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Bill Naughton, Jr.
Songwriter, Volume 2
produced by Michael Arafeh
at the Coffeehouse, Middletown, CT
all songs written by Bill
Naughton, Jr.
c 2015 BiliolgaMusic (ASCAP)

(cover photo by Vanessa Naughton)

Vanessa Naughton on flute

William Naughton on bongos

Kellyann Chester-Ouellette on vocals and alto sax

Michael Arafeh on guitar (aka Bumpy Chimes)

 Jay Miggins on percussion and harmonica

all songs written by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

P.O. Box 146, Cobalt, CT 06414

Press Kit



1. For Nickels And Dimes

(words and music by Bill Naughton, Jr.)
copyright 2015 BiliolgaMusic (ASCAP)

I write for a living,
I sing in the corner of this bar, any bar, USA,
People come from miles away,
They drink a little whiskey and they listen to me play,

For nickels and dimes and bottles of wine,
I'll write you a song for a dollar ninety-nine,
Just tell me how you feel,
I've got the words you want to say...

And if you really like the song that I write,
Maybe we can get together some night,
I'll write down the words and teach you the tune,
You can take your song home with you...

I'm never too busy to write something every day,
This song, any song, it's my game,
I've been accused of being insane,
'Cuz I'll grab my guitar and start singing in the rain,

-repeat chorus, bridge, and chorus-

2.This Is My Dream
(words and music by Bill Naughton, Jr.)
copyright 2015 BiliolgaMusic (ASCAP)

I’m a dreamer, and lately I’ve caught myself dreaming of you,
You were playing the part of the prettiest girl that I knew,
And then without warning, I woke up and smiled at the wall,
I knew it was you, so I’m really not dreaming at all...

I’m a pauper, and you are a princess in search of a king,
I thought you were somebody’s girl but you don’t wear his ring,

So if you’re not busy, I’ll see you tonight in my dreams,
Since you’ve been around, I look forward to going to sleep...

-chorus –
On the soft summer sand, with the wind in our hair,
At sunset we sit by the sea,
You’re holding my hand, you tell me you care,
I’m a dreamer and this is my dream, this is my dream

-flute solo-
-repeat chorus and first verse-

I’m a dreamer and lately I’ve caught myself dreaming of you

3. The Calm Before The Storm
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

So while I worked she packed her bags again,
And I’d bet my beer she’s found another friend,
Lord knows it’s not the first time,
I’ve come home to find her gone,
It’s quiet,
It’s the calm before the storm...

I haven’t even read the note she left,
But I’m sure that it’s exactly like the rest,
I never have to look for her,
She comes back before too long,
Here we go again,
It’s the calm before the storm...

Oh the calm before the storm,
Even this old chilly bedroom feels so warm,
And here I am, alone again, like so many times before,
It’s the calm before the storm...

Well I think I’ll pour another pint of beer,
I’m sure she’d give me hell if she were here,
And even though she hurts me,
I’ll still take her back once more,
I love her,
It’s the calm before the storm...

-repeat chorus-

4.You're Not A One Glance Turn
Around See You Later Kind Of Guy

(words and music by Bill Naughton, Jr.) 
copyright 2015 BiliolgaMusic (ASCAP)

 I've never experienced love at first sight, 
I thought it was only for kids,
Now suddenly this is no regular night,
I'm surprised that I'm feeling like this...

There are so many people you can't meet them all,
But the one in a million stands out,
As soon as I saw you I started to fall,
Now my heart is on fire and my head's in the clouds...

You're not a one glance turn around see you later kind of guy,
I knew that you were special when I saw that sparkle in your eye,
The way you stood there smiling, I just could not walk on by,
You're not a one glance turn around see you later kind of guy...

You caught my reaction when I saw your face,
And your eyes followed me to the bar,
You seem to know everyone's name in this place, 
So you must think I know who you are...

But I swear that I've never seen you here before, 
A split second was all that it took,
And I knew right away that I had to see more,
So I'm on my way back for a much closer look...

-repeat chorus-

This isn't something that I would ordinarily do,
But a little voice is telling me that I'll regret it big time
If I don't go introduce myself to you...

-guitar break-
-repeat chorus-

5. I Miss You, Where'd You Go?
(words and music by Bill Naughton, Jr.)
copyright 2015 BiliolgaMusic (ASCAP)

I miss you, where'd you'd you go?...
We were making love each night not long ago,
But now our life is not the same,
We've grown apart, we're both to blame,
We're not on the same wavelength like before,
I feel that you don't want me anymore...

I text you...no reply...
It's not easy working all day wondering why,
Until recently we've been best friends,
What's happening to us makes no sense,
I can't believe how quickly things can change,
Like sunshine giving way to steady rain...

- middle eight-
I miss you, where'd you go?....
If you've given up on me I need to know,
Perhaps you've found another,
But for me there'll be no other,
After all these years I can't believe we're through,
I miss you...where'd you go...what can I do?... 

-flute solo-
-repeat middle eight-

I love you, that's the truth...
No one will ever take the place of you,
But I'm alone and now you're gone,
Days are dark and nights are long,
I hope I'll wake up soon from this bad dream,
I miss you...where'd you go...come back to me...
I miss you...where'd you go...come back to me... 

6. Let's Take Our Time 
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

I don't want to believe that you're doing this with me,
 Because you've had too much to drink,
We've got each other all worked up,
But girl we should slow down and think,

-first chorus-
Let's take our time, try to stay sober,
Find some place to hide and I'll kiss you all over,
The signs you're sending say that it's all right...
We're having way too much fun but let's wait til we're done,
To start drinkin'...like there's no end in sight...

