Fred Mollin
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.
The Producer’s Chair: Fred Mollin
/by contributorFred Mollin
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.
Buddy Miller, Jim Lauderdale Welcome Guests To City Winery For SiriusXM Series
/by Sarah SkatesJim Lauderdale and Buddy Miller perform at the 2014 Americana Music Festival. Photo: Getty Images
Esteemed musicians and colleagues Buddy Miller and Jim Lauderdale will begin a unique concert series at City Winery Nashville on Nov. 14. The co-hosts will invite special guests to perform and chat in front of a live studio audience, with Tony Joe White set for the first show.
Each of these intimate experiences will be recorded for broadcast on The Buddy and Jim Show on SiriusXM. The weekly radio show airs exclusively on Outlaw Country channel 60.
On air since August 2012, it regularly broadcasts from Buddy’s home studio and has featured over 100 celebrated artists including Lucinda Williams, Emmylou Harris, Guy Clark, Jason Isbell, Patty Griffin, Striking Matches, Ashley Monroe and Rodney Crowell.
The Buddy and Jim Show is also available on SiriusXM On Demand for subscribers, and through the SiriusXM App on smartphones and other connected devices, as well as online at siriusxm.com.
Dates For The City Winery Series
Saturday, November 14, 2015
Thursday, January 14, 2016
Thursday, February 25, 2016
Thursday, April 7, 2016
Thursday, May 26, 2016
For tickets and details visit www.citywinery.com/nashville.
LifeNotes: Star Drummer Martin Parker Passes
/by Robert K OermannMartin Parker
Widely beloved Nashville drummer Martin Parker died on Sept. 10 in his home community in North Carolina at age 63.
He was a member of the 1989 Reprise Records group Billy Hill (“Too Much Month at the End of the Money”), alongside John Scott Sherrill, Bob DiPiero, Dennis Robbins and Reno Kling.
Parker also worked extensively in the bands of Vince Gill and Ricky Skaggs. His widow, Ira Byrum Parker, is a stylist who became a personal assistant to Dolly Parton.
During his Nashville career, Martin Parker backed Patty Loveless, Alison Krauss, Vestal Goodman, Earl Scruggs, Bonnie Raitt, Crystal Gayle, Don Schlitz, Gail Davies and The O’Kanes.
His recording-studio credits include Willie Nelson, Jerry Douglas and Steve Earle. He was mentored by the late Nashville session musician Larrie Londin (1943-1992), who was one of the most recorded drummers in history.
Born Martin Newbury Parker, he was a native of the Yeopim community of Chowan County, NC. He died in Greenville’s Vidant Medical Center. His celebration of life event was on Sunday, Sept. 13, in Tyner, N.C.
He is survived by wife Ira, as well as sons Quinton, Chris and Jamie and several granddaughters.
Contributions in his memory may be made to The Edenton-Chowan Educational Foundation, P.O. Box 206, Edenton, NC 27932 with a notation on the check reading “The Martin Parker Music Fund.” Online condolences may be made by visiting www.millerfhc.com.
Weekly Chart Report (9/18/15)
/by Troy_StephensonClick here or above to access MusicRow‘s weekly CountryBreakout Report.
Carrie Underwood Announces CMT Instant Jam Concert in Atlanta
/by Jessica NicholsonUnderwood teased the concert by posting a photo of a peach on her social media accounts, followed by a short video of Underwood lip synching to “Georgia On My Mind.”
Fans can wait in line for a wristband at Central Park in Atlantic Station, starting at 10 a.m. ET. Variety Playhouse doors open at 7 p.m. for the show.
Recent artists who have staged pop up concerts for CMT Instant Jam include Darius Rucker in his hometown of Charleston, S.C., and Hunter Hayes in Lexington, Ky. Hayes’ show will air Sept. 26 on CMT. Other artists who have taken part in the series include Kenny Chesney and Florida Georgia Line.
Underwood’s schedule has been ramping up over the past several months. The singer-songwriter will release her album Storyteller on Oct. 23, and recently released the project’s first single and video, “Smoke Break.” Next week, she will make the trek to London to appear at the Apple Music Festival on Sept. 21. Underwood is the first country artist to headline the event, and her set will be live-streamed by Apple Music.
5 Things We Learned From Don Henley’s Keynote at the Americana Conference
/by Sarah SkatesHenley grew up in the twilight zone.
Henley said his hometown Linden, Texas, was like “a twilight zone where the south meets the west.” At night he would hide under the covers with the GE transistor radio he bought with money from mowing lawns. He’d tune into 50,000 watt radio stations, picking up bluegrass from the Ozarks, Bob Wills from Texas radio, and stations from New Orleans, which he calls “its own musical planet.” His parents listened to big band music like Glenn Miller, and his grandmother, who moved in with them after her husband died, sang hymns and Stephen Foster songs.
