Jimbeau Hinson - Roller Coaster Ride

By Jules Bloeth

July/2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jules: Can you describe your songwriting process?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jimbeau: With a smile.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

~*~ Exclusive Bonus! ~*~

An interview with Jimbeau’s wife,

Brenda Fielder!

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

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

Jules: Have you ever co-written with Jimbeau?

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

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

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

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

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

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

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

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

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

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

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

© 2010 Jimbeau Hinson

 JLB Powerhouse Publishing – Reprint with permission only.

To email Jules Bloeth, click HERE.

Photos by Jules, at The Ranch.

Steve Dean - Just Getting Started

By Jules Bloeth

June/2010 

                    Raised in Little Rock, Arkansas, Steve Dean moved to Nashville in 1980 when he was 26 years old.  He said he wrote songs every day.  He is now an award winning songwriter with numerous number one hits (including "Watching You" by Rodney Atkins, "Round About Way" by George Strait, "Walk On" by Reba McEntire, "Southern Star" by Alabama, "It Takes A Little Rain" by The Oak Ridge Boys and "Hearts Aren't Made to Break" by Lee Greenwood).  Additionally, Steve has had songs recorded by Steve Wariner, Barbara Mandrell, Rick Trevino, Conway Twitty, Ronna Reeves, Joe Nichols, Craig Morgan, John Michael Montgomery, Ty Herndon, Lee Ann Womack, Waylon Jennings, Neal McCoy, Ricochet, Ronnie Milsap, Dierks Bentley, Billy Dean and more!

                    Steve very graciously agreed to do an interview and share some insight.

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

Steve:  I would say this: If songwriting is part of your everyday life, then move to Nashville. It is not an easy road but if are serious about learning the craft of songwriting, then you need to be "where the action is."  If you cannot move here, still join NSAI and that will help you network when you are in town, and through NSAI you will meet other songwriters and develop co-writing relationships.

Jules:  You’ve talked about the fact that growing up, you were a fan of the Beatles, the Byrds and the Eagles as well as Buck Owens, Roger Miller and Jimmy Dean and you have a long list of musical influences.  Can you identify any who inspired you more than others and describe how they shaped and/or influenced your songwriting?

Steve:  Paul McCartney is the reason I ever had the notion about writing my own songs.  When I was very young, and after I had watched The Beatles perform on the Ed Sullivan Show, my Dad said to me, "You know what makes The Beatles unique? They write their own songs." The light came on and I've been writing music ever since.  And I still feel like I'm just getting started!!

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

Steve:  I am a singer/songwriter. I tried the artist thing a couple of times, a trio and a duo, both acts came very close to getting something going on.  I never tried the solo thing.  But working every day on Music Row for all these years and having other artists record my songs certainly is a blessing.  Not a mistake. What I know now however is, I listen to my heart first.

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

Steve:  I really like a co-writing session that starts out with a blank computer screen.  Co-writing is a give and take process.  I go into a co-writing session with an open mind and heart. Sometimes I will get an idea driving in, sometimes my co-writer brings one in. It's all for the song!! Check the ego at the door. LOL!!! And dig in and write the very best song you can.

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

Steve:  I believe this is why we co-write. Inspiration is born with a great idea. I wake up everyday inspired to write, period.  But if there is no idea that appeals to anyone in the room, we might go to lunch. Sometimes something will be said in conversation that will sound like a song title.

Writing music does not feel routine to me. I love the process. I love it when a line comes out and you can say "no one has written that today!"

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

Steve:  Success to me is not necessarily measured by how much money you make, or even how many #1 songs you've written. Instead, when my co-writer and I have written a song that we feel great about, then I would say we were successful. And who knows, that song could become a number one hit for someone at sometime in the future. You just never know. Personally, I enjoy my co-writers company. To me, being able to get along with so many different personalities makes it.

Jules:  Are you able to differentiate between songs you’ve written that may in fact be good and others that stand out from the rest; ones you recognize have something special that give them hit potential?  What do you look for in a hit song and how do you recognize it when you see or hear it?

Steve:  All I know is, I try to write a hit song every time I sit down to write. That is the goal. Write what you know, and say it the freshest way possible. The rhythm of the cadence, how the lyric bounces with the groove and the ability to sing along with the first listen to the chorus, to me, I would say "that is a hit!"

One of my favorite sayings is "not all great songs are hit songs and not all hit songs are great songs."

Jules:  One of your latest number one, hit songs is “Watching You,” written with Brian White and Rodney Atkins, who also recorded the song.  Can you describe how it came about and the story behind the song?

Steve:  Rodney called and said he was going to be late to our writing session because his 4 year old, at the time, was singing "If You're Going Thru Hell" on the playground at school, and the principal called and asked Rodney for a meeting. Rodney explained that it was his record the boy was singing. So he had a talk with his son, came on in to write and we began talking about how kids are watching us, constantly.

