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Marion Bandy, who was nicknamed Moe by his father when he was a child, grew up in the home-town of the legendary Jimmie Rodgers.^{[citation
needed]} He later stated: "My grandfather worked on the railroads with Jimmie Rodgers. He was the boss of the railway yard in Meridian and Jimmie Rodgers worked for him. He said that he played his guitar all the time between work."

The Bandy family moved to San Antonio, Texas when Moe was six years old. His mother played piano and sang. Bandy was taught to play the guitar by his father, but made little use of the ability until he was in his teens. His father's wish that he also play the fiddle never quite materialized.^{[citation
needed]}

He made some appearances with his father's country band, the Mission City Playboys, but generally during his high school days, he showed little interest in music but a great deal in rodeos. He tried bronco-busting and bull-riding and by the time he was 16, he was competing in rodeos all over Texas.

In 1962, tired of the bruises and fractured bones, he began to pursue a career in country music. He assembled a band that he called Moe And The Mavericks and found work playing small beer parlors, honky tonks and clubs over a wide area around San Antonio, Texas. When he was young he tried to sound like Hank Williams and George Jones - "I even had my hair cut short like his".

Although work was plentiful, the pay was poor and during the day he worked for his father as a sheet metal worker. This was to last for the next 12 years, during which time he made a few recordings for various small labels.

In 1964, he had his first single, "Lonely Lady", on the Satin label, but it made little impression. He did manage to get his band a residency on a local television program called Country Corner and in this capacity, he provided backing for several touring stars.

In 1973, he went solo when record producer Ray Baker, who had listened to Bandy's demos the previous year, suggested he come to Nashville. Bandy managed to obtain a loan and recorded a song called "I Just Started Hatin' Cheatin' Songs Today". Initially released on Footprint Records with a limited pressing of 500 copies, it soon came to the attention of the Atlanta-based GRC label.

In March 1974, it entered the US country charts, eventually peaking at number 17. Other hits followed, including "It Was Always So Easy To Find An Unhappy Woman (Till I Started Looking For Mine)" and "Don't Anyone Make Love At Home Anymore".

In 1975, a song written by his friend Lefty Frizzell and Whitey Shaffer gave him a number 7 country hit, firmly establishing his reputation. "Bandy The Rodeo Clown" was to become not only one of his own favorites but also one of his most popular recordings. (Shaffer was greatly amused by the way Bandy pronounced woman as "wah-man" and began to send him songs with "wah-man" in them.)

Bandy sang in a simple style that extracted the utmost from his songs of lost love, sadness and life. Although by no means a Hank Williams sound-alike, he showed a very distinct influence in his method of putting across his honky tonk songs. He met with immediate success at Columbia Records with Paul Craft's "Hank Williams, You Wrote My Life" and quickly added further hits, including "Here I Am Drunk Again".

Between 1977 and 1979, he was a country chart regular with singles such as "I'm Sorry For You, My Friend" (the song Williams had written for their mutual friend Lefty Frizzell), "Cowboys Ain't Supposed To Cry", "That's What Makes The Jukebox Play" and a duet with Janie Fricke, "It's A Cheating Situation".

In 1979, he achieved his first solo number 1 with "I Cheated Me Right Out Of You". Also during 1979, as a result of touring together in Europe, Bandy joined forces with Joe Stampley and a single release of "Just Good Ol' Boys" became a number 1 country hit, leading to a continuation of the partnership over the following years.

It was not too surprising that they proved a successful double act. Between 1979 and 1985, their further hits included "Holding The Bag", "Tell Ole I Ain't Here" and "Hey Joe (Hey Moe)".

In 1984, they ran into copyright problems with their parody of pop singer Boy George called "Where's The Dress", when they used the introduction of Culture Club's hit "Karma Chameleon". Referring to the matter later, Bandy said, "He didn't appreciate what we'd done and naturally he sued us. We paid him money, but I didn't like the way he spent it."

In addition to their single successes, Moe and Joe recorded several albums together. During the 80s, Bandy maintained a steady line of solo successes including "Yesterday Once More", "Rodeo Romeo", "She's Not Really Cheatin' (She's Just Gettin' Even)" and "Till I'm Too Old To Die Young".

He also registered duet successes with Judy Bailey ("Following The Feeling") and Becky Hobbs ("Let's Get Over Them Together"). Over the years he maintained a touring schedule estimated to average between 250 and 300 days a year and he also made numerous network television shows. In later years he cut back considerably on his schedules. He was never a regular Grand Ole Opry member but has made guest appearances from time to time.

Bandy summed up his music when he said, "I really think my songs are about life. There's cheating, drinking and divorcing going on everywhere and that's what hardcore country music is all about." He added: "If I'd done all the things I sing about, I'd be dead."

Critics reviewing some of his later recordings wrote that it was strange that, at a time when more artists were actually recording his type of music, some of his recordings were spoiled by string and/or choir arrangements, and advised that an immediate return to his roots was necessary. Bandy opened his popular Americana Theatre in Branson, Missouri in 1991.