As an adult, Henley realized all the storied musicians who came from the area around Linden, including T Bone Walker, Scott Joplin and Lead Belly, whose grave Henley sometimes visits.
Even rock stars enjoy college.
Henley said his father’s “fondest wish” was for him to go to college, so he went to Stephen F. Austin college in Nacogdoches, Texas where he was greatly impacted by an English professor who said, “You don’t have to be like everybody else.”
Henley eventually transferred to North Texas “where the hippies were.” There he made the dean’s list his final semester but didn’t graduate. He was an English major and the experience solidified his love of words and poetry.
When his father fell ill, he went home to help his mother before moving to California.
If music didn’t work out, “There was no plan B… maybe I would have become a teacher. But the college years I really appreciate.”
Kenny Rogers was an early mentor.
In 1970 Henley moved to California at the urging of Kenny Rogers.
“The music we were gravitating toward was coming from Los Angeles, the country-rock, folk-rock.” They were into the Byrds, Nitty Gritty Dirty Band and Flying Burrito Brothers.
Upon arriving in Los Angeles, Rogers produced an album on Henley’s band Shiloh. (They also recorded in Memphis, but Henley says it was “short lived.”) Rogers had already scored with the hit “Just Dropped In (To See What Condition…).”
“We really weren’t ready to record an album when Kenny recorded us. We were green as songwriters… I learned a lot from watching him work in the studio, about his work ethic and about the business. He was one of the first honest people I met in the business.
“When David Geffen wanted to sign Glenn Frey and I to his label, Kenny helped me get out of the contract that he had negotiated for me. That’s unheard, he helped me get free so that I could move up to something else. Extraordinary what he did for me.”
“He’s generous, honest, kind, thoughtful,” said Henley. Rogers also gave him key advice: be nice to people on the way up because you’re going to meet those same people on the way back down.
Cass County will be released Sept. 25.
Don’t put his music in a box.
“You can trace country music all the way back to our European roots. I think one of the things that is leaving country music these days is… that connection to the roots, and the land and the people who lived on the land.
“The Eagles were always a musical mutt. There were all kinds of elements mixed into our music… ‘One of These Nights’ has Memphis and r&b influences, Glenn Frey brought the Detroit influence.”
As he prepared to release his solo album Cass County, Henley looked at the Billboard chart for the first time in 15 or 20 years. “My jaw dropped,” he said, when he saw how many charts there are now, because the last time he looked there were only five or six.
“That’s what our society does to everything now. We put everything in little boxes, including radio. When I was growing up you could listen to the same FM channel and one minute you would hear Wilson Pickett and the next minute you would hear The Beatles, then Engelbert Humperdinck, and I think that’s good because it gives people the chance to broaden their palate. And nowadays you only listen to whatever it is you think you want to hear. And that’s true with political discourse too, everybody’s preaching to the choir now, which doesn’t give you access to different music, different ideas. It’s all preboxed and prepacked for you. This category thing, I don’t think it’s healthy.”
He loves Dolly Parton.
In fact, he loves her so much, he went to Sevierville, Tenn. to explore her roots and the area’s landscape.
“Her voice contains everything about America. It contains so much history, the history of a people, especially the people of the mountainous regions of the eastern part of the country, it contains sorrow, and suffering and empathy and joy and love and compassion. Every time she opens her mouth—she’s such a tiny person—and the big voice comes out I hear this country and that part of this country. It’s such an authentic voice. It’s grown out of the land. The author E.L. Doctorow said we are neither all spirit nor all clay, we are both. And she is both, she is spirit and she is clay. I have tremendous respect for her and I’m so appreciative that I got to work with her… I’m not afraid to sing with people who can kick my ass, who are better singers than me.”
For more Americana fun this week, check out the New West Records party tomorrow at Acme.
RIAA, Music Biz Team With Thomas Rhett To “Give the Gift of Music”
/by Jessica NicholsonThomas Rhett
The Recording Industry Association of America (RIAA) and the Music Business Association (Music Biz) have teamed to debut an exclusive video from country performer Thomas Rhett. The video, launched exclusively on givethegiftofmusic.info, highlights the impact of giving and receiving music as a gift.
The 2015 CMA ‘New Artist of the Year’ nominee joins the campaign in the run up to the highly-anticipated Sept. 25 release of his sophomore album, Tangled Up, and the announcement that he will perform a record-breaking concert event at the iconic AT&T Stadium in Arlington, Texas, on Sept. 23.