[To watch the video of Steve’s hit song “Watching You” click HERE.]

Jules:  I've heard you say you were ten when you wrote your first song!  Is that true?  What was it entitled and how would you feel if that song were played today?  When did you decide songwriting was what you wanted to do and how did you make the decision to pursue it?

Steve:  I was 10, and the song is still one I think about, of course it would need a lyrical re-write, but the music I would keep the same. I am thinking it would cool to play it at a writer's round someday, just for kicks. Who knows after that. I decided to move to Nashville after college and a couple of years in the advertising field. I was still single and knew I would only have to take care of myself. I saw the window of opportunity open up and I jumped through it.

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

Steve:  I love shooting and editing music videos. I have made music videos for years, beginning with my first Beta movie camera [that was] so big it rested on your shoulder. But I never had the editing software. So for the last several years, having acquired the software, and HD capabilities, I can finish the job. And it is a blast. Video shoots are awesome. Editing takes a bit of time, but when it all syncs up it is worth it.

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

Steve:  Well, when our daughter was born, my wife Lori took 6 weeks off from her job to take care of baby Bethany. When the 6 weeks were up, she was excited about going back to work (she was our main source of income in those days). We had a neighbor down the street that had agreed to watch Bethany during the day. It all was going to work out just fine. Then, the second morning, I looked out the window and saw Lori walking up to the house with big ol' tears. We made the decision that Lori would quit work and stay home with Bethany and we rolled with the punches. But, God provides. We soon got a top 5 single and realized we had risen above a major challenge. Not that we didn't face others along the way - and still do. We just give it to God.

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

Steve:  I am co-producing the new CD project "Comin' Back Around" with The Roys, the dynamic brother/sister duo, with the first single due out in early May. They are the real deal. They have been singing together practically all their lives, both, individually are great singers, and their voices together [sound] so awesome with that sibling harmony. They are great songwriters as well, but overall are great people and we have become like family.

For me, I recorded a CD entitled "#1's and Then Some, a collection of songs that have been hits and some of my favorite cuts, and presented the material in the same arrangements like the way that I perform them "in the round" at writer's shows.

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

Steve:  Write something every day. Try to write something that is true to yourself. Write about something you know about.

© 2010 JLB Powerhouse Publishing – Reprinted with permission.

To email Jules Bloeth, click HERE.

R C Bannon - Writing Life In Lyrical Form

By Jules Bloeth

April/2010 

                RC Bannon is an award winning and prolific hit songwriter who has written songs for most of his life.  His songs have been cut by artists such as Ronnie Milsap, for which RC’s song (and title track) on Ronnie’s album, “Only One Love In My Life” hit number one on Billboard Country charts.  Other well known hits RC has written include Barbara Mandrell’s “One Of A Kind Pair Of Fools” (a number one single released in 1983 and most recently, “I Don’t Have To Be Me (Til Monday)” by Steve Azar.

                Currently residing in Nashville with his wife, Natalie,   RC agreed to answer some questions and share some of what he’s learned over the years.

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

RC:  First and foremost, join NSAI. It's a great organization. Use everything they have to offer. Play around where you can. Work hard. Meet people. Introduce yourself to as many writers and people as you can. You can't wait on someone else to introduce you. Find great co-writers to help you improve. 

Jules:  Who were some of your early musical influences and how have they shaped and influenced your songwriting?

RC:  The guy who took the time and interest in me as a writer was Mayf Nutter, an actor who happened to be doing a show at a club I was working. He used  my band to back him up that night and afterward we sat up playing songs till his 6am flight. That was in 1970. He taught me mostly by mail, as he lived in Los Angles.

I learned the real art of re-writing through him.  Without him, I don't know if I would have ever written a hit. Although he has never written a hit himself, that doesn't mean he didn't understand the work it took. He saw my talent and kept working with me until I understood what I was trying to do. I had to learn how bad I was before I could ever get good. I believe you have to have a starting point. It was a torturous process, but I stayed after it and never gave up for six years till I moved to Nashville in 1976. I was in town for 3 months when I got a writers deal with Warner Bros. where I stayed for 15 years. Then I got a record contract with CBS Records within 6 months of arrival in town. In about 20 months after that, I had a number one record with Ronnie Milsap with a song I had written  with John Bettis, another wonderful teacher I had. 

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

RC:   I was lucky I didn't make too many mistakes after coming to town. I made most of mine before arriving. I never paid anyone money, never got into those pitfalls and was never taken advantage of.

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

RC:   I don't co-write a lot. I take a lot of time in writing so only a few people want to spend that much time on re-writing. Hell, I don't even want to spend that much time with myself. I will spend as long as it takes to get it right. One week to a year--it doesn't matter.  It took us more than 3 months to write “Me Till Monday.” 

