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10 Questions with ... Steve Wariner
December 4, 2016
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BRIEF CAREER SYNOPSIS:
By the time Steve Wariner was 10, he was playing drums with his father's band. He then picked up the bass, and as a teenager, moved from his native Indiana to Nashville and joined Dottie West's band. It was only a few years later that the legendary Chet Atkins signed him to RCA and produced his first recordings. More than 30 Top 10 hits followed, including 14 No. 1s such as "All Roads Lead To You," "Some Fools Never Learn," " Lynda," and "Where Did I Go Wrong." The moving "Holes In The Floor Of Heaven" garnered Wariner the ACM award for Song Of The Year in 1999, as well as CMA awards for Song and Single Of The Year. Additionally, artists ranging from Garth Brooks, Keith Urban and Clint Black have all scored hits with Wariner-penned songs.
A four-time Grammy winner, and Grand ole Opry member, Wariner has just released his 20th career album, "All Over the Map," showcasing not only the dazzling, innovative guitar work for which he's so well known, but his command of other instruments as well.
1. Steve, thank you for taking time to talk with All Access today! I have to be honest with you, the last time I saw you was on Monday, October 24th at Ascend Amphitheater in Nashville during Garth Brooks' Seven Diamond Celebration concert. That night, Kelly Clarkson pretty much demanded that you come back to the stage and serenade her with "The Weekend," and that was AFTER you had already come out to perform and then left the stage! Can you tell us about that, how it all unfolded, and how it makes you feel when younger artists are familiar with, and are fans of, your music?
Well, I've gotta tell you a cool story on that. I had already finished my part and had a great time out there doing "Longneck Bottle" with Garth, and I had gone back to the dressing room just beaming. I had put my guitar in the case, zipped it up, rolled my cables up and everything, tucked it away, and the minute I tucked it away, someone ran in and said, "Grab your guitar! Garth is yelling for you to come back out! He just introduced you!" And so, I frantically grabbed my guitar - and I'm way in the back, way far away - and there's someone screaming, "Hurry! Hurry! Hurry!" So, I'm trying to get my guitar out as I'm running down the hallway. And there was someone putting a wireless pack in my back pocket while I was trying to run out to get on stage. And I can hear [Garth] yelling from the state, "Where is Wariner? Where is he?" Well, when I get out there, I see Kelly Clarkson, and I start to understand what has been developing. And I just laughed my head off, because I had a couple people - my friends - a couple days later who said, "That was all staged, right? That was a setup." And I just said, "Are you serious? Garth doesn't do that kind of stuff!" I'm such a fan of Kelly's. I didn't know her until about an hour before the show started - that's when I met her for the first time. I tell people that, because people thought I was some great friend of Kelly's but I really did just meet her right before the show. And I walked off thinking she was just so nice, and so bubbly, and so funny! I just loved that girl. And then, that happened! And I've never done "The Weekend" while having to look out of the corner of my eye and think, "Well, where is she? Where did she go?" I was trying to keep my eye on her, because I was wondering what in the world she was going to do, but then I looked out the corner of my eye, and she was just orbiting around me and moving around the whole time I was singing! And then, I'd hear her chime in some and sing along, or start commenting, and it was just so much fun - I had a blast! I've had so many people who saw that and just thought it was great - they've laughed about it and thought it was a lot of fun. She's wonderful! In fact, I'm going to do her Christmas event she has here in December later on in the month. She asked me to join her for that, so I'm going to go down to Bridgestone Arena [in Nashville] here in the middle of the month.
2. You've had so many hits - and of course, "The Weekend" was a very big record - but your music resonates with people. Does that ever surprise you? Especially with people in various demographics?
Well, it really does . It still amazes me and makes me smile. I tell young artists this all the time, you do not know where your music is going to go to, and where it is going to reach or who is going to hear it and respond to it. But, yes, when I have young artists who come up and talk about my records and tell me they remember certain songs or that they used to play my records or play my songs, and when they know the music, it just boggles my mind. I love that. It's very rewarding. But like Chet Atkins told me one time - and it made me smile - Chet said, "I guess I did something right!" And that's how it makes me feel; that maybe we did something right when we were making those records! Tony Brown, and Tim DuBois, and those other guys and I - back in the day - just making those records, but you never know when you make them what's going to happen down the road 25 years later or however long. So, it's very rewarding, and it makes me feel like maybe I did something okay. But, with the young guys and girls - and like with Kelly - I had no idea she even knew that song!
