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Folk Artist Buddy Mondlock Touring With Pop Icon Art Garfunkel
Tour Supports 'Everything Waits To Be Noticed' CD Written by Mondlock, Garfunkel and Maia Sharp
By Anne Freeman, The Aspiring Songwriter®
(more articles from this author)
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Buddy Mondlock (, an accomplished Folks artist and songwriter based in Nashville, TN, is having a pretty good time of it recently. Buddy is touring and sharing the stage with the legendary Art Garfunkel, along with singer/songwriter Maia Sharp, to support the trio’s new album, Everything Waits to Be Noticed (EMI/Manhattan). The album features songs cowritten by Mondlock, Garfunkel and Sharp, along with producer Billy Mann. This project is Art Garfunkel’s first attempt at songwriting, and Buddy had the pleasure of helping to bring that to life. And, the upcoming European leg of the “Everything Waits to Be Noticed” tour will end in Great Britain with a date at the Royal Albert Hall – that is the Royal Albert Hall, Great Britain’s equivalent of Carnegie Hall. All in all, he’s having a pretty good time of it.

During a recent break in the tour, I met with this talented artist, whose songs have been covered by other notables such as Nanci Griffith (“Comin’ Down In The Rain”), David Wilcox (“The Kid” and “You Were Going Somewhere”), Joan Baez (“Amsterdam”), Janis Ian (“Tenderness”), Garth Brooks (“Every Now and Then”), and Peter, Paul and Mary (“The Kid”), among others. Sitting under a canopy of an open bar on the beach in a pretty resort town on the Gulf of Mexico, the soft ocean breeze blowing, our conversation began …

[The Aspiring Songwriter] Buddy, you have a very exciting project going on right now. You not only have recorded an album with Art Garfunkel, you also cowrote most of the material on the album with Art and several other writers.

Buddy Mondlock Yes, the CD is called Everything Waits To Be Noticed, and almost all of the songs were written by Art and myself, along with Maia Sharp and Billy Mann, usually in combinations of three of us. On six of the 13 songs on the CD, Art was a cowriter.

[The Aspiring Songwriter] I didn't realize that Art Garfunkel was a songwriter.

Buddy Mondlock Well, he is now. The Simon and Garfunkel material were all Paul Simon songs. But Art is very creative. He's been writing poems, and he wrote a book of prose poems called Stillwater. Some of the songs that we wrote together, we used the poems as the starting place. We'd take some of the lines of the poems and adopt them to lyrics. It was a fun process. I was really proud of Art because he dove in with both feet. He was a full participant in all the aspects of the project.

[The Aspiring Songwriter] All thirteen songs on the project are original material?

Buddy Mondlock Yes. One or more of the four of us had a hand in every song but two. "Young and Free" was written by Richard Julian and "What I Love About Rain" was written by Lisa Aschmann and Tom Kimmel.

[The Aspiring Songwriter] How did this project come about, Buddy? How did you get hooked up with Art Garfunkel in the first place?

Buddy Mondlock Basically, it came about because our producer, Billy Mann, had a brainstorm. Billy and I had done some writing together. He thought it would be cool to get the three of us involved in writing and singing together. He was aware that Art hadn't done songwriting, per se. But, Billy just had the sense that Art would have something real to contribute in that way, and of course he did, as it turned out. He also had the sense that Maia and I might be the right people to help Art bring that out, as well as sounding good together. There is only so much that you can do to change how your voice sounds -- everybody has their own timber and tonality -- and Billy had an idea that the three of us would have a nice blend of voices together.

[The Aspiring Songwriter] So I take it that Billy knew all three of you individually …

Buddy Mondlock Yes, but we hadn't all met each other before. Billy was the center that everything converged on. He's a great guy. He's got more energy than five other people, and he's very creative. He's a producer, he's a songwriter himself, and he's an artist, as well.

[The Aspiring Songwriter] Billy Mann produced the Everything Waits To Be Noticed CD?

Buddy Mondlock Yes.

