Drumming his way to his own beat, Bill Gempler

I first saw Bill Gempler drum in 1971 when the Monticello Pep Band came to play a show at our High School. I was really impressed with the fact they had a drummer with a full drum kit in their Pep Band and we only had a snare drum, bass drum, and a cymbal. He could really play the drums! The next time I saw Bill was in the late 70’s playing drums for the Hard Times Band. They were the shit back then. A 6piece Country-Rock/Outlaw Country band out of Monroe Wisconsin. They were the band that I idolized. They played everything from Merle Haggard, Waylon Jennings, David Allan Coe, Marshall Tucker Band, and the Outlaws out of Tampa Florida. Dual lead guitars, bass, a very carminic lead vocalist and an unbelievable drummer Bill Gempler.

So when I started this magazine I thought the first drummer in it should be one of the best drummers, people, and all around top notch musicians I know Bill Gempler!!!

So, Bill tell me about your musical journey!

Bill: Around the time I was 7-8 years old I started playing accordion. I took lessons in New Glarus from Mrs. Streiff and was a member of New Glarus Glarnerettes. I was influenced at an early age from watching my mom and sisters yodel with my mom playing accordion at festivals around New Glarus and Monroe. And from the stories my dad and uncles would tell me about their band back in the 30’s and 40’s lead by my Grandfather on bandonion performing at all the big dances around southern Wisconsin. When I played my accordion for my relatives they would always tell me I had that Gempler meter. I didn’t know what they were talking about back then, but I noticed by playing those simple old ethnic songs made them tap their toes and smile. My dad always told me when we would go watch Roger Bright, The Stateline Playboys, Russ Wilson, Greg Anderson or Verne Meisner that if I really buckle down and get good at accordion I could be up there someday making $100 a night. I remember asking him years later when he was back stage at one of my gigs with Hard Times when that was going to happen, LOL. I was playing drums at the time. Guess I should have stuck with accordion.

When I was in the 6th grade Ken Krattiger the band director at Monticello Schools got the school to buy a late 60’s Ludwig five piece drum kit.

I would go at recess and watch Steve Pedersen( sadly Steve Pederson passed away the end of November 2022) play this kit. I would sneak in and watch Steve practice. I signed up for band and asked to play drums, but they had too many drummers already, so I took up the cornet. Soon after the practices started someone quit the drums and I was able to move over to percussion having never even touched the Cornet thankfully. I remember fiddling around with the kit when I could and I would try to copy the fox trot, waltz and polka beats I heard on my parent’s Roger Bright and Verne Meisner albums. One Saturday night my dad came home and said that the band at the Casino, a supper club up the street in my home town, needed a drummer that night because their drummer couldn’t make it. It was the great Swiss Yodeler, Betty Vetterli and her husband Roy’s band. I told him that I didn’t want to go but he tempted me when he told me they would pay me $20.00. I went up there and played Roy’s kit playing all kinds of old time and fox trots. I can’t even remember if I did it right, but they raved about it and gave me my $20.00 at the end of the night. My first paying gig.

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After practicing and getting better in the late 60’s I started playing that kit in the band room by myself at noon. Playing the simple rock licks that Steve always played. In around 1970 we got a new band director and he allowed me to play a few songs on the Ludwig kit at middle school band concerts. That was unheard of in those days to have a trap set player in school bands. He then went with me to by an old sixties era Ludwig five piece kit, orange sparkle. I bought the kit and purchased a set of vintage Zildjian cymbals for $60 through the school of which I still have the ride and play it every night. When I got to my freshman year I started to play with the pep band. My big song was Hawaii Five O. Using the rock beat I learned from Steve Pederson with the quarter note fills. I thought I was going to be a rock star. I practiced every night at home with head phones on learning drum licks from old Chicago and Deep Purple albums and drove my parents and the neighbors crazy. My mom would flick the lights on and off when I was to stop as the nick knacks were bouncing off the shelves.

