I am happy to announce that “Too Good” is featured in the latest edition of SoundBites by SoundCorps! If you like learning about great new local music, check out www.soundcorps.org/SoundBites 

SoundCorps wrote, that "Phil Hyland introduced himself to us at the Dunlap Songwriters Festival this summer and this track is proof that Dunlap musicians participate in genres outside of country. "Too Good" is a pop-centric rock single with intricate layering and expert engineering. We look forward to seeing more of Phil Hyland this autumn."

I wrote “Too Good” for my NYC band, Girlfriend. It was road-tested in the clubs and I love playing it live. I was trying to create a sleek pop song, not too heavy but with some real lyrical muscle under the hood. I wanted clean lines, bold colors, and no extra weight.

Photo of Phil in Portsmouth VA circa 1970s 

Putting together a song is like designing a race car. It takes a team. I had the emotional concept for the song and wrote it on my acoustic de-tuned guitar. Somehow, as a band, we never got “Too Good” into the studio to record her; she lived only in ephemeral moments on stage, trying to connect with someone in the audience.

Do you feel the way I do?

Going unnoticed by someone you are interested in romantically is tragic. Maybe they're into you as well, but through a series of false starts, you just can't seem to connect. This is the essence of the song: you're ready to race but you just can't qualify.

Assemble the A Team!

I got connected with WaveLength Studios in Chattanooga TN and have been fortunate to work with producers, Atreyon (Billy “Trey” Mullins) and WayneOnABeat. They took the frame of “Too Good” and elevated her to race car rock star status. She's fast, furious, and catchy!  Just how a Pop song should be! I hope you enjoy the track!

Roll credits:

• Music & Lyrics by Phil Hyland (BMI © 2023).
• Produced by Atreyon & WayneOnABeat at WaveLength Studios Chattanooga TN USA. 
• Lead vocals & acoustic guitar, Phil Hyland
• Backup vocals, Robin Hyland
• Bass & Beat by WayneOnABeat
• Keys, synth, and programming by Atreyon, 
• Electric guitar, Josh Gilbert
• Cover art created by my friend Josh Wilhelm - JWcreates.com 

Recorded and mixed at Wavelength, March 2023.

Released Tuesday, January 24th, 2023

PERSONNEL: 

Steve Dole:  Lead guitar & backup vocals 

Phil Hyland: Acoustic guitar & lead vocals 

Rene Stevens: Mandolin, cajon 

Dave Berrey: Bass 

Matt Tye: Woodblock & soft shake, additional percussion 

David Soltes: Classical guitar and backup vocals on “She Never Cared” 

Zack Mendenhall: Bass on “She Never Cared” 

Robin Hyland:  Backup vocals on “Steering Wheel” 

All songs were written by Phil Hyland except: “Steering Wheel”, written by Jack O’Neill, and “Weather with You” written by Crowded House 

Recorded, mixed & mastered by Matt Tye, Bumblebeast Mobile Recording Studio, Los Angeles CA 

I remember hearing the Gipsy Kings playing in a store on La Brea in Los Angeles around 1988. I did not know who they were and asked the cashier who they were playing and he showed me their eponymous album.  I immediately bought their album (probably a cassette or vinyl) and fell in love with their sound and way of playing. 

Years later, Ry Cooder, went to Cuba and recorded the Buena Vista Social Club and it was truly epic! Those magical traditional sounds coming through my speakers rocked me. 

You can’t beat getting together with your friends and playing songs in the round.  Acoustic guitar has always been my first love and constant companion.  She’s been with me through all the good times and the bad. 

“Bumblebeast Sessions” is an EP that simply captured me and my friends getting together in Los Angeles and playing some songs together. It gave us a chance to explore and have some fun. I hope that spills over out of your speakers.  Each song holds a special place in my heart…I have related to the lyrics in each and lived a lot of those moments myself. 

