Dean Dillon
Dean Dillon (born Larry Dean Flynn; March 26, 1955) is an American country music songwriter and singer from Lake City, Tennessee, renowned for penning over 60 songs for George Strait, including 11 number-one hits such as "Unwound," "The Chair," and "Ocean Front Property."[1][2][3] Raised in modest circumstances across Tennessee, Michigan, and Virginia after receiving a guitar at age seven, Dillon drew early inspiration from artists like Merle Haggard and began performing locally as a teenager, appearing on Knoxville television by age 15.[1][3][2] He hitchhiked to Nashville at 17 in 1972, initially pursuing a performing career with releases on labels like Plantation, Sun, and RCA—including the top-30 single "I'm into the Bottle" in 1979—before shifting focus to songwriting in the early 1980s.[1][2][3] Dillon's catalog extends beyond Strait to hits like co-writing "Tennessee Whiskey" for George Jones and David Allan Coe (later a staple for Chris Stapleton, certified 17× platinum as of 2025), as well as songs for Kenny Chesney, Toby Keith, Vern Gosdin, and Keith Whitley, amassing 26 number-one records overall.[1][2][4] His contributions earned him induction into the Nashville Songwriters Hall of Fame in 2002 and the Country Music Hall of Fame in 2020, along with the BMI Icon Award in 2013 and three Grammy nominations.[3][2][1]Early life
Childhood and family
Dean Dillon was born Larry Dean Flynn on March 26, 1955, in Lake City, Tennessee.[3] His biological father abandoned the family shortly after his birth, reportedly after being shot by Dillon's grandfather, leaving the household without a paternal figure from the outset.[5] This abandonment contributed to an emotionally chaotic and unstable early life, marked by financial struggles and frequent relocations among family members.[3] Dillon's mother, facing poverty, initially left him in the care of his grandparents in Tennessee while she sought work in the auto factories of Detroit, Michigan.[6] He was primarily raised by his grandparents until around age five, alongside his two sisters, Faith and Hope, in humble circumstances where basic needs like food were a constant concern.[7] At age five, his mother remarried and brought him to Michigan to live with her and his stepfather; later, at around age ten, the family moved briefly to Virginia to stay with the stepfather's mother due to overcrowding, before returning to east Tennessee.[7][3] These shifts fostered a sense of isolation and hardship, with Dillon later reflecting that his family "didn't know [they] were poor" amid the instability.[7] During this period, Dillon's family environment provided early exposure to country music classics, including the works of Hank Williams, which played a foundational role in shaping his interests.[5] At age seven, his stepfather gifted him his first guitar, marking an initial step toward musical engagement.[3]Early musical influences and move to Nashville
Dillon began playing the guitar at the age of seven, receiving his first instrument—a $20 tiger-striped Stella—from his stepfather, with whom he lived after a turbulent early childhood marked by family instability. Largely self-taught, he developed his skills by listening to country music on the family radio, where he was exposed to influential artists such as Hank Williams, whose raw emotional style profoundly shaped his appreciation for the genre. This early immersion in classic country sounds, combined with studying song lyrics in magazines like Country Song Roundup, ignited Dillon's passion for songwriting and performance during his youth in East Tennessee.[1][8] At around age fifteen, Dillon made his first public appearance as a songwriter and performer on the Knoxville television variety show Jim Clayton's Startime, where he showcased original material and gained local notice in the East Tennessee music scene. This early exposure on regional TV helped build his confidence and honed his stage presence, marking a crucial step from private practice to public engagement with music.[1][8] Following his high school graduation from Oak Ridge High School in 1973, Dillon, then eighteen, hitchhiked from Tennessee to Nashville in the early 1970s, driven by a determination to pursue a professional career in country music despite the challenges of his impoverished background. The move represented a pivotal commitment to his musical aspirations, relocating him to the heart of the industry where opportunities for aspiring artists were concentrated.[1][8][9] In 1975, Dillon secured his initial job as a performer at Opryland USA, impersonating Hank Williams in the theme park's Country Music Show. This role not only provided steady stage experience but also facilitated valuable industry connections, as it connected him with songwriters and publishers who recognized his talent during performances.[1][8][3]Career
Early career and recordings
Dillon's professional recording career began in 1979 after he signed a contract with RCA Records, prompted by his performances at Opryland USA following his move to Nashville. Between 1979 and 1983, he charted eight times as a solo artist on the Billboard Hot Country Songs chart. Three of these achieved moderate success, reaching the Top 30: "I'm into the Bottle (To Get You out of My Mind)" peaked at No. 30 in 1979, "What Good Is a Heart" at No. 28 in 1980, and "Nobody in His Right Mind Would've Left Her" at No. 25 in 1981.[8][10][11] In 1979, Dillon co-wrote his first No. 1 country hit, "Lying in Love with You," recorded by Jim Ed Brown and Helen Cornelius; the song topped the Billboard Hot Country Songs chart after Dillon collaborated with Gary Harrison on the lyrics.[2][12] In 1982, Dillon made his album debut with Brotherly Love, a collaborative project with Gary Stewart issued on RCA Records, which featured a mix of original material and covers in a traditional honky-tonk style. He followed this with a second duet album, Those Were the Days, also with Stewart on RCA in 1983. After a period focused on songwriting, Dillon signed with Capitol Records and released his first solo studio album, Slick Nickel, in 1988; this was succeeded by I've Learned to Live in 1989. His final studio album as a lead artist, Out of Your Ever Lovin' Mind, appeared on Atlantic Records in 1991 and remains his highest-charting solo release, reaching No. 58 on the Billboard Top Country Albums chart. These efforts established Dillon as a capable performer but yielded limited commercial breakthrough, leading him to prioritize songwriting thereafter.[8][13][14]Songwriting success
