Pam Tillis: Following Her Destiny

The children of famous parents often take one of two paths. They either follow the parent’s lead into the same field, (sometimes with a notable lack of success), or they dodge the inevitable comparisons by asserting their individuality in some completely different career. Country wrtier/artist Pam Tillis never questioned her choice of profession, and much to her credit, she established her own identity by achieving success on her own terms.The children of famous parents often take one of two paths. They either follow the parent’s lead into the same field, (sometimes with a notable lack of success), or they dodge the inevitable comparisons by asserting their individuality in some completely different career. Country wrtier/artist Pam Tillis never questioned her choice of profession, and much to her credit, she established her own identity by achieving success on her own terms.

“You know, it’s a moot point,” the daughter of country legend Mel Tillis responds with a grin, when asked if she might have pursued another way of life under different circumstances. “I really feel like it was my destiny to do this. I grew up around it, I had my teachers, I had my Dad to watch. Actually I got support from both my parents; they’re both creative people, I never grew up with the idea that I couldn’t do this, so I don’t think I really questioned it. So many people have this little creative spark inside, but they think they can’t follow it. That’s silly and a little sad.”

Still, Tillis’ personal destiny took some detours to pay plenty of dues along the way. She explored musical styles from rock to jazz, had a few failed record deals, and spent years honing her skills as a demo and session singer. She also put in time as a staff writer with Sony/Tree International, while becoming a respected draw at Nashville songwriter nights.

It all paid off in 1990 when she joined the artist rostre of Arista Records. Since then Tillis hasn’t wasted any time looking back. She’s racked up four critically acclaimed albums, a Grammy nomination, received the 1994 CMA Female Vocalist of The Year, and had several top ten releases, including number one singles like “Mi Vida Loca,” “Don’t Tell Me What To Do,” and “When You Walk In The Room.” Her credibility as a writer has been proven by songs like “One Of Those Things,” “Spilled Perfume,” “Mi Vida Loca,” and “Cleopatra, Queen of Denial,” sharing credits with co-writers such as Paul Overstreet, Dean Dillon, Jess Leary, and husband Bob DiPiero. Her most recent feat was taking the responsibility of sole producer of her newest project, All of This Love, a role still uncommen for women in country music. Quite a vindication for a self-described “rebel with out a pause.”

Settling in to discuss the art of songwriting over a Mrs. Winners carryout breakfast, Tillis apologizes profusely for running late. Looking smaller and more fragile in person than she does on stage, but with her trademark zest intact, the big-eyed singer describes waking up that morning with a new song idea and feeling compelled to make time to work on it, (“something I thought you’d understand if anyone could”) even at the rist of derailing her carefully scheduled day.

Asked where she finds inspiration for new ideas, Tillis, 38, responds with “Everywhere” and proceeds to relate how the genesis of “Mi Vida Loca” began with something she heard watching Geraldo Rivera.

“I’ve written songs that were the titles of paintings, a line for a movie (“Homeward Looking Angel”) stolen lines from myself, ideas are everywhere. “It’s Lonely Out There” came from the weatherman. I get a lot of ideas in the car and the weather came on the radio and he said, ‘Whoo, it’s cold out,’ and I thought, ‘Boy, you could take tat more than one way.’

“I get very inspired by listening to other writers. It’s not a case of mimicking; you sort of hop on their train of thought and it takes you somewhere else. I was very inspired by John Prine’s last album. Just hearing the way his thoughts flow get mine flowing. Really good people like John Hiatt, Guy Clark, Prine, or Shawn Colvin do it for me. People whole writing has an effortlessness; you feel like you’re hearing them think. There’s an immediacy,” she explains.

Discussing the writing process, Tillis admits to feeling more comfortable working with words over music.

“I’m more lyric oriented, but usually I like to do both as I go along. Up until recently it’s terrified me to start with a melody. That’s almost the next worse thing to a blank piece of paper,” she laughs. Tillis is blessed with an ingenious sense of humor and is incapable of taking herself too seriously. She’s never too far from a quip like the one she made next, “A naked melody! Cover it up quick!” before resuming her thoughts.

“Recently I came up with a melody I like a lot, and Kim Carnes and I finished a lyric to it. That’s the first time I’ve felt like I’ve done that successfully.”