Moe along with his brother, Mike Bandy: 6 time NFR bullriding qualifier, were Inducted into the Texas Rodeo Cowboy Hall of Fame in 2007

So What Do All Those Terms Mean?

Back in the early '70s, I helped Tom T. Hall round up the information for his book, "How I Write Songs And Why You Can." One of the things we realized the book needed was a section on the Music Row Vocabulary; if one is going to learn, what the terminology means is pretty critical. A lot of that terminology has changed over the years and some stuff that couldn't even be imagined back then is pretty common, so it's not a bad idea to refresh the vocabulary from time to time.

For songwriter purposes, the bottom line item that has NOT changed is that anybody who talks about "selling" a song doesn't know beans about songwriting. UNLESS the discussion is about a singer: "Connie Smith really can sell a song!!!" Meaning: put it over in a believable manner; knock your socks off!!! "Oh, so you're a songwriter; have you sold any songs I would have heard?" is NOT the right question. "Have you had anything cut (or recorded) I would know?" is a good question. "How's your royalty base building?" is maybe more pertinent but might be considered personal.

You probably know this, but "sell" has a bad taste context today because there was a time when songwriters DID sell their rights to songs outright. It's much better to sign a publishing contract with a reputable publisher who will exploit (a good word) the song and share with you from the profits. Within that context, you "place" a song with a publisher or you "get it published," usually through the legal process of a "one-song contract." That makes you and the publisher partners on THAT song. Now, getting the song recorded by an artist who can generate some income becomes another hurdle. Don't feel like a failure if that doesn't happen; it just didn't happen, for any number of a vast complexity of reasons. Most songs "pitched" to producers and artists DON'T get cut, so understand the odds and keep putting your strongest material in front of those folks.

Oh, one thing before we leave publishers. You hear about "publishing deals." That's a contract situation wherein, during the term of the agreement, everything you write is automatically considered as published by the contracting publisher. There may be an advanced income involved; there may not be -- very few of those deals are ever quite the same, so don't feel like you're a failure if nobody offers you one. They're not as easy to come by as in day of yore, I understand; a semi-exclusive deal might be an agreement of first refusal -- in exchange for a writing room or some other consideration, a publisher might ask that you show him everything you write; if he thinks something will work with his company, he'll issue a one-song contract; if not, you can show the song to another publisher. I've seen that work well for some writers. It all comes down to relationships.

Okay, getting the cuts. In the music recording business, a "producer" is the guy who rounds up the songs, the players, the studio, and maybe even the pizza -- I love Lonnie's description of himself: "I'm the guy whose job it is to see that, five years from now, the artist is not embarrassed by the recording." For clarity, "producer" has different connotations in different creative areas: in television, he or she is mostly involved in the technical aspect while the director works very closely in the creative thing. In film, the producer essentially represents the investment, making sure the money is spent properly, although there are a variety of other roles: "line producer" works with the director on the actual set; the "executive producer" a title given to the star to indicate a hands-on involvement or it may be a person over a company with SEVERAL productions underway at one time.

A lot of terms remain the same but have different connotations: "a hit" could easily be something that charted in BILLBOARD but most people have never heard it, due to the fragmentation of today's markets. Once there were charts for "Country," Pop," "R&B," and maybe "Gospel." I haven't looked at BILLBOARD in a long time but it was way more complicated than that even then; a look of the "genres" list on MySpace is scary. I still don't know what "emo" is and I'm not sure I get it that "indie" is a STYLE, but, trust me, it's not the same music business it was twenty years ago. The major point of consistency is that you don't have a career without public involvement in your income. Whether they're buying CDs or downloads or DVDs or sweatshirts or posters or whatever, the public has got to be involved. Having a "backer" to finance the sessions can be a blessing, but it more often becomes a curse unless you REALLY know the backer and that person really knows you. There's nothing wrong with having a music hobby of putting out CDs and having fun seeing all the places around the world you're getting airplay, but unless SOMEBODY is buying SOMETHING, you don't have a career.

Oh, yeah, career. That's a good word to close with. "One's progress through life," Webster has as one meaning, along with "vocation or profession." The long haul. Take your time; if you're gonna do us any good, we need you to learn steadily and be patient. It IS a long haul.
Bill Littleton,
Nashville, Tennessee

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Here's one of my short stories I have run before but since we have about tripled our subscriber list and it went over so well before I am re-posting it. Hope you like it.

