Chords for Marty Stuart & Connie Smith Interview (Part 3 of 3) with Paul Edward Joyce on WPEA Radio
Tempo:
126.85 bpm
Chords used:
E
A
D
F
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, do you mind if we talk about in 1997, Connie, you had, you released an album titled Connie Smith.
And Marty, you produced the album, didn't you?
Yeah.
And he actually co-wrote about eight of the songs with me as well.
And also, Harlan Howard wrote a couple with you both on there too, didn't he?
First song we wrote together, I had an idea for a song I'd started several years before,
and then when Marty and I got together, he was talking about, I was asking him if he
would like to work with me and produce me, and he said, I told him I couldn't find the
good songs anymore, they was given to [D] the hit makers, and he said, well, you write,
don't you?
Why don't you write it?
And I had never thought [N] about, I've written some songs, but I never thought about writing that many.
And so he picked up the phone and called Harlan Howard, and about three days later, he and
I went over and we wrote How Long.
That was the very first song we wrote together with Harlan.
A fabulous song, with the shuffle and the strong bass in the background, and your vocals
just sound as fabulous as ever on that recording, as they do now.
Thanks.
Oh, you're welcome.
And so, probably a lot of the listeners know that you are Mr.
and Mrs.
Marty Stewart.
Yes.
No, we're actually Mr.
and Mrs.
Connie Smith.
No, we're Mr.
and Mrs.
Marty.
Either way you look at it.
Do you mind telling us how that started?
With a kiss?
In a Kroger's parking lot?
Yeah, Kroger's parking lot, that's right.
And, [F] well, it's hard to write love songs with Connie and not fall in love, so I kept falling
and falling and falling.
It took a while to get it all lined up, but we wound up on an indie administration, [E] and
[B] we got married.
We've been married about ten and a half years, [A] and I think on our tenth anniversary [N] we talked
it over and decided we'd give it another ten years and see if it works.
Well, I'd like to wish you a happy eleven coming up in July, right?
It'll be eleven in July, yes.
And, now, Marty, you have quite a collection of country music artifacts of all sorts, from
the original handwritten manuscripts of your Cheatin' Heart from Hank Williams, and from
the last boots worn by Patsy Cline, and Johnny Cash's stage outfits.
How did you start your interest in preserving the physical artifacts of country music history?
Well, it really started when I was a kid, whether it was collecting country song round-ups or albums.
But I got really, really serious about it in the early 1980s when I started noticing
things like Patsy Cline's train case, and certain Star's guitars, and some of those old costumes.
They were starting to get shuffled to the back of people's closets.
They were getting sold in yard sales and thrift stores, and it just seemed wrong to me that
country music's culture be thrown away at a discount rate like that.
I thought it should be viewed as American treasure, America's culture.
Which it is.
That's kind of where my heart led me, and that's how I started.
You want to tell us probably what's your favorite item that you have, or a few of your favorite items?
I'm sitting right next to her.
A country music treasure.
Good answer.
The Rolls Royce of country music, as Eddie Stubbs says.
You both recently donated some items to the Country Music Hall of Fame not too long ago.
That was a very special day.
I saw the pictures of the ceremony online.
Connie, you donated a guitar of yours, didn't you?
Yes, a Dove guitar, a Gibson.
When I first came to Nashville, Gibson sponsored me, and they gave me a Dove guitar.
My very first Dove guitar I gave to my son Darren when he turned 17.
But they gave me another one.
I told Marty the story about this second guitar.
They gave me this beautiful red sunburst Dove guitar,
and I had a white leather rhinestone strap with rhinestones all over it, made.
I took the guitar down to the Opry, and the first night down at the Rhyme,
somebody walked out with it.
Oh, no.
When I told him that story, he went hunting around and found me a Dove guitar,
had a rhinestone strap with my name put in it, and gave it to me.
That's the story of the guitar that the Hall of Fame had.
Marty bought it to replace the one that Gibson gave me that was stolen.
It was a love gift all the way around, from him to me and from us to the Hall of Fame.
