Looking at even a partial discography of Dann Huff’s session work makes one realize that every iconic producer from Quincy Jones and David Foster to Phil Ramone, Mutt Lang and beyond hired Huff to play on some of the most significant records of our time … Which probably accounts in-part, for Dann’s move into production. That’s some serious teachers. But the fact is … only musicians of Huff’s caliber get called to do sessions for Barbra Streisand, Kenny Loggins, Reba McEntire, Celine Dion, DC Talk, Shania Twain, Michael Bolton, Luther Vandross,  Peter Cetera, Donna Summer, Rod Stewart, Michael Jackson, Madonna, Whitney Houston, Amy Grant, Fine Young Cannibals, Barry Manilow, The Temptations, Chaka Khan, OJays, Smokey Robinson, Clint Black, Faith Hill, Tim McGraw, Natalie Cole, Gladis Knight, Neville Brothers, Dusty Springfield, Rick Springfield, Olivia Newton-John, Toby Keith, Joe Cocker, Bryan Ferry, Peter Wolf, Martina McBride, Chicago, Wynonna, Glen Campbell, Paula Abdul, Tammy Wynette, Mariah Carey, Merle Haggard, Bob Seger, Boz Scaggs and Billy Joel.

And that was only the beginning of Dann’s phenomenal career … After returning to Nashville, thanks to a friendly nudge from Mutt Lang to pursue producing, the Nashville community opened their arms too. Huff’s production discography definitely shows the love. Keith, UrbanRascal FlattsFaith HillLonestarCarrie UnderwoodJewelWynonnaDeana CarterPat GreenBilly Ray CyrusJimmy WayneBon Jovi, ShedaisyKenny RogersLeann RimesMartina McBrideBryan WhiteChely WrightRebecca St. JamesCollin RayeTrace AdkinJulianne HoughSteel Magnolia, Hunter HayesBrantley GilbertKelly ClarksonTaylor SwiftSarah DarlingMickey GJohnny Gates and The InviteKenny RogersThe Nashville TV ShowReba’s TV showBig & RichBilly Currington, Maddie and Tae, Jennifer Nettles, Thompson Square, Seth Alley, Danielle Bradbery, and The Band Perry are only the beginning … and the artists just keep-on-comin’.

Some of Huff’s more recent clients include Steven Tyler, Thomas Rhett, in co-production with Jesse Frazier on Valory Music, Brett Young on Big Machine, Runaway June on Broken Bow, Kane Brown on Sony, Rachel Wamnack from Muscle Shoals, Tucker Befford and MIDLAND on Big Machine, in co-production with Shane MacAnally and Josh Osbourn.

But in a world where producers and engineers come & go quite frequently, one of the things that Dann cherishes the most is his 30 yr relationship with engineer Justin Niebank.

A partial list of Dann’s accolades includes …

Billboard ‘Producer of the Decade’

2016 CMA ‘Musician of the Year’

2014 ACM Producer of the Year

2010 ACM Producer of the Year

2006 ACM Producer of the Year

2006 MUSIC ROW AWARDS Producer of the Year

2005 Grammy Recipient for Best Album

2004 CMA Musician of the Year 

2001 CMA Musician of the Year

After reluctantly reviewing some of his awards, I just about fell off my chair laughing when Dann asked, if he could expect a Rolex at some point? My guess would be yes … but it’s far too early yet.

One thing is for sure … Dann Huff will always be the pride of his Father, his Family and Nashville … the place where he was born.

The Producer’s Chair: Are songwriters and copyright owners doomed?

Dann Huff: No more than any of us. It’s like anything in this country … take a number and stand in line. It depends on who you talk to … life ain’t fair. Take a look at what happened in Charlottesville this week. That doesn’t denigrate, all my friends who are songwriters and their need to be protected and compensated but, there’s a lot of that stuff in different forms and some more dyer than others. Probably it’s two-fold … this industry was able to support more than it probably should have been able to support so, it’s done some culling of the herd. And I guess some of that is just evolution.

The Producer’s Chair: Are they well-represented?

Dann Huff: There are a lot of smart songwriters that are involved in this. I know Shane MacAnally has been really active on that side and much more articulate than I would be. Everything they say, I back but, I also feel that way about musicians too. And here’s where the discrepancy lies … This industry is so inner-dependent on itself.  You hear statements like ‘It’s all about the song’ … well … yes and no … chicken/egg … and that’s really what it is. The song just sitting there doesn’t do anything.  I know how much everything that I do is related to that song, the songwriters, the vocal chords of an artist, the promotion staff of a label and everything else through management. There is just no way to extricate any one thing and say; this is why it happens.

The older I get the more I’m aware of what it takes to become successful. We’re all just a part of that thing. But no-body can stand alone. Well … maybe someone like Ed Sheeran … he’s an anomaly. But very seldom does that happen. We all need each other. I want them to get paid but I also want musicians to be paid.