It was a warm summer night in Atoka County and Jerry had just drifted off to sleep when he was awakened by something disturbing his chickens and he assumed it was probably just a stray dog or a ‘possum messing around out by the chicken pen. He looked out the window and was amazed at how the Oklahoma moon lit up his yard and the surrounding area. As his eyes adjusted to the natural night light from the moon he slowly scanned his huge garden. Jerry always planted a big garden and this year was no exception. The chickens continued to act up and he figured he would have to get up and go outside to see if he could chase off whatever was bothering them. He tried to remember if he had any shells for his .410 gauge shotgun and couldn't remember if he had bought a new box of .410 shells the last time he was at the Wal-Mart in Atoka or not. He was slowly waking up and coming to grips with the fact that he would not be able to go back to sleep until he shut up those chickens. The only way to shut up the chickens was chase off whatever varmint was out there bothering them tonight. About the time he was ready to pull on his pants and put on his work boots a quick movement at the edge of the garden caught his eye. It was huge and it was unbelievable and it was also as real as anything Jerry Don had ever seen in his life. He could hardly believe his eyes and his mind was trying to tell him that whatever he was seeing couldn't be real but there framed in the moonlight looking like King Kong on the Empire State building was the one thing Jerry Don Ratliff had spent his whole life denying. He was looking at a Yeti, a Sasquatch or as it was known here in Kiamichi Country, "Bigfoot"
. Jerry glanced at the clock radio on the night stand beside his bed because he knew that what he was seeing was of historical significance. His eyes had won out the battle with his mind and he had no doubts now that this Bigfoot was real, very real. Jerry Ratliff was a no nonsense kind of guy and definitely not an avid follower of the George Noory, Art Bell train of thought. It would probably be a safe bet to say that more than a few of his Atoka County neighbors probably burned a little midnight oil gathered around the old Philco tuned in to the Coast to Coast AM radio show. The fact that Coast to Coast AM had loyal listeners in Atoka County was more than likely true but you couldn‘t count Ratliff in that demographic. Jerry knew because he had publicly scoffed at his neighbors’ stories of Bigfoot sightings on more than one occasion. Jerry knew that he would need to document every detail from here on out until he brought this incident of the creature in his own garden to a verifiable and documental conclusion.
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The time on the Ratliff’s radio clock was thirteen minutes after one in the morning. Since Jerry Don was not in the least bit superstitious he never picked up on the fact that in military time it was 13:13 hundred hours. He continued to stare at the dark creatures silhouette in the moonlight and he felt that somehow the Bigfoot sensed it was being watched and for just a few seconds it stared back toward Jerry's bedroom. The slowly it turned and unhurriedly walked back into the woods away from the house leaving Jerry Don more than a little confused at what he had just seen.
. As Jerry stared out across the empty moonlight yard he remembered that not long ago he had stopped in Farris at Butler’s Grocery Store to check his mail and there had been a group of local folks were discussing the news program they had seen on Channel 12 the night before. It seems that on the News they had reported that 13 year old Morgan Whatley and her 12 year old brother Garret had seen what they believed to be a Bigfoot over on Clear Boggy Creek near Caney, Oklahoma. The news anchor had said that in addition to the young kids sighting that a fifty year old woman, Jackie Marlow, had to be admitted to the Atoka county hospital from an anxiety attack after she spotted the Bigfoot in her own back yard. Jerry remembered that he had commented then and made sure that he spoke loud enough for all the spit and whittle clubbers at Butler’s Grocery to hear him, that it seemed like a silly waste of time for the television station to run such a ridiculous story.
. Jerry Don had always been more than a little skeptical with these supposed Bigfoot sightings and had always chalked it up to the influence of the 1973 low budget movie called The Legend of Boggy Creek which was based on a 7 foot tall Sasquatch, Bigfoot type creature that according to legend had terrorized Fouke, Arkansas back in the late `60's. Jerry figured because of that scary movie and the fact that the Boggy River ran between Farris and Atoka people around here figured there could be Bigfoot monsters here also. Tonight outside his bedroom window at 1:13 AM Jerry’s personal Bigfoot beliefs had been turned upside down and as he lay there in the silence he contemplated what he had just seen and decided that he may have been a little hasty when he made light of his neighbors’ Bigfoot beliefs..Jerry was up with the sun, sitting out on his porch with a cup of coffee trying to get a grip on the night before and wondering just how he should handle this situation. This was not the way Jerry wanted to start a new day and he could only imagine the twists and turns that this story was going to take before his life would ever be what you could call normal again. He knew that he would have to have some help and it would need to be someone who understood these things and that narrowed it down to only one possibility. There was one man in this part of Oklahoma who was qualified to determine if the creature Jerry Ratliff saw was a Bigfoot or not and if so the best way to capture or destroy it.
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“Snake” Weaver was your “Go to man” when you were at the end of your rope and facing things that were way beyond your comprehension. He was a mastermind at thinking outside of the box and had a reputation for getting things done where other men had failed. Jerry knew he would need to drive down to the Weaver mansion on Cold Springs Creek Road and talk to Snake in person about the Bigfoot. Jerry Don decided he’d better call first and make sure Snake had that psycho Doberman of his, “Sic ’em Sweetie”, penned up before he showed up at the Weaver mansion.
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As Jerry headed East on Highway 3 toward Antlers he started to thinking about Snake Weaver and just how little anyone around here really knew about the man. He just seemed to show up back in 1973 about the time Atoka was making the national news with all the cattle mutilation stories. Snake moved into an old abandon farmhouse North of Lane, Oklahoma up near the old DOK Ranch. He pretty much stuck to himself and although he had no visible means of support he always seemed to have sufficient money for whatever he needed. .
