Welcome! To The Nashville Music Production Blog!

performing band silhouette

Do you need a music producer?

Someone to take the helm and guide you through the process of producing your music?

You’re definitely at the right place!

Welcome to the Nashville Songwriter’s Blog sponsored by the song demo service, Play It Again Demos and the recording studio, Nashville Trax.

Nashville Trax is our physical recording studio , Play It Again Demos is our online demo service. Bill Watson produces our music here and he is well qualified to be your music producer! We offer high profile Nashville session musicians such as four time, currently reigning CMA Musician of the Year, Jenee Fleenor and 14 time winner of the Academy of Country Music (ACM) Guitarist of the Year Award, Brent Mason, to play on your music projects.

We can help you with recording your demo, your album, your EP or your single, starting from scratch.

We can add specific instruments to your already-started project or produce your demos, singles and albums.

Interested? Text or call us: 615-319-8616 or e-mail us at nashtrax@bellsouth.net

Here are some MP# samples of our work. We produce Country, Christian, Blues, Americana, Bluegrass, Pop, Rock… you name it.

If you haven’t had much success with your music in the past using other studios and producers, hop on board and hold on. Things are about to change!

We have  been in business producing demos, master recordings and instrument tracks for songwriters and producers since 1991.

This blog contains numerous posts about songwriting technique,. music theory, artists seeking songs, song publishers seeking songs and more!

Text or call us: 615-319-8616 or e-mail us at nashtrax@bellsouth.net or at piademos@bellsouth.net to inquire about:

  • Having a demo, master quality single or album produced
  • Adding instrument tracks played by Nashville session musicians to your self-produced project.
  • Live stage performance tracks made of a cover song or original

Here are indie and major label song pitch opportunities

Not computer savvy? No time? No connections? You’d rather focus on song writing than on song promo? Here’s how we can promote your song for you. What a great time to be a songwriter!

Play It Again Demos is a service for songwriters who need high quality demos made of their work using Nashville session quality musicians and singers.

Nashville Trax is a project recording studio for singers and songwriters who live in the area, those who wish to come to the Nashville area from other locations to record Or we can also work with you remotely without you ever having to leave your hometown. we have successfully worked remotely with songwriters and singers from every state in the U.S. and countries such as Norway, Sweden, Australia, Japan, Czechoslovakia and more.

. Nashville may be known for country and bluegrass but these guys can play anything.

This blog is about songwriting, producing, recording and life. If we think it will help you out in some way, we post it. It’s free of charge and access is unrestricted, stop by anytime. Subscribe if you like, that’s free too.

Enjoy!

Would you like to contact us about YOUR project?

E-mail:
nashtrax@bellsouth.net

Text or phone:
615-319-8616


Nashville Trax Produced Jingle Airing to Millions Daily!

Tune in to the nationally syndicated Ellen K Show on KOST 103.5, Los Angeles, CA to hear The Swansons’ jingle opener for Rllen’s Thought of the Day segment. It was produced here at Nashville Trax and will play every morning moving forward until it wears out.

“I finished getting Jenee’s tracks on the project about 2 p.m. on Sept. 25th,” explains producer, Bill Watson.

“I wanted The Swansons songwriter, Joe, to hear how well it turned out. They had already supplied me with their vocal tracks so I did a quick mix, applied a little mastering, and Dropboxed it,” Watson continues, “As luck would have it Joe and Angie were still in a meeting at the radio station when they downloaded. The Program Director flipped over it and scheduled it daily starting the next morning, on the 26th.”

Jen2

Jenee Fleenor of Blake Shelton’s band, a regular on NBC’s, The Voice, and fiddlist on several Billboard #1 country hits, figuring out her part on “Thought of the Day”.

“No way would I have thought the tracks we were cutting Tuesday would be heard on radio by millions of people within less than 24 hours, it’s crazy. God is good.”

The Ellen Kay Show

“Thought of the Day”

Written by Joe Finley of The Swansons

Vocals: Joe and Angie of The Swansons
Fiddle and mando: Jenee Fleenor (NBC’s The Voice/Blake Shelton’s band)
Guitars: 12 xs ACM’s Guitar Player of the Year, Brent Mason
Drums and percussion: Rascal Flatts drummer, Jim Riley
Bass Guitar: Nashville Trax producer, Bill Watson

Produced, engineered and mixed by Bill Watson, Nashville Trax

Would you like to contact us about YOUR project? E-mail:
nashtrax@bellsouth.net


The Nashville Trax A Team

Welcome to Nashville Trax! Yes, we are located in the Nashville, Tennessee area and we are the home base of the incredible Nashville Trax A Team detailed below.

Scroll down this samples page and you’ll find numerous samples of work we did for many different clients.

We produce Country, Contemporary Christian, Bluegrass, Folktronica, Southern Gospel, Americana, Rock, Blues, Hip Hop and Pop music!

Whether you need a demo of your song, a master, a performance track, a session quality instrument track added to a project you are producing, mastering of your mix, or even an entire album produced, the Nashville Trax A team, featuring our best players, is available at a price lower than you might think.

