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Anderson East, Ann Powers, Lori McKenna

Anderson East, Ann Powers, Lori McKenna

Photo: Jason Davis/Getty Images

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Lori McKenna And Anderson East Get Creative songwriters-lori-mckenna-and-anderson-east-get-creative-within-limitations

Songwriters Lori McKenna And Anderson East Get Creative Within The Limitations

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The songwriter pairing come together to talk song shop and reflect on the curious limitations that make them the artists they are in Nashville
Lauren Tingle
GRAMMYs
Oct 16, 2018 - 4:29 pm

Although GRAMMY winner Lori McKenna and soul singer Anderson East developed their crafts in different music communities, their respective journeys share similar solitary beginnings. Together, they unpacked their personal approach to songwriting and how their limitations shaped the artists they are today with NPR’s Ann Powers at the Recording Academy Nashville Chapter's Craft Session event on Oct. 9 at Eugenia Hall. 

A packed crowd of music industry professionals attended the 90-minute Q&A, which took a look inside the two artists' respective disciplines, the stories behind their most prominent songs and how they connected through GRAMMY-winning producer Dave Cobb. East sequenced McKenna’s GRAMMY-nominated album, 2016’s The Bird & the Rifle, and her latest release, The Tree, the latter of which features East on electric guitar. Both were produced by Cobb and recorded at the historic RCA A studio on Music Row where East keeps an office.

“I think there should be a GRAMMY category for sequencer and Anderson should win them all,” McKenna quipped at one point during the session.

East started out in music having no interest in becoming a songwriter. All he wanted to do was make records. But there was only one problem growing up in Athens, Ala. At the time, his hometown lacked songwriters with original material to record. So, his musical talents developed out of the necessity to be the artist, songwriter, producer, engineer and session band at the same time. He compared the experience to competing in a NASCAR race.

“It’s impossible to the racecar driver and the pit crew at the same time,” he said. “It was a natural progression growing up in Athens, which is not far from Muscle Shoals, but we were very isolated. I had no idea that this great wealth of music had come from right down the street. One of my best friends, his dad was Little Richard’s guitar player, and us kids went down [to FAME Studios] for a Christmas party with our terrible middle school band. We’re up there playing, and Dave Hood jumps up on bass. [Jason] Isbell is there. He’s still in the Drive-By Truckers at that time. We’re still kids, and we didn’t really understand the breadth of what we’re getting to be part of; I had no clue.”

McKenna is one of those rare creatives who developed an affinity for songwriting at age three. Coming from the songwriting circles in Boston, Mass., her background was primarily in writing music solo using the details from her life as the mother of five children for inspiration. She was introduced to the Nashville songwriting community through Mary Gauthier who gave a copy of McKenna’s 2004 album, Bittertown, to a local publisher that offered to pitch McKenna’s songs to other artists. Faith Hill recorded Bittertown’s “Stealing Kisses” and “If You Ask” and made McKenna’s “Fireflies” the title song of her 2005 album. Without seeing the benefit for McKenna in collaborating with others in the writing room, her songwriter friends in Boston warned her that co-writing would have a negative impact on her point of view. 

“Friends of mine in Boston would be like, ‘It’s going to mess you up. You’re not going to write by yourself anymore,’” McKenna recalled. “The way I feel about it is in Boston and other cities that have a great live music scenes, what happens is you have this club, and everyone gets up, and they sing each other’s songs. 

“But I don’t know how to do any of that stuff. I can’t harmonize. I could barely play guitar, and although I’m part of that community, I never really found my community. When I met songwriters that taught me how to co-write, that’s where I found my community. If you have a show, I’m probably not going to be able to help you with your show this evening. But if you need to write a song in your heart that you can’t figure out how to get out, I might be able to help you do that.”

McKenna added her limited range as a vocalist has become one of her biggest assets as a songwriter. 

“I say to my husband all the time, 'if I could sing 20 percent bigger my life would be so much easier because I have such a small range,'” she said. “In the end, it has served me well because it has led me to the kind of songs I’ve grown into singing. I can’t sing, ‘Happy Birthday.’ It’s going to sound sad no matter what.”

Cobb discovered East during a songwriter round at Nashville’s Bluebird Café. When it was East’s turn to play, he boldly paused the show to take a bathroom break after being overserved too many beers. In 2015, East became the flagship artist on Cobb’s Nashville-based Low Country Sound, a record label imprint in partnership with Warner Music Group subsidiary, Elektra Records. East’s Low Country Sound debut, Delilah arrived in July of that year. Several songs on Delilah and East’s 2018 album Encore were co-written with Aaron Raitiere, a Low Country Sound songwriter and East’s college friend from Murfreesboro, Tenn.’s Middle Tennessee State University. 

