View Full Version : Get Hot or Go Home:Trisha Yearwood,The Making of a Nashville Star

08-28-2002, 10:28 PM
I just found this bio about Trisha among many other bought but forgotten books on my shelf. Curiousity finally called. Look at what the jacket suggests:

Lisa Gubernick's Get Hot or Go Home is the inside story of the business of Nashville's Music Row...Gubernick followed Yearwood through her first year of fame...an incomparably revealing view of the life of a rising country star, and the price paid for glory.

From the back cover:

A remarkable feat of non fiction and an enormously important work of cultural inquiry...succeeds like no other book at conveying the contemporary process and price of stardom...captures not only the fragile essense of country music, but also the fierce assault its customs make on those who would embody it...cannot fail to strike a chord in a society that can no longer see itself in its daily mechanisms. ~Timothy White~
Ouch! That's from that editor in chief of Billboard who's sudden death at the office has recently saddened many, many artists and people in the business. James Taylor is one of the ones slated to do a tribute to him. And some country artists too I think.

A comprehensive, irresistable albeit disturbing biography~Publishers Weekly~
Ouch again! What does "fierce assault" and "disturbing" have to do with Miss Trisha Yearwood? Before I read this book now, wondering what's going on, maybe some fans already in the know can inform us about Trisha's real story? I don't believe I've ever heard it except on that Lifetime Intimate Portraits. Obviously this book is gonna tell some of the more day-to-day stuff through the eyes of the artist?

08-28-2002, 11:45 PM
I read the book for the first time not too long ago, and I really enjoyed it. It was brutally honest, and really did show how rough a time Trisha had that 2nd year. I have heard an interview with Trisha that said when she read the book she couldn't believe how unhappy she had been. I was really amazed at the schedule she kept. Wore me out just reading it. Definitely worth reading for all Trisha fans though. Makes ya realize that it isn't all glitz and glamour.

08-29-2002, 12:47 AM
yeah, she said that when the author approched her and said: I wanna follow you around for a year, she said: Oki, cool, why not? She also said she'd never do that again! Trisha said she wanted to make the book as honest as possible, she didn,t edit enything out of it, it's really that,s what I am that's what you're gonna show them. That resulted in the fact that she's read the book once when it came out and never read it again, she said it was too close for her to read it and like it. can't blame her there, I read it when I first got it three years ago and have not touched it since. Made me feel guilty of all the demands we have and of the price she payed (To us) for her dream. it, insightful, but makes you wondr if stardom is worht the price... maybe it was just a bad year! Or maybe ti,s because I just plain hate biographies, makes me feel like I'm poking my nose where it doesn't belong or something...

08-29-2002, 09:31 AM
I have never seen this book out anywhere. Is there a certain place where I could get it?

Love ya,

08-29-2002, 10:29 AM
Its an excellent book, not just about Trisha but about the business in general, and its well worth the read. I really cryed during parts of it-knowing how unhappy Trisha was, and how Hard things were for her at times, and how totally unfair people could be to her even back then. But it also showed me how strong and couragious she is, she didn't let it stop her, and it's not all bad and sad!! I've read it twice just to get an understanding of the industry.
Iwas lucky enough to meet with Trisha this last Sat. and had thought to bring the book with me for her to sign...when she saw it she said, wow, haven't seen this in awhile, not read it for a long time, I should again. I said, Hey', I've read it-what do you want to know? Trisha laughed and said, Thanks, that would be easier, or something like that....anyway, it was fun to talk about it some, and she did take the time to skim through the pics....Trisha is an amazing lady and I love that she not only allowed the book but that she was willing to keep it honest and real, and showed herself in it....not many will.

08-29-2002, 01:59 PM
Hey Sarah,
You might could try ebay, that's where I got my copy! I don't think they have a one on there right now, but keep checking back.


08-29-2002, 02:06 PM
I've read it also and it really gives you an inside look at the music biz. I never knew how difficult and demanding it is. I'm so glad and grateful that Trisha stuck it out and hopefully she's now enjoying and reaping the fruits of her labor, as they say.

08-29-2002, 02:30 PM
Oh you have me excited to read this now! I'm so glad to hear the book had Trisha's blessing, I was worried it was going to be one of those tell all tabloid-type stories.


