Jimbeau Hinson - Roller Coaster Ride

Jules Bloeth
July/2010

                    Delivering his songs with a voice both powerful and soulful, Jimbeau Hinson is an entertainer, a songwriter, a vocalist, a husband to Brenda and a friend to many.  

                     I had the opportunity to sit down with Jimbeau and Brenda in their home at their picturesque ranch outside of Nashville, Tennessee this past May.   Sharing wine and songs, Jimbeau told hilarious stories that made us laugh until we were wiping tears away; it was the perfect way to spend a Sunday afternoon and it was truly an honor getting to know him and Brenda. 

Jules: You won your first ASCAP award at only 17 years old and signed your first publishing deal at 14?!  What has been your secret to longevity in the music industry?

Jimbeau: Longevity? It’s a God thang. That and a hard, stubborn head, a will of iron, and nerve enough to be myself in a town built on conformity. 

And correction, I signed my first pub deal at 16. I first came to Nashville at 14, did a demo for Glenn Sutton on a song he had written. His label (Epic) at the time was interested in signing me as an artist. But my voice changed at fifteen and I lost pitch attack for an entire year. I had been singing professionally since the age of 10 in clubs, lodges, talent shows, local TV and radio too. I was the little kid with a big voice, known as Little Jimmy Hinson back then.

I got a quote on Brenda Lee's MCA CD, ANTHOLOGY, Jimbeau Hinson proudly notes "as a child I saw Brenda Lee on TV and became one of the first male Brenda Lee impersonators appearing in and around my home state of Mississippi."    

I penned Miss Lee's last big hit, Broken Trust, the last cut on her life work CD set. She also released three other singles of songs of mine. She became a good friend and I am thankfully woven throughout the end of my first hero's biography, LITTLE MISS DYNAMITE.

Jules: What did you do that put you on the map at such a young age?

Jimbeau: There's a little dot called Newton, in the middle of the state of Mississippi, that marks the spot where I was raised. Born in Jackson in 1951, my father moved us to Newton when I was about three or four. He was a mechanic for the Ford's Ice Cream company there and kept the big delivery trucks running. My flamboyant mother worked in factories and eventually found her true calling as a truck stop waitress where she took on the nick name Little Red.

I can not remember a time when I didn't sing. Hard as it is to believe now, I was an incredibly shy, sensitive child; my voice was my backbone. Singing was also my release valve. When I opened my mouth out came all the pent up emotion I kept crammed inside my three foot five frame. People would turn around in mid sentence. By the time I was ten they were standing on chairs to get a good look at me. At 14, I had three major record deals from Nashville in my hand trying to sort out which one to go with when my voice changed. Puberty is hard enough for every child, but mine almost killed me. I lost my offers and my club dates. I did not know what to do.

Jules: When did you know songwriting and music was what you wanted to do for a living?

Jimbeau: [One day] hanging out at the local radio station, my friend and D.J., Holt McMullen, put on a record. I commented, "Who in the world signed this guy? He's not even singing; he's like breathing the words!" The D.J. said, "Oh that's Whispering Bill Anderson, he's a famous songwriter." It was like an atom light bulb went off in my head. That was it! I decided right then and there I would become a songwriter. In one year's time, I had written about thirty songs. I'd sit at my old upright piano and study the magazine Country Song Round Up, a publication that had stories of the stars and lyrics to songs with chords over the words.

I had met and done shows with Loretta Lynn the year before and we hit it off big time. She gave me her numbers. When she came back through Jackson on tour [around 1967], my mother took me to see her and Loretta introduced me to her publishers/ managers /Opry Stars, the Wilburn Bros. 

Back at the motel room after the show Doyle Wilburn handed me his guitar and said, "Play me some songs." I said, "Oh Mr. Wilburn, I play the piano I don't know how to play the guitar." He grimaced and took his instrument back and said, "If you're gonna write and sing country, you gotta learn to play the guitar. You can't be dragging no big ass piano around with ya." I told him what key I sang in and he hit the chord and I let her rip. His eyes got as big as Loretta's did the first time she heard me sing. After I had sung him a couple songs he asked, "Boy, how in the world does a kid your age write these kind of lines: I HOPE YOU FIND HER WORTH IT CAUSE YOU'VE GOT A LOT TO LOSE, I'VE GOT TWO OF THE BIGGEST, LITTLEST, EXCUSES FOR STAYING AND LISTENING TO YOURS?" I laughed and looked at Mama and said, "Well I grew up in a house full of red headed women, and all of their friends sitting around the kitchen table smoking and talking and..."

