Alabama released their first studio album in fourteen years today (Sept. 18). The band is in New York City to celebrate the release of Southern Drawl and will perform tonight at The Beacon Theater.

After taking a break from recording and touring for over a decade, the band was refreshed and ready to record again. “We are excited about this. We really put our hearts into it,” said lead singer Randy Owen.

Album standouts include “Wasn’t Through Lovin’ You Yet,” “American Farmer,” the rowdy “Hillbilly Wins The Lotto Money,” the heart-warming “I Wanna Be There,” and “Come Find Me,” featuring vocals by Alison Krauss.

The band recently received the Career Achievement Award at the ACM Honors at the historic Ryman Auditorium.

In all, the band has won 178 awards including Grammy® Awards, CMA Awards, ACM Awards and Billboard Awards. They’ve sold over 73 million albums and raised over $250 million for charity.

 

Natalie Maines was inducted into the West Texas Walk of Fame last night (Sept. 17) in a ceremony held in her hometown of Lubbock, Texas. Playwright/actress Jo Harvey Allen was also inducted at the event, which was held at the Lubbock High School due to renovations at the Lubbock Memorial Civic Center.

“I never quite fit in [here], but I kinda liked that and used it to my benefit,” said Maines of growing up in her hometown while delivering her acceptance speech, posted via video by the Lubbock Avalanche-Journal. “I was the first cheerleader that I knew of with half of my head shaved–I was also very proud of that accomplishment.”

Past inductee and father of the Dixie Chicks front-woman, Lloyd Maines, joined his daughter during an acoustic performance of “Wide Open Spaces” in front of the capacity crowd.

In an interview with the paper prior the ceremony, Maines revealed she was first hesitant to accept the honor but became convinced when it was revealed she would be standing next to Allen, representing strong females.

I was not anxious to do this. Don’t get me wrong. I’m appreciative of being asked, but, unfortunately, Lubbock’s reaction to my speaking out against the war and George W. Bush made my heart feel very differently about my hometown, and it’s a difficult place for me to go back to.

I was very naive to think that would be reciprocated in the Bush aftermath, and I had an unfortunate awakening. Here was this place I had always defended and praised that turned on me. I think of myself as a pretty tough chick, but it was really hurtful to watch my hometown jump on the bandwagon of hate towards one of their own without any hesitation. Honestly, I just washed my hands of the entire town and only went back to visit my mamaw and my extended Lubbock family. Then this invitation came up. I did have to do a lot of contemplating. But it’s a nice thing to be asked, and I know it means a lot to my dad.

Diamond Rio is releasing their tenth studio album today (Sept. 18), featuring eleven new songs. The title track “I Made It” was co-written by lead guitarist Jimmy Olander, who co-produced the project with Michael D Clute. It is available at iTunes and through Rio Hot Records at diamondrio.com. In celebration of the release for a limited time, fans can receive a free MP3 of the title track by visiting www.diamondrio.com.

“As artists producing music as long as Diamond Rio has, fresh subject matter tends to get more and more difficult to come by,” says Olander. “As a writer on the title track ‘I Made It,’ simply telling our story is freeing. This is a very specific story, the autobiographical melding of the migration stories my partners and I share about moving to Nashville. Collectively, we have achieved the amount of success that dreams are made of, but at the end of the day have learned having someone to share this amazing life with – ‘love’ and ‘be loved by’ is the real measure of success. It’s true, ‘I Made It.’”

“We were fortunate to not be rushed with this project,” shares Gene Johnson. “Over the past few years we’ve taken the time to work on several projects that were on our bucket list; a Christmas album and our first-ever Christian and live albums.”

Dan Truman further explains, “Instead of cutting the album in a 2 week period, or 2 month period we’d cut a few songs every year. What that allowed us to do is be very selective about what we cut and to take the time to live with these songs, making the proper edits and decisions.”

Marty Roe and Dana Williams both agree that, collectively, this may be the best group of songs the band has ever recorded. “We’ve always had a sense of excitement when a new CD was being released. However, since this is our first new music from Diamond Rio in many years, it almost feels like it did when our very first record came out 25 years ago. At least for me, there is some nervous tension anticipating what our new and longtime fans think about it.”

Brian Prout concludes saying, “We are proud of this CD and we hope that our fans will enjoy listening to it as much as we did recording it.”

Diamond Rio signed to Arista Records and in 1991, and with the release of “Meet In The Middle” became the first country music group in history to reach No. 1 with a debut single. Celebrating their 25th anniversary, the band is known for their hits “How Your Love Makes Me Feel,” “One More Day,” “Beautiful Mess,” “Unbelievable,” “In A Week or Two,” and more. The band is known for playing every note on every album, and has sold more than 10 million units.

