1. hobbies and interests
2. guitar

1. Against The Grain
Songwriters: (C.Jackson/L.Cordle/B.Bouton) // Publishers: Universal-PolyGram International Publishing, Inc. ASCAP
1988. A very good year for me. I’ve been in Nashville for three years. Carl Jackson tells me he has a song idea he would like me to co-write with
him. Carl, session steel guitar wizard, Bruce Bouton, fiddle-great Glen Duncan and I, have a record deal with Capitol Records, Nashville. At the 1st
writing session, Carl & I, together with Bruce, convene at Carl’s in Hendersonville, TN. Carl had earlier told me he thought we should ask Bruce
to join us in the creative process, since we were going to be recording together. At that session, Carl has a great melody idea that we are quickly
drawn to. We begin to hammer out the first verse & chorus. We all think we are on solid footing with the lyric & adjourn after a long day, with
plans to reconvene a few days later. Before we can get schedules together to work on the idea more, Carl writes the 2nd verse & excitedly calls
to read me what he has and to say hey! We need to get together to finish this song. Bruce cannot make the next scheduled writing session but
Carl & I get together and finish the song. It is not done in time to make the Capitol sessions but our deal with them falls apart anyway. Later, our
publisher, (Polygram Int’l Publishing Co.), wants us to demo the song. Carl calls Vince Gill to play electric guitar on the session, Emory Gordy, Jr.
plays bass, Bruce on steel, Glen on fiddle, Carl on acoustic guitar, Steve Turner on drums and I sing the lead vocal. It turns out just like we had
hoped. Thanks to our good friend, Bryan Kennedy, multi-gazillion selling artist Garth Brooks gets pitched the demo. Another great friend, Debbie
Nims (Later Debbie Allen) makes sure it gets heard. Garth decides to record it & it goes on his multi-million selling album, ‘Ropin’ The Wind’.
Bruce plays steel on Garth’s record. He asks Carl and I, to do the background vocals. The rest as they say, is history. Thank you Garth.
Some folks call me a maverick, say I ain’t too diplomatic
I’ve just never been the kind to go along
Just avoiding confrontation, for the sake of confirmation
I’ll admit I tend to sing a different song
There’s more folks than a few, who share my point of view
But they’re worried if they’re gonna sink or swim
They’d like to buck the system but the deck is stacked against ‘em
And they’re a little scared to go out on a limb.
Sometimes you just can’t be afraid to wear a different hat
If Columbus had complied this old world might still be flat
Nothing ventured, nothing gained
Sometimes you’ve got to go against the grain
But if you’re gonna make a difference, if you’re gonna make your
mark You can’t follow, like a bunch of sheep, you gotta listen to
your heart Go bustin’ in like ‘ol John Wayne
Don’t be afraid to go against the grain
Well I’m frequently accused, of makin’ my own rules
There must be rebel blood a-runnin’ through my veins
Least I ain’t no hypocrite, what you see is what you get
It’s the only way I know to play the game
Nothing ventured, nothing gained
Sometimes you’ve got to go against the grain
Old Noah took much ridicule, for building his great ark
But after 40 days and 40 nights, he was looking pretty smart
Sometimes you’ve have to brave the wind and rain
By having strength to go against the grain
Lead vocals: Garth Brooks & Larry Cordle // Back vocals: Carl Jackson & Larry Cordle // Banjo: Kristin Scott Benson // Bass: Mike Anglin
Dobro: Kim Gardner // Fiddle: Jenee Fleenor // Guitar: Bryan Sutton // Mandolin: Chris Davis
2. Mama Don’t Forget To Pray For Me
3. Highway 40 Blues
1990. I have just left my publishing deal with longtime pal, Ricky Skaggs (Amanda- Lin Music) and Polygram International Publishing Co.
(formerly Welk Music Publishing). My best friend, Larry Shell tell me as I’m leaving his office one day soon after, “Cord… mama don’t forget to
pray for me… think about it”. I do think about it. One day soon after we start to work on the song idea. It’s going to be emotional. We are both
emotional anyway. We keep twisting on it a whole day and then, on another day, with more than a few tears shed during the gut wrenching
final session, we finish the song. We are overwhelmed that it is out of our minds & on paper. After asking favors of all my session playing buddies, because I’m broke, we demo the song. I am playing at the Blue Bird Café one night soon after the song is finished & play it in the round
with friends Carl Jackson, Jerry Salley & Jim Rushing. It goes over really well. Unbeknownst to me, two members of a soon to be multi-platinum
selling band, Diamond Rio, (who were in contract talks for a record deal at the time) were in the house and had really liked the song. I cold call
Tim Dubois, who is running a fairly new company in town, called Arista Records, an RCA affiliate. Surprisingly, he takes my call, tells me he is
a fan of my writing and has me set up an appointment, to play him songs from my new session. These are the first songs I have written and
demoed since my Polygram deal has ended and a lot is riding on the outcome of the listening session. Tim immediately puts the ‘mama’ song
on hold for Alan Jackson. I ecstatic! I knew this publishing business wasn’t that hard! Two or three months later, Tim calls & tells me he wants
to take the song ‘off hold’ for Alan & cut it on a new band he has signed called Diamond Rio. My mouth goes dry. He says if I’m ok with it, he
promises he’ll cut me and Shell a hit record on his new boys. Man! This guy and his new band really deliver. It reaches billboard magazine’s top
5 and wins an ASCAP award for one of the most performed songs of 1992! Many thanks to Tim and especially, Diamond Rio.
1976. I’m through college, working a day job in Paintsville, KY. The fun is over. I’m not going to be able to support myself playing music. I’m
gonna be a CPA. I find out soon, that I’m not going to be a good one, if I’m ever one at all. I hate this kind of work. I’m pretty much bummed out
about my career path. I go play some tunes with friends I met through a college buddy, in Jackson, Ky. They want to try to get a band together.