Dean Dillon emerged as one of country music's most prolific songwriters in the 1980s, shifting his focus from performing to crafting hits for other artists after taking a five-year hiatus from personal recordings in the mid-1980s to prioritize songwriting and address personal challenges.[8] This period marked a turning point, allowing him to collaborate extensively with major figures in the genre and establish his reputation behind the scenes.[1] His partnership with George Strait proved particularly fruitful, with Dillon writing or co-writing over 70 songs for the artist, including 19 singles and 11 number-one hits on the Billboard country charts.[8] Seminal examples include "Unwound" (1981), which launched Strait's career as his first number-one single; "The Chair" (1985), a poignant ballad that topped the charts; and "Ocean Front Property" (1987), another chart-topper known for its wry humor about romantic disillusionment.[1] These compositions helped define Strait's traditional country sound and contributed to his status as a genre icon.[1] Beyond Strait, Dillon's songwriting extended to a wide array of artists, yielding a total of 26 number-one singles across various performers.[8] Notable successes include "Miami, My Amy" (1986) for Keith Whitley, which reached number 14 on the country charts and showcased Dillon's knack for evocative storytelling; and "Tennessee Whiskey" (co-written with Linda Hargrove in 1981), originally recorded by David Allan Coe and later popularized by George Jones in 1983, becoming a timeless standard revived in covers like Chris Stapleton's 2015 version.[1] In more recent years, Dillon continued his impact with songs for Kenny Chesney, such as "A Lot of Things Different" (2002) and "Boats" (2008); Toby Keith, including tracks from his early 2000s albums; and Lee Ann Womack, like "Twenty Years and Two Husbands Ago" (2002).[15] These works highlight Dillon's enduring versatility and influence in shaping country music narratives up to the mid-2020s.[8]Record label
In 2018, Dean Dillon founded Wildcatter Records, an independent country music label in partnership with Texas business associates, aimed at nurturing emerging talent.[16][17] As CEO and producer, Dillon signed The Voice winner Sundance Head as the label's flagship artist and oversaw the production of Head's 2019 album Stained Glass and Neon, which blended traditional country elements with personal storytelling.[17][18] The label's operations centered on Nashville-based development of artists with strong songwriting foundations, reflecting Dillon's philosophy as a veteran hitmaker who prioritized authentic, narrative-driven country music.[19] This approach allowed Dillon to mentor young performers directly, drawing from his decades of experience co-writing chart-topping songs.[17] Building on this foundation, Dillon launched Unwound Records in the early 2020s, continuing his commitment to independent country projects by signing the trio Due West in 2024.[20] In this role, he co-wrote and produced all tracks on their album Unbroken, released in February 2024, emphasizing collaborative, songwriter-centric production to support rising acts in the genre.[21] These ventures have solidified Dillon's influence as a mentor in Nashville's country scene, extending his legacy beyond songwriting into artist cultivation.[19]Personal life
Family
Dean Dillon has been married to Susie Dillon since the early 2000s, having met her in Crested Butte, Colorado, where she is a longtime local resident. The couple shares a close partnership, often engaging in outdoor pursuits such as skiing together, and Susie has provided steadfast support throughout Dillon's career in music.[7][22] Dillon has twin sons, Kenneth and Dean Jr., from his first marriage to Keni Wehrman. He and Susie have raised his daughters, Jessie Jo Dillon and Song Dillon, fostering a family environment deeply immersed in music. Jessie Jo Dillon, from Dillon's earlier marriage, is a prominent professional songwriter based in Nashville, where she has co-written hits for artists including Dan + Shay ("10,000 Hours"), carrying forward the family's songwriting tradition.[23][24] Song Dillon, the younger daughter, is also pursuing a career as a singer-songwriter, having performed alongside her father at events and collaborated on songwriting projects, such as contributing to charity auctions where she helped craft custom songs with Dillon and fellow writer Liz Rose.[25][26] Despite his residences in Colorado and Florida, Dillon maintains strong connections to his extended family in Campbell County, Tennessee, his birthplace, making regular visits to the area. He has expressed enduring affection for the region, stating, "I love Campbell County," underscoring the importance of these familial ties amid his professional life in Nashville.[27]Sobriety and lifestyle