Great story.
Do you ever still pick up the guitar and play?
Not very much.
I never was very good.
She plays Bonanza really good.
I played when I first came to Nashville a little bit,
but I get into my singing and I forget to play.
I just kind of leave that up to the musicians.
She looks really pretty with a guitar around her neck.
You leave the guitar playing up to Rick Wright.
Yes, sir.
He's a great guitar player.
I've got Rick Wright playing lead guitar,
Gary Carter playing steel guitar,
Rod Hamm playing bass, who's been with me 18 years,
and then I've got Rick McClure playing drums.
I've got a band that's great.
When Marty will walk out with us, I don't need to be playing an instrument.
Just like that night at the Opry, about a month ago now,
[Bb] I believe it was the 21st when I was last [A] down there [N] with you guys,
that was such a magical night.
You and Marty were singing songs, and then Miss Loretta came out
and sang Will You Visit Me on Sunday with both of you.
Then you sang that wonderful Travis Tritt song.
I can't think of the name of it now, but it was just
Seymour was the name.
It's a fabulous song.
Yes, it is a great song.
You sang it just in the perfect Connie Smith style,
just like you sing every song, but it was so powerful
with just the two acoustic guitars.
Marty, you were playing acoustic, and Rick Wright was also playing.
That truly was what they
I've heard it referred to as an Opry moment.
That was a big one.
Sure, there was a second Opry moment there.
There were a lot of them that night, because of you singing with Loretta there,
Will You Visit Me on Sunday, but then you also sang I'm Blue, I'm Lonesome,
I believe it was, for the first time on the Opry.
That was great.
Good song.
Fabulous.
I know your time is coming down tonight.
I've got one request before we get off the air.
Sure.
I want to hear you sing the hook line to Once a Day for Connie Smith.
Okay, here, let me try.
I don't have my guitar, but
Once [E] a day, every day, all day [Abm] [Ab] long.
Thank [Em] you.
Thank you, Paul.
Paul, I hope you have a great week, pal.
Thank you, I appreciate it.
Once again, let me thank you
And Marty, you produced the album, didn't you?
Yeah.
And he actually co-wrote about eight of the songs with me as well.
And also, Harlan Howard wrote a couple with you both on there too, didn't he?
First song we wrote together, I had an idea for a song I'd started several years before,
and then when Marty and I got together, he was talking about, I was asking him if he
would like to work with me and produce me, and he said, I told him I couldn't find the
good songs anymore, they was given to [D] the hit makers, and he said, well, you write,
don't you?
Why don't you write it?
And I had never thought [N] about, I've written some songs, but I never thought about writing that many.
And so he picked up the phone and called Harlan Howard, and about three days later, he and
I went over and we wrote How Long.
That was the very first song we wrote together with Harlan.
A fabulous song, with the shuffle and the strong bass in the background, and your vocals
just sound as fabulous as ever on that recording, as they do now.
Thanks.
Oh, you're welcome.
And so, probably a lot of the listeners know that you are Mr.
and Mrs.
Marty Stewart.
Yes.
No, we're actually Mr.
and Mrs.
Connie Smith.
No, we're Mr.
and Mrs.
Marty.
Either way you look at it.
Do you mind telling us how that started?
With a kiss?
In a Kroger's parking lot?
Yeah, Kroger's parking lot, that's right.
And, [F] well, it's hard to write love songs with Connie and not fall in love, so I kept falling
and falling and falling.
It took a while to get it all lined up, but we wound up on an indie administration, [E] and
[B] we got married.
We've been married about ten and a half years, [A] and I think on our tenth anniversary [N] we talked
it over and decided we'd give it another ten years and see if it works.
Well, I'd like to wish you a happy eleven coming up in July, right?
It'll be eleven in July, yes.
And, now, Marty, you have quite a collection of country music artifacts of all sorts, from
the original handwritten manuscripts of your Cheatin' Heart from Hank Williams, and from
the last boots worn by Patsy Cline, and Johnny Cash's stage outfits.
