Tony Lane was born in Comanche, Texas and lived and played in the bars of Dallas for many years before coming to Nashville in 1991,  He signed to Famous Music in 1997 and currently writes for Sony (who acquired Famous Music in 2007).  Some of his cuts include 'I Need You' by Tim McGraw with Faith Hill, 'I Wanna Feel Something', 'I Came Here To Live', and Comin' On Strong' by Trace Atkins, 'Letters From Home' by John Michael Montgomery, 'A Better Rain' and 'Run' by George Strait, 'A Little Past Little Rock' and 'Now You See Me Now You Don't, by Lee Ann Womack. He has songs recorded by Billy Currington, Montgomery Gentry, Terri Clark, Chris Ledoux, Tracy Lawrence, Confederate Railroad, and others.  He and co-writer David Lee, were nominated for 'Country Song of the Year' (I Need You) at the 2008 Grammys.

 

Q: How long have you been writing?
A: I've been playing in the bars since I was nineteen and I've been dabbling in it since then.

 

Q: Tell us about the very first song you wrote and what inspired you to start writing?
A: Something about Kentucky Bluegrass when I was a kid. I was fascinated by bluegrass music and would learn the chords to play the songs. So gradually I started taking the chords I'd learned and making up my own melodies. So I guess between my love for reading, listening to music and playing, writing, was just a natural extension of that.

 

Q: Who are your biggest influences?
A: Bob Dylan, Gordon Lightfoot, John Stewart, Jimmy Webb, Cole Porter, Johnny Mercer, Kris Kristoferson, Guy Clark, Mickey Newberry, Billy Joe Shaver to name a few.

 

Q: What was your first big break?
A: I had been playing around Nashville for a long time and eventually a friend took me to Famous Music and introduced me to Pat Finch and he signed me.

 

Q: How long did it take to get your first publishing deal and How did you get it?
A: It took about six or seven years before that happened. People say it is a four year town-that it takes about four years to get signed. For many years when I was here, I didn't even know where Music Row was. Some people are better at those things.

 

Q: Where are you currently writing at?
A: I currently write for Sony. Sony bought Famous Music, where I had been since 1997.

 

Q: Do you believe you need a publishing deal to get a major cut?
A: Probably

 

Q: What was your first major cut and how did it come about?
A: When I met Pat Finch, I played him a new song, 'This Ole Heart'. He and Curtis Green pitched it to Teri Clark and got it on hold and then they signed me. That was my first cut (David Lee's too).

 

Q: Is it true that after you get your first cut, it is easier to get other cuts?
A: Could be, but not necessarily. It really depends on the situation. If you had a big hit with an artist, they might pitch another song to that same artist and drop your name, but, if it was just a random cut that your publisher got, it probably depends more upon the quality of the song and not your history. At least until you really develop a reputation for yourself.

 

Q: What do you believe is the secret to getting your songs recorded by major artists?
A: Write tight, recordable songs.  Have a publisher of plugger who pitches the songs all over town. Have a good demo or guy that sells the song.

 

Q: What is one of your greatest moments in your career?
A: Signing my publishing deal.

 

Q: What is one of your worse moments in your career?
A: The times when someone says they are definitely going to cut a song and then they don't, or when they say a song will definitely be a single and then it isn't.

 

Q: What do you think of writer's nights, and do you think they benefit the writers?  In what ways?
A: The writer's nights are definitely a good thing. They give you a platform to perform new songs. When you play every week, it motivates you to write new material so you are not playing the same songs every week. You meet other writers of different skill levels. You can form some co-writing relationships. Almost all of my co-writers are people I met at the clubs and formed relationships with long ago before I had a deal. Alot of people I know, including myself, were discovered at writer's nights -not in one night, but over time. A person plays a lot, keeps writing new stuff and improving, eventually starts to get a buzz and finally someone says, 'Hey, you gotta hear this person.'

 

Q: Do you co-write with other writers, and how do you choose who you write with?
A: Yes, but not as much as a lot of people I know. I tend to write or work on songs by myself and most of the people I do write with are people I like and respect and have relationships with. Sometimes Sony will set me up with someone and sometimes it is good for me to get out of the box, and stretch myself, but mostly it is a handful of people that I have known for a long time.

 

Q: Are you playing anywhere or have any current projects you would like to tell us about?  Do you have CD's for sale?
A: I am playing at the Bluebird for Tin Pan South April 5th at 6:30....and on May 22 at the Commodore Grill at 8:00 Yes, I do have cd's for sale. You can get them at myspace.com/tonylanemusic

 

Q: Do you co-write with aspiring writers?
A: I'm pretty set with my group of people. If Sony asks me to write with a new artist, I might do some sort of a three way co-write.

 

Q: Have you ever had writer's block, and if so, how did you get over it?
A: I have serious bouts of writer's block where I feel like I'll never be able to write another song. Sometimes I hate everything I write, the way I sing, the way the guitar sounds. Sometimes I try to work throught it but most of the time I let it lie there and hopefully it works itself out and a melody or song will come. To try and get through it, I keep playing my guitar, experiment with different tunings, buy new strings, buy a new pen and pad, look at a different wall or out a different window.

 

Q: Do you think you need a fully produced demo of your song to be able to pitch it, or can you use a work tape (guitar vocal)?
A: You can do a demo or a gv, as long as it sells the song. Sometimes a gv sells the song better than a demo - some demos can ruin a perfectly good gv. Publishers just want to hear the melody and lyrics. A gv or pv will do just fine if you are looking for a publishing deal. I've had some cuts with just gv's but sometimes a demo works better for the song.
 
Q: What 'tips' do you have for writers when they are going to a meeting with a publisher or someone in the business?
A: Bring in four or five good songs with some typed lyrics.
 
Q: Is there anything you would like to say to aspiring writers?
A: Don't stop, don't get bitter. When the town gets to you, go work on another song.