[The Aspiring Songwriter] Was Billy involved in any of your other CD projects, or was this the first time that you worked with him as a producer?

Buddy Mondlock I wrote a few songs that Billy produced the demos for, so I had an inkling of how he worked in the studio.

[The Aspiring Songwriter] Buddy, is Everything Waits To Be Noticed released on an independent label?

Buddy Mondlock No, it's on EMI/Manhattan. Manhattan is in the same office as Blue Note and Angel Records. This is a relatively new incarnation of Manhattan Records. Manhattan Records existed a number of years ago. Everything Waits To Be Noticed is one of the first projects released on the new Manhattan Records.

[The Aspiring Songwriter] Art, Maia Sharp and you are a mix of genres and styles. How did that work out?

Buddy Mondlock Yes, but we're all coming from the same sort of place. I was very influenced by Art's early work in Simon and Garfunkel. When I first started playing guitar, even before I was writing songs, I was really excited about all of those Simon and Garfunkel records, and spent a lot of time listening to them. In a way, there's a chain, a connection between where Art's coming from and me, because he was an influence. I think he's part of Maia's too, in a way. She's a little bit younger than I am. We're about ten years apart, and then Art's a little bit older than me.

[The Aspiring Songwriter] You have a continuum ...

Buddy Mondlock Yes. To listen to our individual records, I'd say that I have a little more acoustic, folkier sound. Maia's a little bit more alternative, edgy pop stuff, but also with a heavy acoustic guitar base, too. And, everybody knows what Art sounds like. (Laughter!)

[The Aspiring Songwriter] You and Maia are both writers for the same publisher?

Buddy Mondlock We both write for the same publishing company, Major Bob Music.

[The Aspiring Songwriter] Had you written together before the Everything Waits To Be Noticed project?

Buddy Mondlock No, we never met before Billy brought us together for this. Maia signed with the publishing company after we came together for this project, although I was familiar with her work. My manager, Bob Doyle, who's also the head of the publishing company that I work for, had an unreleased CD of Maia's that somebody had sent to him. Bob wanted me to listen to it because he was intrigued by the production on it. Of course, he wanted it back, but I still have it. (Laughter!) I just played that thing over and over. I immediately fell in love with Maia's music. Every once in a while you stumble across somebody you really gets to you, and Maia's one of those people. So, when Billy brought Maia's name up as the third person for this trio idea, I just thought that was great. ( )

[The Aspiring Songwriter] Is this the first time you've done a collaborative work like this? You have three solo CDs.

Buddy Mondlock Yes, this is the first time I've teamed up with other artists to do a recording project like this, although my wife, Carol Elliot, and I have done quite a bit of performing together. We have yet to record a CD together. We've been talking about it for years, and I'm sure it's coming. But, we haven't done it yet. We've been working very closely together for the last seven years. We've toured a lot together. After spending so much time together,I really miss her when I'm out with Art and Maia. (

[The Aspiring Songwriter] Speaking of tours, you're on a little bit of a break right now from the tour to support Everything Waits To Be Noticed. Where have you been so far, and what's happening next?

Buddy Mondlock We've done two groups of dates so far. The record came out on October 8th, and we started October 16th in Salt Lake City. We did the West and the Mountain states. We played in LA, Santa Rosa, Portland, Oregon; Boise, Idaho; Olympia, Washington; Denver, Minneapolis, Chicago and Ann Arbor. That was the first leg. Then we took off a week. Then, we came back did an East Coast tour, Wilmington, DE; Albany, Philadelphia, Boston, Hartford, Norfolk, VA. We had a really fun gig at Harvard University. We played in this old hall. It was a beautiful space to perform in. The woodwork and carpentry were amazing, and it had steeply raked seats. I think that was our best show. The audience was really into it, and the sound was great. It felt good. After we did the East Coast, we broke for the holidays. We're still on that break now, but I leave for the next show on January 27. The next gig is February 2 in San Francisco at the Fillmore. After the Fillmore, I fly back to Nashville for the Folk Alliance and then we've got a date in NYC before it's off to Europe for a month.