When Powers turned the conversation to songwriting families and what it takes to keep them healthy, Raitiere’s name was the first one out of East’s mouth. 

“Rat’s kind of my comfort blanket,” East said. “We’ve been best friends since I was a freshman in college. We met in a songwriting class. Both of us had a parallel life, and when I met him, I was going through that great college breakup with the one. And I think I was outside vomiting in the parking lot when he drives up in the Toyota Camry that he still drives to this day, and he goes, ‘Hey, what are you doing?’ I’m just wiping the vomit off my mouth, and he was like, ‘I’m about to go drink a bottle of Wild Turkey in my backyard. Do you want to come?’ I was like, ‘Yes. I do.’ From then on, I had my dude.

“I’m sure you’ve gotten set up on those blind dates where you walk in a room pull out your guitar and go, ‘I’m from Alabama. Where are you from? OK. Here are my deepest darkest secrets.’ It’s very uncomfortable, and I don’t respond well to be put in that situation. But for some reason, if I’ve got him, we’ve already got this history, and so we can freak somebody else out real quick. Ultimately, they’re going to laugh and be comfortable.”

While McKenna’s longtime songwriting relationships didn’t typically start with a breakup and booze, she believes she lucked out with the forever creative partnerships she’s made in Nashville. Mark D. Sanders was the first collaborator she connected with in town, while the behemoth “Girl Crush,” one of McKenna’s most significant songs, was co-written with her Love Junkies songwriting team, Liz Rose and Hillary Lindsey. 

“We’ve been through it all together emotionally, and so you’re always in safe hands,” McKenna said. “No matter what stupid thing comes out of your mouth, nobody is going to judge you for it. Those are the best places to be creatively.”

She said “Girl Crush,” which won Best Country Song and was nominated for Song Of The Year at the 58th GRAMMY Awards, came together in less than three hours during a three-day writing retreat at Rose’s house. McKenna had the title “Girl Crush” on her phone based on the popular social media hashtag and brought up the idea for a song to Rose while she was preparing breakfast. At the time, Little Big Town’s Karen Fairchild and Kimberly Schlapman were due to come over at 11 a.m., leaving them just enough time to write a song. 

“Liz was like, ‘What the hell is that about,’” McKenna recalled. “l never thought about it past the title. She said, ‘Well it sounds really difficult, and we have two-and-a-half-hours to write a song.’ She never turned around from making eggs.”

McKenna then pitched the idea to Lindsey just after she had woken up for breakfast. Lindsey then picked up a Gibson guitar she had traded with Chris Stapleton and sang the two lines just as they are in the final recording. 

“Hillary had just woken up, and that’s the way she heard it,” McKenna said. “And then we knew we were in ballad land and we knew right away that this is a song about a woman being obsessed with the other woman. Then Karen and Kimberly came over with brownies and wine, we played them the song, and we didn’t even know if it made sense.”

Both McKenna and East emphasized the importance of embracing a reckless abandonment of the music that came before them. 

“When you write a song, you think nobody is ever going to hear, and you don’t have any editing, it’s your friend,” McKenna said. 

“If you’re so wrapped up in what somebody else has done, then you ain’t got anywhere to move anymore,” Anderson added. “There are only eight notes [in a scale]. You can’t invent another note. I don’t think originality is lost, and I think each person has their own unique ability to be themselves.”

 Janelle Monáe On Choosing "Freedom Over Fear" & Creating 'Dirty Computer'

GRAMMYs

Linda Perry and Om'Mas Keith

Photo: Steve Jennings/Getty Images

News
Om'Mas Keith On "The Era Of The Songwriter" om%E2%80%99mas-keith-and-linda-perry-industry-perspectives-grounded-authenticity

Om’Mas Keith and Linda Perry: Industry Perspectives Grounded in Authenticity

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The pair of super-producers dive into the most essential and challenging issues facing producers, musicians and songwriters in an exclusive conversation hosted by the Recording Academy San Francisco Chapter
Sarah Jones
GRAMMYs
Oct 11, 2018 - 4:52 pm

In the classic Saturday Night Live sketch “More Cowbell,” über-producer Bruce Dickinson (played by Christopher Walken), in the studio with Blue Öyster Cult cutting “Don’t Fear the Reaper,” takes a time-out from his cowbell directives to reassure the band of his hitmaking superpowers: “I put my pants on just like the rest of you: one leg at a time. Except, when I put my pants on, I make Gold Records.”