Read what one of our current clients e-mailed to Nashville Trax’ music producer (B. E. Watson):

“These tracks are smokin’ hot, Bill!!! This album is going to ROCK country style!!! Thanks man!!!! Wow!!!!!!” -Joe Finley, front man for The Swansons, regarding the tracks posted below.

And from client Mike Martin of the Sacramento, California area:

“Hi Bill, I have been playing my CD with the four songs you recorded for me and everyone is amazed at the quality of recording as well as the musicianship. You make records and even demos that are radio ready in my opinion and I just wanted to say thank you for all your work.”

The Swanson’s album, Country This, produced by Bill Watson right here at Nashville Trax won The Producer’s Choice Awards “Best Country Album” in April of 2018. The Swansons also cut their second award album here, “BAM” in 2019, and here in 2021 we’re finishing mixing and mastering on The Swanson’s album # three!

Here’s our A team- we call them The Hitmakers- on a music-only track intended for the Swansons’ album:

Something’s Better © 2017 Joe Finley, published by Listen Again Music (BMI):

Drums: Jim Riley (Rascal Flatts)
Bass Guitar: Bill Watson (Nashville Trax producer)
Acoustic and Electric Guitars: 10 times Music Row Session Guitar Player of the Year, Hall of Famer, Most recorded guitarist in history, Brent Mason
Harmonica: Mike Douchette (Tammy Wynette, George Jones, ZZ Top)
Mandolin: Jenee Fleenor(NBC’s The Voice fiddlist/Blake Shelton’s fiddlist, 2019 CMA Musician of The Year 2020/2021 CMA Musician of The Year.
Banjo: Aaron McDaris (with the #1 award winning bluegrass artist Rhonda Vincent)

Engineered, Arranged, Produced and Mixed by Bill Watson

The Swansons, who perform live shows and have their own band, have also started playing selected live shows here in Nashville and other locations with The Nashville Trax A Team, such as the 2018 Producer’s Choice Awards show in Las Vegas with the musicians who contrbute on their albums : The Swansons, Brent Mason on guitar, Jenee Fleenor on fiddle, Bill Watson on bass guitar and Jim Riley on drums.

Would you like a quote on your project using these musicians?

Contact:

nashtrax@bellsouth.net Att: B.E. Watson, A Team quote.

Here’s the first single, releasing to radio in 2018: “Valentine” with Joe and Angie singing lead; Bill “B.E.” Watson on bass guitar; Jenee Fleenor fiddle; Brent Mason, guitars, Jim Riley, drums; Steve King, keys, Jamie and Jim Riley, background vocals:

The Nashville Trax A Team is comprised of session veterans such as Jenee Fleenor, who plays fiddle and mandolin for major label country artist, Blake Shelton.

She was also the fiddle player on John Pardi’s 2016 Billboard #1 country hit “Head Over Boots” as well as the fiddle player on the #1 followup song by Jon Pardi that was certified gold for sales and streaming of 500,000 copies “”Dirt On My Boots” which features Jenee’s playing throughout.

She is the 2016 CMA Touring Musician of the Year, 2020 CMA Musician of the Year, 2021CMA Musician of the Year  as well as the fiddle player for the popular television show, The Voice.

In fact, Jenee turned down Aerosmith’s Steven Tyler’s offer to tour with him (to support his country album) but she is doing selected Steven Tyler dates…and guess what? Hire us and she’ll definitely play on your project!

The Swansons:

swansons1

And here’s a quick rough mix of a three piece rockabilly jam with Brent Mason on guitar, Jim Riley drums and Bill Watson on bass guitar. More instrument parts have since been added; be sure to pick up a copy of The Swanson’s album (produced by Nashville Trax, intended for release November/December 2017) to hear the full mix:

Same song, same rhythm, track, but with Jenee, Mike, Joe and Angie Finley and other members of the A team on board, and EQ and effects applied to the tracks:

Here is our A Team playing that same song with The Swansons on their Nashville live debut/CD release party, 9-22-17:

The foundation rhythm section players: Jim Riley, Drums; Bill “B.E.” Watson, Bass Guitar; Brent Mason, Rhythm & Lead Guitars:

Some of the other A team tracking and overdub players we use:

This slideshow requires JavaScript.

One of the best memories of my entire life!! Thanks to you and your crew of  ‘Hitmakers’ Bill Watson!! Thanks again!“- Songwriter Joe Finley of The Swansons.

Would you like a quote on your project?

Contact:

nashtrax@bellsouth.net Att: B.E. Watson, A Team quote.

Something’s Better, Valentine and I Need Your Love are all © 2017 Joe Finley, published by Listen Again Music (BMI). Posted for demonstration of production values only. Any other use is a violation of U.S. and International copyright law.


Christian Song Before/After Production

Bill Watson, music producer Nashville Trax, Play It Again Demos

Bill Watson, producer

Looking to have a Christian song  produced? Give a listen to this client a capella “before” version of this song (titled “Paradise”) then our version.

Client “Before” version:

Nashville Trax “after” version:

Paradise is ©  Jon Smith, posted by permission. If you’re interested in recording this song; using it in a commercial application such as in a movie or on a website; or singing it in a performing situation please let us know and we’ll forward your request to the songwriter and song publisher.

