..1 A Man Is A Man – Her man is flawed, but he delivers. I bring characters together for sex during solos.

..2 Agnetha – Inspired by Agnetha Faltskog. It started the “Re-write” 1989-96.

..3 All About You – I wrote this duet driving back to Nashville I wanted an acoustic sound.

..4 All Roads Lead To You – Pulling together travel images: world, globe, trip to Mars, highway, dead-end street, U-turn, green lights and traffic.

..5 Always The First Time – A mature woman finds romance, good sex and true love.

..6 Back In The 60s – I wrote it on a city bus in Las Vegas. I was the first kid at Eastern High School in Louisville, Kentucky, to have long hair after The Beatles came. I turned 21 in 1967 and drove a Chevrolet Impala. Candy Heim was my girl friend. Neil Armstrong and Buzz Aldrin walked on the moon, July 20, 1969. The Woodstock festival was in August. I had no desire for Vietnam. Jane Fonda and Raquel Welch were movie sex symbols. Tricky Dicky is Richard Nixon. The Watergate scandal occurred, 1972-74. My personal life blends with national and world events.

..7 Bad Information – Airhead. I went to a writers night in Nashville, and the host told me it was the wrong night. He said I had “bad information.”

..8 Begging For Love – The eve of a breakthrough. It begins with reflection on an empty life. There is urgency, an emerging from the wilderness as eyes turn toward the future, family and home-life.

..9 Birds Of A Feather – People stay in their class. The rich hang together. Couples form within age groups.

10 Born To Sing – Portrays a country singer and the trappings of her business: Nashville, Music Row, studio, songwriters, band, radio and fan letters. What the singer has in common with other women is men.

11 Breaking Ground – Determination to live life to the fullest.

12 Chemistry – Someone told me she and her husband could not keep their hands off each other. She wanted sparks.

13 Come Live With Me – Fantasy about women on the streets. I was sitting in the Burger King eating a whopper and looking out the window at Vanderbilt girls sashaying by.

14 Common Man – How often does an exceptional female want an average male? Only in this song!

15 Connected – I joined alienation metaphors with those of connectedness to make a love song. I envisioned it as funky R&B.

16 Darling Frida – Inspired by Frida of ABBA. Cajun style.

17 Disco Baby – 30 years in the making. I started my disco song in 1977 and finished it in 2007.

18 Everybody Is To Blame – Moralistic. Preachy. I chased Johnny Cash’s car down an alley with it.

19 Everything’s Alright – A song about my son’s mother and how we got together.

20 Extra Smile – Shania provided the title. She was on TV with David Letterman. She said people in Switzerland respect her privacy but give her an “extra smile.”

21 Feed The Children – Serious subject, world hunger with the focus on children. A sequel to Save The Planet.

22 Fever Pitch – Sexual intensity.

23 Filling In For You – About dating everyone except the one you want to be with.

24 Free – The lady is living with her lover outside of marriage because she is repulsed by its hypocrisy.

25 Full Time Thing – The music business is a full time thing. “The Force” alludes to Star Wars.

26 Getting Out Of Hand – Early love song.

27 Gimme Some Money! – Financial security is the only security in our society. It is better to be rich and miserable than it is to be poor and miserable.

28 God Given Talent – Her lover is a country singer. His talent is love. Kenny Royster suggested we turn it into blues. Mine and Kymberly’s first song.

29 Great Believer – Trying to determine who my women are.

30 God! You’re Beautiful! – Beauty must be on the inside as well.

31 Guilty – This gal needs to get herself together.

32 Half Crazy Half The Time – Images show someone losing his mind. He goes from the house in verse 1, to the road in verse 2 and into a minor chord in the bridge.

33 Hard Earned Love – Deprivation and discipline followed by release. I like the AABA form.

34 Hard One To Lose – On the tail end of the writing binge 1997-2004.

35 Hawaii – I flew to Hawaii on September 11, 2003, climbed Diamond head Crater and looked down on Honolulu. I visited Pearl Harbor which serves the town of Pearl.