Well, I may not be able to support myself but I reckon I ain’t finished with music after all. Soon, in addition to working my accounting job every
day in Paintsville, I’m driving to Hazard, KY to play 3 nights a week @ a Club over there called Russell’s. I mean… it’s grueling, 130 miles or so
round trip on those old twisty, 2 lane roads. The Wednesday gigs are especially hard, as I have leave for the gig right after the day at my straight
job & have to work the next day as well. Same thing on Fridays, as many times I have to work the accounting job on Saturdays too… It is likely
costing me more to do the gig than I’m making but we are having a blast. We are called Southern Portrait because of our love of and set lists
full, of southern rock. Skynyrd, Atlanta Rhythm Section, Amazing Rhythm Aces, Charlie Daniels, The Allman Brothers Band, Elvin Bishop…. well,
you get the idea. I sort of have the itch to write something we can record. Big plans, if you know what I mean. I have this little song melody
stuck in my head for a few days… I can’t turn it off. I’m coming home from the gig in Hazard. It’s 2 or 3 in the morning & I’m less than 100% …
if you know what I mean. My headlights shine on the little round Kentucky State Route 40 highway sign, out by where I live in Thelma, KY. So…
I pull over at a wide place in the road right then and God drops the whole 1st verse of what would become Highway 40 Blues, in my lap. I get
up the next day & find the pad it is written it on, on my coffee table & finish the song. I write the entire song without trying to play it … I just
know how it goes. A few years pass & I play the song for Ricky Skaggs, my old neighbor and friend, from Blaine, KY, (he is by now a big star and
getting bigger all the time). Ricky produces some sides on me, trying to help me get a record deal & tells me he is going to record some of my
songs at some point. In 1982 he does just that. The song reaches #1 on Billboard magazine’s hot country singles, July 9, 1983 and changes my
life forever. Thank you Ricky Skaggs.
Songwriters: Larry Shell/Larry Cordle // Publishers: Pier Five Music, Inc./Kentucky Thunder Music, ASCAP,
Admin. By BMG Rights Management, (US) LLC
Well hello it’s good to hear your voice
I hate to call so late, but I didn’t have a choice
I’ve got to leave for Dallas, there’s a show to play
I wish I had more time to talk, there’s so much to say
No I ain’t forgot how I was raised but I’m livin’ way too fast
It’s a roller coaster ride, up and down
They say that my new record is headed for the top
I should be happy, but somehow I’m not
Sometimes I think the devil has got me by the sleeve
Oh, oh mama don’t forget to pray for me
Tell me how is the weather, have you put the garden out
Are the dogwoods bloomin’ out behind the house?
No I’m not sick… there’s nothing wrong, naw, don’t wake up dad
I just thought of you and home and got a little sad
Lead vocals: Larry Cordle // Verses: Marty Roe (Diamond Rio), choruses // Back vocals: Gene Johnson & Dana Williams (Diamond Rio) choruses
Bass: Mike Anglin // Dobro: Kim Gardner // Fiddles: Tim Crouch // Guitar D position: Booie Beach // Guitar E position: Bryan Sutton //
Mandolin: Andy Leftwitch
Songwriter: Larry Cordle // Publisher: Universal-Polygram International Publishing, Inc., ASCAP
These Highway 40 Blues
I’ve walked holes in both my shoes
Counted the days since I’ve been gone
I’d love to see the lights of home
Wasted time and money too
Squandered youth in search of truth
But in the end I had to lose
Lord above I’ve paid my dues
Got them Highway 40 Blues
The highway called when I was young
Told me lies of things to come
Fame and fortune lies ahead
That’s what the billboard lights had said
Shattered dreams my mind is numb
My money’s gone stick out my thumb
My eyes are filled with bitter tears
Sure could use a good cold beer
Got them Highway 40 Blues
You know I’ve rambled all around
Like a rolling stone from town to town
Met pretty girls I’d have to say
But none of them could make me stay
I’ve played the music halls and bars
Had fancy clothes and big fine cars
Things a country boy can’t use
Dixieland I sure miss you
Got them Highway 40 Blues
Lead vocals: Ricky Skaggs & Larry Cordle // Tenor vocal: ‘I’ve played the music halls” line… Randy Kohrs // Banjo: Kristin Scott Benson
Bass: Mike Anglin // Dobro: Kim Gardner // Fiddle: Jenee Fleenor // Guitar: Bryan Sutton // Harmony guitars: Randy Kohrs //
Mandolin: Ricky Skaggs
4. Lonesome Dove
Songwriters: L.Cordle/C.Jackson // Publisher: Universal Music Publishing Co., ASCAP
1988. Nashville. The mini-series “Lonesome Dove” starring Tommy Lee Jones and Robert Duvall, makes it TV debut. Everyone in my circle of
friends is absolutely bonkers about it. To this day it is still my favorite ‘Western’ of all time. I’m playing a gig at the Blue Bird in Nashville and
Carl Jackson’s dad, Lethal Jackson, is in the audience. I tell him I’m looking for an old Martin guitar. He tells me he knows where one is. I tell
him I’ll take it, so Carl and I drive to Mississippi to pick it up. I tell Carl I think “Lonesome Dove” would make a great song title, but not about
the TV series. I want it to be something that maybe Emmylou can do. On our way back home to Nashville, Carl takes the guitar his Dad has
gotten me out of the case, remarks about how great it sounds (course anything would sound good with him playing it!) and we start writing the
song while on the Natchez Trace. By the time we get to Nashville, it is practically a finished piece. Later, we make some tweaks to polish it up and
Carl says we should put some oohs in in. I love how they fit! We call Alison Krauss to sing the demo for us and I’m sure she will fall in with the
song & record it herself. That doesn’t happen but she does sing the dog out of the demo. It doesn’t work for Emmylou or Patty Loveless either.
Maybe it isn’t as good as we think it is. The old doubt spook is showing up on me. I happen to run into producing great Garth Fundis at the
publishing company one day. He tells me “Lonesome Dove” is in his ‘A’ drawer, (meaning he loves it), and that he is going to find someone to
record it on someday. I didn’t even know he had heard the song! Boy does he ever find someone to record it on. My friend, great session bassist
Dave Pomeroy calls and tells me he is on the Trisha Yearwood session and that they have tracked the song. It’s included on Trisha’s 1st album on
MCA & winds up going double platinum (2 million sales). To this day it is one of my all time favorite cuts by one of my absolute all-time favorite
female singers. She killed it again on this CD. Thank you so much Trisha.
