MC Hammer To Host IEBA Awards

It's Hammer time!

MC Hammer will host the 42nd annual IEBA conference award dinner on Tues., Oct. 9. The ceremony will honor IEBA Hall of Fame inductees Charley Pride, Ray Pilszak and Joe LaGuardia (posthumously). Also, IEBA Industry Awards and CMA SRO Awards will be presented. Set to appear are David Cassidy, Peter Noone, Mike Love, Bruce Johnston, Ronnie Dunn, Neal McCoy and surprise guests. Set to perform are Melinda Doolittle and Belmont University School of Music students Reid Johnson, Charles Rogers and Rayvon Owen, under the direction of Henry W. Smiley. Tickets are sold out.

In more IEBA news, Paradise Artists Agency will present classic rock and pop at its party Tuesday afternoon (10/9) at War Memorial Auditorium, including Herman’s Hermits starring Peter Noone, Burton Cummings and David Cassidy.

WME’s Monday night party (10/8) will feature hit makers Dustin Lynch, Thompson Square and Gary Allan.

The IEBA Indie Showcase will unofficially open the conference on Sat., Oct. 6 at 12th & Porter. Jessica Frech will host and perform. Also on the bill are Breaking Laces, Von Grey and Evan P. Donohue. The music industry is invited to attend this free showcase. Doors at 8 PM, show at 9.

See previously announced showcase and panel line-ups here and here. IEBA runs Oct. 7-9 at the Sheraton Downtown Nashville. Details at www.ieba.org

Exclusive Interview: BMG’s Laurent Hubert and Darrell Franklin—Part 1

Laurent Hubert (L) and Darrell Franklin (R)

BMG Rights Management President Creative & Marketing North America Laurent Hubert and BMG Chrysalis Executive VP Darrell Franklin sat down with MusicRow recently to discuss sync licensing, communication, single strategy and more. MusicRow Publisher/Owner Sherod Robertson and Sr. News Editor Sarah Skates conducted the interview.

MR: How is the music business in Nashville different from other cities?

Hubert: Nashville is a unique place, because songwriting is core to the music business here. That’s not the case anywhere else in the world. For BMG, being in Nashville is absolutely critical. Nashville’s song community is attractive to publishers and writers. In the past five to ten years, Nashville has become less of an island and more cosmopolitan from a songwriting perspective. It is much more open because Nashville writers are starting to write outside of town, and outside writers are coming in.

Franklin: After going back and forth to LA, I see how much control Nashville publishers have, especially getting our own cuts and pitching songs. It’s kind of the last town where that is the main focus.

MR: How does BMG facilitate interaction between Nashville and its other offices?

Franklin: Communication is number one—we are an internationally thinking company. We have an international call every two weeks where for 30 minutes we go through every major act, discussing when they are going in the studio, and what types of songs they are looking for. I started out at Almo Irving, and the strength of that company was the fact that they linked all the international offices together and it was constant connection. BMG is the first place I’ve been since then that has that same focus. It’s all about communication and focus.

Hubert: Internationally, we might have 25 to 30 people on the call. We also have a weekly call here in the US with about 12 to 15 people. We are in about 10 markets, 10 territories, but our goal is to operate as one when it comes to the creative aspect. It starts with philosophy, which is focusing on music. After that, it’s about putting the organization in place that buys into that philosophy and executes on that philosophy. Communication is one part of the equation. The second part is having someone in LA who is dedicated to our Nashville repertoire and interacts with both offices as the ambassador. It started as an experiment this year and is working really nicely. It creates opportunities, and creates a different atmosphere in the LA office, so it’s not purely pop driven. We may create a similar position in New York.

Franklin: It helps with film and TV too; just having that person that’s in their face constantly.

Hubert: I find that Nashville’s sync revenue is typically lower than other catalogues, and I don’t think there’s any good reason for that. I think that [the initiative] starts internally, when somebody realizes this is music that we can place. Perhaps initially, the scope is limited, but it starts with a couple of placements, and then you gain traction.

MR: Has sync licensing become an increasingly important revenue stream in recent years?

Hubert: Generally speaking, you will find that revenue is one-third mechanical, one-third performance, and one-third sync, so sync is definitely a focus, not only for publishers, but for writers. Writers are realizing the record markets are not what they used to be, and will never come back. It’s changing expectations, which puts a greater burden on us to deliver on those expectations. I think some writers are being very clever in the context of writing songs. They are saying, “hey, perhaps there’s a way that I can write songs with a greater potential for TV or film placement.” You want to make sure that you meet that demand.

A lot of people talk about sync when they talk about marketing in the context of publishing, but I think it’s much broader than that. It’s about branding opportunities in this marketplace. Look at digital opportunities, the app world is untouched by music, at least legally untouched by music. What other opportunities are there? We have to start thinking in a more proactive manner in finding other vehicles to promote our music.

MR: What is a specific example of how this has worked for your songwriters?

Franklin: The Civil Wars would be a good one. Their main focus when the band finished their record was to hire a publicist, and then do lots of really discounted licenses, just to get the music out there. They were flexible with the rates so they could grow the brand. Once they built the fan base, the money followed.

