There's a certain magic that happens when musicians come together to create something new. A synergy that takes individual talents and combines them into something greater than the sum of its parts. This is the allure of a collaborative album, and it's a dream I've nurtured for the past 20 years.
Preview to the Kintner's while you read the conversation.
Back in the pre-internet days, coordinating such a project as an independent artist was an uphill battle. Despite my best efforts, I was never able to realize this dream. It was a disappointment that has lingered with me throughout my path in music. But recently, a spark of that old ambition was rekindled when I discovered an album that embodied exactly what I had once envisioned.
The album is a creation of The Kintners, born from the vast, interconnected web of musicians on Twitter. It's a testament to the power of collaboration, creativity, and the shared love for music that transcends geographical boundaries. As someone who had a similar dream years ago, this project has fascinated me. So, I reached out to Kelly to learn more about this exciting venture. Here are some deeply personal questions that I've put together for our conversation, hoping to uncover the story behind this collaborative masterpiece.
Our Conversation
Q: Kelly, I'm fascinated by this project. It’s something I’ve always wanted to do myself. What first sparked the idea to create a collaborative album like this?
A: My goal with this project was to hook the right people up with the right tunes to make a cohesive yet diverse piece that someone could escape in for the better part of an hour. I had about 14 songs. I didn’t intend to make a huge collaborative effort with 23 people for 14 months, the songs took me there. If I hear something in my head I cannot do, my instinct is to ask someone who can. On this record, you have so many people that “can.”
Q: How did you go about choosing the musicians you wanted to collaborate with? Were there certain characteristics or styles you were drawn to?
A: I knew everyone’s music. I knew their personalities. There were certain people I HAD to have. Others snuck in there. But I knew them. When I bother an artist for a collaboration, I have a pretty good idea in my head of what I want and am able to describe it.
Q: I’d love to get a sense of what the creative process was like. Can you paint me a picture of what a typical day or session looked like? Was there a typical session?
A: No, there was no typical anything. We would often start the day off with coffee and album talk. I remember parts coming in all the time, like from Kev Sharp most often. He’s a keyboard player in the UK. He totally transformed the record with his keyboard arrangements. I would make scratches to a metronome track and weeks or months later get back these beautiful keyboards on top. It was heaven, really, the way he plays.
Q: Putting together a project like this must have been quite a logistical feat! How did you navigate coordinating everyone's schedules and time zones?
A: I don’t ask for time limits or deadlines. I’d rather wait for good ideas than manufacture rushed ones. So far, none of the stories I’ve managed to write have required urgency, they only need intent. I would give tracks and no time limit. IF they insisted on a time limit, I said a year. A year is a pretty good amount of time to cycle through every emotion.
Q: I'm sure there were some hurdles along the way. I often find hurdles to be the greatest motivator to learning new things. Can you share any challenges you faced during the production and how you overcame them?
A: There were a few relationships that dissolved and that is hard for me. Since the record, collaborations have been easier because I learned to listen to folks before asking them to join up. You don’t just listen to what they play, their music gives little indication to their personality, without fail. Listen to their posts and their socials, get their voice in your head. You wanna’ be in a band with them? Make sure you do before you blindly ask them. That saves me hurt feelings, and I do anything to save me from hurt feelings. I’m a bipolar. I feel hard.
Q: In creating this album, there must be moments that stood out. Could you share some memorable instances or breakthroughs during the process?
A: When my wife and I got Roger Brainard’s (from Georgia) tracks back for the song, “Fear,” we might’ve celebrated. He sent us those tracks very early on in the album process. He just nailed it. Acoustic guitar and vocal both. Then, to top it off, we have bkbirge in Houston playing drums. Ace Parkhurst up in NY playing Dobro.. but that harmonica when it came was total fire. That’s Jim “Barefoot Jimmy” Schwarz in WI. He plays in a band called The Blues Disciples. Then Kev’s Rhodes piano. That was the most fun to play bass to. I still love that song. My wife sings with Roger at the end and to me when she comes in, it’s one of those moments you aim for but miss most the time.
Q: I’m curious about the role Twitter played in this collaboration. How did it enhance or influence the process? My understanding if the whole album came about through the platform.