Doyle busted a gut and told me to get my little rear end to Nashville and he'd book a demo session at Bradley's Barn, use the same musicians Loretta used on her records." I did and it was an amazing experience. I stood in the same place Loretta, Pasty Cline and Brenda Lee stood and sang my little heart out. The Great Owen Bradley walked into the listening session and asked me how old I was. I said, "I'll be 17 in October." He smiled and said, "Well son you keep writing songs like that and you'll be the next Irving Berlin!" I said, "Thanks... who's that? I've never seen his name in Country Song Round up." With that the whole place exploded in laughter and we drove back to 16th Avenue where I signed my first publishing contract with Maple Music and walked over and joined ASCAP as well.

I went out on the road that summer with Doyle Wilburn and worked the Hap Peeble's fair circuit. Came back to Newton and graduated high school in 1969 and moved to Nashville. Got a room at the Y downtown and walked to Music Row everyday. Loretta and the Wilburn's wound up in a bitter court battle and I begged out of my contract within the first year there.

I signed with Booking agent Joe Taylor and he got me a recording contract with Chart records and I moved to its publishing company Sue-Merle Music. I charted all my singles under the name Jimmy Hinson. There, one of my label mates, Anthony Armstrong Jones, recorded a song of mine called SUGAR IN THE FLOWERS, about a little girl who  gets sick and dies. I won my first ASCAP award for that song at 17. 

I was changing as fast as the entire country was, growing out of my kid act, hanging out with hippies in Centennial Park. There was a war between the long hairs and the good ole boys. I lived with one foot in both worlds. I left the record label and decided to concentrate on becoming a serious writer like my hero at the time Kris Kristofferson, and of course Hank Sr. I had tired of the road the two summers I worked it with every major star on the Opry including Kitty Wells, Wanda Jackson, Hank Jr., Faron Young, Ray Price, Charlie Pride and the rest. I decided I liked the life of a writer better than the same old tacky motel room and greasy truck stop food. I worked clubs in and around Tennessee and Kentucky for a year and quickly grew tired of singing other people's songs five hours every night, and I was too tired to write my own.

That's when I met my mentor, Dick Heard. He was president of his own label (first Royal American Records and then GTR records). I was still contractually obligated to Chart Records. He produced my last session before I quit them. I moved into his attic and he would come home after a long day in the music business and pick apart my songs and take the time to teach me the real ropes of songwriting. Dick went on to produce all the Nashville segments for Entertainment Tonight, a job I actually got for him on down the line many years later. He died of lung cancer 13 years ago and I miss the Hell out of him. Greatest friend I ever had. He also wrote Elvis' hit, Kentucky Rain with Eddie Rabbit among other things.

The Oak Ridge Boys, the #1 white, gospel, group in the country had a receptionist named Karen Boulanger who was a good friend of mine. She said the Oaks needed somebody to fill the mail orders. I dove in, reorganized the whole outfit and in three months time moved up from stock boy to manager. I headed up Silverline/Goldline Music for the next five years. I was there when the Oaks switched from Gospel to Country and I traveled the world with them. It was a great time with a great bunch of guys. Of course the switch was costly. When the Oaks went worldly the gospel fan base dropped them like they had murdered somebody.  The Oaks couldn't afford to pay me and I worked for a year without a salary, took on a lot of crap jobs to pay my rent. I was a busboy, a cook, a waiter, and a bartender. Why so many jobs in one years time? I could not stand to be yelled at for something I didn't do. I walked out on them all for that reason and never regretted it.

It was at this time that I chopped my name from Jimmy to Jim Hinson. But because the Muppets guy, Jim Henson, rocketed to fame around then, I had to come up with another first name. So I made up Jimbeau and have been him ever since. 