“The Wave (acoustic)” was inspired by some twilight surfing in California. Probably not the smartest idea to go out into the ocean in the evening but on this particular night, I remember a big moon, glassy waves, and floating on my back listening to the rocks on the ocean floor clatter as the waves rolled in. I always heard the moon pulled and made the ocean swells. Somehow this all turned into this song! 

“Steering Wheel” - written by my friend Jack O’Neill. I met Jack when I lived in NYC in the 1990s.  He had just come off of being in his band Jackopierce and we met doing staging and rigging jobs for concerts and events.  He was always writing new music and when he released his album “Halfway Round the World” I fell in love with so many of those songs. Somehow “Steering Wheel” hit me at the right time. I just lost a friend who died when his car went over a cliff off Mulholland in Malibu. I was going through my own struggles and related to the character in the song. 

“She Never Cared” - As I listen to these songs on “Bumblebeast Sessions” I slowly see a throughline.  There is a theme of weather, nature, the elements, personal struggle, and a strong sense of place. I knew a girl in high school named Katherine. She was a beauty and always a free spirit. We briefly attended a very artsy school in downtown Richmond VA called Open High. Katherine was a flower girl, a beautiful gypsy and she made an impression on me. I secretly wished I could be as free as she seemed to be. A couple of years later I learned Katherine died tragically. She drank too much at a party, some bad things happened, and she died from alcohol poisoning. Gone. I tried to wrap my head around it. I was very young and it stopped me in my tracks. I have never forgotten her and somehow she became the subject of this song.  May she rest in peace. 

“Weather with You” - this is a Crowded House song.  It is on their album “Woodface”. I remember listening to this album on a road trip to Laguna Beach CA with my friends. The sounds and this song in particular struck a chord in me. Just tipping my hat to Crowded House! 

“This is Home” - I wrote this song at my brother’s house in Pittsburgh PA. I was going through a George Harrison deep dive and was certainly inspired by his music. It is a simple song about a love gone wrong with perhaps a chance of reconciliation. 

I thank you for listening and for spending a little time with me and my friends and our music! 

My wife, Robin, and I drove up to McLemore on a beautiful Sunday afternoon. We took in the breathtaking vista and also read the plaques on the wall in the clubhouse.  We enjoyed learning about the history, the variety of trees and flowers that grow up there, and the two men that designed the course. Matt Bateman, contacted me and asked me to write a song for McLemore after he heard my "Tennessee River Song". Of course, I said yes!

-Here's the track, “McLemore High” 

The lore and legend of Scottish immigrant, McLemore, interested me very much as did his union with a Cherokee princess. With that in mind and the sweeping view, I decided to pen the song from McLemore's point of view. I imagined them scaling the rocky ledge and settling high above the clouds. It is indeed a love song in three acts and I could see them both clearly in my mind living out their lives in this beautiful place. 

I love the final verse where I sing McLemore's closing line, "We're in the twilight. We're like the falling leaves. I hear your voice in the wind, it never ends; you're calling to me..." 

My father was a professional sportswriter who covered golf his entire career. He always included landscape and nature in his tournament coverage to give the reader a sense of place and fleeting moments. I followed suit writing "McLemore High", allowing the golf course and surrounding nature to be a place to dream and sing on top of the world. 

In closing, I wanted the song to be cinematic and lean heavily on acoustic guitar but I wanted a fresh contemporary feel, so we produced it with lush synth and a driving beat.  I hope you all enjoy it as much as I do!

Pictured left is Matt Bateman from McLemore and right is songwriter, Phil Hyland. Tuesday 11-October-2022 the morning "McLemore High" was released,

Konstantin Stanislavski remarked that "there are no small parts, only small actors." How many times have you heard that? If you're an actor you've probably heard it here and there as you and your acting career attempt to achieve liftoff.

I started out on the stage (which was a great way to learn and hone my craft) and soon after started getting bit parts in TV and film productions that shot in my hometown of Richmond VA. This only happened because I was a stage actor working extensively in local productions and through this, local casting directors were familiar with me and my work.