“I will never forget when my mom’s dad, I call him papaw, gave me one of his first guitars he ever bought as a kid. It was a 1979 Gibson Dove,” says Rhett. “It was the guitar I learned how to play Third Eye Blind songs on in high school. I even played it in the talent show. I think because of that guitar and its sentiment, some beautiful songs came out of it.”
The 5th annual GTGOM “Countdown to the CMA Awards” contest asks fans to share how Thomas Rhett or any other 2015 CMA Awards nominee’s music (song, lyrics, performance, etc.) has inspired them. The Grand Prize winner will receive two tickets, donated by CMA, to attend “The 49th Annual CMA Awards” in Nashville on Nov. 4 and a cash prize of $1,000. A special Country music gift package will go to the second place winner. All additional winners will receive signed copies of Thomas Rhett’s new album, Tangled Up.
For more information, visit givethegiftofmusic.info.
List Reveals ‘Billboard’ Top Music Power Players for TV
/by Eric T. Parker“As recorded-music sales continue to sputter, the impact of a high-profile TV spot has never been greater,” notes the Billboard staff in the announcement. “From halftime shows to primetime synchs, these executives, showrunners, bookers and supervisors can make — or break — an artist’s song and career.”
Among the talent are the ACM Award show’s Bob Romeo (CEO, Academy of Country Music) and R.A. Clark (Executive producer, Academy of Country Music Awards), as well as CMA Award show’s Robert Deaton (Executive producer, Country Music Association Awards).
CMT’s Brian Philips (President) and Leslie Fram (Senior vp music and talent) are joined by parent company Viacom’s Executive vp music and multiplatform strategy, Viacom Music & Entertainment Group, Erik Flannigan.
For networks, Dawn Soler (Senior vp music, ABC) has been involved in the Nashville TV shows and the ABC Music Lounge website.
Signings: Absolute Publicity, SESAC, HoriPro
/by Jessica NicholsonAbsolute Publicity Signs James Robert Webb
James Robert Webb
Bison Creek Records artist James Robert Webb has teamed with Absolute Publicity for exclusive public relations representation.
“I’m thrilled to be signing with Absolute Publicity during a time my fan base is growing and my music is reaching more and more people,” says Webb. “I strive to create music with broad appeal that stands the test of time, so it’s an honor to be among the roster of legendary country artists that Absolute Publicity represents. I look forward to living up to the name that Absolute represents.”
Absolute Publicity also represents Aaron Tippin, Bellamy Brothers, Billy Dean, Ricky Skaggs, Sammy Kershaw, Mel Tillis, Ray Stevens, Pam Tillis, and Restless Heart, among others.
Webb’s current single is “Makin’ Love Tonight.” For more information, visit jamesrobertwebb.com.
SESAC Signs George Clinton
George Clinton
George Clinton, primary architect of the P-Funk movement and member of the Rock and Roll Hall of Fame, has inked a deal with SESAC.
“There’s no disputing that George Clinton is one of the most unique musicians of the past four decades. His creative genius has informed multiple generations of music lovers and he has left an indelible mark on the international music scene. We are incredibly proud to welcome Mr. Clinton to our SESAC family,”’ said John Josephson, chairman and CEO, SESAC.
“Me and SESAC are a good match,” Clinton says. “I’ve never been satisfied doing the same ole thing over and over. You need to look for new ways to do things, make the most of a situation or a copyright, in this case. And that’s why I am excited to be a partner with SESAC. I like that they take charge of this business, making things happen for their songwriters and publishers.”
Clinton has recorded 19 albums since the 1970s, and has had radio singles including “Atomic Dog,” “Last Dance,” “Nubian Nut,” and “Do Fries Go With That Shake.”
HoriPro Adds Brinley Addington
HoriPro has signed new singer/songwriter Brinley Addington to a worldwide deal, that includes his last year and a half of unpublished songs.
Addington has released two independent albums, with his last album Middle Of Nowhere released in 2014. He has opened shows for Florida Georgia Line, Josh Turner, Tyler Farr, Thomas Rhett, and others. Addington is booked by William Morris.
Pictured (L-R): Matt Cottingham (Ritholz Levy), Tim Stehli (HoriPro Entertainment Group), Michael O’Neill (BMI), Brinley Addington, Lee Krabel (HoriPro Entertainment Group), Courtney Crist (HoriPro Entertainment Group), Butch Baker (HoriPro Entertainment Group), Bradley Collins (BMI)
No. 1 Party: Keith Urban’s “Raise ‘Em Up”
/by Kelsey_GradyPictured (L-R): (Back Row) 3 Ring Circus’ Casey LeVasseur and Darrell Franklin, Sony/ATV’s Abbey Adams, ASCAP’s Robert Filhart, producer Nathan Chapman, Universal’s Mike Dungan, BMI’s Jody Williams and Bradley Collins. (Front Row) BMI songwriter Jeffrey Steele, ASCAP songwriter Jaren Johnston, BMI affiliate Keith Urban, BMI songwriter Tom Douglas.
