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working at another ranch. I remember embarrassingly playing it for her. Pretty humbling as I don't
think she was interested! A close second was ‘Keep on Ridin’ about packing mules and horses into the

mountains. It became the title of my first album.

LL: Could you tell us the story of your career path please?

RB: Not sure where to start! I just wanted to play
music for a living and was driven more so than those
around me, it felt. I've been fired twice from bands

with members who just wanted to be weekend or
regional warriors. I always wanted to see the world
and make a mark. Still swinging that bat, I guess. I've
made it to 33 countries so far and just recorded album
number 19 with number 20 written.

Maybe off track with the question here but I feel it's
important to surround yourself with those who have

the same goals, not always easy to find. It was a hard
lesson to learn. Not having a mentor in the business
like some friends I knew, I made a lot of mistakes that
cost me some prime time in my younger days, some
I'm still paying for.

Which brings me to a song I just wrote and recorded
called ‘I Keep Movin’’ and that's what we have to do. I
plan on doing album number 20 this year! It'll be 40

years and 20 albums.

LL: Has living in Nashville been good for you? How
so?

RB: Nashville was a painful experience in the early years especially in the 80's, crooks for managers
etc. It made me a better songwriter though. Sitting in front of publishers (MCA and others) who would
tear your songs apart. Talk about ego busting and hurt feelings, but you get over it and do better.
Honestly until 2009-ish, I never felt I fit in. I've always been more of a “western guy” chemistry wise,
things just clicked out west from working with The Gordy's at Motown, to doing commercials in LA.
I did an album at EMI Music publishing in Nashville which was as a result of being under the Gordy
umbrella.

These days it's a lot more wide-open style wise and not so closed in one speed (Country). But harder
to get songs cut I'm told, as record sales are down. The labels want a piece of all, so you have to write

with the artists to assure a better chance at a cut. Which never hurt to do anyway.

Focusing on the positive upside Nashville has to offer; there's a lot of great everything talent wise
there, which is a blessing when looking for musicians, studios, agents, managers, publishers etc. I've
written and recorded with great writer/producers such as Ray Kennedy (Lucinda Williams/Steve
Earle and others), Tom Hambridge (Buddy Guy/George Thorogood and others), Byron Hill (97 gold