People said you could drive by the old farmhouse all hours of the night and there would be a light on. Snake never grew close enough to anyone around the community for them to find out anything about what he might be doing all hours of the night. He would live uneventfully up there at the farmhouse for months at a time and then something extremely out of the ordinary would just happen one day. It might be three or four black limos would drive up and men in suits would get out and stay at the farmhouse for less than an hour then leave. Once a youngster, too innocent and unafraid, asked him who were the men in the black cars at his house and Snake just told the kid it was some friends stopping by for a game of cards. That answer got out to the community quickly enough and people took the hint that Snake was not about to answer any prying questions so from then on people kept their questions to themselves. Once, later on, a neighbor said he saw a military type helicopter flying over and it landed there at Snakes farmhouse, stayed for about five minutes then lifted off again and was gone. If Snake was involved in some kind of covert dealings with the government, as many of the locals expected, it must have ended very successfully for him with that helicopter visit. It was not long afterwards Snake moved out of the DOK’s ranch area, bought the land down on Cold Springs Creek Road, and started building the beautiful house that everyone now calls Weaver mansion. Jerry slowed his old Chevy truck down and turned south off of highway 3 on to Cold Springs Creek Road and headed toward the Weaver mansion hoping that Snake had remembered to pen up Sick ‘em Sweetie..
Snake was standing out on the wrap around porch of Weaver mansion when Jerry pulled his old Chevy pickup into the driveway and noticed there was no sign of the psycho dog so Jerry assumed it was penned up out back. When he opened his pickup door to get out Sic ’em Sweetie’s loud barking told Jerry he was right about the dog being penned up and he couldn’t help but wonder how strong that pen was.
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Snake was not a man of many words so they didn’t spend a lot of time discussing the weather or each other’s health. Snake simply asked “What’s your problem”? Jerry explained what had happened the night before and what he believed he had seen out in his garden. Jerry then asked him if it was possible that it could have been one of those Bigfoot creatures he had heard about, all the time making sure Snake was aware that he was more than a little doubtful of their alleged existence. As sometimes will happen in the light of a beautiful Oklahoma morning Jerry’s doubts about what he had or hadn’t seen were returning.
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Snake had been listening intently, never bothering to ask even a single question or comment until Jerry Don expressed his doubts about the possibility of a Bigfoot. Snake Weaver didn’t answer the question directly but just said. “There’s a lot of things out in these woods around here that people don’t know about or probably want to know about.” Snake then told him that he would bring ol Sweetie up to Jerry’s house that night and check around where Jerry had seen the creature. Jerry thanked him and headed back toward home wondering if he would just as soon have a Bigfoot loose around his house as that Psycho Sic ’em Sweetie or even Snake Weaver come to think of it.
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Just about dusk Jerry heard the unmistakable bark of Sic ‘em Sweetie from the woods just south of his garden and he was glad to know that Snake Weaver was on the trail of the Bigfoot and even happier that Snake didn’t see any reason for Jerry to join in the hunt. Normally Jerry would have been glad to go and join any adventure but something about the thought of being out in the woods at night with that psycho mutt and a Bigfoot moved this hunt into a different league than your typical coon or ‘possum hunt. Jerry told himself tonight’s adventure was better left to those who understood and possibly even relished such things.
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Jerry Don would clean his 30.06 rifle tonight just to be on the safe side because he figured that little old 4:10 shotgun of his would just be barely big enough to make that Bigfoot mad. When his rifle was cleaned he flipped on the ten o’clock news to see what the weather was gonna do and find out if any of his crazy brothers had been thrown in jail today. The news was uneventful so Jerry turned in for the night.
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The Bigfoot had heard the human hunter’s dog as it had trailed off into the woods heading south earlier this evening so it had no fear now of being attacked by that crazy mutt. Bigfoot slowly approached the window where the Ratliff human bedded down with his female mate at night. There was a very strong bond between this particular Bigfoot and this particular man that would eventually come to light in this small Southeastern Oklahoma community once the timing was right. The creature was not here tonight to harm Jerry Don Ratliff or his mate but was drawn here by a much higher purpose. Some would say justice was being served in some sort of convoluted way in Atoka County.
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The Bigfoot pressed it’s face to the bedroom window and started pounding on the walls of the house. Then it let out the most terrifying blood curdling scream that had probably ever been heard around Farris, Oklahoma. Jerry Don sprang up from his bed and looked directly into the face of this God awful creature at his window. Then Bigfoot was gone just as the lights of Snake Weaver’s pickup flooded over the Ratliff house and Snake got out of his truck, walked up on Jerry’s porch and knocked on the door. Jerry started pulling on his pants and hollered at Snake “Hang on, I’m getting up”.
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When Jerry unlocked and opened the door he told Snake that the Bigfoot had just been at his bedroom window beating on the walls but it had run away he thought. Snake appeared, to Jerry, to be pretty shaken up himself. Snake sat down at the kitchen table and then he told Jerry that him and Sic ‘em Sweetie had caught up with the Bigfoot several miles south of Jerry’s house and Snake had watched as the Bigfoot attack and killed Sweetie like she was a little French Poodle.