Actors either have a job or are looking for a job.  It is a hard row to hoe for sure. I was usually looking for a job, going on countless auditions in NYC, Los Angeles, Richmond VA, and Wilmington NC. I took a ton of acting and improv classes too. There was a long stretch where I had to take a break (to raise a family) and I wound up working behind the scenes for large companies like PANAVISION and Warner Bros. Studios.

I was out of work in Los Angeles and, as much as I did not want to do it...I registered at Central Casting in Burbank CA and started taking extra jobs.  This was humbling because I had experienced the whole, "Mr. Hyland, let me show you to your trailer" when I had booked substantial SAG-AFTRA film or TV roles. So, I felt a bit deflated and defeated but...my kids like to eat. In hindsight, I'm grateful for how it all played out.

So, Central Casting books me as a background extra on the CBS hit, "Everybody Loves Raymond", starring, Ray Romano. I was committed there for the whole week as the director blocked the scenes and the cast rehearsed. I wound up in a school cafeteria scene with the star, Ray (the episode is "A Vote for Debra"). For whatever reason, the scene was not fluid enough for writer, Phil Rosenthal, and he wound up writing me a one-liner. 

That is pretty incredible and that really does not happen all that often.  I was immediately upgraded (per my union's requirements) and the set PA immediately came up to me and told me my trailer would be ready "very soon, Mr. Hyland".  I declined the trailer (I had been there all week sitting on a metal folding chair) and we were already at Thursday night's run through so...no need.  The cherry on top is that my pay scale went up a tier and, to this day, I continue to get a residual payment from this bit part.  So, you see, you just never know! Taking that first step, no matter how humbling, and simply showing up is half the battle. 

After we filmed the show Friday night at WB's Stage 5 in front of a live studio audience (remember those days???!!!), it is traditional, of course, for the cast to take a bow as a thank you to the audience.  We all lined up behind the stars backstage.  I mumbled I was going to pass on the curtain call and just hang back. Somehow the star, Patricia Heaton, caught wind of this and came up to me and said I must take a bow stating, "There are no small parts, Phil...only small actors".

Photo left: Phil with Ray Romano / photo center: Curtain call with the stars: Ray Romano, Patricia Heaton, Doris Roberts, Peter Boyle, Brad Garrett, the twins and the rest of us!

Filmmaker and actor, Jon Cryer, requested my song "Lost Point" in his feature film.  It complimented the main character's struggle and ended the film.  Original score by Midge Ure from Ultravox! Check it out: Watch "Went to Coney Island on a Mission from God...Be Back by Five" on Amazon Prime!

1992 in my Upper West Side railroad apartment at 100 W. 83rd street I was sauteing salmon in butter and lemon while the side dishes simmered alongside in my micro kitchen.  I was preparing to receive my friends for what I dubbed "A Political Party".  I wanted to watch the results of an election (the 1992 US Presidential Election) and thought that was a fine idea for a party.  I had a full-time job as a sous chef at Cafe Popolo on Columbus at 77th (next door to famed and now defunct Isabella's).  I was working as an actor here and there but I was best known for my role as a line cook with a minimum of 50 hours a week.

Photo: Phil and Rob in the East Village.  The way we were. The 1990s.

All my friends came over and my salmon was a big hit.  The election results flickered on the muted TV set in the background.  We all laughed and played music and enjoyed each other's company.  I'll never forget that party.  No friendships ended that night.  If your candidate won...congrats, man!  Happy for you.  See you tomorrow.  There was no "Unfriend" or "Block" button or Twitter war to be won.  You'd tell me to my face if something bothered you.  We were young adults after all.

I don't think I could pull off a "Political Party" in 2019.  The current climate is no longer conducive for me to simply invite all my friends over for a dinner to watch election results or, God forbid, speak about politics, without someone completely losing their mind.  My political leanings have shifted since that party in 1992 and perhaps yours have to.  I'm 50 now...not that 23-year-old conquering New York, New York.

