Pre-Production Started On 10 song album for Blues Guitarist Tony Pizzino. Bill Watson/Jack White co-producing.Posted: May 5, 2015
Pre-production has started for a 10 song album featuring blues guitarist Tony Pizzino and singer Grant Anderson. Bill Watson will be playing bass on it, as well as co-producing with Jack White, who will also be playing drums. Tony is flat out amazing on blues guitar and Grant has a unique, totally awesome voice that naturally leans toward blues They’ve both written some excellent songs for the project. Bill, Tony and Jack recorded test rhythm tracks back in August.
Update: This album is in progress. Several songs have been tracked and a Christian spinoff project is underway with a song titled “Finally Free” tracked and rough mixed, and another titled “Into The Light” being co-written by Bill and Grant.
Do you want to have a pro sounding album produced with you as the singer?
Or perhaps you’d like to do a project featuring you as both the singer and songwriter, online?
Nashville Trax music producer, Bill Watson, can make it happen!
You get: An album of between 6 and 14 songs played by top tier Nashville session musicians that will impress your friends and family, will be suitable for marketing you and your music to record company A & R and music publishers, can be sold on various Internet sites and may even get radio airplay.
How would you like to have these musicians and their credits on YOUR album?
“I’ve produced several album projects for singers who can’t easily come to the studio to record their vocals,” says Watson. “They send me their rough mp3, I professionalize it, hire great musicians and give that work to them. Some clients have added their vocals and mixed on their end. Others sing to our work, then send me their vocal file for mixing here. It works great either way!”
In fact, Watson is doing an album project over the Internet as this is being written. It’s for “Wayne from Main” and Wayne is thrilled with the 5 songs (of 8 planned) completed to date. “They don’t sound cookie cutter at all which was the problem with other Nashville studios I tried prior to Nashville Trax, Each song on my album completed so far has it’s own sound and I love that,” says Wayne.
Wouldn’t you like to have players of this caliber on your project? On Wayne’s project, so far Bill has used:
Jim Riley, drummer, Rascal Flatts
David Northrup, has played for Travis Tritt, John Mellencamp, The Oak Ridge Boys’ and Wynnona.
Greg Ewen, (F.W.O., Louise Mandrell)
William Ellis, drummer for Montgommery Gentry
Bill Watson, Nashville Trax producer
Tom Wild B.J. Thomas, Mindy McCreedy,
Bill Watson, Nashville Trax producer
Kevin Post (Blake Shelton)
Kevin Post (Blake Shelton)
Violin, Viola, Fiddle:
Jenee Fleenor (Blake Shelton, Martina McBride)
Piano, strings, B3 Organ, Synthesizer:
Ron Fairchild (Oak Ridge Boys)
Steve King (Nashville session keyboard player)
John Heinrick (Roniie Milsap)
Forget the typical $20,00 to $50,000 budget most Nashville studios charge to produce an independent project!
Try an 6 song album project as low as $4,000!* And you can pay as you go!. As little as $300 down will start your project. As each song is completed and paid for an additional down payment will be required.
Want a sample? You are welcome to try one song before committing to an entire album project.
For details or to have any questions you may have answered, simply e-mail: firstname.lastname@example.org
* the $4,000 price reflects the client or the clien’t’s singer recording the vocals and mixing on their end.
The amazing Jenee Fleenor back in town from backing up the country contestant on The Voice feasturing her boss, Blake Shelton, was in today to cut a fiddle track on one song and both fiddle and cello on another.
A recent Rascal Flatts album she worked on had keyboard string pads but they wanted it to sound more like live strings so Jenee layered her violin and cello parts in with the keyboard strings and properly mixed, it sounded fantastic.
So we now offer that same option to our Fiddle Tracks over-the-internet clients.
Now Tracking: 5 songs for Wayne Lewis, 3 New Tunes for Winston Harold. Just added 1 song for Aleta Anthony, 1 for Joe Burnette + 20 Tracks Online projects in. Greg Jennings of Restless Heart on sessions! 1 Song Left On Stephane Bouchard EP!Posted: February 25, 2015
There IS time to get your song in on one of these sessions!
The players, all known as Nashville session quality musicians, some with live show artist gigs as well, will include:
William Ellis drummer for Montgomery Gentry. William locks on a click and basically dares anyone to try and move him off it. Nope, won’t happen.
Greg Jennings, session player and guitarist with Restless Heart.
Ron Fairchild, keyboards. Session player and The Oak Ridge Boys long time session guy.
Steve King, master session keyboard player.
Bill Watson, bass guitar. guitar, Nashville Trax producer.
David Northrup, Nashville session drummer. The Groove King was Travis Tritt’s drummer for years, currently with The Oaks
Randy Smith. session bass guitarist.
Jenee Fleenor, fiddle amd mando. Currently plays for Blake Shelton, her main gig, also for Martina McBride and The Opry staff band when she’s available.
Mike Douchette, session quality Pedal steel guitarist and harp player. Mike’s credits are major league and extensive.
