The Nashville project has proven to be exciting and fresh, as I have never before experienced the invigorating approach to creativity that is co-writing. Matt and I have really clicked on a new level as we share ideas and allow our different ideas and musical sensibilities to lead us in new directions. Although the project was slated as a 5-song co-writing deal, there is always the possibility that it could grow into something bigger - and I'm really looking forward to seeing where it leads us. The songs have a definite alt-pop feel. We had the pleasure of laying down the rhythm tracks in Lonnie Wilson's new recording studio - with Lonnie himself on drums - (If you haven't heard of Lonnie - just know that many people count him in the top 5 in his field - he's not only a world-renowned drum player, but has written many hit songs -WOW!) and Gary Lunn making another stellar appearance for us on bass. The entire experience has been eye-opening and positive for me as an artist.

Fans who've been awaiting a new Hilary Scott Band release will not be waiting much longer, as Road to Hope should be released in mid-fall. We are trying something new and exciting with this release. Fans will be able to purchase a "Road To Hope Roadies" package that includes a ticket to a special pre-release party with Hilary, the Band, and producer Steve Gardner at the Courtyard Winery, plus a ticket to the CD release party, a copy of Road To Hope (which will be distributed at the party), a CD of never-before- released live performances, our new t-shirt, and other goodies. Best of all, the Road To Hope Roadies will be recognized in the Road To Hope CD booklet insert. More details coming up....

Steve, who cites his biggest musical influences as being Cat Stevens and Joni Mitchell, began his journey in music more than 30 years ago, as a guitarist and songwriter. As early as high school he was part of the St. Louis musician's union and was working in bands. His interest in recording had already begun with his own tape recorder, and when Steve moved to Kansas City in 1975, he began working in a studio as an engineer and producer of his own work. Playing in bands by night and soaking up everything the studio guys could teach him during the day led to projects with several prominent KC area bands such as Grand Max and the Shooting Stars, who recorded demos for the EMI of America label. It only took one year, unfortunately, for the studio to go bankrupt, so Steve purchased his own equipment, and made the fateful move to Columbia.

After recording bands of all conceivable genres for several years in Columbia, Steve joined with his friend Steve Gladstone (who is now a music attorney on Nashville's music row) and moved to Nashville where he worked as a producer for several years. He and Gladstone were partners in a company called Songworks Entertainment, which was located in the UA Tower in Nashville. Working with groups from all over the country, Steve also notably worked with H. McMillan, James Stroud, Paul Overstreet and Fred Noblock, and even recorded songs for SKO, one of which went to number one in 1985. Due to family and personal reasons, Steve moved back to Columbia after a few years in Nashville and has been doing production work ever since.

While living and working in Columbia, Steve also at one point worked for Warner Brothers' New York branch for 2 years. His position included traveling all over the country recording cream-of-the-crop marching and stage bands who were playing instrumental versions of Warner's hit releases. Steve counts 25 LPs and countless CDs among his at least 100 projects, even laughing about the 8-track tapes he's recorded. Country, pop, jazz, singer-songwriter, blues, you name it; Steve's done it. Count among his friends and clients such legendary mid-Missouri folk as Bob Dyer, Jerome Wheeler, and Forrest Rose. He's been featured on the cover of Scene magazine a couple of times, and at one point was instrumental in working with Sara Evans, the now-famous country music recording star.

Steve sees parallels between Sara's career and Hilary's career, noting that both women shared a common goal - an overwhelming desire to pursue a professional performance career. Also, it took years and years for Sara Evans to get any interest from the industry, and hers was most definitely not an easy path. Steve says it is often 'darkest before the dawn' and that it can take years and seem like an 'impossible mountain' to climb but one day it just opens up when ONE RIGHT PERSON hears it AT THE RIGHT TIME.

Steve's role in Sara Evans' story started when her stepmother called Steve when Sara was only 18 or 19 to see if he could help her. At this point, Steve was still doing a lot of work in Nashville (he continues to do so today - based in Columbia but travelling frequently to Nashville for various projects) doing jingles for commercials, and videos for 3M corporation. He recorded demos for Sara to see if he could help get her career going. At one point, Sara 'gave up' on her dreams of making it in the music industry and moved to Oregon for 2 years. Finally, after one last attempt and a move back to Nashville, Sara's demo made it into the hands of Hank Williams Jr's publisher. Through the publisher's interest, the buzz spread, and Sara eventually received 5 or 6 offers, and signed with RCA for a 7- album deal. She also signed a great writing deal with Sony. All this from a girl who played for 10 people at the Columbia Mall and at one point was struggling so hard to make ends meet she had to borrow clothes to wear to her audition for the record labels . Just goes to show - persistence pays. Steve is Columbia's own champion of sticking to it, and helping artists find their way, and has done wonderful things for Hilary Scott's career.