36 Heartbreaker – He is a womanizer. The last victim warns the next, knowing her warning will go unheeded. The phantom and Jekyll & Hyde lend eeriness.

37 High Maintenance Girl – Clustered images making a girl high maintenance. It takes a girl with attitude.

38 How Did You Do That? – Inspired by a kid doing magic tricks.

39 I Can’t Complain – Positive.

40 I Feel So Country – I portray a country girl and put Shania in it. “Country” has three meanings: USA, out in the country and country music. Tongue-in-cheek.

41 I Looked Twice! – A girl walks into a bar, sees a singer on the stage and does a double take. One Night Stand, an Illinois band, put it on their album. I own the publishing and will give them a mechanical license.

42 I Love You – Shania Twain influence.

43 I Love You & You Love Me – A couple’s day from breakfast to afternoon sex to the Wildhorse on Nashville’s Second Avenue.

44 I Need Love – She tells who she does not need: Mister Universe, Leonardo DiCaprio, Sermon on the Mount, PHD and a nutty professor. I use real people and proper nouns.

45 I Promise (Wedding Song) – I went out to eat and wrote it in the truck. I wrote it on the horn and steering wheel as cars whizzed on both sides. Girls contact me, wanting this song performed at their weddings.

46 I Remember When You Were Mine – Songwriters know the importance of the first two lines. I show how forever may seem like the remote past.

47 I Saw A Woman – A girl realizes she has grown up. She overcomes uncertainty to accept womanhood as strength.

48 I Try – Boisterous melody.

49 I Worhip You – Is it okay to worship the right woman?

50 If It Wasn’t Love – My divorce as a duet. Kymberly has her partner.

51 I’ll Be Fine – I sent the lady to both Chile and Australia.

52 I’m Gonna Love You – She puts food on the table.

53 I’m The One – Complexity in the verses contrasted with intimacy in the chorus. I wrote it in 1998.

54 I’ve Got To Let Her Go – I went through a “younger woman thing” between 44 and 59.

55 Jesus Died For You & Me – Gospel song based on Jesus’ last words. David foresaw Christ on the cross in Psalm 22. One minute song. Acappella.

56 Jesus Paid My Debt – Written in 1973. After Vietnam, boomers looked for answers and turned to Buddhism and other spiritual teachings. I concluded that the message of the New Testament is ultimate truth.

After the Vietnam War, I was confused and searching for answers. I studied Buddhism and different forms of mysticism. I finally got in with a group of “Jesus Freaks” in Louisville, Kentucky. We read the Bible and spoke in tongues. One night, I knelt beside my bed reading the New Testament. This was 1972, and I had taken some LSD. As I thumbed through the N.T., the room let up with an unearthly white light. It was like Paul on the road to Damascus. Understanding poured into me. Jesus did not speak to me, but it was as if a veil had been pulled back and God was letting me see ultimate universal truth for the first time, that Jesus Christ died on the cross for the sins of all mankind and rose from the dead and that those who put their trust in Him will share eternal life. To this day, I have not forgotten that revelation. I wrote a gospel song shortly after the experience called Jesus Paid My Debt. I just recorded it in Nashville with Kymberly Bryson.

57 Judgment Day – Politics, religion and upheaval in my life, decade by decade. I wrote it on Christmas Eve, 1997, driving to Louisville. Not be taken literally.

58 Krissy – Krissy Taylor was the sister of model Niki Taylor. She died when asthma medicine aggravated a congenital heart defect. Her mother wanted someone to write a song about her.

59 Leaving – One of my original comeback songs.

60 Let Me Love You – One of the many songs written at the Village at Vanderbilt while sitting in my apartment with my white Takamine.

61 Line Dancer – Portrait of a 21-year-old girl.

62 Live My Dreams – Rags to riches.

63 Living Within Ourselves – Contains basic tenets of Christianity: Crucifixion of Jesus, rebirth of His followers through the Holy Spirit and Second Coming. I contrast life before and after salvation.

