ISSUE #25 MMUSICMAG.COM ISSUE #25 MMUSICMAG.COM producer Describe your working relationship with that they’re feeling tired or tight, I’ll usually Alan Jackson after so many records. call it a day, tell them to get some rest, give You get a little like a married couple. We know it a shot tomorrow. That’s much better than the ins and outs of working together, and spending hours frustrating an artist who the ways we both think about and approach may have just gotten in from the road after music. We can almost predict how the other singing the night before. It’s always better is going to respond throughout the recording to fold the tent when that starts happening process, and that makes for an easier process and take a break. overall. We’ve also grown accustomed to the types of songs we’re drawn to. How does your background as a Craig Campbell musician guide you in the studio? How do you keep the music fresh? It allows me to be empathetic when I’m There’s a certain side to what Alan does by the end an artist is getting a little working with artists. I know what it’s like to be where you’re always going to know it’s Alan tired of singing the song, but we’re not out on the floor in front of a mic, listening to Jackson—but we try to push the envelope, hammering it to death and losing the emotion somebody give you direction. I’m always very especially when it comes to outside songs and spontaneity. conscious of that and make sure I choose we select. We can get away with some risks my words carefully. The goal when working because Alan’s been around for a while, but Do you use session players? with great artists is to get the most out of at the same time you can’t go make a record I’ve been in Nashville for 35 years, and I’ve their abilities, so I stay away from negativity. that has him sounding like Hank Sr. and get gotten used to the process of how records A great artist might be one take away from away with it. and demos are made here. There’s an A-team having the performance of a lifetime, but if of session musicians—actually a couple you give him or her the wrong information or of A-teams now, with more young players say something that throws off the confidence becoming part of a particular tracking corps. level, you can tip over the apple cart. I keep When I work with Alan, for instance, there’s that in mind and try to stay positive. It’s also a particular group of musicians I’ll employ. I important to remember that these people are try to draw on players that will complement not construction workers out there building what an artist does rather than sticking with a house. They’re truly artists, and my job is any one group. to help them create art. c apitol s tudios Do you try to achieve perfection? What was your approach to the I’m a big believer in the character of the Zac Brown Band? records I make and the records that are From the beginning, what made that band my favorites to listen to. They’re the ones unique was the gut-string guitar that Zac Merle Haggard with flaws, where things aren’t perfect. I’ve plays. That was a hook unto itself, in the always believed that those were the magical same way that Willie Nelson hooks his keith stegall What mic do you use with Alan? records, so I try to stay away from the factory whole sound around his own gut-string artist, songwriter, producer—he’s seen success from all sides A Neumann U 87. It’s a great mic and I’ve mentality as much as I can. guitar. You don’t hear that a lot. When we did used it on a bunch of projects I’ve produced The Foundation, we tried a couple of guitars By Michael gallant through the years, including George Jones. What if the artist is having a bad day? and agreed to stick with the gut string. If you know anything about Neumann mics, I’ll say, “Come in here a minute. How are There’s something magical about it, and it’s When it comes to country music, feW producers on demos in the studio. those resulted in a deal with Arista, and then you know that every one has its own unique you feeling? How’s your throat?” If they say been consistent, a common thread through have made as profound a mark as nashville’s Keith stegall. the a bunch of no. 1 hits and a bunch of records being sold.” stegall character. The one I use has what I would multitalented studio master has produced more than 20 platinum has produced every album that Jackson has released. call a 3-D quality. Just magical. albums and sold more than 70 million records. his résumé includes the producer’s discography now includes many superstars, 50 no. 1 hits, four country music Association Awards, 10 Academy from George Jones, merle haggard and reba mcentire to Billy ray How do you approach tracking vocals? of country music Awards—and the list goes on. cyrus, uncle Kracker and Zac Brown. “Working with merle haggard I was an artist, and what always bothered Growing up in Louisiana, stegall got an early taste for music from was a high point for me,” recalls stegall. “he is such an iconic figure.” me most back then was having to punch his father, who played steel guitar for 1950s country-rockabilly star stegall has also helped shape the careers of younger artists, like in a line. Sometimes you get to a place Johnny horton. the younger stegall began performing at 8, and was craig campbell and chris Janson. psychologically where it takes forever to touring in his teens before moving to nashville. his early successes stegall is not only active in the studio but in the boardroom get just the right inflection, and to think included co-writing dr. hook’s 1980 hit “sexy eyes” and landing a as well, co-founding the multidimensional music company Bigger where the line should be. Now when I record deal with capitol records. five years later stegall had scored picture Group in 2009. “Bigger picture is a hybrid that includes work with singers, I produce vocals to get a stack of hits and a nomination by the Acm for top male Vocalist. all the essentials in an artist’s career from production to promotion a performance, and then put a composite offstage, stegall began spending time in the studio with other to management to merch,” he says. stegall spoke to us about his together after that. It’s much easier to comp up-and-coming artists like randy travis and Alan Jackson. “Alan and business venture, applying lessons learned as an artist, and crafting together a final take and give it flow, rather i started writing songs in 1986,” says stegall, “which led to working hit after hit with the biggest names in country music. than punching the fire out of something.