How about that saxophone player? If you need fantastic sax on your tune, we’ll get him.
He’s THE MAN!

Pro recordings make everyone- friends, family, artists, record company A & R and music publishers- take notice. Have 3 or 4 pro demos or masters to peddle and they’ll brand you as a pro-level songwriter every time you pitch them.

We would be thrilled to do that for you!

As one of the staff who worked on this track said while listening to the final mixdown, “There are a lot of people in Nashville who wish their album tracks sounded this good!”

If you would like a quote on making a professional version of your song simply drop an e-mail with your rough mp3 or mp4 attached to: nashtrax@bellsouth.net with the details of what you want. We’ll likely bat a couple e-mails back and forth before we determine an exact price. It can be completed over the Internet or you can be present for the entire process.

Write in another style? There are more samples of work to your right in Categories > Samples of Our Work.


A Rockin’ Country Demo

Play It Again Demos

Play It Again Demos

If you like older style country we can do that all day long; fiddle, pedal steel out front in the mix, we love it!

But much of what makes radio these days incorporates more of a rock vibe. If there’s fiddle and steel they’ll have to fight for a spot in the mix, distorted guitars and cannon-like drums rule.

Here’s a demo produced by Play It Again Demos by producer, Bill Watson, titled “Renegade” that features those types of sounds.

Renegade is © 2013, 2016 Dan Mathews, used by permission of the songwriter. If you’re interested in recording this song please let us know and we’ll forward your request to the songwriter and music publisher.

Do you need a quality singer like this to make your song sound professional?

An arrangement that make your tune something special, not just regurgitate the rough version? That blues-scale riffs in the intro, halfway through the chorus and on through? The producer, Bill Watson, wrote them in during pre-production.

And how about these musicians? Wouldn’t it be thrilling to hear these guys doing your song? And so worth the money?

Pro demos make everyone– friends, family, artists, record company A & R and music publishers- take notice and will brand you as a pro-level songwriter every time you play them.

We would be as happy to do that for you! Just shoot us an e-mail at nashtrax@bellsouth.net with your rough mp3 version attached and request a quote today!

There are more samples of work to your right in Categories > Samples of Our Work.


New Vocal and EQ PlugIns. WOW, will YOU sound great!

Let’s start with this piece of amazement, the Waves HEQ Hybrid Equalizer:

Waves HEQ Hybrid Equalizer At Work In A Nashville Trax mix

Waves HEQ Hybrid Equalizer At Work In A Nashville Trax mix

This is the $300 TDM version, and worth every cent.

Basically it will analyze the frequency response of a track and give the engineer a visual as he EQ’s it in real time. The yellow line is pre-EQ, the blue is post. The advantage over a regular analog or digital EQ? Instead of relying on your ears, you can see what is going on, see what needs to be cut or boosted, make the tweak, then get additional visual verification that you’ve achieved your goal.

Either that or it calculates how to get that insect DNA out of your body before you turn into The Fly III.

But I think it’s an EQ.

And here’s another piece of total greatness:

Aphex Aural Exciter

Aphex Aural Exciter

I must admit this isn’t my first Aphex relationship. (That sounds just plain weird doesn’t it?) We had the original Aphex Aural Exciter, the analog physical version, in our rack nine years ago. I loved that little guy but when we went to Pro Tools HD and started mixing in the box, the Aphex was no longer able to be utilized, so we sold it.

But appropriately, on Halloween Eve it’s back from the dead in software form, ready to add sparkle to any track it’s needed on. It may say “Vintage Aural Exciter” but at first listen there was no question it’s an emulation of the Aphex.

I don’t care who you are you have to love an aural exciter on drum overheads. But it will work on many track types anytime a mix is too bottom end heavy. Apply it judiciously and it balances out the lows with quality high end.

And here is our new Lexicon Reverb, part of a $600 bundle that includes everything from concert halls to tiny rooms:

Click here to see the rest of this post about our new Lexicon Reverb. Also learn more about our Tube Saturation Software for vocals and how it might help make your vocal track sound sensational!


Songwriters Paid Monthly

1290130_money_1

SESAC is now offering monthly royalty check payments. For details visit: http://www.sesac.com/News/News_Details.aspx?id=1793


Now Tracking: Better Than A Hallelujah

I hope to help make YOUR project sound GREAT soon!

I hope to help make YOUR project sound GREAT soon!

Working on a limited release demo CD project mixing original songs with cover tunes. First up? A cover of Amy Grant’s Better Than A Hallelujah.

The songwriting craft evident in Hallelujah blows me away. The lyric is simple yet powerful. The melody just soars. Love it!

There’s no sense in copying Amy’s version, that’s pretty much a definitive performance so rather than attempt to emulate greatness, I want to do something different with it.

One thought was to make it much bigger sounding, over the top alt pop rock with distorted guitars, a full choir, big rock drums, etc.

But I decided while interesting to produce, going huge would lose the best quality this tune has going for it: simple understated beauty. So it will remain at about the same dynamic just a little more dense with a slightly bluesy lead vocal, some Hall & Oates style bgv’s (background vocals) and some unusual instrumentation. Exactly what, I’ll leave as a surprise for now and post an mp3 when the CD is finished.

