My career in the entertainment industry has enabled me to work with a diverse range of talent. Through my years of experience, I've recognized two essential aspects. industry professionals whether famous stars or behind the scenes staff have fascinating stories to tell secondly audiences are eager to listen to these stories which offer a glimpse into their lives and the evolution of their life stories this podcast aims to share these narratives providing information on how they evolved into their chosen career we will delve into their journey to stardom, discuss their struggles and successes, and hear from people who help them achieve their goals. Get ready for intriguing behind-the-scenes stories and insights into the fascinating world of entertainment. Hi, I'm Tony Mantor. Welcome to Almost Live Nashville. Joining us today is Bobby Tomberlin. At age 11, he was spinning records, chatting with legends like Johnny Cash, Waylon, and Tammy Wynette, just to name a few. He was discovered by Mel Tillis and recently celebrated his 30th year as a staff songwriter for Curb Word Music. He's lived the country music dream, crafting number one hits like Diamond Rio's One More Day and songs for Faith Hill, Kenny Rogers, plus a Grammy-nominated duet with Dolly Parton and Bill Anderson. From the Opry stage to CMT's the singing bee, Bobby's stories are real as the tunes he writes. He has a great story to tell us, so before we dive into our episode, we'll be back with an uninterrupted show right after a word from our sponsors. Thanks for coming on. I really appreciate you having me on. Oh, it's my pleasure. I really appreciate you coming on. Let's tell everybody a little bit about yourself. Well, I'm originally from a small town, two-light town in South Alabama, a town by the name of Lou Vern. It's one of those towns, if you're on the way to the beach, Panama City or seaside, you drive through there. And it's about 45 minutes south of Montgomery. And I grew up just loving music. I can't remember a time when I wasn't just consumed with music. Started playing guitar at an early age and had a make-believe radio station in my bedroom. And then I became a disc jockey at age 11. And it was kind of like a Mayberry town. And I say that with all respect, with a lot of respect. Yeah, I totally get that. my hometown, it was small, just like yours. If you're driving through Main Street, don't blink your eye, you'll miss the town. Our journey is very similar. I started out in radio as well. I loved it. How long did you do your radio gig for? You know, I started at age 11 and I continued working at my hometown station until I graduated. And then I went to another station in South Alabama, Andalusia, and then went to Muscle Shoals and worked at a legendary radio station there, W-L-A-Y were Sam Phillips of Sun Records. That's where he started and the great Buddy Killen, Tree Publishing Company. And, you know, just so much history there. And I was roommates with one of the Shannon Doar members, Mike McGuire. And so I was in radio probably for a good eight or nine years. Yeah, that's great. When did the transformation from radio to becoming a singer and songwriter start? You know, I moved to Muscle Shawls to totally learn more about the songwriting craft. Of course, you say craft, but I just needed to live a little more. But it was a great place to really learn from a lot of great songwriters there. There were people like Matt McAnally, Robert Byrne, Walt Aldridge. That's where I met a lot of my people I started writing with. A guy by the name of Billy Henderson, he was my songwriting mentor, and he eventually wrote songs like 10,000 Angels for Mindy McCready, had songs by Merle Haggard, Ronnie Millsap, and big and rich. He just kind of took me under his wing and believed in me. And then the other people there in the Shoals area, a lot of the other writers, they, you know, would write with me, give me a chance. And I met a couple of other people there that was kind of in the same stage I was, you know, just dreaming. And one of those guys was Stephen Del Jones. And we eventually had some huge success together. Yeah, that's a great story. I love it. When did you actually make the move to Nashville. I moved to Nashville in 1990. Yeah, the great Mel Tillis heard some of the songs I had co-written with a guy by the name of Jim Martin, and he offered me a deal. I was up here in Nashville at one of the demo recording sessions, and he says, how would you like a deal? And I'm like, what kind of deal? And it was just amazing writing for his company. He paid me $100 a week to write songs. I felt like I had hit the jackpot, and then the rent came to you, So I went to work at a Kroger grocery store at night. When did you get your first hit record? How long a journey was that for you? I started getting songs recorded about four years after arriving in Nashville. I was very blessed. Linda Davis was the first one