MAB Q&A

Thank you for that Shelly. Actually a funny part about that song, "Never even called me by my name" by David Allen Coe and Steve goodman, written in 1977 was that NOBODY was even writing about that train and mama stuff even back then. Passenger train service died out in the late 50' early 60's and we were in a counter culture revolution where people HATED their parents and were never saying anything about them. The getting drunk stuff is always there except now it is about the party!
Important history lesson! Good to heR from you. Congratulations on your contest winnings!

Hello Everyone,

The Old Dog here about to chime in after several days of lurking in the background.  I would like to report from my living room and reviel I have changed several lines to lyrics and several pairs of underwear since my last post (sorry Girlfriends for that image).

It's just that sometimes a fresh line, in your lyrics, can make you feel better about a song; as a fresh pair of underwear can make you feel better about yourself.  However, that is where the comparison stops.  I may send off a set of lyrics to the MAB for his critique; but I would never send off a pair of average and over used underwear for his evaluation.  

How does that relate to the conversation about song contests???   Hell,  I don't know.  Don't expect the Old Dog to make any sense.

I'll just say this about what I've observed concerning human nature (myself included).  We all want to be good at something.  We all have a desire to improve and be our best, even though our best may not come close in comparison, to those that are the best  in whatever chosen profession our dreams have led us towards.  Whew!!!   That's pretty deep for the Old Dog.

The entertainment industry has made millionaires out of many people over the years.  Today, the best chance to become an instant millionaire is to become a signed professional athelete.  Not so many years ago, the atheletes made very little and the music industry gave their artist's and songwriters the best chance for fame and fortune.

Awe, maybe there is the root of the problem.  We all want to become millionaires and have instant gratification by means of fame and fortune.  Not anything new to the human nature; but as MAB points out; not so realistic to most of us trying to reach our dreams in the music industry.

MAB often uses an analogy of the golf game.  I don't recall his exact words, maybe he will tell us again; but it's something like every young kid that picks up a golf club and dreams of winning a Masters, wants to be rich by being the next Tiger Woods, Sam Snead, Jack Nickolus, Arnold Palmer; or whomever.  The truth is; for every major chamion in golf that make a living at it; there are ten's if not hundred's of thousand golfers that will never make the big time.  However, they all love the game and try hard to improve their scores every time they go out on the the course.

How about every high school kid that goes to football practice for months, in the heat of summer , dream they will be good enough to get the attention of a college scout and sign them up for a scholorship to play for a big time college team that will be the next step for them to get a big NFL contract.  I'm not kidding, they all want and dream of that possibility, from the short fat kids that play on the line to the average quarterbacks and running backs that are lucky to gain one or two yards per carry.  It's human nature, we all want to think we are good enough to be considered in the class of the best of the best.

The same with music, songwriting, and becoming a performing artist.  Everyone has their place and their talents will determine which ones will move on to the front of the line.  Not everyone can be the best of the best.  Notice the golf industry has millions of players that support the industry but will never be a major player.  The same with football, basketball, volleyball, soccer, baseball, track, and any other sport that is grouped into the music and movie industry to make up the "Entertainment Industry".  For every major player that may enjoy some fame and fortune, there will be hundreds of thousands that will be a part of, and support the industry but never enjoy any money for their efforts.

So, what's are place in the industry and why do we even bother.  I'll tell you from my perspective.  The Relationships.

I could probably speculate and mention any athelete that ever went on a golf course, any football field with his classmates, or any five chosen players on a basketball court before a sold out arena.  Those friends you make last a live time, even though you may never stay in touch with all of them.  

I just got a call from a high school classmate that was my best buddy and the star of our high school basketball team. We were so close some 45 years ago, we once talked about joining an Amish clan (that were new to our area at the time; but have taken over the smaller Mom and Pop farms since then), and marrying a couple of Amish girls.  We would then leave them and write a book about our experience and try to make a movie.  Ha!!!

Several years ago, I ran into an old high school buddy that I played football with.  He went on to make a career of the military; but we had some good laughs recalling our days on the football field.  Yes, it had been a long time but neither of us had forgotten.

I sometimes run into a co-worker from my construction days and we instantly bond by talking about some of the jobs we had performed in the past.  

The same is true with the friends I've met in Nashville; or those visiting Nashville from all over the country.  Most of them I have  met thanks to The MAB and being part of his songwriting family.  My point is; we all have a roll to play, even if it's just being a supporter and not a major player. 

 

To be in the audience to witness the showmanship of The MAB, Jimbeau, and the New Crew.  To party at MAB and Tina's house with a cook out and a living room perforance by The MAB and his friends.  To be able to hang out with Julie Moriva, Becky, MattC, Susie and Tommy, Larry and Becket, Big Ed, Joie Scott and her hubby Avy, Robin and her hubby, Richard Leigh, Frankie Ballard, Dani Jamerson, Allen Sherville and his wife, Jason Gregory, Alice, Bonnie Lee, and Ramp friends like the Philboy, The Kid, Miss Meliss, Shelly, Janice and so many others.

The best is to be included and invited to stay at the home of The MAB and Tina and enjoy some down time with them.  Awe Man!!!

"The Relationships" have been my biggest reward, beyond any hit song we may ever write.  Just my opinion.

 

The only thing left on my 'bucket list' is to meet RiDawn Raelette in person and get a big hug from her.

OD

 

 

 

 

 

 

 

The best way to get a million dollars trying to make it in the business is to start out with 2 million.

99% will never reach the top. Not even all of the ones on the top are the best. Luck certainly has its place in everything. But the old McDonalds slogan....You can't win if you don't play...rings true with everything in life. Half the fun of the journey is getting there. And sometimes all that is left in the end is the friendships made along the way. So shoot for the stars and if you only get as far as the moon, well that ain't bad.

 

Peggy

Five million! 

Hey OD!!!!! 