08-30-2002, 11:56 AM
I got a copy of this book from Amazon.com - it was a used book. Actually there is an inscription in the inside front cover. No signature though, so I'm not sure who wrote it. I plan on bringing it with me if I ever get the chance to meet Trisha. It would be real cool if it was her writing! Though, I really don't think it is - because I'm sure she would have signed it.

I really liked this book. I only read it once and probably won't read it again for many years because as others have posted - it was brutally honest and at times pretty hard to read. I cried for Trisha too! The demands placed on her that year were amazing. Along with stuff that wasn't in the book that I remember about that year (like the rumors that she and Garth were having an affair - there was a brief mention in the book I think), it must have been one long year.

I think this year has been a real long one for Trisha as well (the whole Garth thing in the tabloids again!) - and I really hope she decides not to take too long of a break, but I feel that she more than anyone else really deserves to take as much time as she needs and I hope that the press will leave her and Garth alone for awhile! Let them figure things out on their own and when they are ready to share their personal life with us, let them do it! I'm as interested in their lives as the next person, but we really do need to give them space! Sorry I rambled on - but I get real passionate about Trisha! She has given so much of herself to her fans - she needs a break!

08-30-2002, 12:13 PM
I've read this book twice. I couldn't find it in a bookstore but I found it in my library. It's a good look at just how political the industry is and how demanding the business is on Country artists.

When you realize how very little time an artist has to themselves, you will REALLY appreciate the time that Garth and Trisha have given to their fans.

I would love for Trisha to write an autobiography!


08-30-2002, 11:26 PM
You guys are fantastic! And so is what I'm reading! Mostly good so far. I'm learning so much about Trisha, Garth, and the music business. And the comments here about how real the book is reminds me of how Garth has said Trisha is a Real Live Woman, just like her music. Her life speaks to us about ourselves too. It's so beautiful and touching how she does that for us. I'm sure, like Garth, she doesn't have a clue how special she really is to us.

The fact I got this book was a happy accident. I needed to add an extra title to get free with the offer that came with an order, maybe through Nina's Discount Oldies catalog? For some reason, Trisha made the cut. I didn't even know any of her music. :) I do now.

But this book has some tidbits absolutely worth sharing here. Jump in with lots of comments please! What a fascinating lady! This is gonna be fun!

In the Prologue Trisha's tour bus is described as "a forty-foot-long modified Silver Eagle with "Fantasy" etched in lavender across the back window". Anybody seen this bus? Memories please!

There's plenty of Garth quotes too.

About radio he says, "I'm not sure other formats are remembering that lyrics are what it's all about. We treat the lyrics like the woman any man wants to impress the most."

About the new Soundscan, computerized tracking of music sales, "It's like someone opened the closet door. Just because the light is on, does it mean it wasn't that way all along?"

About her first release, the Prologue says, "Trisha Yearwood was born of this prosperous new world. Her first single was the first debut by a female country singer to go number one; her debut album would be the first to sell a million copies in less than a year. She was no naif who pulled into the bus station with a suitcase full of songs. Her strategy for stardom was carefully cloaked in a business plan. Yearwood grew up in small-town America, but her parents had both gone to college. She had got her own diploma four years before-in music business."

About her manner and style of dress: "She wasn't quite comfortable with the usual accoutrements of country music queens. Her stage outfits were fairly understated. She had to be talked into sequins. Her blond hair was shoulder-length and simply styled, coiffed more Madison Avenue than Memphis. "I don't have big hair, and I don't wear fringe," was how Yearwood put it."
Debut at the Opry: "a rush of blond hair and blue sequins...In a beaded bolero over a low-cut black velvet gown - a piece of strategic satin added to make it just a bit less revealing - she looked like Ann Margret in training. She had the outfit, but she hadn't quite mastered the attitude."

Try telling THAT ONE to Garth! He should know!! :) I'll bet the gruling music business is where she got it finally. Clearly, she is to be admired as a real survivor. :)

08-31-2002, 05:13 AM
Am I the only person that didn't like this book? I think it has very little Trisha in there. Seems to me the author used Trisha as an excuse to promote the author's own agenda. Most of the chapters aren't about Trisha at all. You know the part about the bus fire at the Dupage County fairgrounds? Well I lived 15 minutes away from there and her description of the geography just doesn't make sense to me. Now if the author can't get a simple fact right, how can we trust her on the big stuff?

Could be when Trisha says she couldn't believe how unhappy she had been, she might actually facetiously be saying she was not that unhappy. I'm sure there was a lot of stress and new responsibility and mistakes made, but I have to say the cause-effects presented in the GHOGH book are described much too simplisticly. Trisha says she'd never allow such a biography again... no wonder!

