Collaboration in Studio

I’ve always believed that the creative process in a recording studio is a true collaborative effort. My reasoning is simple: I know that I don’t have all the answers or expertise needed to create a terrific final production; that’s why I bring people – producers, musicians, engineers – into a project in the first place. But more than that, having brought talented people in, it’s ridiculous to not let them contribute their ideas.

Maybe that sounds logical and obvious, but I know of many sessions in which a writer or performer tries to dictate how every single element should be and isn’t open to even considering other ideas that might be better. Being open to fresh input can lead to better productions. Being closed to possibilities just limits what could be created.

Case in point: I was recording a song that I thought would/should have a gentle acoustic feel. Well, we got to the studio and producer Mark Riddick said he thought it would be great if we pumped it up a bit with drums, electric guitar, and a vibe that was reminiscent of ’60s pop tune. “Okay,” I said, “let’s try it.” Well, the band perked up and made it a really fun track. It perks up the whole EP’s set. And – here was the biggest surprise for me – it made it easier for me to sing the rather full lyric.

Another example: in our June recording session, we had a great steel guitar player named Mike Daly. Mike brought some great steel riffs to all the tunes. But in one song, he also had the idea of playing in a way that made his steel guitar sound like an organ! Unexpected, fabulous, and very welcome input.

And just for good measure, one more example: the last couple of days, we've done some overdubs with guitarist Chris Cottros. His ideas are adding such beautiful touches to the songs. Why would I not want to welcome his input if he's willing and able to give it?!

Not that I always agree with input (I tend to write soft pop songs, so a heavy metal slasher guitar probably isn’t the best thing to include), but to me it’s dangerous to not even listen to the ideas of experts. If I don’t, it’s like going to a doctor with an unknown ailment and telling the medical professional what to do to cure me. Great idea – if I don’t want to get better.

So, here’s to collaboration in the studio – and a heartfelt thanks to everyone in ALL my sessions who contribute their talent and expertise.

Accommodating Nashville

Until last month, I hadn’t been to Nashville in about 20 years, so I had no idea where to stay. (I thought maybe at Tim McGraw and Faith Hill’s place, but apparently they don’t run a B&B.) So, my producer suggested that my wife and I stay close to Music Row, in Midtown, at the Hutton Hotel.

Sure, I thought. Why not?

But oh my, what a great decision.

The Hutton is a remarkable boutique hotel. The staff is genuinely friendly and helpful (no gloomy attitude or forced smiles here, no sir). And I loved the touches: a great “instant espresso” machine on our floor, handwritten weather forecasts for the next day on our pillow each night, a shower that felt like a waterfall, fabulous complimentary wine as we arrived back at the hotel each evening, the most comfortable bed I have EVER slept in (when you’re thinking about how three days of intense recording will go and yet you still have get great sleeps each night, that’s because you’re in a Great Bed.)

All of that, plus the fact that, if you need to do music business in Nashville, you’re literally just minutes from Music City’s business epicenter.

Maybe the best recommendation I can give is that, when I go back to Nashville, I’m staying at the Hutton.

(And no, I'm not being paid to say all those nice things :)

P.S. I just discovered that reviewers from Time, The Wall Street Journal, U.S. News & World Report and others like this place, too!

Recording in Nashville, Pt. 2

In addition to recording some of my songs with a great band (see Recording in Nashville, Pt. 1), I was fortunate to also have a string quartet led by and arrangements written by Kristin Wilkinson on the two of the cuts.

Kristin has worked and/or performed with:

• Elton John
• Neil Young
• Matchbox Twenty
• Train
• Taylor Swift
• Lady Antebellum
• Faith Hill
• Bob Seger
• Brad Paisley
• Stevie Nicks
• Keith Urban
• Jewel
• and many, many others.

When we first talked about the songs I would record with her, I wasn’t about to give her specific direction (Who am I? Paul Buckmaster?!). So I just gave her a rough demo of each song and said that one was a romantic tune inspired by how I met my wife and how quickly we got engaged; the other was a song based on my relationship with my father, and the musical feeling I wanted for the latter song was something between a hymn and a prayer. I’m thrilled with the results. Kristin’s arrangements, as played by her amazing musicians, complements songs’ messages and take tunes to new musical levels. She is astounding. And she and her players are so easy to work with. Thanks, Kristin.

Photos of the string players from the June recording session are at

http://www.facebook.com/media/set/?set=a.113898755366515.23378.100002391734886&l=09783b23db