I hear a lonesome dove, off in the distance
His cry echoes out through the hills
He’s sad that his lover flew off with another
And I know the sorrow he feels
Lonesome dove, we’re not that different
You sing a sad song but you’re not alone
You been forever forsaken, by the one that you love
I know how you feel lonesome dove
Ooh…. Ooh… ooh, ooh
I know how you feel lonesome dove
I’ve tried to run from the pain of her memory
But I can’t find a place I can hide
And that old lonesome dove
Is gonna mourn for his love
No matter how far he flies
Lead vocal: Larry Cordle & Trisha Yearwood // Background vocals: Trisha Yearwood, Carl Jackson & Larry Cordle // Bass: Dave Pomeroy
Dobro: Randy Kohrs // Fiddles: Tim Crouch // Guitars: Bryan Sutton & Larry Cordle // Mandolin: Andy Leftwitch
5. The Bigger The Fool (The Harder the Fall)
Songwriters; Jim Rushing/L.Cordle // Publishers: Universal-Polygram International Publishing, Inc. ASCAP/Wandachord Music, BMI
Administered by: BMG Rights Management (US) LLC
1990. I’m out on my own and it’s kind of scary. My deal with BMG Publishing Co., (run by my friend & great publisher, Henry Hurt), has not
come through yet and money is tighter that I remember it being in a good while. I am playing weekly at a club in Hendersonville, TN (Bell Cove
Club), on Wednesday nights with fiddle great Glen Duncan, brothers Derwin & Danny Hinson and Kenny Lewis. I’m still writing but really need
to find another hit somehow. I have a writing session with dear friend, songwriting legend and mentor Jim Rushing, who is still plying his trade
at Polygram. In his office there, he looks at me over the reading glasses on his nose and says, “the bigger the fool, the harder the fall”. Oh man! I
love that! It has those answers like old gospel songs. I think Ricky will love this… or John Anderson? No such luck. Oh well, I love the piece, so…
Glen Duncan, me and our band Lonesome Standard Time, finally get around to recording in on our 2nd release for Sugar Hill Records. It is a big
hit for us in 1993 or 94, gets nominated for song of the year @ IBMA (International Bluegrass Music Association) and we get a guest spot on The
TV show, American Music Shop, because of our song. Kenny Chesney (who I have met in Nashville), has a record deal and has our song on hold.
He cuts it on his first CD for Capricorn records. Ricky sings the back vocals and it’s a big hit & I’m on easy street…well, NOT! But I love Kenny’s
record of it. Later I can still hear someone else singing it… Oh! Dadgum! Of course! Bluegrass great Del McCoury! Well, he doesn’t do it back
then, but does he ever do it here! Such a good friend and national treasure is Del McCoury. Thank you old pal.
Her long legs looked like trouble as she sashayed through the
door
And my mind flashed a warning sign that I chose to ignore
For the prize I thought that I could win, the risk seemed mighty
small
The bigger the fool, the harder the fall
I fell in love in the heat of passion, oh but passion has a price
For under all that beauty beat, a heart that was made of ice
Lord knows as far as I could see, she didn’t have a flaw
The bigger the fool, the harder the fall
The warmer the kiss… the softer the skin
The sweeter the love… the more bitter the end
One lesson I’ve learned, that applies to all
The bigger the fool, the harder the fall
One day she was lovin’ me, the next day she was gone
And I became another verse, to a lonesome heartbreak song
Now that I have learned to face the truth, the words stick in my craw
The bigger the fool, the harder the fall
Lead vocals: Larry Cordle & Del McCoury // Backvocals: Del McCoury & Larry Cordle // Bass: Mike Anglin // Banjo: Kristin Scott Benson
Dobro: Kim Gardner // Fiddle: Jenee Fleenor // Guitar: Booie Beach // Mandolin: Chris Davis
6. The Fields of Home
Songwriters: L.Cordle/L.Shell // Publishers: Universal-Polygram International Publishing, Inc., ASCAP/Pier Five Music, Inc., BMI
1988. Nashville, TN spring: I’m in Ricky’s office in the Welk building talking to Karen Tolley, who is Ricky’s office manager. She tells me Lorrie Ann
Crook (of The Nashville Networks hit program, Crook & Chase) is going to be doing a show on Ricky, called ‘celebrities off stage’. Karen asks if I’ll
go to East Kentucky with them to make sure they don’t forget something. I think she really just made that up, to make sure I get to go with them,
& relive some of the many memories made from our childhood up on Brushy Creek; in and around our home place in Lawrence County, Kentucky.
On the morning of the taping, I pick Ricky up at the airport in Huntington, WV, some 65 miles away. We play a recent demo session of mine and
talk some. When we get on Route 32 going out toward Brushy from Louisa, KY, it gets really quiet in the car. Neither of us is talking.
We’re too busy looking at a strange land. Finally, Ricky comments on how sad and depressing everything looks. The corps of engineers is building
a flood control dam on Blaine Creek. The government has already bought out many of the old residents and…. Their beautiful old homes, yards
and farms that I so fondly recall are now falling into decay and ruin. It’s called progress they say…we’re not so sure. I feel an overwhelming sense
of nostalgia, heartbreak and sadness sweeping over me. It turns out to be a song idea. I know what I’ll call it… the fields of home. When I’m back
in Nashville, I have a writing appointment with my best friend Larry Shell. At my office I tell him the story of out trip home, how the idea came
about etc. He likes it and we begin to try to write the song. It’s taking a lot longer and a lot more out of me than I had imagined. Several times,
over the several sessions it takes to write the piece, I have to leave the room to compose myself before going on. Finishing the song takes me
places emotionally that I had not been in a long, long time. It proves to be therapeutic for both Shell & myself. It’s hard remembering sometimes
but in the end it’s always worth the tears. We demo the song a couple of months later and Karen sends it, (along with 3-4 of my other songs), out
on the road with Ricky. A few days after that, I get in from a gig late at night and find a message from him on my voicemail. I wish I had saved that
message. His voice is breaking. He was remembering too. I felt he would react positively to the song & sure enough he did. The honesty in the
song hit a nerve in him. Ricky records it & puts it on his great record “Kentucky Thunder”, that I believe came out in 1989 or 90… It is still one of
my favorite songs I have ever had part in writing and I thank God for it. Kenny Chesney is fairly new in town and tells me one day that he really
loves the song. I remember this when I call his producer and friend (Buddy Cannon), and ask if he thinks Kenny will be part of this CD. Kenny says
yes and his vocal here is one of my favorite things I have ever heard him sing. I thank you Buddy and Kenny Chesney.
I remember how I’d cuss
The taste of that old hillside dust
And the hot, July sun that burned my back
As I walked between the rows
I dreamed of places that I’d go
Far away from the fields of home
A young man longs to get away
And I told dad I would someday
And I remember how I laughed at his reply
When he said son, someday you’ll long
To kiss this ground you’re standing on
When there’s miles between you and
The fields of home
I left before I turned eighteen
I set out to do big things
I didn’t write or call
I thought I knew it all
And for a while I lived it up
But when I got down on my luck
I started longing for
The fields of home
Now 20 years have slipped away
But I went back the other day
And found the weeds had taken daddy’s farm
I looked for Gene’s old grocery store
The road don’t run by there no more
And I didn’t recognize
The fields of home
I left before I turned eighteen
I set out to do big things
I didn’t write or call
I thought I knew it all
I can’t believe how things have changed
And they won’t ever be the same
I wish I’d never left
The fields of home
Ooh, tonight I long to walk
The fields of home
Lead vocals: Kenny Chesney & L. Cordle // Background vocals: Larry Cordle & Randy Kohrs on “Gene’s Old grocery store” line // Banjo: Kristin Scott
Benson // Bass: Mike Anglin // Dobro: Kim Gardner // Fiddle: Jenee Fleenor // Guitar D position: Booie Beach // Guitar E position: Bryan Sutton
Mandolin: Chris Davis
7. Lonesome Standard Time
Songwriters: Larry Cordle/Jim Rushing // Publishers: Universal Music-MGB Songs/Mighty Chord Music, ASCAP/
Universal-Polygram International Publishing, Inc. ASCAP
1991: We have been playing regularly at the Bell Cove Club for a couple of years. Mr. Bill Monroe comes & sits in with us every Wednesday night.