Snake said that after he took Sweetie’s body back home he got to thinking that maybe the Bigfoot might have circled back and headed for whatever it was at the Ratliff place that had attracted it in the beginning. Snake said the Bigfoot’s appearance at Jerry’s bedroom window tonight answered that question. Snake told him “I don’t understand why, but that creature is after you personally, Jerry“. Jerry’s wife Cindy put on a pot of coffee as it was obvious there would be no more sleep for anyone tonight. As it would turn out there would be no sleep for the next couple of nights either.
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While they were having a cup of coffee and trying to get some kind of plan together they came to the conclusion that until this Bigfoot was either captured or killed Jerry would need to stand guard with his 30:06 rifle every night. Snake said since it didn’t seem to show any fear of man or anything else for that matter that they couldn’t even take for granted that Jerry and his wife would be safe from the Bigfoot during the daylight. If Jerry left the house he should take Cindy with him. When it became daylight they would also need to warn all their neighbors this thing was on the loose and no one would be safe until they had put it out of commission. Snake told Jerry he had an idea which way the Bigfoot had been headed so he would start trying to track him and he would call Jerry on his cell phone the minute he had any news. In the meantime he suggested Jerry and Cindy drive around the Farris and Lane communities and put up posters about the Bigfoot being sighted at their house. They should also make sure to stop in Butler’s Grocery in Farris and tell everyone there to help get the word out about this emergency situation. Jerry could just imagine the ribbing and the “I didn’t think you believed in Bigfoot” comments he would have to face but his neighbors’ safety was worth more than whatever embarrassment he would personally be forced to endure.
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It had been two nights now that Jerry had sat up all night on the front porch at his house, drinking coffee to stay awake and keeping his loaded 30:06 within arms reach. It was starting to take its toll on his body and the only sleep he was getting was after Cindy got up in the morning and made their breakfast. He would eat and then lie down on the couch with his rifle leaned up against the wall and Cindy would keep an eye on the edge of the woods. They believed the Bigfoot would probably come from that direction if it decided to return. Unfortunately Jerry would just barely get dozed off and the phone would start ringing with neighbors wanting to get the latest Bigfoot report from him. Some of his neighbors still couldn’t resist giving him a hard time about his former belief that Bigfoots’ were all a figment of the imagination.
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Finally the phone rang and it was the call Jerry had been waiting for. It was Snake Weaver and he had captured Bigfoot down south of the McLeod Honor Farm in Choctaw County. Snake said he had given up tracking the creature for the morning and was heading back home to get something to eat when out of no where it crossed the road in front of him. He shot the Bigfoot but the bullet had just glazed its head and knocked it unconscious. Snake said he realized that the creature would be worth a fortune, which he would split with Jerry, if they were able to bring it in alive. Snake was in the pickup he used on his ranch and he had been building fences so he had his cattle racks on the truck and a set of come-a-longs behind the seat so he just backed up to the critter and used the come-a-long to hoist it up into the truck bed where he chained it to the cattle racks. It was the perfect storm for capturing a Bigfoot, Snake said. All they needed to do now was document the capture and wait for the offers to buy it from them to came rolling in.
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Snake told Jerry the creature had come to but it was still too groggy to cause him much trouble and he should be a Jerry‘s house with it within the hour. Snake told Jerry to get on the phone and get as many neighbors as he could to come to his house and bring their cameras as well as video cameras. He said Jerry should also call the Atoka County Times and The Antlers American and tell them to get a newspaper reporter out there. Snake stressed that every person at Jerry’s house who saw him drive up with the Bigfoot chained in the back of his truck would be a potential witness who could testify that the Bigfoot had been captured by them. These eye witnesses would prove the Bigfoot was Snake and Jerry’s property in case someone later tried some legal mumbo-jumbo to claim it once they saw how much money it was worth. Jerry assured Snake his yard would be as crowded as the Darwin Cemetery on Decoration Day when him and the Bigfoot arrived. Jerry said “we’ll see you partner” as he hung up from Snake and began what was something akin to a Paul Revere ride through Atoka County, only this time it was by telephone.
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The cars had been pulling into Jerry’s house and parking all over the yard and out in the field ten minutes after he made the first phone call. The reporters from the newspapers were interviewing anyone that would sit still long enough for them to stick a microphone in front of them. It had been almost an hour since Snake’s phone call and then there it was. Jerry saw Snake Weaver’s pickup coming down the highway, slowing down and turning on his blinkers to turn into the driveway. The nightmare was almost over and low and behold there standing up in the back of the truck holding on to the cattle racks was the creature that had caused all Jerry’s problems and was soon to make him and Snake Weaver mighty wealthy men. It was the Sandy Springs Bigfoot as people were now calling it.
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The crowd was going crazy and even though the creature was still too far away to get a good look the people were running their video cameras and snapping photos as fast as they could. Jerry was transfixed by the sight of the creature as it grew closer. It was not near as big as he thought it would be and to tell the truth the closer it got the less scary it seemed. Then Jerry Don Ratliff figured out that it was nothing more than someone in a gorilla suit. What he couldn’t figure out was why the people could not see it was some kind of sick hoax and why they were all still running their videos although a lot of the cameras now seemed to be pointed at Jerry.
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Snake parked the truck right in front of Jerry and as he got out of the driver’s seat the fake Bigfoot rattled its chains and let out that blood curdling yell that Jerry was familiar with from a few nights before. The crowd was still cheering the phony gorilla on and everyone except Jerry seemed to be having a big old time. As someone took the gorilla head off the suit and revealed that it was really Jerry’s brother Gary Ratliff underneath the suit Snake asked everyone to quiet down for a minute. Snake then asked Jerry to look at his watch and tell him what it said. Jerry took a quick look and said it is 1:13 PM and then Jerry Don remembered it had been 1:13 AM a few nights ago when he first saw the Bigfoot in his garden but he racked his brain and could not tie that time of day or night to anything significant. Snake saw Jerry was still confused and he said “No Jerry, not the time, look at the date” and there it was as big as a Bigfoot’s face staring in your bedroom window” He didn’t even bother answering Snake when he saw the date on his watch was April 1st..