My father passed in 1976 at the age of 58. I decided to move to L.A. and try my chances out there.

Boy, was I a fish out of water. Disco was in full swing and I was a hopeless romantic in a world of "ooh ahh love to love you baby." I was out there for almost three years working piano bars in Hollywood. In the interim the Oaks became the biggest thing in country music and they offered me a deal to come back and write for them again.  

I had a song on just about every gold and platinum album they did, including the title track on their triple platinum album and my first #1 country song FANCY FREE.  We built Silverline/Goldline Music into on of the leading independent Publishing companies in the mid 80's under the leadership of Noel Fox. I had recordings by Tammy Wynette, Reba McIntire, Rita Coolidge, Kathy Mattea, Patty Loveless, John Conlee, Connie Smith, and many more including co-writing HILLBILLY HIGHWAY with Steve Earle. I had two songs on his groundbreaking Guitar Town album. The Oaks sold the company in 1986 and I started my own company AMERICAN ROMANCE SONGS. Had another Patty Loveless cut and co-wrote the airplay record of 1995 PARTY CROWD with David Lee Murphy. Also had Ty Herndon, Michael Peterson, Tracy Lawrence, and again the Oaks were nominated for a Grammy for my song COLORS.

By the time songwriter rounds came into being with the advent of the Bluebird Café, I had developed a decent following on the songwriter club circuit. Dick Heard sent a video tape of mine into Star Search and I begrudgingly did it. To my surprise went all the way to the semi-finals.

For the last five or so years I have been involved with RPM music.

Jules: What were some mistakes or missteps you made along the way and how did you overcome them?  What do you know now that you wish you’d known then?

Jimbeau: Lord, too many mistakes to mention, but I like to call them sidesteps, all of which got me to where I am today. I have always been a passionate man. Nashville never really knew what to do with me as an artist. Guy singers just sort of stood there, strummed their guitars and sang like they talked, except for George Jones and Vern Gosden. I couldn't do that and be real. I chose to remain true to myself.

In 1980 I married my wonderful wife, Brenda Fielder, of 30 years now. She is the light of my life. She humbles me with her goodness and always reminds me to be my better self.

Jules: What are some of the things you do to ensure a successful co-writing session?  What kind of preparation do you put into it and what do you expect of the people you choose to co-write with?

Jimbeau: I find just talking, getting them to open up about themselves, is the ticket. I have a knack for that; people tell me all their stuff. Guess ‘cause I am so open about myself. Sometimes the first session is just that, but not always. Getting to know where a person comes from, emotionally, musically, all of it, I get a bead on what it is they need to say. I am message driven and language has a melody of its own.

Prepare? I come with my guns loaded. I've got a lifetime to draw from. They can't throw anything at me that I haven't been through. I expect only for those who write with me to come openly and honestly, to share the joyful spirit of songwriting, mixed with good food, if they come out to the ranch, and lots of laughs. That's all.

Jules: What is your advice to other songwriters struggling to make a name for themselves in Nashville and how would you advise them to make the most out of the trips they make to Music City?

Jimbeau: Don't let the big city fool ya.  The Nashville music community is like a small town; everybody knows everybody's business. So act like you're in a small town [because] you are.

Jeff Bates told me something his first manager said, “If ya wanna be Mickey Mouse you gotta move to Disneyland."

Get here, pay your dues. This town makes you take a number and wait... and in that line is where you learn what you are made of, how to make your songs a little three-and-half-minute mirror where the world sees itself and not just you.  

Also while in that long line you meet your peers, future artists, writers, producers, etc. In this day and time, you practically have to write the songs with the artist to get on the record. How you gonna do that somewhere else? Either move here or find a mentor here that you come here to work with often. 

Jules: When you sit down to write and nothing comes, what do you do for inspiration?  How often do you write songs and is it a routine or do you write when inspiration strikes?  

Jimbeau: I book appointments... Three to five a week. I find you have to set up a time, since I co-write, mostly.

