Tim Dillinger
Interview 8 July 2004
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Hi Tim, how are you.
I'm doing well...Busy...but that's a good thing...
Tell me about yourself, where you're from, where you are now, You're originally from Florida right?
Originally from St. Petersburg, Florida...the Tampa Bay Area. Was there all of my life...then moved to Nashville in 2001...and am still here...
Do you come from a musical family. Tell me about music through you're life, what you were brought up on, what you aspire to be, what you draw from, who your're influences are. You grew up on Gospel and Soul?
My mother played the piano. I didn't know my father growing up, but from what I understand, he was quite a singer. My mother tells me that when I was a baby, the only thing that would put me to sleep was Andrae Crouch's 8-track (Yes, 8 track) of 'Live At Carnegie Hall'...so I guess the gospel bug got planted early. She introduced me to Andrae Crouch and the Hawkins Family...as well as artists like Reba Rambo and Russ Taff (both Contemporary Christian artists). My only aspiration growing up was to be an artist. I started singing in my grandfather's church and then out in other churches by the time I was 12...That was when the course of my life began to change and I began to understand which direction I was being led in.
I'm interested in your background and you're profile, and marketing targets. Maybe the answer to the last set of questions will enable me to understand some of this from the rather limited information in your bio. I am not being offensive or obstructive, just trying to understand so please do not take it the wrong way, but it seems to be that you are accentuating the white (in all the reviews you choose to include, and in your bio, you make a point of this) and you are accentuating the black (in the readings of Black literature and Gospel background for example). Can you please reassure me that neither is a marketing ploy, and how and why both things are important to you and have helped shape your life.
Well, when I was 12, I began being invited to sing at other churches...and the churches that I was asked to sing at were all 'black churches' (the American church scene is still incredibly divided racially). So through those early experiences, I began developing relationships and friendships with the people in those churches. I became close with one family in particular and moved in with them when I was 16. Those years were defining years for me...I was introduced to a whole new culture and aspect of society...I began seeing things from different perspectives than the ones I grew up being taught in my grandparents home. It completed a part of me that I didn't really know had been empty. The kids in the house became my brothers and sisters, their mother became a 'mother' figure in my life...and she sang...so I naturally became a part of her group.
It was through becoming a part of that family, that I began to understand finding your own essence...and your own 'center', if you will. It was really clear that for whatever reason, my acceptance...not just artistic acceptance, but as a person, had been found in this environment. I've feel very honored to have lived the live that I have thus far and to have met the people that I got to meet, particularly during this period.
My path then led me to meet Beverly Crawford (who was still with Bobby Jones & New Life at the time), and that was when my actual professional career began.
The early part of my life is equally as important to me as the mid-portion because one couldn't have happened without the other...and I appreciate the lessons and experienced of both...
As for marketing, I'm simply sharing my story through the music...I've actually had offers from white execs who have felt that I had a tremendous voice, but if only I would go a little more pop. They've said that they would be interested if my production were a little less 'urban'...but I'm not willing to be anyone but who I am. I had initially thought that I would go with a 'major' label...but I'm glad I stuck to my guns and forged my own path.
Richard Wright - that's some early stuff. How did you get into that. I think that once anyone has been exposed to the horrifying real life experiences of that era it shapes a person.
Most certainly. Most of my close friends were quite a bit older than me...and I loved that because I looked at them as teachers...and someone suggested I read Richard's book 'Black Boy' and then of course 'Native Son'. I was amazed at his story. That era was so terrible. While the conditions may not be as blatant as they were back then, America still has a tremendous racial problem that is not getting any better. Racism is more dressed up now and hidden behind other props, but the lines in every city are still clearly drawn...The ratios in corporate America of black employees vs. white employees is still not balanced...so from much of what I've lived and experienced I would say that America is still a very segregated country.
Did the literary influence of James Baldwin, Ntozake Shange and Richard Wright make you want to write more so than musical influences.
No...but it did make me want to figure out how to carry their vibe into the music. They each brought something different to my life. Ntozake is what a call a 'butterfly writer'...Her style is very, very poetic and etheral...very otherworldly...and I definitely wanted to carry that influence into my music. You could safely say that 'Promise to Stay' is my attempt at capturing that spirit.