The legend of Jerry Don Ratliff and the Sandy Springs Bigfoot has grown a little larger as time goes by and one of the most surprising facts about it is that you can now ask anyone in Atoka or Pushmataha county about the incident and even though it was believed at the time that only three or four people were in on it and knew the Sandy Springs Bigfoot was a hoax now everyone you talk to claims they knew it was an April Fool’s joke all along. Cindy Ratliff has even hinted around that she was in on the joke also. Jerry don’t know who he believes but at least for the time being he once again no longer believes in Bigfoot.

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REMEMBER YOU CAN ALWAYS CLICK ON ANY PHOTO IN THIS NEWSLETTER OR ANY UNDERLINED TEXT & IT WILL TAKE YOU TO A WEBSITE OR PLAY MUSIC MOST OF THE TIME SO DON'T FORGET TO "click away" SO YOU DON'T MISS ANYTHING - LONNIE

1. Cost for 5 songs is $3,750 (Three Thousand Seven Hundred & Fifty Dollars). This includes Studio, Musicians, Etc! and you end up with a mixed CD of your project. There are not a lot of hidden costs that will be tacked on. The only additional costs I can think of would be $150 if you want us to Master it for you before it goes to your pressing plant. (Call me and I can explain Mastering to you) The other thing that could cost you later is that you might have to pay songwriter royalties if you have recorded someone elses songs and are gonna include it on your CD to sell. (Example = If you want to record a George Strait song or a Taylor Swift song then you will have to pay a royalty to use that song) I can help point you in the right direction to obtain a license from the Harry Fox Agency.

2. For those artist who are new at this, Production is just about getting your songs recorded and ready to be made into CD's that you can sell. I don't press up the 500 or 1000 CD's for you but I can recommend Karen Bruno at Amazon Audio who can take care of everything for you. I believe it costs about $1500 for a 1000 CD's. A lot of the artists I produce will cut a couple of 5 song sessions with me and then put them together and press up a CD they can sell and get their money back.

3. First thing we need to do is figure out if we can work together and come up with something we can both be proud of. You can listen to the artists I have produced (Click Here) and get an idea of what I do. If you are a decent singer and I believe we can make a respectable recording then I will probably be glad to work with you.

4. Deposits & Payments: The first thing required is a $200 deposit and once that is paid we can start putting together your session. I will help you find the songs if needed and will arrange them for you using any ideas you may have. Once we find the songs and have picked a date you send me the balance of $3,550 at least 2 weeks before the session date and I book your session at a studio on Music Row. I normally use Dixiana Studio. We will cut the basic tracks and overdubs there and then cut the final vocals, harmonies and mix at Smokehouse studio.

5. The Band normally will consist of Bass, Drums, Rhythm Guitar, Piano, Steel Guitar, Fiddle, Dobro, Electric Guitar & Mandolin. If I believe a particular song calls for a specialty instrument I will use it and there is no additional charge. I do not try to cut corners by taking short cuts on the musicians we use.

6. Original songs. I have about 200 songs in my Music Publishing Company that you are welcome to use (Royalty Free) if you are using them on any project I produce.

7. Time it will take to record. Figure that it will take about 3 days in the studio. If you are on a tight schedule you're part will be over in two days. First day we cut the tracks with a scratch vocal and the second day you will sing your final vocals. I figure you will have up to 45 minutes to sing each song.