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

RC:  I use a drum machine on my Mac if I am having trouble getting something going. Just turn it on get a pattern and I may go take a shower with the machine on or eat a snack. It may go for 20 or 30 minutes (my wife, Natalie, loves it) and then I'll pick up a guitar and start some sort of melody against it. I don't wait for inspiration; if I did I would never write. I watch a lot of romantic comedies, a lot of the news--just pay attention to what's going on around me. Or, I'll just make something up. Luckily, my wife knows I make stuff up or I would be afraid to write some of it. 

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

RC:  Success to me is doing something you would do for nothing and get someone to pay you for it.  If you are truly happy in what you do--manual labor or being an accountant--then you are a success. Money does not make you successful in my eyes. There are a lot of rich people that are very unhappy. Love what you do and do what you love.  Just because you write a number one or a dozen number one records does not make you a success. If you are a great writer, you can be one your whole life and never have a hit. The timing for whatever reason just didn't work for you. That doesn't mean you were not a great writer. It might not be till after you die that you get discovered. But if you were happy while living and doing what you love, then you were a success.  

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

RC:  The biggest challenge I had was not knowing how to correct the mistakes I was making.  I went to the RC Bannon college of songwriting and I made myself write 4 hours every night after getting off stage to learn the craft of writing songs.  My band would get upset because I wouldn't go to after hours clubs and play or chase women. They said I was always working. I was. I was very driven. I always told them one day I'll be having hits in Nashville and you guys will still be playing clubs, and it was true. This is a very hard business. It's not for the faint of heart, nor for those who want to just pray that something good will happen. God answers prayers after you know how to answer what he asks you to do. 

Jules: Are you able to differentiate between songs you’ve written that may in fact be good and others that stand out from the rest; ones you recognize have something special that give them hit potential?  What do you look for in a hit song and how do you recognize it when you see or hear it?

RC:  I don't know if anyone really knows what a hit is. They have been missed by some of the biggest names in the business. I hope to write 3 really good songs that have a chance in 20 songs I write. But I have maybe 5 now that I swear are hits and some of those are over 10 years old. A great song is never too old to be a hit. The song's presentation needs to be up to date.

Jules:  Your award winning song “I Don’t Have To Be Me (Til Monday,” written with Jason Young, Dan Shipley and Steve Azar has received over two million air plays!  Can you describe how the song came about and the story behind the song?

RC:  First of all, I am Dan Shipley.  My stage name is RC Bannon.  So, we are the same guy.  I have been using RC Bannon as my name since 1969. I never wanted to change it legally while my folks were living. They passed away in 2002 and 2006. That's when I changed my name.

By the way, that song was over 5 years old when it came out.  The story behind the song is that Azar was leaving my house after he, Jason and I had been writing a few hours.  He had an appointment downtown and as he was walking out the door, he picked up one of my guitars, he hit a g-chord and out popped, "I don't have to be me 'til Monday."  Jason said, "What was that?"  Azar replied, "I have no idea."  I said, "We have to write that."  Then, we spent the next 3 months on the phone writing it while he was on the road.  He would write a little bit and then call me.  And then I would write more and call him.  

[Click HERE to watch the video of "I Don't Have To Be Me (Til Monday)"].  

Jules:  I did not realize you and Dan Shipley were one and the same!  How did your stage name RC Bannon come about?

RC:  Jules, this may sound made up, but it is the truth:  I was a disc jockey in Tacoma, Washington at a pop station in 1968 and was moving to a Seattle station that was Country.  Because of the closeness of the two cities the signals would bleed into the other town, so they asked me to come up with a new name.  I was sitting at a red light drinking a can of R C Cola (I have since switched to Diet Dr. Pepper) and the big red R C just stood out.  I had to also come up with a new last name.  Bannon has no story; just sounded good with RC, I thought.  I have been using it ever since and that's about all there was to it.

Jules:  How old were you when you wrote your first song, what was it entitled and how would you feel if that song were played today?  When did you decide songwriting was what you wanted to do and how did you make the decision to pursue it?

RC:  I was 7 years old when I realized I could put words and music together.  My mom made me do the dishes and I wanted to go play baseball with the guys. While watching from the kitchen window as the boys played ball, I was fuming about washing dishes. Hence my first song "Dishes Dishes Dishes That's All I Ever Do" was written. It was really bad. But, I discovered something that day; I was not going to be a ball player. I was going to be a singer/writer and never wanted to do anything else.  That also makes for a bad student in school. I never could figure out how Russian history was going to help me write songs. 

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

RC:  My hidden talent used to be playing golf. I tried to get my player card for the senior tour when I turned 50. Then, I looked in the mirror and said, "Self you ain't good enough to do this professionally." Always be honest with yourself.  It makes you a better writer too. All of your songs are not going to be good. Learn to deal with it and try to write a better one the next time. 

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

RC:  As someone who cared about people and could write life in lyrical form. 

Jules: I was a huge fan of the “Mandrell Sisters” television show, for which you were a music coordinator and producer.  In addition to being a recording artist and award winning songwriter, you have done quite a bit of television work.  How did you get started in television and do you have any upcoming projects?

