Stevie Hawkins - Welcome to From There To Here: The Stories Behind the Album

Welcome to "From There To Here": The Stories Behind the Album

Every album project has a story. "From There To Here" is no exception.

This articles page is dedicated to the people, passion, and process that will bring this Stevie Hawkins project to life. While the songs will tell one part of the journey, these articles will explore everything happening behind the scenes—from the earliest songwriting sessions to the finished recordings and every milestone along the way.

Throughout this series, you'll meet the talented musicians whose performances will shape the music, the producers and engineers who will help capture its sound, the mastering engineer who will give the album its final polish, and the marketing team that will work to share the project with listeners around the world

You'll also find updates on the songwriting and recording process, news about the album's release, and information about the crowdfunding campaign that will help make this independent project possible. Whether you're a longtime supporter or discovering From There To Here for the first time, these articles are intended to offer a front-row seat to the collaboration, creativity, challenges, and dedication that will transform an idea into a finished album.

Thank you for joining this journey from the very beginning. Your interest, encouragement, and support mean more than words can express. We invite you to follow along as we document each step and celebrate the people whose talents and commitment will help take From There To Here from an idea to a completed album.

(Part 1)
Edd Miller • C0-Producer

Hey everyone, I thought I'd share an update on the new album project. After about a month of my songwriting flow paused preparing for my concert at the Capitol Theatre week before last, I'm happy to say I'm finding my way back into the creative groove and moving steadily toward the finish line. The songs are continuing to come together, and I'm genuinely excited about what's emerging both lyrically and melodically. Every time I sit down to write, the universe seems to guide me to where it needs to go. There's something special happening with this record, and each new song seems to open another creative door.

As the writing has evolved, so has the vision for the album. What initially started leaning toward a blues record has grown into something much broader musically. The sounds, textures, and arrangements I’m hearing in my head have led me to a big decision: most of this album will now be recorded in Nashville. It's likely that I will record my final vocals in Atlanta, GA, as well as any necessary instrument overdubs.

One of the most important decisions in making a record is choosing the people who will help bring the songs to life. Technical skill and professional credentials certainly matter, but great records are built on something deeper—chemistry, instinct, shared vision, and the ability to serve the music. The right producer understands not only how a song should sound but also how to help uncover its full potential. Likewise, the right musicians bring more than their instruments to a session; they bring experience, feel, creativity, spontaneity, and the ability to elevate a performance in ways that can't always be written on a chart.

The most inspiring aspect about the gathering of the team for this album is the mix of talent, instinct, and musical intuition. They are players who know how to listen as much as they play, can hear where a song wants to go, and provide immediate, instinctual performances, adding embellishments that take a good track into the realm of something special. The musicians for the project are specialists in blues, blues-rock, Southern rock, and American roots music, accustomed to playing on major recording sessions and on the big stages, which is exactly what and who I want for this project: authenticity. Equally important was having a co-producer who understood that musical language and could help me shape and guide the performances, bringing an experienced ear and a shared vision that tied the entire project together.

As the songs develop, I feel certain that I've put together the right creative team for beginning the journey ahead. The level of trust, experience, and artistry that they all bring to this album will be integral in making it as great a record as I think it can be. Bit by bit, I'll be slowly lifting the veil and revealing each of the people who are a part of making this album happen—the co-producer, musicians, recording studios, engineering staff, and more.

And with that said, I'm excited to begin revealing the remarkable people who have joined me on this project.

Let's start with the first reveal.

I am sincerely delighted and honored to have an incredible co-producer on this new album project, Edd Miller. (Yes, spelled with two d's.) I first met Edd back in 2020 at a blues gig where I was playing drums and singing at the end of COVID. What started as a random meeting through music began to slowly develop into friendship and respect for each other's professional work. And right away from the first conversations we had about the project, it just felt right. We clicked on many levels, and also because we both care deeply about making great music. It was obvious to me that Edd was the creative co-production partner to go on this journey with. He boasts decades of experience, combined with a deep understanding of both the artistic and technical sides of record-making, making him particularly suited for my project as a whole.