I smell a mermaid in a sardine can.

08-31-2002, 07:49 PM
Well Teaser, I'll try to highlight the good stuff about Trisha, ok?
I know I've learned lots already from just a few chapters.

Describing Trisha's childhood bedroom as: "virtually unchanged since they(she and her sister Melanie), moved out. Two posters hang over Trisha's bed. One is a portrait distributed by a teen church group("the only social life there was," she explained) of a pensive teenager with the words "I'm afraid of tomorrow" above her forehead, and "Don't worry, I've been there before. Jesus Christ" at the bottom. The other, in multicolored script, reads "Never Lose Sight of Your Dreams". On the bulletin board Gwen has pinned a mother's proof of that promise fulfilled: a Xerox of a twenty-thousand-dollar check made out to Trisha Yearwood from MCA Records, her daughter's first royalty advance."

And, from chapter two: "Kent Blazy had believed in Yearwood from the beginning, introducing her to everyone he knew, anyone he thought might jump-start her career. One spring morning he invited her over to his house to sing a cut with another demo singer, an Oklahoman named Garth Brooks. Blazy had been wanting to get them together for months; he heard a match in their voices. Both sang country, but they shared a rock legacy - and a rock sensibility - as well.
The match worked. Brooks was taken by the strength of her soprano. Did she have a manager? he wanted to know. Not yet, she told him, so he offered to introduce her to Bob Doyle and Pam Lewis, who had just got him a record deal with Capitol Records("I've found her," he announced to Doyle and Lewis when he called them later.) He finished with another promise: If he ever got his own tour, he told Yearwood, he would use her as the opening act.
Nice compliment, she figured, but fairly meaningless. She knew Brooks had a record deal at Capitol, but it didn't amount to much. Afterall, he had yet to release his first single."

Wow! Garth offered Trisha all this before he made a splash? What did he really mean though when he said he found her? Has Trisha said?

Chapter two also connects her to Pat Alger, who :"heard Yearwood sing backup at one of Garth Brooks' showcases. He had been looking for a harmony singer for a one-shot deal he was doing at a party for another songwriter, Harlan Howard. "I called to see if she was interested..She was."

(Now we know one of the reasons Trisha was at Harlan Howard's funeral at the Ryman)

Pat Alger is the one to bring Trisha to the attention of Garth Fundis: "There was this big tall blonde with an amazing voice like I'd never heard before,".. and asked her if she "wanted to be an act."
Her answer of course was yes.

It ends with Garth's having held on to "She's in Love with the Boy", wondering what to do with it. Then he played it for Trisha at their second meeting: "Even before the second verse came on, she looked up and smiled. "I love this..This is my life."And so they agreed to work together, agreed to try to get a record deal."

You know what strikes me as so funny? Garth found her first, but another Garth took over her career from his. :) And yet, their ties to the same people remains to this day.

Regardless of what anyone thinks of this book, I figure it's gonna show the side of the music industry Trisha has survived and can not forget. Possibly because she is still living it. One example, that coalition of Don Henley's that she recently joined. Guess this business isn't all the glitz and glamor we see from our side of it.

Want me to keep sharing anything of interest, especially where Garth enters in?

08-31-2002, 08:11 PM
I haven't heard of this book at all, but it seems to be fairly interesting to me.

dale- I'd like to hear more about this!! do tell!! :D

Vanessa :)

08-31-2002, 09:56 PM
Describing Trisha's childhood bedroom as: "virtually unchanged since they(she and her sister Melanie), moved out.

HUH???? Who the heck is Melanie?? Her sister's name is Beth!!! I'd say the author should have done some basic fact checking. :rolleyes:

09-01-2002, 09:03 AM
LOL, I was afraid to say anything, but yes her sisters name is Beth.

09-01-2002, 12:43 PM
Let me go get the book and check. It's probably my mistake then!

Funny mistake!(I didn't know Trisha was Scarlett either!sorry): "Trisha, who played a tentative Scarlett to her sister's Melanie, had a harder time with her parent's conventions." If I had backtracked another pharagraph up I would have seen her sister's name is Beth. What's in a name anyway? ;)

09-01-2002, 01:13 PM
Ahh, I thought you were using a scanner, Dale. Thank you for typing all those passages in for us.