I Made It Track Listing
“I Love This Song”
Writers: Jeffrey Steele, Marcel Chagnon

“Ride The Range”
Writers: Bobby Terry, Catt Gravitt

“I Made It”
Writers: Jimmy Olander, Josh Shilling, Michael Dulaney

“I Can’t Think Of Anything But You”
Writers: Skip Ewing, David Fertitta, Allan Dennis Rich

“Crazy Life”
Writers: Peter Kevin Fisher

“Beckett’s Back Forty Acres”
Writers: Ashley Gorley, Matthew Rossi, Hugh Bryan Simpson

“Lay Your Lovin’ On Me”
Writers: Ben Hayslip, Jimmy Yeary

“Findin’ My Way Back Home”
Writers: Craig Wiseman, Chris Stapleton

“If You’re Willing”
Writers: Jason Sellers, Stewart Harris

“I’ll Wait For You”
Writers: Shane Minor, Shannon Brown, Joshua Stevens

Bonus Track: “Walking By Beauty” featuring Joshua Bell
Writers: Patrick Jason Matthews, Jason White
Track Benefiting: do Terra Healing Hands Foundation

By James Rea

Legendary producer Fred Mollin appeared on The Producer’s Chair, Thursday, September 24, 2015 at Douglas Corner at 6 PM.

Fred Mollin‘s story may even make Fred himself take a step back and think, I can’t believe how blessed I’ve been. Considering his 40-year production discography, one would think that Mollin is one of the highest profile producers in the biz but that is not the case. “Under the radar” is an understatement when describing his remarkable career, which started with a record deal and a Grammy nomination for the very first artist he co-produced.

Mollin has won three Juno Awards in Canada, a Gemini Award from the Academy of Canadian Cinema & Television, and five SOCAN Awards for film and television music. A portion of his body of production work includes duets & solo productions for Jimmy Webb, Johnny Mathis, Dan Hill, Billy Joel, Natalie Cole, Gloria Estefan, Barbra Streisand, JD Souther, America, Vince Gill, Amy Grant, Sheryl Crow, Lucinda Williams, Lyle Lovett, Joe Cocker, Linda Ronstadt, Art Garfunkel, Kris Kristofferson, Billy Ray Cyrus, Miley Cyrus, BB King, David Crosby and Graham Nash, Carly Simon, Barry Mann, Glen Campbell, Alison Krauss, Frank Stallone, Michael McDonald, Shawn Colvin, Jackson Browne, Daryl Hall, Collin Raye, Carole King, and Willie Nelson. In the last decade Mollin produced two albums for Johnny Mathis, both of which were nominated for Grammys. He has also had cuts by Cher and Eric Clapton.

Mollin recalls, “Most of my career was born out of Toronto. I had my singer/songwriter career that started around ’71-’72, and then my producer life which happened by accident. In 1974 I was 21 with no thoughts about being a producer, I was doing a lot of gigs with Dan Hill. I’d open for him and he would open for me. One day he asked me to produce his demo. He thought I’d be a good producer, because I studied records. I knew which musicians played on it, and who engineered it. I was a musicologist without knowing it.”

In 1978, three Dan Hill albums later, his song “Sometimes When We Touch” written by Hill (lyrics) and Barry Mann (music), flew to the top of the Billboard charts and received a Grammy nomination.

Afterwards Mollin found himself working as a composer for TV and film for over 15 years, after which he continued to work as producer for critically acclaimed albums by Jimmy Webb, Kris Kristofferson, and Johnny Mathis.

Fred grew up on Long Island behind his first love, a drum kit, until The Beatles came along, at which point he picked up a guitar and joined the ranks as a singer/songwriter to impress the ladies. Fred’s older brother Larry, who became an actor and sort-of mentor to Fred, moved to Toronto and eventually Fred joined him there.

Mollin says, “I was also affected by James Taylor and Neil Young. I quit school when I was 16 which was a freaky thing, because back in those days in my neighborhood, a nice Jewish boy didn’t quit school. And my mother, who is now 97 and still sharp as a tack, was my protector and my support system.”

Then as fate would have it, one of the most-pivotal moments in Fred Mollin’s career took place…

Mollin recalls, “In ’78, Matthew and I had a classic ‘Hollywood moment.’ I was so inspired by Jimmy Webb, I wanted to produce him and Matt did too. After we had ‘Sometimes When We Touch,’ the guy at 20th Century Fox Records invited us to his office. He was smoking a cigar and he said, ‘Who do you want to produce next? Whoever it is, I’ll get them for you.’ Just like that. Like a moron I said, ‘Jimmy Webb.’ In reality I should have said James Taylor or Elton John. And the guy said, ‘Why?’ and I said, ‘Because he’s the greatest songwriter in the history of song. He has a unique voice, and he’s never been produced right. I think we could do an incredible record with him.’ The next day we were meeting with Jimmy’s manager, and then the next night we were at Jimmy’s house, and I’ve been with him ever since. That created a 40-year collaboration with Jimmy Webb as his musical director and producer. I was never driven by the money. I am a musician first and a music lover. I wanted to work with the people who inspired me.”

