A lot of people like to think they’re the life of the party, but at innumerable top-dollar galas, events, and corporate functions around the country, native Nashvillian Pat Patrick actually is. A consummate professional musician since the age of 15, Pat’s been composing, recording, and working the party circuit (look for him at this month’s Ballet Ball) for some 45 years. We caught up with the inveterate bandleader just as the Nashville social season is starting to kick into gear, and asked him, among other things, why there’s always at least one person at every wedding who thinks they can do a better job on the mic.

1. How many parties-social events, charity balls, wedding receptions, everything-would you say you've presided over through the years?

probably 2500+

2. How many on average do you work per year?

70-80 events

3. Does it ever get old for you? Have you ever been tempted to sneak out halfway through an event, let your band finish the show, and just head home to watch House?

Only the logistics and the travel get old. These days flying anywhere with 20 people is hard. But we do get to go to some beautiful places. The performance, however, is always fun (unless we have too small a stage or a leaky tent). Once we get the party momentum started, it's hard to stop any of our groups. We have ended early when the crowd is gone; we don't really play to an empty house. But only those musicians who still love to play are in the band. (I have never left early for "House", but may have lingered at a TV to watch Vandy or the Titans during a break).

4. What type of music do you prefer to play: rock, pop or big band?

I learned to play listening to oldies and classic rock, but that was when I only played guitar. When I switched to keyboards (only because my uncle had a piano shop) I started playing more pop. I really enjoy playing a Hammond organ or a real grand piano, but guitar or bass is second nature. I am really interested in the live guitar sounds these days, trying to use real vintage instruments to duplicate the original sound of the song. But then, there is nothing like the power and the great melodies of those big band tunes. Our arrangements are really more in a "Vegas" style so they combine elements of pop, but those original Glenn Miller/Duke Ellington, etc harmonies are just naturally sexy. I like all styles of good music and enjoy getting to play the appropriate instrument with the best musicians in the world every weekend.

5. Does anyone ever try to bum-rush the stage? A drunken uncle at a wedding or a would-be American Idol contestant?

Yes, it seems that everyone wants to be a star after a few refreshments. The "rush" is becoming more of a problem each show. We try to ask our clients if we should watch for someone in the crowd, but there is always someone who rushes on stage to share a mic or tries to play the drums. We are considering a sign at the front of the stage. We had a bouncer for a while, but it wasn't appropriate. I have been threatened a number of times when I refused to let someone sing, so we try to avoid even responding on the first request. Some folks are persistent and it can become a problem. It can be a little frightening when a big football player gets irate.

6. You have an extensive recording career as well as a steady stream of live performances. Which do you prefer?

I'm glad to have the opportunity to split my time between both. During recording, you are trying to come up with a performance you think the public will like. The artistic direction is very different than in performance. The variables in the studio are vast; but you are working in a familiar place near home. You can set your own schedule but sometimes that means very long hours. And today, you can make every recording "computer perfect," so you try. Performing keeps you on the front line with the audience. It is also very different technically; a whole different type of engineering and serious physical effort. I guess I feel that I use my mind more in the studio and my heart on the stage. Anyway, I hope we can combine the best art from both in each genre.

7. What do you consider some of the highlights of your recorded work?

Of course my work for Disney, particularly Mickey Mouse Disco and Rock Around the Mouse. Oh yes, Gumby turned out well as did a series of symphonic pieces for their Star Wars albums. Also my Upbeat Basics chidren's material for my own label, and my national commercials for K-Mart, Holiday Inn and Hardees. And all those K-Tel remakes were a blast (Little Richard, Chubby Checker).

8. Of the major events you perform at each year, do you have a favorite?

I really enjoy playing our local galas beacause I get to work with friends during the planning stages, giving me an opportunity to hear about decorations, layout, invitations, etc. The Swan Ball gives us a chance to appear with some fantastic national artists. The Symphony Ball, Heart Gala and others have allowed us to perform in one of the greatest performance halls in America; the Schermerhorn Symphony Center. All of the Vanderbilt and Sewanne reunions where I get to see all of my old buddies from each graduating class. Of course any performance at the Beakers, the Broadmoor, the Waldorf, the Cloister are fun. Summer shows in the Hamptons, Harbor Springs, John's Island Club, or Jupiter Island Club sometimes turn into short vacations. And of course, the Brown Hotel and the Pendennis Club at Derby is not too bad.