In 1971 I was walking home from school and there were two guys standing out in front of our house waiting for me. I asked them if they wanted some night crawlers because I was selling them to make money at the time. They said that they heard that I knew how to play drums and they were looking for a drummer for a house band at Stubs Hideaway Supper Club in Dayton, Wisconsin on Friday, and Saturday nights. I guess my dad had bragged to Stub that his son plays drums. They said they would pay me $25.00 a night. I went in and asked permission from my parents, and it is history from there. My dad had to go with me because I was under aged. The Band was called Gary Stryhn and the Stardusters. Gary and a sax player named Don Burgess were great singers. They influenced me to sing harmony and pushed me to yodel using my Swiss influence from my mother. While playing with them I learned many different types of country, big band and dance rhythms and I had my first taste of playing lockstep with the bass and contributing to the sound of the band. I learned the appreciation for the standards and artists like Johnny Cash, Hank Williams, Ray Price, Elvis to name a few. I also realized how important it is to emulate the actual style of the music and how important it was to the other musicians and the people on the dance floor. It was my first real professional gig as a full time member of a band. After being the house band at Stub’s for a year we ventured out to all the super clubs and dance halls around Green, Lafayette, Dane and Iowa counties performing. I even started to make $30.00 a night after a while. I was underage at the time and for a long time my dad had to come with me to the gigs. But after a while the band guys snuck me in and I even passed for 18 years old because of my height. Don’t tell anybody, but I even snuck an adult beverage once in a while.

During that time in ’71 or ’72 I met Mark Gruenenfelder, and he asked if I wanted to jam with him and a couple guys from Blanchardville, Dave Hardyman and John Roethke. I hauled my drums up to old Karlen’s Hall and Mark and the boys hauled their old Kustom PA and equipment up to that old hot hall and we practiced. We never really played a gig but we did learn Smoke On The Water and some other Deep Purple songs pretty good. This gave me a taste of playing in a rock band. After the Stardusters disbanded because Gary moved away, I started to get called up to play with many of the local polka bands around the area. They were bands that I had watched with my parents and it was a big deal in those days. In the middle 70’s I was called by Roger Bright and asked if I would be interested in playing some weekends at the New Glarus Hotel. His drummer, the famous Gene Tebo, had some family issues and was unable to play for a while and he needed a stand in. I had the honor of playing with my musical hero for a couple years along with the great Karl Gmur on bass and Denny Anderson on banjo. I was asked to sing some of his famous songs and yodel some of the great Robbie Schneider hits. Most of these songs I could sing and yodel from memory from listening to Gene, Robbie and my Mother for so many years in my youth. Was a great learning experience in performing with great musicians in their genre and taught me that performing in a band is all about melting your talent with the other members to get the greatest sound with emphasis on making people have a good time. I also learned that when you are a sit in musician you do your best to play in the style of the band. Specifically, Roger’s band was in the Slovenian style which became my primary polka drumming style after that experience. I was paid $30.00 on Friday nights playing downstairs at the old bar at the Hotel. And $40.00 a night playing upstairs on the big stage. So I was starting to make some real money, I thought. Lots of great memories. I had the opportunity to play behind polka greats like Frank Yankovic and Joey Miskulin a few times during that tenure with Roger and the boys. I was awe struck. During this time period I was also honored with drumming and singing on some of the local polka band recordings. This was starting to get serious.

