Sonny Tackett is a veteran singer, songwriter,and performer. He has toured the world in numerous roles,as an engineer,as a backing musician, and as a solo performer.. Many signed artists have covered his songs, including Gary Stewart, Tommy Overstreet, Dwight Whitley, Michael Allman, and many others, with forty-seven cuts to his credit to date, and new ones being added soon, as artists around the world find out about this prolific songwriter .
Upcoming releases by Michael Allman, Gary Martin, The Lawmen, Charlie Sizemore, and others bring a new era to Sonny’s writing, as young and old artists from blues, rock, bluegrass, pop, country, and americana are recording his songs, illustrating the diversity of his catalog. Sonny himself is a blues artists who is also fluent in country, rock , and americana, born with a whiskey voice and a bad attitude, as one of his songs reveal.
With the exception of a few choice gigs, Sonny is off the road for awhile, busy for most of this year producing the acts on Moondancer Records, which include "The Lawmen", "Saro and the Blues Revolution", "Jesse Vidal" , "Random Sound", "Gary Martin", and others. Sonny recently produced Gregg Allman’s son Michael, on a session in which Michael recorded Sonny's tune Laid Back, and the Bruce Marshall tune, If Dreams Were Money, due out in summer, 2009, on Michael’s debut album, Hard Labor Creek.
In between these acts and songwriting, Sonny is working on a new all blues album, due out in early 2010 . His current cd has gained him much respect in the musical community for its songwriting and production. Outlaws Lament, Sonny'’s self produced debut album on iIndie label Moondancer Records, covers the bases from honky tonk blues country to blues rock with ease, revealing a versatile artist who is at home with many styles of music. From the intro of Torture, co-written with Gary Stewart, to the last refrains of the Gregg Allman inspired .."Laid Back..", Sonny takes you through a lyrical journey of gypsies, outlaws, broken hearts, painted ladies, and desperate lives. Recorded at premier Alabama studio, Bates Brothers, the whole album is infused with a soulful vibe, enhanced by a stellar cast of seasoned musicians. Moondancer Records is honored to be the new home of this truly unique artist. Tom Brown , MoonDancer Records.
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RV: I can’t help but relate to the emotions of what it must have been like for you to say goodbye to your good friend Dr. Don. I sincerely express my regards and honor to the memory of your friend. He appeared to be an inspirational figure and a strong influence in your life and career. Can you please share with readers more of Dr. Don’s legacy and inspiration to you?
Sonny: Dr. Don was a light at the end of the tunnel, at least for me. I met Don when I was a freshman in high school. I would stay up as late as Mom would let me, to listen to WGN out of Chicago, and WOWO, Fort Wayne, Indiana, because we could only get them at night. The only stations we could get locally were country and bluegrass stations, so we were basically cut off from what the rest of the world was doing except for these nighttime stations. Then WECL in Elkhorn City, KY came on the air, and everything changed. During the day they played pop and rock and that by itself would have been great, but at night they had this new DJ that played rock and blues; heavier rock and deeper blues. He instantly became “The” DJ to listen to. He opened up the world for us in a way that no one had before, by exposing us to culture through music, and vastly influenced my future by doing so. Dr. Don continued this all of his life, and was always there to make me believe I could do what I wanted to. I was honored to have been his friend and his death profoundly affected me.
RV: Sonny, I’ve read that you’ve written songs for other musicians including Gary Stewart, Tommy Overstreet, Dwight Whitley, Michael Allman. I can only imagine the challenges involved when writing for other performers but also I can see the cloud nine effect when listening to someone performing a song that you have written. Can you please describe both the challenges and euphoria that you feel when writing music for other performers?