3. Steve, you've recently released "All Over The Map," which is your 20th career album. That's a lot of albums, but not a ton when you think about your 40-plus years as an artist. Does 20 feel like a lot to you in relation to your career?
I'll be totally honest, that's something that I didn't even know until I was almost finished with the project. My management came and reminded me. And they brought it up, because not only was it my 20th album, but this year was my 20th anniversary of being a member of the Grand Ole Opry. I didn't realize all that stuff, though. But like with my recordings - the first time I played the Opry, I was 17! It was 1973, and I played it when it was still at the old Ryman Auditorium; I played it with Dottie West. So, I didn't become a member until 1996, but I've been playing it since I was 17. So, like my records, I've made a lot of records, but I even had a career before that playing on records and being a guest artist on records and so forth. I don't think about it much, but I do know that - at MCA, especially, with Jimmy Bowen at the head of the label - it surprised me at that point how many records we were making. And at Capitol, too, when I was at Capitol. We'd make a record, and I remember about halfway through the life of a record, we'd be already back in the studio working on a new one. We'd be setting up the next record. It was continuous! And I remember thinking at that time, "Many, I'm making a lot of records!" I was still trying to tour really heavily - back when you and I met. But in my mind, I look back at all those sessions and players, and I look at it as a body of work. And I'm thinking of the time spent listening to songs, and the time that we put in to each of the records - the meetings, finding songs, writing songs - and in my mind, I still feel like that's a lot. But to your point, I look at Chet Atkins' career, and I think he made 125 records, I believe, if I'm not mistaken. So he had to be making a lot of music! Of course, that's a different kind of music in a different time, so it's hard to compare. But I'll tell you this - I listen back to most of these records, and I'm still very proud when I hear them. And I'm not good at patting myself on the back - I give credit to the producers and the engineers and those guys - but you look back and think, "Boy, some of these really hold up pretty well today." Sometimes you hear records, and they sound very dated. But most of these hang in there pretty well, in my opinion. And that means a lot when they stand the test of time. Now, not all of them do, and I can admit it! Some of them are dated - especially some of the early ones. Early on, I think I was compared to Glen Campbell a lot, especially in my first two or three records had a lot of people thinking it was Glen Campbell - which is a great compliment to me, since I love Glen Campbell!
4. "All Over The Map" is a great listen, and it's basically a musical travelogue. There are a ton of collaborations, various songwriters, a legend, a family member - the title is perfect for the collection of songs and music here. The album feels almost experimental; like an album an artist makes with complete freedom and no pressure whatsoever. Is that an accurate assessment, in your mind?
Right on the nose. And I love your "travelogue" description - I may borrow that from you! I like that! I'll be honest with you, experimental is a great way to say it. I actually started the first song - I wrote that song - and then I was sitting on the edge of my bed one day with my little mini guitar that I use a lot to write on, and I started C.G.P., just thinking about the Chet Atkins days and that C.G.P. honor he bestowed on just a handful of us guys. [Editor's Note: The initials C.G.P. not only refer to Chet Atkins' 1988 Columbia Records album of that name, but also to the Atkins-coined title, "Certified Guitar Picker." C.G.P. was a moniker that Atkins assigned not only to himself, but also to other guitarists he admired and felt contributed to the legacy of guitar playing. During his lifetime, Atkins bestowed the C.G.P. title on just four pickers: Tommy Emmanuel, John Knowles, the late Jerry Reed, and Steve Wariner. Atkins' daughter, Merle Atkins Russell, asked Steve to help her read a proclamation in 2011 officially conferring the last and final C.G.P. title on Atkins' former bandleader, Paul Yandell.] I was just kind of tongue-and-cheek messing around with that, and it just kind of came out. It was like, "Oh! There's a chorus!" And then I started in on a verse. Probably under an hour, and I had the whole song done. So, I thought to myself, well, I should bring in the other guys and cut this thing. So, I called Tommy Emmanuel and John Knowles - the other C.G.P. guys - and they said, "Yeah, we'll come