“Let’s All Get There Together”: Blake Shelton’s Message to New Songwriters and Following Conway Twitty’s Lead

Blake Shelton dedicated 12 years to coaching on NBC’s The Voice in an effort to support up-and-coming singers, discover new talent, and give them a leg-up in an inarguably complex music business.
And he wanted to beat his friend and nemesis, coach Adam Levine. Shelton claimed the title nine times.

But his history of taking chances on new talent goes back much further than The Voice.
Shelton released his breakthrough single “Austin” in 2001. Written by David Kent and Kirsti Manna, “Austin” became Shelton‘s first No. 1 hit. The hopeful, brokenhearted ballad was also Manna’s first No. 1 as a songwriter.

“I think it was her first and only,” Shelton said. “And she owned her own publishing. She did alright on that one.”

But “Austin” is just the beginning. HARDY, Devin Dawson and Jordan Schmidt penned Shelton’s multi-week chart-topper “God’s Country.” The song was Dawson’s first No. 1 as a writer. Shelton’s current single, “Texas,” is on track to go No. 1 in a few weeks. When that happens, his trend will continue. “Texas” is the first single for three of the song’s four songwriters — Johnny Clawson, Kyle Sturrock, and Lalo Guzman. Josh Dorr has played this game before. (Coincidentally, it’s also Shelton’s first single for his new record label, BBR MUSIC GROUP/BMG NASHVILLE and Wheelhouse Records.) Scott Hendricks, Shelton’s longtime collaborator, produced the song.

Blake Shelton Gives New Writers First Hit Songs

Shelton liked the song’s minor chords, thought it was a fun jam, and the melody reminded him of one of his heroes –Ronnie Milsap.

“It kind of walks a line that’s a little bit of a ‘Stranger In My House’ or something like that,” Shelton told American Songwriter. “It’s kind of got this haunting thing about it, but you can also jam out and rock out to it at the same time.”

He didn’t record it knowing it would be his debut radio single on Wheelhouse Records. He let the label choose and couldn’t have been more encouraged by executives’ enthusiastic response. However, when BMG Nashville’s Jon Loba (now president and in charge of BMG’s entire North American frontline records business) sent him a video showing the new writers celebrating hearing their song on the radio for the first time, Shelton was tickled.

“He goes, ‘Look at these kids,’” Shelton said of Loba. “It’s three of their first singles as writers.”
Shelton feels like he’s the lucky one because they trust him with their songs.

“They’re helping me,” Blake Shelton said. “I did my share of writing back in the day, and I just don’t do it as much anymore. So, when these kids that are writing these incredible songs take a risk on a guy like me, I just want to make the best record I can possibly make. I don’t really care where the song comes from as long as it’s a great song. There’s tons of other artists in Nashville that are kicking ass. When somebody takes a chance on me, I’m always super grateful. I’m the lucky one.”

“Conway Didn’t Care Where the Songs Came From”

When choosing songs to record, Shelton follows Conway Twitty’s lead.

“Conway didn’t care where the songs came from; he just wanted great songs,” Shelton said. “He was a great song’s best friend. I always kind of took that to heart. At the end of the day, I want to be able to make the best record I can. And if these kids wrote it, then hell yeah. Let’s all get in there together.”