Chapter 379

Just about everyone you know in the music business turned out for the sold-out, 41^st annual Nashville Songwriters Hall of Fame ceremony at the Renaissance Hotel Sunday (10/16).

The attractions were the inductions of Alan Jackson, Garth Brooks, Thom Schuyler, Allen Shamblin and John Bettis. Not to mention the companionship galore.

After welcoming remarks by host John Van Mol, the current chairman of the Nashville Songwriters Hall of Fame Foundation board, NSAI’s Bart Herbison and Steve Bogard took the stage.

“We’re going to have a spectacular night tonight,” Steve promised. His prophecy was fulfilled.

The annual “10 Songs I Wish I’d Written” NSAI honors went to “American Honey” by Shane Stevens, Cary Barlowe and Hillary Lindsey; “Are You Gonna Kiss Me Or Not” by Jim Collins and David Lee Murphy; “Hello World” by Tom Douglas, Tony Lane and David Lee; “Homeboy” by Casey Beathard and Eric Church; “Honey Bee” by Ben Hayslip and Rhett Akins; “Mean” by Taylor Swift; “Pretty Good at Drinkin’ Beer” by Troy Jones; “The Boys of Fall” by Casey Beathard and Dave Turnbull; and “Who Are You When I’m Not Looking” by Earl Bud Lee and John Wiggins; plus the Song of the Year winning “If I Die Young” by Kimberly Perry.

The Band Perry was on the road, but Kimberly sent a video saying, “Thank-you to the Good Lord for whispering it in my ear.”

For the fourth time in five years, Taylor Swift received a standing ovation as the Artist/Writer of the Year. “Just the fact that the people in this room were standing up is overwhelming for me,” she said. “I can’t believe I’m here with my heroes.”

Frequent Brad Paisley collaborator Chris DuBois won his second straight NSAI Songwriter of the Year award. “There’s no award that means more to me as a songwriter,” he said.

The NSHoF’s Van Mol retook the podium to recognize board members, sponsors and the 2011 passings of Hall of Famers Charlie Louvin and Don Wayne. “Their work lives on in our memories,” he said.

Lance Freed presented David Conrad with the Frances Williams Preston Mentor Award. When Almo-Irving wanted to open a Nashville office in 1981, Frances recommended David as its leader. “Over the next 22 years, David Conrad was responsible for 186 top-10 country hits,” Lance recalled. “David worked for the songwriter, not the other way around. He trusted them. They trusted him. He’s a special man who cares deeply about people.”

“This can’t be right: When did I do this?” David blurted, adding that when he was informed of the honor, “Just to be safe, I ran out that week and mentored the hell out of everybody.” He thanked, “My best friend, my best mentor and my true love, my wife Karen.” David also recalled Chet Atkins, Owen Bradley, Harlan Howard and Tom Collins as his own mentors. “You’re really lucky when you have people like that in your life [especially] the ‘serial mentor,’ Frances Williams Preston.

“There was love there: I loved writers and I love songs,” David added. “It’s a circle, as the song says, and I hope we never break it.”

The 2011 Hall of Famers were inducted alphabetically. That meant John Bettis came first. Michael Clark spoke at length about his collaborator, saying, “John is the consummate psychologist, and he’s a communicator.”

Brett James and Wayne Kirkpatrick sang a medley of Bettis hits, including “Heartland,” “Yesterday Once More,” “Slow Hand” and “Human Nature.” Lynn Anderson vividly reprised her 1973 chart-topper “Top of the World.”

“This is the room, isn’t it?” said John in accepting. “This is where we want to be. This is where we all belong. I’m glad we have this room. It’s nice to know we can get together like this and appreciate each other. I thank you very much for the greatest honor I’ve ever gotten. God bless you.”

Allen Reynolds and Bob Doyle did the honors for Garth Brooks. “Who can measure the impact of the songs that have come from Garth’s own pen?” asked Allen. “You’ve been a blessing and an inspiration to many, and we thank you.”

“The songs you’ve written have endured and stayed relevant,” added Bob.

Jenny Yates saluted the inductee with “When You Come Back to Me Again.” Pat Alger sang “The Thunder Rolls.” Stephanie Davis offered “We Shall Be Free.” Kent Blazy did “If Tomorrow Never Comes.” Victoria Shaw sang “The River” and invited the crowd to join her in its last chorus.