[The Aspiring Songwriter] Will you be performing at the Folk Alliance?

Buddy Mondlock I'm doing a whole slew of showcases. Not the official Folk Alliance showcase. These are "guerilla" showcases, usually in people's hotel rooms. Sometimes someone will rent a suite and set it up exclusively for showcasing.

[The Aspiring Songwriter] What's that about?

Buddy Mondlock Well, the Folk Alliance is the Folk convention. All things Folk converge on a different city each year. There are official showcases sponsored by the Folk Alliance - about 30 acts or so that take place over several nights. But, because everybody's there, folks started doing these unofficial showcases, too. Whenever there is no official Folk Alliance business happening, people are scheduling these showcases. You'll find the fliers everywhere in the hotel and at the conference itself.

[The Aspiring Songwriter] Sort of like house concerts?

Buddy Mondlock In a way. They're usually 30 minutes slots. There could be a dozen or more people playing in an afternoon or evening in any particular showcase room.

[The Aspiring Songwriter] Sounds like fun!

Buddy Mondlock It is a lot of fun. You can sure hear a ton of music while you're there. They go on 'till all hours of the evening. I usually do three or four showcases, but this year I'm doing about 12!

[The Aspiring Songwriter] After the Folk Alliance, what happens next?

Buddy Mondlock The three of us may do something in Nashville. There's been some talk about that. Something small, maybe something acoustic. Then we're supposed to do a show in New York City. That would be the 20th of February at Town Hall. Art is receiving a lifetime achievement award, a Grammy, along with Paul Simon. We have a concert that week. After our show, then we head off to Frankfort, Germany. We'll do about eight dates in Germany, one in Austria, and then we head to Ireland. We'll play Dublin and Belfast, and also six or so shows in England, including the Royal Albert Hall. (March 18)

[The Aspiring Songwriter] Wow! The same Royal Albert Hall that the Beatles sang about? That is a thrill, playing the Royal Albert Hall.

Buddy Mondlock I sort of have it associated in my mind that the Royal Albert Hall is Britain's equivalent of our Carnegie Hall. It's the place you want to play in London. I'm excited -- it's going to be a really fun trip

[The Aspiring Songwriter] If people want to buy tickets to any of the shows, what's the best way?

Buddy Mondlock The best way is to visit Art's website at . There should be the tours dates and how to get tickets. You can also find information about the tour on my website.

[The Aspiring Songwriter] So, what's it like to perform with a Pop Icon like Art Garfunkel?

Buddy Mondlock I have to say that Art's been very gracious to Maia and myself. He's obviously a much more well know entertainer than either one of us. He really wants to stress the trio aspects of what we've done here in terms of creativity, because it really happened from all three of us. He's always talking about that in interviews.

To open the show, Maia and I each do a couple of songs by ourselves to introduce the audience to who we are as artists in our own right. Then, Art comes out and the three of us perform an acoustic song together, "Everything Waits To Be Noticed," which is the title track of the CD. Then we take a little break. Then Art comes back with his band and he launches into some of the old Art Garfunkel material and some of the old Simon and Garfunkel material. Maia and I drift in and out while he's doing the older stuff I play guitar and Maia's an amazing saxophone player. She plays soprano sax all over the record. She does quite a bit of playing in the concert, too. There is a section in the middle of the show where we do some more trio songs with the band. And then Art finishes the show with the classics, "Bridge Over Troubled Water," "Mrs. Robinson," and stuff like that.

[The Aspiring Songwriter] Describe some of the production of the material on the CD that you perform.

Buddy Mondlock It ranges. Some of it's acoustic. Everything Waits To Be Noticed is mostly just acoustic guitar and voices, but then we brought a string section into it. It has everything from sort of rocking out to some very intimate arrangements. There is a lot of acoustic guitar on the record. I played a lot on it. There are a lot of great Nashville players on the record.

