āIām ready for positivity. And to get back to concerts.ā
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Billy Dawson is optimistic and always looking forward, no matter the circumstances thrown his way, including the turmoil of 2020. Music, family and motivating those in need form the backbone of his essence, which translates down to his songwriting craft.
The Texas native calls Nashville his home. When the pandemic hit, he took some time and ventured out to New Mexico, where he has family, and wound up recording a series of cover songs, including the Chris Isaak classic “Wicked Game,” with its memorable reverb-drenched guitar line.
Heās followed up his cover song project with a new original song āUnite,ā a hopeful anthem with a strong message inspired by Martin Luther King, Jr. āI wrote this song in 2015 with my buddy Eric Varnell and it sat on the shelf and was re-written a few times,ā Dawson said in a Facebook post accompanying the videoās release. āWith all the division going on in our country and around the world I believe now itās time to release āUniteā in honor of MLK. Thank you sir!ā
Equally important to Dawson is his dedication to anti-bullying and motivational speaking engagements with school-age students, a passion that intertwined with his songwriting skills in an impactful way.
āYou might be writing a song and not even know who youāre supposed to touch. I wrote a kidās book about bullying. I speak at schools, anti-bullying and motivational speaking. I did a 12-school run in one week.ā
āThe last day, this 12-year-old kid handed me a noteāat first, I thought he wanted me to sign it. And he said I want you to have this, I want you to read it; it was a suicide note he had written to his mom a few weeks ago, and he said, āI listened to your message. After listening to you speak, I donāt need this anymore. I know Iām worthwhile.ā We got him counseling. I spoke to hundreds and hundreds of kids that week, I was tired, dog-tired. Just that one kidāwas worth the whole trip.ā
Dawson recently sat down for a conversation on music and creativity with our friends at Tonewood Amp. Excerpts of the interview are below (edited for clarity).
Has Covid and lockdown been good or bad for creativity?
Trying to be creative is a hard thing sometimes. You hit roadblocks. But I actually had a lot of things open up, a lot of song titles came to meāwhether it was watching Netflix or Amazon or Huluāand something inspired me. You see a scene in a movie, and you say, āOh man, that would be cool to touch on that, to write on that.ā
I think a lot of creative people are either just amazing and theyāre writing songs and getting cuts, smashes on the radio. But you also have the other side, who are reclusive, who are so creative that they ball up and donāt know what to do with themselves. Weāll get through this, united.
Are you making music?
Iāve been creating music, Iāve been doing a bunch of cover songs, making content and writing my butt off, because thereās really nothing else to doā¦ besides drink coffee, which Iām passionate about. Itās affected me in a positive way to get music right, get health right, get your ducks in a row, it helped me re-focus. To build a solid foundation in music or in a relationship, you really find out who you are in a moment like this. Itās been a blessing to us. It made us stronger in faith and family.
A stumbling block can turn into a stepping stone. I get a phone call from a big Bollywood actor, and he wanted me to do the soundtrack for his new movie, called Rocketry: The Nambi Effect. A Bollywood movie?! The actor, Madavan, is the Ryan Reynolds, Brad Pitt of Bollywood. We became best friends on Whatās App.Ā I said, āYeah, Iām home! Covid happened.ā We worked on this music for two or three months back and forth on Whatās App. I thought, āHowās this even happening?ā
Paint a picture about how inspiration strikes you.
First, itās emotional, or spiritual in that sense of something youāve gone through. I like to write a lot of love songs because I love my wife and weāve been together 13 years, so Iāve written a bunchā”Sinners Saintsā is one, which was produced by Lee Brice, Rodney Clawson, and Jacob Rice. āChurch Without Jesusā is another. Some have spiritual undertones. At the same time, youāre comparing your wife to something that feels untouchable at times. Oh my gosh, thatās amazing, thatās as close to heaven as Iāve ever been.
How do you approach writing sessions?
When youāre in a writing room, someone can bring an idea and then everything starts falling out of the sky. Sometimes you get nothingābut other times, itās like āWhat just happened?!ā Weāre like little antennas, getting signals. Being able to taste a lyric or feel a lyric, youāre trying to portray something through someoneās ears.
Monty Powell says a writing session is like a blank slate. You walk in and look and thereās a white room. And then you walk out and come back in, and thereās a light in the room. And then you walk out and walk back in and thereās a bed in the room, and then thereās a window thatās barely cracked, and dust is coming through it; you walk out and walk back in and then thereās a grandmaās rug, wallpaper thatās peeling off the wall, youāre building ā¦you can almost smell that room.
Seems like you have your imagination muscle trained to go into that white room and start kicking up images.
When I first moved to Nashville, I didnāt know what co-writing was. I was like, huh??? They said itās getting in a room together and knockinā ideas together and trying to write a song and I said, that sounds like fun. When I was a beginner, when I first got here, I had some crappy ideas. What is that? Why did I even write that down? After a while you write what you know, thatās what resonates with people, a personal experience is what people are [really] going to get.
