THE MAKING OF CASH CABIN SESSIONS, VOL. 3

In the most literal sense, Todd Snider’s new album, Cash Cabin Sessions, Vol. 3, is the fulfillment of a dream; not the aspirational kind, but an actual dream, a recurring dream Snider had about Johnny Cash after he first visited Cash Cabin, Cash’s recording studio now owned by his son, John Carter Cash.

It all started back in 2015 after Snider had been invited to the studio to observe country legend Loretta Lynn record a pair of songs they had cowritten, including “Everything It Takes,” which appeared on her album Full Circle released the following year.

A couple of days later, Snider had a dream in which he was at Cash Cabin, asleep in the middle of the floor in the studio’s tracking room with neither blanket, nor pillow, like he had passed out at a party or something, when someone nudged him to wake him up. When he opened his eyes, he saw Johnny Cash as he looked in his later years, dressed in his trademark all-black attire, standing over him.

Snider had that same dream two more times over the next six months and was pretty certain there was something to it, some kind of meaning, some kind of message, some kind of mojo. So in October of 2015, he booked time at Cash Cabin and recorded voice and guitar demos of a few of his songs, as well as recitations of some of his poems, just to see if something might be revealed while he was there, but nothing was.

He had the dream for the fourth time in the spring of 2016. That time when he woke up to find Johnny Cash looking down at him, the Man in Black spoke to him, saying, “You’re missing it,” then turned and pointed to a corner of the studio, inside the control room. That dream led to Snider’s band, Hard Working Americans, booking a weekend at the studio later that spring.

On that first weekend of sessions, John Carter came down to the studio from his house at the top of the nearby hill, and Snider told him about the dream in detail. “So I walked out with John to the spot and said, ‘I was asleep right here,’” Snider recalls. “And he said, ‘Well, that’s weird.’” He then went on to tell Snider that was where his father had actually died — Johnny Cash had spent his final days in the studio on a bed set up in that very spot.

Then they went into the control room and stood in the corner Johnny had pointed to in the fourth dream. “So we just looked at everything,” Snider continues. “We looked at everything on the wall. We looked at everything on the floor. I don’t know exactly what we thought we were looking for.

“We were in that corner, and John says to me, ‘So you think this place might be haunted?’ And I said, ‘Maybe.’ And he said, ‘Well, Loretta swears it is.’”

As John Carter pro-ceeded to explain, whenever Lynn records at Cash Cabin, she brings her tour bus and spends the night. One night around three in the morning when she was at the studio, he was awakened by some loud music. “I looked out my window,” he told Snider, “and Loretta was in my front yard dancing like a young, crazy woman to some loud country music.”

At that moment, he wondered if she thought she was dancing with his dad, so the next day at the start of the session, he said to Lynn, “You know, Loretta, I saw you last night. What were you doing?” “I was dancing with your dad,” she told him. He went on to tell Snider that later that night, he saw her dancing again.

Back at his house at the end of that weekend, Snider thought he might have found what he was looking for there, what Johnny Cash had tried to tell him in his dreams. “Later that night at home, I thought, ‘That’s my song, there’s our song.’ And I called John Carter and said, ‘“The Ghost of Johnny Cash,” what do you think?’ And he said, ‘Do it.’”

Listen to the new song: “The Ghost of Johnny Cash”

  • John Carter told me he saw her
    Outside his window dancing alone one night
    He got the feeling she was dancing with his father
    When he asked her she told him he was right

    When Loretta Lynn goes dancing
    With the ghost of Johnny Cash
    Father time takes forever and makes it look
    Like less than a lightning flash
    Violins bow into fiddles two iconic cymbals crash
    When Loretta Lynn goes dancing with the ghost of Johnny Cash

    They called her coal miner’s daughter
    The man in black was what they called him
    She come from old butcher holler
    He could hear that train a comin
    Coming down a bend

    When Loretta Lynn goes dancing
    With the ghost of Johnny Cash
    Father time takes forever and makes it look
    Like less than a lightning flash
    Violins bow into fiddles two iconic cymbals crash
    When Loretta Lynn goes dancing with the ghost of Johnny Cash

    Like a song into the ether
    Like a soul into the light
    John Carter told me he saw her
    She was out there dancing again
    That very next night

    When Loretta Lynn goes dancing
    With the ghost of Johnny Cash
    Father time takes forever and makes it look
    Like less than a lightning flash
    Violins bow into fiddles two iconic cymbals crash
    When Loretta Lynn goes dancing with the ghost of Johnny Cash
    The ghost of Johnny Cash

So Snider wrote the song and recorded it with Hard Working Americans when the band returned to Cash Cabin for ten days in the spring of 2017. During those sessions, they recorded more than an album’s worth of material which for a number reasons has yet to be released.