“I’m already choked up, because these are my friends, and I love them so much,” Garth responded. He thanked God, his co-writers, his mentors, his parents and his wife, Trisha Yearwood. “This is the home of songwriters. In the music business, the greatest award you can receive is to be called a songwriter.”

Mike Dungan recited Alan Jackson’s accomplishments and hits, adding “This man has made his mark on the world. He has moved away from, but never out of, his humble beginnings. Thank you for making the world a better place.”

The Wrights performed a medley of “Good Time,” “Remember When,” “Chattahoochie,” “Don’t Rock the Jukebox” and “Here in the Real World.” (Adam Wright is Alan’s nephew and was the ring bearer at his wedding.) Taylor Swift sang “Where Were You (When the World Stopped Turning).”

Alan reminisced, “I was just stupid enough not to be scared, so we just came up here….and it’s been goin’ pretty good….I just write whatever I feel….It’s just life, and that’s what country music has always been to me. I can’t stand up here and feel worthy when I see that list of names [of prior inductees]. Thank y’all for including me. I feel blessed.”

Don Schlitz and Thom Schuyler are BFF’s, and Don was clearly moved by Thom’s long overdue induction. “There are so many of us who consider him their best friend,” said Don. “For all the songwriters who ever walked on Music Row, he wrote our anthem.”

J. Fred Knobloch kicked off the musical tribute with “Love Will Turn You Around.” Tony Arata followed with “My Old Yellow Car” and “Years After You,” then Fred returned with “Long Line of Love.” Lacy J. Dalton drew cheers with the aforementioned anthem, “16th Avenue.” Jellyroll Johnson backed all three on harmonica.

The always-eloquent Thom responded, “I am honored more than you can know to be a part of this community of songwriters on Music Row. This is the greatest songwriting community on God’s Green Earth. Thank you for setting a place for me at your lovely table.”

Mike Reid lauded Allen Shamblin for writing, “songs that do more than entertain.” Lionel Cartwright provided a medley of Shamblin’s “He Walked on Water,” “Don’t Laugh at Me” and “The House That Built Me.” Wynonna sang “I Can’t Make you Love Me.”

“This is amazing,” said Allen. “It’s a miracle I’m here tonight….For me, growing up, there was food, water, air and songs.” Echoing the theme of companionship and camaraderie that ran through the evening, he added, “You are my families and my friends. I love y’all. This means more to me than I can ever say.”

Like I said, everyone who is anyone was there. That would include such world-class fabulons as Troy Tomlinson, Fletcher Foster, Jerry Foster, Jerry Chestnut, Bonita Hill, Dan Hill, Bobby Braddock, Bobby Rymer, Bob Regan, Tim Wipperman, Tim Fink, Tim DuBois, Gretchen Peters, Pete Fisher, Bucky Wilkin, Becky Harris, Ted Harris, Emmylou Harris, Judy Harris and Harry Chapman.

Luke Laird has four songs on the charts right now, including the current No. 1, “Take a Back Road.” He was schmoozing, as were Dickie Lee, Rick Sanjek, John Scott Sherrill, Sherrill Blackmon, Kenny O’Dell, Kerry O’Neill, Kye Fleming, Kyle Lehning, Paul Kennerley, Shelby Kennedy, Ron Stuve, Ron Cox, Dean Dillon, Mayor Karl Dean, Nashville first lady Anne Davis, Mac Davis, Caroline Davis, Mark Bright, Mark D. Sanders, Pat Higdon, Pam Tillis, Dave Loggins, Dennis Morgan, Dwight Wiles, Dallas Frazier, Dene Anton, Wayne Carson, Wayne Halper, Bill Rice, Barry Coburn, Brett Eldredge, Bernie Nelson, Gary Burr, Holly Bell, Steve & Ree Guyer Buchanan, Woody Bomar, R.C. Bannon and Max T. Barnes.

Don’t say I didn’t warn you: The ballroom also held Joey + Rory, Jody Williams, Andrew Kintz, Andy Childs, Rattlesnake Annie, Anthony Smith, Tia Sillers, Even Stevens, Whitey Shafer and Gilles Godard, whose “Trains I Missed” was recently named the bluegrass Song of the Year at the IBMA awards. Not to mention Celia Froelig, Amy Kurland, Wayland Holyfield, Tracy Gershon, Lori Badgett, Hugh Prestwood, Diane Pearson, Chip Petrie, Roger Murrah, Melanie Howard, Perry Howard, Kathy Louvin, Karen Oertley, Jewel Coburn, Ralph Murphy, Deborah Allen and the irrepressible Shawn Camp.