Sonny: Actually, I've only written one song with someone else in mind and that was “Looking for Some Brand New Stuff”, recorded by Gary Stewart on his 1988 comeback album, “Brand New”. I had a little guitar riff that reminded me of Gary, so I wrote the song thinking of him. When it was finished I knew it fit him like a glove. I sent it to Gary; it made the rounds. About a year later Roy Dea, (Gary's producer) called Gary and said, “Gary, when did you write this song called, Looking for Some Brand New Stuff? It's awesome!” It was so close that even Roy thought Gary wrote it, it made my day. But back to the question, writing for other artists is a way of life in Nashville. The publishers sign writers and tell them so and so is recording next month, write something for them. Besides the one song, everything I've ever written has been for me. Artists who have recorded my songs have gotten them from other artists, CDs’, publishers, etc. So, I was never one to conform to what everyone else did. I could not just sit down and write a hit for Conway, I had to be inspired before I could do that. I disagreed about a lot of things in Nashville. Look at any Nashville hit song today. It will have three or four writers. Very seldom do you see a song with just one writer. The publishers would pair you off in little isolated rooms to write 9 to 5 like a regular job. I think you lose part of yourself and what makes your writing unique; I refused to do this. I needed freedom and inspiration and I flatly refused to write with someone who I had just met. My publisher quickly realized this and I was never required to write that way. On the other side it is the greatest feeling in the world to have your work done by other artists. It’s what I live for. The first time I heard one of my tunes on the radio was the Tommy Overstreet cut, “Down in the Quarter”. It was the greatest feeling, a feeling of accomplishment.
RV: You seem very enthusiastic when you talk about your career in music. Do you think that starting musicians “hold on too tight”? I guess my question is that when you first began your career did it seem like a nerve wracking business to get involved in? Do you have any suggestions to those who are starting off in the business and are questioning themselves or feeling defeated while waiting for their moment to shine?
Sonny: Early in my career I had a revelation. I am a musician, I am a writer. I can be dirt poor or filthy rich and it makes absolutely no difference, this is what I am regardless. I am going to write, record, and release my music in any way I can; if fifty people hear it or millions, this is what I am. Almost all of the musicians and writers I've met tell me, “If this doesn't work I can work in my dad’s car lot, or Aunties restaurant. In my mind, I did not have the options, there was no other way. With the advent of the internet everything changed, all of a sudden anyone could get their songs aired somewhere. But that brought its own problems; one of them being that all of a sudden anyone with a guitar was an artist and so the world was flooded with millions of artists and songs. On the one hand you can get heard and on the other, the competition suddenly became much bigger. The truth of the matter is that there are many artists out there who are incredible and should be stars, but for different reasons don't get the right break, are not in the right place at the right time, or let them self down by making the wrong decisions in their career. They could have been stars, but nobody heard it. So (1) you must be talented enough (2) you have to believe it yourself without being self-absorbed, (fine line between the two) (3) they have to find you or you have to find them. Young artists today need to ask themselves. “Do I believe in myself?” If they do, they have a chance. There are so many ways to do things today that were not available when I started. The only way you could get distribution or airplay was if you were on a major label. The biggest thing to me is the writing. You have to say it from your own unique perspective, to make a dent in the millions of tunes out there that are talking about the same thing that you are. It's hard to find a subject not already written about. The trick is to say it in a different way. I've been incredibly lucky I think. All of the first ten songs I wrote have been recorded. I think my writing was strong from the start and that was my biggest advantage in the music business. The writing needs to be strong!! The last bit of advice I'd like to give to young writers and musicians, read everything ten times before you sign it. If it's on paper, you're protected.
RV: I was reading some behind the scenes with regards to how your song, “Down in the Quarter” was recorded. It’s a very intriguing and interesting story. It sounds almost like a clip from a 1940’s movie. You said that you were in the producer’s office and after the first chorus the producer reached over and turned off the cassette player. Thinking to yourself, that was it, you saw the producer pick up the phone and dial a number. "Stop the press on the Overstreet album, we're recording another song”. Looking back, would that have been one of those days that could have altered where you are today if it had gone the other way?
