Your song- writing has been good to you, and that is to your credit. That’s where I’ve been real lucky. I’m not that well- known or any- thing, but a bunch of people that cut my songs have kept me from having to work for a living. My records don’t sell that much, except in Europe, for some reason or another. If I had to make a living on the records I actu- ally sell, I’d be in real trouble. I’d be driving a truck or selling shoes.
One interesting cover of one of your songs was the version of “After Mid- night” recorded by the bluegrass group Seldom Scene. Yeah, I know John Starling. I lived in Nashville for about 10 years. Paul Craft, you know who he is? Paul Craft and I got to be cronies. I was a big fan of his, some of the songs he wrote just laid me out, and through him I met Seldom Scene. They kind of worked out of the Washington DC area. So, I got ac- quainted with them and one day somebody gave me an album and they cut one of my tunes, and it really made my day. They were a little more contemporary than a lot of blue- grass bands.
You worked behind the boards yourself as a producer and recording engineer
back in the early 1960’s. The reason I bring that up is that there is a great documentary movie out now about the late but great music producer Tom Dowd called The Language Of Music. Dowd was very innovative and affected the way music was recorded over the years. Oh really? Where did you get that? I need to get a copy of that. I met Tom Dowd one time. And, I’m very familiar with what he did. Tom Dowd, man, he produced all of those Ray Charles records.
Dowd also brought the eight-track recording technology into the mix… Oh yeah.
….and I know you were an engineer… Oh Yeah.
…and you had to work with a four track, if I remember right. Oh yeah. (Laughing) That’s why I’m a big fan
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