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Gretchen Peters
Hailed by many as one of Nashville's best contemporary songwriters, Gretchen Peters has a "track" record to prove it. As a writer of choice for many of today's most savvy artists, she has sold millions of records over the past decade as stars such as Faith Hill, Bonnie Raitt, Martina McBride, Etta James, The Neville Brothes, George Strait, Trisha Yearwood, Bryan Adams, Patty Loveless, Neil Diamond and many others have covered her songs.
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In 1995, Peters earned a Grammy nomination and a Country Music Association Song of the Year, both for the Martina McBride hit "Independence Day." And as People Magazine has said, "If Peters never delivers another tune as achingly beautiful as "On a Bus to St. Cloud," which she wrote for Trisha Yearwood, she has already earned herself a spot among country's upper echelon of contemporary composers."
The fact is, Peters has delivered many such beautiful songs. And she has performed and recorded them beautifully herself. This past year, Peters released a brand new self-titled album as well as re-released her debut album as a singer/songwriter, The Secret of Life, which she recorded in 1996.
Peters tours regularly in the United Kingdom, Ireland and Europe and performs to sold-out crowds. She just celebrated her ten-year affiliation with Sony/ATV Music Publishing and signed a new, very lucrative songwriting and co-publishing deal with them. Recently, Peters talked to Playback about her work.
Playback: What was your first real break in terms of being a working performer and songwriter?
Peters: I'd been playing since the age of fifteen in clubs in Colorado and then I made a couple of trips to Nashville and I was surprised by the music that was coming out there. I was hearing Lyle Lovett and Nanci Griffith, Steve Earle and people like that. I thought I could probably find a place for myself there. Then I wrote a song with my husband, "Chill of An Early Fall," and it went to number one, performed by George Strait. While it was an amazing break, I didn't feel like I had made it on my own. What really felt like a career boost was getting my first single that I had written solo.
What song was that?
I believe it was "Let That Pony Run," performed by Pam Tillis.
When you were younger and you had dreams of singing and playing your music in front of people, how did it feel gaining greater success as a songwriter?
Well, it's funny, because in Europe I'm actually considered more of a singer/songwriter. It is totally different there.
So you are able to enjoy both sides of the coin?
I think all songwriters and artists experience some frustration with being known for one thing and not other things. But I've come to realize that I really have the best of all possible worlds, because I have a real touring career in Europe.
When I first moved to Nashville, I didn't really consider myself a songwriter. In fact, I was kind of baffled by the whole delineation between singer and songwriter because I grew up with singer/songwriters. I grew up listening to Joni Mitchell and Paul Simon and Jackson Browne. You wouldn't really call any of the people singers, particularly. You would certainly call them songwriters. I just sort of patterned myself after those people. I was confused when I first moved here and people would ask me which thing did I want to be.
You wondered why you had to choose?
Yeah. But I figured out pretty quickly that writing was something that if I proved I could do it, then I would be taken seriously. So I got really serious about writing.
As you started becoming more successful as a songwriter, was it hard to maintain your own artistic sensibility writing for so many different people?
No, actually, it wasn't at all because I never wrote for anybody but myself. I only wrote what I felt like writing. Sometimes I would write something that I would just be very eager to take into the studio to see what I could do with it because I felt very possessive. Other times, I didn't feel so strongly about recording them myself. I really believe songs find their own natural home anyway.
So, if another artist is attracted to one of your songs, so be it?
Yeah. And I'm very flattered when that happens…and sometimes surprised. Like in the case of "Independence Day." I was really shocked that anybody recorded that. It doesn't seem as such now, but it was pretty dark for the time. And it was pretty risky stuff, especially for a new artist like Martina McBride was at the time.
You are very prolific. Would you consider yourself a disciplined writer?
I used to be more outwardly disciplined. Now I tend to write in spurts with long periods in between of doing nothing. I've found that I have to be at the mercy of whatever process is working for me at the time. Right now, I tend to be finishing up songs, which is a lot more cerebral and less creative But while I'm doing that, which can be kind of tedious, I can come up with all new ideas.
So you still believe in the magical part of songwriting?
I do still feel that way. But writing is hard. I never understand people that say they love writing songs, because I find it really difficult. I think it gets harder the better you get, not easier. Sometimes you don't feel like you have anything to say. That's where the discipline comes in. You really do have to go sit and stare at the walls for a few days. That time spent doing nothing seems necessary to get to the something behind them. But you do have to assume the position.
Peters is currently working on music for a major animated film to be released this year. For more information on Gretchen Peters, visit www.gretchenpeters.com.
- BY ERIK PHILBROOK |
