These Are the Times

"Times" was the first song I recorded remotely in 2020, at the height of the pandemic. Although I had written it sometime in the late '80s, the message suddenly seemed relevant. Indulge me as I provide a little background on the genesis of the TINMAN Project and introduce some of the artists who would become major contributors.

I recorded a rough demo—singing lead and backing vocals, playing bass and guitars, and attempting to add percussion with a digital drum program. The drums were a disaster.

I had met Nashville session drummer Dan Needham (Michael McDonald, Kenny Loggins, Josh Groban, Shania Twain, Garth Brooks, Amy Grant) through his sister, Amy Durkalski, and her husband, Court, friends in our neighborhood. When I reached out to Dan about my dilemma, he was happy to add drums to my demo. When I heard the result, my first thought was, "I definitely need to get rid of my crappy guitars!"

Dan recommended guitar whiz Dave Cleveland as someone who could help shape the song into something professional. He did exactly that, and I remember our first virtual session vividly. I was brought to tears as I heard him masterfully layer guitar parts that echoed my rough ideas while staying true to the vibe of the original demo. In the process, Dave established a musical foundation and an approach that would become an important part of the TINMAN Project recordings that followed.

I also had a loose connection to Lynn Arthur Nichols. My good friend Steve Izant, guitarist in my band, had worked for Lynn when he was an A&R executive at Word Records. I reached out to Lynn looking for help with guitars. He listened to the song and came back with, "I can hear Phil Keaggy playing on this."

Guitar virtuoso, Phil Keaggy

Now, I was a huge Glass Harp fan and had followed Phil throughout his pioneering career in contemporary Christian music. I had seen him perform live several times. So my jaw dropped when Phil said yes to playing lead guitar on my first recording. That introduction grew into a valued friendship, with Phil contributing to many of my recordings since.

Then there was Chris Rodriguez.

My wife Cathy and I were in Honolulu in 2001 and attended a Kenny Loggins performance on Waikiki Beach. The next day, we were snorkeling at Hanauma Bay when Cathy said, "That's Kenny Loggins' guitar player lying on the towel right next to us." I struck up a conversation with Chris about music, we exchanged email addresses, and that was pretty much it—for nearly 20 years.

In 2020, I emailed Chris out of the blue and asked if he remembered that day. His response was essentially, "Absolutely. I have a picture on my wall of me and my son on the beach that day, and I remember meeting you." That chance encounter two decades earlier led to Chris singing backing vocals on These Are the Times, with Cathy also lending her voice to the outro chorus.

And then there was the bass player.

Sometime in the early '90s, Cathy was playing a CD and the bass caught my ear. I checked the credits: Jimmie Lee Sloas. I have no idea why, but I remembered the name for nearly 30 years. While discussing possible bass players for Times, I asked Lynn if he had ever heard of Jimmie. His response: "Sure. I signed Jimmie when he first came to Nashville. I know him well."

Jimmie went on to become one of Nashville's first-call session bassists, with credits spanning Garth Brooks, Keith Urban, Toby Keith, Blake Shelton, Carrie Underwood, Reba McEntire, Faith Hill, Amy Grant, and many others. I was thrilled to have him play on my first recording.

On the technical side of things

Matt Wallace — mixing

Grammy-winning producer and mixer Matt Wallace has helped shape landmark recordings by Faith No More, Maroon 5, The Replacements and many others. He produced The Replacements' Don't Tell a Soul and, in a remarkable full-circle moment, returned 30 years later to the original master tapes to finally mix the album as he and the band had envisioned it. Matt brings that same artist-first sensibility and world-class ear to the TINMAN Project.

Richard Dodd - mastering

Five-time Grammy-winning engineer, mixer and mastering engineer Richard Dodd has spent more than five decades working on landmark recordings by Tom Petty, George Harrison, the Traveling Wilburys, Roy Orbison, Robert Plant, Green Day, Wilco, Dixie Chicks and Steve Earle, among many others. He mixed much of Tom Petty's Grammy-winning Wildflowers, as well as Into the Great Wide Open and "Mary Jane's Last Dance," and engineered both Traveling Wilburys albums and George Harrison's Cloud Nine. Richard brings that extraordinary depth of experience—and a remarkable set of ears—to mastering the TINMAN Project.

Back to Lynn Arthur Nichols

It's difficult to adequately describe Lynn Arthur Nichols' contribution to the TINMAN Project. Lynn has been my mentor, advisor, confidant, executive producer, collaborator, and he has become a dear friend.

His own musical résumé is remarkable - a veteran producer, songwriter, guitarist and A&R executive whose career has crossed contemporary Christian music, alternative rock and mainstream film. A founding member, guitarist and songwriter with MCA recording artists Chagall Guevara, Nichols has spent decades developing artists, producing records and connecting remarkable musicians. His work has ranged from Phil Keaggy and Switchfoot to major-label rock, film soundtracks and an extraordinary list of artists he helped discover, develop and record.

Lynn has a heck of a Rolodex

Lynn opened doors to an extraordinary community of musicians and recording professionals who became part of the TINMAN Project, but his contribution has gone far beyond introductions. He has challenged me, encouraged me, offered an honest ear when I needed one, and helped me navigate the countless creative decisions involved in bringing these songs to life. And when the song called for it, he picked up a guitar or stepped up to the microphone himself.

Over the past five years, what began as a musical connection has grown into a friendship I deeply value. Quite simply, the TINMAN Project would not be what it is without Lynn Arthur Nichols.