I might find the Wilburn brothers. It was DJ convention time, and Jimmie told me to ask for the Wilburn brothers when I got here. Jimmie was a fantastic country writer with the Wilburn Brothers Company. I moved here in 1969, after coming to DJ conventions with him. I was asked to come to Nashville by my friend, Jimmy Helms. I practiced my writing inspired by all of them. Roy: I loved the music of Roy Orbison, The Four Seasons, Bobby Vee and Hank Williams. My first 45 rpm single in 1965 was ‘Listen To Me Cry’/’We’ll Have Soul’.
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We landed on Mercy Records, and opened for a movie called ‘Topo Gigio’ – the mouse! They’d set up a stage in the theaters. I used to write songs for our teen band, The New Galaxies. I switched instruments all night and got lessons from awesome musicians at the same time. I would make deals with musicians who wanted to romance the girls – If they’d show me how to play my guitar licks, bass licks or drums, I’d take over for them while they had fun with the girls. People came in groves across the bridge into Illinois where it was wide open. I used to play all night long at a club called Stallings Park. That night I got to jam on bass with Ike Turner’s band. One night, Chris Christian, Ace Wallace and I went to a club on the outskirts of East St. All the guys with hangovers from Friday night gigs came for their turn on the radio. John Hartford was in charge of the station then. I appeared on the KSTL Curly Nelson show. And through Chris, and other friends, I met a lot of legendary R&B and blues people in that area. Louis, I picked up more lessons on playing guitar. He took me to meet blues guitarist Ace Wallace, a legend with his own unique style. In the St Louis area I met a singer, Chris Christian, who became a lifetime musician buddy. It was very nerve racking.Ī few years later, I was playing nightclubs. Howard and Bill were playing rhythm guitar and drums. I could only play lead guitar on one string at a time. I was in junior highschool, and myself and two other kids played a dance in a little teen center called The Wedge. Roy: I’ve been in the music business since 1959. IC: How long have you been in the music business, and how did you get started? Indie Connect interviewed the ‘new star’ on his long career in the business. For the first time in his life, hit songwriter, Roy August, has songs on the charts that he is singing himself.