RC:  No upcoming projects unless one of my students at NSAI becomes a big time writer then maybe I can go to the award show and pat them on the back. 

I first got into TV in 1964 on an afternoon local TV show singing the hymn of the hour.  From there I was a DJ in radio for almost 5 years in Seattle. I started big time TV with the Mandrell show.  At about that time The Nashville Network (TNN) was coming on air and they knew how much I loved cars, so they asked me to host a car show every Sunday. It lasted 9 years. During that time, I also did the Mandrell show, Bob Hope specials, and Red Skelton Hour.  Then, I went on to host a golf show that was also on TNN and ESPN. I have always been up for a challenge and took advantage when I thought I could do it. 

Jules:  What are you working on now? 

RC:  I'm still writing and I also mentor other songwriters at NSAI.       

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

RC:  Re-writing is the key.  Remember, you have it written one way already, it never hurts to try to make it better.  You are not going to lose what you have written. Just try to make it better and most of the time you will succeed.

Thanks for asking for my input. R C Bannon.

© 2010 JLB Powerhouse Publishing – Reprint with permission only.

To email Jules Bloeth, click HERE.

An Interview With Pro Songwriter Julie Carter-Moriva

By Jules Bloeth

February/2010 

                A long time NSAI (Nashville Songwriters Association, International) coordinator from Crivitz, Wisconsin (near Green Bay), Julie Carter-Moriva has achieved in Nashville, what many songwriters around the globe only dream about.  She’s writing with artists and other hit songwriters and hanging out with top industry executives and producers and she recently signed a staff writing deal with a top Music Row publishing company.  She agreed to answer some questions and share some insights regarding things she’s learned along her path to success.

Q: How big a role does attitude play in the path to success? 

A:  Attitude is everything!!!  There is so much negativity when you try to get your songs heard... there are so many people ready to shoot you down (and they are the easy ones to find), but you have to have a very thick skin and a super positive attitude to stay in the game.  Many times people come here with songs that aren't ready to be pitched or maybe they aren't even ready to spend the money on a good demo and you have to be open to that.  I don't think that many writers really get that they have to come here with GREAT songs and really good demos (with that being said that can even be a really clean g/v or p/v with a GREAT singer).  But to keep at it year after year after year your attitude is your biggest gun. It keeps you able handle the rejection and dust off and get back on the horse and write an even better song.

Q:  When did you first begin making trips to Nashville, what were some of your scheduled stops during those trips that made them more productive and how did you go about making contacts in the Nashville songwriting world?

A:  I first started making trips when I became an NSAI coordinator (which I've been for 13 years and just recently resigned). And that would be an annual trip that coincided with the coordinator training and symposium.  I loved all the workshops and getting to hang with all the hit writers and publishers and industry people, but after several years of that I wanted to know how you got to the next step, how you got past being the "workshop" attendee and could start to write with people in town and eventually the pro writers.  Well, it's a very slippery slope to say the least. Doors do not open easily and if you can find writers in town to write with that's great, but since I'm not a performing writer, I could only attend writer's nights and go up to people who I'd hear and think, "Wow, I'd love to write with them"...but that didn't work so great because they didn't really get to hear who I was.  What finally changed was when, after years of doing this or not coming at all, I decided to make one last ditch effort at trying to "break in." I called up an ex-coordinator who I heard had moved to Nashville (Doak Turner) and my intention was to pick his brain to see what I could learn from him.  In turn he introduced me to Marc-Alan Barnette who was a pro-writer who would critique songs and sort of guide you towards other people at your level and make some introductions (I believe they're now called "songwriter tours").  So, I met with Marc and he did a great job at critiquing the songs I'd brought and there were probably two songs that showed I had potential, so he brought me around to some people and I got to meet Sherrill Blackman, who said he'd listen to a few songs and then I also got to go to Skip Ewing’s office and meet a new songwriter [Barry Dean] who played a couple new songs for us, "Moving Oleta" and "God's Will" and he told us he just got holds on both songs, the first with Reba, the second with Martina.  So, that was quite some introduction. I also was given Chad Green’s name at ASCAP and I set up a meeting with him and after he listened to a few songs he invited me to be a part of an "Advanced Writer's Group" that was every month for the next 4 months.  I accepted and that group, along with continuing to connect with Marc and do pretty much what we did on the first trip, started me off on a whole new direction.  I got to meet people in town to write with, I got to have my songs critiqued before getting them demoed so I didn't waste my money and I got to experience the "hang" and how important networking - and more precisely, just getting to know and befriend other writer's - really is.  It's paramount to where things lead, because today's new great singer/songwriter at the Commodore may just be the next Jeffrey Steele!!

Q:  What was some of the criticism you received from industry professionals on your way up the ladder?  What advice would you give other songwriters regarding criticism?