One reason Snider’s songs are so good is he doesn’t just toss them off; he has high standards. He often quips he can’t trust a lyric that hasn’t been around at least a year. By the end of the summer of 2018, Snider thought he had a set of songs that were ready to be recorded, enough for an album.

Five of the songs were songs he had recorded with HWA the previous year at Cash Cabin. While he liked the versions recorded with the band, his muse was leading him in the opposite direction, back to his roots as a folksinger. His muse was also leading him back to Cash Cabin; he was feeling like he still had unfinished business there, that he hadn’t yet found what Johnny wanted him to find there. “I had to go back to Cash Cabin and finish this thing,” he explains.

So he called up John Carter and booked the studio for the first week of October.

Text by Daryl Sanders. Photos by Stacie Huckeba, Brian Kincaid, Chad Staehly.

Cash Cabin Sessions, Vol. 3
The New Album – Available March 15th

Since Snider planned to produce the album, as well as play all the instruments, he asked his HWA bandmate and longtime confidant Chad Staehly to fly in from Wisconsin for the week and assist with the production.

Snider’s road manager Brian Kincaid fetched Staehly from Nashville International Airport that morning and took him straight to Snider’s house on Old Hickory Lake just outside the city. As Kincaid recalls it, “We got back to the house, and they dove right in, started talking about how many songs he had and started getting a plan of attack for the week.”

Snider played the songs he planned to record for Staehly and got his first impression: Staehly loved them. As Snider ran through the songs, they talked about the keys and ironed out a few wrinkles. Late afternoon, they loaded up the instruments Snider might need during the sessions and headed to the Cash Cabin where engineer Chuck Turner awaited their arrival.

“Todd is a classic artist, a classic singer-songwriter,” says Turner, who knew the kind of record Snider wanted to make and already had a basic setup in place. “Working with people like that, they’re spontaneous, and I knew that I needed to have microphones (positioned) in such a way that I could capture anything that might happen. So with that in mind, I went with a classic setup with a mic on his vocal, a mic on his guitar, and two ambient mics to capture the sound in the room.”

Another thing Turner had ready for Snider was Johnny Cash’s century-old Martin guitar. As you would expect of such a vintage instrument, the guitar has a beautiful tone, and as the studio’s longtime chief engineer, Turner knew exactly how to capture its big, warm sound.

When Snider and the others arrived at Cash Cabin between 4 and 5 p.m., he took a short walk outside the studio, soaking up the vibe. The studio is called Cash Cabin because the tracking room and control room were added on to an old cabin on the Cash estate in Hendersonville, Tennessee. The cabin was Johnny’s private getaway, a place where he often would commune with fellow songwriters, like Bob Dylan and Kris Kristofferson.

After his walk, Snider got right to work. With Johnny’s guitar in hand, he got settled at the microphones and began to warm up. Turner tweaked the mic setup a bit, then went into the control room and began working on the sounds. Staehly sat nearby, notebook in hand, preparing to track the takes.

Soon they were ready to begin, and Snider kicked off the sessions with “Talking Reality Television Blues,” a hilarious and irreverent chronicling of the evolution of television from its birth (“Of course, radio reported we’d all ignore it / The paper said we had no time for it”) to the present (“Reality killed by a reality star.”)

Watch the new video: “Talking Reality Television Blues”

  • Come gather round and I’ll sing you a song
    About a crazy old world that was coming along
    Til one day some fool made the decision
    To turn on the television

    Of course, radio reported that we’d all ignore it
    And the paper said we had no time for it
    But before you knew it you knew Milton Berle
    And we all had a new escape from the world

    All tuned in and before too soon
    We were watching a man walk on the moon
    He made it look as easy as driving a car
    Video killed the radio star
    I got the talking blues

    Talking blues are easy to do
    All you gotta rhyme is a line or two
    Rhyme a line or two and then
    You don’t ever have to rhyme again
    See?
    I can say anything I want now
    You know, within reason