How many times do you have an artist ‘it’s important to trust the musicians you’re working sing through?

Ronald C. Modra, Keith Stegall; Russ Harrington, Craig Campbell; Valory Music, Reba McEntire; Travis Huggitt, Merle Haggard Music, Reba McEntire; Travis Stegall; Russ Harrington, Craig Campbell; Valory Ronald C. Modra, Keith I try to get five performances. Obviously, with and offer them space and freedom.’ Reba McEntire

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producer JOY FORMIDABLE JOSH ROUSE MAVERICKS WAYNE SHORTER

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THE GAME

Zac Brown Band Piece out Chuando & Frey ‘I draw on players that will DIDO complement what an artist does rather It’s electric than sticking with any one group.’ Alan Jackson

all of his records even though he’s played be artists. The big thing for me is going into a bit of a wild card. I like describing him as a lot of electric as well. That guitar sound is a club and seeing somebody play. That’s Hank [Williams] Sr. meets Mick Jagger. C. Taylor Russ Harrington, Alan Jackson Crothers, Zac Brown Band; ERIC identifiable on “Chicken Fried” and lots of what ignites me. When I saw the Zac Brown Craig and Chris are on opposite ends his other hits. Band for the first time, there was some magic of the spectrum—neo-traditionalist BURDON going on up on the stage, and the audience versus cutting edge. How was it working with Merle Haggard? felt it. It was the same with Craig Campbell Stays vocal It was an amazing experience. A big part and Chris Janson. I was moved by what was Who was Bigger Picture’s first artist? of it is trying not to look like a completely happening behind the microphone. Putting We started back when the first Zac Brown bumbling fan and stay in charge as the on a great show is how you attract fans— Band album came out. We put together a record producer. I had the same experience and producers—these days. Being good at promotional staff, and though Zac was part with George Jones. If you’re working with performing is a big piece of the puzzle that of Atlantic Records at that point, we joint your musical heroes it’s best to relax and has to be there for success. ventured with them on the first couple of try to have a good time. If you can just get albums. Then we took that concept a step over the fact that you’re not dreaming and Tell us about Craig Campbell. further and started finding acts with whom accept that this is really happening, hang Craig is cut from the cloth of the we believed in becoming 50-50 partners. It’s TIM your thumb in the air and go with it. neo-traditionalist movement. He’s an pretty forward thinking. We try to be there incredibly talented singer and songwriter. for every piece of what an artist needs to How do you discover artists? The process of producing him is free-flowing make a career work. We work hand in hand I get music sent to me by so many people, and fun, mainly because he’s just so good. with our artists, not against them, because even established songwriters who want to Chris Janson, on the other hand, is we’re all striving for a common goal together. MCGRAW

Check out a few of the many albums that demonstrate Stegall’s production prowess. Man in motion

Uncle Kracker, Midnight Special (2012) Craig Campbell, Craig Campbell (2011) Zac Brown Band, The Foundation (2008) + Merle Haggard and George Jones, Kickin’ Out the Footlights…Again (2006) ANALOG BLISS Alan Jackson, Drive (2002) George Jones, Cold Hard Truth (1999) Billy Ray Cyrus, Shot Full of Love (1998) SXSW BREAKOUTS essential stegall Randy Travis, Storms of Life (1986) ISSUE 25 DISPLAY UNTIL 5/21/13 COUNTRY TRACKER 52

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