This week’s Makin’ Tracks features this song written by Barrett, Seth Mosley, Emily Weisband and James McNair.
With “Glory Days,” the first single from a forthcoming album, she continues to mine an interpersonal theme — though the production’s breezy feel, created by a gurgling musical track, puts a whole new bounce in her sonic step.“It reminded me of kind of old-school Keith Urban — like ‘Somebody Like You’ or just kind of in that era,” Barrett notes of the foundational sound, developed by songwriter-producer Seth Mosley . “It just felt fun and it felt open, and I wanted something that was more upbeat.
“Probably the most nerve-racking part of writing,” says McNair, “is never working with an artist before and not really knowing kind of, ‘Hey, what is she going to want to do today?’” “As my parents get older and my siblings all grow up and move to their own places, I just don’t want to miss where I’m at,” says Weisband. “I don’t want to look back and wish I was back there because those are the good old days. I wanted to write a song about how now is the good old days, like we’re in the glory days now.”
“Her being in her house, I think, especially inspired the second verse,” says Weisband. “I mean, we really tried to put her favorite parts of her life into the song. We really dove into her lifestyle and where she’s at in her life.” The demo was so well-conceived — from the opening, slappy toms to the a cappella, cold close — that producer Ross Copperman stuck close to the road map on the final recording. He mostly layered in real musicians -— primarily bassist-guitarist Danny Rader and keyboardist Jeff Roach — one instrument at a time over programmed drums.
Copperman and Barrett, who co-produced the track, considered inserting a key change after the guitar solo, but scotched that idea as deadlines drew near. And in the final hours, Barrett insisted that the new banjo/guitar undertow they had developed wasn’t cutting it as well as Mosley’s original on the demo. Mosley was working in Stockholm, but he had with him the hard drive that housed the “Glory Days” demo and sent the tracks around 1:00 a.m., which meant 6:00 p.m. in Nashville.
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