A:  My very best advice about criticism is pretty much the same as I tell writers at our NSAI critique meetings; listen carefully to it and if you hear the same thing coming from several different people, who you respect as good critiquers, I'd really look hard at what they're telling you.  Then again, when you hear several different things from different people, look really hard and if, as the writer, it doesn't ring true to you, ignore it.  In the end it may not be a song that you get cut, but if it works for you that's ok.  Not every song we write is for the industry.

Q:  When you sit down to write a song and nothing comes, what do you do for inspiration?  How often do you write songs and is it a routine or do you write when inspiration strikes?  Can you describe your songwriting process?

A:  I start a lot of songs and gather hooks and ideas all the time, when I'm reading, driving, watching TV/movies or just talking with people.  I have a huge catalog of hooks and ideas which is my forte since I don't bring melodies and grooves to the table.  I can both sing and play, but it's not my strength, so I make sure in my area of strength – lyrics - I have a lot to offer.  When I'm at a writing appointment it can happen many different ways.  Sometimes a writer has a groove or melody that he wants to work with.  Sometimes writers like for me to throw out ideas until we find one we both love.  Some writers just like to talk until something comes out of that.  I also have a pop producer from LA who sends tracks and then I write to those tracks.  So, it's very different depending on my co-writer.  I do write on my own, but I've come to love what a co-writer can bring to a song.  For me it's always music that's much greater than I could come up with.

Q:  How did you meet Josh and Meghan (Steel Magnolia) and come to know and write with them?

A:  I met Meghan about 6 years ago right after she moved here from Louisiana after high school.  A mutual co-writer thought we'd get along really well so we met for lunch and quickly became great friends.  She was a fantastic singer and she would do my demos for me and I'd bring her along on writing appointments to help her build her chops at writing.  She met Josh about 3 1/2 years ago and they started singing together and it seemed that Steel Magnolia just blossomed out of that.  One night after Josh made dinner (he's a fantastic cook!) we sat down and decided to write a song together and we wrote, "Edge of Goodbye" which was the first original song they played on the [CMT] Can You Duet show and is now being released this Tuesday, Feb. 23rd on a five song EP that features songs from the CYD show.  It is also on their full album to be released this summer and they say it'll be a single; I hope that's true.  We've become great friends as well as co-writers and I believe that's what gives our catalog that special something. 

[Click HERE to view Steel Magnolia’s (Josh and Meg) “Edge of Goodbye” written with Julie]

Julie (center) in the studio with Big Machine Records' President and CEO Scott Borchetta, award winning producer Dan Huff and Josh and Meghan of Steel Magnolia.

Q:  How would you define the word “success” as it pertains to you?

A:  Success happens all along your journey and you really DO have to celebrate all the little successes along the way.  I celebrated my first independent cut, I celebrated the first time I wrote with a HIT writer, I celebrated my first CD release and party... if you don't and wait for the "big" one, it can be a long wait.  But when you celebrate all the little turning points it reminds you how far you've come from the beginning of your journey.

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

A:  One of the hardest was earning my husband's support and traveling from Wisconsin often enough to get things done in Nashville.  I was teaching part-time, had a toddler, traveled an hour each way to work and back and had all the normal stuff to do like everyone else. When I look back on it I really don't know how I managed it all.

Every 6 or 8 weeks I'd make meals for the family, lunches for my husband, get a sitter to move right in while I was away, have my jobshare partner take over my job and leave for a week. That was actually the easier part.  For a long time my husband didn't really "get" what I was doing, but as time went on and he saw the small successes and how hard I worked to make it all work, gradually, he came around.  Now, he's my biggest supporter.  But there were a few years where it was really a source of stress in our life. But, that's where attitude came in again.  I needed to do this for me and I believed so strongly in what I was doing, even with how hard it was, I just kept plugging away and today I'm so glad I didn't give up!

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

A:  First of all make sure you're doing it for the right reasons.  I wanted to be the very best writer and write the very best songs that I could and hopefully something would come of it.  Of course, I dreamed of getting cuts and getting a deal, but I knew from all the NSAI training just how hard that all was, so I did it mostly for just me.  And even if I had never gotten this far, I would still be doing the same thing because I love it and because it's just something I have to do and getting here has been a remarkable journey.  When you're making trips I suggest you take the time and spend some money to hook up with someone like Marc who can help you on your way. There are many good choices like Marc's tours, NSAI workshops and camps and things put on by ASCAP or BMI or any other individuals that you respect.  It's very difficult to sort out what's good and what's not so talk to people who have done them.  Also, meet as many people as you can at your level and make friends and co-writers of them.  If I hadn't befriended Meghan I probably wouldn't be where I am today, but with that said, she probably wouldn't either!  Be yourself, go to things like Doak's 3rd Sunday, writer's nights, etc. They really are the places you meet people on the same path you are and that's how you develop relationships that carry you from your circle into their circle and thus both your circles just expanded!!