out!" So, then I thought I should maybe cut a few things, since I hadn't made a record in about three years. And it really grew from there. The experimental part comes in, because I started doing a few more tracks and writing some more songs, and the juices were flowing. So halfway through the process - for example, I was in the studio one day, and not even thinking about it, I was just playing guitar, and I said, "Oh, that's a cool piece!" And it just kept snowballing. I'd be picking around on a guitar, and something would just fall out. And the beauty of having my studio here is, when that would happen, I'd think, "Well, I guess I just better put up some microphones right now." So, I'd set up two microphones and put a C12 microphone on one side and a U67 on another side of the guitar, and I just went out in the big room of my studio and just started carving on it right then, while it was still fresh. I'd put it down on tape, because I was worried I'd forget it - and that's a good thing, because later, after I had it down on tape, I'd go back to try to play something and not remember exactly how I had carved it out! So, all through the process of this album, that was happening. We'd be cutting tracks, and that night or at the same time, I'd be writing something. It was like going downhill in a wagon - once I got it all started, I just couldn't stop! To me, that's the most fun part of the whole thing, I believe - just writing and seeing where it's going to take you. Because the writing really does take you somewhere. You just hang on, basically, and that's what I like about it. I'd say, "Where's this going to lead?" And I'd just let it lead me, and I'd write it the way it took me during the process. Then, the next thing was asking myself, "Well, who can I abuse and totally take advantage of our friendship by getting them to play on this?" Ha! So, I started calling up some buddies. I had lots of friends who didn't make it on the record - people that I was going to have play with me on it, but they just couldn't do it. Peter Frampton and I wrote a piece for this album that didn't make it, because he is just so busy touring that I couldn't get him in to do it. And he came out to the house, and we started writing on a cool piece, but...the timing just didn't work. And I talked to Billy Gibbons, and he said, "Oh, yeah! That sounds like a lot of fun!" But we just never could coordinate it! So, tons of people - and that's the back side of the story, is all the people that time just didn't allow for collaborations on this record. It would take me another year just to get these guys in! But maybe they're so busy because they are Billy Gibbons and Peter Frampton! Ha! They're really busy, and I understand it. But they were so kind to just say, "Yeah, that sounds cool!" That's the fun part of it is calling up your pals and abusing them to come play with me. Like with Ricky Skaggs. I wrote that little piece on an acoustic guitar - an open-string little thing - and I feel like, in writing this stuff, I said to myself, "You do realize, Mr. Wariner, that if you were on a big record label, you'd never get away with all this stuff!" But I think that's the beauty of it; I'm not on a big label, so I can get away with it. What I say is, it's like peeling back layers. This album is really who I am, because I'm a player. And I'm playing lap steel, I'm playing pedal steel guitar, I'm playing bass on some of that - upright bass, I played drums on that Merle Haggard track. I'm just having fun and doing what I do, because I'm a musician first. And then I go, "Oh! Maybe I'll sing a few on here, too!"
5. This album definitely showcases your "musician-first" mentality. Everyone has known for years that you're a guitar god, but you're also playing steel, drums, upright bass - anything else we didn't cover there? This seems like something you did almost as a one man band!
Let me tell ya, I played upright bass on a couple things. For the steel guitar, I was going to call one of my buddies up, like Tommy White or Allyn Love - who has worked with me for 30-plus years - there were plenty of folks I could have gotten to play on it that would have blown me away, but that's the fun part! I go, "Heck, that's sounds pretty cool! I'm leaving that in." A couple of them, I did change and would bring in someone later. But, I just started messing around and playing on stuff on my own.
6. And there's a very special track on this album that you co-wrote with the late, great Merle Haggard. The track is called "When I Still Mattered To You," and you guys collaborated on the writing nearly 20 years ago - there's that 20 again - but you just recently cut it after his passing. So, how did you guys originally get together on that, and where has it been for all these years?
