A Quote by Jon Gordon
[Charles McPherson] was kind enough to go to a record gig of mine where we recorded a song of his.
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I also met Charles McPherson around that time, end of high school. I was 17 and I had followed Phil around for a year and pestered him enough to finally give me saxophone lessons. So all of a sudden I've got Phil Woods and Charles McPherson around me.
The tune 'All My Friends,' we recorded because our friend who wrote the song, Scott Boyer, passed way, and Gregg Allman had passed and he had recorded the song on his first solo record.
Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.
Here's the way the licensing works ... If you write a song, nobody can record your song before you do without your permission. But, once the song is recorded, they can get what's called a 'compulsory license', and they can record the tune, but they have to pay you royalties.
The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.
Sam Phillips asked me to go write a love song, or maybe a bitter weeper. So I wrote a song called, "Cry Cry Cry," went back in and recorded that for the other side of the record.
I'm not the kind of writer that can wake up and say, "Okay, I'm gonna write a song today," and have that song be the kind I would want to record. The songs of mine that I end up liking are songs that come from real experience. They're like chapter titles in my life.
When I originally wrote "Jealousy," it was more like an exercise to try to write a girl-group kind of pop song. It was really contrary to most of the material I'd ever written. I didn't pay much attention to the song after I'd recorded it. I didn't really perform it at all the last 20 years. When it came time to make the new record, I decided to make peace with the song and have fun with it.
I'd work with Charles Kelley anytime. I'd go do a 'Pancho and Lefty' record with Charles. He is class, man.
One of the songs we recorded for 'The Long Run' was called 'You're Really High, Aren't You?' Which never really made it onto a record, but later on, it became 'Heavy Metal.' I took that track that wasn't used, and when I was invited to write a song for that movie, I took that track and recorded that song for that movie.
I always try to write a song, I never just want to write a record. Originally I was not writing songs for myself. ....And I can say this, most of the people who have recorded my songs are songwriters themselves. ... Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential. When you write a song, a song has longevity. ... So I wanted to sing inspirational music, and that's exactly how I approached it-only the words have been changed to declare my relationship with God. Songwriting is my gift from God.
As a song-writer I have always written with one instrument - either guitar or piano - because I believe that if a song is strong enough to be performed completely stripped down then it is a good one to go on and record.
There's one song that I recorded called 'Saviour' and every single sound from that song was actually recorded in a shipyard on my iPhone.
It was a slow process. You gotta remember I hadn't recorded a song sober in seven years. So it took me awhile to even feel like I could record a song sober.
In a song you can kind of stage-manage everything so that it puts you in a good light. And once a song is recorded, it always performs well.
Normally what I do is I'll record something that I really like which will be part of a song or an idea. I kind of just record things and then I'm done with them. It takes discipline to actually carve out a song.
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