song, his eyes closed in concentration. It’s like witnessing a moment few journalists ever get to share. The intimate moment of connection between the producer and the musicians, bonded by the sheer power of a good song. I have spent the entire day driving, so I
have entered the picture late today. Still, I get to meet everyone and get a feel for just how special this project is going to be. Back at the hotel, Tommy Talton and I talk music for a while, and pretty soon Scott Boyer drops by. Somehow the conversation shifts to the re- cent death of the Osmond family father, which sets us all to reminiscing about The Os- monds, and all of their work with Rick Hall at FAME Studios in Muscle Shoals. Scott admits he once had a crush on Marie Osmond, and before I know what has hit me, Boyer and Talton are harmonizing on Marie’s hit “Paper Roses.” Surreal? You bet. And I am loving every minute of it. After a bit I head back to room 219. I
am about to crash when the phone rings. It’s Talton, recommending a comedian who is on cable as we speak. I switched the channel, and
Bill Pilmore on the steel guitar. (Michael Buffalo Smith Photo)
laid down on the bed. The last thing I remem- ber is laughing hysterically at a joke about Sir Paul McCartney and Heather Mills. Laughing myself to sleep. Now there’s a song title.
SATURDAY, NOVEMBER 17 This morning I joined Tommy, George
and Tom downstairs for the continental breakfast, and they all shared some fun sto- ries from the past over coffee and cereal. When we all reconvened at Duck Tape
Studios at around noon, the guys got right down to business. The songs they have recorded for this project are all amazing. At one point Dick Cooper dropped by to
shoot some photos, and we had a great time with him as always. Boyer contributed a beautiful song
called “Maybe Miracles,” and the original plan was for George to play acoustic bass on the track. Unfortunately, that plan was not written in the stars, as there were internal wiring problems with the pickup jack, but he did end up playing one of the single coolest bass guitars I have ever seen. It defies de- scription. Bill Pillmore laid down some smooth pedal steel to the song, which only adds to it’s ethereal beauty. Other tunes the guys recorded include
Scott Boyer ready to sing. (Michael Buffalo Smith Photo)
“Positive Flow,” written by Pete, an up-tempo number that reminded me of The Flying Bur-
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