8. Practice Guitar tracks if needed. If you think you may have trouble singing any of the songs you pick and do not play an instrument I can record and send you an acoustic guitar track of the song so you can practice it before you come to Nashville.

9. Final thoughts. Keep in mind that you are hiring me to make you sound good and I take my job very seriously. I will do my best to see that you have a good time in the studio. I work with some of the best studio musicians in Nashville and they will do everything in their power to make the best recording of your music as possible. Feel free to E Mail any of the artists I have worked with (Click Here) before and ask them any questions you may have about working with me. Once you have paid your deposit I am on your team and you can call (615) 742 0666 and ask me any questions you have and I will try my best to give you an answer. Probably half of the artist I work with are recording their first CD and have a lot of questions so don't be embarrassed to ask about anything you don't understand.

I look forward to working with you and hope I can be a part of your musical future.

Time clicks by...faster and faster,
like a cheap watch or the end of a toilet paper roll.

Misty and I make the same resolutions every year,
and will do so until we actually live up to them..

Never stop for a cop who talks with a hand puppet.
Try not to kill people who offer constructive criticism.
Never approach a chicken with a crazy look.
Never try to explain our career to a wino.
Never yodel at a funeral.
Never hit a chiropractor without a reason.
Never wear helmets while skateboarding.
Always wear helmets during sex.
Never tango.
Never carry a rose in our teeth.
Never carry a rose in any body cavity.
Never turn our turn signal off.
Never take Viagra before a business meeting.
Never buy a pacemaker from a guy in a pickup truck.
Never glue sequins to a squirrel, except as evening wear.
Always smile and wave to drivers who give us the finger.
Always lie about our age, weight, and height.
Never take the car in for a free inspection.
Always refer to younger people as "Junior Citizens".
Never have a hole in your pocket while it is being picked.
Never yell "Freeze!" in a biker bar.
Never wear a tutu in a biker bar.
Never sing "My Way" to an imaginary ferret.
Never play hip-hop dance music for nudists.
Never buy an extended warranty.
Always call people by their first names,
especially if they refer to themselves as Mister.
Always play the music we do best... our own.

It was another year of contrasts...
There were some laughs between the troubles.

The election took up most of the year,
and then the "recession".
"Recession" does sound nicer than "depression".

A lot of bad stuff is waiting for our country in the new year,
but we'll get through it if we work together,
and not against each other.

We made some new friends in 2008,
and made up with some old ones.
We mourn those who died,
and celebrate those who were born

Special "Thank you" to the DJ's that support these artists who take the time

Lonnie’s Economy Recording Music Package

Check out my little side business. For you artists that can’t afford the time or money to come to Nashville to record right now or just need a song or two to finish out your CD or to put up on MYSPACE etc! - I have a website of songs I own the Master Recordings on and I can lease you the music track and furnish you with a Mechanical license so you are 100% legal for $250 - The only catch is that you have to be able to sing them in the key they are recorded in so just go to the website below to find out. They are much like the Karaoke tracks you buy except most of them are original songs though not all of them and you will have a Mechanical License giving you the right to use the songs. You can post it on MYSPACE, YouTube, Sing it on American Idol, Put it on your CD to sell or sell downloads of it on the internet. You can pay for these music tracks with your credit card if you prefer. I then mail you a CD with the music track and you just take it into your local recording studio and add your vocals and harmony and you got it. If this sounds like something you may be interested in just go to my website below and see if there is anything you like there that is in your key. I have most of the Lyrics posted. Just “Click” on lyrics to see them. Any questions just E Mail me NashvilleShowcase@comcast.net

Visit my website to see what songs are available

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Artists looking for original songs click on my banner and check out my songwriter website with 2 pages of original songs. If you hear something you like and need more info or a mechanical license to record it just contact me.

Lonnie Ratliff

NashvilleShowcase@comcast.net

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Nashville Showcase Promotions

Release your music to radio worldwide

1 song = $300

Do you have a song you would like to have released and promoted to radio ?

Maybe a song off your last CD that you think might be a hit or just might get fans interested in your music. Maybe a song you wrote that you think some major artist might cover if you had it out there where someone could hear it or even a novelty song that people would love if just given a chance to hear it.

My package includes a worldwide release to 600 + radio stations on the Western Heart Promotions compilation CD. Your song will be mailed to stations in the USA, Australia, New Zealand, Belgium, Poland, The Netherlands, Norway, Sweden, Denmark, Spain, United Kingdom, and many others as well as to Internet Radio Stations.

I will furnish you with Playlists from the overseas radio stations that play your song along with any comments from DJ's concerning your music.

Promotion will last for 1 month from the date of the first radio airplay of your song.

You can either send me a CD of your song or E Mail me an MP3 file of the song.

You can charge to your credit card through PayPal or send me a check or M.O.