(George Marinelli (Guitar), Pamela Sixfin (Violin), Alan Umstead (Violin), Kristin Wilkinson (Viola), Billy Mann (Guitar), Mark Hill (Bass), Larry Beaird (Guitar, Banjo, Mandolin), Erik Darken (Percussion), Robert Mason (Cello), Steve Brewster (Drums), Connie Ellisor (Violin), Shannon Forrest (Drums, Percussion), Carl Gorodetzky, (Violin), Jim Grosjean (Violin), Tony Harrell (Accordian), Jeff King (Guitar, Mandolin), Buddy Mondlock (Guitar), Maia Sharp (Soprano Sax, Clarinet).

[The Aspiring Songwriter] One of the songs that you and Maia wrote together is called "Understudy." I read the lyrics on your website, which talks about the understudies finally getting their chance on stage, and they forgot that they were understudies when they were out there under the lights. I wondered if the song was inspired by your experience with Art.

Buddy Mondlock It could have been, subliminally. We really weren't thinking consciously of working with Artie, then. It's really about a romance just beginning to come into it's own. As it turns out, Maia recorded it for her record. I forget how that title came about, exactly. I think one of us just used it as a metaphor for some point we were trying to make, and we went, "Whoa, that's interesting." The song just kind of flowed. That was the first thing that Maia and I had written together, and it came together in a really nice way.

[The Aspiring Songwriter] Buddy, tell me a little about your personal songwriting process. How did you get started?

Buddy Mondlock I started playing guitar when I was ten years old. I was listening to a lot of stuff: America, Cat Stevens, the Beatles, and later on John Prine and Steve Goodman. Of course, you want to try to make up songs that sounded kind of like the stuff that you liked. I had it in me, but I wasn't very consistent with it. I mostly was always trying to learn other people's material, things that I liked. Like the Simon and Garfunkel stuff. I started getting a little more serious about writing in my Junior and Senior year in high school. When I was sixteen. Basically, the songwriting came on the heels of my first tragic love affair -- or maybe the lack of a love affair. (Laughter!) That will get you started as a songwriter. I've been writing ever since.

[The Aspiring Songwriter] Did you decide then that you wanted to be a performing songwriter?

Buddy Mondlock At that time, I wasn't sure that it would be my living, necessarily, but I really loved it. I'd been recruited into a choir/performing group by my eight grade teacher when I entered high school. We did musicals, operas. That really got me going. Musical theater helped me become comfortable performing on a stage. Between that and open stages, I was learning how to perform.

I went away to college, St. John's college in Annapolis. I thought that I would figure out what I wanted to do when I was in college. St. John's College was a very small liberal arts school that focused on the great books and a traditional liberal arts education. So, it was very general. I didn't discover something like Marine Biology out of it. Actually, the first year I went, I had a great time. I studied Greek and Plato and all of that. The second year, I didn't have quite as much fun with it. I found I was playing a lot more guitar, and then having to catch up on the reading. I went home for the summer. I was going to transfer to their campus out in Santa Fe, thinking that it might spice things up a little bit.

While I was home, I played at my Grandmother's birthday party. My cousin from Milwaukee, who was a professional musician, came down. He was really encouraging. He said, "I really think that you can do this." And, I'd been having some really good reactions at the open stages. I said, "Well, I went to college to find out what I wanted to do with my life, and I think I know." So, I never went back. I started working on getting gigs and writing, and I haven't looked back since.

[The Aspiring Songwriter] What did your family think about your decision?

Buddy Mondlock They were amazingly supportive. I know that my grandmother was disappointed that I didn't finish college. But my parents were always very supportive about my music. With any of the kids, they just wanted us to be doing what we thought we should be doing.

[The Aspiring Songwriter] Buddy, you've recorded three solo albums. Were they all on your own label?

Buddy Mondlock The first one is called On The Line (1987). I recorded that independently. It was done just before I left Chicago to move to Nashville. I'd been playing with some folks up there and we had started getting a sound together. It was time to do that record, before I moved to Nashville, because I wouldn't be able to get together with them too much anymore.