I am sure this climate will change and some young bucks in Manhattan will have each other over for a political party with no ill will.  Just a fun time and a moment to enjoy our God-given freedoms here in the USA.  Until then, as my good friend, Jesus, always tells me, "Love one another."

Footnote:  I work in Hollywood in the entertainment industry. I am well aware this is a liberal town.  I was all in with the rat pack when I was fresh off the bus and working as an actor in Los Angeles.  Mind you this was in the 1980s and 1990s.  Nobody really cared if you were a Democrat or Republican back then.

Today I work for a major studio held by a major telecommunications company.  

There is a division within this corporation that is solely focused on diversity and inclusion.  I find it ironic, in my own office and on the wall of my co-worker, that there is an anti-Trump poster.  It is meant to be funny, poking fun at Trump University with a "degree in BS".  Does it really rattle my cage when I look at it every day?  Not really. Is it appropriate in the corporate work environment?  Let's review the standards and ethics documents of this corporation.  The answer is: not appropriate.  Or, as is popular speak today:  That is not OK.

It is funny when an outside vendor shows me a meme from her phone bashing our president.  She assumes I agree with her and that it is just fine to show me such a thing.  Does it rattle my cage or make me lash out in anger?  No.  I told her I support #45.  This surprised her.  I am not another cow in the hate herd. Is it appropriate in this corporate environment?  No.

Do you think I would face disciplinary action if I wore a MAGA hat to work and had a TRUMP sticker or poster hanging up in clear view in my workspace?  Of course, I would.  I would be ridiculed by my co-workers as well.  I remain mostly silent because I work in an environment and time where someone like me has to fly low and avoid the radar.  One might call this a hostile work environment.  

I choose to show up at work every day and do the job I signed up to do.  I want to get paid.  I want to provide my clients with the best possible services.  I'd like to advance in my career. So, I'll not let petty office politics bother me too much but it is certainly worth talking about.  I'm not laying down on the mat for this. There are two sides to every story.

2007. I was in London working for the motion picture camera company, PANAVISION.  I did about five weeks over there both times staying at the Hotel Kempinski in Oxford Circus.  This was the old magistrate building where Keith Richards was incarcerated for some mess he was in back in the day.  It is a lovely hotel and the staff was amazing.  I give a nod to Omar who actually always did bring me porridge and the paper in the morning and sea salts when I was sore after a long day.

I fell in love with England on this trip.  The people, the places and even my job.  This was before I put the proverbial plug in the jug as they say and I took full advantage of my expense account.  It has all been reconciled...somehow...someway...in the sands of time.

Picture of the Hotel Kempinski, the old magistrate building in Oxford Circus.  My digs.

I wrote "The Swan" as an homage to the pub.  My colleague, Rob, at PANAVISION London knew I was hotel bound on the weekends so he graciously invited me up to his home on Walton-on-Thames.  He told me to go to Waterloo Station and head on up on a Saturday which I did.  The train wended its way up the Thames and when I detrained it was like I stepped back in time.  Walton-on-Thames is old and beautiful green and lush.  There are some new buildings, of course, but...I was transported.

I'm a Kinks and the Jam (Paul Weller) fan so...I was inspired.  The Swan is a drinking song and a thank you to the people I met during my time on the Thames.  Thank you for having me...it's been lovely.  I wrote this song for you.  Love, Phil

Robin and I wrote "Hold Me Close" after our album Girlfriend,  "The New Me" was released.  It was the summer of 1998 and we were driving up to play at A Day in the Garden, Woodstock '98 (no this was not the Woodstock reboot where they rioted...that was 1999).  Anyway, Cher had just released "Believe" and it was a massive hit.  It came on the radio on our drive up to Yasgur's Farm and I was very much into it.  This song really brought vocoding (using the extreme setting in Auto-Tune) to the mainstream. Our band was "indie" as they say.  But, I love Pop music and often caught a lot of grief from my musician friends about this but...there is a reason Pop music has such a firm standing in music (because of huge hooks and A game Songcraft).