We are drawing large crowds weekly. Derwin & Danny Henson & Kenny Lewis are now gone. We have replaced them with mandolin virtuoso,
Butch Baldassarri, banjo whiz Mike Bub, bassist wonderful singer & person Wayne Southards. We are having fun doing the old numbers and occasionally, one of mine. Hall of Fame agent & manager, Lance Leroy, is one of our biggest fans & supporters. He asks me and Glen one night if we
would ever consider recording with our band. He tells us the Opry might add a new, young bluegrass group and he doesn’t see why we wouldn’t
be in the mix for it. Well… I am really in town as a songwriter and had not considered making a bluegrass record till that moment. I find I’m really
excited at the prospect.. Lance, Glen and I get together at my house in Hendersonville and woodshed an entire evening, talking about material
for the CD & trying to find just the right name for our group. We’re coming up with good ideas but not exactly the right one, to describe our vision
for the sound we’re hoping to create. Finally, we call it a day. After Lance & Glen have gone home, I find I’m still not able to let it go… I get out the
notes…. some good ideas here…. we have The Bluegrass Standard, Lonesome Mountain Boys… not quite that but I like the lonesome part…
somehow, someway, I write this combination of words down. “Lonesome Standard Time” … That’s it! I call Glen and I’m hollering I’ve got it! Glen
says that’s it! I call Lance, he says ‘cord that’s it! Wallah! The band name is born. I am beginning to think that’s a great song idea too! Wouldn’t it
be great to have a song that has the band name in it for a title? I have a song writing session with my mentor, Jim Rushing at his office on music
row. I tell him the idea & that it’s officially gonna be our band name. We write the song in one session. Glen and I have a showcase at the International Bluegrass Music Association’s trade & awards gathering in Owensboro, Ky in the fall and Barry Poss, who owns North Carolina based Sugar
Hill Records, signs us after our performance. Lonesome Standard Time is going to be cut one on our new CD. I’m working the late show at the Bluebird Café a while later. Kathy Mattea has been on the early show. I hardly know her but I’m a huge fan of course. She says to me as I’m getting set
up for the show, “Larry I cut your song today & we’re thinking it’s going to be the title of my new CD and the first single”. Oh wow! A Kathy Mattea
cut! I’m on cloud nine. Mercury, makes a video of Kathy’s performance that is so cool! It ultimately reaches #8 on Billboard’s national survey, wins
an ASCAP award for among the most performed songs of 1992. Our version reaches all the way to #1 on Bluegrass Unlimited’s national survey,
garners Glen & I a Grammy nomination for best bluegrass album and wins IBMA’s prestigious song of the Year, also in 1992. Naturally, I ask Kathy
to be part of this CD & she so graciously said yes. I love this track & it was so much fun being in the studio with Kathy and hearing her put her
magical voice on the record. Thank you so much Kathy Mattea.
Lead vocal: Larry Cordle & Kathy Matta // Backvocals: Carl Jackson & Jerry Salley // Banjo: Kristin Scott Benson // Bass: Mike Anglin
Dobro: Randy Kohrs // Fiddles: Tim Crouch // Guitar: Bryan Sutton // Mandolin: Andy Leftwitch
8. Murder on Music Row
Songwritters: Larry Shell & Larry Cordle // Publishers: Pier Five Music, Inc.,/Wandachord Music, BMI, administered by BMG Rights Management
(US) LLC/Sony ATV Tree Music Publishing, BMI
1999: I am leasing an office from old pal, songwriting great & publisher extraordinaire, Larry Shell. I’ve been off the road since early autumn
’95 but I’m hungry to get in the studio with my newly reformed, Lonesome Standard Time guys. They are all super pickers. We’re having fun and
getting really tight playing regularly at Nashville’s famous bluegrass den, The Station Inn. The band is now, David Harvey, mandolin, David Talbot,
banjo & baritone vocals, Booie Beach, lead guitar, Fred Carpenter, fiddle and Terry Eldredge, bass & tenor vocals. We are gaining quite a following.
My daughter Kelvey is now 8 years old & I feel like I’m not missing all the cute little girl stuff anymore. It’s time to get back out there. I’ve got the
songs picked out for the new CD & I’ve made a handshake deal with my friend Randy Harrell to put the record out independently on his new Shell
Point Record label. Shell calls me one day & says “son, I’ve got a great song idea for us”. I’m not much in a frame of mind to write since I’m so close
to recording. However, since it’s Larry I say what’s it called. He says, “it’s called murder on music row” … I get it immediately & say oh man! Is it
about killing country music? He says well… yeah. We hastily get schedules together to try to write the song. When we get together a couple of
days later, we honestly work from about 10:00 AM till maybe 1:00 PM and for all practical purposes, it is finished. We go to lunch, come back to
the office, tweak it a bit and put it on a cassette recorder that I have. Once again I am playing a show at the Bluebird with songwriting pals, Jerry
Salley, Carl Jackson & Rebecca Lynn Howard. I decide I will debut our new song there. It’s going over well…. I get to the hook of the song at the
end of the 1st verse and the place goes crazy. Before the chorus? Are you kidding me? This is a tough crowd. They take the roof off that place. I
decide to record it and it becomes the title of LST’s new CD “Murder on Music Row”. Shell has a cool promotion idea. After the song is mixed I get
him a copy. He takes it to local DJ hero Carl P. Mayfied @ WKDF radio station. He doesn’t put any names on it. I get a roll of crime scene tape from
a local police officer after explaining to him our promotion idea. Shell wraps the package in it… we laugh it’s so gaudy, carny looking. Carl P starts
playing it on his morning show! In fact he’s playing the zero’s and one’s off it… he dedicates a website to it we are the toast of the town….. well,
to some we are. George Strait’s manager hears our record of it on Carl P’s show, on his way to town one morning. They figure out who it is & contact
us about George recording the song…. Really? George then asks country music standard bearer, Alan Jackson, to do a duet with him on the song
. When the CD comes out it’s a runaway smash with the folks. Mr. Strait’s record label MCA records, is trying to squash interest in it. It comes on
Billboard’s hot 100 without any promotional push. MCA is not happy. They already have a single out on George that they are promoting heavily
and spending lots of money on. Ditto for Alan Jackson’s camp at RCA. Music industry people start choosing sides, some on the more contemporary side, others on the traditional side. The head of the CMA is on the local news extoling the virtue of the “new country” music that dominates
the airwaves. Really? It’s an absolute, three ring circus. Shell and I are getting our 15 minutes of fame and enjoying every minute of it. We are
in People magazine, US magazine, The New York Times, all the country music mags. It’s crazy! In 2000 it is nominated for CMA song of the year
and George & Alan pick up a CMA award for best performance by a duo and a Grammy for it as well. It is never released as a single but manages
to reach the 30’s in Billboard magazine, with everyone fighting against it. We are sick about it but that’s the music biz for you. Meanwhile LST’s
version reaches #1 on Bluegrass Unlimited’s national chart, wins song of the year @ both the IBMA and SPBGMA awards shows. Shell and I are
SPBGMA’s songwriters of the year. 2001 rolls around and Randy Harrell calls to congratulate me on our nomination for CMA song of the year!