    Say sitcom catchphrase game show nation
    Television soon defied explanation
    As the situation took to such a degree
    That eventually we’d hear about a cable TV

    Of course, free TV news swore we’d ignore it
    And the average family could never afford it
    But again they were wrong and eventually
    Everybody wanted their MTV

    We were all tuned in but now the shock
    Was watching a kid do a thing called the moonwalk
    Just sliding backwards really, eventually too far
    Reality killed that video star
    I got the talking blues

    So simple at first it was hard to foresee
    The impending collision with reality
    But it soon seemed TV turned on itself
    When “The Real World” came on like it was something else

    Of course, actors all acted like they weren’t floored
    Hoping eventually that we’d all get bored
    But one after another we pretended not to act
    As we hurtled ever forward toward alternative facts

    Then a show called The Apprentice came on and pretty soon
    An old man with a comb over had sold us the moon
    And we stayed tuned in now here we are
    Reality killed by a reality star
    I got the talking blues
    Hills, that is

They recorded thirteen takes of “Talking Reality Television Blues” that evening, but none were “it,” so they called it a night after a few hours, planning to resume work on the song the following morning. “It should be noted,” Staehly says, “we wanted to capture a performance of each song and not try to piece things together from multiple takes.”

Text by Daryl Sanders. Photos by Stacie Huckeba, Brian Kincaid, Chad Staehly.

Cash Cabin Sessions, Vol. 3
The New Album – Available March 15th

The next morning, Snider and crew picked up where they left off the night before — with “Talking Reality Television Blues.” The first take he did was the keeper, but he took one more pass at it just to make sure.

From there, he moved on to “Working on a Song,” formerly known as “A Song About a Song,” which is exactly what it was. Back in 1988, Snider had an idea for a song called “Where Will I Go (Now That I’m Gone).” He worked on that song for decades and thought he almost had it more than once. A few years ago, he started writing a song about trying to finish “Where Will I Go (Now That I’m Gone),” and that was the song he tackled next that morning. He recorded four takes and the fourth was deemed the one. Musically, the recording features some tasty fingerpicking by Snider.

While the first two songs he worked on that day went quickly, he did sixteen takes of the third song he recorded, a beautiful bit of nostalgia called “Watering Flowers in the Rain,” the title of which had been suggested by Staehly. He recorded a spoken word intro for the song in which he explained it was, “about a guy who used to roadie for Elvis and always kind of fantasized about it being the other way around.” The song was inspired by a former associate of Snider’s whose nickname was “Elvis,” and was one of the songs he had recorded in 2017 with Hard Working Americans.

Snider switched to a newer Martin guitar with a brighter tone for the song, and after five takes, he tried a new arrangement, which everyone liked. Then on take nine, he switched from the Martin to a Guild 12-string guitar and got the master take on take fifteen.

Out on the porch of the original cabin during a smoke break, Snider discussed the song he wanted to work on next, “Just Like Overnight.” “The song sounds like a story but it’s a list,” he said. “It’s a list of stuff that is gone.”

“Just Like Overnight” was another of the songs Snider had recorded with HWA. The first part of the song’s chorus, which Snider had since revised, succinctly expresses one of life’s big contradictions: It seems like day after day goes by like nothing is ever going to change / But just like overnight it’s like it ain’t never going to be the same.

Snider recorded fifteen takes of the song, the first ten of which featured a riff similar to one on the HWA versions, but on take eleven, he decided to go in a different direction. He cut five more takes using that approach and the fourteenth take overall was deemed the keeper.

“It sounds like a massive leap from where it was, but it’s not,” he says. “I just took the riff out and played the big major chords. It evolved into it’s own melody after I let go of the riff.” Snider also played some plaintive harmonica lines on the song during the breaks.

Watch the new video: “Just Like Overnight”

  • Chain smoking cigarettes on the airplane
    You were waiting right there at my gate
    We had to pull of the highway
    Just to find a payphone
    When that line was busy though
    You know we just had to wait

    Seems like day after day goes by like nothing
    Is ever going to change
    Just like overnight it’s like
    It ain’t never going to be same
    Hitting what you’re aiming for
    Forgetting what you missed
    Always seem to know for sure now is
    How we can’t go on like this

    Day after day
    It’s just like overnight
    Day after day
    It’s just like overnight

    We’ve been killing our time here now forever
    Since way back before all this so called reality
    Hell I remember when you used to have to
    Walk all the way over
    Just to turn the channel
    On that goddamn tv