09-01-2002, 02:08 PM
Did ya's know Trisha had a yearlong deal with the Gatlin Brothers' producer? Trying to remember his name now. And she was invited to take the lead for Highway 101. But Trisha had her sights on making it on her own. Reminds me of that hellbent woman in "That Summer." :) So does the following..

But first, Garth Fundis had to find a label that showed some interest.

"Capitol Records was an obvious contender. The reason was Garth Brooks. Since that first meeting at Kent Blazy's, Brooks had recorded his second album for the label and invited Yearwood to sing harmonies on it. The relationship went beyond the studio; Yearwood had taken up Brook's offer to introduce her to his managers and had begun, informally, to work with them..Doyle...first to hear Brooks, the first to believe he could be a star. While he was still at ASCAP, Doyle tried to get Brooks a recording deal, and when that failed he started up his own publishing house - "It was time to move out on my own". Brooks was the first songwriter signed to Major Bob Publishing..he branched out into management..He had seen Lewis in action, he had been impressed..If it had been up to Lewis, Yearwood would probably have gone to Capitol. She thought that Brooks would make it easier to get signed; his success should have assures that attention be paid. But Yearwood was not convinced Capitol was where she wanted to be. For one, she didn't want it to seem that she was being signed as a favor to Brooks. Just as important, the head of Capitol, James "Jimmy" Bowen was, to put it mildly, not someone she wanted to work with...Yearwood had spent enough time circling Music Row to hear all the Bowen stories. The ones that concerned her the most were the ones about his reputation as a producer..Yearwood wanted a producer who would be involved in how her music was made. More specifically, she was determined to work with Fundis. She was afraid if she signed with Capitol, Bowen would pressure her to work with him...Bowen remained lukewarm. He had another young female singer, Suzy Bogguss, who already filled Yearwood's niche."

09-01-2002, 11:42 PM
dale- this is some really interesting stuff!! :)

Do you have anymore?? I can understand how you feel about the hellbent woman in That Summer. ;)

Vanessa :)

09-02-2002, 02:20 PM
Yes Vanessa. It is. But why aren't we all still talking about some of it? I don't get why everyone acts so gun-ho at first and then all becomes silent. Did I do something wrong? Has everyone lost interest? I don't know unless someone speaks up. I'd hate to think I'm wasting my time here, though I don't really believe that or I wouldn't take the time sharing it, ya know? As I share I learn alot off others feedback. And even more, get to know other fans through the process, not just about Trisha herself. I am trying to keep the lines of communication open at all costs. But dang if I don't feel like I'm just talking to 4 walls at times. This is exciting stuff!

09-02-2002, 10:07 PM
lol yes you did everything wrong! :p J/K yes I am still interested you are doing just fine :D

diem nash
09-03-2002, 02:45 PM
Iīm quite busy lately and canīt be here like I would. But I am listening to you, Dale. Itīs very interesting stuff.

Thanks a lot for sharing.

Keep spreading the world with love!

Love you!

Maddy :D

09-04-2002, 10:03 PM
from chapter 4:

"Dec 17, 1990, was Fundis's first day in the studio with Yearwood, his first recording date with a new act since (Keith)Whitley had died. He was nervous, and by the end of that first day every bit of anxiety was realized..."She's in Love with the Boy" was meant to capture the rush of first love. It should have bounded with energy. But while the vocals were there, the instrumentation was listless. Yearwood was not happy. Fundis was frantic. Though he had set up the showcase, had helped her get the deal, there was nothing legally binding them. "Here I had gotten this far," he worried, "and now I'm going to lose her."

Yearwood just kept repeating, "It's just not rocking, it's just not kicking my butt." Then she came in with the last Keith Whitley album and put it on the tape player. "Now that," she said, "kicks butt."

(As you can guess, Fundis rehired Whitley's band, reuniting them for the first time since he had died.)

"Yearwood put the final vocals on that first album on May 1. Shortly thereafter, MCA put her on a nationwide bus tour...It was Yearwood's first real tour, and it wasn't hard to see she was green. Dramamine did little to help the nausea that set in as soon as the bus set out on the highway. Even though all she did was sing a short acoustic set with a guitar player, she was so nervous before each performance that she broke out in hives.. There was no polish, just a small-town girl in blue jeans singing about first love. "Those branch managers saw her as this simple country girl," said Walt Wilson, head of marketing at MCA Nashville and her escort on the tour, "and they fell in love." That marketing tour, as well as it went, was still fairly standard stuff for a brand-new act. After that, there was nothing standard about Trisha Yearwood at all."