 

 

Awww, OD - how sweet!  Yes, we shall meet someday!  I agree that the relationships are the greatest reward in this industry, and the essential ingredient for success in it!!  I've been 'lurking in the background' lately as I feel funny about giving my opinions and asking for critiques when I don't have my songs up on the ramp yet, but will soon remedy this excuse   Off to run errands now -- just wanted to thank you for your input and honorable mention!  xo

OD, what a great attitude! Glad you finally dropped back by! I am at that same point in my journey. Just make some noise and friends and have fun!

MAB, at the end of your last two doses of reality posts, you did throw out a "rope of hope", albeit a very short, thin rope. I wander how many folks really understand how difficult this songwriting thing is? TO TELL YOU THE TRUTH; I have met a few BIG NAME writers; Mark D. Sanders and Jeffery Steel to name two, and I REMEMBER THINKING AT THE TIME, they had just written [A] great song, got it cut, it went to top 10, and they were INSTANT heros! BUT, they DID make it "to the top". So, in addition to "waiting in line", what did they do different than everyone else in line (IN ADDITION TO writing GREAT songs)? Was it their personality? Was it their connections (RELATIONSHIPS)? SHOW us "how to do it".

phil g.

Hey Phil,

Interesting you ask about Mark and Jefferey Steel. I know quite a bit about Jeffery because he moved to town about the same time I did. I have been around him quite a bit and we have done several shows together. We are both left handed and laugh at ourselves at how goofy we look even to each other. We even took a 16 hour bus trip to Mississippi to play a benefit show for Jimbeau Hinson's home town that had been ravaged by a tornado. We talked all the way there and most of the way back and I got a lot of insights into him. We also have seen each other a great deal in shows in Cincinatti, and the Frank Brown festival. he has used my guitar one night, stayed on into my time and broke a string on my guitar. And I am probably the only one you know who turned down a Jeffery Steel writing appointment, due to when he called me, I had a two person tour in from Wisconsin and I don't turn away business.

Jeffery Lavassea (his real name) grew up in a suburb of Los Angeles California in the 70's and 80's. His Father owned a steel manufacturing shop and that is why he took the stage name "STEEL." Was easier than pronouncing and spelling Lavassea. When he was in his early 20's he always wanted to play in bands so did that for years. He bumped around Sunset Strip and was always a fish out of water due to the real hard rock edge that those clubs had. While everyone else was playing Megadeath, Quiot Riot, Def Leapard, and all the heavy metal hair bands of the week, Jeffery was listening to Cash and Merle and all the country guys, Was really a big fan of the Outlaw country and what was coming out of Bakersfield in the 80's with Buck Owens and Dwight Yokum. But he couldn't get a steady gig for crap.
He ended up being part of the house band of the only real country music club in Orange County, THE PALIMINO CLUB. The drummer was named BILLY BLOCK. The band was called BOY HOWDY, and they played from like 8:00 to 2:00 and would back up the major acts that came through like Merle, Johnny Paycheck, Willie, Waylon,and all those people that would swing through trying to pick up a few thousand bucks on their way to somewhere else.

The band members were writing their own songs and recording while doing their sets, working day jobs, and whatever they could to pay the rent in one of the most expensive places to live in the US. They wrote a lot of stuff, but Jeff was not the main writer or singer. He was really just the bass player.
Finally, one of their songs, "SHE'D DO ANYTHING" started getting some local and regional airplay and they started getting their own headlining gigs. They started doing some limited touring on the West Coast on times they weren't playing the Palimino.

All of this took between 10 and 15 years I believe. Imagine that. 6 nights a week, 5-6 hours a night, playing cover gigs, watching bar fights, getting cussed out by managers, bar owners, etc. AND working day jobs, AND traveling on the days off,driving ten to fifteen hours, play an hour show, drive 10-15 hours back, to play that night or be onstage. 

This is called PAYING YOUR DUES.

"SHE'D DO ANYTHING" went to the top ten, and they decided to move to Nashville. They wanted to be around people they felt comfortable with instead of the plastic people of LA. By the time they got here, the song was at number one. But instead of a huge tour and a major label, they started all over. They had no more major hits and the band broke up after around a year. They all started working day jobs, session stuff, backing up other artists. Same as everyone.

Jeffery did have a writing deal for a while, and that led to his own record deal. He would do three records for different lables, a couple of nobodies, the biggest one being MCA. He was on there with artists like George Strait, Tanya Tucker and Marie Osmond, and other mid level acts but no real breakouts. It would be a while before Strait would turn into who he is now, most artists were mid level. 

Jeffery simply could not get "traction" in the industry. Everyone loved him, he was electric in what he did, was a legend here. But on the road he could get arrested. He did several tours, but just never got anything happening. He would release singles, do a radio tour, and never get above the mid 40's or 50s. He was about to give up completely. 

About 8 years after moving here, he was paired up with a guy named BIG AL ANDERSON. Big Al was another legend. He was the guitar player for a college legendary band called NRBQ. They toured all over the country doing colleges, and were like THE GREATFUL DEAD, this huge cult band. I saw them twice, once at Tuscaloosa, (University of Alabama) where our band was playing a fraternity three doors down from theirs, and once in the big rock club in Birmingham. I had heard so much of these guys that I had to see them. Their bumper stickers were everywhere, on stop signs, on billboards, cars, guitar cases, and I though "man these guys must be amazing." You couldn't go anywhere on a college campus without someone saying "HEY MAN, WE'RE GOING TO SEE THE Q!!!!" Like a bunch of dead heads. Every place they played was sold out and people standing on top of each other.

I have rarely been more underwelemed by anyone. They were like this long winded jam band, with every song lasting about 15 minutes, endless solos, no real disernable melody, no really decent singers, just boring as hell. I kind of got the impression the entire world was on some kind of drug I missed out on. They were all enamored with them and I couldn't stand anything about them. I'm just not into the long solo thing, never was into the experiementing bands of the 70's and 80's and always had to have something to sing to. Imagine that. I'm a SINGER! So I would stay for 30 minutes (or one song, which ever came first) and would leave.