In real life, successful producers are so much more than single-minded Svengalis: They’re collaborators, facilitators, and advocates, committed to taking risks and pushing boundaries in the pursuit of shepherding artists along a path to success.

On Sept. 12, the Recording Academy San Francisco Chapter explored the producer perspective in a Craft Session with Om’Mas Keith and Linda Perry at San Francisco’s Brava Theater, where they exchanged insights on the challenges of navigating the commercial landscape, overcoming barriers to creativity, engaging music fans, and most importantly, helping artists find their unique voice.

For Keith, a GRAMMY-winning producer/songwriter known for his work with Frank Ocean, Jay-Z, and John Legend, the creative calling came early. Born into a musical family—his grandfather performed with Duke Ellington and his parents were avant-garde jazz musicians who worked alongside Sun Ra—he made music and experimented with cassette machines as a young kid.

“I was born in ’76; in ’84 I was making tape loops,” Keith recounted. “It was natural for me to want to do that.”

Although technically inclined, Keith insists production has always been secondary to creation. “This is the era of the songwriter, more than anything,” he said. “As producer, I wouldn’t diminish anything that I do, but I can’t do anything without a song being written first.”

“I get inspired not by instruments, I get inspired by being in the moment with the artist,” added Perry, a GRAMMY nominee who first shot to stardom fronting San Francisco band 4 Non Blondes in the early 1990s, later writing and producing blockbuster hits with vocal heavyweights like Christina Aguilera, Alicia Keys, Celine Dion, Pink, and Adam Lambert. “The song is the number one inspiration with me.”

Yet, in today’s record business, said Perry, too many artists are put on the fast track before they have a chance to find their footing.

“So many artists right now don’t know what it is like to be in a rehearsal room,” she said. “You put your band together, you go to a rehearsal room, you write songs, you get to figure out who you are, right? Then you go play your friend’s garage and sell tickets; then you start reading the reaction of people. That’s where we start building our sound. That doesn’t really happen these days: You go from YouTube into a major studio with, like, Pharrell Williams.”

Linda Perry Goes Inside Two Of Her Biggest Hits

Newsflash: Producers are not immune from that internal struggle. “If we don’t discover who we are first, we are only basically giving forty percent of who we are creatively,” said Perry. “We have to be able to dive into our own experience, our own emotion, to be able to be these wonderful vessels and channels for these incredible artists who need help and direction.”

Every artist, in every discipline, faces barriers to creativity—some self-imposed, some products of his or her environment. “Here’s some real s*** about the music business,” said Keith. “A person of color is automatically put into the Urban world. At the executive level, in the office, in the studio, in the sessions. There’s this inadvertent segregation that happens, because they think that all people of color want to be in the same environment.

“It’s one thing to be known for making a certain type of music and people know you for it,” he continued. “but more often than not, you’re going to have to pull off an initiative that is contrary to what people think you should be doing…you’re perceived as alienating your own group because you just like to do something different.”

Keith has been battling preconceived notions since his days with the 1990s experimental hip-hop collective The Sa-Ra Creative Partners. “We’d make electronic music, talk about pyramids, sex, drugs, and rock and roll, but everybody just said, ‘ya’ll are just urban.’ But I always liked pop music and wanted to make pop music, and every time I would say that, people would say, ‘stay in your lane, stick with what you do.’ I think there is just a general lack of optimism in people who have been making money with a formula so long.”

For him, fighting those stereotypes was a simple matter of pushing through them: “You have to have a great deal of will and determination.” On the other hand, artists do themselves a disservice if they use bias as a crutch.

“You can’t just say because somebody isn’t viable to have a record deal, it’s just because of this, ‘because I’m a woman,’” said Perry. “You have to look at the fact that maybe it’s because you are just not good… Not everybody is supposed to be a rock star.”

Everyone defines success in different ways. But artists seeking commercial success need to strike that magic balance between channeling their personal voice and resonating with a wide audience.

“For any modern popular recording or songwriting, there are catch phrases, clichés, things that are relevant in certain times,” says Keith. “It’s just part of being a hit… You think about things like how it is going to relate to the culture, or what’s it going to look like after a video is made, or the content or the lyrics.” Here, he likened the producer’s role to an archivist. “Records that last an eternity, you know you produced that sound… If anything like that’s commercial, following an artist who is commercial, that’s smart.”