I wonder what the writer meant by that? Maybe some long-time Trisha fans can help us out with that one? Clue us new-comers in?

09-04-2002, 10:09 PM
I think she is referring to the fact that shortly after that she would be the opening act for none other than GARTH BROOKS! She gets reviewed as "the singing stick" at those concerts. Imagine being Trisha back then, she had only performed in front of small crowds before, and suddenly she was thrust in front of Garth's crowds of THOUSANDS!

09-15-2002, 10:42 PM
Yeah. Garth does seem to keep coming in and out of the picture ALOT in this book. So does Don Henley. :)

I'm slowly getting through this thing. I hate to rush through and miss the goodies. Here's some of the best from chapter 15. :)

The part of her address at the 10 year anniversary of her high school graduation that I liked best: "One thing, though, I did want to tell you how important it is to set a goal, even if it is something totally unattainable. I don't remember when I told my parents, 'I'm gonna be a country music star'..But if I didn't believe it could happen, it never would have happened. Whatever your goal is, no matter how farfetched it seems, don't be afraid...". Afterward "The students and faculty stood and applauded, then the school principal took the podium and declared September 19, her birthday, Trisha Yearwood Day and gave Yearwood a parchment scroll honoring her "scholastic excellence, her perservance of a dream, her commitment to family and roots." :)

09-15-2002, 11:01 PM
by now Trisha's life is getting so busy even Kent Blazy is beginning to miss her.

"Mostly, Yearwood looked past the flotsam, the floundered marriage, the friends who had unintentionally slipped by the wayside, songwriters and musicians who had been part of her life as a demo singer, who had tried to help when she was looking for a deal, who had never heard from her after her career turned asteroid. "I would have figured she would have kept in touch," said Kent Blazy, the writer she had met in college, who had introduced her to Garth Brooks. "The last time I ran into her, she said, "I'll call and give you my new number.' I tried to get a couple of messages to her, but I never heard back. Maybe I just overestimated our friendship."

"It wasn't that Yearwood wanted to erase the past, she simply felt she didn't have time for it. "I haven't talked to Kent in about a year, but I do talk about him," she said, as if invoking his name was penance for moving on. As she had told that crowd of reporters in L.A., the only ones she kept close were her family - father, mother, sister - her fulcrum as she tried to balance her public and private lives."

Wow. That sure brings a bigger perspective to what's behind "(Honey Can You) Squeeze Me In." Her friendship with Garth though seems to have run deep all through this time because they worked together so much? I'll bet she's finding out better how to squeeze in old friends as she spends more time with Garth. Then again, maybe not. ;)

09-15-2002, 11:51 PM
"there isn't much socializing among the stars, a function, as much as anything, of the fact they are rarely in Nashville at the same time. There are really only two places where they see one another: backstage at the myriad award shows and in the studio, where they do the harmonies that call back the origins of country music. They are sort of like so many class reunions; no one is expected to keep in touch until the next time around.

When she got to Jack's Tracks, where Brooks was working, the singer asked her to do harmonies for a half dozen songs, four for The Chase and "Unto This Night" and "Silent Night" for his upcoming Christmas album. Afterward, she handed him the tape of "Nearest Distant Shore" and adding her own voice to the harmonies in "Wrong Side of Memphis."...Brooks walked through the door just before 7:30. He was wearing his usual studio uniform: Oklahoma State sweatshirt, sweatpants, Ball sneakers muting his "weight-lifter-in-toe-shoes walk," as one journalist had described it. He did not wear a hat.

Brooks gave Yearwood a quick, generic hug before he headed into the studio. By 7:40 he was in the sound booth, working over the chorus on "Nearest Distant Shore." Three takes later, he was finished. "Just put it way back on the mix," he said laughing. Way, way back."

As he headed out through the control room, brushing Yearwood's cheek with a kiss, she tried to hand him a green AFTRA card for his signature. He pushed it away. "You don't need that," he said. "We're friends."