James Baldwin was poetic and philosophical....I've read most of his books (I believe all...but I could be wrong) and I guess because we both grew up in the church (particularly the Pentecostal Holiness church), I related to his writing on many levels...balancing the spiritual teaching with the reality of life...
Richard was raw. I think you'll see his influence a little more clearly on the next album...
You started performing gospel and working live with gospel artists from about aged 18. Tell me about this period and how you got into this.
I met Beverly Crawford and her husband Todd when Bev was still with Bobby Jones and the New Life Singers. I was always amazed by Bev and her ability to jump right into a song with both feet and own it. We met at one of Bobby's television's tapings and struck up a friendship. From there, I brought Bev into my church to do a revival, she heard me sing and from there, we started doing dates together.
I was working in a bookstore at the time (Imagine that!), so I still had a day job and would drive out on weekends to be with Bev when she had dates in Florida
Bev and I continued to do that through the release of her second album..
And some of the people you worked with.
Tata Vega...who I learned so much from in relation to building a song, phrasing it...and how to incorporate a whorld of influences into one sound.
Daryl Coley... the virtuoso vocalist.
Reba Rambo...the quintessential poet and singer.
The Williams Sisters
Desmond Pringle
Montrell Darrett
All this must have been great for honing your craft. What else were you doing writing?
To make a living, I worked at a bookstore for a while, then transitioned to the corporate world (Another piece of training). But I always kept myself artistically stimulated. At my godmother's house, we were always singing, going to hear somebody sing, singing at somebody's church, writing songs, working in the studio, working with the church band...
At what point did music become the main thing insofar as you saw you're future in it.
I didn't ever know how it would be my future in those days, but I knew that it would...I never lost sight of that...Music was and is my oxygen...I felt like I was building something...and that it would manifest somehow.
Tell me about you're first deal and how that came about. What came out and what was it like?
Interesting story. A artist/label owner in Dallas heard my demo playing in the background while he was one the phone with his agent, who was a friend of mine. He called me at my office and wanted to talk about the possiblity of doing a deal. Long story stort, it was a bad deal and I should have never signed it.
I began working with a manager after the fact who read the deal...and was like 'What were you thinking?' The label didn't have the money to market me properly...and I didn't either...so I sat out the terms of the three year contract. The album never came out...and the masters sit safely tucked away (smiling). It was a gospel album...and my first experience in the studio as a solo artist...so I look at it as recorded homework. I learned a lot through that project...and it prepared me for what was to come.
You then moved to Nashville in 2001 - why.
I was working with Tata Vega and honestly thought I was going to move to LA. The opportunity opened for me to move to Nashville, however, and the chance to sing background for Reba Rambo, one of my favorite artists from childhood, came to me...and I had to go!
On another level though, I needed a change of environment...a chance to be alone for a while...and really reexamine what I wanted to do musically...I always felt like somewhat of a square peg in a round hole...
Being here, up close and personal with the Christian/gospel music industry, made me realize once and for all that I didn't want to be a part of it...and that I wanted to say MORE than I was going to be allowed to say within the confines of that genre...
You're musical perspectives broadened?
Most definitely. I was finally able to write what I've always wanted to write...I mean, with all of the blocks and restrictions pulled out, I was able to begin see how to incorporate the influence of The Clark Sisters, Teena Marie, Donny Hathaway, George Michael, etc. into my own sound...
And pretty much at that point you started to think of putting an album together. What was the vision for the album...And now it's out a relief to have gotten to that point?
When Dale and I first met to talk about working together, I wasn't sure directionally where I wanted to go for an entire album...so he said 'Bring what you've been writing to the studio and we'll start putting it on tape and seeing where you're at'...
We started working and the first two songs were very auto-biographical (I believe they're going to make it to the next album..) and it let Dale kind of see what was inside...and how to help me translate my heart into the music. The third song we cut was 'The Day You Held Me'. Dale heard the chords that I heard and we put it on tape and that cut really defined the vision of the album...From there on out, it flowed...We saw that 'love' was really going to be the centerpiece of the album and the songs that came after that all tied together...