Janelle Monáe On Choosing "Freedom Over Fear" & Creating 'Dirty Computer'
 

recording studio

Dark Horse Recording

Photo: Courtesy of Dark Horse Recording

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New Tax Incentives For Music Scoring In Tennessee recording-academy-helps-bring-new-tax-incentives-music-scoring-tennessee

Recording Academy Helps Bring New Tax Incentives For Music Scoring To Tennessee

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In conjunction with the Tennessee Entertainment Commission, Academy members helped shape state rebate program to attract soundtrack projects
Philip Merrill
GRAMMYs
Nov 20, 2018 - 9:29 am

New incentives to bring music scoring business to Tennessee were announced on Nov. 20 by the Tennessee Entertainment Commission and the Recording Academy, offering some enticing reasons to soundtrack your next film in the Volunteer State. For projects above a professional cost threshold, qualified expenses can receive rebates of 25 percent.

"As the home to so many talented working music creators, this new incentive further emphasizes Tennessee's dedication to music and the composers who create some of our favorite soundtracks," said Daryl Friedman, the Academy's chief industry, government & member relations officer.

As detailed at the TEC website, this new grant refund program applies to projects that spend more than $50,000 in primary markets or more than $25,000 in the state's many secondary markets, using qualified TN vendors. Leaders from the Recording Academy's Memphis Chapter and Nashville Chapter worked with the Commission to ensure that these parameters would serve their professional purpose.

"It only makes sense for us to leverage Tennessee's unparalleled concentration of music talent and production services to attract additional music scoring projects," said Bob Raines, TEC's executive director. "As Tennessee attracts more scoring projects through TEC's new program, it will allow our creative class and content creators to showcase their superb quality to audiences across the globe."

We are thrilled to welcome @Netflix's "Uncorked," the feature film directorial debut from @The_A_Prentice, to Tennessee. https://t.co/jtliKCgv4b pic.twitter.com/9qiC0THylA

— TN Entertainment (@tnentertains) November 15, 2018

Tennessee has the highest concentration of music professionals in the U.S. and the second highest concentration of sound engineers. Nearly 1,100 businesses in Tenn. employ more than 6,725 recording industry workers.

"Scoring has been a growth sector of Tennessee's music industry in recent years," said Raines. "It is our goal to make Tennessee the No. 1 destination for these types of media projects." As digital media expands and diversifies, soundtrack work has expanded beyond movies and TV shows to video games and new forms of digital media.

While this is the first music-focused incentive of its kind for the state, TEC and the Recording Academy are in partnership advocating for new worthy programs.

"We have state-of-the-art studios, producers, engineers, composers, arrangers, and players," said John McBride, the owner of Nashville's Blackbird Studio. "This city has world-class production capability and we need to show the world." His statement applies to first-class facilities, expertise and talent across the state as well.

With more scoring business attracted by these new incentives, the next few years should bring plenty of new recording projects for Tennessee to boast about. How's that for running up the score?

'Score': Soundtracks take us on an emotional ride

Linda Perry

Linda Perry

Photo: Courtesy of Linda Perry

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Linda Perry Talks Creativity & Craft In Nashville linda-perry-talks-craft-creativity-her-biggest-hits-nashville

Linda Perry Talks Craft, Creativity & Her Biggest Hits In Nashville

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The GRAMMY-nominated musical force of nature opens up to an intimate audience about artistry, authenticity and her illustrious career in music
Nate Hertweck
Recording Academy
Jul 17, 2018 - 1:44 pm

Finding success as a songwriter, artist or producer/engineer is a one-in-a-million shot at best in today's super-saturated music industry, but to succeed at all three takes a remarkable individual. Linda Perry is just that special talent. For a lucky audience at the Recording Academy Nashville Chapter's Craft Session event on June 14 at The Tracking Room, the GRAMMY nominee took a candid look at her remarkable career, her instinctual creative process and the stories behind some of her biggest hits.

Linda Perry Goes Inside Two Of Her Biggest Hits

Born to a father who loved Frank Sinatra, Willie Nelson, old time country, and jazz, a Brazilian mother with a penchant for Sergio Mendes, and growing up around siblings who loved pop and rock music, Perry's first love was musicals. She cites listening to "The Jungle Book" as the magical moment for her when storytelling and music collided. Later, she discovered the encompassing power of her own voice, the beginning of a career full of music coming naturally to her.

"One day, literally, in San Francisco, I was playing guitar … and then I just started singing," said Perry. "And this huge voice came out of me. … It just took over my whole body and I started crying and my roommate came running down. She was like, 'What was that?' And I'm like, 'It was me!' … Then that's when I said, 'I'm gonna be a rockstar.'"

From there, Perry stumbled into playing music, a self-taught multi-instrumentalist picking up guitar and piano by ear without any trouble at all. These instincts as a musician still guide her in the studio, where Perry let's her ears take over.