"..she got home to find a message from Don Henley, asking which song she wanted him to do harmonies on...He preferred "Walkaway Joe."...Yearwood was happy to accomodate him...In terms of preparations, Henley's appearance might have been a lunar landing. It wasn't that his needs were complicated - a chauffered car, a hotel room...his outfit hewed to the Texas/LA axis - black jeans, black T-shirt, faded jean jacket, slightly scuffed oxblood cowboy boots, and sunglasses, worn indoors...By seven-thirty Laney was playing "Walkaway Joe," and Henley was listening and pacing..he heard it five more times before he felt ready to go in and work on his vocals..."I don't want to tell Don Henley he's flat," (Fundis said)...As Henley worked, Yearwood listened not quite believing that this voice she had grown up listening to was now trying to work with her licks. "Trisha," he said, after one of the lines of the chorus, "sing me this lick, because I'm trying to sing it like you are." She started laughing. "That's a Don Henley lick..I learned that little trill from you.".."There are a couple of things in Hearts in Armor" I'm not happy with," he told her. "I'd like to come back and work on them."...They ended up at the Country Cabin...talking about the difference between rock and country stardom. Henley never let himself be photographed with fans, he told her. That's the way the tabloids get your pictures. And he refused to sign autographs. They too, ended up being sold. It was a strategy meant to keep fans at bay, lessons no country star could afford to learn..."

No wonder Don Henley had trouble trying to sing harmonies with Trisha on "Walkaway Joe". ;) Didn't Garth end up replacing him on that? And given the fact that Garth and Trisha obviously only had time for a friendship on the run making music, it's beyond me how some thought there was more going on there. What about Don Henley though. Did they ever date? (Trisha and him I mean.) ;)

09-16-2002, 03:19 PM
Hi Fuzz, no, Don Henley sings Walkaway Joe with Trisha, Garth sings it live sometimes with her because he says its one of his favorites, even though she sings it with "another man", lol! And no--Don and Trisha are friends, but didnt date that I know of, I do know that she attended his wedding though! I think its so cool how they all can work together!

09-17-2002, 01:09 AM
Oh. Ok. I see. How do you like it with Don's vocals? I have never heard it sorry to say.

Also, I saw that Trisha was then getting in deep with Reynolds, but it was like it was the other two, Garth and Don, that really appreciated her talent by working with her so much. Did she do anything with Robert besides follow him at his shows?

09-17-2002, 11:50 AM
LOL, you mean other than marry him? Trisha and the Mavericks did some songs together, Something Stupid being one--and Raul worked with Trisha on several of her songs, and Robert was in a few of Trisha's videos. I think they enjoyed it! Even now Trisha and Robert are still friends, which I think says alot!
As for Don on WJ? I LOVE IT! They have so much fun working together and it shows, and the video is great!

10-06-2002, 11:26 PM
I'm still slowly but surely reading this book, wondering what to share. It becomes very apparent at the close of chapter 21 that Trisha KNOWS what she's talking about with (Honey Can You)"Squeeze Me In." She's living it afterall.

...she was worried about "Down on My Knees." Was there too much echo?...She reached Fundis at a quarter to eleven at Georgetown Masters, where he was putting the final touches on her album.(Hearts in Armor)
"The mix sounds good," she said, sounding altogether unenthusiastic. "The new viola lick is cool - but I still don't like the acoustic guitar." Then she paused, "Don't you think there might be too much echo on 'Down on My Knees'?"
Fundis was silent. He'd had mixed feelings about the acoustic guitar himself; omitting that was no problem. But "Down on My Knees"? That, to his mind, was one of the best, most powerful cuts on the album. He couldn't understand what bothered her. She agreed to listen to it again and call back later.
Yearwood hung up the phone and sat still for a minute. She went back out to the bus to play the tape again. She pulled out her calendar, trying to figure out just when she'd be home. There, before her, were the next three months. The blocks of spaces and dates overwhelmed her. It would be October before she had any time to herself, autumn before she could expect to see Reynolds again. The video was over, and the album, the most important thing of all, was finally just about finished, and she wasn't even there to see if it came out right.
She finally was a country star, really had her tour and her album, and it felt as if she had mortgaged her life for a dream. She sat there, on the velveteen sofa, in her stateroom in the back of her bus, and she cried.

At this point, I'm hoping Trisha finds her life again before the book ends? If not, I'm gonna be hoping and praying she does soon. Maybe somebody who knows the real story can tell us what happens? Also, I'm not familiar with most of the songs on the mentioned album. Maybe knowing some of the words will enlighten us why Trisha was bothered by "Down on My Knees" having a supposed echo? Maybe it was hitting very close to home at the time?