Continued on page 26-27

Bill Gempler from page 25

In 1977 while playing with Roger Bright, Greg Wild, who was a family friend and former member of The Blue Diamonds, came to the stage at the New Glarus Hotel and asked if I wanted to join the Hard Times Band. Their original drummer had been killed in a logging accident. He asked me to come to a practice with him, the Stocker boys, and Ronnie Gutzmer. We went through a bunch of Haggard, Waylon, Willie, and Marshall Tucker songs. They did a cover of Heard it in a Love Song by the Marshall Tucker Band and it really sounded great. Listened to the song 30 times on a tape they gave me before auditioning with them. We played Are you Sure Hank done it this way by Waylon Jennings for half an hour just jamming. I really got hooked in that one session on the country rock genre and thought this was my next step towards stardom. I went back to see Roger Bright to tell him that I was leaving to join the Hard Times Band. Roger was a great mentor to me and understood that I wanted to spread my wings. I think at that time Gene Tebo was also starting to come back to New Glarus to play more so I would have been out of a job anyway. I took my old Ludwig 5 pc kit and went to Greg Wild’s basement for several weeks to practice and prepare for my first gigs with The Hard Times Band. They told me that I had to have a Cowboy Hat and they gave me a Hard Times T-shirt and we played our first gig at Dirty John’s Saloon in Monroe. When I got to Dirty John’s early to setup my drums, Mort Armstrong was waiting for me and helped me setup my drums. He was also a family friend and one of my drumming heroes after watching him at that time with Horsefeathers. I was already sweating and nervous but he calmed me down and just told me to have a good time and just keep the beat. He had the best right foot for country music. (Mort Armstrong is in the Iowa Musicians Hall of Fame) . Mort was one of the drummers that influenced my technical style throughout the years. Eventually the band changed with the addition of Gary Hendrickson on lead guitar and John Wartenweiler on bass. Dave Aherns soon joined too. These guys, along with Bill Stocker, formed our own guitar army. I sold my old 60” s era Ludwig kit and bought an acrylic, blue Pearl 9 pc monster kit with the addition of roto toms. Going for the big time, I guess. We moved our sound to a more Outlaw Southern Rock style in our playing and with this change got to play bigger clubs and festivals opening for some bigtime acts. Even before the addition of John Wartenweiler, Bill Stocker’s brother Denny played bass and we had already had the experience of fronting big acts like, Grampa Jones, Hank Jr., Jethro Burns, Daisy Dillman to name a few. We played the Church Key in Madison which got us into Headliners fronting Jerry Jeff Walker. This was a turning point for us. I was able to quit my day job and just play music full-time for a while which was probably not a great idea looking back. We acquired a management firm and started to travel all over the Midwest playing all the college towns. In 1979 there was a terrible truck accident where three members of the band were seriously hurt, and we lost or damaged most all our equipment. After the guys recovered, we went back on the road in a big GMC straight truck with a sleeper in the back for the band. Quite the experience traveling in that sleeper and moving a truck load of equipment in and out of venues all over the Midwest for a year or so. Midst that time Gary Hendrickson left that band, and we took on another guitarist to accompany Dave Ahrens and kept going on the road for a while. In about 1980 I realized that the road life was starting to take a toll on me and my young family. I decided to leave Hard Times and settle down for a while. Get a real job and live like normal people. But it was always good to see that the great Bill Stocker, the head guy in Hard Times, kept that band alive with many new members through the years. I, Gary Hendrickson, and John Wartenweiler even had the opportunity to get back together with Bill Stocker for a reunion shortly before Bill’s passing. I always thought of this as a blessing and am always thankful for the opportunity to play with those Stocker Boys.

In 1981 Gary and John called me and asked if I wanted to start a wedding dance band. You could make good money and did not need all the large equipment you did for a road band. We thought we would be just playing a couple gigs a month, ha ha. Gary had seen Dale Ward of Homer Bedloe fame, from Belleville playing and said that’s the guy we need in our band and that’s how Sidewinder got started. Dale had a voice real close to Doug Gray from Marshall Tucker and we thought that we would go in the direction of a country rock cover band and Dale’s vocals would really add a great touch. We started to practice attempting to learn an entire night of songs and ended up playing a few weddings and parties the next few months. We stopped in one afternoon as a band after practice at the Riverside in Argyle Wisconsin to listen to the Gruenenfelder boys jammin there. I remember all the brothers were there along with Mort Armstrong, Dave Cassidy and the Kittleson boys from Country Four fame. We sat in and played a couple tunes which was our first opportunity to jam with our fellow local musicians. This actual night, Paul Gruenenfelder was injured in an automobile accident on his way home from this jam. Was terrible news as we had just had the opportunity to play with him that day. We were then asked to play for a benefit at the old Village Inn in Mr. Horeb for Paul Gruenenfelder along with other great bands in the area. After we played that gig we got our picture out and a write up in the Madison Music Sheet which got our name out and about. I really believe that this was a turning point for the band and we no longer were just a part time wedding band any longer.

