Aaron Porter: Let’s start with, the title of producer, it can feel a little vague to some who aren’t familiar with the industry, can you give us a little insight into your process?
Tom Hambridge: Well I think a lot of producers are thought of as an engineer guy or that sits behind a big recording desk and plugs in cords and wires and records stuff, or maybe a guy who doesn’t play an instrument but is a thinker, he tells people what to do. I’m kind of the extreme on the other side; I’m a musician, a drummer a singer, a songwriter, an arranger.
What I do, when people have come to me through the years will be bands that are big touring bands who are out there touring and they get a month off and they have to make a record, and the record company says, “do you have songs? Do you have an idea what you’re going to do? Do you have any direction of how you’d like to follow up your last record? The band will say, man, we’ve been out on the road on tour.” So the record company will say, why don’t we get this guy Tom Hambridge involved, because he doesn’t just sit there and say what do you got I’ll record it. He comes up with ideas, write the songs, I kind of do the whole deal.” So while they’re on tour I might be writing songs for the record. When they come in they, I go, this is what I’ve got. While you were out on tour I was working on your record and this is what I’ve come up with. A lot of times they’re surprised that I’ve come up with an entire idea. That’s kind of what I do as producer.
After that I go into the studio, I play on the record, and I arrange the songs, do all the musical stuff that happens in the studio as well. I didn’t start off like that but when I did the album with Suzan Tudechi. I wrote the songs, played the drums and produced the record. RCA at one point contacted them and asked them, “who did the record?” They directed them to me.
They asked me, “Who wrote Rock Me Rider, who wrote Hurt Me So Bad?” and I told them I did. They said, “Did you write the songs or did you produce the record?” I told them I did both.
Then they asked me, “Rock Me Rider is unbelievable, who played on it?” I told them, well I played drums, and it’s just a bass player and a guitar player, and I engineered it, and they were shocked to hear that. So other record companies and artists started coming to me and asking me, like Johnny Winters people called me and said, “Johnny has been playing Rock Me Rider on tour and asked me if I’d be willing to write him a song too”. I said yeah sure I’ll write a song for him, and then a well later they called me up again and said, “Wait, you produced the record too, cause he wants that sound”
. I said yeah, but you didn’t say that on the phone (we both laugh), you just asked me if I wrote the song, so that’s kind of how that turned into me producing Johnny Winters album, and it gets nominated for a Grammy. It’s like there’s all this stuff that’s happened because of what I do, it’s not like I decided I’m going to do this, it’s just what I do. So if someone comes to me like Devon Allman, he’ll say, “I’ve got these songs”, and I’ll say, send me your songs. Then I’ll say let me send you some songs and then he’ll go, “Wow, those songs are incredible, I want to record those songs”. I just want the best songs, so what ever you like, I just want them to be the best. What ever that is, let’s just keep shooting for the moon. So now artist will call me and say, “We want to make a record with you, do you have an idea or concept, songs”. I’ll go, when we decide to do the record, I’ll start working on that. Quinn Sullivan, I wrote all of the songs. Who ever, the new Mike Zito record that won album of the year, I wrote all of the songs. I might write them with them too. I sat down with Mike and said, “Mike give me some ideas of what your thinking and I’ll go to work when you’re in Germany playing, so we have your ideas and thoughts involved but I’ll be working on it. That’s the producer thing I do. When I first met Buddy I had a record deal with a major label and I was on tour. I was opening for Buddy, he came to the show early, and I was at a theater somewhere and I was doing fifteen shows with Buddy Guy, and he never got there in time to see me play, but I had a song on the radio a hit single on AAA radio, and Tom Hambridge, which is my thing when I’m on tour. I was getting offstage and Buddy’s manager at the time, way before Max, he said, “Buddy wants to see you in the dressing room.” I thought, oh man, am I getting fired? I go to the dressing room and he says to me, “I got here and they had the speaker on in the dressing room, I heard your set tonight.” I said oh cool, and he went on, “Let me ask you, you did Lone Wolf the Johnny Winter song?” I said yeah, it’s about Johnny Winter ridding a lone wolf, “…and you did the fixer by George Thorogood, and then you did Hurt So Bad by Suzan Tudechi, and I’m recognizing all of these songs trying to figure out the connection.” I go, well, I wrote them all. Surprised Buddy goes, “What?” and I said yeah, I wrote them. Buddy said to me, “Well why aren’t you writing songs for me?” I said, well I’d be honored; I’d love to. This was long before I produced anything for him. I said are you kidding me you’re Buddy Guy.