64 Long Distance Love – I wanted a Brooks & Dunn feel.

65 Long Live Rock & Roll – 50 years of music! Skeptics predicted an early demise, but Elvis Presley’s rock & roll took root in England where The Beatles turned it into an art form. Over-indulgence brought tragedy to acts from the Woodstock era. The 1970s saw further internationalization as Europe and Scandinavia answered with their own brand of rock called disco. Sweden’s ABBA fronted two women in the women’s lib decade. The Bee Gees provided the soundtrack for John Travolta’s Saturday Night Fever. Subsequent decades witnessed a transition from audio to video-based music as Roxette, Ace of Base and Shania Twain cranked out videos. Kymberly became the female Elvis as things went full circle.

66 Love Me Just A Little – Love gets us through the night.

67 Make Something Happen – A couple puts love above ambition and distractions. The verse-chorus, verse-chorus, bridge-chorus structure touted in Nashville.

68 Makings Of A Star – I wrote it in Caesar’s Palace in Vegas as Dolly Parton’s face flashed before me. The persistence needed for success.

69 Merry Christmas – My Christmas song is unique in that both Santa Claus and Jesus are in it.

70 Michael B – Memories are like a photo album. I follow my son from the hospital, through school and into the future. I put him with his own family, a fully-functioning adult. I love my son.

71 Mostly I Love You – She contrasts peccadilloes with his good points, giving an edge to the positive. He cuts grass, goes shopping and satisfies her sexually.

72 Music And Women – I jokingly made a comment that music and women ruined my life. This song came the next day.

73 My Heart Is In Montana – Inspired by a girl from Montana.

74 Name, Number & Message – I was making calls to music publishers and getting their answering machines.

75 1979 – Breakthrough year. The New York Yankees won the World Series in 1977 and 1978. Jimmy Carter was president, and disco peaked. Polyester shirts and bell bottoms were fashion. John Travolta and Olivia Newton-John starred in the movie Grease.

76 1999 – Big difference between the Clinton years and the Bush 43 years. Honestly, the only good thing about either decade is the help I gave Michael.

77 No Win, No Lose Situation – A Southern Belle from Georgia gets in with a gambler in Louisville. It could be Kentucky Derby week. I was driving on Interstate 65 trying to think of a car for this song. I looked out my window, and there it was, a Z28 Camero.

78 Nowhere But Up – Typical girl song from around this time.

79 Object Of My Desire – Platform shoes and bell bottom pants reappeared in the Clinton years.

80 Old Time Country Song – The definitive country song: picture, ring, loneliness and heartaches.

81 Only In A Way – Attempt at a power ballad.

82 Part Of Me – I met songwriter Jerry Merrick at BMI. He had an idea about how a mother and child have the same heart. We tried to co-write. I ended up with my song, and he probably has his. Mine is about Karen and Michael.

83 Part Time Dad – Another Michael song. I was determined to hold on to him after the divorce. I have gone deep to help him.

84 Patty Loveless Eyes – A magazine with Patty Loveless on the cover laid on my floor for weeks. I kept looking at her eyes.

85 Phoenix – In Greek mythology, the Phoenix was a bird which rose from its ashes after burning up in a fire. It symbolized the Resurrection in the early Church. I use the Phoenix to show personal triumph, a comeback following hard times.

86 Please! Please! Somebody Love Me! – Associated with Minnie Driver.

87 Put Me On The Spot! – Shania Twain uttered these words during her Nashville concert. I grabbed on.

88 Rough Night – I spent New Year’s Eve, 1999, alone in my apartment at Vanderbilt University. It was the last night of the year, last night of the decade, last night of the century and last night of the millennium. I thought, “Man! That was a rough night to be alone!” It is an ordinary Tuesday in the song and still a rough night.

89 Rule #1 – Strong drumming.

90 Satisfied – New words, old melody.

91 Save The Planet – An international anthem. It speaks to people on every continent. I need a singer who believes in the message and a record label willing to promote it. I need musicians who render the song in the spirit in which it is written. My stuff is in the tradition of Elvis Presley, The Beatles, ABBA and Shania Twain. It needs snappy definition in the backing tracks and strong vocals. State-of-the-art technology is a must.

Even though I wrote Save The Planet in 1990, it is still on the edge. It is the definitive environmental song. It is about the future, a blueprint for global management.