In my research before charting I found an Amy Grant interview about the song I think you’d find interesting for a lot of reasons.

I also found the The Official Amy Grant Video of Better Than A Hallelujah Not too great of a discovery, Columbus’ place in history remains secure, it comes up 1st in Google, lol.


Beautiful the mess we are.

Wow!

b.e.

https://twitter.com/dulcineapo36m00/status/374121853289132032


Songwriting Tip: Contrast Upbeat Music With A Depressing Lyric!

Bill Watson

Bill Watson: Don’t Worry, Be Happy!

A tune came in today (by songwriter Tom Hogan a.k.a. Steve Zodiak) at Play It Again Demos that uses a rarely-employed technique you might wish to experiment with.

The song features a happy, upbeat melody but the lyric is definitely negative. For some reason that contrast works.

The best example of this technique is Jim Croce’s “Workin’ At The Car Wash Blues” where the lyric reveals the dichotomy between the singer’s current career path: “rubbing fenders with a rag and walking home in soggy old shoes” with where he feels he deserves to be: sitting in an air-conditioned office “talkin’ some trash to my secretary sayin’, ‘Hey now mama come on over here!”

I can’t agree with the attitude, a real man treats women they deal with in business or in their personal life as they would want their mother or sister to be treated, but the lyric’s contrast between fantasy and reality is hilarious.

In tough guy with a sensitive side, Jim Croce’s defense, he also wrote “Time In A Bottle” as well as “Operator.”

Another example is “Semi Charmed Life” by Third Eye Blind. It can give you happy feet but the lyric is mostly negative. Including lyric lines discussing crystal meth addiction.

Happy music, not so fun-loving lyric.

It works, try it!- b.e.

https://twitter.com/Jessie_Maryee/status/373724535021121536


Songwriting Chord Progression Tip: Root to Relative Minor

photo(12)
Songwriters who aren’t trained in music theory often hear a song using a bass line movement descending from the major root chord to the relative minor, then imitate that movement in their own songs this way: (key of C) C, B minor, A minor. In the Nashville Numbers System that would be 1, 7-, 6-.

What they are actually trying to imitate is this: C, G/B, Am
or in Nashville Numbers speak: 1, 5/7, 6-. The G/B means a G chord played with a B bass note. If you play guitar or piano and you’re solo you can make the movement happen by voicing the deepest pitched B note as your root for the G chord. But if you’re working with a bass player it’s fine to simply play the full G chord and let the bass player take the B bass note. Another example just to confirm you understand the concept, this time in the key of G : Instead of G, F#m, Em use G, D/F#, Em- b.e.


Microphone Locker: The AT 4040

 A pair of At 4050's used as overheads on our studio drums.

A pair of At 4040’s used as overheads on our studio drum kit

The fact we have a pair of matched AT 4040 microphones is yet another reason to choose Play It Again Demos (our over-the-internet demo recording service) or Nashville Trax to do your recording work. They let us give you predictably fantastic drum sounds, and they add one more color to the producer’s palette.

For large diaphragm condensors they’re “cheapies” listing at around $500 each and retailing about $300. But price is irrelevant to application. In other words, a $150 dynamic microphone will sometimes outperform a $3,000 condenser microphone, it depends on what you’re trying to achieve.

The AT is listed as having relatively flat response across the audible spectrum from 20 HZ to about 20K. In actual use I’ve discovered it is a little heavy on the bass end, not muddy, just loud, and crystal clear in the mids. The high end is clear too but if that’s what the application requires, you have to roll off the bass to reveal it.

We use a pair of AT’s for drum overheads so normally I keep the 80 Hz, 12 dB/octave switch set to minimize the bass response. Once EQ’d properly, they shine as overheads.

I feel blessed here at the studio in two ways. We have a good selection of mics to choose from that cover every recording situation, plus we have a drum kit set up permanently.

So many studios let the drummer furnish the drums and that means setting up and tearing down the whole kit for most sessions. Then the mics have to be set up and re-calibrated each time. It can be done but I have zero time for redundant, skull numbing mindlessness and there’s no way you’ll achieve the consistently great sound inherent in a permanent drum setup unless you have one. So we do.

Comments from seasoned studio musicians on the drum sounds are typically, “I wish my kick drum sounded like THAT!” and, “The drums sound PERFECT, don’t change a thing!”

The drums alone have 9 microphones: bass drum, snare, hi-hat, 3 tom mics, the two AT 4040’s, and a room mic. I can fire up the gear, the drummer can simply sit down and start pounding away and with minimal tweaking, we’re ready to record.

All that being said I must admit that I sometimes pull an AT off the drum kit, usually out of desperation because a far more expensive mic isn’t getting it done. And usually the AT excels. I’ve used them on background vocals, fiddle, even horns.

On one session I used an AT for lead vocal instead of a $1,000 mic that pre-session I figured would almost certainly work because it had for that same singer many times prior. Both the singer and I agreed: The AT simply sounded better for his voice that day- B. E. Watson


Tough Gig and Tougher Crowd: The Battle of Franklin TN

Plaque describing the Battle of Franklin. The lower right corner is where the quote below was pulled from.

Plaque describing the Battle of Franklin. The lower right corner is where the quote below was pulled from.