A: Yes the whole album was made through Twitter. The only exception being Jason Brown who played lead guitar on “Build Me Break Me.” Jason is a hero of mine. Played in a lot of bands, still does. Played countless shows across the South. I asked him, he said sure. We recorded using Hayley’s Music’s equipment there in Wichita Falls, TX. He brought with him about 11 guitar parts ranging from acoustic to heavy gain on the Les Paul. I asked him which one to pick and he said, "play them all at the same time.” It worked out nice. He’s just that kind of player.
Q: The lessons you've learned during this project would be invaluable to other artists. What insights from this experience would you share with those looking to undertake similar endeavors?
A: I guess I’m still trying to figure that out. Having your stuff together before approaching anyone is always good. Sometimes they want to knock it out right away, so you have to be prepared to send. Being honest is a good one. “Yes I like this,” or “No I don’t.” If you’re gonna’ spend money, learning to negotiate is crucial. EVERYONE YOU COME ACROSS IN MUSIC WILL TEST YOUR NEGOTIATION SKILLS AT ONE POINT EITHER ON PURPOSE OR WHEN THEY’RE SELLING THEIR GEAR. You have to be willing to give a little and to walk away. It’s the hardest part of making a big record; negotiating.
Q: How do you feel about the final product? Does the collaborative aspect of the album add a unique element to the music that wouldn't have been there otherwise? When you listen, is there a different insight or feeling to the songs when taking on this sort of role in the process.
A: The collaborators parts are crucial. For me this record is about my friends and I making a big record. We did it. I still feel that way. I was a baby producer before.. now I’m a toddler!
Q: How has this project shaped your future music plans? Has it changed your outlook on production? Are there more collaborative albums on the horizon?
A: I feel like this record sets a standard. I either come out with good songs or I don’t. I probably won’t make a record anytime soon. It’s a lot of work. Frankly, I’m a singles kinda’ guy anyway. But I wanted to make a good album. I think it has changed me in that now my songs are more for me than they are for anyone else and that’s okay. All I have to do is find folks that like what I like if I want folks to like my music. I might start getting my acoustic guitar out and producing simple songs from the house. If folks like THAT, I might see what more I can do in that realm. The big expensive songs are great and I love them. But I started off a folk musician, maybe I’ll explore that area some.
Final question: As someone who had a similar dream 20 years ago, I'm curious to know your advice for someone looking to make their own collaborative album today.
Answer:
- Have files ready.
- Be honest.
- Don’t text them too much.
- Hire mixing.
- Have more good songs than you need before you start. They won’t all make it.
- Don’t be afraid to ask for redos.
- Build rapport
- Have files ready
To end off this incredibly insightful conversation, I can't help but reflect on my own past aspirations of creating a collaborative album. Two decades ago, when I first started toying with this idea, the challenges were enormous. But today, the landscape has shifted dramatically. The digital world has opened up so many new avenues for collaboration, and it's inspiring to see artists like The Kintners seizing these opportunities to create something truly unique.
Kelly's words have provided a wealth of practical tips and heartfelt advice for anyone thinking about embarking on a similar journey. It's a testament to the power of collaboration, determination, and a deep love for music.
I hope this conversation with Kelly has left you feeling as inspired as I am. It's a reminder that even the most ambitious dreams are achievable when you bring together the right group of people and approach the project with patience, respect, and a whole lot of passion. And who knows, maybe this will be the nudge you need to start your own collaborative project.
This is more than just a story about an album; it's a story about the incredible things we can achieve when we harness the power of community, collaboration, and creativity. The Kintners and their multitude of talented collaborators have created a masterpiece that transcends geographical boundaries and serves as a testament to the power of music to unite us.
The creation of this album has rekindled a spark within me, and I hope it has done the same for you. In a world where connection is often just a click away, there's never been a better time to reach out, collaborate, and create. Because who knows? Your dream project could be just around the corner.
Remember to follow The Kintners on Twitter and check out their album. Let's continue to support independent artists and the fantastic music they create.
Stay tuned for more conversations and insights into the world of music. Thanks for joining me on this journey.