What really stands out to me about Edd isn’t just his impressive track record—it's who he is and the energy he brings to every creative moment. He’s genuinely kind, laid-back, and always keeps the big picture in mind: serving the song. Spending time together discussing the project confirmed that we share a common vision, a commitment to excellence, and a desire to make the strongest album possible. Those qualities, combined with his musical instincts, production expertise, and genuine passion for the craft, make him an invaluable creative partner and exactly the kind of person you want helping guide a project.
Edd's impressive body of music production work can be heard on recordings by Willie Nelson, James Brown, .38 Special, Kansas, Drivin' N Cryin', William Bell, Tinsley Ellis, Phunk Junkeez, Jimmy Dawkins, Francine Reed, Randall Bramblett, Theodis Ealey, and many others. Starting his music career as a drummer and percussionist, Edd developed a conscious awareness of musicianship and presentation before his talents turned to the recording console. This foundation guided his collaborative production style, assisting vocalists and musicians in reaching their best possible work in the studio.

That mix of character, background, and skill elevated Edd to among the most respected recording engineers, producers, and mixers in the field.

Edd has also worked with and learned from some of the most influential producers and engineers in the business, such as Paul Rothschild (Janis Joplin, The Doors), Rodney Mills (Gregg Allman, Lynyrd Skynyrd), Bob Ezrin (Alice Cooper, Kiss, Pink Floyd), J.J. French of Twisted Sister, and Howard Benson (Motörhead, Kelly Clarkson). Such an upbringing developed his multi-talented approach to production and technique.

In 1993, Edd joined Ichiban Records as a staff producer and engineer, and his discography soon reflected a diversity that included blues, avant-garde rock, gospel, rhythm & blues, and classic rock & roll. Edd has brought a rare blend of musical insight, technical exactness, and years of professional experience to each project, whether producing an artist's vision, engineering a session, or creating a final mix.

In the late 1990s to the mid-2000s, Edd launched his own recording studio and established CMO Records. This move enabled him to continue expanding his work as an engineer, producer, mixer, and mentor to artists, continuing to build a body of recorded works. With his studio and record label, Edd created a nurturing environment for collaboration and artistic growth, further reinforcing his reputation as a respected figure in the recording industry and a passionate advocate for great music.
The vision for this album continues to grow clearer with every song. While there's still plenty of work ahead, the pieces are falling into place, and I'm more energized than ever about where this journey is leading.

Thank you all for your continued encouragement and support. I can't wait to share more as the project continues to take shape. Remember, "be a realer, a healer, and a peace and love dealer."

- Stevie Hawkins

(Part 2)
Bart Walker • Guitar

And now for Part 2 of my Nashville album session team announcements, and I’m excited to share that Bart Walker will be joining us as a featured guitarist on the project.

I shared the stage with Bart a few years ago at the Daryle Singletary "Keepin' It Country" Jam. There were some outstanding guitarists on that stage, but Bart immediately caught my attention. His playing was soulful, confident, and effortless—the kind of guitarist who makes you stop and listen. On top of all his talent, Bart is just a great hang—laid-back, kind, and genuinely friendly. He brings a smile and a relaxed, positive energy to any room he walks into. It's no surprise that he's earned a reputation as one of the most respected and genuine musicians in Nashville.

Today, Bart tours and records with both Hank Williams Jr. and Jamey Johnson, and those are not gigs that go to just anyone. Both artists are known for surrounding themselves with musicians who bring authenticity, passion, and world-class talent to the stage every night.

What excites me most isn't his résumé. It's the way he plays. Bart has deep roots in blues and Southern rock music, and he combines technical skill with something that can't be taught—feel. Other musicians love working with Bart because he serves the song, not his ego. There's honesty in his playing; his solos tell a story, and that's exactly what I want and need on this record—honesty and storytelling. I have no room for egocentric ramblings of technical prowess that don’t serve the song.

Bart plays custom guitars built for him by Lucky Dog Guitars in Cleveland, Tennessee. If you've heard Bart's unmistakable tone on stage or in the studio, there's a good chance one of these handcrafted instruments was part of the equation. Their quality and character make them a perfect match for a player who values feel, expression, and serving the song above all else.