    It seems like day after day goes by like nothing
    Is ever going to change
    Just like overnight it’s like
    It ain’t never going to be same
    Hitting what you’re aiming for
    You’re forgetting what you missed
    Always seem to know for sure now is
    How we can’t go on like this

    Day after day
    It’s just like overnight
    Day after day
    It’s just like overnight
    Day after day
    It’s just like overnight
    Day after day

Snider wrapped up the second day of recording with a song he was calling at that moment “Blues (In Quotation Marks),” but which would appear on the album as “The Blues on Banjo.” Another talking blues on which Snider shatters the notion you can’t play the blues on the banjo. Now Snider doesn’t really know how to play the banjo, so he removed the high G string and played the bottom four strings. “I played it like a guitar in an open D tuning,” he explains.

Snider hilariously opens and ends the song with the line, “I woke up this morning and realized that I repeat myself,” and in between, the hilarity continues as he artfully takes aim at an array of targets including mathematics, religion, financial institutions, the G7, television (again), the shadow government, and commercialization. Along the way, he also gives a nod to “Blue Suede Shoes” (“One for the money, two for the money, three for the money, four for even more money”). He also gives a shout out to his pal Richard Lewis and to Townes Van Zandt. Before he reprises the opening lyric at the end, Snider puts politicians in his sights with the closest thing the song has to a chorus, repeating the line, “They’re sending out their thoughts and their prayers,” four times.

Listen to the new song: “The Blues on Banjo”

  • I woke up this morning
    And I realized that I repeat myself
    I said I woke up this morning
    And I realized that I repeat myself
    I woke up this morning

    They say “One and one is two”
    But I have my suspicions
    I believe it may well be another one of these
    Crazy old religious superstitions
    Would you believe that the same financial institution
    Backing both sides of every war
    Since before the French Revolution
    Still run the Federal Reserve
    In all but just a small handful of nations?
    It’s a paperclip operation
    By even the most reasonable explanation
    It may well be the single longest
    Whitest Bronco chase
    In the history of the conspiracy of television,
    Is all I’m saying

    It’s one for the money, two for the money,
    Three for the money, four for even more money
    The seventh wonder was saying
    In seventh heaven
    Watching the seventh building
    Falling on nine eleven
    Screamin Lockheed Martin,
    Northrop Grumman,
    Honeywell and l3 communications
    These are the corporations
    Selling perpetual murder and mass destruction
    Under the false flag of my protection
    From the shadow branch of a government
    Still under the spell of its own addiction
    To untold commercialization

    Why it would seem easy to me to see
    Without too much hesitation
    How somebody could just
    Wake up one morning
    And come to the Richard Lewis
    Like conclusion and or realization
    That there was absolutely no hope whatsoever
    Left for even the slightest portion of our entire civilization

    So zippity doodah mother fuckers
    And zippity aye……..
    My oh my what a wonderful case of the blues
    I am experiencing today
    Why the air in my motel has been conditioned
    In just such a way
    That it seems like every single note
    I ask this priceless banjo of mine to play
    Takes the unmistakable sounds of my depths
    And my pains and my sorrow
    And turns them into some kind of embarrassing
    Sounding hope for a better tomorrow
    And that’s not me, that’s not who I am…

    You know we mistake desperate people
    For the devil all the time
    So there is no real way of knowing
    What kind of deal it was
    That I actually signed
    But it was my understanding that
    I would be the greatest blues guitar player
    In the world by now and I am not
    In fact to the contrary
    I am just another working fucking schmuck
    Out here standing around waiting to get shot

    In yet another tragic addition to
    An already sorry state of affairs
    With yet another set of politicians
    Taking to the top of another
    Set of courthouse stairs
    You know you are out of ideas when
    You get down to your thoughts and your prayers
    But that’s just what they are doing down here
    Down here on these courthouse stairs
    They’re sending out their thoughts and their prayers
    They’re sending out their thoughts and their prayers
    They’re sending out their thoughts and their prayers
    (allow 4-6 weeks for delivery)
    Sending out their thoughts and their prayers
    Well I woke up this morning
    And I realized that I repeat myself

After getting the banjo set up to his liking, Snider spent a few minutes warming up on it. Turner joked from the control room, “That sounds better than Bela Fleck.” Snider laughed and said, “Call Bela and tell him this ain’t that hard.”