I don't want you to lose the desire that you have,
Seducing me's easy for you,
The hard part's over let's not talk,
I know what you want me to do...

-second chorus- 
Let's take our time, t to stay sober,
Find some place to hide and I'll kiss you all over,
Anticipation's at an all time high,
We're having way too much fun but let's wait til we're done,
To start drinkin'...like there's no end in sight...

I really do want this to happen,
And you're ready to do it no doubt,
So come on girl bring on the action,
Before we get drunk and pass out...

-guitar solo-

-third chorus-
Let's take our time, try to stay sober,
Find some place to hide and I'll kiss you all over,
Your string bikini's coming off tonight,
We're having way too much fun but let's wait til we're done,
To start drinkin'...like there's no end in sight...
We're having way too much fun but let's wait til we're done,
To start drinkin'...like there's no end in sight...

7. My Love Will Never Die 
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

I'll love you 'til the day they bury me, 
And then I'll start to love you, for all eternity,
There's nothing you can do to change my mind,
My heart may stop but my love will never die...

I'll live with all this love until the day,
They put me in a casket, and carry me away,
You probably think my feelings won't survive,
But I promise you my love will never die...

- chorus -

You may think that I'm half crazy, and in a way that might be true,
But ever since the day we met I've been in love with you,
And I believe my love will live beyond when I'm alive,
My heart may stop but I promise you my love will never die...

So don't forget what I'm telling you today,
My love transcends this lifetime, it'll never fade away,
Remember when we say our last goodbye,
I'll disappear but my love will never die...

My heart may stop but I promise you my love will never die...

8. This Bed's For Sleeping Tonight 
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

You made enough noise when you came in,
You know that b y now I'm awake,
And there must be a mess in the kitchen,
From the breakfast you just tried to make,

It's at least two o'clock in the morning,
And I don't want to get in a fight,
So believe me I'm giving you warning,
his bed;s for sleeping tonight...-

This bed's for sleeping tonight,
So you better get love off your mind,
Tomorrow it might be all right,
But this bed's for sleeping tonight...

I've warned you before about your drinkin',
Lord knows you get weak now and then,
When you can't climb the stairs without stumblin,
I know you're on whiskey again,
So you better not try to get cozy, J
ust lay down and turn out the light,
I'm sure you're in no shape to love me,
This bed's for sleeping tonight...

-repeat chorus, flute solo, repeat chorus-

9.Then You'd Burn The Pieces
(words and music by Bill Naughton, Jr.)
copyright 2015 BiliolgaMusic (ASCAP)

I was blinded by your love at first,
I couldn't see beyond your dark brown eyes, 
The way you looked at me and what we'd do,
Would damn near drive me clear out of my mind,
You made winter nights feel warm,
And all my days with you were born on summer breezes,
My friends told me that you'd break my heart,
But they didn't say that then you'd burn the pieces...

There was something in your smile,
That made it seem as if we'd met somewhere before,
But I would never have forgotten you,
If our paths had crossed I'd want to see you more,
Even though I'd heard it said,
That you were just a cute kid who only teases,
My friends warned me that you'd break my heart,
But they didn't know that then you'd burn the pieces...


Looking back I realize how big a fool I must have been,
I wish I'd known a little of what I didn't know back then,
I don't bless the day we met, but still I harbor no regrets,
Although each night the pain I feel inside increases,
I guess I always knew you'd break my heart,
But I never thought that then you'd burn the pieces...

-guitar solo-
- repeat chorus-

My friends told me that you'd break my heart,
But they didn't know that then you'd burn the pieces...

10. I'll Be Your Dylan 
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

Now tell me this ain't just some time we're killin', 
I'd like to know you think we're doing more than simply chillin', 
'Cause if you want to play with me, you've always known I'm willin',     You can be my Baez, I'll be your Dylan...
You bring your Diamonds and Rust
I'll find my Blood On The Tracks,
I'm sure we'll get some inspiration 
Listening to that, 
You and I can harmonize, 
Like angels that came down from heaven, 
It won't take long to make up a song,
In the spirit of Baez and Dylan

 -repeat chorus-

At first it'll feel like a folk song, 
Three basic chords and some words, 
Then my Rickenbacker 12-string 
Will make it sound just like The Byrds, 
It could be our masterpiece, 
It might even make us a million, 
Just you and me singing harmony, 
As a tribute to Baez and Dylan...

    -repeat chorus-

11.Paint Me With A Thousand Colors
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

Today I met an old friend,
And though I didn’t have a lot to say,
We spent some time together,
For old time’s sake,

She talked a lot about her family,
And then she asked me if I still saw you,
And when I told her that we'd separated,
I felt my heart break in two...

Paint me gray because I miss you,
Paint me blue because I’m sad,
All the colors in your brush,
Can’t bring back what we had,
Paint me yellow ‘cause you’ve found another,
Green because you won’t be back,
Paint me with a thousand colors,
Maybe when I see myself I’ll laugh...

It hasn’t been that easy,
Trying to get you off my mind,
I know I’m going to love you,
A long long time,

Just when I think I’m getting past the pain,
I see you on the town with someone new,
And if I only had the nerve to face you,
Here’s what I would ask you to do...

-repeat chorus-

There's nothing funny 'bout the way I feel,
My life is not the same without you here,
I really thought I'd found true love with you,
I can't believe you broke my heart in two...