Again? That can’t be…. songs don’t get nominated 2 years in a row, much less one that has never been a single. It’s true however and in 2001
we win both the CMA & TNN song of the year awards. LST is nominated for a Grammy for our version + album of the year at IBMA. None of the
copyright owners, Shell, Randy Harrell nor I belong to the CMA anymore. We can’t even vote for our own song. That makes the win even sweeter.
I got the two greatest traditional country singers in town to reprise it with me here, Daryle Singletary & Kevin Denney. They love the song and it
shows. Thanks Daryle & Kevin.
Lead Vocals: Daryle Singletary, Kevin Denney & Larry Cordle // Backvocals: Carl Jackson & Val Storey // Bass: Jay Weaver // Dobro: Randy Kohrs //
Fiddles: Tim Crouch // Guitar: Biff Watson // Mandolin: Jack Pearson
Nobody saw him running, from 16th avenue
They never found a fingerprint nor the weapon that was used
But someone killed country music, cut out its heart and soul
They got away with murder, down on music row
The almighty dollar and the lust for worldwide fame
Slowly killed tradition and for that someone should hang
Oh and they all say not guilty but the evidence will show
That murder was committed, down on music row
For the steel guitars no longer cry and you can’t hear fiddles play
With drums and rock & roll guitars mixed all up in your face
Old Hank, wouldn’t have a chance, on today’s radio
Since they committed murder, down on music row
They thought no one would miss it, once it was dead and gone
They said no one would buy them old, drinkin’ and cheatin’ songs
Well there ain’t no justice in it and the hard facts are cold
There’s been an awful murder, down on music row.
9. You Can’t Take It With You When You Go
10. Cure For The Common Heartache
1987: I’m writing steady and have had another top 10 hit on John Anderson in 1986. The song is “Honky Tonk Crowd” that old pal Lionel Delmore
asks me to help him write. Lionel just happens to be the son of brother duo pioneer & hall of famer, Alton Delmore of the famous Delmore
Brothers. Labon Delmore is his uncle. I’m very grateful that Lionel thought enough of me to ask if I’d finish writing the song with him after he had
figured out the first verse. Looks like I’m gonna survive the music biz a little longer.
Bert Colwell, a great guitar player, songwriter and friend of mine is coming to town to write with Shell and me. Bert and Shell are really good
friends who were in bands together on Florida’s gulf coast in the 70’s, In fact it is Bert who gave me Shell’s number & told be to call him, back
when I was the newest greenhorn wannabe in Nashville. I know the session will be fun. Bert has a song idea, “You Can’t Take It With You When
You Go” we’ve all heard it but we easily get into the song. Finishing the 1st verse and chorus we break to grab a bite to eat. After lunch we’re right
back at it and finish the song before days end. I love the border line bluegrassyness of the piece, driven by Bert’s great guitar playing & Shell’s
syncopated support. Later after it’s demoed and sits around a while it gets pitched to country music legend and singer extraordinaire, Gene
Watson. Gene Watson? Really? I does not get any better than that. His record label makes it a single on him and it’s screaming up the charts! Then
for some reason Warner Brothers decides in its infinite wisdom, that Gene is done as an artist on their label. Go figure! It’s a silly decision to me.
We are all bummed when our song dies in the 30’s but still thrilled that Gene believed in it & made such a great record of it. 25 years later he’s
still one of the greatest country singers alive. Later, my band Lonesome Standard Time records it, as does Ricky Skaggs and several others. I meet
Dierks Bentley about 2000. He was a friend of Terry Eldredge’s and has come by and sat in with us at the Station Inn a couple of times. Terry & I
used to go see him when he was playing at Wolfy’s on Broadway in Nashville. I ask him early on to be on the project and he told me he would be
happy to. Dierks is a great bluegrass fan and as you can tell by listening, he knows how to deliver this one with his trademark growl. He’s even
made a bluegrass CD himself! Thanks pal for being on my record. Great singing!
1996: I’m in a co-publishing deal with McSpadden-Smith Music and my good pals, Carl Jackson and Jim Rushing. On my way up I-65 North from
Music Row one evening I see a road sign espousing the benefits of a new medicine, said to be the closest thing yet to a cure for the common
cold. Of course, we have all heard it said that if one could find a cure for the common cold, he or she would win the Nobel Prize for medicine. I
immediately thought…. Yeah, but if we could find a cure for the common heartache there would be lines a mile long around every drug store in
the country. I put it in my ideas book. The next day I have a writing session with 2 of my favorite songwriters, singers & people, Leslie Satcher, who
is somewhere north of brilliant and the great Melba Montgomery, a country music hall of famer as far as I’m concerned. She was George Jones’
duet partner long before Tammy for crying out loud! We get together at Leslie’s publisher, Island Bound Music. I told the idea to Les & Melba and
we made a big old country waltz out of it. As best as I recall Leslie got the 1st line & it just took off from there. We had such a great time writing
and singing together that day. It stands out so vividly in my mind. Much laughter, much admiration for my co-writers, Melba’s great road stories
from being on the road with Lonzo & Oscar. It was just a great day and got us a song that we’re really proud of. Julie Daniels who owns Leslie’s
publishing company, Island Bound Music, plays it for Terri Clark sometime in ’97…. She just loves it and records it on her gold selling “How I Feel”
album, which is released in 1998. Terri really has a way with country songs and she got every ounce of it on her recording plus, she sang it on the
stage of the world famous Grand ‘Ol Opry! What a cool thing. I have always loved Terri’s voice as far back as the 1st time I heard her. Early in her
Nashville years she worked at Boot Country on Gallatin Rd and would come sit in with Glen & I, when we were the Wednesday night house band at
the Bell Cove Club in Hendersonville, TN. I thought back then she was destined to be a star. I was right. When I was putting the song list together
for the duets CD, I ran into Terri and asked her if she would do the Cure with me. Being the friend that she is. She graciously agreed. I love this cut
on here. Terri really hooks her parts again and the track features some great back vocals from my wonderfully talented friends and Monday night
band mates, Val Storey & Carl Jackson. Thank you so very much Miss Terri.