Life is my only inspiration. I take notes when inspiration strikes. I call it "writing it down while you're living it up." I take those notes on napkins, matchbooks, etc., and transfer them to my workbook. When I sit down with someone to write I pull out my list of notes. You've gotta write it down or the universe will give it to someone who will.
 

Jules: Can you describe your songwriting process?

Jimbeau: There's like an imaginary window of creation inside me, where I go and sit quietly and get into "the zone" and become the song. I let the pencil do the work and try not to get between it and the paper, sort of like channeling. Of course I have the well used tools of song writing at the forefront of my thoughts and all that's important... but technical.  Its emotion that makes it human. If in the first writing session with someone, nothing happens, we just book another appointment. You can't go into this thing with any pressure of expectations. Can't put a time clock on creation. And sometimes you just don't gel with another creatively. When that's happened, I still made a friend and got to know somebody from the inside out... made a soulful connection.

Jules: How would you define the word “success” as it pertains to you both career-wise and personally?

Jimbeau: My career as a songwriter is about as personal as a job can get. Life, love, the pursuit of happiness with the disappointments, the fears, the pain that anchors all the good stuff... that's what songwriting is all about. And ya know, I can close my eyes at night and sleep, knowing I have forgiven those who have wronged me, but most of all, forgiven myself.    I've got my Brenda and the life we've built together [and she] loves me in spite of my faults, stands by me and up to me, no matter what. I love her with all my being.  Success is a relative term; it depends on your outlook. I strive to be the best I can be and try not beat myself up, when I'm not.

Jules: Are you able to differentiate between songs you’ve written that may in fact be good and others that stand out from the rest; ones you recognize have something special that give them hit potential? 

 Jimbeau: Songs are like children, some are prettier, some are smarter, some are fun to dance with, and some are just too sad to hang around for long. What makes a song special is the truth stated in a way everybody gets it. And a HIT RECORD is a combination of song, artist, label, producer, musicians, the social events and politics of the time. Yet the song is the beef in that big ole pot roast when it comes to country music. It takes all the above ingredients to make a HIT RECORD. But... it eventually falls to the public to decide if it’s pot roast... or road kill.

Jules: What do you look for in a hit song and how do you recognize it when you see or hear it?

Jimbeau: I feel it. Chill bumps, an unexpected watering of the eyes, a gut bucket laugh, or just a smile of recognition. I tell young writers, "Your every other line has to have a slap, a tug, a tickle or a panty wetter. You gotta grab one of those strings in order to pull a listening ear above the noise of life."

Jules: Out of all the songs you’ve written, do any in particular, stand out as favorites of yours? Why?

Jimbeau: So many... WHY ME... FANCY FREE because my mama's name is Frances. When I was about 19 she left my father. I was home visiting him, he was real torn up about it. Got back to Nashville and Roy August brought me a stack of ideas. I saw Frances in the title. Fifteen minutes later, through my father's eyes, we had a song. Eight years later it became my first #1 record.  There are too many other songs and stories of songs to mention.  But I'm here to tell you, every good thing that has happened to me in this business came from me reaching out and trying to help somebody. You wanna help yourself, help somebody else.

Jules: What are some of your favorite songs by other songwriters; songs that have inspired you in some way or made you wonder why you hadn't thought to write them?

Jimbeau: Hank Sr.'s songs, Kristofferson-too many to mention, Don Williams Sweet Dreams and I Can't Stop Loving You, Jim Weatherly Midnight train to GA and all the Gladys Knight and the Pips records he wrote, Willie Nelson-Crazy, Funny How time Slips Away, The Nightlife, so many, Dolly Parton, I have always just loved what she does, Carol King and James Taylor, Merle Haggard, Credence Clearwater records, all the Motown writers of those great records. So many from so many genres. Always loved stylist... singers with their own sound, Nina Simone, Timi Yuro, Billie Holiday, George Jones, Vern Gosden, Janis Joplin, Randy Travis, Loretta Lynn, Tammy Wynette and the greatest ever Patsy Cline, entertainer deluxe Judy Garland, Oh the list of inspiration goes on and on and there was always a song in the middle of it. 

