By Matt O'Meilia
Can be an ex-library booklet, with library markings, good points, and stamps.Missing entrance flyleaf. Has little or no put on at the cover.Has fresh, unmarked pages. Binding is tight and in first-class condition.Buy with self belief!
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Extra resources for Garth Brooks: The Road Out of Santa Fe
To me, the only thing worse than being in a country band was not being good enough to play in one. Throughout the practice, there was little chitchat. Garth went through the song list, showing Tom and Jed the breaks and giving me the time signature, the tempo, and some important accents. By the end of the evening, we'd learned about twenty songs. I was rapidly being introduced not only to country music but also to a serious band work ethic. For someone who had never been part of a steady group to speak of, Garth ran a mighty no-nonsense rehearsal.
Jed was a friend of Scott Collins and Ed Eissenstat, the other two-thirds of my recently disbanded rock trio, Tons and Tons of Hair. Nuevo Wavo, the Strip's only psychedelic venue, was one of the few places in Stillwater that allowed us to play, mostly because the club's owner happened to be our manager. Jed often showed up when we played there, his Les Paul in tow. Usually he would just barge onstage right in the middle of a song and plug into Ed's guitar amp. Tons and Tons of Hair would then suddenly get fifty watts louder and ten times better.
I didn't wear rock 'n roll like a badge of honor, with long hair and tattoos and Page 22 leather and earrings and all of that gimmicky stuff. I never understood guys who felt it necessary to project such an affected, hell-raiser image all the time. Maybe they were afraid someone like Garth would ask them to play in a band. It would seem that the promise of steady money and parental appeasement would make the decision to switch musical genres a no-brainer. A decision-maker like Garth certainly wouldn't have made a big dilemma out of it.