Save The Planet is based are scientifically sound principles.
Verse 1 sets the scene, present and future humanity on earth.
Verse 2 deals with plant life.
Verse 3 deals with animal life.
The bridge focuses on keeping our atmosphere and water free of polution.

Hard Rock Cafe uses the logo “Save The Planet.” Their home office is in Orlando, Florida. Perhaps we can work out a deal which allows me to sell CDs in their merchandise shops.

92 Sailing Out – Associated with my first trip west.

93 Sexpot – Rockabilly is my favorite music.

94 She Da Bomb! – Bomb imagery fleshed out my sexual fantasies after someone on the web called Minnie Driver, “da bomb!”

95 Showgirl – Written on the heels of the 1993 Las Vegas trip. I distilled it from a 50-page story of the same name. I destroyed the story because it was so pornographic.

96 Showing Signs – Love resurrecting. Dating service and telephone call. I was rising from my parents’ basement after 12 years.

97 Snowflakes In A Blizzard – People are like snowflakes. We are different when you get in close. We are the same when you stand back. 6 or 7 billion people flying around the world is like a blizzard. I use the story of a musician leaving Nashville to find peace of mind. Denver, Colorado, seemed a good place to seek freedom. It has lots of snowflakes and blizzards. I put my musician with a boy in the Rockies who resembles the one he left in Nashville. As we drift from relationship to relationship, we are attracted to types. It is a bitter/sweet lyric, and The Eagles’ feel adds to it.

98 So Much Better – Recorded in the summer of 1978.

99 Somebody’s Taken Your Place – Older man, younger woman. From the Castle Heights album.

100 Someday Michael – Michael and I do things with an eye on the future.

101 Something That I Can Sing – Comedy. A girl next to me in a karaoke bar gave me the title. The story is fiction.

102 Something That’s Got Me – Pop with a country hook. Attraction metaphors. “He takes me down” flows into the solo, a time of sexual activity. I wrote a third verse and for Kymberly.

103 Songs About Angels – An old Indian who likes songs about angels. There is a sense of impending death. He mistakes the singer for an angel. His words end up on her CD as nature and spirituality entwine in the west.

104 Southern Stars – I flew to Australia for a star party. I went to see the stars of the southern hemisphere. The Milky Way is our galaxy. The Magellanic Clouds are satellites. The Southern Cross is the most famous constellation in the southern hemisphere. Canopus is the second brightest star after Sirius.

105 Spread My Wings & Fly – Pep talk to myself. Eagles and jets have wings.

106 Staying Power – A guy in a record shop said that Shania’s Up! album had staying power.

107 Stockholm Lady – An American soldier returns to his Svenska flickor. ABBA and the Swedes were an influence.

108 Summertime – Baseball is played 8 months out of the year counting exhibition games in March and postseason in October. November through February are dreary months. My parents took me to Daytona Beach the three summers that Kennedy was president.

109 Sweet Marie – Inspired by Marie Osmond.

110 Swim With Dolphins – Symbolizes living our dreams. Waikiki Beach is on the Hawaiian Island of Oahu. Mauna Kea is an extinct volcano on the Big Island.

111 Take Me To Cancun – I have never been there.

112 Thank You Lord – A gospel song I secularized.

113 The Only Thing I’m Good At – Country.

114 The Truth – I always heard the truth hurts. I also heard the truth will set you free. My song reconciles the two ideas. I wrote The Truth driving back to Nashville in November, 2001. I saw a hurricane over my shoulder as tears streamed down my face. It was a hurricane of emotion.

115 Things Aren’t Good At Home – Unhappy marriage.

116 Tomboy – She is from the country. Her brothers made her tough. She knows how to please her man. Shania-influenced.

117 Too Late For Love – From Rising from the Ashes.

118 Totally Awesome! – I hear a shuffle like Shania’s Come On Over.

119 Twenty Years Ago – I passed Lebanon on Interstate 40 but did not get halfway to Knoxville. Otherwise, it is true. The sirens were from ambulances going to and from Vanderbilt hospital. Only nerds, dorks and geeks order a liver and onions dinner. Obviously about Karen and Michael.