-flute solo, repeat chorus-

12. It's Gonna Be All Right
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

  If you’re looking for a woman, I’m looking for a man,
Come with me and I’ll do for you, as much as I can...
We’ll begin with wine and kisses, then we’ll turn out the light,
And if you feel like loving me, it’s gonna be all right...

It’s gonna be alright…. so love me tonight,
If there’s one thing that I need right now,

It’s waking up with someone by my side...
It’s gonna be alright.... so hold me tight,
Try not to think about tomorrow,
It’s gonna be all right...

This could be like starting over, maybe no more nights alone,
My heart is beating double time, I can’t wait to get you home...
I’m so happy that I met you, this could be love at first sight,
So let’s not waste a moment’s time, it’s gonna be all right...

- repeat chorus, sax solo -

It’s gonna be alright.... so love me tonight,
Try not to think about tomorrow,
It’s gonna be all right,
Try not to think about tomorrow,
It’s gonna be all right...

13.I Always Want To Wake Up With You
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

I guess I’m pretty lucky, I just want you to know,That each and every day I spend with you, I love you more,
But morning is by far my favorite time,
When you pour your sweet love over me like wine...

I always want to wake up with you,
You’re the smile that I need when I’m still half asleep,
And after all the lovin’ we do,
I still want you more than ever before,
You’re the one that I love, you’re like heaven to touch,
When I found you my dreams all came true,
Yeah you light up my life, you’re my ticket to paradise,
I always want to wake up with you...

The world is full of lovers, I know this isn’t new,
But I don’t think that anyone could love me like you do,
When you look at me and tell me what you like,
I feel my heart start beating double time...

-repeat chorus-

early solo demo with guitar licks

14. You Hurt Me Bad This Time
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

It started out so easy, like an early summer breeze, 
It wasn't hard to fall for you when you turned your charm on me, 
I believed I'd found in you the love I never thought I'd find, 
And it's sad to think it's over now, but you hurt me bad this time... 

The last thing that I thought you'd do, you did to me last night, 
And just because you say you're sorry, doesn't make it right, 
You broke the golden rule this time, you cheated and you lied, 
And I don't know how to let it go, you hurt me bad this time... 

You hurt me bad this time and that's not good, 
You did some things to embarrass me that lovers never should, 
What started out behind my back ended up before my eyes, 
I trusted you, you let me down, you hurt me bad this time...  

So look me over one more time before I walk away, 
I want to know that you're aware of what you've lost today, 
I've been through breaking up before, it 's sad but I'll survive, 
And I'll learn to live without you, 'cause you hurt me bad this time... 

-repeat chorus-  


15.I Guess I’m Never Gonna Get Completely Over You
(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

I guess I’m never gonna get completely over you,
I’m always gonna think about the things we used to do,
I can’t believe it’s over after all that we’ve been through,
I guess I’m never gonna get completely over you.

You were mine... before you left me for some other guy,
I thought that I’d recovered but it hurts again tonight,
What can I take... to ease the pain... I just can’t find a clue,
I guess I’m never gonna get completely over you...

-repeat chorus-

I get by... I never show the way I feel inside,\
I’ll find another lover but it’s gonna take some time,
What can I say...it’s just a game...but oooh it hurts to lose,
I guess I’m never gonna get completely over you...

-repeat chorus- 

all words and music by Bill Naughton, Jr.
c 2015 Biliolga Music (ASCAP)

Liner Notes and Credits from the CD

Bill Naughton, Jr. played ukulele, acoustic guitar on a Martin D-18 courtesy of Thomas McLean and electric guitar on a Rickenbacker 370/12 RM courtesy of Kevin Flannery. Michael Arafeh played the electric and acoustic guitar solos. Kellyann Chester-Ouellette (who released my song, “If It Hadn’t Been For You,” on her own) sang the female vocals and played the alto saxophone solo on track 10. Vanessa Naughton played the flute solos on tracks 2, 5, 8, 11 and 15. William Naughton played bongos on tracks 4, 9 and 13. Jay Miggins added ercussion on the songs and played harmonica on track 10.

Recorded, produced, mixed and mastered by Michael Arafeh at The Coffeehouse, Middletown, CT between August 2014
and January 2016 using Band-in-a-Box, a MIDI music arranger software program which provides real instruments played by real musicians in a style selected by the producer and artist. It was a challenge to choose 30 of my songs to present on these two albums of studio quality demos. I have many more, and I'm always writing new songs. I want to say again that I don’t consider myself to be a recording artist. I’m a songwriter, and even though I was a professional radio air personality for many years (WSIX and WSM-FM, Nashville), I realize that I am not that great a singer. I released these albums to showcase the songs I’ve written so that others might consider recording them, so please don’t judge these songs on my performance. Listen closely to the words, how they are arranged, and the simple melody lines. I think several of these songs could become popular for other singers, if I can find a way to bring them to their attention. Track 4, a country-pop crossover song, could be a big hit for The Dixie Chicks, Natalie Maines solo, The Court Yard Hounds, or any contemporary female singer who is looking for a hit song. Track 8 is a nice country-waltz that would be perfect for Emmylou Harris. Track 12 is a sultry jazz ballad that Diana Krall could do very well. I wrote tracks 3 and 7 for George Jones. We called track 1 “the J.J. Cale song," track 4 “the Lionel Richie ballad,” track 9 "the Waylon with a 12 string Rickenbacker song,” and track 15 "the Everly Brothers song." Track 6 was inspired by the Zac Brown Band, it's an island shuffle, and I threw a little Jimmy Buffett humor into the bridge.