Then, I recorded a second record, which is self titled. Steve Adabo produced that. Originally, that was supposed to be for Capitol Records. The president of the company, who was Jimmy Bowen, had set up this sublabel to do the kinds of projects like me, because I obviously wasn't Country. As we were wrangling over the contract, we noticed that the one guy at the label who kind of got what I did was spending less and less time on that and more and more time on other aspects of the label. And the guy who I thought I was going to be working with over there ended up running mostly Gospel stuff. I realized that if I took this contract, there would be nobody with whom I had a relationship with already. I could easily see it getting done and then falling into the vaults where it is dark and cold, and it never comes out again. (Laughter!) So, we didn't sign the deal.

Then, I recorded a second record, Buddy Mondlock (1994). Steve Adabo produced that. Originally, that was supposed to be for Capitol Records. The president of the company, who was Jimmy Bowen, had set up this sublabel to do the kinds of projects like me, because I obviously wasn't Country. As we were wrangling over the contract, we noticed that the one guy at the label who kind of got what I did was spending less and less time on that and more and more time on other aspects of the label. And the guy who I thought I was going to be working with over there ended up running mostly Gospel stuff. I realized that if I took this contract, there would be nobody with whom I had a relationship with already. I could easily see it getting done and then falling into the vaults where it is dark and cold, and it never comes out again. (Laughter!) So, we didn't sign the deal.

My manager, Bob Doyle, and his partner, who was Pam Lewis at the time, formed a production company. We kept our budget, which was pretty hefty for a Folk project, but less than a Country artist. So, we kept the budget and Steve Adabo stayed on as the producer. I really had a lot of fun with that record. I recorded it with some of the guys I'd been playing with since I got to Nashville. Guys like Dave Pomeroy, Sam Bacco, Barry Walsh. They are really great players. So, we released it on Doyle/Lewis Productions. Buddy Mondlock got picked up by Son Records in Ireland. Son Records was a little label that U2 started to develop projects that they were interested in. I got to do a number of tours in Ireland and Europe to support that record.

The next record is called Poetic Justice (1999). That record got picked up by EMI/Canada. It got distribution there, and then we got it distributed by EMI/Ireland and in Britain, too. I got to do some more touring to support that. The next record is Everything Waits To Be Noticed.

[The Aspiring Songwriter] What are your future plans?

Buddy Mondlock I need to be making a new Buddy Mondlock record, and at some point a Buddy and Carol record, which ever one comes first, and to continue to tour. I got a nice start in Great Britain, touring to support Poetic Justice and it will be nice to come back with Artie and Maia this time.

[The Aspiring Songwriter] Buddy, you mentioned earlier that you moved to Nashville. What prompted you as a Folk artist to move to Nashville?

Buddy Mondlock Well, I had never really pictured myself in Nashville. I was living in Chicago. I met Guy Clark at the Kerrville Folk Festival in Texas. Kerrville is just a wonderful singer/songwriter festival. It's amazing. My first year there - I went especially to meet Guy. I'd heard him the year before in Chicago and I was really blown away by his songs. Guy hosted this thing called the Ballad Tree, which is an open stage on a hill under this big Oak tree. I sang a song called "No Choice." After I was done, Guy introduced himself to me -- of course, I knew who he was -- and he said that he liked the song and did I have a tape of it? After I got done doing back flips, I said, "Don't move, I have a tape in my tent. It's right over there, and I'm just going to go get it for you."

He took it to Nashville, and he liked the songs on it. A couple of weeks later, I had a message on my phone machine when I came back from doing the laundry. He was wanting to know what I was doing. I called him back and he said, "What do you want to do with your life?" I said, "I just want to keep making music and somehow try to make a living at it." He said, "Well, move to Nashville and we'll see if we can get you into the music business." As a songwriter, Nashville is the place for that to happen.

[The Aspiring Songwriter] You write for other artists, as well.

Buddy Mondlock Well, it's funny. I just try to write a song. After it's all done, I'll think about who the song might be good for, but mostly I just try to please myself. I've had couple of other artists sing some of my songs.