Music Row execs raised ’em up for Keith Urban last night (Sept. 16) at the Sutler Saloon as he celebrated his 18th No. 1 hit song. Co-hosted by BMI and ASCAP, the event celebrated the Musical Event of the Year CMA-nominated song and began the party with Urban playing a special performance of “Raise ‘Em Up” with co-writers Tom Douglas, Jeffrey Steele, Jaren Johnston, and producer Nathan Chapman.
BMI’s Jody Williams praised the co-writers, Urban and Eric Church on “creating one of the most memorable musical moments of 2015” and proclaimed Urban’s eighth album Fuse as the best and most progressive work of his career. He took time to applaud Urban’s accomplishments in giving back to the community. “I never miss an opportunity to mention how generous Keith is with his All For The Hall Benefit Concert. That effort has now raised over 2.5 millions dollars. Keith you are a blessing to the Nashville community.” He also congratulated Douglas on his eighth No. 1 hit and Jeffrey Steele on his eleventh No. 1.
Robert Filhart of ASCAP spoke of Johnston’s incredible work ethic to spend more than 300 days on the road and still find time to write hit songs such as this, celebrating Johnston’s sixth No. 1 hit.
Sony/ATV’s Abbey Adams took time to thank the entire Universal promotion team as well as a special thanks to Chapman for his time and passion he put into this song. “You had a special vision for this song and created a sonic masterpiece with Keith and Eric.” She also praised the songwriters on their craft. “It reminded me why a lot of us get into this business, and it’s for the music that moves us. It takes an amazing talent to write a song that can touch us and take us back to another time in our life. Thank you for sharing this with the world.”
3 Ring Circus’ Darrell Franklin and Casey Levasseur thanked Capitol and announced a special donation to the Integrative Life Center in each of the writer’s names.
Universal Music Group Chairman/CEO Mike Dungan spoke of how captivating and moving “Raise ‘Em Up” was for him. “I remember the first time I head this song and I was just frozen with this emotion I felt coming out of these lyrics and this groove. What an incredible statement about this shared spirit that all of us in America and the world hope to have.”
Ron Cox of Avenue Bank announced a proud contribution to the Alex LeVasseur Fund and CMA’s Brandi Simms presented the official No. 1 medallions and gave a special congratulations to Keith on his CMA nomination.
Holly Lane of the CRB was thrilled to announce that as of today, the song has reached a total of 797 million people through country radio. “I don’t think there’s any more dynamic and creative performers than Keith and Eric in the genre today and country fans love it.”
Pictured (L-R): Jeffrey Steele, Jaren Johnston, Keith Urban, Tom Douglas
Church, who was not in attendance, provided a short video clip expressing his gratitude. “Keith, thank you for having me on this song, you absolutely did not need me on this song and I’m glad you wanted me on it. I’m very proud of it. Thank you to Tom, Jeffrey and Jaren, as a songwriter I recognize a great song, and that’s a great one. Especially thank you to Tom and Jeffrey for writing with Jaren, and keeping him off the streets. That’s always good help for society.”
Johnston, who exclaimed he’s been in five states in the last 15 hours, proudly thanked his co-writers on giving country music what it’s missing these days, that one lyric that hits you and turns the knife. “They say that parents love all their kids the same amount. I would say that’s bull shit. I love this baby a lot more than the other songs I’ve written, and I’m really proud of it.”
Douglas gave a special thanks to his wife, “I like to create things, my wife creates a life, so I can do what I love to do,” as well as a special thanks to the Sony family and the Universal promotion team.
Steele praised Urban for his correspondence on the song, and expressed what this song means to him. “To be a good songwriter you have to live, and these last few years I’ve lived.”
Lastly, Urban gave a special recognition to Justin Niebank and the late Mike Shipley for mixing the album. “Mike Shipley who was initially involved in starting the mix of this record, and didn’t get to fully finish the song the way we envisioned. My prayers go out to him and his family tonight.”
He also gave a loving shout out to wife, Nicole Kidman, who could not be in attendance, and discussed how much the song hit home with them. “It’s the most amazing feeling singing this song every night. Everybody is singling along and its the most beautiful thing because it’s why I do what I do. I want to make a connection. I want everybody to feel a part of something, and just come together as one and not be separate over any issues or anything. Just be as one, in one moment. if we could all just collectively agree on one thing for three minutes, then its a beautiful thing.”