A Quote by Cole Swindell
Having Dierks Bentley on a song is one of the coolest things I've ever gotten to experience. For one, him agreeing to do a song with me but two, getting to share that moment in the studio.
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It's Frederick Dierks Bentley, but my whole family goes by their middle name - my sister, my brother. So from day one, I've always been called Dierks.
If I experience a really difficult moment, write a song about it, and someone on the other side of the planet experienced the same feeling, heard the song, and it helped him that is everything for me.
You could write a song about some kind of emotional problem you are having, but it would not be a good song, in my eyes, until it went through a period of sensitivity to a moment of clarity. Without that moment of clarity to contribute to the song, it's just complaining.
I was one of those guys, you know, playing and singing, and there was no reason for me to write a song, because there were so many beautiful songs out. And Bob Dylan was always the ultimate songwriter, and nobody could ever write a song as good as him, and nobody ever has written a song as good as him.
I played around with GarageBand before, but I'd never actually made a proper song. So it was getting into the studio with him where I made my first proper song. I've always loved creative writing, so I had done that as well.
At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.
I love the story of the guy coming to Nashville and then kind of getting set down and told, 'This is how the town works,' which, I've totally been there. But the coolest thing about 'Out of Style' is it's a song within a song.
When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.
I don't want to just go out and do song to song to song. I like to create things before the song actually kicks in, little things you do to excite the crowd.
Performing is really close to being in studio but performing takes over because being in the studio is two things; the first thing is that it is really beautiful to improvise and jam, but afterwards it becomes hard because it's very rare that a song will come together quickly. Most of the time it's back and forth and trial and error. You start questioning whether the song is good or not. So that can be quite tough.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
One of my favorite things as an engineer is watching a band get comfortable in the studio and getting a great take. Like, they're playing the song, warming up, and then suddenly, the communication really happens and everybody's really in the song, and they nail it, and then that's the take.
Music fills peoples with life. It doesn't have to be a 'happy song.' If you have that one song that relates to you, whether it's a sad song or a gangster song, whatever relates to you the most in that moment, it can literally get you through the day.
There's a song called 'All We'd Ever Need,' which is actually the first song that the three of us wrote together on our first album, and when we wrote that song I didn't have any real experience to pull from.
I always think of each night as a song. Or each moment as a song. But now I'm seeing we don't live in a single song. We move from song to song, from lyric to lyric, from chord to chord. There is no ending here. It's an infinite playlist.
There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.
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