But Big Al was a legend, the Eric Clapton/Jimi Hendrix of the College set. And in those audiences who went to see him all those years, (about 20 of them), would end up being major session musicians, writers, producers, studio owners, label heads, publishing company owners in Nashville. So when Al decides to move from Conneticut to Nashville, it was sort of "CAN WE GIVE YOU THE KEY TO THE CITY MR. ANDERSON?" He was sought out to write with everybody, who revered him like a GOD. He was given a whole bunch of up front money and has one of the most lucrative writing deals in the history of the town. All for a guy who had never had a hit record. Again, go try to figure out this business. Jerry Garcia goes country.

 

                                                 ACTIVITY=PROXIMITY=OPPORTUNITIES.
One of the people Al liked was Jeffery Steel. He liked his voice, his bass playing, everything about him. The way Jefferey had kept going even when things didn't work. They both had similar lives in that they were well loved but no real hit records. Two legends. 
They got together to write in a hotel room. The first song was taking about four hours to write and they were just hung up. They couldn't find a rhyme on this one particularl line and ground to a halt. they went through rhyming dictionaries, thesauruses, etc. couldn't find anything. they decided to go to lunch then Al says "Gottahavable."
Jeffery said, "Is that a word?" Al says, "It is now. Lets go to lunch." They did. Coming back an hour later and finished it.

Since both of them could get about anything heard by anybody, they shot it right over to a group that was recording at that time, DIAMOND RIO, and the first song, "UNBELIEVABLE" became a number one hit. From there, as the industry does, when success hit, the flood gates open. And Jeffery was ready with hundreds of songs. Everyone started cutting them and he got white hot. Al also had his share of cuts. I don't have any idea of how many he had, but he hit veins with people like Rascal Flatts, Faith Hill and Montgomery/Gentry. At one point, I heard an interview and he had had 86 major cuts, 20 something top tens and eleven number ones. Don't ask me about those, I just don't know. But if you go to his shows, you will hear him do about three hours of solid hit songs. He also does really funny things like throw in HUGE cover hits, like legendary songs, and you just think he wrote those too. 

Over the past few years his hits have slacked off. His time has kind of past but he is producing new artists all the time and writing all the time. You get hot, you cool off. The circle of life.

Phil, I believe his "overnight success' took about 28 years.

MARK D.SANDERS, is another guy I know very distantly. We have done a couple benefit shows together and I have talked to him briefly on occassion at NSAI events. I don't know his entire story,but his was very similar in that he was in town about 15 years before things started happening.Then he got little cuts here and there, a few medium hits. Then he hit HUGE with a song of the year called I HOPE YOU DANCE, for Lee Anne Womack. That song was everywhere, and he was a star on top of the world. I remember one panel discussion he did, where someone asked him what he was doing differently now than he was doing then.

He said "Nothing. All my friends are now in positions to say "yes." What that meant was that all the people he moved into town with over the years, had advanced into hit writers, hit producers, label heads, publishing company owners. He was able to get material through all the gatekeepers, write with upcoming artists, and getting things where they need to be. 

So there you go Phil. How to do this?

#1. Take about 20-25 years.
#2. Write with everyone you can. Get songs and your reputation out there in every way possible.
#3. Write A LOT OF SONGS WITH A LOT OF PEOPLE CONSTANTLY.
#4. Write with every ARTIST, POTENTIAL ARTIST, POSSIBLE PRODUCER, STAR OF TOMORROW YOU CAN.
#5. Do a LOT of free stuff, volunteering, having people in your home, bringing things to other people's games. Be a good friend.
#6. Hope that luck strikes what you do.

Because all of that is JUST TO GET IN THE GAME. No guarantee of success. There are many more people doing the exact same thing, but it never happens to them. They have to endure. They might have the greatest songs, be a tremendous entertainer, sing amazingly,seem to know everybody, and it still doesn't happen for whatever reason.

And you all know one of those. 

 

MAB 

 

 

 

 

 

 

 

 

                                         WORKING WITH GREAT PEOPLE

Today was another of those really cool days that makes you really enjoy being a part of this community. When you get to work with people you have actually known and who have known about you but you never quite get a chance to work together. A few years back, one of my favorite bands was called LITTLE TEXAS. They were a five piece band out at the same time as DIAMOND RIO, who were really that "Aggressive country-rock" I really like and have played. Their biggest song, GOD BLESSED TEXAS, was a radio staple, and had some of the hottest women alive in their video. Their huge power ballad, "What might have been" was a harmony masterpiece, as good as anything THE EAGLES had done.

Today, members of the band I am working with out of Birmingham, COTTON BOX ROAD, featuring my childhood friend, DAVID HILL and the band's singer, JAMES HODGES, did a six song recording session at a very nice studio actually in my area. It will be part of the band's new Cd, the first recorded in Nashville with real players. That was who was playing on the session today. Porter Howell, the lead guitar and singer was session leader and two other members, Duane on bass, and John on drums. Don't ask me their last names. I do good to remember their first ones. The session featured Ed Seay, the engineer/producer of such people as Marie Osmond and many others. I first worked with Ed in 1984 in Atlanta. Did that story yesterday.

Paul Jefferson was producing but like most things producing with these people is mostly staying out of the way. The producer gets everyone together, and keeps it on schedule, making sure everything is done, gathering everyone's imput and being a liazon between the band and the writers/artists. Paul was great today.

We were doing 6 songs, four that I wrote with David, two of their's. Being an Alabama based band, they did one of their crowd favorites, STILL ALABAMA TO ME, which they had recorded on their earlier CD. But they wanted the "Nashville spin" on it, which is pretty amazing. It is nothing against their band,they are all good players. But Nashville session guys are in a complete league of their own, which is why people like Bob Dylan, Peter Frampton, tons of rock legends, Icons. like Springsteen and Billy Joel, have recorded here. Just a different world. And these guys are in their own league. Little Texas was actually comprised OF SESSION musicians. So they are the elite of the elite.

