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Matraca Berg Wiki/Bio
Matraca Berg were born on 3 February 1963, at Nashville, TN. Jeff Hanna married (a musician), 4 December 1993. Addresses: Mike Crowley Artist Management, 122 Longwood Ave., Austin, TX 78734. Austin:
It was not a blockbuster however, and RCA tried to push Berg into a more up-to-date, commercial direction – so much so that they refused to release her proposed album. The resulting albums, 1991’s Bittersweet Surrender and 1993’s The Speed of Grace, were not replicated by many critics, but Lying to the Moon was not a replica of the strengths. Finally, frustrated by the interference of RCA, Berg left for the indie label Rising Tide and returned to its debut style with rousing creative success in 1997, Sunday morning to Saturday night (as most critics agreed). Since then, Berg has continued her successful songwriting career and found work as a backup singer, while RCA’s debut has been reshuffled with some bonus tracks such as Lying to the Moon and Other Stories. In 2010 Berg returned to record and cut The Dreaming Fields, where she wrote or co-wrote every track. It was released in spring 2011 by Dualtone.
Matraca Matraca (pronounced “Muh-tray-suh”) In 1994, Berg went to The Phoenix “I’m what you call an artist in public looking for herself.” A successful songwriter, who co-wrote hits on Reba McEntire, Trisha Yearwood, Patty Loveless and others, Berg has struggled as a recording artist for many years, keeping it in limbo in strict confines of country radio. However, she took her hybrid pop blues country to the pop radio and found an enthusiastic audience. “At her best,” Stewart Francke said in CD Review, “she mixes urban blues and soul with rock’s wit and immediacy.” Geoffrey Himes of Country Music called her a ‘typical new woman from Nashville who refused to be the passive victim of either insane lovers or conservative producers of music rows.
Born in 1963 in Nashville, she grew up to a nurse, her mother Icee, who dreamed of a musical career. “My mom was spunky,” related Matraca to the Tennessean. For a while, we had a dad [Ron Berg] around. But she raised me on her own mostly. When she had to be, she was tough. She didn’t pull me any strokes.” Her musical family included a backup aunt and an Uncle of Steel Guitar. “I could’t have avoided country music and Nashville if I tried,” the writer Chris Flisher told Phoenix. “It’s in my blood. It’s in my blood. When I became obsessed with my aunt’s piano, I was eight or nine. This is when I remember I wanted to write songs first.”
A few influential women’s voices also played an important role in their development. “You must understand that in that town at that time, there wasn’t many female role models to draw as far as singer-songwriters playing guitar,” Billboard said. “Dolly Parton and Bobbie Gentry. It was quite limited, and Dolly was the first great impression I had as a songwriter.”
In the Music Row in Nashville, her mother had enough connections to introduce Matraca to some of the most talented Tunisians in town. “Nashville had a very bohemian atmosphere as I grew up,” she said in an advertising profile. Another important early influence was the “outlaw” sensitivity of less mainstream country music. “The way people expected it wasn’t,” Berg added. “These polished, polite country stars were there. But if you could see the inside, you knew all these other stuff, this whole other world about creativity and great songwriting, were there.”
Matraca’s songwriting obsession bore fruit when she was 18. Faking Love was the number one hit for T.G. Sheppard and Karen Brooks. A song she had co-written with Bobby Braddock. In The Tennessean, she recalled the bitter experience of listening to the car radio song with Icee: “We pulled over and Mom looked at me and said, ‘Share me how it is.’ I wanted to give it so badly to her.” Unfortunately, before two years went by, Icee Berg was claimed to have cancer.
Matraca wrote for other artists continuously, but always in collaboration. “I’m not writing by myself,” Flisher insisted. “I can, but I’m my enemy’s worst. I’m just too self-critical and many times I just find that I have many loose ends that only someone else needs to tie together.” These tracks became a chart success for country stars such as McEntire, Yearwood, Patty Loveless and Suzy Bogguss. Berg composed songs for female recording artists in a field dominated by men, that managed to balance an unequivocal recognition of women’s experiences with universal emotional reach.
Even though she was a talented vocalist, she trusted her voice to sing less than her voice to write. “I didn’t sing. I didn’t sing. I’ve been really shy, “In Tennessean, she averred. “I felt like I wasn’t any good. Furthermore, I did not want the stigma of ‘chick singer.’ I wanted to be a songwriter. I wanted to be. I wanted respect. I wanted respect.”
Matraca Berg Fan Mail address:
c/o Mike Crowley Artist Mgmt. 602 Wayside Dr. Wimberley, TX 78676
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|House address (residence address)||Nashville, Tennessee, United States|
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