Buddy says damn so what do you do?” Well I produce the records, and these are the songs I write for these artists. A lot of people think the artists write the songs and that’s okay, I just want the artists to have a great record. So I don’t mind being behind the scenes. Like Quinn Sullivan will do like 4 songs that I wrote on Getting There and then hell do maybe a Jimmy Hendricks cover and then he’ll do another 4 off Cyclone that I wrote and then near the end might say, this next song She Gets Me was written by my drummer Tom Hambridge. So after we do the whole show I’ll be out in the audience and someone will go, “Hey dude, you’re a pretty good drummer and that one song you wrote is pretty good.” And I’m thinking, “That one I wrote?” I just go, “Yup.” So it’s fine, that’s my job, to make people shine, to make them famous.
AP: I’m curious how you got here, I know you went to Berklee School of Music, did you go straight from high school to college?
TH: I’m originally from Buffalo New York, I went right from high school to Berklee School of Music in Boston, I graduated high school in 1979 and went to Berklee and graduated in 4 years. I had already been playing professionally, like getting paid to play music since 3rd grade. All I’ve ever done is play music as a job, I’ve never had to–knock on wood–have another job. I’ve been fortunate enough to be a drummer and get gigs. I had an older brother who had a band so I started playing in his band when I was really young. When I went to Berklee I would be putting my drums in the back of a taxi cab and the guys at the dorm would be like, “What are you doing? Aren’t’ you going to practice?” I would say no, I’ve got a gig, I’ve got to go play, make money. I would play jazz, blues, pop, whatever, I loved every kind of music and I played it. I had always done that since I was kid.
My second year at Berklee I auditioned for Roy Buchanan who was a great guitar player legendary guy, I toured with him then I got a gig with Bo Diddley, then I became Chuck Berry’s band leader, and I ended up playing with all these legendary older guys, and somehow I got the gig and they included me and they wanted me to play with them. I learned so much from, I played with Bo Diddley, Martha Reeves and the Mandellas, tons of bands and so I learned for these guys who had been on the road forever, they’d been making music forever, and they made mistakes and they told me about the mistakes they made and the things they regret not doing so I had this ongoing tutelage right up to the point I met Buddy Guy. I learn every time I’m in the room with Buddy Guy. He just says, “By the way you can always do better at this or, watch out for that”. I go; okay I have to make a mental note about that.
I started my own band in Boston and we won countless Boston music awards and I would win drummer of the year and song writer of the year so other band would hear my stuff on the radio or we had quite a following on the coast and they would ask me, “Who produced your new single that I heard on the radio, the one that won song of the year?” And I’d go I did, and they would say “Who wrote it?” and I’d say, well I did, and it was out of necessity, it wasn’t like I was going to be George R. Martin or some big producer, I was in a band, I was the leader and somebody had to do this stuff. It wasn’t like we could reach out to the biggest producer in the world and have him produce our record, no. We had to go in late at night to the studio when we could get the studio time for cheap, and I had to write the songs, so that’s what I did. Things just started happening, people started coming up and asking me can you write something for us, can you produce something for us. It just snowballed into this, I never looked at this like I wanted to be the one of the biggest producers in the world, I just started making records and every time I made a record I just wanted to make the best record I could make for who ever it was. That’s what I mean about the songs and everything. If the song wasn’t cutting it, I’d say let’s find a new one and they’d ask me how we’re going to do that and I’d say, let’s write one.
When I did James Cottons last record, his Grammy winning record he couldn’t sing anymore, how are we going to do it? Well I’m going to call my buddies, I’m going to call Gregg Allman, I’m going to call Keb Mo, I’m going to call Delbert, they’re going to do the singing. They said, “Well how are you going to come up with the songs?” I told them we’re going to tell me about your life and I’m going to write them. We’re going to do this, and it gets nominated for a Grammy award you know so, it’s all I can think to do. When it came to Buddy Guy of course, the first record I did with him was Skin Deep.
When the record company reached out to me on the phone they said, “Were calling you because Buddy Guy mentioned you as a possible producer, what kind of record would you make for Buddy Guy?” I said, well, I see him live every night, and I hear records that he makes and they don’t sound like that, you know and plus it sounds like he’s singing about stuff that isn’t passionate to him.