If you are interested and need further information contact me at:

Phone Lonnie Ratliff at: (615) 742 0666

E Mail = NashvilleShowcase@comcast.net

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NOTE from Lonnie - I always feel a little guilty because I never have time to listen to mp3's new artists and songwriters send me, unsolicited I might add. I hate it but I just delete them because I finally figured out I could try to be a nice guy or I could try to work and pay my bills. My banker had a very stern suggestion that I needed to keep working and be a nice guy on my own time after all my bills were paid. Turns out that spare time does not exist so I just had to give up on listening to unsolicited mp3's, CD's and giving my opinions and suggestions. Now I just concentrate on my music business out of necessity but I figure I can give you some links that will answer your questions better than I could anyway.

Here's some books available this week on EBAY

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Lonnie Ratliff Updates

A quick rundown of what some of our subscribers are up to

"Click" on PHOTOS below for Websites

Didn't get enough Updates from SUBSCRIBERS for this section. Will reinstate it after the 1st. of the year when artists are finished with the holiday stuff - If you have time go ahead and E Mail me your Update with a LINK to your website if you want it included and I will include you when we start the UPDATE SECTION back up. My file for this section is completely empty right now so be one of the first to start 2009 out with your UPDATE.

E Mail to: NashvilleShowcase@comcast.net

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Below are some of the artists I have produced so you can give them a listen to see if you like the sound I am getting and you can contact them to get a reference on how they liked working with me. No matter if you choose to have me or someone else produce your next recording project make sure you check us out. If you can't hear samples of a producer's previous work or correspond with someone who has worked with them then it is too early to be writing anyone a check. Just because someone sends you an e mail telling you they think you are the hottest thing since Garth Brooks or Shania Twain doesn't mean they are a good honest producer. Check everyone out that you do business with BEFORE you write the check and you won't end up being one of those artists that gets scammed. - Lonnie _ E Mail me at: NashvilleShowcase@comcast.net

Erin Hay

Click Photo

Bengt Pedersen (Norway)

Click Photo

Joni Compretta
.

Click Photo

Dick Damron

Click Photo

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Timmy G

Click Photo
Peggy Lynn

Click Photo
B. Thomas (Norway)
.

Click Photo
Susie Hopman

Click Photo

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Mike Anderson

Click Photo
Dani Ashworth

Click Photo
Tim Chesney
.

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Hearts In Harmony

Click Photo

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THORNBIRDS

Click Photo
Ken Johnson

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Britni Hendrickson
.

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Brent McAthey

Click Photo

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Ron Wayne Atwood

Click Photo
Eric Richards

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Ernie Ashworth
Erin Hay / Duet

Click Photo to Play
Kenny Chesney
Demo

Click Photo to Play

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Tara Lyn Hart Demo
Sony Records
Click Photo to Play
Garth Brooks Demo

Click Photo to Play
Shawn Camp
Demo

Click Photo to Play
Jack Greene
Erin Hay / Duet

Click Photo

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Gina Michaells (Norway)

Click Photo
Shady Creek Outlaws

Click Photo
Big B (Norway)
.

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Lynn Chisholm

Click Photo

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Lonnie's "Spotlight Songs"

"Making Plans "

Perley Curtis & Erin Hay

Making Plans - Perley Curtis & Erin Hay
lo-fi URL: http://www.soundclick.com/util/streamm3u.m3u?id=6888604&q=lo

hi-fi URL: http://www.soundclick.com/util/streamm3u.m3u?id=6888604&q=hi

If the above Links will not play try this one: http://soundclick.com/share?songid=6888604

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Buying a house in Nashville ?

If you are thinking of moving to Nashville and need to buy a house I recommend you get in touch with my buddy Craig Stahl.

Some of you will know Craig from his 13 years working with Alan Jackson and also as my partner in Okie Acres Music & Studio.

Give him a call when you need property in Nashville or sign up for his Newsletter

I hope you enjoyed our first issue of Roadie Real Estate.com. Please email me your thoughts and suggestions. If you liked it

please hit the forward e-mail button at the bottom of the page. Please visit my website at www.RoadieRealEstate.com I would love t

o help you buy or sell your next home or help you with any of your Real Estate needs. If you are not moving anytime soon,

please keep me in mind to be of service to friends and family. I really appreciate your referals.

Craig Stahl "The Roadie Realtor"

615-578-9175

rocksolidproperties@gmail.com

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Dixon DeVore http://cdbaby.com/all/devore

Imprinters To The Stars Since 1985

Since 1985, we have been imprinting and/or embroidering apparel, pens, cups, keytags, mugs, Tote Bags, Equipment Stickers, CD Carrying cases and thousands of other products for Bands, Artists DJs and Promoters. We have our own in-house art department and can take the simplest idea and morph it into aneffective, multi-color design. You'll wow 'em in Vegas!
We know The Music Business.

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Artists release your songs worldwide on
Gary Bradshaw's WHP Compilation.

.
.
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Artists if you need a little help getting your latest record off the DJ's desk and
on to their turntable you might want to contact Sherry.
She speaks the DJ's language fluently.

**************
Artists looking for someone to help you with your CD Cover artwork, printing and pressing your CD ? Check with Karen Bruno at Amazon Audio

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