Q:  Who were some of your early musical influences and how have they shaped your songwriting?  

A:  There are so many; The Beatles, Stones, Johnny Cash, Merle Haggard, Roseanne Cash, Emmylou Harris, Everly Brothers, Brenda Lee, Eagles, Bob Dylan, were what was playing in our house.  My two older sisters listened to music all the time so I was definitely exposed at an early age. I think that being exposed to great songs and knowing all the lyrics really helped for me to be able to shape a song, or to understand song form easier.  I remember my friend teaching me how to play guitar at 15 years old and the first song she taught me was Crosby, Stills, Nash & Young's "Teach Your Children" and the second was Linda Ronstadt’s "Silver Threads and Golden Needles."  I went on to teach myself John Denver, Eagles, more Ronstadt, Roseanne Cash and a lot of the songs on the radio at the time.  I penned my first song when I was 15, "Play My Game" and I still know it today.  Haha!!

Q:  What is your ultimate goal as a songwriter either creative, professional or both?

A:  Of course, now that I'm in the mix, I'd love to have a #1.  You know all those #1 parties you attend and watch other writers accept that awesome plaque and you dream about the day you're up on that podium... it's cool to think it may be me someday soon! A Grammy,  maybe songwriter of the year… Who knows?  Not that it's all about winning an award; it's more about the recognition.  “Yeah, she wrote a great song and everybody knows and loves that song.”  It's about getting your music out there and people loving it!  My goal is to do this for a very long time.  I have NO retirement plans!!

Q:  You have just signed a major publishing deal with Big Machine Records’ publishing company, Super 98 Publishing, an accomplishment which makes you one of a very small and elite group of songwriters in the music industry today. You’re a wife, mother and teacher from Wisconsin.  How did you overcome the odds to achieve such a sought after and [what some might say is an] elusive publishing deal?

A:  I think I answered most of this question in previous questions, but again I think it's really important to keep at it, keep improving your craft and to do that by writing a lot and with a lot of different people.  Keep on getting out there and meeting people and getting involved with other writers and writer events.  I also did a lot of the "visualization" and putting it out to the universe thing, because I really DO believe that has a positive impact on where your path leads.  About 4 years ago I started telling people who'd ask, "What do you do?" that I was a songwriter instead of saying I was a middle school teacher.  I swear things really started to turn around for me at that point.  I think I believed it and wasn't afraid to put it out there anymore and ultimately it became my reality.  There is a lot of power in our thoughts.  There's a quote I love that says, "If you can think it, you can become it" and I really believe that.

Q:  What are some of the things you do to ensure a successful co-writing session? What kind of preparation do you put into it?  Do you write both lyrics and melody?  Any advice for writers who are strictly lyricists or composers?

A:  My advice is come prepared with whatever you have.  If you're strictly a lyricist make sure they KNOW that and that you have tons of great ideas and maybe a few things started (verse, chorus or parts of both).  Be ready to throw out hooks, ideas, titles or just chat about things.  It can happen so many different ways.  If you're mainly an instrumentalist have some killer grooves, melodies or even some pre-recorded tracks that you love.  The key is BE READY and professional, be ON TIME, be respectful and be yourself.

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

A:  One of the things I learned early was not to judge people by the way they look.  This must've been a lesson I really needed to learn because it's happened to me on more than one occasion. I'd be out and someone who looked maybe like someone my mother might have been talking about when she told me "not to talk to strangers" would strike up a conversation and I'd just make an excuse and find another place to sit.  And later I'd find out that person was a huge industry person or a hit writer and I'd been just short of rude.  Not good.  Also, be loyal to those who brought you to the party.  There are a lot of people who will be your friends once you've reached your peak but it's those that have stood by you all the way that you want to keep "hangin'" with.  With that said, I've seen how drastically things change when you get to the next level.  For instance, Meg & Josh are so busy on radio tours they barely even have time to come home for a day and a half, sleep and do their laundry.  But so many people don't understand that they REALLY don't have time to even call let alone hang out.  They literally get off the plane running, get in the car, get briefed by the radio station people, do an interview or 2 or 3, eat, go on to the next place and finally do a show at night and then flop into bed exhausted.  It's CRAZY!!  But they still have to MySpace blog, Facebook, Twitter, and do all the meet and greets, etc.  Even for me, when I come to town now, between Scott and the label people and my publisher day to day person, they book my schedule solid and also expect me to meet people and do social things and get with Meg & Josh when our schedules coincide.  It's been crazy for me, too.  So, it's really hard when a bunch of people who I've written with want an appointment and I can't fit them in.  They may think I'm blowing them off but the truth is, unless they want to write between 2 A.M. and 8 A.M. I'm not available (and by the way, that's when Meg & Josh & I like to write so it's been suggested I keep times available like that for "our" writing!).  It's all GREAT and I don't mind at all, but it's hard to try to be exactly like you used to be when your life has made a 360 degree change!