Jules: I’ve heard your rendition of your hit song “Fancy Free” (by The Oakridge Boys) in which you spoke very movingly of your mother Frances and added a line about one day “setting Frances free” at the end of the song.  You’re such a dynamic, emotive performer; is it ever difficult for you to perform certain songs that you emotionally connect with more than others? 

Jimbeau: Fancy gets me sometimes, depending on my Mother's health. She's in dementia and one of these days, she won't recognize me. So, that’s hard to fathom, at times. But, I plow on through the terrible thought of that and use the emotion to connect with the audience. I've had numerous folks come up and tell me how touched they were by my story and talk about what they've gone through with their own parents. It hits a chord. The truth is I am wired for emotion.  It comes through me like electricity. Never could hold it back. It has a life of its own. And with Brenda Lee as my first hero, I learned from the best how to take a stage and hold it.

There are three loves in my life: 1) My wife, Brenda, 2) the writing of songs, and 3) singing those songs to a live audience. Never cared too much for studio work. You have to pull back so much. You can get away with murder on stage and not have to hear it back and cringe a million times! :) I am a stage animal, brought up in a time before monitors, you had to be loud to be heard. Gut bucket singer, that's what I am and will always be.

Jules: You perform frequently with Marc-Alan Barnette and also with Volcano of Soul.  Can you tell me when you first began working with and performing with Marc and how it came about?

Jimbeau: Years ago [in 1995] MAB (Marc-Alan Barnette) introduced himself to me at a bar downtown. Kim Tribble and I were doing a set of our songs. When I heard his awesome voice and he heard mine, it was fate. I love the guy. He is a genuine entertainer, his pacing, his timing, his energy always makes me feel completely confident with him at my side, on any stage. He is a jewel in the crown of Nashville. One that gets overlooked, in this youth-obsessed, image-crazed, chew ‘em up and spit ‘em out, town. But ya gotta love Nashville. And I do. Marc has opened his heart and home to newcomers and shows them around this business. It’s a great service he provides. He's my brother of song and stage. [They wrote their first song together, “Thing For You,” in 1997.]

Jules: Though you compose vocal melodies and have an amazing talent for vocal phrasing, you have told me "words are my strong suit" when it comes to songwriting and expressed how blessed you've been regarding the composers and musicians you work with.  Can you tell me more about that?

Jimbeau: Since I started out as an entertainer, when I began to write, I naturally wrote from the spotlight, meaning I ask myself, "Can I stand in front of an audience and sell this song?" Something most musicians do not do. They are focused on the sound, the chords, the movements between intro, verse, chorus, bridge, and ending. I am not a musician. I played trombone in high school band and taught myself how to bang out elementary chords on an old upright piano, I begged my father to buy for me.  Daddy couldn't afford to pay for lessons, and buy the piano. At the time country songs had three or four chords. Nowadays, for the most part, they are much more complicated musically. Once I moved to Nashville and understood what a great musician was, I was more than glad to lean on them.  I am thankful for the constant string of brilliant collaborators who work with me and I love each and every one of them like family. They are my brothers and sisters of song. There is a bond between us that transcends friendship. Most of us not only write, but we perform our songs together in writer rounds. That means road trips, hours up and down the highway, laughing and cutting up, club dates, shared meals, hanging out in motels before and after the shows. Even when it’s not the best gig in the world, it’s a blast.

Jules: What advice do you have for songwriters who are primarily either composers or lyricists?

Jimbeau: When you find yourself going around in circles as a writer, writing the same thing over and over again, it’s usually because you've got one good wheel. Find the missing wheel, be it melody or lyric. The town is full of great writers and musicians. And to me it’s as much about the hang as it is writing. Also, with a co-writer you have someone to bounce your ideas off of [as well as] their connections to up your chances at getting the song to the right artist/producer. Co-write!  Songwriting is a lonesome profession otherwise. 

Jules: What would people be most surprised to learn about you?  Do you have any hidden talents aside from your songwriting and performing skills people don’t know about?