How did you start your interest in preserving the physical artifacts of country music history?
Well, it really started when I was a kid, whether it was collecting country song round-ups or albums.
But I got really, really serious about it in the early 1980s when I started noticing
things like Patsy Cline's train case, and certain Star's guitars, and some of those old costumes.
They were starting to get shuffled to the back of people's closets.
They were getting sold in yard sales and thrift stores, and it just seemed wrong to me that
country music's culture be thrown away at a discount rate like that.
I thought it should be viewed as American treasure, America's culture.
Which it is.
That's kind of where my heart led me, and that's how I started.
You want to tell us probably what's your favorite item that you have, or a few of your favorite items?
I'm sitting right next to her.
A country music treasure.
Good answer.
The Rolls Royce of country music, as Eddie Stubbs says.
You both recently donated some items to the Country Music Hall of Fame not too long ago.
That was a very special day.
I saw the pictures of the ceremony online.
Connie, you donated a guitar of yours, didn't you?
Yes, a Dove guitar, a Gibson.
When I first came to Nashville, Gibson sponsored me, and they gave me a Dove guitar.
My very first Dove guitar I gave to my son Darren when he turned 17.
But they gave me another one.
I told Marty the story about this second guitar.
They gave me this beautiful red sunburst Dove guitar,
and I had a white leather rhinestone strap with rhinestones all over it, made.
I took the guitar down to the Opry, and the first night down at the Rhyme,
somebody walked out with it.
Oh, no.
When I told him that story, he went hunting around and found me a Dove guitar,
had a rhinestone strap with my name put in it, and gave it to me.
That's the story of the guitar that the Hall of Fame had.
Marty bought it to replace the one that Gibson gave me that was stolen.
It was a love gift all the way around, from him to me and from us to the Hall of Fame.
Great story.
Do you ever still pick up the guitar and play?
Not very much.
I never was very good.
She plays Bonanza really good.
I played when I first came to Nashville a little bit,
but I get into my singing and I forget to play.
I just kind of leave that up to the musicians.
She looks really pretty with a guitar around her neck.
You leave the guitar playing up to Rick Wright.
Yes, sir.
He's a great guitar player.
I've got Rick Wright playing lead guitar,
Gary Carter playing steel guitar,
Rod Hamm playing bass, who's been with me 18 years,
and then I've got Rick McClure playing drums.
I've got a band that's great.
When Marty will walk out with us, I don't need to be playing an instrument.
Just like that night at the Opry, about a month ago now,
[Bb] I believe it was the 21st when I was last [A] down there [N] with you guys,
that was such a magical night.
You and Marty were singing songs, and then Miss Loretta came out
and sang Will You Visit Me on Sunday with both of you.
Then you sang that wonderful Travis Tritt song.
I can't think of the name of it now, but it was just
Seymour was the name.
It's a fabulous song.
Yes, it is a great song.
You sang it just in the perfect Connie Smith style,
just like you sing every song, but it was so powerful
with just the two acoustic guitars.
Marty, you were playing acoustic, and Rick Wright was also playing.
That truly was what they
I've heard it referred to as an Opry moment.
That was a big one.
Sure, there was a second Opry moment there.
There were a lot of them that night, because of you singing with Loretta there,
Will You Visit Me on Sunday, but then you also sang I'm Blue, I'm Lonesome,
I believe it was, for the first time on the Opry.
That was great.
Good song.
Fabulous.
I know your time is coming down tonight.
I've got one request before we get off the air.
Sure.
I want to hear you sing the hook line to Once a Day for Connie Smith.
Okay, here, let me try.
I don't have my guitar, but
Once [E] a day, every day, all day [Abm] [Ab] long.
Thank [Em] you.
Thank you, Paul.
Paul, I hope you have a great week, pal.
Thank you, I appreciate it.
Once again, let me thank you
Key:
E
A
D
F
B
E
A
D
_ Well, do you mind if we talk about in 1997, Connie, you had, you released an album titled Connie Smith. _ _
And Marty, you produced the album, didn't you?
Yeah.