to record one of my songs and took it to the radio. I was getting some songs recorded, but it wasn't enough to pay all the bills. So I continued to work at Kroger for quite some time. I would check out Conway, Twitty, Brooks and Dunn, Patty Loveless, Diamond Rio members. Then Whispering Bill Anderson gave me a chance to go on the road with him and work as his sound engineer. So I quit Kroger, was Bill's sound guy. And then it was about 10 years before I really hit a big lick. And with the song, One More Day, Diamond Rio recorded. Bill and I go back a long way. If you happen to remember Les Singer, he and I were great friends. Oh, absolutely. Les was on the road with him when I was there. And as you know, we lost Les last year. And boy, it's just still hard for me to believe that he's gone. He was quite a talented guy. And I always loved just talking country music with him. Big Elvis fan. Yes, he was a huge Elvis fan. We could sit on his front porch and talk about it for hours. After you started getting some of your songs cut, getting more records out there, when did you decide that you wanted to do more than just write for other people and start writing for yourself? You know, I can honestly say I didn't come here to try to be a star. I didn't want a record deal. I just wanted to see my name underneath a song title, you know, on an album. Because, again, working in radio, you know, I saw all these amazing names through the years. And Dean Dillon, I mean, I could go on and on. Bob McDill, he had written so many Don Williams hits. And I just, you know, fantasized about what it would be like to have my name. And I, you know, I came here and I said, oh, if I could just get one. But, of course, when you get one, you want more. And it never ends. I'm sorry, I totally got sidetracked there. When did you decide to be an artist instead of just a songwriter? Oh, yeah. I'm sorry. I was totally still thinking about those early days. I can go back into dream world really easy there. I totally understand. I think about those days. It was some of the greatest days. But anyway, no, I continued to write songs for other people. And then a buddy of mine, Steve Dorff, was music director for a show on CMT called The Singing Bee. And they needed, you know, band members, singers to be a part of the show, an in-house band for the contestants. It was a game show hosted by Melissa Peterman from Reba And I did you know like the Hank Jr Johnny Cash Waylon Jennings songs And the next thing you know a booking agent started booking me on shows I mean I had done you know the Bluebird on occasion or Douglas Corner here in Nashville. But at that time, here I am in Michigan, California and different places. And, you know, since that time, it just hasn't stopped and it's gotten busier. And usually I do around 75 shows a year, if not a little more than that. And I'm doing, you know, from Alaska to Delaware this summer to Florida. And I love it. You know, it's great to get out of that writing room as much as I love that. You have to get out of that room and get inspired. And the thing that most inspires me is just new landscape, you know, and it doesn't have to be a big city. It could be a small town in Michigan. I really do enjoy it. So you moved in 1990. I moved to 93, but I've been traveling back and forth to Nashville since, I hate to say it, the late 70s. Nashville has changed so much. It is not the Nashville that I knew from back then. What a change we've seen since 1993 until now. Now, I told someone the other day that I feel like I've moved without actually moving. I mean, sometimes I go to Music Row to write and I actually sometimes I find myself lost. I'm like, wait a minute, where is that building that used to be that landmark? That happened to me like last week. I was headed into work at Major Bob and they'd closed down one of the roads. And I literally was like driving around for 10 minutes. And I'm like, gosh, I've been here over 30 years. So you're right. It's a different place now. Yeah, it certainly is. You bring up Music Row. I haven't been down to Music Row like forever. Unless I have to go into Nashville for business, I just don't go. I remember during COVID, there was like 25 or 30 rooftop cranes. I've never seen that there. I'm just totally amazed at how much Nashville has changed. I know, and I'm one of those guys, I don't want to, you know, talk about the way it was and live in the past. But I'm going to be honest with you, some days it's really hard. It does affect me because I love to see, you know, buildings where such beautiful history was made. I love for them to remain. I hate to see a crane tearing them down. I know. I mean, some of the most iconic studios are gone. I know. And I'm one of those. I'm all about the history and teaching other people, new writers, new people in town. That's one of my favorite things, actually. I was writing with a guy the other day, and I