For years I’ve been studying Nashville songwriters like Bob McDill, Sonny Throckmorton and Bobby Braddock in addition to the great Diane Warren and other contemporary writers. Every time I write a song and think it’s finished I ask myself if I think these writers would be satisfied with the song as it is. If the answer
is not, at least, “I think so,” then I know the song needs more work. A lot of thought went into the writing process for each one of these songs. There’s a lot of craft in the lyrics - alliteration, contrast, meter, phrasing, rhyme patterns, sometimes even within a line - and my goal is always to write catchy little melodies that get stuck in your head and hooks that you can’t forget. I hope that will be noticed by music industry professionals.

I want to thank legendary broadcaster Dick Robinson for featuring one of my songs, "The First Time Again," on the International Broadcast of his show, American Standards By The Sea. Dick called it a "chestnut," and he said that "it could possibly become an American Standard someday." I
could never have imagined a better endorsement. Check out www.YachtaMusic.com. Thanks to Joe Johnson for featuring my tribute song "Meet The Beatles" on his nationally syndicated show Beatle Brunch during the program marking the 50th anniversary of the release of that album in the
United States, www.brunchradio.com. Thanks to Dan Hayden for adding, "The Bride's Best Man," to the playlist on his excellent internet station,www.MistyRadio.com. And thanks to Lou Gerolami, my original songwriting partner, who years ago took a silly little poem I wrote and put music to it, which blew my mind, and inspired me to begin studying the craft of lyric writing and eventually develop myself into a complete

Cover photo by Vanessa Naughton. Disc photo by Olga Gerik. Back cover montage, layout and graphic design by MIMI Design, East Hampton, CT.

pc 2016 Biliolga Records. All 30 tracks from both of my Songwriter albums can be downloaded FREE exclusively at cdbaby.com/cd/billnaughtonjr.Information on obtaining the “physical CD” is on my website, www.BiliolgaMusic.com. Mail: Biliolga Music, P.O. Box 146, Cobalt, CT, 06414. Email: BiliolgaMusic@aol.com. If you are a recording artist or a producer who may be interested in recording any of these songs for your own album or as a single, please contact me directly. If you are an established music publisher who might be able to get one or more of these songs cut through your efforts, I would be willing to negotiate with you for a piece of the publisher’s share. Contact me at the address above and we'll talk.

www.BiliolgaMusic.com; www.facebook.com/billnaughtonjr;
www.cdbaby.com/cd/billnaughtopnjr; www.thecoffehouse.net

Interview with songwriter Bill Naughton Jr.
about recording and releasing his album
Songwriter - Volume 2

*permission granted to any media
to quote any part of the following

Contact: Bill Naughton, Jr.

Interviewer: In September 2014 Bill Naughton, Jr. released an album with 15 original songs called "Songwriter, Volume 1." Now, a little over a year later, he's releasing his second album with 15 more songs that he's written titled, appropriately, "Songwriter, Volume 2." Tell us about your music, how the songs were written and a little about this album in particular and what your plans are…

Bill Naughton, Jr.: Well, it was always my intention to record two albums, which is why I named the first one Songwriter, Volume 1. This is Volume 2. It's a lot like the first album but there are some distinct differences, although my focus remains the same, to record professional demos as a showcase of my original material. I maintain that my intention was never to be the "recording artist" but as a songwriter I set out to produce a collection of professionally recorded demo versions of my songs that I could then "pitch" to singers and producers in an effort to get some of my songs recorded by either established or up-and-coming recording artists to release on their own albums or as singles. Having said that, I have to acknowledge that these recordings, on both Volume 1 and Volume 2, turned out sounding much better than I ever thought they would. I was expecting simple demos but what we made were very professionally produced tracks that sound radio ready as they are, at least I think most of them do. Now I realize that I'm not a really good singer, so I have to give credit to my producer, Michael Arafeh, who coached me through the process and brought out the best in me as far as the vocals go, but still, I don’t want people to judge these songs on my vocal performance. As a former radio broadcaster I do have a trained voice but that doesn't always transition into the ability to be a singer. There are many disc jockeys who can't sing at all and even some songwriters aren't very good singers but I've been singing all my life and despite some weaknesses I have, Michael helped me focus on my strengths and I'm pretty proud of what we were able to come up with. But I still don't think I've recorded the definitive versions of these songs, I still want to see most of them recorded by someone else who would have a better chance of bringing them to a much wider audience because my versions of these songs aren't going to become popular. These are demos, my job now is to become what they call a "song plugger," and do everything I can to bring these songs to the attention of recording artists, producers and maybe even executives at record labels, so that others might consider recording them. I own the publishing but I realize that I might have to give up a piece of that to get a cut, and I think that’s only fair. If an established music publisher can get one or more of my songs cut through their own efforts I’d be willing to negotiate for a piece of the publisher’s share. But I’ll retain 100% of the writer’s share.

Interviewer: On this new album there are three songs that have a female lead vocal. Tell me about that...