If I need to rhyme ātree,ā itās not going to be āfree, he, she, we,ā itās gonna be ābreatheāāthe softer rhymes, the near-rhymes that are softer on the ear.
You can go through the alphabet. You donāt always have to go to Wiki-Rhymer, I like to let my brain roll with that [trick] to see what happens.
So, you donāt always wait for inspiration, you make the space and time for it and have tools in your back pocket for when you get stuck.
Itās lifting a muscle. You want to see results in your brain, you just do it. Itās just like being in the gym or being a doctor and learning surgeryānot just looking at surgery but doing surgery. You donāt just sit there and look and expect the tool to do it itself.
What are some interesting examples of how and when inspiration hits?
I get inspiration from everything, whether itās crickets or a cicada buzzing or a washing machine thatās beatin,ā or a creaking door, a blues clarinetist on the street in New Orleans, or the visual of the top of Big Surāthatās the closest to heaven as you can get right there. Even taste, smell, touch, feelāthatās all part of the human emotions that spark songs. Moviesāthere might be a feeling in thereā¦like the Notebook, when he lifts her up in the rainā¦thatās like āWhoa!ā
Why did you choose to record āWicked Gameā and the location for the video?
I heard that song on the radio, and that opening guitar riff gets you right away. Wowā¦and Chris Isaakās voice is so powerful. Iām also a huge fan of Slipknot, they did a cover of that song and I heard that one. I love both versions and thought, āIām gonna mimic it.ā Itās one of my favorite songs, very mysterious, very weird; itās kind of the same vibe as āSmoke Rings in the Darkā by Gary Allanāeerie and weird, a Quentin Tarantino-type of song.
I had an idea to keep recording at “impossible” locations, just to keep challenging myself. Iāve got a video guy, Jeshua Booth out in Albuquerque, he did my āSinners Saints videoā too. Heās one of the best videographers Iāve ever worked with. And I thought āWicked Gameā would be a good representation for the ToneWoodAmp, because of all the sounds in there, like the wah, and the trem delay, the big plate reverbs, the decay goes for days.
What gear did you have with you?
All I had was my ToneWood Amp and my Collings guitar which has an LR Baggs Anthem pickup, a portable Apollo Twin. Jim Dunlop pics, DāAddario strings, Monster cable, the generator, a portable external hard drive, and an Audio Technica AT2020 mic, and a mic stand. And a separate pair of Shure headphones to talk to Zoom.
So that music we hear in the video is truly recorded on that mountain?
Straight on top of the mountain. I did one dry pass, fully, and then another wet pass; I would pan that dry one to the left, and the wet one to the right, and then for the next set of chords, I would pan the dry one to the right and the wet one to the left. Thereās a balance; thereās not a whole wall of wet stuff or dry stuffāit wouldnāt sound right. Thereās not one plug-in on the whole deal. I have the whole session to prove it. I did a little compression in the Apollo Twin to keep the wind downā¦but it was the sockā¦it helped more than that.
The second upcoming music video we did using the ToneWood Amp was āNumbā by Linkin Park, shot at the “Breaking Bad” hotel in New Mexico. I went through the same processā¦right dry, left wet, left dry, right wet. I think we did just the intro with a bunch of layered stuff. I think we did all the effectsāoverdrive, wahā¦we were just trying to get out of there, to be honest with youā¦we needed to get out of there. God bless the lady who runs it, but we had to get out of there.
Youāre a big fan of Lee Brice and I understand thereās an interesting story behind meeting him.
I was playing a show in downtown Nashville. Lee Brice walks in, and heās one of my heroes. Iām singing āI was 20 Once, Tooā which I wrote with Rivers Rutherford and Glen Rutherford. I get done with that song and take a break, and Leeās over by the bar and I go get a glass of water. He goes āHey man, did you write that song?ā And I said, āYeah, I wrote it, it was my dadās idea, but I wrote it.ā He says, āMan, we should work together sometime, hereās my phone number.ā This is my hero giving me his phone number.
So just like someone gets a girlās number and they wait too long to call, by the time I call him it goes āDoo doo doo! Weāre sorry, the number you have calledā¦ā Oh no! He changed his number. And he was at the top of his game with āI Drive Your Truck,ā and all his songs.Ā I was out of luck. A few months after that, his brother Lewis Brice, whoās an amazing artist, came up to me and said, āMy brotherās been trying to get a hold of you, you never called him!ā
I called Lee, he was slammed, he was on the road with Willie. We played phone tag for a year or two and one day he calls me up, āHey man! My wife has been writing these awesome songs, and co-writing. Would you be interested in doing some demos and record some of her songs and possibly write with her?ā I was like, oh yeah! And the first song we wrote was āSinners Saints,ā which we filmed out in the gypsum White Sands. And Lee ended up producing it, along with Rodney Clawson and Jacob Rice. Persistence and fate brings it back. God winks, is what I say.