Stopped by the small Civil War park in Franklin TN yesterday having no idea such a large battle had been fought there.

On November 30, 1864 the Southern General John Hood held a position on the hill where the park is now located. He decided to attack the Northern troops located toward Franklin. His line was the largest single array of troops in the entire war, some 19,000 men moving shoulder-to-shoulder across the fields at the foot of the hill.

The plaque pictured above tells it best:

At 4 p.m. here on Winstead Hill, launched the single largest attack made during the American Civil War. The Federal soldiers never forgot the sheer spectacle of the Confederates sweeping across the fields before you with bands playing “Dixie” and “The Bonnie Blue Flag.” One Union observer later wrote that “we were spellbound with admiration, although they were our hated foes.”

Maybe the musicians should have altered the playlist with a tune less controversial than “Dixie.” The Union troops listened for a bit then opened fire. When the smoke cleared at day’s end there were over 6,000 Southern casualties. The action was a disaster for the South.

If I were the general I’d have suggested playing “Why Can’t We Be Friends?”

In just the first few minutes of battle, five Southern generals lost their lives in the field just to the right of the hill. Altogether 15 Southern Generals were killed in the fierce fight. Hood’s forces were rendered incapable of effectively engaging in battle for the remainder of the war.

If memory serves correctly Hood was Robert E. Lee’s right hand man in The Battle of Gettysburg, afterwards going to GA to harass Northern General Sherman near Atlanta as Sherman “Drove Old Dixe Down.”

Imagine walking from Gettysburg to Atlanta and on to Nashville as these troops must have done, including the musicians. Tough gig, tougher crowdb.e.

One of many markers on the site detailing the battle. I love history but let's not ever get to this point again as some are pushing for. Our nation torn in two and killing one another by the truckload isn't as much fun as it sounds.

One of many markers on the site detailing the battle. Man, I greatly enjoy history but let’s inject wisdom in all situations and pour out understanding, tolerance and love instead of hate so we never get to this point again as some are now calling for. Our nation torn in two, boys not yet in their prime being slaughtered and killing each other by the truckload? It can’t be near as much fun as it sounds.

https://twitter.com/shnake_10/status/374048717541621761


Songwriting Tip: Three Chord Groups

IMG_1910

Knowing a few chords on guitar or piano is a good thing but some roughs I’ve reviewed here reveal that some newbie songwriters aren’t sure how to use them together. Sometimes chords are used that don’t support the melody or several chords are used that inadvertently introduce a new key in a spot where that shouldn’t happen.

Hopefully this post will reduce that confusion slightly, but in the larger sense, it’s aimed at introducing the abecedarian songwriter to the concept that there is a right way and wrong way to use chords, thus fueling the desire for further exploration of the principles.

Huh, abecedarian… pretty good word, eh? It means neophyte or beginner. Use it to replace a cuss word: “Listen, you abecedarian…” : )

As in most endeavors, there are rules. Rules can be broken but songwriters who don’t know the rules in the first place tend to break them in a bad way, in a way that detracts rather than enhances.

So here is a rule of sorts: Inject a sense of order in the writing process by employing a chord progression, which is several chords played in sequence that sound good together and firmly establish a key. There are many chord progressions that are accepted in music theory as “standards” and are used over and over, the simplest being the three chord group.

Many hit songs are written using only a three chord group, some with as few as two of the three chords in a group.

The easiest three chord groups to play on guitar are:

1. E, A, B7th
2. G, C, D7th
3. A, D, E 7th
4. C, F, G7th
5. D, G, A 7th

All of those can be played on guitar using open chords (chords that contain unfretted notes). The first chord in the three chord sequence is the tonic chord a.k.a. root chord. The second is the dominant chord, the third is the sub dominant or sub dominant seventh.

A three chord group is based on the major scale. Choose the 1st, 4th and 5th notes of a major scale and those notes name the three chord group for that scale with that 1st (the root note) naming the key. Also add a dominant 7th (7th) to the final chord (although the 7th is sometimes omitted).

For example, the notes in a C Major scale are:

C, D, E, F, G, A, B, (and back to C, up one octave in pitch from the original C).

The 1st, 4th and 5th notes of the C Major Scale, counting from C are C, F, G. So in the key of C, (C because the first note, the root note, is C) the 3 chord group is C, F, G. In the Nashville number system they’d be referred to as 1-4-5.

Click here to read the rest of this post, including how to use a three chord group to write a song and how to employ the principal of chord substitution.

Or you can skip the free stuff and go straight to the books this post is drawn from, we’re barely scratching the surface here. If you want to learn very basic open chord progressions and simple rhythms get my book Guitar Shop. If you want to learn more complicated chords, extended chords, how non-root bass notes work and learn all the chord substitution rules, get Ted’s bookbill watson


Get On Track With The God Of Wonders

The radio alarm sounded this morning with this song and it was such a perfect wake up call I thought I’d share. A GREAT way to start the day or anytime really.

Focus and energy just pour on in!- b.e.


Sister Sparrow and The Dirty Birds

A lot of aspiring artists just don’t seem to get it. They can sing, they may be good looking. But in Nashville that’s only the bargaining chip that gets you to the table, everyone holds those cards. In most cases, to “win” you need more.