I would travel with him and have him tell me about his life and I would go about trying to write these songs about things that are important to him. That’s how we came up with Skin Deep, literally he would talk to me on the bus about his life. When we went to the studio he had tears in his eyes while he was singing some of these songs, because they were personal. Buddy would ask me how I did that, and I’d tell him you actually said that to me Buddy, you were telling me about where you lived and that’s what “Out In The Woods” is about, you said, I live out in the woods. First of all I’ve never heard anyone say it like that so we have to record you saying it like that. What’s out there? He’d tell me and I’d go to my bunk and start writing a song. He’d start talking about, what ever it was, the best damn fool that you’d ever met, and I don’t think I had ever heard anyone say that, the best damn fool what do you mean by that. He’d just talk to me and I would write songs, and so he told me, “For a long time people would just put a sheet of paper in front of me and they’d say this is the next song we’re recording.” and because Buddy is amazing he’d just do it and do it well. The thing was he wasn’t personally attached to the song. Unless he wrote it, if there were a few songs on the record he wrote but the others just kind of stuff. I asked him who would give them to him and he’d tell me “It was the producer or record company and just say here’s the next song”. I would go “wow!” this is your record Buddy I want every song on here for you to be like “I have to record this song” or we don’t record it. You know we’ll do something else.
That’s how it’s been, each time we’re fortunate enough to be looking at each other after the Grammy’s saying, now what’ll we do, let’s get to work, and I love it. Bet your ass I’m going to get to work on the next thing, but I’m always listening to him. Listening to the way he says stuff, little ideas that he says that I go, that’s an interesting way of saying that, I don’t think I’ve heard anyone say that before like that. Where a lot of people just laugh and say, that’s cool, I’m like, wait what’d you mean by that, and fortunately he’s able to articulate that. He’ll talk about eating something on the road, or not having enough money to eat and I go okay we’ve got to write about that, on the road or what ever it is. So I’ll write a song about the doctor came to his house and said, you’ve got to change the way your livin’ or else you’re not going to be around. I asked him when the doctor said that and he said a while ago, so I asked him if he’d seen that doctor recently and Buddy said, “No that doctors dead., and I said, living proof man (laughing) so I started writing living proof and it won a Grammy. When he’s singing it, it’s undeniable truth because he’s got that, he posses that ability, to sing something that if he believes in it he’s going to knock your face off with it. When he sings “Let The Door Knob Hit Ya”, I mean when he said that to me (laughs) and I asked him, let the door knob hit ya where? I thought he’d say in the ass, because that’s the normal phrase, but Buddy says, “Where damn dog bit ya!” We were in the studio and I said let’s get a pad and paper and finish this, go out and record it. That’s the excitement about what we do in the studio, Buddy says, “Really?” and I said, yes, that’s you, that’s beyond you, that’s so you. “Stay Around A Little Longer” with B.B. King and that was a phrase B.B. King said to me, he didn’t say that to me he was on stage and said that. He said, “I’d love to stay around a little longer but I gotta go you know, I hope I stay around a little longer.” The way he said it, at the age he was at, I went, I hope he stays around a little longer, not just tonight. I got together with my friend Gary Nicolson who is a great songwriter, and we were able to write that, and I took it to Buddy and I said this should be a song with you and B.B. before it’s to late.
AP: I’m glad you mentioned Gary, sometimes you take on a co-writer, what is the benefit of that?
TH: Well at this point in my life, I get asked to co-write all the time, I’ve had over 600 songs of mine recorded on different records by different people all over the world, they’re on the radio. Country hits, pop songs, Disney soundtrack songs, tons of songs that are all over the map. A lot of times, I had a big song with Rascal Flats they’re a pop country band, and when I was writing that, I was kind of going down that road with a co-writer, we kinda had country in mind that kind of thing. With co-writers you go okay I’m writing with this guy today and this guy has had 3 Tim Mcgraw hits and a Brad Paisley hit and a Johnny Cash hit so I kind of know what this guy is about. I can go down that road writing wise, I’m not writing a blues song for B.B. King that day.
