Showing posts with label Lynyrd Skynyrd. Show all posts
Showing posts with label Lynyrd Skynyrd. Show all posts

Monday, January 16, 2017

Carol Chase on Songwriting

                                                                By Scott Coner

                            Nashville Recording Artist, Songwriter, Performer, and Author  


     This week I wanted to do a follow-up on last week’s blog about Carol Chase. Last week we discussed Carol’s time spent in LA, her transition into Nashville that finally resulted in joining Lynyrd Skynyrd. Today, I’d like to get into songwriting and her views on the subject. I think people don’t always consider the source of a song. We want to believe that every song we hear on the radio is absolutely based on real life events and this is not always the case.
     
     Last night I spoke with Carol on the telephone. She told me that from her perspective, some songs are “made up emotions I haven’t necessarily even felt before.” These are often songs that show themselves when working with co-writers. There is a much different climate in the room when working in this situation. It’s possible that songwriters don’t always get quite as personally invested when co-writing. But that doesn’t mean the songs lack conviction or application for the listener.

Carol Chase in the studio

     A great example of a song that Carol co-wrote a while back for Pam Tillis is, “Do You Know Where Your Man Is Tonight?” She co-wrote the song with Russell Smith, (Amazing Rhythm Aces/ Third Rate Romance), and Dave Gibson (Queen of Memphis and It Don’t Come Easy). This song went on to be a top ten hit for Tillis and obviously connected with many people. I personally believe that if you put two or three very talented writers in a room for a few hours that a pretty great song is going to show itself. Songwriters have a way of bouncing ideas off of each other. While writing with Carol, I have noticed that as the theme of a song begins to appear, she begins asking what the song means to me. She wants to understand where I think the song is headed. We discuss some of the points and immerse ourselves back into the material at hand.
    
     Carol says that she likes to start a song with a simple idea. “I like to follow the song and see where it goes. I have written songs and eventually recorded them.  There have been some pretty emotional moments for me during this process. I have actually had to step away from the microphone a few times because the song speaks to me so powerfully. It’s a bit odd, but I think as songwriters we are laying some of our most personal feelings out there for everyone to see. Broken relationships, failure, as well as moments of pure bliss often end up in the songs we write. In the end, we have left all of our secrets written and recorded for the ages.” 

     Songwriters are like the rest of us. There have been artists that have impacted them. Carol says that Don Henley, Anita Baker, and Marvin Gay are a few of those artists that she identifies with. “I like artists that are soulful,” Carol said. “During my career, I have written country music primarily but, there have been certain songs that could have easily gone pop or even rock with the right artist and producer.”

Scott Coner and Carol Chase in the recording of their cover song Whiter Shade of Pale by Procol Harum

     I have been fortunate in the fact that I have been able to write and record with Carol. Many of the coolest and most important lines in our songs are because of her. Her natural energy and drive works well with me. I don’t have a habit of working with people that are too laid back. I enjoy staying focused and on topic. Carol takes songwriting seriously just like me. I think this is one of the reasons that I have truly enjoyed working with her. Yes, she is in Skynyrd. But, there is an awful lot of depth to Carol. I recommend that you take the time to check her songs out. She is one of those people that you won’t forget. She is a woman with a legacy.

Keep in touch!




Scott Coner is a country singer-songwriter who has worked in the studio with legendary artists such as Tanya Tucker, T. Graham Brown and Charlie Daniels. You can learn more about him and hear his music at his music page.         

Sunday, January 8, 2017

Carol Chase: From LA to Skynyrd

                                                                                   By Scott Coner

                                                                            Nashville Recording Artist, Songwriter, Performer, and Author  

     Carol Chase has had a pretty amazing career. She hasn’t had too many of the low points we so often read about. She has had success on the West Coast as well as Nashville. She has been the lead vocalist on countless commercials. She has rubbed shoulders with Hollywood royalty. She has penned a number one country song. She has worked with many of the Nashville legends including George Jones. And by the way, she sings in Lynyrd Skynyrd. I have talked with and worked alongside many artists that have had great success. But honestly, I don’t believe I know anyone as driven and as focused as Carol Chase. She understands the business of music itself. She understands the process of writing a song. And she knows what she wants to accomplish next. 