Q:  Is there anything you would like to add or anyone you would like to acknowledge?

A:  I think you truly know in your heart if you can do this or not but you have to be willing to sacrifice A LOT and be ready for it to take a long time.  It took me 8 years after I started pursuing this diligently and if you count the years before I started making trips and such, it's about 13 years total.  There are so many people to acknowledge.  My God, my family, Matt & Haley, all the members of my NSAI group for 13 years that have either been there the whole time or came and went, all my co-writers, my "Nashville family" people who have helped me all along the way so I could do what I'm doing now - people like Marc, Doak, Tina, Chad Green, Steven Sharp and the Sharp Objects gang, of course Meg & Josh and Scott Borchetta for giving me the dream job of a lifetime, Jennifer Johnson who's become a great friend and mentor and I'm sure there's so many more but I have to practice this so when I have to say it when I'm accepting the #1 award I can keep to the time limit... LOL!  : )

© 2010 JLB Powerhouse Publishing - Reprint With Permission Only

To Contact Jules Bloeth:  CLICK HERE.

 The Unvarnished Truth for Songwriters -

Nashville Style

By Jules Bloeth

 July/2007

                I have been a composer of songs, a lyricist and a vocalist for many years.  Lately, I had been feeling pretty good about my place in the Nashville food chain.  I worked hard to make contacts, record demos and get songs published.  I visited the town a couple times a year.  I was on my way up the ladder (albeit slowly) and felt a certain confidence in what I was doing, the steps I had taken and where I thought I was headed.  Sure, I wasn’t a pro, but I certainly wasn’t a beginner, either.

                Enter, Marc-Alan Barnette (“That’s Where It Hurts” by Shelby Lynne), a Nashville veteran of nearly 20 years, willing to give me a dose of reality.  I have gotten to know Marc during my visits to the city, through correspondence, the NSAI (Nashville Songwriters Association International) and SongRamp (an online community).  Marc suggested I join what he called a ‘Songwriters Tour.’  The three day event was to include song critiques and meetings with industry “insiders,” who would share information about their experiences and perspectives on the business, the opportunity to meet new co-writers, to learn about song plugging, publishing, recording of demos, the opportunity to perform (if desired) and a writing session that included writing ‘up’ with Nashville professionals, not to mention the networking opportunities I would have each day.  I was thinking, “Is that all?!” 

                All of that sounded pretty good, so I agreed to attend a tour.  I figured I could always stand to ‘up my game’ and I was looking forward to sharing my experience with others, for better or worse.  By no means am I a cynical person, but I couldn’t help wondering what a songwriter’s tour like this would have to offer me.

                 I attended a tour in mid-July of this year and it became very clear to me, I had a lot to learn and a long way to go if I wanted to be competitive in the Nashville [songwriters] market.  No one was more surprised than me to discover that not all my songs (perhaps none!) could compete with the likes of Don Henry (“Where’ve You Been,” by Kathy Mattea), Randy Sharp (“Then What” by Clay Walker), Jason Sellers (“You Can’t Hide Beautiful” by Aaron Lines) and Craig Carothers (“Little Hercules” by Trisha Yearwood).  Additionally, songwriters like me, are competing with those writers/performers such as Marc-Alan himself who live in Nashville and have worked every day to get where they are.   How many songwriters can honestly say, they are writing at that level?  If you raised your hand, put it back down!  I mean it; I’m talking to you.

                This tour is for serious songwriters who have a desire to learn more about the music business, who have an open mind and the willingness to work hard, the ability to listen and a genuine love for what they do.  Marc has something to offer the beginning, intermediate or advanced songwriter and he’s also willing to create a tour around the level of the songwriters who attend.  This is not a pat-you-on-the-back-and-tell-you-how-great-you-are tour.  You will hear the unvarnished truth about every aspect of the music industry and about how your songs stack up.

                 My three day tour began anywhere from 8:00 AM to 9:30 AM and ended around 6:30 - 7:30 PM except for the performance night, so we’re talking about full days of meetings and appointments during which I gathered enough information (on the first day alone) to make my head spin.  The first two days began with breakfast with a Nashville insider.  I met Debi White, a song plugger and publishing representative and Doak Turner, whom I now like to refer to as a networking ‘guru’ who has previously worked as an NSAI coordinator.   I also had the pleasure of meeting Phil Sweetland the first day, an independent journalist with the NY Times and a songwriter himself.  Phil also publishes the Country Insider e-newsletter, which I recently subscribed to (pianopks@aol.com - the cost is $30 for a one year subscription).

                 Debi White focused on the role publishers and song pluggers play and gave a unique perspective on what they are looking for when it comes to songs.  I learned that a demo has to be professional quality for most people to even give a song serious attention.  It’s hard enough to get someone to listen; having a quality demo certainly will increase our chances of getting heard.  As I mentioned previously, we are up against Nashville’s best hit songwriters every time we pitch one of our songs to a publisher, artist, producer or song plugger, meaning it had better be the best it can possibly be.