There are certain writers I work with that do Americana, maybe they’ve written stuff that Robert Plant has recorded so we going that way we’re not going country. I’ve been fortunate enough to have major publishing deals with the biggest publishing company in the world; they’ve flown me around the world to meet with people. If someone is recording a pop record out in LA they might fly me out there to write with them, so I know walking in the room I’m not going to be like, we’re writing about a pickup truck. They’d be like what are you talking about we’re 19 year old kids from LA. I’m a little of a chameleon like that. So that’s the co-writing thing. When I’m writing for someone like Buddy Guy, or like ZZ Top, well I guess Billy Gibbons will come to my house and I’ll quick write something for ZZ Top, a lot of people fly here to write with me now, Meatloaf who’s great, they just fly to my house and we’ll just write. I know them as artists, so with George Thorogood, he’ll say, “I don’t want to write anything about drinking or any of that stuff, I want to write about, the opposite of that”.
AP: I saw that interview with the two of you at Checkerboard and he talked about how people typecast him as a party guy, but he does a lot of work and doesn’t really drink at all.
TH: Yeah it’s true, and that’s the thing too as a producer, I’ll get like 100 songs sent to me that have the word “bad” in it, like “Bad To The Bone”, or like I drink with my friends, or I drink alone or drink not alone, it’s hard to tell young songwriters but I do it when I do song writing clinics but I’ll do that when I’m at Berklee and I’ll say, if they’ve already done that, they’re not going to do that again, you’ve missed that ship. You’ve got to come up with the fresh idea. George was telling me because of Bad To The Bone, he’ll get, bad to the steel and he’s not going to record another one of those, because why would he do that? It’s just natural for people to think, I’ve just heard this new record by Bruno Mars that has “Uptown Funk” on it, so I’m going to write a song that called uptown funk the world or something, and he’s on to something else now. It’s a little off subject but it’s important to always stay fresh with your approach. With Buddy Guy though, I was in the studio the other day and someone said, there’s a lot of blues on this record with Buddy Guy, and I’m like (laughing) Hell Yeah, if anyone’s going to do it should be him. What, we’re supposed to say away from that?
AP: That’s a really funny thing to say (laughing).
TH:Damn right there’s a lot of blues on this record, “Damn Right” there you go (laughs)
AP: You teach at Berklee also?
TH: No, no, but they do have me come do lectures. We do a master songwriting class, or production class, which I love doing. I just did a thing down here where they brought 300 students to Nashville and I went to the studio and had Quinn Sullivan in there and we wrote a song and recorded it while they were in the studio so they could see how I go about it. I love giving back too, it’s really wonderful, I wish I was able to go into a studio when I was young and see someone record a real record or something.
AP: Back tracking just a little bit Stay Around A Little Longer, was any of that adlibbed by the two of them and if so do you tend to let artists have a little more freedom with what you’ve wrote?
TH: There are certain things where you want the artist to stay on point, from a producers point of view, in terms of the bigger picture and what the song should end up being. Of course I want to have the chorus be “ I thank the lord for letting me stay around a little longer, I feel like I’ve got a lot more to give.” So if they say, “I thank the lord for letting me stay around a little longer, I feel like I’ve got a lot more time left.” And I’ll let them know we’re rhyming “give” with the second part of the chorus which is, “…lord knows I love the life I live.” It pays off and they might not know it, they might be this great artist, and they might fight me on it, but I’ll say, we’ll record it both ways and they’ll go I like my line but it just doesn’t sound right for me, and I’ll say it’s because it’s not rhyming or there’s to many syllables in that word, so sometimes I go down that way, where from the craft of writing which I’ve done since I was 5, that’s just why it doesn’t sound right to your ear, there’s these little things that we do to make it work.
In the instance of “Stay Around A Little Longer” there were adlibbed lines of course that B.B. says, “When I’m pushing up daisies you’ll still be my Buddy.” That’s just B.B. and Buddy loving each other. Even to the point also let me say too I’ve learned this with B.B. and Buddy and a few other great singers that I’ve been blessed to work with, phrasing, like B.B. had a way where when I was recording with him I’d have to I would have to give him the line before he sang it, because he was an older guy seeing the lyric remembering it, sometimes he would sing the line late, so I would try to sing him the line four beats before he had to sing the line, so he could sing it and it wouldn’t be late. Then I discovered he had this back phrasing thing that’s actually better than what I’m telling him to sing. He had a feel where to put it, so it had a different rhythm that wasn’t in the song but he put into the song because he’s B.B. King. Buddy Guy has that same thing, and
I can say to him, okay, it goes like this, and then it a little different from the way it’s supposed to be, and I go, wait a minute, then Buddy says, “Oh I know why you stopped because I didn’t say it right, I forgot to do this thing”. I’ll tell him, wait a minute Buddy because I want to listen back to the way you just sang it, and he’ll hear and say, “See, I didn’t get that line right”. Wait a minute Buddy, you changed it, but I think you’ve improved it, I think it sounds right now.