My advice: Hit the stage with intent.

This band gets it:

Sure, there are big acts that basically just stand nearly motionless onstage and win people over with their personality and/or talent. But they already have hit records. Too many aspiring artists who “want to get signed” get the chance to do a live showcase for major label A&R and when the lights go on, have nothing.

No stage movement, no personality, nothing unique.

The difference between singers I’ve recorded during my time time here who did move on to a major label recording contract and the ones who had great talent yet failed to move beyond a development deal or even the showcasing stage is a lack of drive, a lack of setting themselves apart from other aspiring artists in some way.

Sister Sparrrow and The Dirty Birds is a group totally into what they’re doing. It wouldn’t matter whether there were 5 people watching or 55,000, they’d perform just the same. The band is tight, the girl has a unique voice and makes the most of what she’s got. This is the type of act any A & R person would jump to sign- b.e.


Your Music Produced and Played by Professionals!

Music Producer Bill Watson and the session musicians here at Nashville Trax can do it! …Demo, Single, LP, or a full blown album!

In business since 2004- eighteen years with roots extending even beyond that- we’ve thrilled a long list of clients, and we can make that same jaw-dropping-level project happen for you!

Please take a look through the pages of this blog, It details what we’re all about and features many samples of our work.

“Before I go into details on this new project, I’d like to thank you guys for the tracks you played for my last project. I had a vocal recording session with my co-writer last Sunday and after recording some good vocals and mixing things down the song sounds very nice with your tracks. just absolutely stunning job. Thanks!”- Walter Troubadour, Alsace–Lorraine, France

To get the ball rolling on your project, give us a call or drop a text to: 615-319-8616

Chelsea, one of the highly talented singers at Nashville Trax…maybe she’ll sing on your project?


Vinyl is back! Are Hula Hoops and Bobby Socks Next?

Weren’t we done with “records” “cassingles” and the like a couple decades ago? Didn’t new and supposedly better tech push those and many other “no longer useful” items into a huge pile to decay on the scrap heap of history?

Not so fast.

The Recording Industry of America reports that vinyl record sales, which first overtook CD sales in 2020, have been increasing for a decade now. And they’re up substantially over the two year pandemic period, by as much as an additional 200%.

But it’s not just vinyl records making a comeback. Another once nearly extinct item, the cassette tape, has also increased year-after-year in sales that now total in the six figures over this past twelve month period.

As more and more listeners choose vinyl and cassettes, the case for songwriters to make a portion of their work available in these old school formats is building, and some singer-songwriters already have.

For example, the Los Angeles based duo, The Swansons, have recorded three full albums here at Nashville Trax, are midway through a fourth, and just re-released their popular second album done here, titled Bam!, on vinyl…. red vinyl, no less.

Yes, far more people have cell phones to play an mp3 than have record players or cassette tape players at this point in history, but even if your vinyl record sales don’t track quite strong enough to turn a profit, there’s a certain coolness factor to having product in a retro format that can make releasing on cassette, on vinyl, or both, a good business decision regardless. It’s also uncommon enough, with many people, including members of the press, not realizing the comeback is on, that it can help your act obtain articles and interviews.

Since we are discussing old things becoming new again, there’s this kinda sorta related fact:

Did you know that all growth in the music business is coming from decades old songs? Yes, really. Newly written and produced material is actually experiencing a decrease, proof and details here:

Is Old Music Killing New Music?

But what what does this interesting, little known fact, mean for songwriting, if anything? Your songwriting?

Not much. Make no mistake, the trend line may not be in their favor, but the numbers that “new music decline” are based on were huge so even with a decline, new Christian, country and pop artists are still enjoying plenty of radio airplay and are still building lucrative careers. There is plenty of opportunity to write and market your songs in those genres.

If you’re an independent songwriter/performer you don’t want to sound dated of course, that’s often the kiss of death for someone plugging their latest tune. But food for thought: if you can incorporate the best aspects of the material that was popular in the 60’s, 70’s, 80’s and 90’s into your writing- the super catchy hooks, the cool arrangements, while having your demos produced with a modern spin, you may tie into something of a hybrid nature that can grab airplay and sell in big numbers to both the diminishing demographic that loves the new songs, and also appeals to the older demographic that is tiring of listening to Heart’s These Dreams” on their local oldies station for the 3,000th time.

That influence can be subtle, it can be overt, such as the Kidd Rock riffing on Sweet Home Alabama in “All Summer Long”, or downright blatant the way De Jay Silver recorded a rap tune that sampled bits of the Alabama country hit “Dixieland Delight”.


ADVERTISEMENT:

The first step to releasing your songs on mp3, CD, Vinyl or cassette is to have a professional recording produced. Nashville Trax can guide you through the entire production process. Interested? Drop us an e-mail at nashtrax@bellsouth.net


New Zealander Grace Kelly scores BIG with “San Jose” produced at Nashville Trax.

It’s the city’s NEW theme song!

The City of San Jose Tourism Bureau has officially replaced the song used to promote the city for the last 43 years, Dionne Warwick’s “Do You Know The Way To San Jose,” with Grace’s original, San Jose. San Jose was produced, mixed and mastered here at Nashville Trax, and is the track used in the City of San Jose’s vids posted here.

