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03.02.2014
Although the citya€™s structure forms the setting, ita€™s clearly the human element that is at the core of the inspiration for Robby. Bespectacled, with eyes that often look into a middle distance with a near-expressionless stare, Robby Hecht tends to give off the vibe of a resolute avoidance of drama. Hea€™ll allow himself a sly smile, mid-song, during a low-key cover of a macho pop confection like a€?Ia€™m Sexy and I Know It,a€? but his ever-present, even, relaxed manner tends to reinforce the impression of a calm approach to every song, no matter what the content. We caught up with Robby at the 2013 Northeast Regional Folk Alliance (NERFA) Conference and pitched our offer for a cover article. During his time at the University of Wisconsin in Madison as an English and history major, Robby began gravitating toward a musical career. His focus as a listener was on FM radio staples such as Tom Waits, Bob Dylan, Marc Cohn, Toad the Wet Sprocket, Joni Mitchell, Ben Harper, Coldplay and David Gray.
During his freshman year, he started performing at open mics and at age 18 he made a a€?strangely confident and finala€? decision to commit to music as his calling and career.
Jason didna€™t stay in Nashville long a€” less than a year a€” before relocating to New Orleans. Robby had reconnected with Annie Klaver, a coed friend from Wisconsin, during his travels in Europe.
Robby had applied three times to the Kerrville festival and failed to make the cut for the songwriter competition.
A video he made of a€?The Hard Way,a€? also from this album, is comprised of amateur video clips of people dancing to the songa€™s bubbling, perky melody, reveling in their own movement. During his freshman year, he started performing atA  open mics and at age 18 he made a a€?strangely confident and finala€? decision to commit to music as his calling and career. Jason didna€™t stay in Nashville long a€” less than aA  year a€” before relocating to New Orleans. All through Robbya€™s growth as a musician, he was puzzled by his tendency to swing between being outgoing one day, to being painfully shy the next. Nashville songwriter Robby Hechta€™s self-titled new album will have its local CD release at Rockwood Music Hall on March 24. The throb of a drumbeat supports a pulsating calliope-like electric piano while a kaleidoscope of urban New York humanity rushes at the viewer. After brief moves to Houston and New Orleans while his father, a doctor, finished med school, his residency and initial medical stints, the family settled in Knoxville, Tenn.


Robby said, a€?I grew up singing the songs he would learn on his instrument.a€? Their musical tastes also influenced him. Along with the aforementioned a€?New York City,a€? other songs worth mentioning include a€?Soon I Was Sleeping.a€? With its pedal steel guitar backup, it has a strong country flavor and covers the familiar ground of an alcoholica€™s failing marriage. Ita€™s a combination of ancient film footage and stills as well as contemporary video and photographs.
His voice is a velvety baritone with an unerring sense of melody a virtuoso violinist might attain.
In grade school there was classic rock: hair bands like Motley Crue, Def Leppard and Poison. He was in chorus from grades eight through 11, then joined the chamber singers group when he was a high school senior.
Robby said that since Jason plays tuba, he found a great home in the a€?Big Easy.a€? He gets a lot of work with a number of bands and has been nominated as best sousaphone player in New Orleans. Annie, who had been working in Rotterdam for the past three years, was relocating to the U.S. Some of the lyrics buoyed by exquisite melodies appear to reflect Robbya€™s struggles with the darker side of his personality. It begins as we watch a grainy clip of a woman winning a large sum of money on a TV game show. He was in chorus from grades eightA  through 11, then joined the chamber singers group when he was a high school senior.
In high school he was into Counting Crows, Lemonheads, The Grateful Dead, Tom Petty, The Band, Sarah McLachlan and The Indigo Girls.
Although he took guitar lessons when he was 10 and 14, he never stuck with it for very long. On his website, he states: a€?My condition made it hard to really commit to anything a€¦ It made it hard to want to record a record.
So that year, he went to Kerrville simply as an attendee, without any status as a competitor. It has a repetitive refrain toward the end, Ia€™m gonna be somebody, which repeats about eight times.
The songa€™s rhythm is maintained with the steady pace of each photo or three seconds (or so) of each video clip.


Eerily, on the day after Jason and Robby decided to move to Nashville, she emailed him, and knowing that Robby was from Tennessee, asked him what Nashville was like.
The rest of the video is a celebration of dancersa€™ ecstatic physical reaction to other music, but in total sync with the beat of a€?The Hard Way.a€? Ita€™s mesmerizing and I watched it again and again, transfixed. There is a counterbalance in the opposing actions of the inadvertent actors: braggadocio and fear, ecstasy and cruelty, desperation and defiance, calm and hysteria. AllDay Radio made an album anyway and, slyly referencing an imaginary TV show, called it The Best of Season One. Because at some subconscious level, I didna€™t know what version of myself I was going to be when I showed up.a€? After Annie described to him the drastic nature of his day-to-day personality shifts, he sought medical help and confirmed his self-diagnosis that he was suffering from a bipolar disorder. This gave him the feel of the festival and allowed him to relax when he returned in 2008 as a competitor and took first place.
I also drew attention to his cover of Townes Van Zanta€™s a€?If I Needed You,a€? a duet with Jill Andrews, formerly of The Everybodyfields, calling it a€?exquisitely done.a€? A link to a live performance of this song, with Liz Longley providing harmony, is among the many video links on Robbya€™s website.
I also drew attention to his cover of Townes Van Zanta€™sA  a€?If I Needed You,a€? a duet with Jill Andrews, formerly of The Everybodyfields, calling it a€?exquisitely done.a€? A link to a live performance of this song, with Liz Longley providing harmony, is among the many video links on Robbya€™s website. There is, too, a brilliance in the assemblage of the mosaic of the old and new, showing the timeless nature of the mortal struggle against the potentially lethal forces that are unleashed daily by a large metropolis. Hea€™d also sit alongside the Seine and play a€” not performing so much, but nevertheless getting noticed by passersby. This began an approximately three-year period of testing different doctors and regulatory medicines to stabilize the effects of his bipolarity. The album, laden with acoustic guitar, fiddle and dobro licks and hummable melodies, is still available on iTunes and is well worth a purchase (Ia€™ve got mine). As he explained it, any person with this problem has to use trial-and-error to find out what works, and an artist, in particular, must have faith that their personality wona€™t change so much that they experience a loss of creativity.
Ita€™s a place where for generations, people from across the world have gone to challenge themselves and start over under a new set of rules.



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