write for Curb Word Publishing, and we're across the street from RCA Studio B. and this young artist, his name was Jake Hess, and his granddad was Jake Hess, the legendary gospel singer who sang with Elvis. And he had never been to Studio B, and I'm like, well, thank goodness it's here. And we went over there, and it's just, man, it's so inspiring to walk into a room where the Everly brothers were, or Elvis, Roy Orbison, Dottie West. And I'm glad we have a few of those. Nashville has so much legacy and so much history, and it's just sad to see bits and pieces of it pushed away. With that said, there's new things that come in and hopefully just keeps growing, but in a good way. Now, with that said, how do you see yourself evolving? You've been through the 90s and now here you are writing today. With everything that's changed, have you changed in the way that you approach your writing? Well, as you know, I mean, it's all over the map and now we have the whole AI situation in which I just, it's just hard for me to wrap my head around. Of course, I'm never going to use anything like that to write a song. At the same time, you know, we saw the invasion of the track guys. He really came in and it took away from the studio session, demo sessions with several musicians. And now a lot of people are using the AI technique to do demos. But to get back to your question, I'm just going to stay true to myself, write what I do best. From the heart, kind of sounds trite, but just be true to myself. And like this year, I've been writing with Buddy Ken and great songwriter and producer, and we've ended up writing five songs for Willie Nelson's upcoming record. And three of them are with him. Things like that that really keep me motivated. And, you know, there's just a handful of those heroes left now. For some reason, that's always been the highlight for me. It's more important to me than any award or more than chasing a trend or anything. I mean, just to see my name, you know, on a song recorded by Dolly Parton, Willie or, you know, Kenny Rogers. I mean, to me, that's been the biggest awards. And I'm just going to keep doing, you know, what I've always done, just try to write the best song. And, you know, I've been guilty of trying to chase trends, you know, a few years ago. The whole bro country thing came in, but that's not what I do. And I realized real quickly that that's not my thing. And I told my publisher, he's no longer there, but he encouraged me to do that. And I'm like, you know what, those guys, there's already these groups of guys that do that. And that's what they really do. And I'm not going to be able to compete with that. And I'm just, again, doing what I've always done, just try to write the best song. I had so many songwriting heroes that I learned from. And the bar is high for me. That's a great attitude to have. If you was to describe yourself as a songwriter or as a singer-songwriter, how would you describe yourself to someone that doesn't know anything about what you do? I'm definitely, you know, more of a country guy, but I come from the school of Hank Williams Sr., where I'm from, down in Alabama. He was my first inspiration. But I also, you know, learned from people like Tom T. Hall. And as I mentioned, Bob McDill, he wrote those great songs for Don Williams. So I would fall in that category of storyteller. Oh, man. I mean, some of these songs that Willie just recorded, there's one song called Dream Chaser. And it's, I don't know. it's from my heart, but I always just hope it connects with other people. And I try to write in a universal way. I feel like what I write, a lot of people are feeling that. Yeah, that's great. Now, where do you see yourself in the next three, four, five years? You know, that's a good question. I just want to keep, again, doing what I'm doing. I feel like there's still a lot of songs left in me. I want to go out there and play some music in some areas that I've never played before and just try to keep a lot of the tradition alive. I think it's so important to keep the true country music alive. And I don't mean necessarily just a three-chord song, but I mean just storytelling, just honesty, and maybe a little rawness to the songs where people can feel. People still, you know, a lot of people will say, oh, no, that's not a big deal anymore. I mean, it's all about the beat, how many beats per minute. But I'm telling you, the people I'm playing for, I see, you know, I see some tears in the audience. I hear stories after the show about how some of the songs have affected them. And, you know, that hasn't changed. It's always been like that. Yeah, people love stories. So what's your fan base look like? What do you get for response? What do you see? What do you hear? How do they approach you? What's the dynamic there? Well, I have, you know, the song One More Day that I co-wrote with Stephen Dale Jones It was a big hit for Diamond Rio and