     Recently, I have talked about the concept of knowing what it is that defines us. We must qualify just what it is that we hope to accomplish. After beginning our journey, we may need to change course a bit. It is during these times that far too many of us lose all direction and simply give up. This is part of what makes Carol special. She realized early that she needed to change paths. She had graduated from the University of North Dakota, gotten married, and given birth to a perfect baby girl but adjustments needed to happen. The following is part of Carol’s story in Carol’s words: 

Photo of Carol Chase downtown Nashville Tennessee

     “When my husband, myself, and our year old baby moved to Reno, we did so because my friend from my home town was living there with a former bass player I'd worked with while in college. I'd wanted to go straight to L.A. but really didn't know anyone there. I loved living in Reno, and while I was out there, I entered a talent contest and won the chance to sing with an established singer from the area who played up in Lake Tahoe.

     I sang back-up with him and did several solos within the show like, 'Since I Fell For You,' "The Games People Play,' to mention a few. I met a successful producer at the Sahara Tahoe, a casino that's not there anymore, and he said I should move to L.A. to pursue my career. About a year later, I did just that, packing my 2.5-year-old into my red, Super Beetle car, and headed to L.A. 

     I heard of a keyboard player that did a lot of gigs and went to a club to get up and sing a few songs with him. That turned into playing lots of weddings with the band, and the keyboardist told me that he was playing for an audition for a Disneyland gig at the Tomorrow Land stage, where they needed a girl to front a four piece band that would play all the current hits. I did the audition and got the gig over 50 other girls. I sang, 'My Way,' and 'Proud Mary,' if you can imagine! I moved down to Orange County and did 6, 30-minute shows, starting at 11 in the morning. That was a great gig for me, cause the musical director of Disneyland had me sing background on single shows with Olivia Newton John, Blood, Sweat, & Tears, Rickey Nelson...(am I dating myself)? ☺

Photo of Carol Chase downtown Nashville Tennessee

     Anyway, I knew I had to get up to L.A. to really get in the game, so I finally got enough nerve to move and landed a gig on the weekends in a small supper club on Ventura Blvd. with a trio. I met tons of stunt men. Eastwood, D. Hoffman, Burt Reynolds and more that I now forget. I was kinda’ poor, but eventually met a commercial writer and producer who came into the club on Ventura and he hired me to sing some national commercials...McDonald's, Murantz, Hallmark, some car companies that I've forgotten...

     I'd bring my daughter to the studio with me at night, cause I had no one in my family who lived in California or anywhere nearby. My daughter thought it was a pizza parlor and always asked, 'where's the pizza, Mama?' Cute..

     I was home at nights with my daughter when I wasn't working and had a little Wurlitzer that I would write on. I was living in a small, cheap, apartment right of Van Nuys Blvd..(not a great place to say the least) and it was there that I wrote the song 'We Belong Together'. Susie Allanson and I were friends, and I played her the song one day. Her producer was her husband. He loved the song and recorded it on her. She had a #2 in Billboard and #1 in Cashbox.

     From there, I was still singing in the club on Ventura. A guy starting the record label, Casablanca West, came in and started using me on Demos. He offered me a record deal after about six months on the new label they were starting. There was already Casablanca (Kiss, Donna Summer), and this was their country section. I sang a song that he wrote, which was used in 'Every Which Way But Loose' I also worked on the background vocals for the “Grease” soundtrack. My career was going well, but I had reservations about the L.A. school system.  I finally decided to move to Nashville.

     After arriving in Tennessee, I found work pretty quickly. I did backing vocals for classic artists such as Tanya Tucker, Lee Greenwood, Ronnie Millsap, Keith Whitley, Randy Travis, Moe Bandy, and George Jones. I was staying busy working in the studio, but no one would consider me as an artist because I wasn’t 
25 anymore.


