I saw an inquiry from a songwriter in England recently who wanted information on Nashville. One of my lawyer friends who worked for a firm in Nashville once told me that Nashville is a lot like Oklahoma City. In an instant, I understood exactly what she meant as I am from Oklahoma City. In essence, Nashville possesses its own very unique peculiarities. They are the kind that almost cannot be explained but rather need to be experienced to understand.
I wondered if anyone could help this gentleman from England. I searched out the internet and found Sherry Bond's "The Songwriter's and Musician's Guide to Nashville." Ms. Bond's book should be required reading for any one with aspirations in Nashville, Country music, Alt Country or Americana. Even for artists outside today's power-pop styled Country music, Ms. Bond's book provides wisdom from the lessons she's learned inside Nashville.
The book accepts Nashville's myth of itself as the Country music family. Sound familiar? I think there is a Hank Williams Jr. song that talks about it. Anyhow, Ms. Bond's book is not about sociological analysis. As the people in Nashville believe the myth stronger than anyone, she wisely guides the reader through the Nashville music family as if she is everyone's favorite aunt.
She helps the reader ponder important questions. Does your work measure up to Nashville standards? What sorts of things can a songwriter do in a one week trip to Nashville? Who in Nashville can help and what do they want? Who are the sharks?
The thing I liked about this book more than anything else is how Ms. Bond appreciates songwriting as an art and encourages linking up with the artistic community in Nashville before aspiring to link up to the music business.
She advises on where to eat, where to drink, where to sleep and where to hang out when in Nashville. She points out that Nashville is not just Country music. Nashville is a city and Country music is one of its main industries. She clues you in as to the artistic and business rhythms of Nashville's music society, which is about building relationships. In addition to telling the aspiring songwriter what to do, Ms. Bond gives a succinct list of things not to do. I think her rules come down to one thing: If something would tend not to build a good and lasting relationship, then don't bother. See, I told you it was all about family.
I did find the portions of her book on how things work between a music publisher and a songwriter to be one-sided toward the traditional publisher's viewpoint. A standard publishing deal of the sort Ms. Bond outlines probably makes sense in most cases but it should not be put forth as the only model.
After reading the book, I found that Nashville is a lot like Oklahoma City as my lawyer friend suggested. In the next edition of her book, I wish Ms. Bond would explore this bit of comparitive sociology. It might explain why Okie artists, songwriters and execs seem to excel in Nashville.
The bottom line: A very good book on songwriting and Nashville. It costs only $18.95 retail but I got my copy off Amazon.com for $13.27. Ms. Bond writes in a nice matter-of-fact sort of prose.
Link relating to this review: amazon.com