Bill Naughton, Jr.: Yes, on Volume 2 there are three songs that I wrote specifically for a female vocalist and I was very fortunate to find a really talented vocalist to come in to the studio and sing those songs for me. I searched for a female vocalist for over a year, I talked to many singers and for one reason or another it just didn't work out, but in the end I was very fortunate to find Kellyann Chester-Ouellette, who sings in a band called The Blue Collar Project, and she agreed to come to the studio and sing three songs for me and she did a really nice job on those. I think those songs have a chance to be picked up by a big name recording artist because the songs are strong, Kellyann did a great vocal and Michael Arafeh's production on those tracks is excellent. Kellyann also played a saxophone solo on one of those songs. I actually had four songs for a female vocalist but during the time it took me to find the right singer I wrote more songs and one of those was so strong that I had to find room for it on the album so it ended up replacing one of the songs I had designated for a female vocalist. But I had already sent my home demos to Kellyann and when I told her that I dropped one of the songs off the album she told me that she really liked that song so I told her she could have it to release herself under her own name. That's "If It Hadn't Been For You." So we went ahead and recorded it during the sessions for Volume 2 and Kellyann is releasing it as a single, under her own name. It’s not on my album. I also gave her permission to release the three songs she recorded for my album under her own name, put the four songs together as an EP and make it available on CDBaby. I hope this helps advance her career. She's a very good singer and musician and a really nice person.

Interviewer: And the liner notes say your daughter plays flute solos on five songs and your son plays bongos.

Bill Naughton, Jr.: Yes, Vanessa played flute solos on two tracks on Volume 1 and this time I asked her to play on five songs. She's 13 now and quite an accomplished studio musician. Her flute solos add a lot to the tracks. And my 8 year old son, William, played the bongos on three songs. It was his first time in the studio and he was excited about it. He got good rhythm and he’s interested in being a drummer. I'm very proud of both of them.

Interviewer: So how long have you been writing songs?

Bill Naughton, Jr
.: Well, I started writing poetry in high school and then in my college years I met Lou Gerolami who surprised me by putting music to some of my poems and that inspired me to learn more about the craft of songwriting. Lou and I wrote a lot of songs together, most of the time I wrote the words and he wrote the music and gradually I started writing complete songs on my own, both words and music. Over the years I've built up quite a collection of original songs and I thought a few of them weren't too bad so I decided a couple of years ago that it was time for me to go into the studio and make proper recordings of some of my best songs. As I've said, I was thinking of making what I called "professional demos" to take the place of the simple guitar-vocal demos that I recorded at home and posted on my website. My intention has never been to be the "recording artist" but rather to produce more professional versions of my songs that I could then "pitch" to singers and producers.

: Talk about the recording process, on the first album you credit Terry Miggins on guitar and bass and Jay Miggins on drums and percussion but it seems as if the second album was recorded a bit differently...

Bill Naughton, Jr.: I wanted Terry to come in and play guitar again but he had other commitments so in the end Michael Arafeh played the lead guitar parts and he did a great job. Jay Miggins was able to come in and add some percussion and he played a nice harmonica part on the folk-rock song "I'll Be Your Dylan," which was very appropriate. But for almost all of the other instrumentation we used a program called "Band-In-A-Box," which provides real musicians playing real instruments in a plethora of styles that the artist and producer can choose from to create their tracks. So I played the basic melody on acoustic guitar and from that we determined the rhythm and established the beats per minute, then I sang the vocal - or for the female songs, Kellyann sang the vocal - and we put the tracks into "Band-In-A-Box" so that we could search for instruments and build the track from there. We found bass, drums, various guitars, mandolin, piano, strings, you name it and we could find it in Band-In-A-Box and add it to the tracks. Then Michael played the lead guitar parts, Vanessa played the flute solos, William played the bongos, Kellyann played the sax, Jay played the harmonica and did some percussion and Michael mixed it all together for the finished tracks. In a way, Volume 2 sounds somewhat more produced than Volume 1, but that's because we had a wider variety of instruments to choose from than we had for Volume 1.

: Who do you have in mind for artists to pitch your songs to?

Bill Naughton, Jr
: On Volume 1 there was a song that I think would be perfect for the Dixie Chicks, when they go back into the studio to record a new album, and it appears as if that will be sometime soon because they're out on tour now. I've already pitched that song to Lloyd Maines, Natalie's father, who told me he'd keep it on file just in case. Also on Volume 1 there's a song for Willie Nelson, but getting him to record that would be a long shot at best, but maybe someone who sings the same type of stuff Willie does might pick up on it. I pitched a song that has a Peter, Paul and Mary feel to it to A Band Called Honalee, who do that type of material and I'm hoping to hear from them. On Volume 2, there are the three female vocals, I think again about the Dixie Chicks or Natalie Maines solo as well as Carrie Underwood and Kelly Clarkson for one. There's a song I think would be perfect for Emmylou Harris and one that I want to try to get to Diana Krall. There's another Willie Nelson type song, two songs I wrote for George Jones, and a nice ballad that could cross over to several genres – country, pop, soul.

Interviewer: Let’s talk about the songs, like we did for Volume 1, let’s go through the whole album, song by song.

Bill Naughton, Jr.: Okay, here we go...

For Nickels And Dimes
: This is like a songwriter’s theme song. Anybody who’s ever played out, in bars or clubs or on the street, should be able to relate to this, singing for nickels and dimes and bottles of wine and writing songs to order for a dollar ninety-nine. This song has been around for quite a few years and everybody who hears it seems to like it, so I guess it must be pretty catchy and memorable. We were thinking of J.J. Cale when we recorded it, he wrote very simple songs with really catchy rhythms. We wanted to keep it simple. It's kind of a shuffle. Michael Arafeh did a really nice acoustic guitar solo on this one. It’s a good opening track for the album.

