Pure Country

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Keith Gattis

Keith Gattis has a voice that already has that seasoned texture many don't achieve for years. He stands out among today's new artists as a formidable country stylist with the ability to bend a note to the breaking point and wrench every drop of emotion from a lyric. "The first time I heard his voice I just started grinning because of the obvious talent," says legendary writer/producer Norro Wilson. "After we started working together I saw that he's not only a special talent, but a person who knows who he is and where he wants to go. Keith is an amazingly strong songwriter, for his age, perhaps the best I've ever heard."

Wilson should know, because he's seen a lot of talent pass through town over the years. He's written some of country's top hits, including "Most Beautiful Girl," and produced artists including Reba McEntire, Charley Pride, George Jones, Tammy Wynette, Sammy Kershaw and Shania Twain.

Together, Keith and Norro have created an album that is indeed, like the first song on the album, "The Real Deal." The self-titled album is a body of music that reminds you what it is that has made country music special to generations of listeners. The highly visual songs, eight of which were penned by Keith, shows an understanding of the human condition, yet never ventures into unnecessary or esoteric philosophizing.

While Keith's writing and his vocal style owe tribute to his hard country heroes, his presentation is uncompromisingly personal and the finished product becomes a fascinating meld of classic and contemporary country music. "We gave Keith's very traditional material a '90s-style kick-in-the-butt excitement," Norro explains. Material ranges from the infectious groove of "Little Drops Of My Heart" to the retro shuffle of "Back In Your Arms" to the hard core country influenced "Only Lonely Fool." Every song is a gem that demands attention from start to finish.

The Austin, Texas native started playing music at 16: "I went out and bought a twenty-five dollar guitar, an instruction book and a broken amp," he says. Keith put together a three-piece country band and started playing in the rural areas around Austin. He heard about a talent competition sponsored by the Future Farmers of America, and he and some fellow FFA members organized a band that went all the way to winning the Texas State Finals. "We played in San Antonio to a crowd of about 8,000, and for the first time I realized that making music was what I wanted to do with my life," Keith says. The win had an additional bonus; Keith and his band were asked to headline at the FFA Nationals in Kansas City for a crowd of 26,000.

During college Keith began writing songs and honing his guitar skills. "I'm a realist. I like having a plan -- a realistic way to achieve goals," he says. To that end, he majored in Performing Arts Technology, studying subjects that included video production and studio technique. "I was very interested in the technical side of entertainment -- how things work and why," he says. "On my own time, I used the school's studio and started recording the songs I was writing, always with a move to Tennessee in the back of my mind. I knew that the only way to have a country music career was to go to Nashville."

After graduation Keith hit the road with a band and saved his money for the much anticipated trip to Music City. He arrived with $800 and an invitation to stay at an aunt's home until he got on his feet. On his first day in town he landed a job at a steel guitar shop. "I felt lucky to get the job," he says. "I made some good contacts and got some great experience."

He started playing around town ("Every dive in Nashville," he recalls with a laugh) and offers for road work soon began surfacing. Two gigs in particular, were perfect. Ernest Tubb's famed Texas Troubadours discovered the country stylist and took him under their wings, and he played guitar on a Johnny Paycheck tour. "Both the Troubadours and Johnny [Paycheck] were very good to me," Keith acknowledges. "Working with them was such an honor."

In 1991 Keith began working with Jim Dowell, who managed Sammy Kershaw at the time, and it was Dowell who played a demo tape for Norro Wilson, who in turn brought the young singer to RCA. Wilson notes: "This is a singer who doesn't want to make cookie cutter music. We set out to make a record that would stand out in a crowd."

It does. Keith's recording is a top example of first class country writing, clean, uncluttered production and vocal performances that remind you of just how powerful a voice and a lyric can be. "I knew Norro would understand my music," Keith says. "He's one of the people who invented the basis for the music I love, having written songs like 'The Grand Tour,' 'A Picture Of Me Without You,' and so many others. I wanted to make a hard-core country record. Not one rock and roll lick. Not one distorted lick. I wanted it to be real."




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