_ And he actually co-wrote about eight of the songs with me as well.
And also, Harlan Howard wrote a couple with you both on there too, didn't he?
First song we wrote together, I had an idea for a song I'd started several years before,
and then when Marty and I got together, _ he was talking about, I was asking him if he
would like to work with me and produce me, and he said, I told him I couldn't find the
good songs anymore, they was given to [D] the hit makers, and he said, well, you write,
don't you?
Why don't you write it?
And I had never thought [N] about, I've written some songs, but I never thought about writing that many.
And so he picked up the phone and called Harlan Howard, and about three days later, he and
I went over and we wrote How Long.
That was the very first song we wrote together with Harlan.
A fabulous song, _ with the shuffle and the strong bass in the background, and your vocals
_ just sound as fabulous as ever on that recording, as they do now.
Thanks.
Oh, you're welcome.
And _ so, probably a lot of the listeners know that you are Mr.
and Mrs.
Marty Stewart. _
Yes.
No, we're actually Mr.
and Mrs.
Connie Smith.
_ No, we're Mr.
and Mrs.
Marty.
_ Either way you look at it.
_ Do you mind telling us how that started?
_ With a kiss? _ _
In a Kroger's parking lot?
Yeah, Kroger's parking lot, that's right.
_ _ And, [F] well, it's hard to write love songs with Connie and not fall in love, so I kept falling
and falling and falling.
It took a while to get it all lined up, but we wound up on an indie administration, [E] and
[B] we got married.
_ _ _ We've been married about ten and a half years, [A] and I think on our tenth anniversary [N] we talked
it over and decided we'd give it another ten years and see if it works.
Well, I'd like to wish you a happy eleven coming up in July, right?
It'll be eleven in July, yes. _
And, _ now, Marty, you have quite a collection of country music artifacts of all sorts, from
_ the original handwritten manuscripts of your Cheatin' Heart from Hank Williams, and from
the last boots worn by Patsy Cline, and Johnny Cash's stage outfits.
How did you start your interest in preserving the physical artifacts of country music history?
Well, it really started when I was a kid, whether it was collecting country song round-ups or albums.
But I got really, really serious about it in the early 1980s when I started noticing _ _
things like Patsy Cline's train case, _ and certain Star's guitars, and some of those old costumes.
They were starting to get shuffled to the back of people's closets.
They were getting sold in yard sales and thrift stores, _ and it just seemed wrong to me that
country music's culture be thrown away at a discount rate like that.
I thought it should be viewed as American treasure, _ America's culture.
Which it is.
That's kind of where my heart led me, and that's how I started.
_ You want to tell us probably what's your _ favorite item that you have, or a few of your favorite items?
I'm sitting right next to her. _ _
A country music treasure.
Good answer.
The Rolls Royce of country music, as Eddie Stubbs says. _ _ _ _
You both recently donated some items to the Country Music Hall of Fame not too long ago.
That was a very special day.
_ I saw the pictures of the ceremony online. _ _ _
Connie, you donated a guitar of yours, didn't you?
Yes, a Dove guitar, a Gibson.
When I first came to Nashville, _ _ Gibson sponsored me, and they gave me a Dove guitar.
My very first Dove guitar I gave to my son Darren when he turned 17.
But they gave me another one.
I told Marty the story about this second guitar.
They gave me this beautiful red sunburst Dove guitar,
and I had a white leather rhinestone strap with _ rhinestones all over it, made.
I took the guitar down to the Opry, and the first night down at the Rhyme,
somebody walked out with it.
Oh, no.
When I told him that story, he went hunting around and found me a Dove guitar,
had a rhinestone strap with my name put in it, and gave it to me.
That's the story of the guitar that the Hall of Fame had.
Marty bought it to replace the one that Gibson gave me that was stolen.
It was a love gift all the way around, from him to me and from us to the Hall of Fame.
Great story.
Do you ever still pick up the guitar and play?
Not very much.
I never was very good.
She plays Bonanza really good. _ _ _ _
_ _ I played when I first came to Nashville a little bit,
but I get into my singing and I forget to play.