Songwriters: B. Colwell/L.Cordle/L.Shell // Publishers: Shelby Singleton Music, BMI/Universal-Polygram International Publishing, Inc., ASCAP/
Pier Five Music, Inc., BMI
I’ve got a friend who’s a workaholic
He never knows when to quit
Me I knock of early, every chance I get
He’s got an IRA for a rainy day
But I wonder if he knows
You can’t take it with you when you go
You can’t take it with you, when you go
You’d better take some time, to live and love
Before you get too old
All the treasure in this world
Don’t mean a thing when they lay you low
You can’t take it with you when you go
While I’m out somewhere fishin’
You can bet he’s workin’ hard
My little boat’s in the water
His big boat sits in the yard
And while I’m makin’ time
With that gal of mine
His love life’s on hold
Son you can’t take it with you when you go
Now hard work it’s a virtue
There ain’t nothing wrong with that
I’m not afraid to pull my weight
But I ain’t a-gonna break my back
I ain’t worried about my bank account
Just let the good times roll
You can’t take it with you when you go
Lead vocals: Dierks Bentley & Larry Cordle // Backvocals: Carl Jackson & Jerry Salley // Banjo: Kristin Scott Benson // Bass: Dave Pomeroy
Dobro: Kim Gardner // Fiddles: Stuart Duncan // Guitar: Booie Beach // Mandolin: Andy Leftwitch
Songwriters: L.Cordle/L.Satcher/M.Montgomery // Publishers: Wandachord Music, Yankee Clipper Music, Lyric Springs Music, BMI
Administered by: BMG Rights Management (US) LLC/EMI Blackwood/Solomont Music, BMI
This mornin’ I’m achin all over
Can’t eat, can’t sleep, can’t rest
I need to go see a doctor
For this achin’ down deep in my chest
Is there a cure…. For the common heartache
An unknown prescription any loser can take
Well I’d be the first to become addicted
If there’s a cure for the common heartache
Well I know right where I got it
This sickness that’s got me, laid up
I don’t have the strength now to fight it
This old condition called love
Lead vocals: Terri Clark & Larry Cordle // Backvocals: Val Storey & Carl Jackson // Bass: Dave Pomeroy // Dobro: Randy Kohrs
Fiddles: Jenee Fleenor // Guitars: Bryan Sutton & Larry Cordle // Mandolin: Clay Hess
11. Rough Around The Edges
Songwriters: L.Cordle/J.P.Pennington/L.Taylor // Publishers: Wandachord Music/Yankee Clipper Music/Lyric Springs Music, BMI,
Administered by BMG Rights Management (US) LLC/Universal Music-Z Songs, BMI/Les Taylor Music, BMI
1997. My good friend, J.P. Pennington is in town to write with me and another close friend & J.P’s bandmate, Les Taylor. Les is one of my favorite
singers on the planet and I’m hoping we can write one of those big ballads, that he can just kill. I know the session is gonna be fun with these
guys. We are all Kentucky boys and all of us worked around the club scene in Lexington, KY, when I lived there and have remained close. At the
beginning of the session when we’re throwing ideas around J.P. blurts out rough around the edges. I immediately like it & start this rockin’ little
semi-Chuck Berry like groove. J.P. is all over it and really makes it go with his great guitar playing. We are really into it now. We write awhile &
laugh awhile. Everyone has ideas and everyone is contributing. We’re all trying to sing at the same time and that’s a good thing! It’s turning
into a pretty good rowdy assessment of how we all feel really. The session is effortless and before the end of the day the song is finished. We go
downstairs & play it for my wife, Wanda. She gives her seal of approval. Later that year, we demo the song. J.P. & Les both sing their rear ends off,
Ric McClure plays drums, Johnny Neel plays piano, Dave Pomeroy, bass, J.P, guitar… it’s smokin’! I’m on the phone with Marty Stuart who calls
to ask if I’ll put a tape together for his friend Travis Tritt. Marty says he’s taking some songs to the bus for Travis & he thinks I’d have a good shot
of getting on his new cd, with the right song. I hastily put a cassette tape together of 4 or 5 songs.. ‘Rough’, is amongst them. Travis loves it & puts
it on his “No More Looking Over My Shoulder” cd that comes out in 98 or 99. As a bonus, he cuts another song of mine, called “Mission of Love”.
That never happens! I see Travis at a birthday party for Mr. Earl Scruggs in January of ’04… I tell him I’m planning a new bluegrass cd and ask if he
would he participate by doing a BG version of Rough with me. He readily agrees and sings the dog out of it. This guy always delivers… Thank you
Travis Tritt
I’m a little rough around the edges
I didn’t come out of no GQ magazine
I don’t use a lot of big words
But I’m big on love if you know what I mean
I ain’t interested in being politically correct
I’ll stand right up and say what I believe
I’m a little rough around the edges
But I think I’m exactly what you need
Don’t write me off as just a hayseed plowboy
Just give me a chance to strut my stuff
I may not shine like some pin-up poster cowboy
But neither does a diamond when you 1st dig it up
As you can see I ain’t all spit and polish
Every hair on my head ain’t in its place
I ain’t got no big degree from college
And I guess to tell the truth I need a shave
Lead vocals: Larry Cordle & Travis Tritt // Back vocals: Randy Kohrs // Banjo: Kristin Scott Benson // Bass: Mike Anglin // Dobro: Kim Gardner
Fiddles: Jenee Fleenor // Guitars: Booie Beach // Mandolin: Chris Davis
12. Two Highways
Songwriter: Larry Cordle // Publisher: Universal-PolyGram International Publishing, Inc., ASCAP
1977. I’m at my dear friend Henry Baker’s apartment in Lexington, KY. We’ve been up roaring nearly all night long, playing and listening to
music. Henry is a blues aficionado and always has cool records. We’ve been having waayy too much fun I suppose. I wake up about 8:30 AM
(although we laid down about 3:30 AM) to a unearthly headache… pick up my guitar which is sitting propped up against the couch I’ve been
sleeping on. I start fooling around with a tune trying to get my mind off of how bad I feel… Predictably, the melody is very melancholy, just like
the mood I’m in. I’m not at a real good place in life, working a job I can’t stand, in a relationship that’s beginning to break apart (although it will
last another 3 years), feeling pulled in different directions. I feel like I’m at a cross roads of sorts. Hey! I’m beginning to piece something together
here. Uh?... wait, I’m looking a two highways that go off in entirely different directions. One leads off toward dreams of music and the other
toward a more likely dull but safer reality. The love interest is involved in here too. Henry is still sleeping in the back bedroom so I’m kind of trying
to be quiet but I’m really beginning to feel the song…. I scrap around, find a pencil and get the first verse of this thing really quickly. Then, the
second verse starts coming to me. I stick to it. I’m still trying not to make too much noise as Henry is still sleeping sound. I hardly notice the time.