During the 1970s and 1980s, Dean Dillon grappled with severe alcohol addiction that profoundly affected his early career, leading to periods of intense physical and emotional strain, including multi-day binges followed by prolonged illness.[28] In February 1987, he entered the Betty Ford Center for rehabilitation, emerging as a committed teetotaler and crediting his wife, daughter, and the program for his transformation.[28] Achieving sobriety proved challenging, with Dillon describing it as a "frightening experience" that required about three years to regain his creative clarity, during which his song output gradually increased from one poor song in the first year to five or six by the third.[29] Following the release of his 1983 album Those Were the Days, Dillon took a five-year hiatus from recording in the mid-1980s, using the time to prioritize personal recovery, family, and songwriting, which allowed him to rebuild his life away from the demands of performing.[8] This period marked a pivotal shift, enabling him to focus inward and emerge stronger, with his next album, Slick Nickel, arriving in 1988 on Capitol Records.[28] Today, Dillon maintains a low-key lifestyle, residing primarily on his ranch in Gunnison, Colorado, where he rides horses during the summer and hosts weekly songwriting sessions with collaborators in the winter, often mentoring emerging talents in a structured office routine from October to January.[29] He splits his time between the Colorado ranch and a home in the Florida Keys, seeking warmer climates during colder months.[27] Despite his success, Dillon frequently returns to his East Tennessee roots in Campbell County for family visits, expressing deep affection for the region that shaped his heritage and early inspirations.[27]Discography
Albums
Dean Dillon's recording career as a solo artist and collaborator spanned from 1982 to 1993, during which he released six albums on three different labels, primarily in the country genre. Although his albums received modest attention compared to his songwriting achievements, they highlighted his honky-tonk influences, self-penned material, and collaborations with Nashville producers. Early releases on RCA emphasized raw, traditional country sounds, often produced by industry veterans like Billy Sherrill, while later efforts on Capitol and Atlantic reflected a more polished production style amid his growing focus on writing for other artists. None of the albums achieved significant commercial breakthroughs on the Billboard Top Country Albums chart, but they produced several charting singles and demonstrated Dillon's versatility as a performer. His debut album, Brotherly Love (1982, RCA), was a collaborative effort with fellow country singer Gary Stewart, produced by Billy Sherrill. The record featured ten tracks blending honky-tonk energy with heartfelt ballads, including the duet title track that reached No. 41 on the Billboard Hot Country Songs chart.[30] Later that year, RCA issued Those Were the Days (1982, RCA), a collaboration with Gary Stewart that repackaged several songs from Brotherly Love alongside new cuts, maintaining a similar traditional country vibe under Sherrill's production.[31] After a six-year gap, Dillon signed with Capitol Records and released Slick Nickel (1988, Capitol), produced by Ricky Scruggs. This debut for the label included ten tracks mostly written or co-written by Dillon, such as "Slick Nickel Heart" and "I'm Into the Bottle (To Get You Out of My Mind)," showcasing his witty, barroom storytelling style.[8] The follow-up, I've Learned to Live (1989, Capitol), also helmed by Scruggs, continued this trajectory with introspective songs like the title track (co-written with Frank Dycus) and duets featuring Nashville session players, emphasizing emotional depth over uptempo numbers.[8][32] Dillon's final two albums came on Atlantic Records, signaling a shift toward more contemporary production as his songwriting career took precedence. Out of Your Ever Lovin' Mind (1991, Atlantic), co-produced by Dillon and Blake Mevis, was his most acclaimed release, featuring strong singles like "Holed Up in Some Honky Tonk" (No. 69 on Billboard Hot Country Songs) and tracks that blended humor and heartache, such as "Friday Night's Woman."[14] His last studio effort, Hot, Country & Single (1993, Atlantic), produced by Mevis, revisited earlier themes with songs like "Breakin' Down" but garnered limited radio play, underscoring Dillon's transition away from performing.Singles
Dean Dillon began his recording career as a performer with RCA Records, releasing singles between 1979 and 1983. These early efforts showcased his honky-tonk style and songwriting prowess, though commercial success was modest. He charted eight times as a recording artist, with three reaching the Top 30 on the Billboard Hot Country Songs chart: "I'm into the Bottle (To Get You Out of My Mind)" peaking at #30 in 1980, "What Good Is a Heart" at #28 in 1980, and "Nobody in His Right Mind Would've Left Her" at #25 in 1981. None of his releases as a performer achieved a #1 position.[2][1] Following his RCA tenure, Dillon continued issuing singles from albums on Capitol and Atlantic into the 1980s and early 1990s. These later efforts charted lower, such as "I Go to Pieces" at #39 in 1988 and "Friday Night's Woman" at #39 in 1991, reflecting a shift in focus toward his more lucrative songwriting career. Overall, Dillon's discography as an artist includes over 10 singles across labels, but his impact as a vocalist remained secondary to his compositions for other artists.[1]| Year | Title | Peak Position (Billboard Hot Country Songs) | Label |
|---|---|---|---|
| 1980 | I'm into the Bottle (To Get You Out of My Mind) | #30 | RCA |
| 1980 | What Good Is a Heart | #28 | RCA |
| 1981 | Nobody in His Right Mind Would've Left Her | #25 | RCA |
| 1982 | You to Come Home To | #65 | RCA |
| 1988 | I Go to Pieces | #39 | Capitol |
| 1991 | Friday Night's Woman | #39 | Atlantic |