An interesting aspect of this is three of the songs, are things I had not heard since we wrote them. Usually when I write with people, I slam through it. We write the songs pretty quickly, then do a work tape on my phone. They take those and work them out on their own.Adding re-writes, different lyrics, etc. They had not let me know which ones were being recorded until yesterday so I was a bit behind the curve. But it worked out fine. Luckily the songs were pretty much the way we wrote them,and I hooked back into them pretty quickly.

The session today was to get BASIC TRACKS. Guitar,bass, and drums. I was there to sing the "scratch vocals" which are the guide tracks the band follows. James, the singer, is patterning his vocals after mine, so I needed to be on my game to translate it to him so he can work them up in the right way, add his own touches and then record the "lead vocals." That will be done a few weeks from now.

We did a song called "TP's bar and Grill", which is about the main bar they play in Birmingham and actually where I am opening for them in a big show this Saturday. It is very interesting that I am already getting Facebook posts from my High School buddies all coming out this weekend. Many who weren't there two months ago when we did a show back in June. But it will be a pretty big Shew, as Ed Sullivan would say.

 

Another power ballad called "You look better with nothing on" which is kind of the Luke Bryan mid tempo power ballad, and a really fun thing about "women who are getting into hunting and fishing, ( a huge new movement), called "She looks best "WHEN SHE'S JUST A LITTLE DIRTY." (Out in the woods, four wheeling, hunting, fishing, etc.) kind of a 'redneck woman, wihout the redneck. The big outdoor's companies are starting to design all kinds of clothes, guns, bows, fishing tackle, ATV's specifically for women. Should be interesting. That one kicks butt!

But the star of the session, like I thought it would be, was "BAMATIZED!"  My friends, I have written my own SWEET HOME ALABAMA anthem. This thing will take your head off. It is one of the most fun songs I have written in a while with that nasty swampy kind of groove that comes straight out of the swamps of mobile and the grooves of Muscle Shoals Swampers. That thing ripped us all a new one today, and it was one of those that every musician, singer, person in the studio all kind of looked around and said "DID YOU FEEL THAT?" 
It was pretty electric.

After word, we all pat ourselves on the backs, and now the individual players, will take the files home and work on the other parts. Other guitars will get added, possibly steel, dobro and some other instruments. But this is really a ROCK PROJECT. This band can cut the country rock line we are seeing all over with Jason Aldeen, Eric Church, and any of those pretenders to my throne. LOL! Move back folks, let the old man show you how it's done!

We will all have things together before long, will do my own "real vocals" on these songs and when I can, I'll be posting those and a bunch of other new songs I have recorded. I am still going to put out my "Songs in the Key of "O" which will be out next year. So a lot of new music coming your way from the MABSTER.

It was a great day and I hope we can get it to you very soon.

Take care,

MAB

PS: Rest in Peace Robin Williams. Very shocking that guy died today. I met him in LA in 1984. Was an amazing talent and I am sure had a lot of demons. Too bad. We were blessed to have him.

 

 

 

 

 

 

MAB, thanks for your stories on Jeff and Mark D. And, for that matter your own story and ALL the "Artist", "Writer" stories you have shared over the years. The one common theme in all those stories is all you guys started really young. Early teens or before, and NEVER STOPPED chasing that dream.

My own story is totally different. Even today. Back when Moses started leading the Jews out of Rome I got an old beat up guitar from a friend of my dads. He showed me how to tune it, but not much more than that. I was between 13 and 15 at the time I think. I had taken music and band in high school. Yep yunguns, back in those days, public schools had the $$ to support those kinds of classes. So, I was able to figure out "notes" on he guitar. I don't remember if I ever learned chords back then. I was more interested in playing lead. You know, like Duane Eddie. And The Ventures. Oooops! I may have just lost the younger guys LOL. But you can google them. It was cool music back then. Any way, like most of my life even back then, I had no passion, or drive, and was always loosing focus. I was part of a small 3 piece garage band and we played a few birthday parties. Weren't that great at all. I never spent a lot of time pracicing, so i really never was any good. I even got up on the stage at some school dance thing once. REALLY SUCKED! Not even sure why I did it. One of the band members was the guy I used to jam with and he goaded me into it.

THEN, "There was a girl". And the BIG "M" thing happened. Right away, we didn't have any money to pay rent or buy groceries. Her mom couldn't help, and my parrents refused to help. "It'll be a great growing lesson about responsiblity". So, I wound up selling my guitar and coronet, and her clarinet. I didn't play guitar again for about 15 years I guess? Then, when I did get another guitar, once again, no commitment, so I still didn't play it enough to "learn it".

Fast forward to around 1995. I had always had little snippets of lyric and melody running around in my head, but had never done anything with them. Finaly, it was a Saturday morning. We had already decided (well, she did anyway LOL) we were doing house work and going grocery shopping. When I woke up, I had these few lines going through my head; "It's Saturday morning, gotta get myself out of bed, It's Saturday morning, gotta get myself dressed and fed. Get on down to the grocery store. Take care of domestic chores". For the first time, I actually got up and wrote that down on a piece of paper and stuffed it in my night stand, where it sat for about 3 years. Then, in 1998, between my birthday (in December) and Christmas, I got a Yamaha keyboard and a Kerokee machine. I had been singing in the house to Elvis albums. People, ALBUMS! You (might know) the old big round vynal things with little groves that a RECORD PLAYER with a needle in it used to pick up sounds and play them? You kids don't know what I'm talkin about do you? Nothing was "digital" back then, except computers. Anyway, it was either still after Christmas 1998 or Jan. 1999, I was playing with my Yamaha and the different rhythms it had, and stumbled on this Country two step rhythm that kind of moved me, and I wrote a song caled, "You better be ready to dance". It was about a guy trying to pick up a girl at a dance bar, and she told him, "Well I've heard all the worn out old lines, from every cowyboy here tonight. If you've come down here to waste my time, let me set you right. Don't be sayin what we could, just keep your love in your pants (which I later changed to keep your talk of romance) If you've come down here to the hardwood, you better be ready to dance".