The third time recording here was the charm that landed New Zealander Grace Kelly major kudos, a lifetime coolness brag, and possible lifetime royalties from the use of her song by the San Jose Tourism Team. She also landed a show with Blake Shelton and has a major rap producer wanting the stems from her song for a rap remix!

San Jose credits:

Drums: Jim Riley (of Rascal Flatts)
Bass Guitar: Bill Watson (Nashville Trax producer)
Guitars: Tom Wild (B.J. Thomas, Mindy McCreedy, Brenda Lee)
Fiddle/Mandolin: Jenee Fleenor (Blake Shelton, Steven Tyler, The Voice)
Keyboards: Steve King (Keith Urban)
Vocals & Acoustic Guitar: Grace Kelly (songwriter)
Produced, Mixed and Mastered by Bill Watson for Nashville Trax.

To get YOUR project started and begin YOUR journey to success Text us at 615-319-8616

Grace has been tapped to open for country star Blake Shelton when Blake plays in San Jose on Sept. 13th.

 

Our production gets a cameo at 2:50:

Grace’s San Jose story on Auckland’s News Now

Grace2

Check out That Girl, another of Grace’s original’s produced at Nashville Trax:

That Girl credits:

Drums: David Northrup (of Rick Derringer, Travis Tritt)
Bass Guitar: Bill Watson (Nashville Trax producer)
Guitars: Tom Wild (B.J. Thomas, Mindy McCreedy, Brenda  Lee)
Fiddle/Mandolin: Jenee Fleenor (Blake Shelton, Steven Tyler, The Voice)
Keyboards: Steve King (Keith Urban)
Vocals & Acoustic Guitar: Grace Kelly (songwriter)
Produced, Mixed and Mastered by Bill Watson for Nashville Trax.

Serious? Need your song produced for real?

Text:
615-319-8616

E-mail:

nashtrax@bellsouth.net


The Swansons Rock Revelry!

The Swansons out of Southern California, regulars at venues such as Sunset Station in Las Vegas and Whiskey A Go Go in Los Angeles, perform their first show in the Nashville area at Revelry, . backed up by Nashville Trax session musicians Brent Mason on guitar, Bill Watson on bass guitar, Jim Riley on drums, Jenee Fleenor on Fiddle, Steve King keyboards and Mike Douchette on steel.


Need an Acoustic or Electric Guitar Session Guitarist for Your Project?

Need to add the best guitar tracks played by one of the top working session guitarists Nashville has to offer to your project? And at a reasonable price? Text or call 615-319-8616 NOW!

Testimonial:

Thank you very much for your fast service and the GREAT sounding

guitars 🙂

Song: Laber

Player: Tom Wild, a highly experienced Nashville session guitarist with a long list of major label credits.

Provided: High and low register acoustic picking/rhythm, electric fill and electric bed tracks.

Player:

Nashville Session Guitar Player, Brent Mason at Nashville Trax Recording Studio. Known for his Telecaster work, for this song he's playing a Gibson Les Paul.
The #1 most used session Guitar Player in Nashville, Brent Mason at Nashville Trax Recording Studio.

Grammy winner, CMA Musician of The Year (year after year).. Known for his Telecaster work, for this song he’s playing a Gibson Les Paul.


Need A Steel Guitar Track for Your Project? Or the Best?

Simply e-mail NashTrax@bellsouth.net

“What a great performance! Thanks for the quick turnaround and for the stellar track. This is totally what I was after.” Dave F.

Song: New Colors.

Pedal Steel

Getting YOUR pedal steel guitar track is easy!

1, Export your current mix as a .wav or ,mp3 file (start your bounce at zero).

2. E-mail or dropbox it to nashtrax@supermagicmusic007

3. e-mail any notes you have or let our session pro decide what to play.

4. Pay via paypal.com to nashtrax@bellsouth,net

THAT’S IT!

You’ll soon receive a steel file you can drop in and will automatically line up.

Mr, Johnny, a Nashville legend..

Steve Sturm, 7 years with Travis Tritt.

Tim Basieski…a great young player breaking out in the Nashville recording scene.

We have the player you need!

Need to add the best Pedal Steel Guitar track Nashville has to offer to your project? And at a reasonable price? Questions? Text 615-319-8616 NOW!


Kristen from Newport Beach California, does her first recording ever at Nashville Trax!

Mother Kim (left) and Kristen at Nashville Trax

August 29th, 2020 was a big day for Kristen, her first time recording on pro equipment!

And that happened right here at Nashville Trax!

“It went very well, Kristen displayed great tone and range,” said producer Bill Watson as the the session unfolded. “She also has great personality, and to top it off, she dances and has awesome stage presence right in the vocal booth,” he chuckled. “With a little direction, focus and work she’ll be the whole package that’s required to build a career on.”

And Kristin’s mother Kim later e-mailed:

” Wow Bill!

What an amazing day we had with you !!

Kristin was so nervous coming in and came out so excited with the experience!!!