After a short run-through, Snider was ready to try to get one, and he did. “‘The Blues on Banjo,’ that’s one take,” Staehly recalls. “And I just marked, ‘lightning in a bottle’ underneath the first take. I had him come in and listen to it, and we knew we had it.”

Text by Daryl Sanders. Photos by Stacie Huckeba, Brian Kincaid, Chad Staehly. Part 4 Coming Soon.

Cash Cabin Sessions, Vol. 3
The New Album – Available March 15th

Snider started day three with sixteen takes of “The Ghost of Johnny Cash.” Beginning with take six, he slowed down the tempo and started doing more fingerpicking, which he complemented with some haunting harmonica lines. In the end, they decided take seven was the keeper.

Next, he recorded another number he had recorded with his band, “Like a Force of Nature.” It’s a touching lament inspired by the transient nature of musical friendships, and like the previous song, features some haunting harmonica lines. It contains two of the best lines he’s ever written: May you always play your music loud enough to wake up all of your neighbors / Or may you play at least loud enough to always wake yourself up.

He recorded nine takes, but take seven was ultimately judged best. After they settled on the master take, Snider added some tambourine and other percussion to the track. “It felt like it needed a little bit of percussion,” Staehly says.

Listen to the new song: “Like a Force of Nature”

  • If we never get together again
    Forgive me for these fools I’ve been
    See if you can remember me when
    I was listening to my better angels
    Or just see if you can remember me
    When I was listening

    It’s like a force of nature
    Coming over me
    Well I can’t keep myself from moving
    It’s like a force of nature
    It’s like a force of nature

    May your hope always outweigh your doubt
    Until this old world finally punches you out
    Or may you always play your music
    Loud enough to wake up all of your neighbors
    May you play at least loud enough
    To always wake yourself up

    It’s like a force of nature
    Coming over me
    I can’t keep myself from moving, moving
    It’s like a force of nature
    It’s like a force of nature
    It’s like a force of nature
    It’s like a force of nature
    It’s like a force of nature
    It’s like a force of nature

Snider got one more song before they broke for dinner, “Cowboy Jack Clement’s Waltz,” an ode to the legendary record man drawing in part from his now-famous “Band Member Rules” and other thoughts he had about record making. Originally recorded with HWA, the song opens with one such thought, “There ain’t nothing wrong with a waltz as long as everyone’s playing it right.”

The chorus ends with a clever reference to the fact Clement was the engineer on Jerry Lee Lewis’s hit recording of “Whole Lotta Shakin’ Goin’ On” while lamenting his passing: This town will never be the same now that he’s gone / But there’s still a little bit of shakin’ goin’ on.

“That’s about as good as I’m going to be able to do that prob’bly,” Snider said at the end of the second take. Staehly and Turner agreed.

As Turner notes, “Todd’s become a fantastic guitar player over the last ten years,” and you can hear that clearly on the master take. Again playing Johnny Cash’s century-old Martin, he showed a confident touch, deftly transitioning between picking and strumming. But as strong as his guitar part was, his raw, honest vocal performance on the take was even more compelling. Snider sang his touching tribute to the Cowboy like he meant it, and he did.

Confident they had the keeper, Snider then added a mandolin part to sweeten the choruses using a rare Gibson Lloyd Loar F-5 with a beautiful tone which was on loan from John Carter.

At that point, they took a break for dinner, and when they resumed, Snider recorded a trio of covers. He wasn’t necessarily thinking any of them would make the record, but wanted to have them for possible B-sides.

He started with a song he’s been performing in concert the past year, “I’d Like to Teach the World to Sing,” which was written by his friend Roger Cook.

Next, Snider recorded “Free Bird,” a song he had cut a few years earlier during the Blind Lemon Pledge sessions. That night at Cash Cabin, he took the signature Skynyrd hit back to it’s folk roots with an achingly beautiful rendition. At the end of the keeper take, he joked, “I wrote that.”

He wrapped up the third day of sessions with an acoustic version of another rock classic, R.E.M.’s “It’s the End of the World,” which they had recorded in Nashville in 1987 at a studio originally owned by Cowboy Jack. Snider slowed the song way down and played some stirring harmonica lines at the end of each chorus.