1 new trio demo plus 9 tunes in for the full band/producers choice treatment. Wayne writes traditional style country and the trio of songwriters who make up Winston Harold write in a variety of styles. We’ve demoed several songs for them prior. This go-round one tune is going blues, another is Contemporary Christian and a third is leaning toward country. Update: Just got a new tune in to be done trio style (vocal, guitar, drums and bass guitar) for Aleta Anthony. We did a demo for her a few years ago that she was happy with but haven’t heard from since. Apparently she believes in quality not quantity. Altogether, with our Tracks Online projects and the Tony Pizzino album project we have about 40 song recordings in progress.
Bill Watson is producing on all. Tracking should begin in about two weeks. Busy, but keep ’em coming. We LOVE busy and we have plenty of capacity!
Our Tracks Online service is holding its own too with 1 guitar track, 1 piano, 5 pedal steel, 4 fiddle and 8 bass guitar tracks to add to client-produced projects. Trax Online clients are a mix of home recording enthusiasts and recording studios/producers, some in Nashville, some worldwide. This go-round we have 1 for a recording studio client in Ireland, 1 for a producer in Russia!
Here’s a clip of songwriter David Greer’s first demo with us, finished today.
Based on David’s guitar/vocal rough, we produced two versions, one with Ray, a baritone, singing lead and harmony and a Bob Dylan style harmonica played by Mike Douchette. as the main lead instrument that I thought turned out great, well enough that David’s father thought it was the best song recording he’d ever heard.
But David wanted to hear it with a higher pitched vocal and fiddle instead of harp so this posted version features our singer, Jason. We’ll pick it up coming into the pre-chorus section:
Blake Sheton’s fiddle player, Jenee Fleenor plays both fiddle and mandolin. Other musicians include William Ellis of Montgommery Gentry on drums, Nashville Trax producer Bill Watson on bass guitar, Ron Fairchild of The Oaks on piano and Tom Wellenbacher on guitar who’s played with everyone from B.J. Thomas to Mindy McCreedy, .
“Jesus Help Me One More Time” is © 2015 David Greer. Bill Watson, producer.
A Christian vocal trio known as The Greatest Gift decided to do an album of material penned by bandleader Wayne Paterson. Unhappy with previous efforts recorded at studios located in Nashville, New York and Los Angeles he searched for a new studio that could bring the magic he knew existed to his work.
He began sending piano/vocal demos to producer Bill Watson of Nashville Trax in March of 2015 and was ecstatic with the results. With Watson arranging and producing the music tracks, then sending them to The Greatest Gift where they add vocals and mix at a local studio, they have finished the first album, Come Into His Presence, and have nearly completed a second.
The Greatest Gift is also using the mixed and mastered tracks to perform live and even sing to the tracks in Christian songwriting and performance contests. They took first place in the local, regional and state competitions and are scheduled to compete in the national finals in Tennessee this coming spring.
The Greatest Gift is reporting brisk sales at churches and other live concert performances, helping them recoup their investment plus help fund the next CD. They’ve also been able to secure an entertainment lawyer based in Nashville to help them pursue national distribution.
Give a listen:
Vince Taylor wrote this as a straight ahead, white bread piano ballad so turning it into a soulful Memphis tune with sax was risky but I really felt it needed to go in that direction and the more I listened to the rough, the more I was convinced Joplin-channeling soul singer, Jennifer L, should sing it.
Here’s a clip of But For One Day:
Hopefully the result speaks for itself?- b.e. watson
Update: 10-15-14 Vince contacted us via e-mail to report this recording has passed muster with a radio program director he submitted it to and, with Jennifer’s blessing, is currently receiving airplay.
But For One Day is © 2014 Vince Taylor. All rights reserved, provided here a a demonstration of production values only, all other uses prohibited under U.S. and International copyright law. If you’d like to record or perform this work, please e-mail us and your request will be forwarded to the songwriter and/or publisher.
Midnight, Me And The Moon, the first of a five song project is finished:
B4 and after. Here’s the “client version” clip, the version Wayne submitted as his rough. It perfectly mapped the direction he envisioned:
Our job was to employ our considerable experience and available talent to bring Wayne’s idea to fruition. Our Version:
Judging by his glowing e-mail, client Wayne Lewis of Alaska is thrilled:
Bill Watson, Nashville Trax
Today at 12:47 PM
“GREAT Job, Bill!!!! I agree with you…it works perfectly well with a female vocal. Good call! Everybody did a terrific job. Please thank Jenn especially, she gave it a wonderful ride! Wayne”
Greg Jennings (Guitars)
William Ellis (Drums)
Ron Fairchild (Piano)
Jenee Fleenor (Fiddle)
Mike Douchette (Harmonica)
Bill Watson (Bass Guitar)
Wayne’s songs two through four will feature male vocalists are in various stages of production with two mixes expected to be finished toward the end of next week.
