Nashville Songwriter Series: Byron Hill

(Photo: Byron Hill, right, with country legend Steve Wariner.)

Byron Hill has been known in Nashville as a songwriter’s songwriter for more than three decades, with cuts by George Strait (“Fool Hearted Memory”), Gary Allan (whom he’s also produced), Joe Nichols (“Size Matters”), and literally scores of other artists, some obscure and many multi-platinum. In addition, his songs have been featured prominently in television and feature films. Today, Hill has dozens of gold and platinum album awards, numerous songwriting awards, and a history as a top label executive, and also has enjoyed more success in Canada and abroad than most Music Row writers. And on top of it all, Hill is known as a pretty nice guy, which can be a rarity among such successful people. American Songwriter talked to the North Carolina native as he recovered from the holidays.

So many of your peers who started in the late 1970s when you did are long gone, unable to make the transition to what is happening on the radio today. But you still seem to be able to write songs that get cut by major artists who radio loves. How have you been able to hang in there for three decades?

It always troubles me when I hear that a friend is struggling personally or creatively with the changes in the business. Songwriters really are special people, and so many of them have made huge personal sacrifices in their lives to do what they do. I think though, if you like writing, and you like music, you can usually find a way to gain satisfaction from it no matter how things change. One thing I’ve tried not to do is narrow my focus as a songwriter to one particular genre or market. Once you start thinking of your work as only for one genre or market, you are married mentally to the ups and downs of it. I came to town as a songwriter with no particular rules in my head about what genre or market my songs had to be for, be it country, pop, blues, jazz or otherwise. I just write songs, try to get them heard around the world, and hope they get the attention they deserve, whatever or wherever that might be. That has always kept things exciting for me.

Even though you’ve had incredible writing success, are you disappointed that you didn’t have more success as an artist?

Not at all. Though I performed a lot before I moved to town, songwriting was my thing. Once I moved to Nashville, beyond the occasional songwriter show, performing and recording as an artist was not even on my radar for quite a few years. That part of my career didn’t resurface until 16 years after I moved here, and it came back as just a natural extension of what I do as a songwriter. Sometimes as a songwriter for other artists it is hard to find your own voice as an artist. My first publisher wanted me to hire other singers for my demos, so after years of that I’d sort of lost confidence in myself vocally. It took a few years to regain that confidence and come to terms with my own sound, limitations, and qualities as a singer. My first CD as an artist came only after I had gained back that confidence, and felt comfortable with how I sound and what kinds of songs suited me vocally.

You’ve worked quite a bit with Gord Bamford and other acts in Canada. How does writing for Canadian artists and radio audiences differ from doing it in America?

Canada is a smaller market, but it almost an exact mirror image of what happens here. The types of songs, artists, radio, marketing, touring, management, awards shows, etc. are almost exactly the same. Alberta is like Texas, with lots of artists and regional support. Many times while visiting Alberta I have commented on the similarities. Alberta is also doing well economically, so the entrepreneurial spirit for artist development is alive and well there. Aside from the music, I have met a lot of really nice folks there.

A few years back, Jack Nicholson said he was working with Adam Sandler to, paraphrasing, “see how younger guys were doing comedy.” Have you made much effort to work with younger writers just coming to town, or are you more comfortable with people you already know? And on that topic, are there any new writers in town these days whose work you particularly admire?

I enjoy working a lot with younger writers, and I am thankful everyday that they seem to enjoy working with me. There may be an age difference, but our goals are the same, to write great songs and have fun doing it. I think too, the younger bunch are a little more knowledgeable on the business side of things, so when they see that I am that way as well it helps. Gone are the days when any of us, younger writers or older writers, can just sit at home and spend all our time pondering the turn of a phrase. As far as writing with the newest ones who have just come to town goes, everyone has to get here and settle in a bit. I can’t spend all my time helping new people, but I do try to spend a fair amount of my time living up to the creed of “giving back.” Once I’ve determined that someone has what it takes, we’re on equal ground. There are many new writers whom I respect. The term “new writer” used to mean “just rolled into town,” but I have found that term “new writer” has a longer run these days. It takes 10 years for some of these writers to start getting any traction with their songs. I hope you don’t mind if I refrain from listing names. There are quite a few I think are great.

Things certainly have changed since you pulled into town in 1978. What should someone just moving to Nashville do during their first 90 days in Music City?

You hear this a lot, but the required visit to the NSAI is a must. It used to be that the NSAI was thought of as only a place for new songwriters, but the work they are doing to preserve and protect the profession for all of us is huge. So, not only should a new writer do this for themselves, they need to believe enough in their profession to join in on the support for all, even if it just by signing up as a member. Many other things are obvious that a songwriter should do – hang out, network around and learn, but probably more important than that is to find a mentor or two, and not the paid kind of mentor, a real mentor. I always tell my daughter that you have to get your mentors while you are young. That is the time in life when people are really willing to help you. Meet the older experienced people in the business, and get to know them. You might be surprised what they can do for you.

You’ve had hundreds of cuts by some of the greats, but there must be somebody that you’ve yet to get a cut on that you are hoping for someday. Who would that be?

Willie Nelson.