Many fans recognize Bart as one of Nashville's top blues-rock guitarists, but ask musicians and guitar players in the know, and you'll often hear the same thing: Bart Walker is one of Nashville's hidden gems. Over the years, his guitar has taken him around the globe, sharing stages throughout the U.S., Europe, Australia, and the U.K. with artists such as T. Graham Brown, Buddy Guy, Derek Trucks, Warren Haynes, Kenny Wayne Shepherd, Robert Randolph, Delbert McClinton, Lee Roy Parnell, Steve Cropper, B.B. King, Lynyrd Skynyrd, Styx, and REO Speedwagon.

His studio credits include work with Dolly Parton, Mike Farris, Bo Bice, Royal Southern Brotherhood, A.J. Croce, Steve Gorman, Texas Hill, and many others.

Among his many accomplishments, he won the Gibson Best Guitarist Award at the International Blues Challenge in Memphis. He later released the acclaimed album Waiting on Daylight, produced by legendary producer Jim Gaines.

Bart is also passionate about giving back, mentoring guitarists from around the world through Bart's Badass Guitar School and hosting guitar camps at his farm just outside Nashville. If you'd like to learn more, visit https://www.badassguitarschool.com.

When thinking about assembling a small team of next-level musicians based in Nashville, I knew I wanted specialists in blues, blues-rock, and Southern rock—players who truly understand the feel, authenticity, and storytelling that these songs demand. I'm fortunate that two of those musicians are old friends of mine, and Bart was an easy choice for the team. I am honored to have him on board and can't wait for all of us to hear what he brings to these songs.

And yes... I'll be revealing that second guitarist soon!

- Stevie Hawkins

(Part 3)
Mark "Sparky" Matejka • Guitar

Part 3 of the Stevie Hawkins Nashville album sessions: team announcements. I couldn’t be more fired up to share that “Sparky” Mark Matejka—my friend of over 20 years and guitarist for Lynyrd Skynyrd—is bringing his creative fire and guitar command to my songs. Most of us just call him Sparky. To be honest, if I called him Mark, half of his friends would probably wonder who I was talking about!

For my new album recording sessions, Mark brings a refined, modern Southern rock guitar approach, while Bart Walker comes from a deep blues and blues-rock foundation. When I started putting this team together, I knew exactly what I wanted the guitar foundation of this album to be. I wanted the authenticity of blues, blues-rock, and Southern rock, and that meant bringing in energetic musicians who specialize in those styles. Bart and Sparky aren't visiting these genres for a recording session—they've spent their careers living in them. Mark's precision, melody, and modern edge sitting right up against Bart's raw, soulful grit create a push-and-pull contrast that will give these songs a fresh energy and a sound rooted in blues-rock but pushed forward with a strong Southern rock voice running through it. There is a method to my madness, ladies and gents! Contrary to popular belief, I don't just throw darts at a wall when putting a record together—although it would probably be faster.

Sparky and I first met in early 2006 when we played together during a week-long residency at the Ameristar Casino in Kansas City, Missouri. Right away, there was a natural musical chemistry and mutual respect that made that week feel special on and off stage.

At the time, Mark was in the middle of a major transition. After a five-year run playing guitar with The Charlie Daniels Band, he was joining the legendary ranks of Lynyrd Skynyrd—walking straight into one of the most iconic guitar roles in rock.

What many people don't know is that Mark's musical path was a little different from a lot of Southern rock guitarists. Born in Houston, Texas, he learned plenty on stages, in clubs, and on the road, but he also pursued formal training at the University of North Texas. Studying under noted guitar educator Jack Peterson, he focused on jazz improvisation, music theory, and ensemble performance, earning a bachelor's degree cum laude in jazz studies in 1990.

That education gave him a deep understanding of harmony, improvisation, dynamics, and arrangement, but what has always impressed me is that you never hear the education getting in the way. Instead, it enhances everything he does. Sparky can move seamlessly from blues to country, from hard-driving Southern rock to sophisticated melodic improvisation, all while sounding completely natural. In other words, he knows enough music theory to make the rest of us nervous, but he's got too much good taste to show off about it.

As it turned out, whenever Sparky was off the road with Skynyrd, our paths kept crossing. Before long, we found ourselves sharing the stage on various weekends at The Dinner Bell in Cookeville, Tennessee—a former roadhouse-style nightclub owned by my good friend Kevin Poe. Alongside country artist Ronnie Swift and a weekly rotating cast of Nashville touring and session players, we spent many nights making music, swapping stories, solving absolutely none of the world's problems, and having a great time doing it!

