Paul Berlin - RIP
3 weeks ago
I had talked with Pappy Daily several times by phone prior to recording my previous D singles. When I had finished one, I’d just call him and say, “Well, I’ve cut another thing I’d like you to listen to and see if you want to release it.” And he’d say, “Naw, kid, just send it on down here and I’ll put it out.”
When we went out there (to Odessa) in 1954 we worked seven nights a week and a matinee on Sunday. You couldn’t do that here (in Denison). You’d be doing good to get ‘em (the audience) out on a Saturday night for free. (Laughter)
At one time or the other Jack Rhodes must have had every picker and songwriter hanging out in his motel, including Eddie Miller.
That guy McCall…everybody puts him down. It wasn’t his problem that I didn’t know anything about the intricate details of song writer’s and publisher’s contracts. He told us what he wanted, but we didn’t have to go along with it if you didn’t want to, but a lot of ‘em did and griped about it later.
(Music publisher) Troy Martin, in the fifties, made a comment that makes a lot of sense: “You can go on about how great a song is all you want to, but I can tell you when a song is good. It’s when you get paid for it.”
Eventually, I did get some recognition (for writing "There She Goes"). But there, for the longest time, I didn’t even mention the song to anybody; I didn’t even sing it on any of my gigs. I didn’t care one way or the other. I got tired of defending myself, so I just dropped it.
Slim Willet was “on” all the time. He was a great salesman. On the radio, they loved him around Abilene.
I kind of liked what Johnny Cash was doing. I never really set out to record a rock record. I was interested in western swing, the Hank Williams sound, and all of that, you know?