As a composer for television, Fred has run the gamut including Liar Liar, Little Criminals, ≈ Tekwar, Beyond Reality, Friday The 13th, The Outer Limits, Forever Knight, Beverly Hills 90210 and Hard Copy. Mollin’s most recent songwriting for TV has been as one of the main composers and lyricists for songs on the Disney Channel’s Handy Manny.

In the feature film realm his orchestral score for The Fall and Borderline Normal. One project dear to Mollin was the VH-1 television movie Daydream Believers—The Monkees Story, where he composed the underscore, and served as musical director.

As an artist, Mollin’s projects include several Disney lullaby albums which have sold over 2 million copies worldwide. Then in 2007-08, Mollin took a hiatus from his freelance career and became Vice President of A&R for Walt Disney Records in California. He was also Executive Producer of such Disney successes as High School Musical The Concert. He produced Billy Ray Cyrus‘ Home At Last, which included the Gold single “Ready, Set, Don’t Go” a duet with daughter Miley Cyrus.

In 2008 he went freelance again and returned to the studio full time in Nashville. His most recent album productions include a Johnny Mathis Christmas album, and Still Within The Sound of My Voice by Jimmy Webb. Fred is currently producing another album on Mathis, as well as finishing a new Christmas project with teen phenomenon Lexi Walker. And there’s plenty more where that came from.

The Producer’s Chair: How did you and Matthew McCauley wind up co-producing Dan Hill?

Mollin: Dan and I went to a little 4-track place on Hazelton Lanes in Toronto called Captain Audio I walked into the basement and saw a young guy. It wasn’t the engineer. He had a big, black beard and long, long hair and a white flowing shirt. It was Matt McCauley.

Matt was one of Dan’s friends from school, whose father William Alexander McCauley, was one of the great musical directors of Canada. Matt was a genius and had learned arranging and conducting from his father. At age 20 (I was 21) he was an absolute phenomenon. In his wisdom, Dan decided to create a creative blind date for us and not tell either one of us that we were going to produce this little demo.

It was like two roosters in a cage for the first couple of hours. And then by the end of these little demo sessions we really connected. Matt to this day is my best friend. He’s been my creative partner on many records early on, and then he stopped producing. He had other things that he wanted to do. Matthew is still the person I will go to for string arrangements.

Dan was so smart to know that we would be the perfect team. We worked together from about ‘74-’79. From that first meeting and the demos came a record deal for Dan.

How did you get Dan Hill that record deal?

No, not at all. Matthew’s parents decided they would invest. So, they actually financed a record and an album which Matt and I produced for Dan. Then, GRT Records in Canada signed the McCauley’s production deal and signed Dan. So, here we were. This wonderful situation occurs and boom, the next thing you know, within a year we have two Top-3 records in Canada. Dan became a Canadian star, and we became producers.

What’s the story behind “Sometimes When We Touch”?

The first album was called Dan Hill. The second album was called Hold On. Then, on the third album we had a U.S. deal with 20th Century Fox Records. It was sort of interesting, because at that point we had a lot of pressure because they had to break Dan in the U.S. Otherwise, we would lose that deal. I think Dan’s publisher at that point was the McCauleys, co-published by ATV.

People in L.A. set up Dan to co-write with Barry Mann—one of the greatest songwriters of all time. Barry and Cynthia Weil have been in my life ever since. But Dan was so intimidated by the co-write that he didn’t do very well. As he was leaving Barry said, “Well, do you have any lyrics that you want me to put music later?” Dan pulled “Sometimes When We Touch” out of his guitar case, which he had already written music to, but the music was weak. Barry took it home, and I still have the cassette that Barry gave me of him just singing into a little cassette machine—just whipping off this Elton John-esque song. It was like hearing the sound of your entire career ahead of you. Because Barry is just singing and playing away and it’s like—this is a hit. “Sometimes When We Touch” became a smash hit all around the world, and to this day it is an iconic record. Of course, we didn’t know it would be. We were just thrilled to be making music. We were very precocious kids, but we were blown away at how successful that was.

What was the significance of producing Jimmy Webb’s Ten Easy Pieces album?  

