Recording - April 2010 - 43

Continued from page 41 that he wrote on it, so, if it does well, he’s gonna do good, and he was worried about this one song having five writers. So I said, “Man, just take me off of it—I don’t need to be on it. That’s my job.” And he says, “We’re not taking you off.” I said, “Well, look, split up five guys, 20% each. So, what are you gonna do? Knock the guy out for five more percent on a song that probably won’t be a single but it’s a cool track? I don’t think it’ll be a single, but you’re gonna knock the guy off because he didn’t do enough to get five more percent of a song? C’mon, man. Write songs, man.” You’ve got to. [applause] I mean, you will get ’em. And I know that stuff gets tricky, and everybody feels like, “Well, this might be my only one. You know what I mean? It might be my only one.” Jeffrey Steele performs a song during his appearance at the TAXI Road Rally. Sounds familiar. People get precious about a song because in the moment it feels like the best thing they’ve ever written. And it might be, but there will always be others. Yeah, and I think if you feel that way then you’re already kind of cutting yourself off to get that next song, if you get too hung up on a song. You’ve just got to get to your next one and make that one better. I want to ask you one more question before I have you play something for us. I appreciate you singing first thing in the morning. I know it’s not the favorite thing for singers to do. Is success like a flywheel? Like a flywheel that gains momentum, and once it gains momentum, it keeps going and it’s easier to maintain the momentum? I know you worked hard to get here. Now that you’re this multi-dimensional guy—you’re a producer, you’re a songwriter, you’re a TV star, you’re a performer, you’re a rock star. You are all this stuff; you’ve really got it all going on. Is it harder to maintain the momentum—that flywheel—once you get there, or does it become a little more coast-y once you’re there? Do you still work as hard as you used to? Yeah, but it’s on the music. All the other stuff… I am so grateful for so many opportunities that have come my way, but they don’t mean nothing to me in terms of… Do you know what I mean? To me it’s still about finding a new rhyme for love. I still get the biggest kick out of being able to twist a phrase and get a chord. I still get the biggest joy out of that more than anything that I do. I always hold on to that and I never let that go, because stuff gets pretty crazy, and over the years I’ve lived a crazy life. I’ve had a lot of success and a lot of tragedy and a lot of fuck-ups, may I say? (I’m sorry for the language.) New places I’m coming to know in my mind, with just coming to terms with who I am and what got me to where I am, and trying to evolve and get better at the side of me that was… The music side of me is just a no-brainer. It’s just a nobrainer. But that stuff can just get too out of hand, and it has gotten out of hand for me over the years. But I’m learning every day, and I’m just trying to bring that stuff into my music. You’ve got to write what’s in your heart, you know? All these things, and especially things that you’re afraid of to say—truths and things you just don’t want to talk about in your music. Man, people want to hear that stuff so bad. They’re dying to hear it. You know, when I wrote “What Hurts the Most,” everybody in town for you do, and the chords are right, shit, man … and you get a lot of money. I don’t know about you guys, but still people come up to me and say, “Jeff, when I heard that song for the first time I was drivin’ in my car and I had to pull off to the side of the road and cry.” And then I cry and I ask them why, what happened, what was it? ’Cause I’m still doin’ research, right? But when you hit somebody like that, man, it’s… Craig Wiseman told me one time… And I always tell this to people. If you’re thinking about anything more than the joy that you’re having in the room that day writing that song, then you’re over thinking it. And, obviously, you guys are here, you’re learning more about the business and the industry and all the things that go on, and how to get your songs cut. Yes! And most of you are independent, right? Wow. Amen, brothers and sisters. I am too. For six years now, I’ve been on my own trying to figure this thing out myself too. So you’ve got to learn this stuff. You can’t downplay your education, and the more you know, the more you know, you know? It’s so important. But you’ve got to find some line there on your creative side where you still take those risks and forget the business and dig into the business of your heart more, and just strive for the best lyric you can find. I always think the lyric is just the bottom line. It’s just the most important thing there is. Well, you do a damn good job of it. [applause] We’ve got about seven minutes to play some stuff. Seven minutes? Anybody ever see me sing before? So, the people that raised their hands know that seven minutes is not enough time. Continued on page 45 “To me it’s still about finding a new rhyme for love. I still get the biggest kick out of being able to twist a phrase and get a chord. I still get the biggest joy out of that more than anything that I do.” —Jeffrey Steele seven years told me that no one’s gonna cut the song because it’s too depressing, and it’s been one of the biggest hits I’ve ever had. Everywhere I go, everyone’s touched by the sadness of that lyric and how there’s some sort of thread of optimism in that lyric even though it’s sad. And I didn’t get a lot of that. I just wrote it, you know, and then I get some perspective years later and look back on it and think, “Wow, this is really a cool job.” There is a real responsibility here. It’s not only fun, but there’s real stuff… I mean, people want those emotions so badly. And a lot of times as writers—and especially in co-writing situations—we don’t want to open up too much and give those things away. But, when