Scott Coner and Carol Chase cover of Procol Harum's Whiter Shade of Pale

     I had been singing an awful lot and ended up with vocal problems that required four different surgeries. The four vocal operations were spread over about 15 years. (Two vocal hemorrhages where they cauterize the blood vessel on the vocal chords. One node removal operation, and a final 'big' operation here in Nashville to fix all the other problems caused by the first three operations.) 



     When I got the Skynyrd gig, I was getting hired all the time for back-up sessions and for demo sessions. (I'd sing the song for the songwriter.) I also had a publishing deal. I'd always wanted to be a solo artist; my record deal had fallen apart about 1.5 years after I got it. But that was now about 12 years in the past. So, when I got a call from Rickey Medlocke of Lynyrd Skynyrd, I just went for it.  I had a vibrant life in the music biz here in Nashville, and things weren't slowing down at all. I just wanted to be on stage and see what that 'rush' would be like. This was an opportunity to try that out with an established, famous group. What an opportunity and learning experience, that was for me! I auditioned with the band down in Ft. Meyers, Florida and basically the rest is history...”

Album photo of Scott Coner & Carol Chase's cover Whiter Shade of Pale

     Next week, I think I’ll stay on topic with Carol. (If you have questions you would like to ask her, just let me know.) As I have said many times, music has allowed me to meet and work with some amazing people. I am the father of two daughters. I don’t know for sure what career paths they will be taking, but I hope they are focused and driven like Carol Chase.    

Keep in touch!




Scott Coner is a country singer-songwriter who has worked in the studio with legendary artists such as Tanya Tucker, T. Graham Brown and Charlie Daniels. You can learn more about him and hear his music at his music page.         

Sunday, May 15, 2016

Behind the Pale


By Scott Coner
Country Artist

(Note: Scott Coner will be releasing a new music video of the rock classic "Whiter Shade of Pale" on May 17. In this blog article, he tells us why he recorded the song for his forthcoming EP.)
 
         So many things attach themselves to us when we are young. If you have read my blog articles, I have told you several of the stories about why I have chosen certain songs that I have recorded “cover” versions of. I don’t do many, but when I do one, it’s a song that matters to me quite a bit.

         A couple months ago, I took three songs that I wrote to Nashville along with one song that I did not write. The song is called “Whiter Shade of Pale”, and it is one of those songs that matter to me more than I can say. Originally, the song was released in May 1967, but in my world it made its debut around 1983 on a soundtrack for a movie called “The Big Chill”. I have never seen the whole movie, but the music sure caught my attention. I had a cassette of the soundtrack and drove around in my truck listening to it over and over again. 


         I can’t tell you exactly what it is about the song that I love so much. It’s a combination of the organ, the melody, and the lyrics I suppose. I have no earthly idea what the song is about, but I know how it speaks to my heart. It instills a feeling that few songs have ever done. 

         As we began the process of putting the song together in the studio, I wanted to hold on to the “signature lick” from the keyboards and keep the song at the same beats per minute. Other than that, I wanted to come at it differently. The original drums remind me of Ringo when the Beatles played live. There was far more splash cymbal than I could use. My direction to the drummer was to attack it like John Bonham on a very simple, stripped-down set. His set was a mix of a 1950s-era kick and a 1970s set of toms that had recently been refinished. The drums themselves were mic'd pretty close to the same way Bonham had his set-up in the studio. Like I have said, if your drums don’t sound huge, you’re already in the weeds before you even begin.
 
         We came at the vocals differently than most would imagine I think. Carol Chase, who sings back-up vocals for Lynyrd Skynrd, opened the verse all the way to the first chorus. I took the second verse, then dropped to a lower harmony on the final two choruses to allow Carol to be on top.  Currently, we have guitar tracks all over the place, and I considered putting a loop deep into the mix. We waited a few weeks before we started mixing. I wanted it to be fresh when we began. Logan Schlegel prepared a rough mix.


(Check back on May 17 to watch the "Whiter Shade of Pale" video featuring Scott Coner with Lynyrd Skynyrd background vocalist Carol Chase.)

