A Quote by Benmont Tench

There was a period when I wrote in Nashville for Maverick and then Warner/Chappell, and it was interesting. — © Benmont Tench
There was a period when I wrote in Nashville for Maverick and then Warner/Chappell, and it was interesting.
The new independent spirit at Warner Music is a perfect fit for a stand-alone label like Maverick.
In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.
As far as in my adult life, it kinda started (with) writing first 'cause I went to school in Nashville. I mean, not Nashville but close to Nashville, and I met my managers in L.A. at a convention randomly. And then, it kinda just started from there. And then, I got my publishing deal.
'Band Played On' is a good one. Barbara Orbison, who was Roy's wife, was involved in publishing in Nashville because she oversaw Roy's publishing, and she had a company in Nashville. She had a whole bunch of writers assembled, and they got together every day and wrote, and they write for everybody in Nashville.
Someone once described me as a maverick and that's what I would say. I'm a maverick not by choice but by conviction.
I studied writing at NYU. I graduated high school in Nashville and then went to the creative writing program, and in the first year, that's when I wrote 'Kids.'
... coming to a place like Nashville, which is just music music music, it's always been such an influence on me. And there are so many interesting songwriters out there, and it's such a crazy business and so many people are trying to do it, and it's all right there in Nashville.
My album was recorded in Nashville. It used to be all about "We're from Texas, forget Nashville," well you'll never hear me say that. Nashville isn't bad as long as you're true to yourself.
I wrote for Roseanne. I wrote her stand-up act with her. I wrote with Tom Arnold. There was a period when I was working with them pretty steadily. But I would take brief gigs here and there.
Maverick is a word which appeals to me more than misfit. Maverick is active, misfit is passive.
I'm a maverick. I've always been a maverick.
I see interracial couples all the time in Nashville. I'm a Jew in Nashville. I'm a gay person in Nashville. It's a non-issue in most of the time. That's a huge leap forward.
I fell in love with Nashville and wrote with some of the best songwriters here.
The whole world loves a maverick and the whole world wants the maverick to achieve something nobler than simple rebellion.
My first album after 'American Idol' I did with Desmond - we paid for it together, and we literally were together working on it every day for a year and half, just writing. We wrote in New York, Nashville, L.A., Sweden - we wrote with some other amazing songwriters like Diane Warren, too.
It's something that Cory Morrow said to me a long time ago - "Don't ever forget why Nashville is Nashville. The Opry is there for a reason. Country music lives there. Don't be bitter. And don't ever treat Texas or Nashville like either one isn't important."
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