Johnny Gimble

To join Bob Wills and the Texas Playboys was like throwing a baseball around in your front yard and somebody coming over and signing you to play for the New York Yankees.

I've always liked the stuff that kicks.

When I get asked for advice for a young person starting in the music business, I tell them, 'Play every chance you get, and be real lucky.'

I asked the man on the phone from the National Endowment for the Arts what this fellowship entailed, and he said, 'Well, first there's $10,000.' I asked him, 'Can I pay it in installments?'

When the doctors showed me an X-ray of my brain, they pointed to a black hole on the upper left side and told me that all memory from that spot was dead. I thought to myself that I hoped that's where I kept 'The Orange Blossom Special.'

I had a stroke in December of '99, and it affected my left side - my fingering side.

Mostly, whenever I'm booked to do instruction, I just play a little bit and get people to ask questions. We'll play some music for 'em, 'til somebody hollers out, 'Play 'Milk Cow Blues' or 'Play 'San Antonio Rose.' We play requests and demonstrate our music.

I wasn't really an old-time breakdown fiddler.

I tell my audiences today that I served 10 years in Nashville! That's a joke, of course; I was grateful for the work. Bob Ferguson, who produced Connie Smith, Porter Wagoner and Dolly Parton, started calling me in.

I was never very good at picking cotton, and then I only made fifty cents or $1 a day. People would work for $1 a day during the Depression. So we would get $2 for playing music and just having fun. I think that as a result of that it was not just the money, but we enjoyed doing it.

Texas was home. We went to Anchorage to get rich in 1959. Someone told us, 'If you drive a nail, you could make $100 a day in construction work.' We were hungry, and we stayed there for a year and a half. But I never did plan to stay there - the same with Nashville. I was gonna go up there and work, but Texas was home.