Jimbeau: I can hurt you with some home cooking; it’s an act of love for me. I can build things, grow things, Hell I can do anything I set my mind to. Anybody can, as long as we can read. There's a world of books and Google at our fingertips. You just need the desire and the fortitude to keep at it till you get it right or at least livable. But I would put people skills right up there at the top. You gotta love people to write about us, understand what makes us tick, to stand on a stage in front of a room full of strangers and open yourself up, and bare your soul... you gotta love people.

Jules: How do you want to be remembered in this life?

Jimbeau: With a smile.

Jules: Early in your songwriting career, what were some of the biggest challenges you faced and how did you rise above them?

Jimbeau: Learning how to write true to myself and do that in a way that my truth is a universal truth. We all go through the same stuff and are already connected by that shared experience.

Keeping it simple, not to mix my metaphors, stay on message, if something feels weak, strengthen it. Find a fresh way to say the same old thing.  

The importance of the opening line... you get about ten seconds to make the cut.

Always on the search for conversational rhymes. Developed an ear that listens outside my ego, and not seduced by my own voice... but try to hear it as someone else would. Truth is, I still struggle with them all, but have gotten pretty good at it. I've learned to walk away from it, take a break and come back with a fresh mind. What ever the problem, it’s prone to jump out at me then. 

Jules: What are you working on now?  Any plans to do another album?

Jimbeau: I am a perpetual song machine. I am always working on songs. I am able to sing them out in public and rattle the rafters. As long as I live I will be putting together songs, recording them, making my own cds. I just made one called The Works. It has most of the hits and stage songs my crowd likes. I am proud of it. There will be more... as long as I'm still kickin'.

Jules: Aside from gherming* what are some of the most common mistakes you see aspiring songwriters make when they come to town and what can they do to leave a lasting - and good - impression upon the people they meet here in Nashville?

Jimbeau: First of all, I am not a fan of the word gherm. It sounds too much like germ! And don't we all start there? How ya gonna do anything unless you make an assertive effort to be part of this business? Of course one should always conduct themselves with other's feelings in mind and not be too pushy or you'll push yourself right out of a fine chance to make a good first impression. Mistakes... let's see... Maybe thinking your songs are perfect when they could use some looking over. Not being able to take criticism when given constructively without getting your feelings hurt. They are not really your children they are songs! And truth is, people who listen to songs for artist hear so many songs that you have to write as close to perfect as you can to even get in the listen again pile. Too many think someone stole their idea or a line out of their song. Ideas are in the wind. What made you think of it will make thousands think of it. We write about life. And I guess the biggest mistake young writers make is they have a hard time getting outside themselves. Quit trying to win a grammy and just connect with people. Awards are not the ultimate goal, musical connection is. And to answer your question on lasting impressions. Leave a trail of smiles, moments wrapped around your songs that folks recall whenever they hear them. Only way to do that is be a good a soul as you can be. Treat people like you want to be treated and be more passionate than most feel comfortable doing. Wear a heart full of songs on your sleeve and be proud of it.

[*Gherming is an expression used in Nashville to describe handing out unsolicited CDs to hit writers or trying to co-write with them or basically trying to get favors from people who are higher up the ladder of success than you are, in a socially unacceptable way.]

Jules: Any last thoughts or words of wisdom to impart for other songwriters?

Jimbeau: Yes, one more thing. Every writer’s first works are born from their pain. It’s the first time they sit down long enough to sort out their feelings and put them to music. And most are learning an instrument and can't play fast grooves yet. Nothing is more boring than one slow, sad song after another, when it comes to performing. People get uncomfortable. I mean they got a baby sitter, dressed, drove, parked, ordered drinks, the last thing they want is for somebody to remind them how much life can suck. People will just stop listening and start talking.

A songwriter writes songs for entertainers. Entertainers know you can't keep hitting the same sore spot over and over. You gotta touch ‘em all over. In a 45 minute set you get two songs to bring them down with, and make them killers, well placed between the fun, the grooves, the good things in life. Get off the "poor pitiful me" train; it doesn't go anywhere. And when you do your sad songs, for God's sake, put a rope of hope in them... or pass out the razor blades.  J Cheer up - life is not that bad.

