Gone Country: Demo Day and Critiques

I welcome criticism from other artists, as long as I ask for it, and I ask for it a lot. I'll go to other artists and say, "What do you think about that song I wrote? What do you think about an idea to do this, that or the other thing?" Some artists will come up and critique you without you asking them, and that can sometimes rub you the wrong way. But when the artists were working on Gone Country, it was a situation where these guys were fish out of water. They wrote a song and they had a work tape on it -- just them and a guitar or them and a piano. They really had no idea if they were close to hitting the mark or not. So for me to be able to critique those songs, I had to be able to tell them, "That part's good. That part's not. This works. That doesn't." They were wide open to it. I mean, they were soaking up everything I told them. It was a pretty big responsibility for me, though, to tell them the right thing. But it's no different then when I listen to songs that come in for records I'm going to produce or whatever. I'll listen to probably 100 songs a week from different people, and I'll know within the first 60 seconds if it's right or not.
To pair the cast members with some people who really know what they're doing, I called up a laundry list of the best songwriters in town, people I've been able to become friends with over the years. Most of them I've written with on one occasion or another, as well. And I put two writers per artist because I didn't know which artists would be good writers or not. Some of them might be great, and some of them might not be able to write at all. I teamed them up based on what I knew about their personalities and what would be the best combos. I think I matched them up pretty well because everybody wrote a great song. As far as the Nashville equation on how to write a hit song, I think I plugged them right in to that thing. It worked.
Maureen McCormick, of all people, exceeded my expectations. Now, Maureen is probably the weakest singer on the show. She's not really a vocalist or anything, but she wrote this song called "The Price I've Got to Pay for Being Me," that -- I swear to God -- is a hit song. It sounds like something Loretta Lynn would have written early on. It's just so direct -- three-chord country that just rips your heart out. When the cast heard her song, we all looked at her and went, "You've got to be kidding!" When I heard that, I said, "She went just way, way, way up on the totem pole as to who might win this show." I mean, that song is incredible.