I was hooked! I was gonna be a songwriter! BUT, THANK GOODNESS, I DIDN"T quit my day job and move to Nashville!! LOL But I did somehow find out about NSAI and joined a local Denver chapter, run by one Randi Perkins (who DID move to Nashville, is still there, but is not a hit song writer. I go visit Randi every time I get to Nashville. MAB knows Randi). Back then I worked for Lockheed Martn and would make trips to the DC area. I would always take the sceeninc route through Nashville and back then, the Broken Spoke on the north end of town was THE place to meet songwriters. It was hosted by MAB's friend, Lee Rascone. It was the best music in town (to me) and was alway my inspiration to write more, better songs. I went to several of NSAI's Spring Training events, which happen at the end of the Tin Pan South week. You always got to meet Nashville songwriters and publishers at those events. There was also a big Nashville presense at an anual Durango, Colorado songwriter event. I attended 2 or 3 of those. I got to meet quite a few songwriters and publishers. But, I didn't know how to "hang" and how to make RELATIONSHIPS back then. I've always been a little shy and introverted I guess.

So, here I am today. Like everyone who writes, I write the coolest songs! At least my wife loves them! Doesn't that count? Then, about 2 years ago, I decided I needed to get out of my shell (A.K.A. living room). There was an open mic in Gainesville, about an hour drive from where I lived. OH! I need to digress! I DID do a few open mic's in Denver back in early 2000's. Randi used to host one, and since I was in his NSAI chapter, I played a few of my songs back then. But, it was short lived, and I was terrible and so nervous I barely got through any of them. Any way, back to Gainesville. That actually got me started. I went to a lot of those open mic's. It was a bar sceen. None really listened. And I got comfortable. Sort of. All most. FINALLY, I found the courage to go to an open mic in Nashville. My first one was supposed to have been Douglas Corner, but I had called too late, had just gotten into town after a 10 hour drive, and just didn't feel like going on at 2AM and playing for Donnie, the lady at the bar, and maybe 3-4 other folks. BUT, I did hook up with another NSAI guy that trip, Beaty Demitt, and we went to Commodore and did one song at about 11PM for a crowd of about 2 dozen or so.

Today, I try to make as many open mic's as I can in Gainesville. They are both at coffee houses and there are no drunks, and the crowd actually listens to the performers. It's really cool, and in some sense, better than Douglas Corner and Commodore, EXCEPT that the music is a lot of covers, and all over the place genre wise. AND, you have to listen to Really bad comics and so-so poets. Nashville, even though the open mic's are more bar sceen, are at least all original. AND, in Nashville, you CAN once in a while catch a hit songwriter show. Also, today I spend a LOT MORE TIME practicing my guitar and singing and trying to get a  litte better. YES kids, you CAN teach an old new tricks! LOL HOWEVER WHAT I LACK these days, is writing. Don't write nearly as much, and sadly, I don't write with other writers either. It's that shy, introverted thing again. GOTTA GET OVER THAT!!

Any way, I'm tryin! HEY, That sounds like a really cool title! Oh, It's already been done! And, Jeffery Steele was one of the writers on that song along with Chris Wallen (who I have also met) and Anthony Smith.

phil g.

Great story. If your wife loves your songs so much, why couldn't we get her to come out when you guys were here?

MAB, getting my wife to go out is a whole nother story.

But, I do have another business question. Several of the writers here at our NSAI chapter just don't like, and just won't write, what is current country. It's hard to get them to understand that, "Times they are a changin'". So, They think, "Well, there are older artists that won't sing that crap either. Maybe I could get them to cut my songs." First, I don't think their songs would apeal to the older artists either, but, how do you get them to understand that? The problem with the NSAI evaluators (which by the way these guys don't even use. Don't understand. $150/year; I'M gonna use them!) is, it appears to me they are more in tune with current country and newer artists. So, is there anyone or organization in Nashville, open to wannabe's, that would provide a "traditional country/folk music" critique service? How do older artists even get their new material? Probably REALLY and "inside clique", right?

phil g.

Phil,

Think for a minute. If you had been in the business for about 40 years, had started out at 15-16 years old, graduated up through the ranks, gotten around the biggest writers in the world, became a hit artist, had at run at record company success, have a muti year career, became known as a writer yourself, write for yourself, probably formed and owned your own publishing/management company, sign other artists, write songs for them, and continue to tour, play casinos, do the "festival and fair circuit", play routinely at the Grand Ole Opry, do television, and become an "elder statesman" for the industry, (talking about the grand old age of early 40)  

Why exactly would that person be needing songs from people who don't listen to the radio, barely write enough songs to qualify as songwriters, are far removed from audiences, real life, and have never gotten out of the living room.

Why exactly would that happen.

MAB 

 

 

The reality is that NO ONE is going to record their songs. Period. They might get small niche artists (the local karaoke heroes and heroines) the "facebook" nobody artists that drive you CRAZY sending you emails, announcements, flyers, asking you for money on their kickstarter campaign, to go to their web site, to support their video, to vote for them in the latest contest, and couldn't CARE LESS ABOUT YOU because they are only interested in doing THEIR OWN SONGS. And when you listen to their songs, you about throw up, because they are so cliched', long and stupid. 

Do the math. When they are older, they lose contact and context with LANGUAGE. older artists ARE ALWAYS trying to be IN THE GAME. So while they may not want to do the current bro country or rap country  (CRAP) they still would kill to write something with an artist like Brad Paisley. Why do you think he and Allison Krause, cut WHISKEY LULLABYE, written by WHISPERIN' BILL ANDERSON? Because they were HUGE fans of his. But that song,while written decades ago, is as relevant today. Because Bill is a great writer.

But those "old artists" like Charlie Pride and more, have NO PROBLEMS getting material. They OWN their own publishing companies, and play golf all the time. Getting songs from unknowns is as impossible there too.