It was kind of like a "lost tapes" situation. When Merle died - after all the crying, as I'm sitting around thinking, "We've really lost an icon - we've lost THE guy," because Merle was THE guy to me, I started thinking, "Oh, man! We wrote that song back when we did a cruise together!" And Merle was so kind to me. I met him a few times and had done shows with him, but I had never really hung out with him until that night on the cruise ship. He invited us down, and we started just playing songs. Merle said, "Man, do something that you're writing or just have written that is new." So, I played him something I had gotten started then got stuck on - with the hopes that he'd do exactly what he did - and he said, "Well, play it for me again, and let's see what we can do with it!" So, I started singing it again, just the part I had already done, and he started in with, "Well, what if you did this and this..." And I just thought, "Oh my God! I'm writing a song with Merle Haggard!" So, we finished it. Now, fast-forward, after he passed away, I thought of that, so I pulled it out and started revisiting that song, not thinking of it for this project. But, I thought I'd make a new demo - because here's how old it was, it was on an old data tape, and when I put it in the player in my studio, it wouldn't even play it! And I just thought, "Oh no! I hope I can remember it!" And I had the lyrics down, but not the music - but when I started singing it, I remembered it. So, I said, "Well, I better put it down." So, I started putting drums down to start making a demo just so I could visit with it and think about Merle. I put the drums down, and added bass. Then I sang on it. And as it was coming together, I thought, "Man, maybe I should put this on the record. This really would be 'All Over The Map' if I put this on the record!" So, I took it in and put real players on it, but I left the drums alone. All I had done was a simple little brush thing - I didn't play not one cymbal on it - it was just brushes on a snare and a kick. But I used to play drums with my dad when I was a kid, when I was 12 and 13 years old. I played drums in a couple little bands, but I was terrible. I mean, I was terrible! And I was in my brother's Rock-n-Roll band - that needs air quotes! - and we played any kind of Rock-n-Roll song we could figure out the chords to. I played drums, and my brother played guitar. Then I played all the Country stuff with my Dad. He had a good little band! But I got by on that Haggard song with what I did. Then I just brought in some players to back me up on it.
7. In the notes on the album, I noticed a lot of pride in the collaboration with your son, Ryan. It must be rewarding to not only see your sons become musicians, but for them to enjoy playing with their dad. That, and the song "Mr. Roy" bring a very personal touch to the album for you, right?
Yeah, they do, for sure. It's family, ya know. And I told Ryan from the get-go - I did an album several years ago that Ryan and I wrote a song for called "Stingray." Ryan is more of a rock player, and he's a really great player. I mean that; I learn stuff from him every time I'm around him. I learn about tone and how to get sound out of guitars and amps, because he's really in to that. And just a wonderful player. But that song, we wrote that together. He brought in a cool riff, and I just gave him that assignment back then, a couple years ago, and said, "Man, bring me a couple of cool riffs, and we'll write something around it." So, he brought me, on that album, this wonderful riff that we wrote "Stingray" around. And I was going to do the same thing on this album, because I wanted to do something with him for this. So, I said, "Just bring me some stuff. Let's see if we can come up with something cool to work on, and if it makes the album, you can play on it with me." And he brought me, one night, a thing on his phone. He had been sitting at home playing, and a friend of his that was there put it on his phone. So, he brought it out to the studio at night, and he played it for me, and I said, "Man, that's a really Dire Straits/Mark Knopfler kind of groove! Let's plug in some guitars and mess with it!" So, we just kind of started throwing it back and forth, and then he went off and wrote the rest of it, and we cut it. I've said this, and I truly mean it, he would be one of my favorite players if he weren't my son. I'd be wanting him to play on this record, because he's really a talented player. And I know nepotism is a wonderful thing, but if it wasn't up to snuff, it wouldn't be on this record - I promise. But he plays so well. I owe him a debt of gratitude. I call him my Tone Chaperone. He's got all the equipment, too; I'm so envious, because he has all the old, vintage pedals and amps. He's got thousands of pedals! So he'd say, "Let's try this with this and see what we get." He'd be the patient one. And I guess I was abusing him, too, because I'd just sit there and play guitar, and he'd do all the work hooking different stuff up for me! So aside from playing, he might be the MVP, because he was really behind the curtain doing a lot of stuff that was very valuable. And my son Ross, in New York, is really a great producer and arranger, so I'd ask him technical questions about mixing and arranging a lot. I had a lot of cool people around me helping me. There's nothing like when you're in the studio - I think back on the day when Ryan was really little, and he would carry around toy guitars. I never, ever put a guitar in his hand and said, "You're going to be a guitar player, boy!" I just never was that kind of dad. But I guess those guitars were just always there, and he was always with me on buses and on the road. But I think back to those days when he always had a little toy guitar in his hand. And he just wanted to play along, and he wanted to be a part of everything. And now, you fast-forward to him being a grown man, and he's out there on his own doing his own thing - and you're in the studio sitting across from him, and you listen to his tones and sounds coming through your headphones on a song that he created. There's not too much more of a rewarding and joyous feeling than that with your own children. Sitting in the studio, and you're thinking, "Man, this has come a long way." That's really a joy.