This Is My Dream
: I had these words around for a while before the melody came to me one day, and it turned out to be a waltz! I always loved the words, and the melody that came to me just fit so perfectly. My daughter and I do this with our ukuleles with a little harmony. It’s very catchy. I hope somebody picks up on this and records a nice version because it’s one of my favorites. I put a lot of literary technique into the lyrics. They’re very visual. We actually started recording this for Volume 1 but it got bumped when I wrote a new song that I had to put on that album, I think it was "The First Time Again." So we had the tempo map and I think we even used the lead vocal we recorded for Volume 1 but we created a new music arrangement with Band-In-A-Box and then my daughter, Vanessa, added a perfect flute solo which made the song sound great. It's a waltz, there are two songs with a waltz rhythm on this, the other one is "This Bed's For Sleeping Tonight." This song has some of my favorite lyrics, it's loaded with alliteration and it’s very visual. I love the line “on the soft summer sand with the wind in our hair, at sunset we sit by the sea.” And I love the idea of a dreamer who is looking forward to going to sleep.

The Calm Before The Storm
:  I wrote this song several years ago to pitch to George Jones but I never had the chance to offer it to him. But it's still his song, his style, his phrasing, everything about it is George Jones. I wish I could have gotten it to him before he passed away. My only hope now that one of his contemporaries, one of his protégés, will pick up on it and record it in his style. I think Scotty McCreery could do a nice job with this one.

I Miss You, Where'd You Go?
: For the first album I wrote a song called "The First Time Again," around a C major 7th chord and it was very well received, even getting featured on the International Broadcast of Dick Robinson's American Standards By the Sea, and I wanted to try to write another song that starts off with a major 7th. This time I used an A major 7th and it took a lot of work but I think I came up with a really nice set of lyrics and the melody just flowed from that. My daughter played a beautiful flute solo over a very light Bossa Nova rhythm and I think it's a perfect little song. We referred to this song as the Lionel Richie ballad, it's kind of a soul song in a way. I'd like to think that Linda Creed, who wrote so many meaningful lyrics for Kenny Gamble's melodies, would have been happy with this song. I found myself thinking of her when I was writing this. Maybe that’s why it’s got a little of that seventies Philadelphia soul sound to it. It’s definitely one of my favorite songs, it’s sad but sweet.

You're Not A One Glance Turn Around See You Later Kind Of Guy
: I came up with this title a long time ago, and when I wrote the lyrics I thought it was the best thing I had ever done, so good in fact that initially I doubted my ability to write a melody worthy of the lyrics so I put it aside and left it alone for a long time. I was hoping to find a co-writer to help me finish this song and give it a melody that was unique and powerful, but then I took a bunch of lyric sheets to the beach one day and when I saw these lyrics the melody just flowed out of me. I believe that despite my self-doubt, the melody was always there. I had it, I just needed to believe in myself and my ability to write a good melody for what I consider to be an incredible set of lyrics. That day on the beach I looked at dozens of lyric sheets and came up with melodies for six of them right there on the spot, I just started singing the songs, immediately recorded them on my portable digital recorder, went home, figured out the chords on the guitar and recorded home-made demos. Just like that. This is a really great song, maybe the best song I've ever written. I have no doubt that it's a hit waiting to happen. The title alone makes you want to hear it to see what it's all about, like "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini," the title is a killer. And Michael Arafeh made a really great recording with a perfect vocal by Kellyann Chester-Ouellette. I'd love to hear Natalie Maines sing this, with The Dixie Chicks or solo, it's custom made for her, like "Take Your Eyes Off My Mama Mister!" from Volume 1. This song is a perfect example of a country-pop crossover song that I think will appeal to listeners of both genres.

Let's Take Our Time: This is actually my latest song, my newest, I wrote this during the recording of this album and brought it in almost complete. I made a few changes to the lyrics as we were recording and I struggled about whether I should leave what I knew was a very suggestive line in the chorus or take it out. In the end, I decided to leave it there but use it only once, which is a bit of a unique approach for me as a songwriter. The chorus repeats three times and the third line is different in all three choruses. They all had to rhyme with "sight,” and I was able to come up with three different lines which meant I only had to use that very suggestive line once, in the last chorus, which is perfect, it's where it belongs and so there it is. The thing about it is I think people are either going to like it or not like it but the important thing is I think they will notice it, I think they will remember it. The bridge is pretty suggestive too, but I threw a little of what I call "Jimmy Buffett type humor" into that part so it lightens it up a bit. We created a bit of an island feel for the song which is actually kind of Jimmy Buffett in a way. But my biggest inspiration for this song is The Zac Brown Band. I wrote this song after listening to "Overnight" about forty or fifty times in a row. I figured if they could take it there then I could probably take it maybe a little bit further and so I came up with the words for "Let's Take Our Time." For me it's one of the highlights on this album.

My Love Will Never Die
:  I wrote this song in one day, recorded a home-made demo and posted it on my website that same night. It was April 26, 2013, the day that George Jones passed away. When I heard it on the radio I went to the library to get some George Jones CDs and on one of the albums of old songs I heard a song called, "I'll Be Over You When The Grass Grows Over Me," which was written by Don Chapel, who just recently passed away. I thought how similar that theme was to the classic George Jones song, "He Stopped Loving Her Today," that was written by Bobby Braddock and Curly Putman. In both songs the guy pledges to love his woman until he dies. Well, I decided on the spot to take that theme a little further and I immediately came up with the line, "I'll love you ‘til the day they bury me, and then I'll start to love you for all eternity." Unlike the other two songs this guy doesn't stop loving her when he dies, he just starts loving her in a different dimension, he says, "my love transcends this lifetime, it'll never fade away." And I take it to the extreme when it ends with the line, "My heart may stop but I promise you, my love will never die." The song is very simple, there's no chorus, just two verses, a bridge and a last verse. No solo, nothing repeats. It's a George Jones song. I hope someone will honor him by recording this song in the style that he might have done it if he'd had the chance. It's my tribute song to one of the greatest country singers ever. I think it’s a very good country song. It could certainly be on someone’s album.