MAB 

 

Philboy,  interesting story about your music background, your story is not unlike many of us (especially us older guys).

I too began playing in the mid-sixties and was a member of a garage band with one exception,  we did practice.  The impact the music of the Beatles, Rolling Stones, and other's that made up the British Invasion caused the American musicians to rise to the occasion also.

Back in the day (there's an expression to date myself), there were live bands performing in every bar, in every town, on every corner , and two or three bars in-between.  I'm sure The MAB can even remember those days (sorry MAB to put you in that era).  The music hadn't transferred to the new sound yet,  most of those bars and clubs were playing the country songs of Hank Williams, Jim Reeves, Buck Owens and others.  They slowly worked in the new sound of Elvis, Chuck Berry (Johnny B Good was a crowd favorite), (anyone remember "Wipeout"); before working in something new like "Louie Louie",  "Hang On Sloopy" or something like that.

My point is; all of these local musicians and bar bands inspired a new generation of musicians to learn how to play music.
Of course they were all inspired by the major acts and recording artists they imitated; but the music bug was passed down
and moved forward to the next generation.  This movement inspired many of the great artists and musicians to practice and become major atrist's themselves.  

The best of the best in the music industry would have continued to make records, money, and keep the music going execpt for the invention of affordable recording equipment (even before the internet).  This allowed DJ's to take over the local music scene by showing up with only a PA system and a stack of hit recordings to under cut the live bands.  Soon the popularity of sound tracks (without lead vocals) allowed Karaoke singers the chance to perform with professional music and allowing them to shine for a song or two.

MAB has spoken many time about the changes in the music industry after the effects of the internet and illegal downloading.  Those are the 'cons' and the changes we can't change.

There are still some pro's involved though.  The desire to make music, to be creative, and the desire to be heard is still alive.

Like you and me Philboy, we are part of a large quantity of like minded people that love music and want to be a part of the process; regardless of how small our footprint may leave a mark.  However, guys and gals like you and me, and everyone better than us,  keep the industry going.  We are the ones that support the remaining independant Labels, the Publishers looking for the next big song, the former hit songwriters putting on a seminar trying to survive, and even our well respected MAB that has the answers and knowledge to share, even for those of us that have very limited talent to offer the industry.

In my opinion, it's the million of us "Wanna Bees" that will keep the music industry alive for the better talented writers and artists.  We will be the majority getting off the bus in Nashville and spending the last of our savings before boarding the bus a few months later heading back towards home,  we are the ones sending our songs to NSAI for critiques and entering song contests hoping someone might want to hear our songs.  We will spend the money, make the trips and never give up on hope that we will be the next big thing in Nashville. 

We will also be the parents of the next generation of singers and musicians that have grown up hearing our storyies of Nashville and our dreams of almost making it in the music industry; if only they took time to hear our songs.  Awe..... will it never end???  
I hope not.    Ha!!!

OD

 

 

 

 

 

MAB, we started a conversation the other day about me writing a song that followed the story line of, the rhythm of, the chord progression of a song currently on the radio. It did have a different melody and totally different lyrics. We discussed how, if we are trying to write songs "like those on the radio" we are already behind the 8 ball. We've already missed the train. It's already left the station. And I get that, For this particular song, I really didn't expect it to be anything Nashville would want, because I realize that has already been done. AND, TOO recently.

BUT, I sent a different song into NSAI for evaluation and the feedback was; It sounds dated, both lyrically and melodically. Melodically I sort of understad, but lyrically, with out specifics like, "Current country, young country, doesn't use these phreases/words any more", I'm not sure what to do. ANYWAY, his/her closing comment was, "I always encourage folks to listen to what is on the radio now to decide how to write/rewrte." WHAT?? Didn't we just agree that train has already left the station? So, how do you write DIFFEFRENT but still "the same country"?

Still tryin,

phil g.

P.S. One cool thing about this new site is, it shows you on the Ramp wall who is currently online. I notice the kid is online. So, Justin, are you just lurking, or are you going to join in the conversation?

Phil,

Welcome to the music business. It is not just you,it is everybody! I have sat in panel discussions with the top producers, record labels, publishers, with monster hit writers out there like Bob Dipereo, who once asked, "You guys always say "send us something different, but we do that and you say it's too different!"

Once Karen Staley, (Keeper of the Stars, Let's go to Vegas), once said to the head of MCA, Tony Brown, "You guys only listen to a verse and chorus, why don't we just write a verse and chorus, if you like it, we'll finish the song."

This has always been the case. And all depends on who you talk to. I have great friends who are the top song pluggers in town, Sherril Blackman and Steve Bloch. They tell me they couldn't get a song with a "dirt road and tailgate" even heard. Another friend of mine, Larry Singleton,says his song plugger says "Don't even send anything if it doesn't have a tailgate and a dirt road in it." I would tend to go with my guys,because I know where the sales figures are and know that trend is winding down. But whatever. You are always going to find that.

Everyone has different contacts, different perspectives, different applications. Someone pitching songs to Europe, or Canada, might like the older style traditional songs because that is where those countries are. But someone trying to impact inside the town songs, are going to find them dated. Different application.

The NSAI evaluators are going on their own experiences and backgrounds. And also what they hear all the time. people who are older (past 30-35) are going to feel that what they are doing is "current', yet someone under 30 is going to have a totally different impression of what is current. 

When I was an evaluator, we would usually get people over 30 who were writing songs like ten years before. They wouldn't understand it if they hadn't been writing with a half dozen 25 year old artists who were laughing about people pitching them those same songs and talking about how "Old School' they were.

Frankly Phil, it is hard to write under your age group. That has always been the problem. The older writers, Rodgers and Hammerstien, or MEREDITH WILSON (the Music Man) would have had a hard time writing for the BEATLES after Sargent Pepper. They were in a different world then. But one of their biggest early hits were "Till There Was You" from the Music Man, that Meridith Wilson wrote. After Revolver and into Pepper, they quit doing that because they had grown into their own as writers.