This trend towards remixes was not really new.  DJs were creating house and dance tracks in the clubs throughout the USA during the 1990s (and even in the 1980s).  I knew a DJ, Paul Wallace, in NYC.  Pauly heard our original track and asked to remix it.  He produced "Little Things (the RubiLove Remix)" using his MPC and I loved it...we gave the DJs the separated tracks and they just tore it up.  I remember going down to Times Square one night when DJ Pauly Love played it live for the first time at a club called Runway '69.  All these people were dancing to it and...I got it:  House Music!  I loved it!

Robin with our cat, Ralphie, in August 1998 in NYC.  Holding him close.  Photo by: Phil

We moved to Los Angeles in 1999 where I met an LA-based DJ called Ryebot.  Ryebot was incredible.  He cited an old-school remixer named Cold Cut as a major influence on him.  Ryebot took the session tracks from "Hold Me Close" and produced the remix "Hold Me Close (Ryebot's Coldtree Mix)".  Check it and his earlier Girlfriend remix, "Ryebot's Girls Need Boys Remix".

Turn it up!!!

Love, Girlfriend

Girlfriend band photo at Yasgur's Farm:  A Day in the Garden, Woodstock 1998.  From Left to Right:  Dale May, drums, Robin Hyland, lead vocals, Center, Phillip Costello, lead guitar, Pemberton Roach, Bass and Phil Hyland.

Funny how things never turn out the way you think they should.

My song, "Help Myself", is a reflection of life in the gutter.  Desperate for change and redemption...desperate for true love.  Attempting to fill that God shaped hole in my heart.

I was seeking a saviour the night this song came to me.  Broken down, literally, in a gutter on a dark cobblestone street in SoHo alone and drunk.

It took me many more years to come around and get saved.  This song was kind of a B side I guess but it still resonates with a lot of people who play it today. 

When I hear it I am grateful I am not that angry and confused young man anymore.

Thank you, God.

Love,

Phil 

Acting is an interesting job.  I was hungry for gigs when I was actively pursuing the craft in New York City and Los Angeles.  It was 1994 and I auditioned and booked this job in NYC to portray convicted and now executed serial killer, John Joubert. I accepted the offer from FOX's "America's Most Wanted" team to shoot the pilot.

There was no script made available to me and in a few days I was on a plane flying out to Omaha, Nebraska.  I was given a book to read on the trip out titled, Whoever Fights Monsters: My Twenty Years Tracking Serial Killers for the FBI by FBI veteran, Robert Ressler, the man who coined the phrase "serial killer" and advised Thomas Harris on The Silence of the Lambs.  Had I read the script in NYC I may have passed because this subject is sick and I was not "feeling" portraying this sicko who was currently on death row in Nebraska.  But...I needed to pay some bills.

 I read Robert's book and he and I spent time together before we stared shooting and throughout the shoot.  I asked him a lot of questions and it was certainly a cool experience to get to spend time with a former FBI agent and learn about this subject.  It was an eye opener and it was (and still is) hard for me to comprehend how people can become so deranged.  But, if you read his book you will see the early indicators in these criminal's lives that push them over the edge.

Switching gears to camera gear (simply because I like the production side of film making in addition to the on camera side)...behind the scenes photo is me in the Nova picture car being shot by a 16mm Aaton camera.  My Director, Richard Dallett, is seen through the windshield.  We're still friends to this day BTW!  Anyway, Aatons are French made motion picture cameras and they were known for being very versatile and nimble (lightweight).  Today, obviously this type of job would be shot using a RED or Alexa camera. Here's the video of the pilot:.

While jobs like this won't garner you an Emmy award...they were definitely interesting for me to do and I always learned something.  And I always enjoyed the behind the scenes mechanics of filmmaking.  It takes a small army.  Hey...thank you for reading! ~ Phil