Sonny: Yes and no. I've thought about this many times. If you read the blog I wrote on this I stated that even though this song was top ten, on two albums and a single the first year, it was five years before I got another song recorded. The songs that followed were not recorded because of the Overstreet cut, so did it really matter in the long run? Yes it did, and the reason is not about getting more cuts or any of the usual things. It was how it affected me, mentally and emotionally. All of a sudden I knew I could write and get them recorded, that is what made the difference. From that moment on not one song of mine was recorded as a direct result of any publisher or agent; I got every cut on my own, over fifty now and counting.
RV: I see that you have an attraction to many different styles of music but that you have an affinity towards the blues. Can you please describe your affiliation with this style of music vs. rock, country, etc…?
Sonny: In every form of music I have been associated with, I've gone to its blue side. For instance, in rock and roll I liked the music with the bluesier licks. In country music, I liked the rawer honky tonk tunes. The blues has been evident in all my own writings and I plan on doing much more in the future.
RV: When did you first begin your interest in music and can you please share with us a little bit about your home life while you were growing up? Did you have any significant influences that inspired you as a child?
Sonny: My interest in music has always been there as far back as I can remember. I started playing in a band in the eighth grade and never looked back. My Mom raised us on her own and worked all the time. We didn't have everything we wanted, but we had what we needed. She was my inspiration.
RV: I saw a photo of you riding a horse on the cover of your Outlaws Lament CD. Do you enjoy riding and what other activities do you enjoy doing when not in the studio or on the road?
Sonny: I love to ride, been a rider all my life. I'm not talking track here, I ride the rough mountain trails. The horse on the CD cover is named Cody, a Tennessee walking horse. If you see me on a horse, it’s the real thing and not some photo opportunity. Most of what I do pertains to music. I'm a longtime engineer with thousands of hours logged all over the world. I now produce many other acts; most recently Michael Allman, Gregg Allman’s son. I am also an inventor and have designed many speaker systems for other artists. One of these is a new guitar speaker which will hit the market sometime in 2010. I'm in the process of building a new studio here in KY, and have numerous acts to produce this year. One thing I enjoy doing is working with leather. I make most of the clothes I wear: pants, jackets, shirts, etc, and have been dealing in the leather industry for years. I have access to any kind of leather you can imagine. We also cover the speaker cabinets that we build with real leather. My speakers have been used by The Oak Ridge Boys and many, many other artists.
RV: Can you share with us your heritage and what is sacred to you in life?
Sonny: I have recently discovered much about my heritage. I am descended from the McTaggert’s of Scotland, and the Cherokee of North Carolina. Both sides of my mother’s family have Native blood. Many people from this area are Native descendants. I grew up not knowing much about my heritage. I'm very proud of my Scottish and my Native American heritage. The only thing I've ever asked is to be accepted for what I am. What is sacred to me is a man’s word. I've been lied to and cheated so much in this biz that I could have easily lost faith many years ago. All I ask anyone involved with me or my career is just do what you say you are going to do. I live my life by that one line. I do what I say I'm going to do.
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RV: Please feel free to add anything that you would like to share with readers that I haven’t asked and thank you Sonny for your willingness to talk with Native Digest and devote some of your time.
Sonny: Thanks so much for having me here. It’s been a pleasure, and I look forward to talking to you again. I can't wait to see and talk to some of my Native fans, and learn more of my culture. Next Time, Sonny T.
Please visit Sonny’s MySpace page. And also be sure to listen to more samples of Sonny’s music at: cdbaby.com.
RV: You seem very personable and eager to communicate and share your enthusiasm with fans. What message are you hoping that people receive when they hear your music and can you share with me a concert that you’ve performed at that is most memorable to you?
Sonny: I don't think the message is in the words alone, it’s feeling. If one of my songs makes you feel something, sadness, joy, etc.. then I've done what I set out to do. As far as live shows go, the live shows with Gary Stewart are some of my best memories, especially now that he’s gone.