As is perhaps apparent, Steve has a history of involving himself in helping people who have a serious career ahead of them, and his role in HILARY's career began in 2001, when Loyd Warden, (Hilary's friend and drummer) introduced the two. Steve heard The Floating World as it was just being finished, and was impressed with how good it was. He hadn't heard anyone around Columbia at the time making such high-quality recordings, and still loves The Floating World album today. He helped with the mastering of the album, and recommended various marketing ideas to Hilary upon its completion. Steve began being a teacher and mentor to Hilary by first suggesting she study songwriting forms to force her into a more commercial format, though he has always praised Hilary's 'unique style and sound, and good songs.'

At about this same time, Steve was traveling back and forth to Nashville frequently again for various projects. Jerry Kimbrough, one of Nashville's best session guitar players, played on several of his sessions and Steve was incredibly impressed with his abilities. Through Jerry and Robert A. Johnson, Matthew Wilder's name came up in conversation. Matt was a newcomer to the Nashville scene, but was recommended to Steve as the 'super creative guy' in town. Steve felt very strongly that Hilary was ready to dive into the professional market, and that his connections in Nashville would provide a great opportunity for her to get into a top studio with seasoned musicians and come out with a product that would have a commercial edge to it. He also felt Hilary and Matt would be a perfect match, and that in making this move Hilary would build on the success she was already having with the local recordings she had done. When the project, entitled Out of the Wilderness was completed, Steve felt that the version of 'People on a Train' that he and Hilary produced in conjunction with Matt made the entire project worthwhile, as that has always been his favorite Hilary Scott song. "That song just grabbed me, and I wanted to make sure we got it recorded. It's magical...Hilary's vocals occasionally remind me of a 'hip Barbra Streisand' in her delivery."

While Steve looks forward to Hilary's next Nashville project (co-writing, producing and recording another set of songs with Matthew Wilder) it is his involvement in the Road to Hope project that we really wanted to hear more about. Steve's overlying concern for this new album is to get a really good recording of the Hilary Scott Band in a first-class studio. That studio happens to be Shannon Harris's Bridge Studio, forty minutes outside of the city. Essentially, the focal tracks of each song are recorded 'live' at the studio, therefore this album will be a high-quality live band recording, representing the band at the peak of its performance. Of central importance will be the beautiful piano and drum tracks - since The Bridge studio is a half-a-million- dollar world-class facility in terms of equipment and space. Steve feels this project is a very important part of what Hilary is doing right now, because fans love what the band does onstage, and this album needs to be a great representation of that. Some of the songs will be arranged in a format that is radio- appropriate, but most will be recorded in the arrangement used during live performance. Steve's inclination is to lean towards a 'folk-rock-blues' sound, the Memphis sound, rather than a clean New York pop sound. The Bridge Studio will allow Steve to capture the live, crisp sound he wants from the basic tracks, and then he can transfer the project to his own private studio, where Hilary and the other band members will have the time and freedom to overdub, and he can work on mixing and editing. Steve considers this part of the creative process, and is known around the area for his talent in mixing. Steve appreciates the caliber of musician he has the opportunity to work with, doing 'serious projects for serious musicians.'

Steve has a thing or two to say about Columbia, as well, which he sees moving in the right direction in terms of becoming a little music haven. "People in town like Kevin Walsh (Streetside Records) really support Hilary and other local musicians, and lately musicians have also been getting together to do projects, like the Lee Ruth fundraiser for KOPN. It would be great if Columbia became a 'little Nashville'. With The Bridge studio now being available to us, and musicians and venue owners working together, Columbia has the potential to become just that, since it's really a great place to live." Steve also feels that Hilary has really done a great job of establishing herself in this community, and hopes to continue to be part of her career. He also hopes she doesn't give up.

Hilary continues to travel back and forth to Nashville for her co-writing project with Matthew Wilder - the 5 songs are more than half completed.