Hubert: The film world has not grown if you look at the number of productions. The TV world is where things are happening. But you are competing with a whole host of music for placements. So how do you get through that clutter and place your music? You have to be flexible and creative. You may have to take a lower rate, but out of that you will develop a relationship. You have to be relationship minded as opposed to fee minded, and the relationship element will ultimately bring the fee, or at least give you a competitive advantage over other publishers in licensing your music.

MR: Tell us about your recent string of recent No. 1s. (“Somethin’ ‘Bout A Truck,” “Banjo,” “Home,” “Reality,” “Red Solo Cup”)

Franklin: All publishers go through the same process of pitching songs and trying to make sure that you are on every project, and also being strategic. If you pitch a brand new great song to a new artist, maybe you have a better shot at the single. Going to the big acts, your competition is so tough. You can only control getting on the album to a certain extent. Singles are where the stars align and it all works out.

We are very strategic about going for singles. When a new song comes in, we look at the pitch list and see who is cutting, and where they are in the process. Then we go for the best single chance. With “Red Light,” David Nail’s project was winding down, but the song came in. It felt like the right song and they were looking for a big single. It was a no brainer: let’s take that shot rather than go through the hoops of trying to get it on every other big act.

Hubert: You have to be in the singles business and have the radio performances. It starts from the very beginning of the creative process. I think writers are acutely aware that they have to think about singles themselves. But I don’t think anyone has the magic formula. At the end of the day, it’s about the music and you have to be able to push it through. I think we’ve done a great deal this year and expect to continue that way.

MR: Who are some of your new writers to watch?

Franklin: We have a writer/producer, Brandon Hood, I think he’s going to make a big splash next year. Kylie Sackley has been around town for a little bit, but she has the momentum to really take off. And Jonathan Singleton, who has had some success, but is really coming into his own now, so we’re excited.

The interview will conclude tomorrow (10/4) with Part 2. For more music publishing news, check out MusicRow’s upcoming print Publisher issue.   

Blake Shelton Cheers Christmas With New Album

Blake Shelton released his first Christmas album yesterday (10/2) titled, Cheers, It’s Christmas.

On the 14 track collection, Shelton is joined for guest performances by Reba McEntire, Michael Bublé, Miranda Lambert, Pistol Annies, Kelly Clarkson, XeniaTrypta-Phunk, and his mother Dorthy Shackelford.

For an exclusive Yuletide bundle, including a Christmas ornament, calendar, and pub glasses, visit www.BlakeShelton.com.

Blake Shelton’s Cheers, It’s Christmas Track Listing:
1. Jingle Bell Rock (featuring Miranda Lambert)
2. White Christmas
3. Oklahoma Christmas (featuring Reba)
4. Let It Snow
5. There’s A New Kid In Town (featuring Kelly Clarkson)
6. Santa’s Got A Choo Choo Train
7. Home (featuring Michael Bublé)
8. Winter Wonderland
9. The Christmas Song
10. Blue Christmas (featuring The Pistol Annies)
11. I’ll Be Home For Christmas
12. Silver Bells (featuring Xenia)
13. Time For Me To Come Home (featuring Dorothy Shackleford )
14. The Very Best Time Of Year (featuring Trypta-Phunk)

BMLG To Release Music From “Nashville”

ABC Studios and Big Machine Records have entered an exclusive partnership to release and market music from the upcoming ABC series Nashville. Original music will debut each week on iTunes and ABC’s Music Lounge. Multiple songs from the show’s first episode will become available on iTunes Oct. 9. Stars Connie Britton, Hayden Panettiere, Charles Esten, Jonathan Jackson, Clare Bowen and Sam Palladio are among the cast members who will perform original songs on the series.

Among the first releases will be “If I Didn’t Know Better,” written by John Paul White and Arum Rae and sung by Bowen and Palladio.

Music by BMLG artists will also serve as the soundtrack for the series. The premiere episode of Nashville opens with the Eli Young Band’s No. 1 hit, “Even If It Breaks Your Heart.” Other BMLG artists featured in the first episode include Greg Bates’ current Country radio hit, “Did It for the Girl,” and Justin Moore’s No. 1 “Small Town USA.”

Grammy Award-winning producer T Bone Burnett serves as the show’s executive music producer. Dubbed one of fall’s most anticipated new TV dramas, Nashville premieres Wed., Oct. 10 at 9 PM/CT on the ABC Television Network. The show is shot entirely in Music City.

For more on Nashville, check out MusicRow’s exclusive interview with executive producer Steve Buchanan in the upcoming print issue.

Garth Ends Vegas Residency

Garth Brooks has announced that his final performance at the Wynn Las Vegas will take place Nov. 17, 2012. The show has been running since December 2009. Remaining performance dates are below.

“I have thoroughly enjoyed my time at Wynn,” said Brooks. “Mr. Wynn told me that the Wynn audiences were some of the best in the world and he was right. As for Steve Wynn, he is one of the smartest guys I have ever had the pleasure of talking to or listening to. He does everything top notch and is the easiest and best boss I have ever worked for…..I just love him!”

The announcement also hinted that Brooks would be filming his one-man show for a possible network special.