         Carol brought a really fresh edge to the song with her raspy, bluesy delivery. She had asked me to listen to Annie Lenox’s cover, and I did. But I am satisfied that Carol is a better singer than Miss Lenox, and a lot of the processed sound she used on her project sounds dated to me. I also briefly studied a version by Willie and Waylon, but sadly, I felt like it was one of the weakest cuts they ever did together. It didn’t matter anyway. We were going to come at the song our way and any other interpretations didn’t matter.

         As I have said in other writings, my intention has never been an attempt to beat the original cut. That would only spell failure. Instead, I come at a classic as if it has never actually been released and nobody has ever heard the song but me. I know that sounds a little bit crazy, but in my mind, I’m visiting an imaginary universe that doesn’t have “Whiter Shade” in it yet. It becomes our job then to play off of the original, but not copy it. We don’t do Karaoke.

         I hope you enjoy our attempt at the song. Believe me when I tell you that doing this song is the highest compliment I could ever pay Procol Harum. This song was a true game-changer for me. As I write this blog article, I must tell you that I can’t wait to release our version of the song.
     
                  Scott Coner is a country singer-songwriter who has worked in the studio with legendary artists such as Tanya Tucker, T. Graham Brown and Charlie Daniels. You can learn more about him and hear his music at www.Facebook.com/ScottConerMusic, www.YouTube.com/user/ScottConer, and www.ScottConer.com. Follow Scott at www.Twitter.com/ScottConer.

Sunday, March 6, 2016

From Cattle Trucks and Tractors to a Brand New Idea


By Scott Coner
Country Artist

         A long time ago in a little town that has been gone for years, I was a stupid teenage boy in my very first rock band. At that moment in history, Bob Seeger, REO Speedwagon, and Skynyrd ruled the day. This was a pretty good thing because most of those songs were reasonable to play for those of us, like myself that were less gifted. We usually met at my house and would practice for hours out in the barn. Back then, we had to stand around one of our cars to hear one of the songs we were attempting to play. And let me tell you, an eight-track player really sucked if you needed to hear a little something more than once.

         We didn’t have much back in those days. I remember wondering what it was like to actually have a real PA system and not be forced to sing into a radio shack microphone and a ratty old bass speaker. In truth though, I think this is when I may have learned how to project my voice. It was kind of out of necessity because none of us had the sense to turn anything down, just up. We all wanted to be heard, but I think the only thing listening was the endless cornfields and maybe a few June bugs.

         I remember thinking about the potential throngs of girls that were going to identify with our awful sound. It was going to be epic. I would probably act like James Dean given the chance. I figured I would always be gloomy and distraught about society for some reason. As it turned out, I think I had more Don Knotts and Jerry Lewis in me than anybody cool like Mr. Dean. Whatever girls actually gave me the time of day probably just felt sorry for me because I had no game. 

Photo by Cynnamae Media Productions
         Those days and nights were full of music though, and all I really wanted to do was drive the country roads and dream about the future. I didn’t have much money then, so I got crazy good siphoning gas out of the cattle truck and case tractor. I remember watching my poor dad looking under the truck for dead grass trying to determine just where the gas leak was on the truck. I still feel guilty to this day about that, but at this point, maybe we should just keep that story to ourselves. He still has a little bit of fire in him.

          I don’t know what year it was, but I remember some kids over in Ohio got trampled to death because of festival seating at a “Who” concert. I also remember my mom daring me to ever go to another concert. I really don’t know how she didn’t make some connection with all of my concert t-shirts. Maybe she thought I got them at Val’s Department Store. I just don’t know.

         So, about this same time, I’m driving on syphoned gas to a Rossington Collins Band concert on a weeknight that I have sworn I would never attend. I’m a small, skinny little kid back then, so I easily worked my way all the way to the front of the stage. I couldn’t believe my eyes as Allen Collins, Garry Rossington, and Dale Krantz walked within feet of me. Gary stood there with his Les Paul on his shoulder and a cigarette hanging loosely out of his mouth, and he made James Dean look like Pee Wee Herman. “I have got to start smoking,” I told myself. But, then again, “Maybe I should wait until I can at least afford to buy my own gas, or I’ll blow myself up and then my dad will be mad.” Yes, I was a boy genius. 