We dined on huge roast beef portions, scalloped potatoes, asparagus and a julienned vegetable medley, followed by chocolate cake and/or banana pudding cups topped with whipped cream.

It’s a good thing we love each other. The cocktail hour was at 5:00 p.m., and we didn’t leave the ballroom until 10:30. Now that’s companionship.

Chapter 378

The Americana Music Association’s Honors and Awards gala celebrated its 10^th anniversary on Thursday night (10/13) by taking a big step forward.

For the first time, the event was telecast. And although the WNPT-TV live coverage was plagued by technical glitches, the vibe inside the Ryman Auditorium was toasty warm. The show will be edited for rebroadcast on PBS nationally. For a complete list of winners CLICK HERE.

Buddy Miller was the big winner. He led the house band, triumphed again as Instrumentalist of the Year and, in a surprise, walked off with Artist of the Year instead of the favored Robert Plant.

“This is not right, and thank-you,” he exclaimed in accepting the Artist trophy. “Just to be mentioned in the same sentence with all those other folks means a lot to me.” In addition to Miller and Plant, the other nominees were Elizabeth Cook and Hayes Carll.

“I feel like I get away with murder,” Miller said when he accepted his Instrumentalist prize. “I’m really, really not that good. But I get to play with some really incredible people.”

The Miller love continued when Plant accepted the Album of the Year award for Band of Joy. “I have to thank, really, especially, Buddy Miller….the consummate player,” said Plant. “I’ve been welcomed by some spectacular people, especially in this town.”

Among the show’s highlights were the presentations of five Lifetime Achievement Awards. First up was Lucinda Williams, honored for her Songwriter accomplishments.

“She loves language as much as she loves music,” said presenter Luke Lewis. “Her thoughts are golden arrows….She is a poet. She has created 10 albums, all of which will endure.”

“I’ve just been all a-pitter-patter backstage,” Williams told the cheering crowd. “I want this honor to stand for the perseverance and heart it takes to make it all come true….a life in music.” She then performed the title tune to her CD, “Blessed.”

Jerry Douglas was given his Lifetime Award for his work as an Instrumentalist. “He has made a life of communicating emotions to people all over the world,” said presenter Alison Krauss. “He has been my co-worker for 15 years. It couldn’t go to a more perfect guy. This is so right.” Douglas received one of the evening’s many standing ovations.

“Thirty-eight years ago, I climbed aboard my first tour bus,” he recalled of joining The Country Gentlemen as a teen. “They told me, ‘Our bathroom doesn’t work. Here’s your plastic jug.’ It has gotten better since then.

“The Dobro guitar has always been my voice,” he added on a more serious note. To him, the award was, “more than a decoration. It’s a big ‘Yeah!’ from people like you.”

Keb’ Mo’ presented a Performer Lifetime Achievement honor to Gregg Allman. “Every time he opens his mouth to sing, we are given a glimpse into his soul,” Keb’ said. “He has held a torch for the traditions of soul and the blues.”

“You are too kind,” responded Allman. “I’ve always said I can sing to you, but I can’t talk to you.” He thanked his 94-year-old mother, The Allman Brothers and Rounder Records, which handled his excellent Low Country Blues CD this year. “I was born in this city, and it’s good to be back. God bless you.”

Later in the show, Allman returned to perform a stately, plaintive version of his 1972 classic “Melissa.”

The Executive Lifetime honor went to Muscle Shoals producer/publisher Rick Hall. Soul star Candi Staton said that, “Working with Rick was one of the most rewarding experiences I’ve ever had in music. The music I made in Muscle Shoals has taken me all over the world.”

Hall recalled, “When I was 16 years old, I was sitting in the Ryman Auditorium, and I saw Hank Williams sing the ‘Lovesick Blues.’ And I knew I wanted to be in music.

“My son said, ‘Dad, be humble, and make it short.’ So, thank you.” Staton and The McCrary Sisters sang “Heart on a String” to salute her producer.