This Bed's For Sleeping Tonight
: Because first and foremost I'm a poet and a lyricist, the words usually come first when I'm writing a song, and then, if I'm lucky, I get a pretty good melody. I had been holding on to this lyric sheet for quite some time waiting to meet a co-writer to write a melody and perhaps give it a different twist, but what happens a lot with lyricists is that when we write with a song structure in mind - verse/verse/chorus/verse - we very often write lyrics with what I call a "guide melody" in our head, something simple to keep the meter, the phrasing and the rhyme pattern in place from verse to verse, in and out of the chorus. When a final melody gets composed, this "guide melody," which is usually very simple, gets put aside and basically forgotten. But that doesn't mean that the "guide melody" was not good, just that the writer or the co-writer may have come up with a new place to take those words, and the song ends up with a different feel, musically, than the lyricist originally felt. In this case, I realized that the "guide melody" I had been holding on to for this song wasn't bad at all, in fact, I thought it was just right for this song. So I decided to record this song as I heard it in my head, a straight ahead country ballad. It’s a waltz, with a great title and a pretty darn good story line. I think it's very similar to something that Bob McDill might have come up with, and I'm proud to say that because in my opinion there has never been a better writer of simple country songs than Bob McDill. I think this song is a sure bet for a country singer and it should have a good chance to be recorded as is. Kellyann Chester-Ouellette’s vocal is perfect and my daughter, Vanessa, added a very beautiful flute solo. I'd love to hear Emmylou Harris sing this one. I hope I can get it to her.

Then You'd Burn The Pieces: I wrote this during the recording of this album and it actually bumped another song off the album because I thought this was a much better song. It's a really strong statement. There are a lot of heartbreak songs and break up songs that have been written over the years but I don't think anyone has ever taken that theme to this extreme. I mean, it's one thing to say you broke my heart in a million pieces but it's over the top to say that then you burned the pieces. That's where I don’t think anyone has ever gone before and that's why I'm very proud of this song. We used the 12 string Rickenbacker on this to give it a bit of a Tom Petty feel and I was thinking of Waylon when I did the vocal. Michael Arafeh did a really nice lead guitar solo on this one.

I'll Be Your Dylan
: I had the idea for this song for a long time. I wrote the line in my notebook many years ago but never got around to turning it into a song. Obviously, it's centered around the musical and personal relationship between Bob Dylan and Joan Baez. They sang beautifully together at the Newport Folk Festival in 1963 and they had a romantic relationship that's been written about in biographies. And they wrote songs to and about each other, particularly Joan's "Diamonds And Rust." That’s all about Bob Dylan. So one day I found this idea for a title scribbled on a piece of paper, that was it, just the title, and so that day I decided to give it a go, and the song just seemed to write itself. I wrote a verse, which I realized was actually the chorus, and I put it at the top so the song starts off with the chorus, which is the hook, and that's a good thing, not all that common but very effective when done right. Then I wrote a first verse then a second verse, and I realized that the second verse was so strong that it had to be the first verse. The references to the classic albums – Bob’s "Blood On The Tracks," and Joan's "Diamonds And Rust" - is powerful. Writing this one was an interesting and fun process. There's some nice alliteration in a couple lines in the second verse and the reference to the 12 string Rickenbacker making it sound just like The Byrds should make a lot of people smile, after all The Byrds had some major hits with Dylan songs. We actually used a 12-string Rickenbacker on this song and Jay Miggins put a really nice harmonica part on it, kind of like a tribute to Dylan. It's a folk-rock song, I'm not sure anyone will have a hit with it but it was fun to write it and record it and it belongs on this album. I might try to get A Band Called Honalee to take a look at it.

Paint Me With A Thousand Colors
: This is one of those songs that just fall out of the sky somehow and all you have to do is write down what you hear in your head. It probably sounds more complicated than it actually is, the truth is it came to me one day virtually complete and I basically wrote it out in one long session. All I had to do was mix up the right colors. For a long time it was just a verse, chorus, verse chorus song with no break but when we started recording it I realized it needed something more so I wrote a bridge to set up a flute solo which my daughter, Vanessa, played beautifully. I think that added a lot to the song. It's really catchy, and very easy to sing along with, the colors are a good hook. I think people will have fun trying to get all the colors right and I think it will appeal to listeners of all ages. It could be a country-pop crossover. My songwriting partner, Lou Gerolami, once told me this song is one of his favorites. He thinks it's one of my best songs. I appreciate that.
It's Gonna Be All Right: This is the big female ballad on this album and Kellyann Chester-Ouellette delivered it perfectly and also added a beautiful alto saxophone solo to it. It's a love song, a classic theme, not exactly "Will you still love me tomorrow," but rather, "Let's not think about tomorrow, it's gonna be all right." It’s a very sultry, romantic song, it has a kind of jazzy feel to it which makes me think that Diana Krall could do a great take on it. Having Diana Krall record a song you’ve written is a songwriter’s dream, but that’s a perfect example of living out the motto I’ve created to describe my approach to pitching songs: “Think big, and then whittle it down to reality.”