8. And speaking of it being very personal, "All Over The Map" is being released on your own label. I suppose that gives you total freedom to make the music how, when, and where you want - and to decide how to market it, as well - correct?
Oh, definitely. But, it's a double-edged sword in a way, though, because to have that freedom - it's your own label - it took me a while to come to the realization that I'm not the guy on the radio anymore. And believe me, I'm grateful that I had a wonderful run on radio, and I'm grateful and thankful to all those guys and gals that played my music on radio all through the years. But there comes a day - and I think some people don't ever reach that point, because they think that's always going to be the case - but there does come a point when you have to be honest with yourself and go, "Okay, now I've got to reinvent myself, or re-think this thing. Because this is not going to be on radio." And I think what I'm doing is partly for me, as much as for anyone or anything else. So, I'm trying to do something that I think guitar guys and guitar players out there are going to love. Because I think that's a real niche thing for me, and I know there are a lot of the players and gearheads out there who are in to the amps and guitars and all that. But I also know there are people - I kind of feel like I know my audience out there - and there are still a lot of my fans that are fans of my writing and singing, too. So, I'm trying to balance what I think people will like. But there's another part of it, too, and that's just selfishly just for me - that's the part where you don't have the record label breathing over your shoulder asking you to do this or change this, or not do this or that or not be yourself. The double-edged sword aspect of it is that you are tasked with figuring out how you can go sell music these days. How will I make my money back, or how will I take this to market? And that's the part that is the daunting, hard part.
9. So, after having so many years of mainstream, commercial success - and the label expectations that come with that - what are your expectations for "All Over The Map?"
That's the part that is personal, because I'll be excited if it sells records, but I'm at peace if it doesn't. I'm still going to be proud of it, no matter what. That's where you as a producer - now, I'm also wearing the producer's hat - that's where you just say, "I'm making the best record I can make, and I'm not going to let go of it until I think it's totally ready for people to hear it." That's why this record took twelve months to make and drove my wife absolutely crazy! She kept saying, "Why don't you just put it out? It's ready!" And that's when you just say, "Nope! Not until all the Is are dotted and the Ts are crossed!" It has to be the way you think it should be, whether it sells 20 records or 200,000 records. I've been lucky that I've got Gold records, and I've got Platinum records. I've never sold a gazillion records like some of the iconic artists, but I've sold some records, and I know that feeling of having #1s and Grammys and all of that, but it's okay to know that this is where I am now. It's all about satisfying myself and putting out what I think is a record that has integrity and something I can really be proud of. That's where I am in my career and my life now, just making those kinds of records and keeping the bar as high as I can.
10. And you've been setting bars for a long time now. You started recording in the 70s and had a long string of #1s and Top 10 records in to the 80s and 90s. The format and Country radio have really come a long way - especially in the past seven years or so - with the ever-present debate about how the roots of Country music may or may not be disappearing. From your perspective, where do you see Country music? Is it something you can still enjoy, relate to, or be a fan of? O, has it gone too far?
If I was honest with myself, I'd say that I almost remind myself of me asking Jerry Reed this question some years back. And, I truly think he was being honest, because he gave the same answer as I'm about to give you right now. He told me, "Ya know, son, I don't even pay attention like I used to. I'm so worried about what I'm doing and trying to make my records that I really don't pay a whole lot of attention like I used to." And that's kind of where I am. In the studio, sometimes I listen to records. And I don't have perfect pitch, but I relate it to that, because I think sometimes perfect pitch could be a curse. Like my friend, Gordon Mote, who is a wonderful piano player - he's totally blind, but you can make any sound, and he can say, "Oh, that's a B flat!" He knows every note by ear. You can whistle, and he can tell you the notes. And I think sometimes, making records as long as I have and being deeply in to the music world for so long, I can hear records and say, "Oh, the vocals are so over-tuned, and this part doesn't sound natural." And I don't say that every record is that way, but I hear records sometimes that are , and it's not pleasing to my ear. Not that I'm a snob - I don't mean to sound like that. But I hear those tunings, and when you listen to old Country records, stuff that was made before all the tuning, and you do hear the warts and all, and I think that was the beauty of it. Most days, they just had players, they performed, and then they walked out the door. Sometimes, with today's technology, it's not so much a performance. And I can hear that, and I don't mind saying that occasionally I feel like, "Oh, that's already a good singer with a good vocal! They don't have to add all that tuning so much and compress everything so much." It's just not my style to compress and squeeze - and maybe that's a sign of me becoming older and turning in to my dad, which I guess is a good thing, since he's cool - but I think time does that to us.