10-07-2002, 12:02 PM
Dale, this was the one passage in the book that turned me off of the book. It's the way it's written, like the author is omniscient. This is how a fiction author writes. Not only is she describing the phone call, but Trisha's thoughts as well as Garth Fundis'? How is that possible? I would have liked to have some supporting corraboration... I heard this part of the telephone conversation, so I asked Trisha what was going on.... I later followed up with Garth Fundis and this is what he told me. See, none of that is in the book. Sorry, but I just don't trust this author.

The Heart's In Armor CD is on my Trisha top 3 list. Musically, I think it's Garth Fundis' best produced album. I love it. Yes there is some echo in Down On My Knees, not a lot though. It makes the song sound lonely... melancholy. I think it's pure genious. I don't know if he toned it down a tad or not from where the book writes about it, but the final cut is brilliant.

10-08-2002, 12:29 AM
It sounded alot like real life to me and how hard it must be in the music business if you're a woman. I know I couldn't keep up with the pace they had Trisha on at this point so far as I've read. It seems almost like she's losing touch with her music and loved ones as well.

10-14-2002, 01:09 AM
I'm not sure Trisha's life has calmed down some since Hearts in Armor came out. The saddness to me is how the competion makes you act and do things differently with former relationships. I did see things I didn't like about Trisha's actions and attitude, but hey, she's only human like any of us. If I talk about hers and not mine first wouldn't be right, having never been in her shoes. Think about what a book about any of us, written by someone always "right there", would expose about us personally?

And I wonder. Did Revlon ever actually put out the Wild Heart Perfume? What do you think of this from the epilogue?

As for Revlon, she was convinced that as long as the image conveyed on the perfume jibed with her aesthetic image, it could do no damage. "They told me that a hundred million people buy Revlon," she said. "That's a potential audience for country music, a potential audience for me - people I can't get to another way. No matter what I do, I'm being marketed. Why shouldn't I try for more exposure?"

I just wonder if there's such a thing as being over-exposed and marketed? And I wonder if this has something to do with why Garth told Pat Quincy that with Chris Gaines they had to create the need for his music rather than fill the need.

Also, the writer, Ms. Gubernick, closes with some source credit notes:

I spent seven months in the studio and on the road with Trisha Yearwood. I was at meetings with MCA executives when they first heard her album and when they decided on their marketing campaign. I augmented all that reporting with interviews afterward. I witnessed the vast majority of the scenes depicted in this book; the others were drawn from those additional interviews.

Some of those scenes are not too pretty. I'm trying to remember some of the prettier ones. :) I'm not sure enough of those were mentioned.

10-14-2002, 03:12 PM
Hey - I thought I'd post this little bit in this thread. I had a meet 'n greet with Trisha at AC on 10/12 and one of the items I brought to be signed way this book. Some of you may remember that I posted before that there was something written in the front of the book - with no signature. I asked Trisha if she wrote it - she said "No, it's not my handwriting" - then she read it, and said she really liked it though, and asked me to email it to her!!! So the mystery of who wrote in the book and why continues....

Anyway - I also mentioned that I had read this book about a year ago and it really made me sad for her. She said.. I haven't read the book in years, I read the dailies as it was being written and thought "Man, I sure sound sad!" She said it really wasn't all that bad - but that year of her tour was tough! It did get better... I was glad to hear that! I said I am so glad that you stuck with it, 'cause it sure seemed like a lot. She mentioned maybe reading the book again, something about it being easier to read now...

Thought you all might be interested in what Trisha had to say about the book.

10-15-2002, 12:04 AM
Yes! It was great! I wish Trisha could be here herself commenting further. But it's good to know she's looking back now on those tough times as a survivor who made it. That's what really matters. For her and our sake, and for the sake of the music.

Also, I see I got Pat Quigley's name down as Quincy. Sorry Pat!

I know Pat doesn't work for Garth's label anymore, right? I wonder who's "creating the need" for Chris Gaines now? Just wait till The Lamb comes. Can you imagine a "caught-off-guard" Capitol Records trying to find themselves "filling the need" practically overnight with nothing to fill it with because they weren't ready like they should have been? I hope they have been smarter than some of the press thinking this project is "dead" as Chris. There is something behind this that's bound to surface sooner or later, and in whatever form necessary to take it there.

Hey! Here's a question someone should ask Trisha. If she plans on still being involved in the project. Afterall, she's all over Chris' music. :)