9. Your corporate client list is nothing if not diverse. In your experience, who lets loose on the dance floor more, members of the American Payroll Association or members of the International Trial Lawyers Association?

The APA always plans spectacular conventions with parties galore, so they are a good early party crowd. The Mac Tools meeting was really wild with people up on the stage dancing with us. It took the Trial Lawyers a few minutes, but good old Motown always works. The BP Amoco group had only a few wild ones, but our part was mostly a stage show for dinner. The Shaklee Master Sales Group got up and rocked in their seats at 8 am.

10. Of the many national acts you've performed with-a list that includes artists as disparate as Tony Bennett, Florence Henderson and Lyle Lovett-do any stand out to you?

Tony was unreal, even at his age. Our arranger and tenor player, Don Jackson, had just finished conducting Tony's last Christmas CD. We had also seen him in airports on other trips. So for Don, that Swan Ball night was a reunion. Lyle was really into the history of the State Capital that Tennessee Waltz night, and we backed him spur of the moment on several of his hits. Lots of fun. Donna Summer and Martina had unbelievable voices. And we sure got in the spirit with the Blues Brothers band with Bonni Bramblett at the Anatole in Dallas.

11. Your band can be broken up into three major formations-the Pat Patrick Band, Pat Patrick's Grand Band, and Pat Patrick's Showband-as well as innumerable variations on each. Do you prefer any one formation over the others?

Our basic group is a 10-piece where I get to play guitar,keys, bass, congas; I enjoy switching around. As long as I have a horn or 2 and some great vocalists, any size suits me. I do enjoy playing keyboard when there is a grand piano available. But there is nothing like the power of those horns in the 14-piece. And those few times when we add a violin section....over the top. Every song makes the hair on my neck stand up. You will fall in love again.

12. How many instruments do you play?

10 - guitar, mandoline, ukelele, piano, organ, congas, bass, drums, voice and a little alto sax. Pretty much anything except for the brass instruments.

13. Is there any one instrument you wish you could play that you don't?

I hadn't really thought about that...maybe blues harmonica or steel guitar.

14. What's the most requested song in your repertoire?

BRICKHOUSE; it's both the most requested to play for an event and on the flip side the one that is most requested not to be played on an event. Either way this song always seems to receive the most mention.

15. Do you find patterns in the various party crowds you play for? In other words, does a song like "Let's Stay Together" pull pretty much all the couples onto the dance floor from wedding receptions to charity balls?

Yes, it does as well as others for example "This Will Be" and the aformentioned "Brickhouse."

16. What's your emergency song if a crowd is simply not responding or getting out onto the dance floor?

"Georgia On My Mind"

17. You must be an encyclopedic observer of improvised dance moves. Do any stick in your mind? Who pulls off the craziest moves, men or women?

I have seen some fierce "gatoring" on the dance floor....and you know who you are! Will leave those names unmentioned for their moves but both males and females have showcased their signature moves on the dance floor. Older Men and Young Women seem to pull off the craziest moves.

18. Any recent hits you'd like to work into your repertoire?

Very few are great dance tunes these days or they have in-appropriate lyrics. I am always open to suggestions and listen to all new releases in search for that song with universal appeal.

19. What do you consider the highlight of your 45-year musical career?

All my platinum record awards, receiving the best advertising award for jingles, receiving the BMI and ASCAP awards for top country records and the ultimate was when I was standing in front of Cinderella's Castle in the Disney Theme Park and seeing Goofy & Cast sing the songs I had written.

20. I don't see the "Electric Slide" on your list. Is that a matter of principle?

Yes, somewhat. For those who do like line dances we have worked the dance steps of the electric slide with a funk song rather than using the original. I like to keep the music fresh and exciting.