There were so many times when we’d come in and we’d add stuff to a song that wasn’t written in the song, like the hook/lick of a song. Back in other times, that song would sell millions upon millions of records and you were just paid, your small fee. In other countries, musicians who play on these hit songs are compensated. And they’re starting to right that shift too. It’s really nice to see there’s a whole new ‘special payments’ for musicians. And I’ve noticed the way musicians come into sessions these days … they’re totally invigorated to be present and create because the more hit songs they’re on, the more money they make. It’s a great incentive.

The Producer’s Chair: Has the industry’s search for new revenue streams, widened or narrowed the gap between the business and the creative?

Dann Huff: In my experience, I don’t feel any change. I feel maybe there’s, more of an awareness across the board that, this is not a gimmie. It has to be very intentional. When I was playing in Nashville, in the 90s, it would appear that, when the artist was relatively well-known and the project was moderately good, you could almost expect physical sales to be ½ Million on-up and that added to almost a source of entitlement in the record industry, especially here in Nashville.  Originally the record industry and the recording studios would be the gate-keepers but because of technology and the leveling of the playing field, anybody could make music on a laptop. I think that’s what kind of changed the whole narrative. In the course of our lives watching this, the entitlement has been stripped away. The awareness of … you gotta be good is heightened.

Everybody has made less and the pie shrunk drastically and I think it’s made people more responsible. Overall, there seems to be more gratefulness when there’s success. Personally, I feel more involved with the people who run these labels and their A&R staff. There seems to be more dialogue. I think overall, there’s more awareness to the details and to the necessity of not missing, too many times.

I feel badly for the artists, the young singers and entertainers. They’re ‘ready but ‘ready-ish’ and if they don’t hit-it, the labels move on because there are so many in the on-deck circles. I think the industry is assimilating all of this now. It’s just trying to figure out, how these corporations can make money.

The Producer’s Chair: Has the redistribution of revenue streams been standardized to the point where, there’s now a new model for how producers get paid?

Dann Huff: No … We make our deals with the artists and we take a % of the streaming royalties that they take and you get your up-front money. After that it’s pretty much the ‘Wild West’.  If I was more into the artist development thing, I would participate 360 but, usually the artists who come to me have label deals. So usually what I’ll do is, talk to management and work out some kind of incentive for chart success, which are bonuses for reaching peak levels on the charts.

Most producers that I know and work with are writers. I write but it’s not my pursuit. For them, their incentive is their songs and the production is a little extra change on the back-end, if you get a hit. If they want specifically what I do, I guess when they work with me they’re buying into a track record of sorts. It’s like picking a number that has a good chance of dingin’ the bell.

The Producer’s Chair: How involved are you in A&R and song-selection for your artists?

Dann Huff: The A&R avenues in these labels have really built up. Our A&R presence from the labels in this town is to me, at an all-time high now. Not that they weren’t in the past but the producers of the generation before me were the power-brokers. They had the songs and most of them were publishers like James Stroud and Jimmy Bowen and that’s how they ran their businesses. Nowadays it seems like there’s less of that. These young A&R people are in the clubs, they’re best friends with the writers and they’re perfect in their jobs. To me it’s now more like the west coast when I was playing. These people are empowered by their label-heads and they’re doing the work. When I come into a situation, they always ask but I like making records. Their job is specifically … what vehicles can we get played on radio? I don’t want to live in that reality because I want to be a musician. I’m living my dream job right now. They’ll ask me what the single is but I don’t have to meet with radio programmers.

The Producer’s Chair: You won CMA ‘2016 Musician of the Year’. If that ’win’ was based solely on session work that you’ve done, on records that you’re producing … That’s Incredible!

Dann Huff: I would think it would have to be. I have mixed emotions about it … of course you’re always honored to win any kind of recognition so … I’m honored.

My wife Sherri always stands over my shoulder, when I get those ballots because she knows that, if it were up to me, I would vote for my friends. In the CMAs they don’t give awards for producers like the ACMs. But I am a musician and I do play on almost everything. I just feel that the guys I hire that play for me, are more deserving.

The Producer’s Chair: Has today’s ‘singles market’ sealed the fate of the industry in some way or, is it simply another transitional stage, in the evolution of our industry?

Dann Huff: I think it’s a transitional stage and part of the evolution.  It’s almost come full circle back to the way that pop music was being peddled in the 60s, as we all know … ‘singles’. I think it’s led to us being much more intentional about what we put out. People are much pickier now. They don’t have to buy anything … they can screen it. So we have to be more compelling, in our work.

The Producer’s Chair: Are you producing anyone who is not country?

Dann Huff: Depending on whom you ask, all the critics say no-body I produce is country … hahahaha … except MIDLAND.

The Producer’s Chair: What is the best advice you can give to great/new singers, hot/young musicians, gifted/fledgling songwriters and conscientious/potential executives?

Dann Huff: Best advice I can give …

  • Make sure you can stay here for the long haul. You can never know when you’re going to get that break-through moment.
  • Make sure you have your business and personal finances in order.
  • Be present … go to the clubs, meet people, network as much as possible. That moment will happen, when you least expect it.
  • And above all … be prepared.