![]() Like songwriter Natalie Hemby, with whom he wrote “Pink Sunglasses” for Lambert’s new double album The Weight of These Wings. And from then on, he’s been putting me in rooms with people that understand me and I understand.” “But Arturo fell in love with that project, and a couple years went by, I was in Nashville, and he said let’s do some business together. There is nothing in there that Dierks is going to sing,'” Dick recalls with a laugh. ![]() I’ve got songs about the afterlife and frogs and they’re all in falsetto. “I said, ‘Man, I don’t write stuff like that anymore. Buenahora, who knew Dick from an earlier stint in Nashville, asked if he had any songs for Bentley to record. Even in country music.īut it was a call from Nashville music publisher Arturo Buenahora Jr., instrumental in the careers of Bentley and Church, that set him on a different path. The musical inventory at his fingertips reinforces Dick’s own songwriting mantra – no direction is too unconventional. All manner of instruments, from basic guitars and an upright piano to the more exotic sitar, are within arm’s reach. Holed up in an East Nashville garage he transformed into the most creative and manly of writing rooms – a stuffed ibex and a set of gym lockers anchor the space – Dick lights a pipe and draws in the sweet tobacco. The pen behind such hit singles as Eric Church’s “Kill a Word” and choice album cuts like Miranda Lambert’s “Highway Vagabond” and Dierks Bentley’s “Roses and a Time Machine,” Dick is a something of an anomaly in the Nashville songwriting community: a former adjunct philosophy professor who stuffs his lyrics not with mentions of cut-off jeans and tailgates but with allusions to cheap sunglasses and DeLoreans. Fortunately, the works of Luke Dick are changing that. ![]() There’s a reason the lyrics to contemporary country songs are regularly criticized – they’ve been known to suck.
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