It was almost sad when we were finished! I was having such a good time writing these songs....but now it's time to deliver them live...and also start living a new chapter to write for the next album.
Feedback's been good? how's it going down, and what about the different matketplaces, local, national and international.
The feedback has been really, really good...Our initial focus was on the UK and European Soul Markets...They were the first to play the single, so we decided to put our eyes there and the response has been amazing.
We just brought in a booking manager (Wayne Pettway) based in Atlanta who's beginning to start 'regional' work here in the States...I think we've got at least a year's worth of work to do in promotion on this album...Nashville has begun opening up (which really surprised me) and now we're targeting city by city.
You pleased with the album? Tell me about the team who helped you get it out. Do you have a group of musicians..and Dale Babb. What else has he worked on?
I'm very, very pleased with the album. Dale didn't do the typical producer thing and try to cram a particular sound down my throat. Dale's genius is that he produces like old school producers...He wants to find YOUR heartbeat and help you bring that out...
I'm the first R&B singer that Dale has put out...He's done a lot of gospel and hip-hop work. (Juvenille, B.G., Grandaddy Souf, etc.).
'Promise to stay' is that the one getting most attention.
It was the first single and got alot of airplay...Now everyone seems to have targeted 'Can't Help But Say'...That and 'The Day You Held Me' are my two favorite tracks.
How difficult is it to put something like this together as an independent?
Very...if you don't have the right team. I'm very grateful to have worked out the 'kinks' in the team before we were even at mixing stages. People have to be 100% committed to a project like this. I work more hours doing this than I did when I worked a 9 to 5 job...but this is what I love to do...so it's completely worth it. I have also self-managed for the past year, so I've been wearing several hats. Like I said before, we just brought in someone to handle the booking end...so I'm able to give one of the hates up now.
Are you gonna be on the road promoting&.and coming to the UK. Same musicians as the album?
We're getting ready to hit the road in a major way. We're coming to the UK 7/26-8/8. I'll be working with Roy Williamson and Fly By Nature this time out when I do 'live band' gigs...I'm hoping to bring my band the next time though...Dave Martin, who did all of the guitar work on the album, Dale did the majority of the keys on the album, but he'll play bass when we go out live and MD. I'm working with an incredible keyboard player named Malcolm Dean...and Patrick Dixon does Synths and Strings (He co-wrote 'In Your Arms' with me). We've also got an incredible singer coming on the road named Nacole Robb who does background work.
And Café de Soul? And UK management.
Well, the deal with Cafe de Soul didn't work out...so we're self-distributing at this point. I'm very interested in UK management...
What else do you do with your company Icon's Pen Media?
The ultimate vision for IPM is to be a multi-media company. I want to do books, movies, own a radio station, build a television network, etc...The whole bit.
What's happening next?
Well, immediately, road work and promotion...in between, developing the concept of the next album...Working on IPM's book project, written by Brenda Porter, an amazing soul. I'm also hoping that Dale will have his solo album ready by the end of next year...so I know I'll be involved in that project in some capacity....and seeing whatever opportunities present themselves...
The album to me is solid and consistent and is head and shoulders above some non independent stuff. Tell me about how you plan to tackle the future. Given the platform you are coming from, i.e a soul perspective how do you retain this as you get popular or is it embedded in your roots. (I say this in the context of the (and for want of a better phrase than the hackneyed and contradictory) 'blue eyed' soul artists who abandon their so called 'roots', perspectives and audiences once popularity beckons)
Well, I've always felt like my career was somewhat patterned after Teena Marie's in that regard...My heart is in R&B/Soul Music...I'll continue to write and sing for those who have ears to hear what I have to say in the way that I need to say it.....My desire has always been art that reflects my life and a career with longevity ..and you only attain that length of relationship with an audience by being authentic and for lack of a better term, 'real'. The thrill of quick money or success at the price of my integrity doesn't excite me.
What do you like to do
I love movies...finding a good book...cooking...laughing...
Anything else you'd like to add.
Thanks to all the fans and listeners who have supported my music...
Good luck and thanks for your time.
Mike
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