 (The song "Full Throttle" will be featured on Scott's next album)


         Later that same winter, I saw Charlie Daniels at Market Square Arena. As he sang, “Million Mile Reflections,” I had tears in my eyes. When he and his band tore through “Legend of Wooley Swamp”, I lost my mind. It was then, that very winter, my young mind made itself up about my future.

         I have always thought I would have enjoyed a life in the marines, but I wasn’t sure I would get to see many women, and that was a deal-breaker for me. Now, I am aware I was wrong about this tidbit as well. Marines always have cool looking women. I also thought maybe I could do well in a few other fields, but it was music that owned me. It still does. I love everything about music. It takes me away from problems. It takes me back to a moment in time that I still miss. And it guides me in ways that are pretty hard to explain. Yes, I am fully aware that most of you felt this same way at sixteen, but you moved on with your lives. I can’t explain it, but I love it just as much today as I did way back then.

         I still need to work on that whole James Dean thing though. Problem is, I’m pretty happy most of the time, I don’t have cool hair, and I’d probably just crack myself up trying to be all serious.

         Scott Coner is a country singer-songwriter who has worked in the studio with legendary artists such as Tanya Tucker, T. Graham Brown and Charlie Daniels. You can learn more about him and hear his music at www.Facebook.com/ScottConerMusic, www.YouTube.com/user/ScottConer, and www.ScottConer.com. Follow Scott at www.Twitter.com/ScottConer.

Photo of Scott Coner by Cynnamae Media Productions

Sunday, November 15, 2015

I Was Born in a Small Town


By Scott Coner
Country Artist

            I was raised in a small Indiana town. I still have a home just outside that same town, and I must ask myself, “Why?” two or three times a day. My mom and dad and other family members live here, but like me, they stay pretty busy. Any other roots in this area for me are long gone. But, there was a time, a moment really, that happened right here that would set my path for the rest of my life. And, even though I don’t actually go into the town around here often, when I do, I usually hear the ghosts from my past. I hear the music, the laughter, I see the young faces, the cars, and sometimes, I even smell the smoke.

            That special, directive moment I spoke of earlier took place when I was around 15 years old. It was the fall of my freshman year that I heard a different type of music that I had never heard. It was called Southern Rock. By the time it touched my soul, it had pretty much already come and gone. But there were still remnants of the movement such as Blackfoot and Charlie Daniels and of course, HankJr. As you already know, if you know anything about me, I truly loved this genre of music. But, there was another small band of players that I loved just as much. I still hear their music as well in my heart and memory to this day. If it hadn’t been for them, I wouldn’t be speaking to you today. I wouldn’t be singing and writing songs. I’d probably be selling shoes or selling shaved ice at the mall.

            Their names were Jeff Lewis, Frank Russell, Marty Eldridge, and Johnny Burbrink. Each of those guys were my friends. We played music together, hung out in the park downtown together, and had a pretty good time simply loving music together. Jeff and Frank were a year older. My God, those two guys were talented. They both played guitar and sang. Frank wrote songs that I still remember to this very day. He inspired me to write. Jeff could play like the wind. He introduced me to so much music, and he and I would take long country cruises listening for hours to the likes of Molly Hatchet and Skynyrd in his Pinto wagon set up with Jensen speakers. Life was good. Marty, Johnny and me were a little younger, but we played in our first band together and were pretty good for our ages I think. Although, looking back, we probably should have taken our schoolwork a little more seriously.

Scott Coner (Photo by Cyndi Coner)
            The years kept forging ahead though, and responsibility pulled us in different directions. The time for being kids without a care finally came to an end. But the time spent around these guys, my friends, was invaluable. I haven’t been around anyone since that inspired me the way each of those guys did. These young men all had different, yet important attributes that affected me. Frank wrote on and played all kinds of instruments, and his rhythm style was simple and pure. Jeff could sing very well, but his true strength was the guitar. I would sit in a chair, mesmerized as he would play Steve Gaines' licks flawlessly. Marty had a lot in common with Jeff. He was an outstanding guitarist and even as a kid was playing Gary Richrath just like the record. Johnny, my closest buddy, played well and was an exceptional fit for my music. He and I spent many hours together playing guitar. He excelled as a player as I took a different path and focused more on writing.