Playing places like Pott’s Inn in Cross Plains Wisconsin and Madison area venues such as Gillies with Sidewinder were some of the best playing jobs ever! We were right in height of the urban cowboy era and were covering all the current dance hits we could think of. We were drawn in by the screaming crowds and the ability to play songs perfectly every night without being completely sober, to be a little sarcastic. We were blessed with having our great friend, Dan “Honker” Palmer as our road manager and sometimes lead singer which made the gigs all that much more fun. We played many local festivals with other great local bands which gave us an opportunity to party a little with our friends we didn’t normally see because we were all playing all the time. I sold my big blue Pearl kit and went to a Ludwig Power Tom series four pc kit. The kit had a big 26” kick drum, 16” mounted tom, 20” floor tom and a 9” deep wood snare. A real man’s kit. We were starting to play a lot of rockabilly, blue grass and outlaw country style songs and I thought the look of this kit would show better. Dale took up the steel guitar, mandolin and fiddle which added a lot wider genre to the band. We then got into the 80’s era pop cover songs more later on and decided to get away a little from the country based genre and change our name to Johnny and Gate Crashers. After a whirlwind for another couple years, Dale Ward decided to leave to take a break for a while. I, Gary and John played three piece for a short while which was a little awkward not having the great lead vocals and showmanship of Dale Ward, but we stumbled through it. We then had the opportunity to bring on a young keyboard player named Jimmy Voegeli. Jimmy needs no introduction these days.

He is the great blues keyboardist, singer, songwriter, and leader of the Jimmy’s. An award winning blues band who also has my old bass playing buddy John Wartenweiler laying down his usual steady bottom beat as always. We then cut the Johnny off of our name and just went by the Crashers. In the 90’s, because of job and family obligations, I decided to leave the Crashers. What was great about this move was that I was replaced by the famous Mauro Magellan of the Georgia Satellites. Mauro had moved to the Monroe area and was gracious enough to go with the boys after my leaving. Gary Hendrickson and I had played together in polka bands through the years even while playing with Sidewinder and the Crashers. So, I did do some side man work with Gary playing with some great Slovenian style polka bands around the area through those years between the late eighties and later 90’s. Gary and I even had the honor of recording on a Grammy nominated album with Gordy Hartmann called Polkaholic. I worked in some stand in jobs between working fulltime just for fun through the late 90’s and into the later 2000’s. Nothing serious. I had the opportunities during this period to go back to my roots and record some Slovenian and Swiss style polka music with Gary and bands like Mike McIntyre, Gordy Hartmann, Greg Anderson, Mike Schneider, and Tom Brusky, to name a few. In around 2008

Gary and I started to play some weekends at the New Glarus Hotel with Keith Zwiefel of the State Line Playboys. A little later on Mark Gruenenfelder, my old buddy from back in the 70’s came on as a fourth pc and base player. I was thankful to be able to play on that stage again with memories of Roger Bright and Karl Gmur going through my head every time we played a Roger Bright song for the crowd. After a while I started up again playing out and about with Keith more and receiving calls to play one night gigs with other bands around the area that needed a drummer for the night. I even have had the opportunity to play with Mark and Greenfield Brothers once in a while. My experiences over the last fifty some years has given me an ability to play with many different types and styles of bands. I have realized that I really do not have a favorite style. I love the challenge of trying to emulate the style of the band or music I am currently playing and just contributing to the sound of band. I really try to play the songs as written. Being a cover band, I feel it is important to honor these great song writers and musicians by not butchering there music if at all possible.

I look at my job in a band as always working to make the band sound good. It has never been about the money. If it had, I would have starved to death a long time ago. A great band leader told me many years ago that if you are in it for the money, you should just quit and go make cheese. I always wanted to play with people who strive to entertain and to make the crowds feel good. I still wait for that time during songs where you feel like you are tied at the hip with the other band members and the crowd feels it too. I am so thankful to have been able to play with musicians who feel the same. I notice now in my 60’s that many of the bands active are the same age, doing the same thing as me. Very few young people out there starting up bar bands like we did. I hope it is not a lost art. It is hard to explain to young people how you played to packed venues with full dance floors of screaming people and you were just taken to another world for a few hours a night. It may had been dangerous and wild for all the band members and fans, but I don’t think we regret any of it. I am also thankful for my family’s love of music and for instilling that in me at an early age. I still get a tear in my eye every time I play an old waltz or yodel an old ethnic Swiss tune. I can see my parents, friends and relatives who are long gone still dancing out there with smiles on their face. I hope I still have that Gempler meter. That is my payment after all these years.

Bill currently is playing with Keith and the Klassics

Bobby Bare, Still doing it his way!

Bobby Bare is one of the all-time greatest country singers to ever call Nashville home! Bobby Bare deserves to be and should be in the Country Music Hall of Fame! Bobby Bare is my hero!!!