Recording - April 2010

Table of Contents for the Digital Edition of Recording - April 2010

Recording - April 2010
Fade In
Contents
Talkback
2010 NAMM Show Report
Show Me The Quality: Jim Wilson of Airshow Mastering
Neumann TLM 102
The Road Less Travelled: James Cruz of Zeitgeist Sound
Roland Fantom-G
Shure KSM313
Recording’s Guitar Column
Daking Audio Mic Pre One
A-Designs EM-PEQ
DAW Details
It’s Your Money—Know Your Rights. Chapter 2: Filing A Copyright Claim
Recording’s Showcase of Sounds
Readers’ Tapes
Advertiser Index
Fade Out
Recording - April 2010 - Recording - April 2010
Recording - April 2010 - Cover2
Recording - April 2010 - 1
Recording - April 2010 - Fade In
Recording - April 2010 - 3
Recording - April 2010 - Contents
Recording - April 2010 - 5
Recording - April 2010 - Talkback
Recording - April 2010 - 7
Recording - April 2010 - 2010 NAMM Show Report
Recording - April 2010 - 9
Recording - April 2010 - 10
Recording - April 2010 - 11
Recording - April 2010 - 12
Recording - April 2010 - 13
Recording - April 2010 - 14
Recording - April 2010 - 15
Recording - April 2010 - Show Me The Quality: Jim Wilson of Airshow Mastering
Recording - April 2010 - 17
Recording - April 2010 - 18
Recording - April 2010 - 19
Recording - April 2010 - Neumann TLM 102
Recording - April 2010 - 21
Recording - April 2010 - 22
Recording - April 2010 - 23
Recording - April 2010 - The Road Less Travelled: James Cruz of Zeitgeist Sound
Recording - April 2010 - 25
Recording - April 2010 - Roland Fantom-G
Recording - April 2010 - 27
Recording - April 2010 - 28
Recording - April 2010 - 29
Recording - April 2010 - Shure KSM313
Recording - April 2010 - 31
Recording - April 2010 - Recording’s Guitar Column
Recording - April 2010 - 33
Recording - April 2010 - Daking Audio Mic Pre One
Recording - April 2010 - 35
Recording - April 2010 - A-Designs EM-PEQ
Recording - April 2010 - 37
Recording - April 2010 - DAW Details
Recording - April 2010 - 39
Recording - April 2010 - 40
Recording - April 2010 - 41
Recording - April 2010 - 42
Recording - April 2010 - 43
Recording - April 2010 - 44
Recording - April 2010 - 45
Recording - April 2010 - It’s Your Money—Know Your Rights. Chapter 2: Filing A Copyright Claim
Recording - April 2010 - 47
Recording - April 2010 - 48
Recording - April 2010 - 49
Recording - April 2010 - 50
Recording - April 2010 - 51
Recording - April 2010 - Recording’s Showcase of Sounds
Recording - April 2010 - 53
Recording - April 2010 - 54
Recording - April 2010 - 55
Recording - April 2010 - Readers’ Tapes
Recording - April 2010 - Advertiser Index
Recording - April 2010 - 58
Recording - April 2010 - 59
Recording - April 2010 - 60
Recording - April 2010 - 61
Recording - April 2010 - 62
Recording - April 2010 - 63
Recording - April 2010 - Fade Out
Recording - April 2010 - Cover3
Recording - April 2010 - Cover4
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