120 Undeniable – The kind of love I want.

121 Up & Running! – Comeback song. Modulate the final chorus.

122 Walk Into The Future – Michael is infinitely more important than all music and singers put together.

123 Welcome Mat – Written with Norma Jean in mind.

124 We’ve Got To Start Meeting Like This – The more I tried to write new country, the more I sounded like Norma Jean.

125 What About The Changes – People and details make a good gospel song.

126 When I Was A Boy – Innocence of growing up in the 1950s. My father was a truck driver; my sister had collies. There is a sense of change. Events pass, memories fade. This is one of those lyrics which spanned two decades as I learned to substitute images for cliches.

127 When You’re In Love – Simple love song.

128 Wild Tigers – No plans for Africa.

129 Wintertime – Complements Summertime. Same melody.

130 You Take Me To Another Place – Faith Hill talked about Shania Twain on TV. She said, “Shania takes you to another place.” It became an inspirational love song. The solo is like the chorus.



I wrote 400 songs in 40 years. It began as I was turning 18. I began hearing songs that did not exist. That made me a songwriter. There was an old, beat-up guitar at my grandmother’s house. Chords were easy to make, and I quickly understood how they fit together to form patterns. I transposed from one key to another. The problem was, I had no rhythm. Bill Davis would help me with that years later. The neck of that old guitar was terrible. Strings dug into my fingers like barb wire. The pain in my fingertips woke me in the night. Calluses formed. My first songs were about breaking up with girl friends. This is true for most writers. Self-pity is a factor. Most songwriters are introverts as I was. The creative process and schizophrenia are closely related. Creating music which no one else can identify with tends to isolate a person. He finds himself cut off from society, misunderstood and misunderstanding. That is how it was. My mother bought me an electric guitar, a Gibson. I was no guitarist. I banged out chords and screamed, sweat pouring out of me on hot summer days. My first songs were imitations of what was on the radio. Elvis Presley and The Beatles were influences. Coherent efforts were Welcome Mat and Long Live Rock & Roll. The culmination of that period was the gospel songs I wrote after coming out of the Army. My religious phase was crazy. As America rejected the Vietnam War, I began reading books of a spiritual nature. I delved into the writings of Aldous Huxley. One thing led to another, and I fell in with a group of Jesus freaks. We went to a Pentecostal church where the congregation danced in the aisles. We spoke in tongues. I threw away all my possessions except for my clothes, Bible and guitar. I went off the deep end and was admitted to the mental ward at the Veterans Hospital. I was given shock treatments. My gospel songs sprang from the turmoil. Jesus Paid My Debt was the best. I recorded Jesus Paid My Debt with Kymberly 36 years after it was written. No problem because the song sounded 100 years old from the beginning! It reeks of old time religion. Kymberly grew up in church and got her flair for gospel from her mother.

1973-1985 – Comeback

I rose from the ashes. I began going to the Dipperwell, the restaurant where my mother worked. The Dipperwell was run by my mother’s cousin, Thelma Lee. She introduced me to a drummer in a local band. He helped me produce Long Live Rock & Roll in a Louisville studio. I did the vocal. We took it to Nashville and pressed 1000 45s. I mailed them to radio stations, publishers and record companies across the country. Doing this record was like a resurrection. Good songs followed, the strongest of which was Phoenix. Phoenix was based on the bird of Greek mythology, and I was that bird. I soon found myself in Nashville recording with Bill in a makeshift studio in his back yard. I had a 4-channel Teac, and he had a Dokorder. We used the two decks together. Our collaboration led to an album with students from Castle Heights Military Academy where I worked. We called it Rising from the Ashes. My renditions of Leaving and Belle Meade Blues were on it. These were comeback songs. Tim Morrison sang Too Late For Love and Lori Powell did Losing Makes You Stronger. Of course, it was a misadventure. Working with Amy Plummer that summer, Sailing Out came out nice. My first female songs were really male. I simply changed the pronouns. As things played out, I pressed final cuts on Jim Colyer Records. Karen did Somebody To Love, and I backed it with I Am The Greatest. Silence! I realized the futility of putting out records on my own label. It would be years before I recorded again.