I’m so absorbed in the song. It’s Sunday & I’ve got to get back to E. KY but I ain’t givin’ up now. Dang it! I wish Henry would wake up so I could play
him what I have so far. Oh no! Of all things nature calls. But I am still not willing to let it go. I head to the bathroom with pad & pencil in hand and
write the chorus while I’m on the throne… you can’t make this stuff up! I’m still sitting in there when the end of the song comes to me so I write
it down. I’m not 100% sure of the melody but I think I’ve got it close. By now it’s early afternoon & I’m getting my stuff together to get on the road
when Henry comes stumbling through the house looking for a beer. I tell him I want to play him a new song I’ve been working on. He seems to
like it and tells me he thinks it has good possibilities. It’s a ballad, sort of a Jackson Brownish, (a California songwriter/singer whose style I love)
thing. Fast forward to 1980. Henry gives me $2500 to make a CD of my original songs. I get Ricky Skaggs (who is still living in Lexington) to produce it for me. We cut the sides at Cecil Jones’ Lemco sound. In Lexington, Ky. “Two Highways” the song I half wrote while on the throne @ Henry’s
is on the sessions, along with “Highway 40 Blues”, “ The Hero of The Ctreek” and several other of my early attempts at songwriting. In 1984 Ricky
records it for his “Country Boy” record. It is scheduled to be the 3rd single off the CD... that never happens...but nonetheless it’s a
stunning performance with Lloyd Green playing some chillingly great steel guitar. Fast forward again to 1988. I’m recording demos, at Welk
Music’s, Champagne Studios; On music row in Nashville. Alison Krauss is singing on the session. She says to me… I have recorded a ‘bluegrass’
version of “Two Highways”. I hope you’re not mad at me.I assure her I am NOT mad. I ask her how she heard it that way & she said she was
working out while listening to Ricky’s record & can’t explain it.” I just heard it that way”, she says. It’s the title of her new CD (her 2nd release on
Rounder Records) and is the first #1 record in Bluegrass Unlimited’s new national chart, tracking the most popular, heaviest played bluegrass
songs in the nation. It stays #1 for 6 months and is in the chart for about a year. I see Alison in 2004 at Earl Scruggs’ birthday party and ask if she
will do a duet with me on the CD. She says yes. Boy oh boy does she ever give a performance here. She is definitely in my top 5 all-time female
favorites…. Thank you so much Miss Alison Krauss.
Lead vocals: Larry Cordle & Alison Krauss // Back ground vocals: Alison Krauss, Val Storey & Larry Cordle // Banjo: Ron Block
Bass: Mike Anglin // Dobro: Jerry Douglas // Guitar: Booie Beach // Mandolin: Wayne Benson
Two highways lay before me
Which one would I choose
Down one lane I’d find happiness
Down the other I would lose
There is no one that I can trust
I must decide alone
My decision is an awful one
Which road will take me home
In the morning will I wake to find
Down the wrong road I have gone
Or will I hear the melodies
I’ve searched for oh, so long
Only time will tell
If I have made a losers choice
Hello sadness cries my inner soul
Goodbye lover moans my voice
The perils they are many
As I set out on my way
If I lose you love
I know that I can’t call it back someday
Rambler, lonely rambler
Just calls anyplace his home
Nashville’s lights how beautiful you shine
You’re wishing now that you had found
A word or two to say
But the morning came and we both knew
My eyes gave it away
As I kissed your cheek and said goodbye
I thought only time will tell
But you can’t draw water from, an empty well
Special Thanks:
To my Lord and Savior, Jesus Christ, who gave me the gift of music and more blessings
than I ever deserved in this life. My wife, Wanda I love you more than I can say. My daughter, Kelvey Cordle Weigand
and new son-in-law Josh Weigand. I love you both muchly! Congrats on the nuptials. All our great Lonesome Standard
Time fans, who always believed we would get this thing out eventually. Thank you so much for your faith, your support
and patience with me. You guys are the best fans on planet earth! Thanks to my dear friend and Dr of Septacology, Eddie
Maxwell.. top notch research!
Lonesome Standard Time 2005: Mike Anglin, Booie Beach, Kristin Benson, Chris Davis and Kim Garnder… Lonesome
Standard Time’s current lineup: Mike Anglin, Kim Gardner, Dave Harvey and Jody King.
My life long best friend, fan and great father Charles H. Cordle. Thank you dad for always being there for me. I love you
so very much. My brothers: Chuck and Mike Cordle & sister-in –law, Janie Cordle. My Sister: Miranda Napier & brotherin-law-Willis Napier. My Uncle MJ Cordle, Jr. (Uncle Jr), my Uncle James & Aunt Joyce Martin. My nephews: Shawn,
Josh, Charlie & Robbie Cordle, Jayson Napier & Briana, James Sutton & Michael Nolan Rhorer. Nieces, Stephanie Cordle,
Jennifer Wallace, Cassie Scaldarferri. Great nieces & nephews: Mikey and Shanda Cordle, Rachael Reeder, Hailey, Riley,
Cadence, Layla, Ellie and Sutton Rhorer, Mia, Audrey, Adrianna Rose, Leah and Caleb Wallace. Adriana Grace & Xander
Scaldaferri, Aubrey Napier, Summer & Bella Cordle. Patsy Maxwell, Kelly Robinson, Judy Marie @ AFTRA. My dear friend
and early believer in what I do, Doug Howard. Sam Passamano II, Sammy III, Tony, Pam & all the staff @ Rural Rhythm
Records for all your expertise & help… I owe you one.
Ben Surratt, thank you brother for your talent and patience with me.
Mark Howard thank you for the studio time when I was busted, your talent & good advice. Without your kindness this CD
would never have become a reality. I owe you BIG time
.
Luke Wooten @ Station West Studio…. Well, you know
Henry Baker, I love you old friend. Thanks for the jams, the faith, the support, the encouragement but most of all the
memories. God bless you pal.