Bobby Bare stands tall and is easy going as Joyce and I met him at the RFD Television studios in Nashville in April 2012. He was there to tape a segment of Larry’s Country Diner. The television station is awe-inspiring and a little intimidating to those of us not use to the bright lights and constant action going on behind the scenes. Bare as he is known in Nashville circles is calm and not at all affected by the whirl wind of activity going on all around him. He takes the sound stage and makes it his own. He jokes with the audience and the cast like they are all his old friends. Bare sings four songs including That’s how I got to Memphis and Marge is at the Lincoln Park Inn both written by his old friend Tom T. Hall, Streets of Baltimore (one of my favorite all-time songs), and the Mermaid Song. I am awe struck by the way Bare delivers these songs and how he has the audience in the palm if his hand. After the show taping I finally get my interview with Bobby Bare!

AG: Bobby it is a wonderful opportunity to get to finally sitdown and talk to you!

Bare: Better late than never! (laughs). I owe you an interview!

AG: So how’s fishing been lately?

Bare: Well I got this rich friend down around Waverly how builds his own boats and has his own lake there. I was catching 10 pounders. It’s not real fishing though. In a week or so I’m going bass fishing at Dell Hollow, now that’s real fishing!

AG: You have had a long and varied career singing great songs. How do you go about picking songs to sing?

Bare: I just listen to songs that hit me. I get them from many places. Most of the time a friend will tell me about a great song that they have heard and I get a copy of it and take a listen for myself. That’ how I usually find the really great songs. Sometimes I go to great writers and ask what they have. Sometimes a publisher will call me and say “ you ’ve got to listen to this song.” That’s what happened with Tom T. Hall’s Lincoln Park Inn. His publisher called me on Thanksgiving and said you’ve got to come hear this song right away. So I got in the care and drove downtown and gave it a listen. It was a fantastic song! I said “ yea you ’re right” and I recorded it. Of course I was a big fan of Tom T.’s anyway and to get to record one of his songs just made it better.

AG: You have cut a lot of Tom T’s, Shel Silverstein, and Bob McDill’s songs. In fact my favorite Bobby Bare song is McDill’s Put a little lovin on me. How did you go about picking that song?

Bare: I did a whole album of McDill’s songs called ME &

McDill. We went down to Muscle Shoals and cut that record. I just love McDill’s writing.

AG: Did you use the Muscle Shoals musicians to cut the record?

Bare: Sure did. WE used all those hot pickers down there. They are all so great.

AG: One of my favorite albums of yours is the one Rodney Crowell produced. You had so many great cuts on that record. New Cut Road, White Freightliner Blues, Call me the Breeze, etc. I love the way you cut Call me the breeze. My band plays it the funky way you cut that record. The groove you had is incredible.

Bare: That album Rodney brought in most of Emmylou Harris’s Hot band to play on it. Tony Brown, Emory Gordy a great bass player, Albert Lee, and Ricky Skaggs. We cut a couple Townes Van Zandt songs. I had met Townes back in the late 60’s. I had an A frame cabin on Centerville Lake. Mickey Newberry had the place next to mine. I was standing out on the porch and Mickey came over and said “Bobby there’ s someone you need to meet”, and it was Townes. He sang Tecumseh Valley and I loved that song and never forgot about it. When I went to record with Rodney one of us brought the song up and we both loved it so we cut it. I still think I cut a great track with that one. I had also cut Four Strong Winds by Townes way back in the 60’s. He had a song I had always loved called Summer Wages and I recorded that too!

AG: That is a fantastic album. One of the all-time greatest ever cut in my opinion! I told Rodney that when I interviewed him. He told me that it was one of his favorite records he ever worked on.

Bare: Well thank you. I really loved making that record. It’ s got a great songs and sound.

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AG: You were one of the first people to stand up to Music Row and get to cut your own records producing them and picking the pickers to play on them. How did that come about?

Bare: I’ll tell you how that all got started. Chet stopped producing in the late 60’s. Elvis came to town and Chet was producing him. He would come to town and mess around and not get started recording until two in the morning. Chet was producing 20 plus others acts and he just got tired of it, so he quit producing. They stuck me with a lot of other producers and it just did not work out.