I Always Want To Wake Up With You
: This is my rocker, the most rockin' song I've ever written and recorded. This is one of the songs that my kids can’t seem to get out of their heads, even though they are too young to really understand the implication. It’s the chorus, it’s a strong hook. I guess it's a good one. I really don't know who could cut this, any rock band could have fun with it. It’s really catchy. Michael Arafeh did a killer guitar solo.

You Hurt Me Bad This Time: I had the outline for this song for a few years but I hadn't taken the time to complete it but when I looked at it during the recording sessions it didn't take too long to figure out what to do with it. The melody came rather quickly as they sometimes do with me because I write lyrics with a "guide melody" in my head and that often leads me into a melody that's a keeper. I rewrote quite a bit of the lyrics but I struggled with the third line of the third verse, I couldn't find anything that I liked until I stumbled on a phrase that made me laugh out loud and took the seriousness out of the song for a few seconds which is good because I write a lot of sad songs and to have one that might make people smile - maybe even laugh - is a welcome change of pace for me. But I ended up changing that word to "sad" when we recorded it. It was “sucks” but I thought that might turn some people off. I demoed this with a very simple acoustic guitar and vocal and I thought I would record it that way but we actually struggled with that approach, the phrasing was not as easy to capture as I thought it would be. It's a pretty nice set of lyrics and the melody fits and in the end I think we came up with a pretty good take but for such a simple song it really wasn't easy. But I think we got it. Willie Nelson, or someone like him, could do this, and I’m sure better than I did. But this is my songwriter's demo. I hope someone else takes a crack at it.

I Guess I'm Never Gonna Get Completely Over You
: A song I originally wrote in the style of The Everly Brothers with a very strong hook. A couple of my songs actually start off with the chorus, and this is one of them. It’s meant to grab a hold of you right away and have you singing along by the end of the song. I think this one does that pretty well. It’s a long title, but what can I say? It's the hook. I think it works. It does what I wanted it to do. I think this one would be perfect for a harmony duo like Aztec Two-Step, Rex Fowler and Neil Shulman. I recently saw them sing the Everly Brothers song “Walk Right Back” and it was so perfect it almost brought tears to my eyes. I've never heard anyone sing The Everly Brothers like they do. I think this song would be perfect for them.

Interviewer: How would you categorize your music? Is it country?

Bill Naughton, Jr.: Obviously, some of the songs are very country, but I’ve written in several styles so if I have to choose a category I’d prefer “country-folk-rock.” I was a disc-jockey in Nashville and I’ve learned a lot over the years from studying country songs, particularly those written by great Nashville songwriters like Bob McDill and Sonny Throckmorton. From listening to their songs I learned about the craft of songwriting - alliteration, contrast, meter, phrasing, rhyme patterns, sometimes even within a line - and I always try to write catchy little melodies that get stuck in your head and hooks that you can’t forget. I hope that will be noticed by music industry professionals.

Interviewer: If someone is interested in buying the album where can they find it?

Bill Naughton, Jr.: Well, I'm not actually making a big deal about selling it. Like the first album, it's available as a free digital download exclusively on cdbaby.com/cd/billnaughtonjr, but if somebody wants to buy the CD, all the information is on my website, www.BiliolgaMusic.com. I don't think I'm going to put an actual price on it, the main reason I did this is to promote my music. I want people to hear it, I don't want people to hesitate because it cost this or that. Take it for free as a digital download or give me what you can for the actual CD. I want people to hear it. That's the only way these songs will have a chance to wind up in the right hands. For me, it’s all about promoting the songs. It’s not about me as a recording artist but as a songwriter. I’m not the one who is going to make these songs popular or well known. My recordings are not going to sell a lot of CDs, that’s why I’m making the songs available as a free digital download. I want somebody else to record these songs and then I might earn some songwriting royalties. That’s the only way I’m going to have a chance to get some of my investment back.

: Well, thank you for taking the time to talk to us about your music. This is an exciting project, good luck with everything. I’ll be looking for some of these songs to show up on the radio or on someone else’s album.

Contact information:

Bill Naughton, Jr.
P.O. Box 146
Cobalt, CT 06414


“Writing can be very intense, you pace up and down the hall, you drink cup after cup of coffee. Sometimes you know exactly what you’re trying to say but you just can’t make the language do it. But still, you keep trying because you know that line that says exactly what you’re looking for is out there in the stratosphere somewhere, and you just have to find it.”

Bob McDill

The single by Kellyann Chester-Ouellette

recorded and produced by Michael Arafeh
during the sessions for Songwriter, Volume 2.

If It Hadn't Been For You  

(words and music by Bill Naughton, Jr.
copyright 2015 BiliolgaMusic (ASCAP)

My chance of ever finding you,
At first was pretty slim,
I’d just been through the worst of times,
Breaking up with him,
I was down on love and on my own,
Not looking for anyone new,
And I might have lived my life alone,

If it hadn’t been for you,


If it hadn’t been for you,
I don’t know what I would have done,

I was lost and I'd given up on ever finding love again,

But you picked my heart up off the ground,
When I’d thrown it to the wind,

If it hadn’t been for you I would have never,
Fallen in love again...

You came along at the perfect time,
I needed strength like yours,

You saw the darkness in my soul,
And you opened all the doors,

  You took my hand and showed me that,
Outside the sky was blue,

And I might have lived among the clouds,
If it hadn’t been for you,

-repeat chorus, guitar solo, repeat chorus-

c 2015 Biliolga Music (ASCAP)

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