I was missed producing. Jimmy Webb was having a rough time. He was in a terrible divorce with a wife of many years and six children. He had addiction issues and problems with the IRS. He had to sell his publishing off. He was literally on the edge. I said, “Buddy, I’ve got to think of something that we can do together.” So I called Jay Landers, an old friend of mine who was at EMI. I said, “What do you think if I do an album with Jimmy of his most famous songs, just literally piano, vocals, and a couple extra things? It will really be a historic record. I can do it mostly in my house.” And he said, “Well, I’ll give you 25 grand if you can do it.” It was a low budget, and it meant that I wouldn’t get paid. I was getting used to being pretty well paid in TV and film, but it wouldn’t have mattered if he had said $1,000. I would have done it because it was a means to an end of great importance.

So I called Jimmy and told him I got the green light from EMI. And he said, “Freddy, I’ll never do that record. Those songs killed me.” And I’m like, “Oh, boy.” His frame of mind was so bad, but also his belief was that he never got his due as a great songwriter or especially as a great singer/songwriter. I said, “Come up here to Toronto. Physically, I’d like to get you out of ground zero. I’ll put you up in a hotel near my house, and we will work and do this beautiful stripped down album of you.”

I finally convinced him. I said, “Do it for your children so they have an archival recording of you singing your most famous songs.” So, we did this record called Ten Easy Pieces which became an ironic title by Jimmy, because it was really ten tortured pieces but it saved his life and it changed his life.

Jimmy got through the divorce and his sobriety a couple years later and he’s been traveling and performing all over the world ever since—just piano and vocal. I felt very good about the fact that I was able to help him. And it is a lightning-strikes sort of album.

How did you wind up producing Kris Kristofferson: The Austin Sessions?

It was a beautiful project. In 1996 I was still doing a lot of film and TV in Toronto, and we had already had this incredible response to Jimmy’s album critically. And then Jay Landers said, “Well, let’s make a series now with these kinds of records with the great songwriters. Why don’t we do Kris Kristofferson?” And I said, “Well, I couldn’t do Kris like I did Jimmy, because Jimmy is such a brilliant piano player that it’s so captivating in that record to hear him play. He’s orchestrating as he plays, and it’s wonderful. With Kris I’d like to do it with, maybe, four players in the studio.” Kris’s biggest inspiration was that he became a janitor at the CBS Studios here in Nashville just to hear Bob Dylan, possibly, in the studio. That was when Bob was doing Blonde On Blonde. So I said, “Let’s cut Kris doing his most famous stuff, but in a Blonde On Blonde vibe because, Kris really can’t solo guitar very well.” He couldn’t do just a voice and guitar thing on the record. It would sound sort of one-dimensional. I thought if I surrounded him with four great players from Nashville, we’d have a magical situation. The problem was, he was doing a movie in Louisiana so we had to go to the closest city with a studio, which was Austin. The four musicians and I converged to make that record over the course of a week. Kris considers it his greatest album. It’s the way he always wanted his songs to sound. The album is called The Austin Sessions. It’s very precious to me. I love Kris. We had such a terrific time.

Speaking of iconic songwriters, I understand that you knew Gordie Sampson before he moved to Nashville.

Gordie is one of the great writers out of Nashville now—I moved Gordie down here from Canada. I feel like I discovered Gordie for the U.S. This guy is a monster—brilliant as an engineer, musician, arranger, performer, singer, and producer. I felt like I could find him a publishing deal. And that was no problem when they heard Gordie. He signed with Ken Levitan and Chris Farren at Combustion. And the rest is history.

Are you also an engineer/mixer?

No. Here in Nashville I have a team. I’ve worked with Dave Salley for 10 years. That’s my house engineer. He’s just so fantastic. I also work with Kyle Lehning, who I’ve known since my first visit to Nashville in 1972. He will mix for me whenever I need, and he’s a very important person in my life.

Do you have an A-team of musicians?

Actually, I have a bunch of A-teams. I have guys who would be the perfect guys for Americana. I have guys who are perfect for a little more of a rock thing. I have guys who are perfect for the country stuff. I have guys who would be better for a little jazzier thing. So, I probably have four or five A-teams. Isn’t it wonderful to have that? Nashville is amazing.

How well did you get to know Linda Ronstadt?

I remember Linda telling me that when Jimmy would open for her, she would just stand by the side of the stage to watch his opening act. And someone asked her, “Why are you always watching Jimmy’s set?” And she goes, “Because he frightens me.” Just to see that genius on stage. And at that point he wasn’t a good performer. So, every night it could be different. She was in awe of his genius. They are very connected still. I became friends with Linda and we are great pen-pals. She’s really a special person and I had the honor of producing her last recording.

What do you enjoy doing the most today?

I love performing. I always have. I’ll wind up performing three or four times a year backing up for someone or musical directing for someone. I always love producing the basic tracks, because I’m out on the floor either playing or conducting. I find it the most exciting part of my life.