I had always wanted to work with Jerry Kennedy and my contract was up with RCA so I went over to Mercury with Jerry. We had good success. We recorded That’s how I got to Memphis, Come Sunday, I took a memory to lunch another great Tom T. Song. My contract ran out after two years at Mercury. Jack Clement was trying to get me to come to JMI records and Chet was trying to get me to come back to RCA so I went back. I told Chet you got too many producers over here and it’s too confusing to me. Chet said “why don’t you produce your own records? I’ve known you long enough that I know you know what to do.” I did Ride me down easy and then I put out an album of the same name. Then I started doing stuff completely out in left field for Nashville and RCA standards. I was working with Shel Silverstein and snuck in his stuff before anyone knew what I was doing. Jerry Bradley was running it by then, and he told me “If I had known what you were doing I would have stopped you right the!”

That was about the Time Waylon and I were real close friends. I told him what I was doing and he went to RCA and told them he wanted to produce his own records. They were not real happy about it, but they had to let him. That opened up a huge can of worms! It was really not a big deal for me but when Waylon did it the dam broke and the rest is history. The was not really a big “Outlaw” thing like the press made it out to be.

AG: Walt Houston played guitar for you for a long time.

Bare: I really miss him.

AG: Well the first time I ever got on stage to play Country Music was with Walt Houston in Verona WI. He was in a band playing with Jim Dawson. Dawson walked of stage to get a drink and Walt said over the mic "is there a bass player in the house”. My friends pushed me out of my seat and Walt through the bass over my neck and away we went. I played three songs with him. Walt was the best picker in town at that time and it was quite an honor to be able to play a few songs with him.

Bare: Any train wrecks?

AG: No it went pretty well. Walt was great about telling me the chords and changeups. He told me what to play. It was a blast.

Bare: Walt was a good one!

AG: What’s upcoming and knew for you?

Bare: I’ve got a new album coming out in Scandinavia in the latter part of May and a tour in June. I wrote or co-wrote all the songs on this record. A song that I co-wrote and sang with Peter got entered into the Euro song competition and became a hit there. It’s the same contest that launched ABBA, Julio Escalis, and Engelbart Humperdinck. It’s been around for over 50 years. It’s bigger than American Idol is here.

I’ve got a lot of fishing trips coming up. I’ve got a two week trip in a week from now.

AG: Is your wife good with all this fishing?

Bare: She is now! (laughs) She wasn’t always good with it. We went through a period of time when the word fishing was considered the “F” word (laughs)!

AG: How long have you been married?

Bare: Since 1964. It’s sneaking up on 50 years. Way too long for her to get mad anymore about fishing! There’s not a lot she can do about anyway!

AG: Joyce got that way about my guitar buying. She doesn’t say anything anymore.

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Bare: How many guitars do you have?

AG: Oh about 45.

Bare: Heck if things get tough you can get on eBay and sell them and have enough money to live on for 10 years or so (laughs)! Bobby Jr. does that all time. They just did a movie about him following him around for a year and filming. They were over at his house and he has his guitars hanging on the wall. He was showing them to the camera and telling a little about them, and I steeped in the row of them. When he came to me he said “next to my Les Paul is my dad, and this is the bass Waylon gave me”, and then moved on to the next one like I was part of his collection.

AG: So what’s after Scandinavia?

Bare: I got some Fair dates coming up and some Casino’s. I usually book dates in the summer where I can go fishing. Wisconsin, Minnesota, Michigan places where there are good lakes a lot of fish.

AG: What advice would you give to an artist starting out today?

Bare: It’s something that you’ve got to love and have such a passion for you’d do it for free. If you don’t have the passion for it you will never make it. I was eaten up by Country Music. That’s all I could think of when I was a teenager.

Today if you are good you can build up a following and maintain them through the internet. That’s a huge advantage over the way I and all the others had back when we started. The bigger you can build that the better it is for you. If you can get 5000 fans to follow you on the internet you’ve got 5000 fans already to buy your record. That is huge! Plus you’ ve got 5000 people to come to your shows. If you can get

Every issue we will go back into the archives of the Americana Gazette and reprint an article.

We hope you enjoy these reprints and the nostalgia that they bring!

10,000 hard core fans on the internet in your herd you are home free. That’s like having a 1,000,000 record seller.

You’ve got to nurture that. If you do the big money record people will come and find you! They have no choice!

AG: Thank you so much for your time and this interview

Bare: You are Welcome!

Andy Ziehli

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