He’ll be surprised by that but that’s what I mean about these legendary guys, they’re so good, I never want to look past that because it’s not the way I had it. If Buddy felt it there, there must be a reason he put it there.
I remember recording Van Morrison on the duet we did on the Grammy Born To Play Guitar record and wrote this song and that’s a perfect story where I reached out to Van Morrison’s management and said, would Van consider singing on a Buddy Guy record and they said he’d only consider it if it was his (Van Morrison) song. I said, well we’ve finished recording the album but there’s a particular song that I think it would great to have him and Buddy sing together. They said, “He would definitely not sing it so there’s no point”. I said okay, well can I just send it to you? They said, “There’s no point, Van Morrison won’t sing the song”. Well, Buddy recorded it and we would just love to have you hear it. Again they said, that’s fine you can send it. I didn’t hear back, and then 3 weeks later I get an email from his manager saying, is it still possible for Van to sing on that song and I said, absolutely, but he doesn’t sing on songs. Van’s manager says, “Van heard it and he’d love to do it”. After Van sang it I took the tracks back to my studio and I hand it to my engineer because I had another album to go do, and tell him, here’s Vans vocal and the engineer says, “it’s kind of out of tune, I’m going to tune it”. I go, no no no, don’t tune it. He tunes it anyway and it doesn’t sound like Van Morrison, it sounds like another guy. I tell the engineer, if he’s singing it out of tune, he knows, he’s Van Morrison. That’s kind of what I’m saying about Buddy—
"so we play the vocals as is and of course the song is called 'Flesh and Bones' and it sounds unbelievable and his phrasing is unbelievable. Guys like that you can produce the shit out of it and it won’t sound like them, you’re not doing anyone a service that way. You’re not recognizing their brilliance, I mean Buddy Guy has been making records for a million years, there’s a reason he’s Buddy Guy."
We’ve been blessed to have his highest charting records of all time since I started working with him and that’s because it’s Buddy Guy. We’ve been doing this work and we’ve been winning all of these awards, and I think it’s because we’re saying what he wants to say and I want each record to be better than the previous one, I want to do it for him, I love Buddy Guy he’s my friend, but also he’s Buddy Guy. His performances on these records are truly amazing. You hear them, whether he’s trying to be funny, whether he’s singing like a crazy man, or whether he’s singing a ballad about his mother. His emotion, his guitar playing, he’s at the top of his game, and I don’t know how to explain that to anyone.
People ask me, what’s he like, can he still play, can he still sing? There are people who haven’t seen him for 10 years, and they ask, is he still on the road? Can he still deliver? Are you kidding me? I dare you to even follow him on stage, and they get excited, he’s really kicking? I’m like yeah, he’ll out rock ya, he’ll out punch ya, he’ll out sing ya, he’ll out f@&% ya. He’s the dude. I have no problem telling people, next time he’s in town, go see him, if he has a new record out, get it. All the people I get to work with because of Buddy, I was just in the studio with a bunch of guys from The Stones and different people and they just rave, Led Zeplin who I got to meet through Buddy, everyone is just in awe of Buddy Guy, they just love him so much. They know he’s the real deal. When I’m recording him, I’m always thinking, we’re going to do this, I’m leading the charge and I’m putting this all together, I’m there but I can not lose sight of the intangible that is Buddy Guy. You wouldn’t play something he’s just warming up and he’s not sure of it yet and he’s playing something and I’ll say, don’t erase that, keep that because that’s just him in train of thought where he’s not sure but damn, that’s crazy no one would ever play it like that let’s go down that road.
AP: Has there been an artist that you were offered to produce or play with that you were sorry to miss out on the opportunity?