the country chart and crossed over But there not a week that goes by that I don hear from people telling me how that song has helped them heal from a loss of someone And also how it's been used in memorials and different funeral services. And that means so much. When we wrote that song, we wasn't thinking about that. I mean, that's much bigger than we ever dreamed of. Again, just trying to connect with people. I mean, that really means a lot to me. That's huge. Yeah, absolutely. I'm glad you brought that up. How do people connect with you? How do they find you? How do they follow you? Well, they can find me on social media, Instagram. I have a TikTok channel. On my TikTok channel, I actually share a lot of country music history. I'll go to special places like in Alabama where Hank Williams once played and just try to, again, carry on a lot of the history and share that. But, you know, I have a very active Facebook page. It's really been growing a lot in the past few months. it's not all about me. I will share stories about some of the icons that I've worked with, and I'll share maybe some of their music. And maybe there's a younger crowd that's never, you know, they've never heard that. That's always cool winning new fans for some of the older artists. Yeah, that's great. That's how we keep their names and their music alive. Now, what's your wish? If someone came up to you and said, okay, you've got one wish, here it is, what would that be? Man, I have been, again, so blessed, again, to just be from a small little Alabama town with no connections. I was blessed early on, you know, to work in radio at a small little AM station. But again, so many dreams have come true. I mean, almost everything I've dreamt of, I mean, has really come true. But I want to just continue to do what I'm doing. You know, I'd like to see myself 15, 20 years from now being like Bill Anderson. He's a really good friend of mine, and we write a lot of songs together, and he still has the spirit of a new kid in town. That's my dream. I definitely want to have more songs recorded and continuing to do shows, but I want to keep that fire. I don't ever want it to burn out. I can't imagine ever being that jaded guy. And believe me, it's easy to go there sometimes. But overall, I've been able to keep that spirit, and I just hope that I can keep that like Bill has. That's a great goal. And I truly love that attitude. So how do you keep it alive? I've had friends of mine that's done big things. They played at the Opry, had hit records, done so much stuff. Then one day they get tired of it and boom, they're gone. So what's your secret? How do you keep it alive? That's another good question. But working with people that I admire, that I look up to. I mean, when I look on my calendar and I see a date with like next week, I'm working with Bill Anderson and Walker Montgomery. So there is a legend and also a new artist about to sign a record deal. He's the son of John Michael Montgomery. And I'm just using that day as an example. And, you know, I look on my calendar and I see dates like that with writers like that. And I get very excited or maybe going to write with Buddy Cannon. It's about being with people who I really admire and respect. And just that magic. I mean, just the knowing that we can walk into that room and magic can really happen. I mean, we may end up with a very average song, but we may end up with something special that could really be life changing. I love that. Yeah, that's the beauty of music for sure. With me, every time I walk into a studio, it's kind of like I'm starting all over. What's it feel like for you when you walk into a studio, you're either laying down tracks for yourself or someone else is recording one of your songs? Well, you know, that's a great way of explaining it. It is like new every time. And even a writing appointment, not just studio, but also writing a new song, a new appointment. It's like starting over again, especially when I write with newer writers who are just in town, new to town. I tell them, hey, I'm not thinking about what I did yesterday or years ago. It's a new day. We're starting over again with a blank sheet of paper or a blank, you know, pad on your iPhone pad. I don't know. That's the way I approach it. And you also ask how I keep the fire going. Another thing, again, is just I'm still a fan of a lot of people. I love going to concerts. James Taylor's in town. That still lights my fire to go and see people like that. It inspires me. Like this weekend, I'm doing a special show in McMinnville, Tennessee, the hometown of Dottie West. I'm doing that show with Linda Davis and her husband, Lang Scott, and my girlfriend, Tess Frizzell, who's a great talent. She's Dottie's granddaughter. And, you know, that's exciting going back to where, you know, I'm just using Dottie as an example, someone who had that dream to come to Nashville. And even though she's