            The troubling part for me is they aren’t by my side now. I never wanted to be here alone. But, people change as they grow up. I like to think I did. But, my dream was to be part of a band, a gang really. Those guys gave me strength when I needed it. I either worked on my craft, or I got left behind. In the end, I suppose, I found myself alone anyway. But, it’s not like we parted company on bad terms. It was just life. For whatever reason, I have always been driven in whatever area I find myself in. If it’s time to clean out the barn, I am exhausted by day’s end. And the music is no different. I work hard at writing, networking and planning. I’m just not very good at giving up, and it’s kind of worked well for me.

            I just wish things could have worked out different for us. There are times when I wanted to call them up and give them an update, but it feels odd now. It shouldn’t have been me here at this moment. All of those guys were more talented than me. Everything I do today in the music business is from quiet, private practice. But, they were the ones that proved to me that this could be done. They were the ones that I wanted to be like.

            Today, I write and play music with some of the best players on the planet. I am very happy with the artistic freedom I have. I am happy. But, if there is one thing I could change, it would be to have each of those guys playing music with me here today. I truly miss the laughter and songs from that moment in my life. In closing, I simply wanted to thank Frank, Jeff, Marty and Johnny. You guys were the best friends somebody like me could have ever had. Each of you was a true inspiration, and I will always be grateful.

            Scott Coner is a country, Americana and Southern Rock artist who has worked with legendary artists such as Tanya Tucker, T. Graham Brown and Charlie Daniels. You can hear his music and learn more about him at www.ScottConer.com, www.Facebook.com/ScottConerMusic, or www.YouTube.com/user/ScottConer.

Sunday, August 9, 2015

Scott Coner: 'I Have Always Thought of Country Music as a Self-Cleaning Oven'


By Scott Coner
Country Artist



         When I was a kid, I remember a lot of people complained about the condition of country music. Some people, my mom included, thought some artists seemed to emphasize a honky-tonk, alcoholic, divorce-fused landscape called country music.


         Country music was simpler back then, and so was the world. The early 1970s country music market was primarily driven by AM radio, 8-track tapes, and "Hee-Haw". I remember riding with my dad to Kentucky in our new black, Ford LTD listening to Tom T. Hall sing about old dogs and children on an 8-track tape. I remember hearing Tammy Wynette sing about D-I-V-O-R-C-E. I remember Barbi Benton on "Hee-Haw", and I think maybe she sang, but I'm not sure. I was kind of taken back by her attributes. (I was a true fan.)

         The whole Outlaw movement had come to life by this time, but there was more to it than that. By then, I was into Firefall, CDB, Marshall Tucker, Skynyrd, Hank Jr., and so many others. Music was special back then because the artists all had their own sound. That sound was special then and still is today, but that was my world. My very simple, little, small-town world. Things change.

         These days, I hear a lot of people putting down today's country music. I can't say that I love everything on the radio, but I certainly don't hate it. As a matter of fact, I would go so far as to say that if you don't like Eric Church's "Wrecking Ball", then you must be a little bit stupid. Music changes with the times, and it always has. I'm a little bit older now, and maybe the whole bro-country thing doesn't apply to me, but sometimes when nobody is looking, I like to sing along with Nelly: "Baby you a song, you make me want to roll my windows down and cruise."


         I guess what I'm trying to say is that if there is a real problem in country music, it's just that we don't have enough radio formats to meet all of our musical pallets. So many of the older country music legends that I have heard complaining about today's radio format during interviews used to dominate the airwaves, and they weren't complaining then. 



         Country music will, and is, beginning to change. I have always thought of country music as a self-cleaning oven. It just kind of shifts back and forth in its own rhythm. The truth is, there is no problem here. Country music is still the king where I live and always will be.


(To learn more about country artist Scott Coner, visit www.ScottConer.com. You can like his Facebook page at ScottConerMusic and follow him on Twitter @ScottConer.)