Now it's much more difficult because artsits ARE ALL WRITERS before they get record deals. As a matter of fact, now the way you get a record deal is by getting CUTS FIRST. Exactly how many Jamie Johnson, Craig Wiseman, or Jeffey Steel songs do you think you can knock off there Phil? Because that is your competition. That is who is getting the cuts. And they are writing the songs that get cut WITH THE ARTISTS THEMSELVES.

This is just reality. And the shifting dynamic in the music business. Everyone has to deal with it, adapt to it,  or die.  

I am making this prediction right now and you might as well understand it, learn it, love it, live it.

WITHIN TWO TO FIVE YEARS, THERE WILL NEVER BE ANOTHER CUT ON AN ARTIST OUTSIDE THEIR INNER CIRCLES.

Even now, their "inner circles, friends, people in their own publishing companies, producers, THE PEOPLE THAT SIGN THEIR CHECKS are the only one's getting cuts.

DISCOVER AND WRITE WITH ARTISTS. Everything else is a long gone practice.

MAB 

 

 

 

 

 

 

 

                                               WHEN THE GODS DO YOUR SONGS

 

I have about the most amazing life you can imagine. An incredibly amazing woman that endures me, allows me to be around her, an absolutey wonderful Canine that adopted me, and is with me about every step, two really amazing kids who are pretty grown up but every day prove how really adaptable they are to their lives, and an amazing group of friends, associates and aquaintances that make my life unbeliveable. 
And on a daily basis, I am involved with, producing, writing,  arranging, developing, discussing, and promoting the craft of songwriting, the practical application of the music business, and the art of staying alive doing what you love to do. I am truely my Father's son, who said "Figure out what you love to do, then figure out how to make it pay for you." I did GRB. Thanks.

In a life that you are always moving forward, sometimes it is easy to miss things in the past, or things that are all around you. With the passing of Robin Williams, who I did meet one time in Los Angeles, and the shock that surrounded all that, I wanted to always make sure that I let people know how much I appreciate them. A good thing to remember.

While I popped awake at 3:30 this morning, I checked Facebook and found this. It is a video from my friend and one of my heroes, THOM BRESH. Thom is one of those GODS, we get to get near sometimes. He is the son of Merle Travis, one of the world's greatest guitarists, inventor of the "Thumb picking method", and writer of SIXTEEN TONS, one of my favorite songs that I recorded once. So he has an amazing legacy. But what is astounding about Thom is his own guitar style, which, like his father is a hammer thumb approach. He is extrodinary.

He travels all over, particularly Europe, and is known as a "guitar legend." He was one of Chet Atkins and Jerry Reed's favorite guitarists, has played all over, the Opry, has been featured in documentaries, magazines, and many other accolades. I met him through my friend and fellow amazing person, Lisa Carver, when they dated for a while in the early 2000's. They were around the Frank Brown festival, and I spent several nights, watching late night shows that would simply leave your jaw on the floor. This guy can pick. He is also a pretty damn good songwriter, weaving his unique style in with great lyrics. We played a few songs in guitar pulls and I thnk that is where he heard this song:

                                                                         THE GRAND OPENING (THE ZIPPER SONG)

This was the one that started out pretty much everything for me. And while I get all the credit for it, it actually first belonged to someone else. RON MUIR, was a man I met during a songwriter's meeting where he played this song, something he had written during his years in Nashville. It was amazing, and I was enamored by it and him. Over the next few months, Ron taught me the finer points of writing for Nashville. We wrote a lot of songs, he took me to Nashville, and produced my first project. And one of the first songs, was this one. My contribution, was adapting it to my style, replacing a few words that didnt' seem relevant. But he was the one who really wrote this. I was adapting. But he included me as a writer on it. I was quite frankly amazed, but accepted gratefully.

That song opened almost every door for me. Doing it on that first writers night in Nashville, at Douglas corner, at a quarter to one in the morning, it made the connection, that got our song, THAT;S WHERE IT HURTS, (written with us and my Dad) to be discovered by Greg Dorshall, who took it to Dan Wilson at Tree Publishing, hit producer Billy Sherril, who took it and recorded it on SHELBY LYNNE, who included it in their contribution to WILLIE NELSON/KRIS KRISTOFFERSON;S MOVIE, ANOTHER PAIR OF ACES. And my Dad was able to see his hero, Willie,  two step to his song. Not a pretty sight.

But it became a crowd (and musician favorite). And I was able to take it to places Ron never could. Have played it all over the world, Canada, Belgium,  in almost every state, it has become a mainstay in many of my concerts. For a funny song, it has a lot of legs. 
 But sometimes even I have to hand things off. 

When I first found out THOM BRESH was doing it, I got a YOU TUBE video that he had done at the NAMM show in Los Angeles. He is endorsed by multiple instrument and product manufacturers, and so it is quite the honor to have something of yours continue on. His version, of course, is very different from mine, which is different from Ron's, but that is what music is about. A great song should hold up to all of them. And I think this is a great song. Over the past few years, I have been able to hear Thom do this in a bunch of situations. Last year at Frank Brown, he did it just for me in front of a packed audience at the Florabama during Frank Brown. It kills even me. I know the words but still laugh my butt off. Not bad for a thirty plus year old song.

So this morning when I ran across this new video from Thom,who is on a house concert tour of the midwest, I was very pleased. It reminded me of how far some things go and you just miss them. I am so proud and lucky that this and many things I do extend far past me. It speaks to the power of music, and how we all have a part to play in songs, songwriters, artists, and people's lives.

Thought you might like to see it:

MAB

https://www.youtube.com/watch?v=_tHIZFYsfMs&feature=youtu.be

MAB, thanks for the history of Thom Bresh. I was lucky enough to meet Thom last year also. Served him his tea at lunch a few times. Got to catch his AMAZING sets at Florbama, and was able to talk to him a few times. He is such a great down to earth guy.

phil g.