been gone now for so long, we're going back there and that's going to be fun keeping that spirit alive. Yeah, absolutely. When you get a chance to work or be around someone that has a history of working with some of the legends of the business, that should be the catalyst that lights a fire under someone's butt because not a lot of people get that kind of an opportunity. Oh, man. And, you know, I keep mentioning Bill Anderson, but when you're sitting in a room with Bill writing a song, we may take a break and he shares a story about riding in a car with Patsy Cline on the way to a show in New York or telling about the time he and Lefty Frizzell was on a show. And Saginaw, Michigan was the number one song and Lefty didn't even know the words to it. And Bill wrote it and had to kind of hide down behind the curtain and whisper the words. So, I mean, just getting little nuggets like that. That's cool. That's stuff that used to be exciting as a kid, and now here I am at this age still hearing stories and getting to meet some of my heroes or work with my heroes. Yeah, that's a great feeling for sure. I'm from a small town. I grew up listening to a lot of R&B singers and pop singers. Then all of a sudden, here in Nashville, I'm getting calls from some of those people I grew up listening to saying, Hey, we've got to do a project together. You're getting a lot of that now. what's the first thing that goes through your mind when you get that type of call? You've listened to them all your life and now you're getting that call. It's just, I can't even, I don't even have the words for that. I mean, for example, Hank Williams Jr., he was the first concert that I ever went to when I was a kid down in Alabama and I've known Hank for a few years and he just randomly pulled out a lyric sheet and he's not one to write songs with other people. I guess a couple of years ago, I finished, worked on the song and finished it. He had, of course, so much started to it. A moment like that, imagine this little kid seeing this artist like Hank perform when I'm like eight years old and fast forward all these years and I see my name beside his on a song lyric sheet. I mean, that's pretty amazing. Or Bobby Bear. I could just go on and on. You know, Jeannie C. Riley, I learned to literally walk to Harper Valley PTA. my parents had a little record players what are they called coffee table record players where you pull the drawer out and I literally wore out that record you know and learn to walk and now you know she'll give me a call and I'm like is this really I mean really G C Riley so talk about full circle a lot of full circle omelets here yeah that great I mean it a situation where you moved to Nashville you paid your dues you done all the things and now you getting to work with some of these great people. It's something you should be really proud of. I'm so proud of it, and I'm so thankful that I have had these opportunities. Of course, I'm always writing with new artists, new writers, but I've always found it important to work with some of these legendary acts too, because they still have a lot of things left to say, a lot of songs left in them, a lot of them do. Yeah, I just cherish these friendships. Yeah, absolutely. These artists are just people. They've put the time in, they've paid the dues, been on the road. They just worked really hard to get their careers. They're just regular people, but they have all these stories of all the people they've worked with during their careers. It's just a great thing to be able to be around them, to listen and absorb the information that they can give you through their stories. The beauty of that is you get to hear it and most people never hear it unless it's on TV or during a radio interview. That is so true. Another great artist that comes to mind is Vince Gill. He's, as you know, one of the most talented people. And sometimes I have to remind myself he's a member of the Eagles because he's one of the most humble people that I've ever met in this business. We've written, I think, three songs together. And when I've written with him, I even have to kind of pinch myself. I'm like, really? This guy, he's on stage with Don Henley and one of the greatest musicians and artists. But here he is just in a raw form, you know, sitting there with a guitar, you know, chasing a song. OK, I'll tell you a little story about Vince Gill. I don't know if you would remember who Lenny Welch is. Oh, yeah, since I fell for you. Yeah, his big hit. Lenny was a friend of mine. Oh, what a talent. He came into Nashville, spent a week with me in my studio. Friday, I took him backstage at the Opry, and Vince just happened to be there. As soon as we walked in, one of the background singers knew who he was. I can't remember who it was, but he just went crazy. Lenny Welch. After the show was over, it was the background singer, Vince, Lenny Welch, and me. in the back lot of the