British radio and TV broadcaster Bob Harris was given the Trailblazer Lifetime Achievement Award. “It’s a bit of a dream come true to walk out on this stage,” he said. “The level of musicianship here [in Nashville] I truly believe is the best in the world. You are the warmest people and the friendliest. I really believe in you, and I believe in this music.”

The Americana convention has grown by 15% each year for the past four years. This year’s awards show was the first to become a sold-out event.

Musically, Emmylou Harris kicked things off with “I’ll Fly Away” with vocal harmonies by Miller and Krauss. The song was on the O Brother Where Art Thou soundtrack, which is also celebrating its 10^th anniversary.

Amos Lee and The McCrary Sisters were soulful and inspiring on “Cup of Sorrow” from his Mission Bell CD. Elizabeth Cook turned in a rollicking “El Camino.” Justin Townes Earle and the McCrarys offered a punchy “Harlem River Blues,” which won Song of the Year. Jessica Lee Mayfield was winsome; Group of the Year winners The Avett Brothers were rootsy; and show host Jim Lauderdale was honky tonking.

A massive shout of acclamation and a standing ovation followed The Civil Wars haunting, ethereal performance of “Barton Hollow.”  Hayes Carll rocked hard on his CD title tune “KMAG YOYO.” Buddy Miller and Regina McCrary teamed up on the bluesy “Gasoline and Matches.” Robert Plant, Patty Griffin and the Band of Joy were throbbing and mysterious on “Monkey.”

After The Secret Sisters sang “Why Don’t You Love Me,” Lauderdale said, “I think Hank would be proud of them. And he used to stand right there.”

The finale was “Glory, Glory Hallelujah,” sung by the M.V.P. McCrarys, Plant, Allman, Lauderdale, Griffin and Lee. The McCrary Sisters, by the way, will issue their new CD, Our Journey, on Tuesday.

Whooping it up in the crowd were Garth Fundis, Tim McFadden, Michael Martin Murphey, Mary Martin, Tim Fink, Michael McCall, John Lomax III, Charlie Feldman, Charlie Stefl, John Beiter, Nancy Shapiro, Fletcher Foster, Ron Cox, Webb Wilder, Susan Stewart, Carrie Rodriguez, Raul Malo, John Oates, Mindy Smith, The Greencards, Dan Auerbach, Marshall Chapman, Nina Miller and, natch, Jed Hilly.

“This has been a night of great magic,” concluded Jim Lauderdale. “Thank y’all so much for coming out.”

From her Academy Award®-winning performance in Melvin and Howard to her role as an adulteress in the critically acclaimed What’s Eating Gilbert Grape, Mary Steenburgen is best known for her brilliant acting talent. She has appeared in over 50 films including Parenthood, Miss Firecracker, Back to the Future III, The Butcher’s Wife, and The Help. Her impressive TV roles include such notables as Joan of Arcadia and Curb Your Enthusiasm. But in recent years, this Arkansas native has embarked on a new creative journey and spoke exclusively with MusicRow to discuss her deep plunge into the world of songwriting.

“I’m going to be really honest with you,” says Steenburgen. “It’s still a bit of a mystery [how I got into songwriting]. Before October 17, 2007, I had never written music nor had I even contemplated writing music. I don’t know exactly what happened and I never will, but on that day, I wrote my first song and saying I became ‘obsessed’ would be putting it mildly. Some people suggest that what I’ve done my whole life, telling stories on a daily basis, is perhaps part of it. My entire life I’ve worked with words. I’ve listened to the best way to make them sound and the truest way to say them.” She is also inspired by stepdaughter and singer Katrina Danson, and is driven to help the younger woman’s career.

After writing between 60 and 90 songs, she made a demo of her best 12 on Martha’s Vineyard with musician Mike Benjamin. He sent out the demo under an assumed name, which eventually resulted in Steenburgen being signed by Monti Olson at Universal Music Publishing Group—Los Angeles.

While writing in LA, someone mentioned the idea of co-writing. She admits she didn’t initially understand the process, “I thought they were saying this because they felt my music wasn’t good enough, and I needed to write with other people to make it better.” Being open to everything and always saying “yes,” Steenburgen agreed to co-write but the appointments always fell through. “It was very frustrating for me because I have a really strong work ethic. I’ve never missed a performance in my life, so I’m sure not going to miss a co-writing session. People said to me, ‘you know, that won’t happen to you in Nashville.’”