Believe in yourself, when others don't. Trust your gut and not your pride. Do not take no for an answer, but listen to what feedback the business and your audiences, give you. Most importantly, if you are called to songwriting, you have to be willing to sacrifice practically everything for it before you ever get anything back. Hang in there, work on your craft, while you are waiting your turn. Make friends along your way. And good luck, you will need it. It's a roller coaster ride. When it works it’s the best, when it sucks it really sucks. When at the bottom, keep looking up... forward. When at the top, remind yourself there will be another bottom, lots of them, and don't spend all your money at the top of the hill! 

~*~ Exclusive Bonus! ~*~
An interview with Jimbeau’s wife,
Brenda Fielder!

Jules: What does it mean [to you] to be married to a creative soul? 

Brenda: Well, I can't imagine life any other way. There is never a dull moment!

Jules: Have you ever co-written with Jimbeau?

Brenda: Not exactly.  He doesn't write the checks and I don't write the songs. But my love life constantly shows up in some form or another.  The closest thing we ever came to a co-write was the practically word for word conversation we had back in the mid-80's that became a Patty Loveless cut and our 1st gold record for our new publishing company, I'M ON YOUR SIDE, written with Kim Tribble; also launched his new publishing company.  But, I have become pretty good at editing [Jimbeau]. I know when he can write a better line or make something more understandable.

Jules: How did you meet Jimbeau and when did you know you were in love with him?

Brenda: Ok, short version... We met at a club in Nashville in January 1975.  I was with a high school friend who was sitting in on drums with Elvis opening act VOICE. Jimbeau got up and sang BOBBY MCGEE, then MANDY.  I probably fell in love with him right then and there. I asked him to dance twice and that just clicked. I didn't see him again for 4 years. I went to LA to visit an old friend from my college days who had actually been roommates with my drummer friend from high school, and he and Jimbeau were now housemates in LA With two other guys.  Over the course of 1979 I made three trips out to visit my new best friends and we did become best friends.  Then, in November of that year the Oaks brought him back to Nashville to sign a new publishing deal.  He came to see me.  We spent the night on the bathroom floor and he never left.  That is when we officially fell in love.  We got married exactly six months later. 

Jules: You've been married for over 30 years...  What do you contribute to the longevity of your marriage?

Brenda: It was 30 years on may 9th. [Regarding longevity] complete uncompromising honesty, a good sense of humor, mutual respect, and a heavy dose of patience!  Being best friends first was important, plus you gotta love the life and I do.

Jules: You've been in the audience and watched Jimbeau perform the same songs and the same sets over and over again; as a spouse, what advice, if any, do you give him and how would you advise non-performing spouses when it comes to supporting their counterparts?

Brenda: Not to drink too much - that's the most frequently used one J (that was his line). He always looks best in black. I critique the stage patter and timing. Since I see these same shows repeatedly, I can tell him what works best.  To other spouses: always be there if possible, don't run your mouth during a song, save your critique till you get home and memorize ALL the lyrics for when he needs a human tele-prompter.  Also, keep a good job and consider the mailbox money gravy. Appreciate the creative soul for what he brings to the relationship and if you are lucky enough to have a hit, don't spend all your money at the top of the mountain. One hit doesn't guarantee a follow-up.

Jules: What do you most admire about Jimbeau professionally?  What do you most admire about him personally?

Brenda: I admire my husband more than any man I've ever known for so many things.  Professionally and personally really co-exist with him so first I would say his great mind, his great kindness, sense of humor, his ability to connect with such a wide spectrum of human beings and his openness to do that.  These are the things that make him a great songwriter and a great human being.

Jules: What would you say to spouses of songwriters who are in the beginning stages of their careers?

Brenda: Support the networking; that is where they really get a start. It doesn't matter how great a song you write if no one hears it.  And, they learn from each other in co-writing. The most success Jimbeau has had has come out of relationships developed when the artist was also at the beginning stages of his or her career. I won't list the missed opportunities we have let get by us, but you can't do everything.  Just hang in there and enjoy the process.

© 2010 Jimbeau Hinson
JLB Powerhouse Publishing
To email Jules Bloeth, click HERE.
Photos by Jules, at The Ranch.