Until next time…😊 God Bless !! -Kim

If you would like to do a similar session- a couple of cover tunes for a few hours as a test before diving into a larger original song project- or maybe you’re ready to dive in on recording a full album? Contact us (text is best) as to your interest at 615-319-8616 or e-mail nashtrax@bellsouth.net.


Is Your Songwriting Dated?

When your song is pitched, there are many things that can knock it out of contention.

One of those things is your presentation sounding, or even looking, dated. That can be in the writing itself, or in the subject matter, or the demo recording.

It’s often the kiss of death if an A&R person is thinking, “This could have been a hit back in the 80’s, not now”. But that happens… a lot.

If it’s friends and family you’re writing for, no problem, write what you like, nothing here applies to you. But if you’re hoping for a cut with a major label artist you likely have little choice but to “run the A&R gauntlet”. They are the gatekeepers, so to speak, between you and the final decision maker, either the artist, , their manager, their produce, the record label or all of the above.

Many writers get mentally entrenched in what was popular in their formative years, not realizing how much radio hits have changed over time. Or maybe its not recognizing how much influence their formative years still have on their writing, even when intentionally attempting to craft something more modern.

The instruments change. The way records are mixed changes. Listen to 3 or 4 hits, country, pop or whatever genre you prefer, from the 50’s, 60’s, 70’s 80’s etc. on up to current hits. you’ll hear dramatic differences every 10 to 20 years.

Lyrics change. The culture changes. The population ages.

One thing to be very careful about is when you attempt to reference something familiar and/or universal in your song. If you reference a famous movie star, will the younger people who buy most of the records even know who you are talking about? Stadiums and teams get re-named. Products go out of production, stores go out of business. Slang and cliches fall out of favor and new terms take their place. In the 70’s most Americans knew who The Duke was- John Wayne- not so much now.

Even a dated approach can lessen your chances. Mailing in a cassette tape for example. Cassettes have not been popular or used much in the music industry in over twenty years. Even CDs have largely given way to mp3 files, although some A&R still request pitches on CD. Most communication these days occurs via e-mail, not the postal service,. Mailing in a cassette or an inquiry letter will impart the impression that you are old, out of touch and clueless.

Musically things have changed greatly too. Today’s country radio is a far cry from the music of Johnny Cash or Tammy Wynette. Twangy guitars and minimal, basic drums have been replaced with mostly rock and pop sounds.

Review your catalog or have it reviewed by someone who won’t pull punches. Be sure your songs are similar in terms of lyric content and overall sound to what’s getting played on radio right now. If not, updating or writing new songs is in order.

The best way to stop living and working in the past is simply to listen to more modern music regularly. In your early years you probably listened to a steady diet of what are now oldies. Can you honestly say you’ve embraced the modern music you are hoping to get a break with in that same way? If not, that may part, or all, of your problem.


Life Is So Unfair! Releases this week!

The Thompsons, a family band from Canada had Nashville Trax produce this track titled, Life Is So Unfair, this past winter and it’s finally being released, you can hear it on Spotify.

Danielle.jpg

Lead singer Danielle.

“Life Is So Unfair” written by Danny and Danielle Thompson.

Produced by Bill Watson for Nashville Trax.

For more about this exciting band visit

The Thompsons

And be sure to attend one of their shows listed on the site!


The Thompson’s Band Video- Music Cut At Nashville Trax- Released!

Recorded, Mixed and Mastered For the Canadian Women’s Trucker Association, by producer Bill Watson of Nashville Trax:


The Greatest Gift Wins NCMAI Gospel Album of the Year, Produced at Nashville Trax

Wins Collage

3-3-23 Update:  It’s been a few years but The Greatest Gift is back in recording mode and sent Nashville Trax Producer, Bill Watson, the first two songs to start a new album.

Gospel music trio, The Greatest Gift. won the Gospel Album of the Year at the North American Country Music Association International 2019 competition on March 19th, with Bill Watson of Nashville Trax, who produced their “Closer than Ever” album music and sound tracks.

“We give all of the glory to God for giving us our talents and opportunities to praise Him,” they proclaimed.

Watson, who traveled from Nashville to Pigeon Forge, TN to witness the fruits of his labor, was impressed, “It made sense for the Greatest Gift projects to work remotely,” he explained. “Wayne e-mailed me piano/vocal roughs, I created the charts and arrangements, cut the music tracks, then they added their vocals and mixed on their end with me overseeing the final product.”

“After producing several albums,” Watson continued, “not only did we finally meet for the first time, I got to see them perform as well, utilizing some of the tracks we cut in Nashville. It was a kick!”

The Greatest Gift landed several other awards as well:

New Gospel Adult Vocal Group of the Year

Gospel Video of the Year

Wayne Patterson:

New Gospel Songwriter of the year for “Walk with Me”

New Gospel Male Adult Vocalist of the year

Most Promising New Gospel Male Adult Entertainer

Mike Biasin:

Traditional Gospel Adult Instrumentalist of the Year

Krys Smith:

Traditional Gospel Female Adult Vocalist Horizon Award

Traditional Gospel Female Adult Entertainer Horizon Award

Vocals and mixing for their album were done by Bob Catalano of Bobcat Studios.

Would you like to contact us about YOUR project? E-mail:
nashtrax@bellsouth.net