Anyone who's shared a stage with Sparky knows what he brings. Beyond his playing, he has the ability to elevate everyone around him. His feel, musicality, and instincts are top-shelf, and his constant stream of ideas keeps every performance fresh. You never know exactly what he'll do next—but it always works. Whether it's the perfect fill, a blistering solo, or subtle textures that reshape a song, Sparky brings music to life. Every now and then he'll play something that makes the rest of us look over and think, "Well, I sure didn't see that coming."

This time, we're not playing someone else's music—we're bringing my songs to life. Having a player of Mark's caliber contribute his talent and musicality to these recordings is a real gift. I know what he brings to a performance, and I'm genuinely excited to hear how Sparky's guitar sits alongside Bart Walker's on these tracks. I have a feeling they're going to push each other in all the right ways, and I can't wait for all of us to hear the results. If I have anything to say about it, we're going to have a whole lot of fun getting there, too.

Back soon with Part 4 of the Stevie Hawkins “From There To Here” album sessions!

Revealed thus far are, co-producer Edd Miller, guitarist Bart Walker, and guitarist Mark "Sparky" Matejka.

- Stevie Hawkins

(Part 4)
Randy Threet • Bass Guitar

Part 4 of my Nashville album session team announcements. If there’s one thing I needed for these sessions, it was a rhythm section built on players who don’t just know the language of blues, blues-rock, and Southern rock—they are the language. Joining me on bass for several tracks is my old friend Randy Threet.

Randy sits in a rare space in American music. Most people know him as an exceptional bassist, but what really sets him apart is that he also carries the vocal weight of two of the most harmony-driven bands in the genre—Blackhawk and The Outlaws. That combination—deep-pocket groove on the low end and elite tenor harmony vocals above it—is what makes him one of the most complete support musicians working today. He doesn’t just hold down the rhythm section. He helps define the sound of the entire band from the bottom up.

I’ve known Randy for 19 years, and long before these recording sessions were ever planned, I knew that if the right songs called for it, he was somebody I’d want in the room.

When I started assembling the team for this album, authenticity was everything. I wasn’t trying to “build a band” in the traditional sense—I was building a musical system. Bart Walker brings deep blues and blues-rock grounding. Mark “Sparky” Matejka brings modern Southern rock authority. Randy brings the low-end foundation and structure that ties those worlds together. Put simply, this isn’t three players occupying space—it’s three specialists working the same musical ground, where groove, melody, and harmony come from lived-in experience rather than formulas or guesswork.

Years ago, Randy and I first played together in the band of the late, great Daryle Singletary, whose hits include “Too Much Fun,” “I Let Her Lie,” and “Amen Kind of Love.” That’s where I really got to know him—not just as a musician, but as a person you want in the room every night on the road.

And if you’ve ever spent time on a tour bus, you already know: that matters just as much as the playing.

Randy also happens to have the best Billy Bob Thornton “Carl from Sling Blade” impression I’ve ever heard. Back in those Daryle Singletary days, that alone probably kept a few long drives from feeling twice as long as they were.

But none of that would matter if the musicianship wasn’t real—and Randy’s reputation is exactly why he’s been trusted for decades in two very different musical worlds.

For more than twenty years, he’s been a cornerstone of both Blackhawk and The Outlaws, bringing the versatility, consistency, and musical instincts that have made him one of Nashville’s most respected working musicians. Whether the music calls for country precision, Southern rock grit, or deep blues-influenced groove, Randy has spent his career proving he can move seamlessly between them. That’s exactly the kind of musician I wanted on this record.

On bass, he plays exactly how great Southern rock and blues bass players should play: no excess, no spotlight chasing—just time, tone, and feel. His groove is smooth, powerful, and unshakably steady. Playing with him feels like everything locks into place without effort.

And then there’s his voice.

Randy is one of the most reliable high harmony singers I’ve ever worked with. The ability to sing demanding tenor parts while locking in a bass performance at that level is rare enough. Doing it consistently for decades across two major touring bands is something else entirely. His harmonies don’t sit on top of the music—they complete it.

What I’ve always respected most is that Randy never plays for attention. Everything he does is about the song and the people he’s playing with. That mindset is exactly why he’s been able to sustain such a long career at a high level across multiple major acts.