1989-1996 – Rewrite

After becoming a parent, I questioned music and my involvement in it. I had a young son to take care of and had squandered my resources. My songs suddenly seemed second generation imitations of what I had heard on radio. Few held up, and even those were mediocre. They reflected my life at a particular level. Entering middle age with a son to raise gave me a different perspective. I retreated to my parents’ basement after my divorce. Nothing sounded good, and I did nothing in music for a long time. The rewrite began unconsciously. I wrote lyrics for Agnetha and Stockholm Lady over old melodies. When I Was A Boy evolved lyrics relevant to my life. I pieced together a jukebox musical, Phoenix Rising, 30 songs strung together with a story around them with characters and dialogue. It was about an American soldier named Frank Logan who had a daughter in Sweden he had never seen. Frank was on the verge of fathering a second child with a young British singer. The plot revealed my infatuation with younger women. I discarded Phoenix Rising, knowing it was a phase and not what I ultimately had to say. The rewrite continued as fragments sprouted verses and bridges.

1997-2004 – Explosion

I had an environmental song called Save The Planet and thought it could be an international hit. When I advertised in a Louisville music paper for a female vocalist, it triggered a chain of events which I could never have predicted. A lady in Indiana recorded my song, but it was no good. Shortly thereafter I was talking to a clerk in a video store. She told me her cousin wanted to be a country singer. I gave my phone number. Three days later Ron Coogle called looking for songs for his daughter Rachel. I went to their house with a song called Satisfied. We took it to Doc Dockery’s basement studio in Indiana and did a demo. Rachel performed my song on a public access show for songwriters. Doc then introduced me to Pam Ingold. Pam recorded 8 songs with me including Half Crazy Half The Time. Suddenly I was back in Nashville writing songs in an apartment on Music Row. This was what I had always wanted anyway! I bought a white Takamine guitar, and songs poured out of me. Many were female. I wrote Always The First Time for Donna Carter and Common Man for the Gentry Cousins. My best songs were coming in my 50s during the Shania Twain era. The girl songs I was writing were different from the early ones. There was female psychology in them. I was writing as if I were a woman. People joked about my “feminine side.” It came with being older. By now women sang the way men used to. They were strong and independent. They liked my tough girl lyrics and rockin’ beat. I recorded with Kenny Royster at Direct Image Studio. I did I Promise with Veda, sub-titling it (Wedding Song). I began to think it a good idea to identify songs with entrenched institutions. I Feel So Country was filled with patriotism and flag-waving. I wrote Merry Christmas using the same melody and sang it over the track. I promote it every December. Good Christmas songs are hard to write. The best ones came before the rock era. I found Music Row impenetrable, signed artists surrounded by managers, attorneys and A&R people who work only with major publishers. It came down to the Internet, and jimcolyer.com was the definitive site.

2009-2020 – Commercial

The time came for me to give up other music and to concentrate on my own. It is time to stop losing money because of music. My catalog will stand on its own and generate income only if it goes commercial. Music is a luxury, not a necessity. It is ego-based. The songwriter’s favorite word is “I.” John Lennon could stretch the word “I” over several seconds. From my own catalog of 200 titles, about 70 of them begin with the word “I.” Music people care chiefly about themselves and their families. They want money. When they get it, they are gone. They are self-oriented. Every generation produces its own music and seldom relates to that of previous generations. Music is like language. It is tied to the sexual mores of the people who produce it. Everybody writes, and writers care about their own songs. It is ego and money! Radio hits are recorded using state-of-the-art technology. Production cannot be overestimated. Listeners respond first and foremost to sound. Songs are intellectual things. A bad song with a good production can be a hit. A good song with a bad production cannot. The ideal situation is to have both a good song and a good production. I publish my catalog using the Internet. If people like something I have, they can use their resources to record it. I am conscientious about the songs I pitch. I am interested in those which are positive, having the power to raise people up.