"I'm different because I don't know what I'm doing, I just feel it," said Perry. "I pride myself on my drum sounds, and when I get drum sounds they're fat, they're awesome, they're gorgeous, but I don't know what I'm doing. I'm just turning things, moving microphones until it sounds good to my ear. I don't need to know that I'm boosting 2K or bringing down 15K. Who cares about that? I just want to know I'm getting a good sound. … I don't look at meters, I just move microphones."

Every way Perry interacts with music seems to carry this natural, instinctual movement. As a songwriter, there may be ways of forcing ideas to come out, but she admitted that's not how she works. In fact, the question she gets asked most often by songwriters is about dealing with writer's block. Her answer is an enlightening one.

"I don't get songwriter's block because I'm not thinking," said Perry. "Only people who are thinking about writing music get songwriter's block, I just do it. And if it's not there to do, I don't do it."

During the conversation, Perry walked the audience through her journey in the San Francisco music scene in the '90s where she earned a write-up in SF Weekly for her brief but memorable first performance after playing just two songs then breaking a string. and formed her band 4 Non Blondes, whose original name was Lesbian Snake Charmers. She kept her solo career pursuits going while joining the band before combining the two and finding a record deal post haste.

Perry talked about writing "What's Up," the band's 1992 smash hit, and the subsequent struggle to maintain her artistic vision for the song. The album's producer suggested lyric rewrites and production choices that forced Perry to decide between being a team player and standing up for her artistry.

Thankfully, she was able to cut the tune on her last reel of tape and rush it to mastering just in time. Shockingly, it was Perry's first time touching a microphone and crafting sounds in a studio. The raw brilliance of the recording came together in a hurry and created something lasting.

"That recording was my first actual recording, and it's flawed all over the place. I can't stand my voice on that," Perry said. "Everything about it when I hear it sounds amateurish. All those flaws and all those mistakes are what made that song what it was. So the moral of the story is just trust your instincts because we're not here to be perfect. We're here to create an emotion and to create a moment."

Ever since, Perry has tapped into this magic throughout her career in her own music and collaborating with other artists. During the Craft Session, she recounted how she patched together Pink's "Get This Party Started," taking her first crack as sequencing, the arc of her collaboration with James Blunt, her love/hate relationship with the "beyond talented" Christina Aguilera, for whom she penned the 2002 smash hit "Beautiful," and more.

In an industry with so many facets, Perry has grown her career on the foundation of true artistry, tapping into inspiration and authenticity at every stage of the process. Her vision — or the vision of the artist she's working with — always comes first. From there, Perry says it's about craft and creativity, no matter who you are or what your process is.

"It's very important to really understand your craft," Perry said. "There's kids doing amazing albums on GarageBand because they're being creative. You can record on anything if you're creative, you have a good song and you get the emotion."

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

Dolly Parton

Dolly Parton

Photo: Nathan Congleton/NBC/NBCU Photo Bank/Getty Images

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Dolly Parton, Linda Perry's Film Collaboration dolly-parton-linda-perry-team-dumplin-film-soundtrack

Dolly Parton, Linda Perry Team Up For 'Dumplin'' Film Soundtrack

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The powerful pair of singer/songwriters pen the soundtrack for upcoming film starring Jennifer Aniston
Renée Fabian
GRAMMYs
May 15, 2018 - 1:34 pm

When you need a film soundtrack, who better to call then GRAMMY-winning country legend Dolly Parton and singer/songwriter/producer extraordinaire Linda Perry?

Parton and Perry collaborated on the soundtrack for the upcoming film Dumplin', co-writing six new songs for the album that feature Parton with a number of other singers. It will also include several freshly recorded versions of previously released Parton hits. Parton executive produced the album, and Perry also wrote and produced the film's score.

Dumplin', which stars Jennifer Aniston and is directed by Anne Fletcher, is based on a best-selling book written by Julie Murphy. The book's protagonist, a plus-size girl, decides to enter a beauty pageant to spite her mother, who is a former pageant queen.

Murphy's book has a strong Parton tie, connecting to the artist throughout, right down to the main character's name: Willowdean, a close reference to Parton's sister Willadeene. So it makes perfect sense Parton herself would be instrumental in the film's soundtrack.

Writing new music just brings me so much joy! Look out for "Dumplin'" on the big screen! https://t.co/3RsPLn7I37

— Dolly Parton (@DollyParton) April 10, 2018

Details about the release of Dumplin' will likely be forthcoming as the film is currently in negotiations for distribution. Parton and Perry are also expected to talk more about the project during the Music’s Leading Ladies Speak Out session at the Nashville, Tenn.-based Music Biz 2018 conference.

Of the film's message, Parton said, "It's really a wonderful and uplifting thing for young girls altogether."

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.