                 Phil Sweetland was not only good-hearted and entertaining, but he provided valuable insight into the state of the recording business, record labels, mergers, downsizing and the emerging role of smaller and independent labels, and how this all affects the artists, publishers and the writers themselves.  He addressed the affects of internet music sites and the resulting loss of profit when it comes to album sales.  He offered me great ideas as to which industry ‘pitch’ sheets would be best, depending upon where I want my music to go.  I was honored when he offered to listen to a song of mine comment on it.

                 Aside from Marc himself, I learned a tremendous amount from Doak Turner.  Doak is a songwriter and a true professional when it comes to marketing.  He is also the editor and publisher of “The Nashville Muse,” a free weekly e-newsletter sent out to over 10,000 subscribers (www.nashvillemuse.com). 

                Doak also hosted our tour group at his home for our writing day and proved to be extraordinarily gracious.  He shared (sometimes hilarious) tips on what not to do, when networking and meeting people in the business.  I also learned how to best leave a [lasting] good impression, which is difficult to do when you only have a few minutes in which to do it.

                 I ended up seeing quite a bit of Steven Sharp, with Sharp Objects on Music Row during my trip.  Steven is a song plugger who has promoted 60 or more number one singles and his clients have had hundreds of cuts.  Steven graciously opened his door, and was generous with not only his time, but his advice and songwriting tips.  It was a tremendous experience meeting him and the writers he represents, and I will forever treasure listening to Don Henry, Jason Sellers, Randy Sharp and Craig Carothers perform at Sharp Objects.*

                 The last day of the tour was a writing day, and I was to be paired with a Nashville inside writer. I lucked out, because I was paired with a beautiful and talented lady by the name of Kat Speer and none other than Marc-Alan himself.  Let me just say in advance, this was the only day of the tour that I was truly nervous about.  In all my years of writing songs, I had never sat down in a face-to-face meeting and written a song with someone.  Kat and Marc made it look easy!  It was another valuable learning experience for me.  I’m accustomed to taking as long as I want to write a song; we had to finish the song in a matter of hours.  This is what happens in Nashville every day, and it’s crucial to be writing at a high enough level to bring something to the table if someone wants to make a living as a songwriter.  For me, it was a learning experience and they went easy on me!  However, I now have an understanding of what will be expected of me when I make writing appointments in the future. 

                 These introductions and experiences were made possible by Marc-Alan Barnette and without attending his tour, it might have been possible, but highly unlikely I would have ever met some of these professionals who taught me so very much about the business  in only three days time.

                 I know there are people reading this article right now who are either contemplating a move, or are in the process of making a move to Nashville.  Certainly, people don’t make the move lightly, but I dare say nine out of ten people simply aren’t fully prepared for the realities of the business once they arrive.  It pays to do your homework and make numerous trips to the city.  The failure rate is extremely high.  Of the hundreds of people who move to Nashville each month, 90% will move back home within 6 months. ^† 

For anyone serious about the business of songwriting, contacting Marc would be a wise investment in pre-planning a future in Nashville.  Basic SongRamp members or above may ask for the “Jules Discount.” 

I have been writing music for a number of years.  I’ve met many people and I’ve been pretty lucky - sometimes.  The bottom line is this: no amount of luck or experience can replace the most important things when it comes to being successful in Nashville - loving what you do, having a great song, displaying professional conduct and having a friend on the “inside.”  I’m a published songwriter, and I’ve got some good songs (and if any of them get cut, I’ll claim they’re great!).  The reality for someone like me, who doesn’t live in Nashville, and is trying to break into the business, is that the deck is stacked against me simply because I can’t be present but a few times a year.  Marc has a great saying, “You must be present to win.” I’m entirely undeterred by percentages and odds.  I left Nashville after my July 2007 trip on Marc-Alan Barnette’s tour, not discouraged, but filled with determination and armed with the information I need to succeed in this business.  I’ve met new co-writers and made new friends, and I now have mentors in Nashville whom I look forward to seeing during future trips. 

                 In the recesses of my imagination, I would have been touted as the next up and coming songwriter to hit the Nashville scene, and Marc would have loved every song he heard of mine.  How would that have helped me? 

                  It wouldn’t have.  

                  Instead, I received the unvarnished truth about what it takes to make it in Nashville as a songwriter in this business from a true professional, and it was an invaluable experience.

© 2007-2010 JLB Powerhouse Publishing - Reprint With Permission Only

To Contact Jules Bloeth:  CLICK HERE.

To Contact Marc-Alan Barnette: Mbarne4908  @  aol.com  615-417-7181

* Many thanks to Steven, Valerie, Julie and Robert (who never took a moment to relax) and to Gary Denis for the invitation and hospitality.

^†”Freshman Year in Nashville – A Guide to the First Year in the Nashville Music Community, by Marc-Alan Barnette”