“Wayne felt we should record this with a vocalist that sounds like Dwight Yoakum. I liked his idea of giving the recording a bit of rockabilly vibe and making it sound almost like the listener is hearing a live band but the more I worked with it in pre-production the more I could hear a powerhouse country female vocal, so I went with my instincts without letting Wayne know. Jennifer just flat out delivered an excellent performance that made the concept work. I didn’t realize at the time this would be the first song of the five I’d finish so it was nail biting time when I sent Wayne the mix. Hey, the tune rocks, Wayne loves it, ALL GOOD!” – Bill Watson, producer
Midnight, Me and the Moon © 2014 by Wayne Lewis is for demonstration of production values only. Any other use is a violation of U.S. and International copyright law. Requests to record this song will be forwarded to the songwriter and/or publisher.
Jenee finally returned from Los Angeles where she’s been “working” on The Voice (getting pampered/living it up on the production company’s dime, LOL) long enough to get some real work done: utilizing her amazing talents to get a few fiddle, mandolin and vocal tracks locked down. One was the final track needed to mix this awesome little ballad, Man In The Distance, written by songwriter Kevin Wood:
Here’s a clip of the client “Before” Version starting in verse two:
Our “after” Version, same spot:
Kevin did a great job laying out his vision. A lot of changes were made though, there was some superfluous stuff. And the song clocked in at about 5 minutes, way too long in a world where “radio friendly” is about 2 to 3 minutes.
“The “howling wolves” vocal sounds Kevin had were interesting but were deleted in the charting phase. Several bars of music that served no purpose were axed. Also, Kevin put a tag on every chorus which wasn’t appropriate (a “tag” is when you repeat the last line of a section, usually verbatim. in this case with different words but it still made the whole chorus feel too lengthy) I kept only the final tag.
A little tightening, and there you have it, a song I think has a great chance of garnering a publishing contract!
Which version would you take to the pitching table?
After hearing the mix, Kevin said, “Wow — Nice!! You guys did a great job, and you are very skilled at what you do, brother!”
Man In The Distance is © 2014 Kevin Wood, posted by permission.
If you’re interested in recording this song, using it in a commercial application or singing it in a performing situation please let us know and we’ll forward your request to the songwriter and/or the music publisher.
I was nervous about this one, after all I practically tore the original rough apart and rebuilt the song. A simple copy of it with better playing and vocals would have sufficed, ensuring the songwriting team who wrote it would be good with it.
But I’m not in this business for “play it safe,” “content” or “pretty decent job.” The aim is always higher… far higher.
Rob and his co-writers are elated with the prior two songs they had produced here, but rather than imparting a “no problem, we got this” sentiment, it only increased the pressure to outdo the previous two projects. Patriotic songs can be exceptionally difficult, because to work, they must evoke passion, stir the soul if you will, without resorting to male-female relationship emotive techniques. The arrangement has to do it.
I knew we had something special going on during tracking but decided to hedge my bets by working on the morning of May 26th, 2014 long enough to mix Red White and Blue. Crazy I guess, but it felt like the right thing to do.
Mixing a patriotic “troops coming home” tune on Memorial Day? Making this song exceed all expectations was no longer a vague hope or abstract concept, mentally backed into a corner, there simply was no other option.
When the mix went out and I didn’t hear back from Rob right away I started wondering if he hated it but didn’t want to say anything? A couple more days passed and all I receive is Rob cryptically saying he’d listened “but had to run it by his co-writers and others,” I’m really freakin’.
More time drags on. “Man, I thought we nailed that song to the wall so hard we busted right through to a place where eagles soar and Churchill is shouting, ‘We shall fight on the beaches. We will fight in the streets, We shall not fail!’ as the allies begin the D-Day assault. F-15s are tipping their wings to acknowledge our efforts as fireworks light up the sky.
“What went wrong?” I pondered.
Finally the word came in today:
I needed to get every one’s input, Jimmy love’s it, as so do I , and all that I played it for, Jenee is really incredibly talented and truly gifted, You All put you heart into this song and did a great job, BILL U ARE A GREAT PRODUCER, HAT’S OFF TO YOUR WHOLE TEAM !!! So thanks! GREAT JOB !! GOD BLESS AMERICA !! Rob C. and everyone in Winston Harold
Songwriter extraordinaire, K.C. Steele, a.k.a. Kami Stackhouse, has commissioned us to produce three more song demos. These will be country, no-holds-barred, full band style including drums, bass guitar, electric guitar, acoustic guitar, fiddle, steel and mandolin. One song may even get a banjo part!
Awesome tunes! Producer Bill Watson is scheduled to begin creating the arrangements, choosing musicians and charting early next week.- T. M.
Just booked in a song titled Man In The Distance, a full band demo for songwriter Kevin Wood.
And our fiddle girl Jenee will be doing extra work as well to make the bridge sound extra special super!
We’re figuring on approx. 8 hours of charting and studio time for writing the arrangement charts, recording rhythm tracks, recording scratch vocals then keeper vocals with harmony, recording overdubbed parts such as the acoustic guitar and fiddle + producer, engineering and mixing.