Thanks Phil. Hey, have we answered all the things you were interested in talking about? I put a lot of stuff up there,and thank you for bringing them up. But i don't think you said a lot about them, so I wanted to make sure we are covered.

MAB 

 

MAB, yes! You  covered everything. Sorry I didn't post a reply. I'm sort of overwhelmed LOL. AND, I mostly wanted those answers for the rest of the gang here.

BTW, your link didn't "exactly" work. I had to copy and paste it into another tab. GREAT video! AND, Thom gave you credit for writing the song, so It was really awsome of you to straighten out the truth of the beginnings of that song. I can't get enough of it! Probably the funniest funny song I've heard.

phil g.

Phil,

Like a lot of things, he never really asked me if he could do the song. Just started doing it. He never knew Ron  Muir's name. I don't know if he learned it off one of my CD, and might not have had the info. No matter. I just like to have things cleared up.Ron's daughter contacts me from Facebook every once in a while and I like for her to know he gets credit. And that is mostly what any of this is. One time I talked to Bresh about me doing 16 TONS, and he waved the $91. fee for a liscence, and I waved the $91. fee for him using our song. Was just interesting getting this video. Bresh is amazing and I am very honored that he does one of my songs. That is what the name of the game is now.

Now while you are getting overwhelmed, it actually is pretty simple. We are having to use any means at our disposal to get songs 'out there." We always have to be our "front line salesmen." There are other people that might come along, artists, co-writers, publishers, pluggers, labels, ASCAP, BMI, SESAC, etc. might or might not come along, but we have to do it first. Long Distance marathon relay.

Right now you are in that exact position. RiDawn, you and I have gotten the song "BORED GAMES" in process. RiDawn and I have been tweaking it back and forth over the phone and talking about it, I have been smoothing it out and sent you the latest copy. We are shooting for RiDawn's project to come together before long and I hope to be recording at her husband's studio in the future. We are shooting for a 6-8 song  EP, and we are having a show on her at the Commodore in November right before Frank Brown.

I also sent you a copy of lyrics so that it could be done from a male perspective as a third person narrator. That is what you ought to be doing. You should work it out, perfect it, and get it going around your neck of the woods. You never know where you might run into someone who is interested inthe song. And just because RiDawn will be doing it,doesn't mean others can't do it also. It is a good song, and I think represents you well among the other songs you have.

Now, we could always go a "full up" recording on the song, with great players, and a bigger studio, and that might be a good idea for your catalogue. But that costs money, so we wait on that to see if you decide what you want to do. Just an option.

But the point is that you are doing just what we talk about. Skip all the hiring pluggers or looking for publishers (who won't listen to anything) and writing directly with the artist. That is the bottom line. You are doing that.

So before you get too overwhelmed, that is really the final thing. If you are writing with artists, getting songs out there, getting them finished, well recorded, and they become some of the artist's favorite songs, you have a good chance that you will be staying in the game.

That's the point.

MAB 

 

 

 

MAB,

Always good to hear you share your feelings about how much you appreciate your life and the special people in it.  Your special talents allow you to be a part of some great moments in music, and carry a long list of friends that help make it so rewarding for you.

Note also; there are many of us around the country that feel blessed having you as a friend also.  This old guy included.

Now the Old Dog has no talent to perform songs, not so good on the guitar, and can't write all that well.  I don't have a sweetheart of a girl like your Tina, a cute dog like Dixie, a beautiful home like yours up on the hill; a new vehicle to ride around in, or all the potential hit songs like  you have in your catalogue.   However, I have it pretty good too.

Why, I have a very nice home in Ohio.  It has it's original tires and everything.  Why last fall, I put some new indoor/outdoor carpet in my bathroom.  I liked it so well I ran it all the way up the path leading to the house.  Life is good.   Ha!!!

Hey,  I enjoyed the video on Thom and his road trip.  I enjoyed his stop at Skyline Chili also.   All of that cheese looks like too much but it melts into the chili and spaghetti and is pretty tasty when you mix it up.  I could tell Thom really enjoyed it.  About Thom doing your Grand Opening song.  That is really a great song and Thom is certainly a smooth singer and guitar player.  He did good with it.

Have a great day,

OD

 

with all this talk about reality.......I went ahead and posted my song titled "Reality" in the open mic.!

LOL

Peggy

Hey ya'll (YEP! I've gone southern!!) I talked to MAB this morning. He was on his way to Birmingham. Working with Jarod today and tomorrow, meeting up with buddies tonight, and playing TP's tomorrow night. SO, since our leader is "out of the office", what shall we discuss?

I have a friend here in Florida that wants to sell her house and move to Nashville. Has dreams of becoming a songwriter! What should I tell her? Her current job is driving a mall train in a mall in ganesville. So, I'm thinking she can probably do any kind of simple work; Waitress, bar maid, Walmart greeter. Doubt she needs a really good paying job to survive. Should I tell her to go for it?

Also talked with Miss Melis today on FB. She's doing fine and misses us. She's gonna try to get back on soon.

Right now, I'm planning a 2 week trip to Perdido Key, FL for the Frank Brown festival, November 6-16. Thinkin I'll be there the whole 10 days this time. Thinking about driving my motor home over and staying in a FL state park about 7-10 miles from Florbama, and really close to some of the Florida venues. I think we should ALL plan on attending this year. O.K?

phil g.

phil g.

I'm going to do my best to make it to the last 3 days of Frank Brown!  If things change in my favor, I'll go for it all!     With MAB being 'out of the office'  --- lol, I can't help but echo his non-voice this moment in that she would be much better getting feedback from her local community there, playing out as much as she can and making trips here as you are.  If she has no financial limitations however, (doesn't have to worry about bills, working etc.), well, that's a matter of preference on where you want to live -- the beach of NashVegas   That's my feelings about it anyway .... I love Nashville (& parts of Florida), and I would have homes in both places if I could!