“Hearing Todd’s interpretation of the R.E.M. song kind of floored me,” Turner says. “It was like, ‘Wow, that’s a really, really cool version of that; a killer interpretation. To me, the lyrics meant more in Todd’s version than the actual R.E.M. version. Slowing it way down like that and milking the words like he did, it’s like, ‘Wow, that song’s saying a lot.’”

Everyone’s reaction to “It’s the End of the World” was so positive that Snider would consider including it on the album.

Text by Daryl Sanders. Photos by Stacie Huckeba, Brian Kincaid, Chad Staehly.

Cash Cabin Sessions, Vol. 3
The New Album – Available March 15th

Snider spent all of day four in the studio working on another talking blues called, “A Timeless Response to Current Events,” with the unforgettable hook line, “Ain’t that some bullshit.” Snider calls bullshit on a laundry list of current phenomena, such as the people who are upset over the anthem protests at NFL games: When you allow good men to die for your freedom / Only later to recall them having fought for your flag / That’s some bullshit.

Snider did forty takes of “A Timeless Response to Current Events” that day. On take ten, he changed the feel, and on take fifteen, he changed it further. Even though he did twenty-five more takes, by mid-afternoon after listening to the contenders, they decided take ten was the keeper. Before calling it a day, Snider overdubbed some percussion to the track and backing vocals to the choruses.

Snider began day five with “The Comeback Special,” an uptempo number with some flashy harp work about his return as a folksinger after “singing in a jam band with a handful of guys I know” for several years: I’m back up and at ‘em, kicking ass and taking names / Just same as ever if not even more the same / I’m making a comeback.

Snider recorded twenty-four takes of “The Comeback Special” and take nineteen was deemed to be the master, but ultimately the song wouldn’t make the cut for the album.

Snider rounded out what would be a short day at Cash Cabin with four instrumentals, all under a minute and recorded in a single take: “This Machine Feeds Hippies,” “Name This Later,” “Suck My Dick,” and “The Legend of Col. Bruce Hampton, Ret.” Considering Snider’s love for Col. Bruce, don’t be surprised if the latter is released at some point as a B-side.

Listen to the new song: “The Legend of Col. Bruce Hampton, Ret.”

  • some day duane trucks will make a comprehensive documentary about the church of zambi
    its origins, its mysterious rituals, its cosmic giggle
    and its grand imagineer the legendary col. bruce hampton retired
    until then we have only this ballad
    to help shed some understanding on the long and complicated story
    that was the life and death of a comet. -ts

Text by Daryl Sanders. Photos by Stacie Huckeba, Brian Kincaid, Chad Staehly.

Cash Cabin Sessions, Vol. 3
The New Album – Available March 15th

After living with the fruits of his sessions at Cash Cabin for a couple of weeks, Snider decided he needed one more song, so he went back to the studio on October 21. That morning he tried a relatively new song, but quickly abandoned it. Then he started messing around with a folk arrangement of “Something Else,” a song HWA had released on Rest in Chaos. In that moment, Snider tweaked the words and came up with a new chorus: I’ve been framed / I’ve been framed / Like the first dollar bill on the wall / Framed.

“He just started playing that song (“Something Else”), and it was the first time I had heard him play it like that, and with those chords,” Kincaid recalls. “He was working that arrangement out in his head on the fly, and it was so cool, and so special, that we just kind of looked at each other and thought, ‘Oh my gosh that might need to be on the album.’”

Snider recorded three takes altogether — the third take was the master — and he did include it on the album under the name, “Framed.”

Snider took a break and then was joined that evening at Cash Cabin by Jason Isbell and Amanda Shires. They sang backing vocals on “The Blues on Banjo” and “A Timeless Response to Current Events.” In addition, Isbell added a backing vocal part to “Like a Force of Nature.”

Snider capped off the evening by letting Isbell add rock instrumentation to his guitar and vocal tracks on “Like a Force of Nature.” He liked the result so much he may release it at some point as a one-off single.

After another ten days living with the songs he had cut for the record, Snider decided he wasn’t completely satisfied with his vocal on “Talking Reality Television Blues” — specifically he wanted to take out “god damn” from the opening verse and vary the emphasis on “moon walk” later in the song. So he went back to Cash Cabin on the morning of November 1 to recut it, and got it on the third take. With that in the can, Snider could finally put the album to bed.

Text by Daryl Sanders. Photos by Stacie Huckeba, Brian Kincaid, Chad Staehly.

Cash Cabin Sessions, Vol. 3
The New Album – Available March 15th

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