The Weigand family, welcome to our family… you too Josh!
To all my co-writers and dear, dear friends on this and previous cd’s, thank you for your talent, the laughter and oh my….
The memories… Larry Shell, Jim Rushing, Carl Jackson, Jerry Salley, Leslie Satcher, Bruce Bouton, Bert Colwell, J.P.
Pennington and Les Taylor. David Gartland and all the guys & gals at SAGA instruments & Blueridge Guitars. Bob Fehr
@ Martin Guitars. Peterson tuners. Mathew Goins @ Blue Chip picks. Darrell and Phyllis Adkins and the entire staff at
the Musicians Against Childhood Cancer Festival. My dear friend Rudy Burchett and all those behind the scenes at Rudy
Fest, in Grayson, KY. ‘Simply The Best’ restaurant too! Chris, Gator, Vic, Kevin well.. all of you! My Monday night Station
Inn band, ‘The Last Minute Mountain Boys & Girls: Doug Jernigan, Catherine Marx, Mike Bub, Larry Atamanuik, Aubrey
Haynie, Carl Jackson & Val Storey and our sound engineers Kurt Storey & Chris Latham… y’all are the best, what a hoot!
Music City Roots, J.T. Gray & staff @ the world famous Station Inn-Ann Soyars, Lynn Barber, Jill Crabtree, Emily Coppess,
Marty Gorhan, Jess Bostic, Jason Brown, love y’all.
Larry Black & all the gang @ Larry’s Country Diner, and Country & Bluegrass family reunion shows. Ronnie Reno & staff @
Reno’s Old Time Music. Kyle Cantrell & all our friends at Sirus/XM Radio, Joey Black, Ned Lubrecki, Chris Jones. All the
hardworking DJ’s across the country for playing our records. Thank you for ALL you do. Cindy Baucom, Bo McCarty. My
church family at the Cordell Freewill Baptist Church, Blaine, KY. Thank you for all the prayers & hard work. My brothers
and sisters @ Holiday Heights Baptist Church in Hendersonville, TN.. ditto. Terry Choate, IBMA, Black Diamond Strings,
Randy Kohrs, thank you brother for you talent, your friendship, you ears & hard work. Ashley Kohrs for all you do for
me.
To all the super-star artists who made guest appearances on the cd: Dierks Bentley, Garth Brooks, Kenny Chesney, Terri
Clark, Kevin Denney, Diamond Rio, Alison Krauss, Kathy Mattea, Del McCoury, Daryle Singletary, Ricky Skaggs, Travis
Tritt and Trisha Yearwood. Thank you for all you have meant to my career & my family. Thanks to all the great guest
musicians who came & played on the cd you contributions are enormous: Andy Leftwitch, Randy Kohrs, Bryan Sutton,
Jerry Douglas, Ron Block, Tim Crouch, Stuart Duncan, Dave Pomeroy, Jack Pearson, Jay Weaver, Biff Watson and Jenee
Fleenor.
Last, but far from least, my dear old East Kentucky lifelong friend and long ago neighbor, Ricky Skaggs. You
singlehandedly gave me the opportunity to have a career in country and bluegrass music. Thank you brother from the
bottom of my heart, for bringing me to town & for all you have meant to my dreams, my career & my family. I love you
far more that I can ever express & owe you far more than I can ever hope to repay.
This album is dedicated to the memory of my baby brother Chuck (Charles H. Cordle, Jr) and dearly departed friends and
loved ones, Douglas Macarthur Hall, Wayne Davis, ‘Lonesome’ Lester Armistead, Earl Scruggs, Uncles Herman and Joe
McQueen. RIP brother, friends and Uncles, until we meet again.
Special Guests
Instrumental & vocal overdubs and Larry Cordle’s lead vocals & back vocals,
Del McCoury’s vocals, Daryle Singletary’s vocals, Kevin Denney’s vocals, Kathy Mattea’s vocals,
Alison Krauss back vocals, all additional bv’s by: Randy Kohrs
@ Slack Key Studio, 2322 Foster Ave., Nashville, TN
Digital editing & mixing by: Randy Kohrs @ Slack Key Studio 2322 Foster Ave., Nashville, TN
Dierks Bentley: appears courtesy of Capitol Nashville
Garth Brooks: appears courtesy of Sony Music Nashville
Kenny Chesney: appears courtesy of Blue Hat Records
Terri Clark: appears courtesy of baretrack records
Mastered by: Randy LeRoy @ Airshow, Inc.
All tracks recorded by Ben Surratt @ Mark Howard’s Signal Path Studio, Nashville, TN,
except for “Murder on Music Row” recorded at Randy Kohrs’ Slack Key Studio, Nashville, TN,
engineered by Mike Latterell.
Diamond Rio’s vocals recorded by: Mike Klute @ Casa de Twang, Franklin, TN
Garth Brooks & Trisha Yearwood’s vocals recorded by: Luke Wooten @ Station West Studio, Nashville, TN
Ricky Skaggs vocals and mandolin overdubs recorded by: Lee Groitzsch @ Skaggs Family Studio
Kevin Denney: appears courtesy of Kevin Denney
Diamond Rio: appears courtesy of Word Records
Alison Krauss: appears courtesy of Alison Krauss
Kathy Mattea: appears courtesy of Sugar Hill Records
Kenny Chesney’s vocals recorded by-Buddy Cannon @ Starstruck Studio Nashville, TN
Terri Clark & Dierks Bentley’s vocals recordel by: Ben Surratt @ Signal Path Studio.
Alison Krauss vocals recorded by-Neal Cappellino
Del McCoury: appears courtesy of McCoury Music
Daryle Singletary: appears courtesy Daryle Singletary
Art: front & back cover painted by: Candace Randolph
Ricky Skaggs: appears courtesy Skaggs Family Records
Travis Tritt: appears courtesy Post Oak Records
Photography: Senor Jim McGuire @ Mcguire Photography Studio, Nashville, TN
Art Direction & Design: Whitney Waddell
Trisha Yearwood: appears courtesy of Sony Nashville
1. Against The Grain
2. Mama Don’t Forget To Pray For Me
3. Highway 40 Blues
4. Lonesome Dove
5. The Bigger the Fool (The Harder the Fall)
6. The Fields of Home
7. Lonesome Standard Time
8. Murder on Music Row
9. You Can’t Take It With You When You Go
10. Cure For The Common Heartache
11. Rough Around The Edges
12. Two Highways
Produced by: Larry Cordle for
Wandachord Productions
© 2014 MightyCord Records
P.O. Box 792 Hendersonville, TN 37077
615-830-4765 www.larrycordle.com
www.facebook.com/larrycordlefans