He’s performed and recorded with artists including Trisha Yearwood, Pam Tillis, Larry Boone, Buddy Jewell, Daryle Singletary, Blackhawk, The Outlaws, and many others, and has shared stages with members of Lynyrd Skynyrd, The Marshall Tucker Band, and The Allman Brothers Band.

But credits only tell part of the story.

The real story is consistency—decades of showing up, being focused, locking in, singing the hard parts, holding down the foundation, and making everyone around him sound better while doing it.

That’s why I wanted him on this record.

Because when you combine Bart’s blues foundation, Sparky’s Southern rock edge, and Randy’s musical system of rhythm and harmony, you don’t get a stylistic experiment—you get something that was always meant to exist. Nothing is decorative. Everything has a job. And when it locks in, it feels like it was always meant to be that way.

And I can’t wait for people to hear what that sounds like when it’s all in the same room.

- Stevie Hawkins

(Part 5)
The Writing of the Songs

Part 5 of the "From There To Here" album project... We've spent the last few updates getting to know the incredible musicians and co-producer who'll be helping bring this record to life. I thought we'd step away from the creative team for a moment and talk a little about the songs themselves—and the journey that's been shaping them from the very beginning.

For the past few months, I've been living in a pretty solitary songwriting world—and I expect to stay there until it naturally feels like it's time to move into the recording sessions. I'm not trying to rush the process or force songs onto the page. I've learned over the years that songs have a way of showing up when they're ready, not necessarily when it's convenient. My job is simply to be there when they arrive.

Some of you have probably noticed the phrase "From There To Here" appearing alongside this project. That's more than just an album title. It's really become the thread connecting almost everything I've been writing.

This record reaches back to childhood and follows the road all the way to where I stand today. The people who shaped me, the places I've been, the victories, the disappointments, the lessons, the music, the friendships, the love, the losses, and all the unexpected turns in between—they've all found their way into these songs in one form or another.

Writing this album has been a little like flipping through old photo albums. Every song seems to bring back another memory, another face, another chapter I hadn't thought about in years.

I suppose you could call it soul-searching. Maybe even a bit of emotional housekeeping. Whatever it is, it's been one of the most honest writing experiences I've ever had. There are a few songs that still catch me off guard. I'll be halfway through singing one and suddenly remember exactly where it came from. Every now and then I have to stop, collect myself, and start over. That's usually a pretty good sign that I'm writing about something that matters.

I've started down the road of writing more 'radio-friendly' songs a couple of times, and by design there are a few songs that step outside the album's core concept, but I keep finding myself pulled back toward something deeper.

That doesn't mean it's a heavy album.

Quite the opposite.

There's plenty of energy here, plenty of optimism, and more than a few moments where the volume knob gets turned to the right. At its heart, though, these songs are about perspective, resilience, gratitude, believing in yourself when life gives you reasons not to, and finding light even after walking through some darker places. If someone hears one of these songs and finds a little piece of their own story inside it, then I'll feel like I've done my job.

Musically, the album has surprised me, too.

When I first began planning this project, I thought I was making a traditional blues record. The blues is still very much the heartbeat of what I'm writing, but somewhere along the way the songs started asking for something bigger. What has emerged feels more like contemporary blues with a healthy dose of blues-rock and Southern rock woven into the fabric. Some songs breathe quietly, while others dig in with a little more attitude. It all feels remarkably natural—as though the record has quietly been telling me what it wanted to become all along.

As the writing starts to wind down, my thoughts are naturally beginning to shift toward the recording sessions. I've got a Nashville studio in mind that I believe would be a terrific fit for this project—a room with the sound, character, and atmosphere to capture these songs the way I hear them in my head. Nothing is set in stone just yet, and I don't want to make that final decision until the writing is complete. I want the songs to tell me exactly what they need before we roll the first take. After spending months living with these songs on paper and in my head, it'll be a pretty special moment to finally hear them come to life with this incredible group of musicians.

So that's where things stand.

Still writing. Still listening. Still discovering where these songs want to go. And enjoying every step of the journey.

Thank you all for following along and for the encouragement you've shown throughout this process. It means more than you know.

- Stevie Hawkins