TH: Yes, there was a B.B. King album we were working on that Buddy was instrumental in that; he wanted me to produce and write an album for B.B. before he passed. I started writing it, I wrote the whole album, I went out with B.B. and I demoed the songs and played them for him on the bus, and in different situations, and he said, I love that one and we’ve got to record that one and that one. Then, he got ill. So I was sitting on this record of all these amazing songs about his life that we thought about doing a tribute with those songs and having different people do them, but the fact that he’s gone and we didn’t get it done in time, we ran out of time, and that happens. I did the James Cotton record Cotton Mouth Man, we got that out and it went to the Grammy’s with him and he was in a wheel chair at the Grammy’s and it was the happiest moment of his life. All this wonderful stuff, we went and we did it, and then, he passed away. He said, this is my statement, this is my legacy here the last thing I did. It was a wonderful thing to do and see happen. What I’m so proud and happy is that we’re doing this with Buddy every few years and we knock it out of the park. People buy it and people enjoy it and people gets all these awards and accolades and he’s around to enjoy it. It would suck if he wasn’t so it’s really, it’s just wonderful.
AP: You talked about this a little bit; do you ever feel pressured into chasing opportunities or find yourself wanting to chase them?
TH: You know it’s funny, I’ve never had a manager, when I’m at these events or what ever, people always ask me, who’s your contact, who are your people, who do we have to talk to? I’m sure by that, I’ve missed out on a lot of things, I know people who have managers who go out, seek out banging on Eric Clapton’s door, trying to get that next opportunity to do what ever. I would love to work with Eric Clapton but I don’t have anybody that works for me who does that. I sit around and I’m blessed that people find me. If it’s something I don’t want to do I don’t but every year I try to do a couple of records for people I’ve never heard of and I don’t think anyone has really heard of outside of their town. I’m constantly writing though, and going out with my own band doing shows. I will get people calling like Billy Ray Cyrus and they’ll say, I’m recording a record in Hollywood and I know you’ve got a song for me send me something, and I’ll say, sure. I’m constantly got things going on in my head, so I’m fortunate. I got to do the last Fog Hat record and I’m a big fan of theirs and they were like, “We want to get your thing on it”. It was interesting I was playing the Blue Bird Café here in Nashville it was sold out and the guys from Fog Hat were sitting at a table and I did this one song just on acoustic guitar at the club and they were like, “Oh man we’ve got to record that song”, it was called “The Upside of Lonely”, and of course we recorded it and it’s all over the radio. All kinds of crazy stuff happens but it’s not because of a manager or agent, its just kind of dumb luck, but that’s okay with me. I’m really blessed to work with all these people.
AP: You live in Nashville; I would like to know a place to eat breakfast, a place to eat lunch, and a place to eat dinner.
TH: Ahhhhh nice. There’s these breakfast places that all the tourists go to, I’m not trying to keep you away from those but, I think you’ll want to go to BBQ at some point. I had BBQ at Jacks, Jack’s BBQ for lunch. Dinner, go to the Whiskey Kitchen, you can get little different types of whiskey, and the burgers are great. Something in Nashville for breakfast other than IHOP. The Pancake Pantry is the tourist place, but I’m saying, go to the Loveless Café.
AP: We know Buddy likes to cook; do you have a favorite dish you like to eat or cook?
TH: Buffalo Chicken Wings, I’m originally from Buffalo, and that’s my go to.
AP: What do you have going on what’s coming up?
TH: I have a new solo record out, I put out my own records and tour and do that. I recorded it in New Orleans and it’s called the “Nola Sessions”. I’m on the Blues Cruise in February as Tom Hambridge and the RattleSnakes, we do a bunch of stuff, we’ve opened for ZZ Top and Lynyrd Skynyrd, the Doobie Brother. We play every Christmas in Buffalo too. I have a solo record that I went to New Orleans and played with all of these fantastic Sunny landreth, Ivan Nevil, some of the Nevil Brothers, and I wrote and recorded in New Orleans, and that should be out sometime in March. Hopefully I’ll have some on me when I play in Legends. There’s a new Buddy Guy record that we’re recording right now that’s unbeliebable, it’s just unbelievable and he’s unbelievable on it. It’s crazy good. I’m really excited about that; it’ll be coming out in the new year. I’m doing a new record by and artist named King Fish, so I just recoreded that and I’m working on getting it out for the new year. There’s an actress from Hollywood named Aly Godino so I’ve been working on her album. I did a couple of things with folks I can’t discuss but they’re very cool. I wrote a bunch of stuff for the new Bob Monsa stuff that’ll be coming out in the new year. I wake up every morning knocking on wood wondering what am I going to do today? I’m super excited to work on the next Quinn Sullivan record. His record Midnight Highway is killing it, we’ve been touring all over the world for that. So we have to follow up that, and so Quinn and I have been working on new songs for that.
Comments