[The Aspiring Songwriter] Buddy, how would you describe your songs? What's your artistic mission?

Buddy Mondlock That's a tough one. I guess what I'm usually after is I try to communicate some kind of emotional atmosphere or feeling. Some of the songs are fairly straight forward story songs. Some are a little more impressionistic. But I'm hoping that, whether the lyrics are very specific or the brush strokes are a little fuzzier, that people will at least be able to feel the kind of things that I was feeling when I wrote the song. And, of course I'm very much tied to the acoustic guitar. That's my instrument, so it colors that outcome of what the song is going to sound like.

[The Aspiring Songwriter] I'd like to ask a question for us aspiring songwriters out there. If an aspiring songwriter had a chance to pitch one song to you, what would have to be in it to get you to say, "That's a song I want to record."

Buddy Mondlock Well, I have to say that I've never recorded anyone else's material on my solo projects.

[The Aspiring Songwriter] Then let me recast the question. What would you have to hear in a songwriter's material for you to be interested in cowriting with them?

Buddy Mondlock Well, that's not to say that I would never record anyone else's material, but it would have to really hit me in the bread basket and really move me musically and lyrically. It would have to sound true. It could be something really fantastical like a John Prine song, where his lyrics have an element of whimsy, but they're still communicating some truth about human nature and life on earth.

[The Aspiring Songwriter] Although you're a performing songwriter, I'm wondering how important has cowriting been to your career? How important is cowriting for people who are really trying to get into the business?

Buddy Mondlock I'd recommend trying it, at least. In Nashville, most songs are cowritten by two or more people. It's just the way things are done there. It's been useful for me. I've noticed that the songs that I've written by myself, those are the songs that I'm more likely to recorded myself. But the songs that I've written with other people, and some of those have been recorded by other people, I think I 've learned I've always learned something form the experience. That's what happens when you're writing with someone who writes differently than yourself.

[The Aspiring Songwriter] How important is your publisher in hooking you up with other writers? Or, do you develop those contacts yourself.

Buddy Mondlock Up until the past year or two, I've mostly written with people I've run across myself. Bob, my manager, has introduced me to a couple of people. Lately, I've let our writer manager at the publishing company suggest people. That's been interesting. These are people I've never met before. Some of them have worked out great, some of them not so well. It's been interesting. Actually, I've been thinking about spending a little more time writing by myself again. More pure Buddy Mondlock stuff.

[The Aspiring Songwriter] That would be important if you're going to start working on a new solo album! Buddy, what's the best way for folks to contact you? How can people purchase your albums and check your tour schedule?

Buddy Mondlock The best way to do that is to go to my website, which is That's the best place to keep track of me. There is also a newsletter posted on the website.

[The Aspiring Songwriter] Is there any other news you'd like to share, Buddy?

Buddy Mondlock Yes. I've got two songs on Guy Clark's new record, The Dark. They are the only two songs that Guy and I have written together. After all of this time, we finally sat down this past summer and wrote a few songs together. One is called, "Mud," and one's called is called, "The Dark," which is the title cut of Guy's new record. I'm just thrilled about that. Guy's one the greatest songwriters ever, so I'm really honored to be a part of that. ( Also, Edwin McCain just did a new record, and it has my song, "No Choice" on it. ( )

[The Aspiring Songwriter] Exciting news! Well, thanks, Buddy, for spending some time with me on your tour break. All the best with the tour and CD, Everything Waits To Be Noticed on Manhattan Records, featuring Art Garfunkel, Maia Sharp and yourself. And, have a great time at the Royal Albert Hall!

Buddy Mondlock Thanks, Anne.

The Aspiring Songwriter® Review: 'Everything Waits to Be Noticed' is receiving great reviews for good reason. It is a pretty album, full of songs and arrangements that capture Art Garfunkel’s unique, fragile tenor. Buddy Mondlock's and Maia Sharp's voices blend perfectly with this great vocalist, and their songs bring meaning and depth the album’s pretty sound. A welcome relief in a sea of noise.

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