I just kind of leave that up to the musicians.
She looks really pretty with a guitar around her neck.
_ _ You leave the guitar playing up to Rick Wright.
_ Yes, sir.
He's a great guitar player.
I've got Rick Wright playing lead guitar,
_ Gary Carter playing steel guitar,
Rod Hamm playing bass, who's been with me 18 years,
and then I've got Rick McClure playing drums.
I've got a band that's great.
When Marty will walk out with us, I don't need to be playing an instrument.
Just like that night at the Opry, about a month ago now,
[Bb] I believe it was the 21st when I was last [A] down there [N] with you guys,
that was such a magical night.
You and Marty were singing songs, and then Miss Loretta came out
and sang Will You Visit Me on Sunday with both of you.
_ Then you sang that wonderful Travis Tritt song.
I can't think of the name of it now, but it was just_
Seymour was the name.
_ _ It's a fabulous song.
Yes, it is a great song.
You sang it just in the perfect Connie Smith style,
just like you sing every song, but it was so powerful
with just the two acoustic guitars.
Marty, you were playing acoustic, and Rick Wright was also playing.
That truly was what they_
I've heard it referred to as an Opry moment.
That was a big one.
Sure, there was a second Opry moment there.
There were a lot of them that night, because of you singing with Loretta there,
Will You Visit Me on Sunday, but then you also sang I'm Blue, I'm Lonesome,
I believe it was, for the first time on the Opry.
That was great.
Good song.
Fabulous.
_ I know your time is coming down tonight.
I've got one request before we get off the air.
Sure.
I want to hear you sing the hook line to Once a Day for Connie Smith.
Okay, here, let me try.
_ I don't have my guitar, but_
Once [E] a day, every day, all day [Abm] _ [Ab] long.
_ _ Thank _ [Em] you.
Thank you, Paul.
Paul, I hope you have a great week, pal.
Thank you, I appreciate it.
Once again, let me thank you
And Marty, you produced the album, didn't you?
Yeah.
_ And he actually co-wrote about eight of the songs with me as well.
And also, Harlan Howard wrote a couple with you both on there too, didn't he?
First song we wrote together, I had an idea for a song I'd started several years before,
and then when Marty and I got together, _ he was talking about, I was asking him if he
would like to work with me and produce me, and he said, I told him I couldn't find the
good songs anymore, they was given to [D] the hit makers, and he said, well, you write,
don't you?
Why don't you write it?
And I had never thought [N] about, I've written some songs, but I never thought about writing that many.
And so he picked up the phone and called Harlan Howard, and about three days later, he and
I went over and we wrote How Long.
That was the very first song we wrote together with Harlan.
A fabulous song, _ with the shuffle and the strong bass in the background, and your vocals
_ just sound as fabulous as ever on that recording, as they do now.
Thanks.
Oh, you're welcome.
And _ so, probably a lot of the listeners know that you are Mr.
and Mrs.
Marty Stewart. _
Yes.
No, we're actually Mr.
and Mrs.
Connie Smith.
_ No, we're Mr.
and Mrs.
Marty.
_ Either way you look at it.
_ Do you mind telling us how that started?
_ With a kiss? _ _
In a Kroger's parking lot?
Yeah, Kroger's parking lot, that's right.
_ _ And, [F] well, it's hard to write love songs with Connie and not fall in love, so I kept falling
and falling and falling.
It took a while to get it all lined up, but we wound up on an indie administration, [E] and
[B] we got married.
_ _ _ We've been married about ten and a half years, [A] and I think on our tenth anniversary [N] we talked
it over and decided we'd give it another ten years and see if it works.
Well, I'd like to wish you a happy eleven coming up in July, right?
It'll be eleven in July, yes. _
And, _ now, Marty, you have quite a collection of country music artifacts of all sorts, from
_ the original handwritten manuscripts of your Cheatin' Heart from Hank Williams, and from
the last boots worn by Patsy Cline, and Johnny Cash's stage outfits.