She then met Nashville songwriter Darrell Brown. “Darrell spoke about Nashville is such a loving way,” she recalls. “He got to know me and he said, ‘if anybody is going to love Nashville, it’s you. You love the South. You love Southern culture. You love writing as much as anyone.’ So I went to Nashville.” Upon arrival, Universal Music Publishing Group’s Pat Higdon and Whitney Williams were wonderful advisers, introducing her to songwriters on Music Row and helping her navigate the business.

She fell for Music City as quickly as songwriting. “I fell in love with Nashville because it’s a city of poets,” says Steenburgen. “It’s a city that actually truly cares about writing and about music. I’ve described it before as the most effortlessly hip city in America and I really think that’s true. The restaurants, the people…I think it’s the coolest city in America. When I come and go from Nashville, people actually care. When I come and go from LA, nobody notices. And that’s the God’s honest truth. It’s not that you are seen and not spoken to [in Nashville], it’s that you’re seen and understood a little bit. That’s what matters in Nashville.”

Her first two local writing sessions were with Brown. She confesses, “I was so blown away by the talent of these people that I got intimidated and didn’t open my mouth.” The third session was with Danny Orton and Barry Dean, and they collaborated on a song about Steenburgen’s mom, who had passed away two weeks earlier. That day proved to be a very emotional journey. Steenburgen says, “to have two people be so open and brave, brilliant and creative, and to dive in and be willing to experience something so powerful with me—a total stranger. They put aside any part of the fact that I’m an actor. They embraced it, but it wasn’t what was important. What was important, about me to them, was the experience of writing this song together. Literally, this is one of the most important experiences of my life and it just exploded from there.”

Listing the other songwriters she’s worked with reads like the credits of a chart-topping hit: Matraca Berg, Troy Verges, Hillary Lindsey, Lori McKenna and many others. She is quick to point out her enormous admiration for these talented songwriters, “If people call me a songwriter, I am honored to be called that. I’m keenly aware that I’m lucky to get to work with these writers.”

Steenburgen’s collaborations are already starting to bear fruit. She co-wrote a song called “Fall Again” with Berg, which is on the latter’s new album, Dreaming Fields. She also penned a song with Melissa Manchester called “Rainbird,” that will be featured in a new movie from the Weinstein Company called Dirty Girl. Steenburgen has a couple of songs written for a TV pilot she shot in Nashville recently that includes collaborations with Shooter Jennings, Verges, and Lindsey. She notes that Tim McGraw is recording a song she wrote with Dean and McKenna.

Steenburgen’s passion for writing runs deep. “It isn’t a dabbling or vanity thing,” she explains. “I actually don’t care about performing the music at all. I want the best people to sing the songs I write. If my name were taken off every single song I ever did for the rest of my life, I would still do it. It’s that important for me as a form of expression.”

She loves the fact that every songwriter is completely different; which relates strongly to her acting life. She has worked with everyone from Lasse Hallström to Woody Allen, from Ron Howard to Oliver Stone, and like co-writing, each experience is unique and rewarding. “That sense of walking in a room and opening yourself up to this unique individual and this person’s style and this person’s life and this person’s way of writing and this person’s relationship to music. I love that!” says Steenburgen.

She also finds similarities between her improvisational work and writing, and finds being open to others’ ideas thrilling. She says, “In improvisation, the first rule is that you never say ‘no.’ You never halt an idea within an improvisational. If you do, you kill the improv. I find the same thing in songwriting. I would never say ‘oh that’s a bad idea’ or ‘no,’ you just don’t say that. You don’t even say it inwardly. You just dive in. It’s like jumping in a river that you’ve never been in before. You’re going to stay afloat and see where it takes you.”

Fortunately for us, it took her to Nashville.

• • • •

You can catch Mary Steenburgen this Fri., Oct. 14, at The Hermitage Hotel when she joins her Nashville songwriter friends for a special in-the-round performance. The upcoming show includes accomplished tunesmiths Shawn Camp, Kim Carnes, Trent Dabbs, Kat Danson, Barry Dean, Natalie Hemby, Audrey Dean Kelley, Luke Laird, Lori McKenna, and Troy Verges.

The event corresponds with the Southern Festival of Books & Americana Music Festival and proceeds benefit The Oxford American, a 501(c)(3) non-profit organization. Tickets are $250 per person. Click here to purchase, or call (501) 320-5730.