Taking a moment to address a previous question concerning whether she is still signed as a writer with a publisher, she responds with another patented Tillis zinger, “No, I’m independent now. I’m freed from bondage!” She then explains how she decides when a new song is really complete.

“Oh gosh, I guess everybody’s kind of different. Some people hang onto songs forever, and some just don’t agonize over them. That’s a real big deal for Nashville writers sometimes. I really feel you can over-think something, make it too literal. I’ve gotten a lot slower, a lot more critical. I’ve got plenty going on now, and I don’t feel the pressure to have to finish things ‘right now.’ I don’t feel like I have to force things just to get done. That’s a nice luxury to get to live with my songs from album to album. I think it’s just a feeling that it makes sense. It hangs together and says what you wanted to say with no loose ends.”

Some married couples can work together well, and some can’t function together without more space. Co-writing can be fraught with ego conflicts, yet Tillis writes very successfully with her husband, Bob Dipiero, a highly respected writer on his own. She says their mutual trust and respect is the key.

“Our time to work together is so limited, when I finally crash through the door saying ‘this hook’s for you,’ we just have so much fun with it. Bob’s like my mid-wife. He knows more everything I write now will be for me, so when I get an idea I need his help to deliver it sometimes,” she chuckles.

“It’s so different in that we’re not going to attack each other’s ideas. We’ve can deal with criticism. We’ve got different styles and when we can make it work we have the best of both. A balance is lovely. He’s great with tempos, using everyday language, I’m more introspective and poetic.”

Commenting on what she looks for in other co-writers, Tillis remarks that it’s important to feel challenged in a positive way by someone. “I kind of have to know what somebody does and feel good about it. I like to co-write when I think I can learn something from someone. Believe me, I’ve go a lot to learn, so it’s wide open,” she concludes with a laugh.

Speaking as an artist, Tillis discusses her criteria for selecting material, saying it’s a very personal process. She reflects for a long moment before trying to explain how it works for her.

“I ask myself ‘is it true?’ I don’t like songs that sound manufactured. I want to hear something that sounds like there was a reason somebody wanted to express that feeling or idea. I hate contrived songs. The ultimate challenge to a writer today is to say something in a fresh way, I think. Everything’s been said and done, so that’s what you strive for. As a singer, I’m looking for something different from what I’ve heard before. I’ve got a real split personality and my albums reflect it. I want to cover a lot of bases in the same project, and I look for the songs that I can do that with.

“It’s real hard, it’s completely visceral when I’m listening to new stuff. It’s what bowls you over, what’s memorable. It’s so subjective, it’s hard to choose sometimes. It wears me out!”

And what makes a song a “Pam Tillis song?” She starts to answer, struggles a little, and finally gives in to more laughter.

“I can’t answer that. My tastes change all the time, so it’s whatever fits me at the moment. Usually it’s…I wish I had a great pat answer for you. That’s a darn good question!”

Frequently artists comment on how difficult it is to write in the midst of a heavy performing schedule. They usually try to set aside time in between projects and tours. Tillis is no exception in finding the road a hard place to get in touch with her muse.

“For me, I use my entire range. I sing very demanding material. [on the road] I don’t have the voice left to write with. I can work on lyrics, but to get a complete song I have to sing it. If I don’t, I can’t write. It’s like painting with a blindfold on. I try to block out time and go on writing sprees, although it hasn’t been very successful this past year. I’m lucky I’ve got a back catalog to go back to for material. I find when I do slow down, the ideas are always there waiting for me. It still comes – like this morning,” she reminds me.

Tillis feels the two biggest assets new writers need to succeed are awareness and objectivity.

“The thing I believe is if a young writer could really know what it takes, what they’re up against, they’d be better prepared. Don’t kid yourself and think that something pretty good or stock is ever going to make it. It’s a rude awakening. I was guilty of that myself when I was younger. I just wasn’t paying attention to what was going on around me. You have to be aware of what level you have to reach to break though.

“Ask yourself what’s going to make someone want to cut this song over the other million that are getting pitched this week. What can you do to make it as good as the songs from writers who are already at that level you want to get to.”