How did you start your interest in preserving the physical artifacts of country music history?
Well, it really started when I was a kid, whether it was collecting country song round-ups or albums.
But I got really, really serious about it in the early 1980s when I started noticing _ _
things like Patsy Cline's train case, _ and certain Star's guitars, and some of those old costumes.
They were starting to get shuffled to the back of people's closets.
They were getting sold in yard sales and thrift stores, _ and it just seemed wrong to me that
country music's culture be thrown away at a discount rate like that.
I thought it should be viewed as American treasure, _ America's culture.
Which it is.
That's kind of where my heart led me, and that's how I started.
_ You want to tell us probably what's your _ favorite item that you have, or a few of your favorite items?
I'm sitting right next to her. _ _
A country music treasure.
Good answer.
The Rolls Royce of country music, as Eddie Stubbs says. _ _ _ _
You both recently donated some items to the Country Music Hall of Fame not too long ago.
That was a very special day.
_ I saw the pictures of the ceremony online. _ _ _
Connie, you donated a guitar of yours, didn't you?
Yes, a Dove guitar, a Gibson.
When I first came to Nashville, _ _ Gibson sponsored me, and they gave me a Dove guitar.
My very first Dove guitar I gave to my son Darren when he turned 17.
But they gave me another one.
I told Marty the story about this second guitar.
They gave me this beautiful red sunburst Dove guitar,
and I had a white leather rhinestone strap with _ rhinestones all over it, made.
I took the guitar down to the Opry, and the first night down at the Rhyme,
somebody walked out with it.
Oh, no.
When I told him that story, he went hunting around and found me a Dove guitar,
had a rhinestone strap with my name put in it, and gave it to me.
That's the story of the guitar that the Hall of Fame had.
Marty bought it to replace the one that Gibson gave me that was stolen.
It was a love gift all the way around, from him to me and from us to the Hall of Fame.
Great story.
Do you ever still pick up the guitar and play?
Not very much.
I never was very good.
She plays Bonanza really good. _ _ _ _
_ _ I played when I first came to Nashville a little bit,
but I get into my singing and I forget to play.
I just kind of leave that up to the musicians.
She looks really pretty with a guitar around her neck.
_ _ You leave the guitar playing up to Rick Wright.
_ Yes, sir.
He's a great guitar player.
I've got Rick Wright playing lead guitar,
_ Gary Carter playing steel guitar,
Rod Hamm playing bass, who's been with me 18 years,
and then I've got Rick McClure playing drums.
I've got a band that's great.
When Marty will walk out with us, I don't need to be playing an instrument.
Just like that night at the Opry, about a month ago now,
[Bb] I believe it was the 21st when I was last [A] down there [N] with you guys,
that was such a magical night.
You and Marty were singing songs, and then Miss Loretta came out
and sang Will You Visit Me on Sunday with both of you.
_ Then you sang that wonderful Travis Tritt song.
I can't think of the name of it now, but it was just_
Seymour was the name.
_ _ It's a fabulous song.
Yes, it is a great song.
You sang it just in the perfect Connie Smith style,
just like you sing every song, but it was so powerful
with just the two acoustic guitars.
Marty, you were playing acoustic, and Rick Wright was also playing.
That truly was what they_
I've heard it referred to as an Opry moment.
That was a big one.
Sure, there was a second Opry moment there.
There were a lot of them that night, because of you singing with Loretta there,
Will You Visit Me on Sunday, but then you also sang I'm Blue, I'm Lonesome,
I believe it was, for the first time on the Opry.
That was great.
Good song.
Fabulous.
_ I know your time is coming down tonight.
I've got one request before we get off the air.
Sure.
I want to hear you sing the hook line to Once a Day for Connie Smith.
Okay, here, let me try.
_ I don't have my guitar, but_
Once [E] a day, every day, all day [Abm] _ [Ab] long.
_ _ Thank _ [Em] you.
Thank you, Paul.
Paul, I hope you have a great week, pal.
Thank you, I appreciate it.
Once again, let me thank you