Colt Records
Colt Records was founded by J.K. Coltrain in 1998. J.K. is from Ashley, Ohio, and works out of Nashville. He has several acts signed to his label. One Night Stand is one of them. ONS recorded my song I Looked Twice! and included it on their CD Thank God For Country Music. There was a release party at the Nashville Palace, March 28, 2009, and Michael and I went. ONS is managed by Jamie Lemmer.

Donna Ray is signed with Colt. She and her producer, Ed Gowens, did Old Time Country Song. It is very traditional and went to #3 on the SoundClick Country and Western chart. Ed means to put it on Donna’s forthcoming album.

Katrina Lynn from Pennsylvania recorded I Feel So Country with David Walker in Lavergne. Katrina is with Triplestrand Productions.

LaDonna Fay in eastern Kentucky recorded I Feel So Country. She has it on her myspace and will follow with All Roads Lead To You.

Terry Lynn in Georgia is with Farm Boy Music Group. She is recording All Road Lead To You.

Myra LeBlanc in Canada said she would record four of mine. I sent her mechanical license forms which I printed from the Harry Fox site but have not heard from her lately.

It is my best demos that are getting recorded by these independent artists. My goal is for one or more of these songs to jump to a major label with or without outside publishing.

I did a CD called God Given Talent with Kymberly Bryson. We recorded it at Direct Image. We started with God Given Talent and went through 10 pre-recorded tracks. We got airplay in Japan and across northern Europe through Dixie McCorkell and Triplestrand Productions.

I first met Kymberly at BuckWild Saloon on Second Avenue in Nashville in January, 2009. I wandered into BuckWild quite by chance, sang a few songs and asked Kymberly for her card. I actually threw it away after leaving BuckWild, thinking nothing could come from the encounter. I was back in BuckWild in March, and Kymberly was again running karaoke. I did not even recall her name, but she gave me her myspace address. As I heard Kymberly sing song after song, it dawned on me that her vocal style fit my writing style. I could hear her singing my songs. She had that blues element. She sang new country hits as well as standards. She did male songs. She sang Elvis, Jerry Lee Lewis, Bob Seger and The Eagles. She got me when she sang Roxette and Ace of Base. She was the most natural singer I ever heard. I told her she was the one I had been looking for, for 30 years. I want to keep working with her. She is the last one.

At 5’1,” Kymberly looks and talks like a little girl. When she sings, she comes off like this powerful diva. Kenny Royster recognized her vocal capacity.

Francis King, an attorney, joined us at a session at Direct Image. I gave him our songs on CD so he could show them to his producer friend. I told him of my plan to press 100 CDs at We Make Tapes.

Francis wants to help me copyright the 10 songs. I may copyright them myself.

Having written 400 songs in 40 years, it behooves me to critique my own catalog. I am 64. From this point, I am content to throw out the songs based on self-pity and those that communicate depressive emotions. I want to leave behind songs which inspire people, especially the young. My Christmas song and handful of gospel songs do that. So do the Shania-type girl songs which tend to encourage women. There was a time when all I wanted was to get a cut or to have a hit. Now I am conscious of the effect my lyrics have on people. We are affected by the movies we see, the books we read and the music we hear.

ALL ROADS LEAD TO YOU – Jim Colyer song


I can travel the world,
circle the globe
Take a trip to Mars
Wear myself out on a lost highway

Reaching for the stars
A million men may want me
But, baby, I’ll be
And I’ll be there when you need me
Cos All Roads Lead To You

Sometimes I feel like I’ve been down
Every dead-end street
pick myself up, make a U-turn
Get back on my feet
If the lights are
green and the skies are blue
Honey, I’ll get through
And I’ll be there
when you need me
Cos All Roads Lead To You

If there’s a way home,
I’ll find it
Let your love light burn until then
I’ll make my way
through this traffic
To be in your arms again


I can
travel the world, circle the globe
Take a trip to Mars
Wear myself out
on a lost highway
Reaching for the stars
A million men may want me

But, baby, I’ll be true
And I’ll be there when you need me
Cos All
Roads Lead To You
I’ll be there when you need me
Cos All Roads Lead To
All Roads Lead To You

Jim Colyer ascap

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