Opry. We were standing there for about 40, 45 minutes talking about music and how things were different from when Lenny was out there recording. It was really fun. I looked at Vince and I said, where else in the world could we have this kind of conversation? And here we are at the Opry in Nashville. That's so true, man. I loved Lenny. Oh yeah, he was a great guy. You know we lost him. I didn't know him, but I'm a fan. Was a fan of his music. Yeah, he was just a great guy. A real pleasure to be around. And again, like we were talking, he just had so many stories. And because of it, Vince, the background singer, and myself were all there talking for a long time. That's the beauty of Nashville. You never know who's around the next corner and who you're going to bump into. That is so true. And the funny thing, I've never really, it's not like I've chased any of these friendships or relationships or anything. It's just been like timing. Oh, I was here and someone introduced me to this one. And well, hey, let's write a song. And again, it's just letting the universe work, you know. That's exactly right. Well, it's just like Eric. He turned me on to you. Yeah, I love Eric. What a great guy. Yeah, you went on his show, right? Right, sure did. Yeah, he emailed me that same day and said, oh, you've got to reach out to him. He'd be great for your podcast. And here you are. That's the beauty of Nashville. You bump into people, you get to know them. Then all of a sudden you're working with them. They're referring you. It's just great. It's a great atmosphere to be in. It really is. I actually was just in my hometown, I believe we were in Alabama yesterday, and I was walking around the park and I thought, well, by tonight I will be in Nashville attending the Songwriter Hall of Fame awards and seeing Emmylou Harris, Vince Gill. And, you know, still, like I said, I have to have these pinch myself moments and realize, wow, I'm really here. I live here. I'm in the middle of it. And it's such a blessing. It is. I had a friend tell me one time after I had just had a major meeting, it was early in my career here in Nashville. Once it was over, it was all positive. My friend told me, he says, you know, someone somewhere in this world would love to have the sit-down meeting that you just came from. So don't take it for granted. It's true. I try to keep that in mind. For years, I think I failed to remember that. But you know, as you get older, you start realizing. Yeah, you do. As you get older, you start losing some of the people that's been around you. Then you start to realize that you've been very fortunate to have this person or this person in your life that helped you through your career. Now they're not here, but it does give you an opportunity to reflect on everything that they helped you with. And now because of it, you're doing this and creating your own legacy. That's right. That's right. But boy, we have lost so many in recent years. And of course, just lost Grand Ole Opry star Jeannie Seeley. And that was a tough one. She just kept the spirit just like Bill Anderson. And she had started writing again in the last few years. And we worked together several times. Yeah, it's really tough to lose close friends like that. Unfortunately, a lot of the Opry stars are getting up there in age. Look at Bill. He's been there forever. Yeah, but I tell you, Bill, he's going on maybe 32. That's a good thing because that is what keeps him going. That's right. So in closing, is there anything else that you'd like to tell our listeners? I'm going to give a plug to a new memoir that I've just released. It's called I've Lived Country Music, and I share a lot of the stories, you know, about my, well, it is. It's about my journey from small town Alabama to Nashville via radio and, you know, just a lot of special stories that needed to be documented. and I lost my father back in January of this year and I just wasn't quite ready to get back on the road and come back and just have a heavy writing schedule. So I took some time and I just wrote and wrote and wrote and really, really pleased with the way it turned out. And you can get a copy on my website, bobbytumberlandmusic.com, a signed copy, or also you can get it on Amazon. Yeah, that sounds great. I'm sure it's got some great stories. So this has been awesome. I really had a great time being with you today. I appreciate you taking the time to come on. I do appreciate you. I mean, as busy as you are and to have us, I'm sure, so many lined up. I mean, I do appreciate, you know, you taking the time to talk to me. Oh, it's been my pleasure. Thanks again. Thanks for joining us today. We hope you enjoyed the show. This has been a Tony Mantor production. For more information, contact media at plateaumusic.com. If you like the show, please take a moment to rate, review, and subscribe. It really does help the show to grow. Thank you for listening. Thank you.