Bonus Questions
1. Steve, I happen to know you have a birthday coming up - we won't print the year - on Christmas Day. I always wondered if being born on Christmas was a bummer, or if it was an extra source of joy for your family around the holidays?
I love it! I always joke about how my middle name is Noel, and I tell people that as a kid, I was so annoyed by having that middle name, and I was made fun of at school. And I say that I just hated it as a kid, until someone pointed out, "Hey, man, it could be a lot worse. There are a lot of Christmas records out there you could've been named after instead of Noel." I mean, I never thought much about it at the time, though, really. There were five of us kids growing up in a little town in Indiana. And I know my parents didn't have a whole lot, so I remember almost every year my mom and dad would say, "Merry Christmas AND Happy Birthday!" and then give me one present. So, it kind of melted in together through the years, but I never really thought much about that. That was all I knew. I think maybe as I got older, I realized that other kids did have birthday parties, and that was something I never experienced. But I just always knew that was the way it was. And someone told me once that I should have a birthday party in July, but I didn't think that sounded right at all. This has just always been part of my life, and I've really embraced it! My wife has always been very careful to separate the two drastically. There's no way you could convince her to wrap a birthday present in Christmas paper - it will never happen! She goes way out. And then I have a birthday celebration in the evening, which we've done every year since she and I have been married. And the kids always do birthday cake and the presents late, late in the evening after Christmas is starting to be behind you. And that's nice, because you can get to where you're sitting there on the couch saying, "Ah, that was a great day. Wasn't that nice?" And then you say, "Oh! Look! I've got more stuff coming!"
2. Guitars - they're kind of your thing. How many total do you own? Can you tell us about your oldest one?
I've kind of been trying to sell of a handful of guitars and trim down the collection lately - but about a year ago, I probably had close to 100 guitars. I'm not saying they're all great guitars, though. The oldest would be a Martin I have that was made in probably the 1860s or 1870. It's in a little casket case; it's like a little parlor guitar. And I actually traded a guitar, an old Telecaster, I traded it to Richard Young from the Kentucky Headhunters. This guitar is in what they call a casket case. It was made when Martin guitars were still made in New York, before they moved to Nazareth, Pennsylvania. That's part of how I know how old this guitar is. Anything that is made by Martin and stamped inside with New York had to be in the 1800s, because somewhere around 1890 is when they moved to Pennsylvania - and this guitar is a Martin guitar from New York. So, that's my oldest guitar, and it's cool, because you just know that it's an old guitar as soon as you see it. I have some others, too. I have a Martin Hendrick guitar that is old, and I've got some old Telecasters. I have what they call a Nocaster that was made in 1951, which that's a very old Fender Telecaster. And this guitar was actually given to me by a guy that had left it in his will to me - and I never knew the guy, never met him in my life, but he wanted me to have this guitar - it's such a prize. His widow and his daughter brought it to me at a show. They're all tucked away in a safe place that's fireproof and temperature controlled and all that.
3. If you could have a guitar solo showdown with any other guitar slinger in music - alive or dead - who would it be, and why?
Well, in a fantasy world, if I could stay up with him, I'd do it with Jerry Reed, probably. But there's no way you can stay up with Jerry Reed! He or Chet Atkins, that'd be who you'd do a showdown with. But that's a dream, right there! He was insane, and he didn't even know he was that great - that's the beauty, is that he didn't even know how good he was! He was on another planet from all of us. I got to be very close with Jerry - after Chet died - Jerry and I just got to be very close. My elevator is even called the Jerry Reed Elevator. He worked out here with me in my studio, and he called it that. He'd say, "Are you guys going up? I'm going to take the Jerry Reed Elevator!" He named it! That's why it's still his.
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