Tickets are currently available for Garth’s final shows at the Wynn for $225 plus tax and service fees.

Remaining dates:
October 5 & 6
October 26 & 27
November 16 & 17

Concert Times
7:30 p.m. and 10:30 p.m.

Entrepreneur Center Hosts Digital Media Discussion

(L-R): John Barker, Joe Galante, Malcolm Mimms, Ron Cox, Jody Williams

The complexities of music licensing and copyright in the digital age were highlighted at a “lunch and learn” event presented by Avenue Bank yesterday (10/2) at the Nashville’s Entrepreneur Center. Panelist/speakers at the event, which EC mentor Joe Galante helped organize, included Clearbox Rights’ John Barker, BMI’s Jody Williams, and entertainment attorney Malcolm Mimms.

Part of the day’s mission was to educate and ostensibly to shed light on problem areas in the music industry for the entrepreneurial crowd. Avenue Bank’s Ron Cox moderated the discussion, noting that he had been hearing an “ongoing, repetitive theme of questions around copyright.”

Barker explained the fundamentals of copyright including creation, protection, length of term, and revenue structure for songwriters with publishers. He further broke down the types of licensing for copyrights and described the differences between copyrights for songs versus sound recordings. When it came to digital music and licensing, the opportunities (and complexities) multiplied.

“The licensing scheme in today’s digital world is so complex, that’s what it looks like.” Barker motioned to a slide with an incredibly dense spiderweb of connections between entities in the digital, publishing, performing rights and creative worlds.

Williams underscored the importance of the performing rights organizations, collecting on behalf of copyright owners and licensing businesses. “If music is being played and money is changing hands, it’s licensable,” said Williams. He also acknowledged BMI payouts from terrestrial radio have been declining due to the economic slump.

However, Williams referred to the digital landscape as the “wild, wild west” and said it had shown an impressive 27% growth for BMI in the last year.

Mimms introduced what he called the “Siamese twins concept,” referring to the different sets of rights guaranteed for sound recordings versus songs. The tension between the two, he said, is a “constant tug of war.”

Also discussed at the gathering were online streaming rates versus iTunes downloads payouts, right of publicity for an artist’s brand, and the accountability issues that plague Pandora and Spotify.

Billy Ray Cyrus Reveals Track Listing

Billy Ray Cyrus will release his 13th studio album, Change My Mind, on October 23 on his own Blue Cadillac Music.

The album’s first single and title track, “Change My Mind” was written by Cyrus with Michael Joe Sagraves, and is currently available at iTunes.

The 10-song collection, showcasing roots in bluegrass, Southern rock, gospel, and country music, was recorded in Los Angeles over three months with Kenny Aronoff (drummer), Dusty Wakeman (bassist), and guitarists Leroy Powell, John West, Dominic Cifarelli, and Nelson BlantonBrandon Friesen, who is also a partner in the Los Angeles and Nashville-based label, produced the recording.

“My songs come to me when I’m dealing with heavy stuff,” Cyrus says. “If I’m going through something emotional, the songs pour out of me. I have lived through every emotion on every one of these songs.”

For more information, visit billyraycyrus.com

Change My Mind Track Listing:

  1. Change My Mind
  2. Once Again
  3. Hillbilly Heart
  4. Tomorrow Became Yesterday
  5. Good As Gone
  6. Forgot to Forget
  7. That’s What Daddy’s Do
  8. Hope Is Just Ahead
  9. I’m So Miserable
  10. Stomp

2013 Country Radio Hall of Fame Inductees Revealed

The 2013 Country Radio Hall of Fame inductees in both Radio and On-Air categories were announced today (10/3) by the CRS Board of Directors.

Gaylon Christie will be inducted in the Radio category, and Dr. Don Carpenter, Crook & Chase, Eddie Edwards, and Bill “Dex” Poindexter are the On-Air inductees. The Country Radio Hall of Fame class of 2013 will be officially inducted at a dinner ceremony on Tuesday, Feb. 26, 2013 at 6 pm at the Nashville Convention Center. The event serves as an unofficial kickoff for CRS, which will be held Feb. 27-March 1.

Lorianne Crook and Charlie Chase have spent over 25 years working together on national radio, and can now be heard on more than 225 stations across the US. Gaylon Christe has worked in Country Radio for 50-plus years, including serving as station manager, exec. manager and owner of a station serving the area around Fort Hood, TX. Don Carpenter has been with Detroit’s WYCD over 20 years, including hosting his “Dr. Don Morning Show.” Eddie Edwards has been a DJ with WNOE in New Orleans for over 20 years, and has also been on-air in Nashville and Los Angeles. Bill Poindexter joined Chattanooga’s WUSY in 1994 and currently co-hosts “The Dex & Mo Show.”

“Induction into the Country Radio Hall of Fame signifies a lifetime of excellence and achievement, and this year’s class of inductees personifies those qualities at the highest level,” said CRS Hall of Fame Committee Chairman Charlie Morgan.

CRS 2013 Early Bird Registration is still available for $399 through Oct. 31. Click here to sign up.

Weblinks: Take A Tour of “Nashville”

Mock-up of the Bluebird Cafe on tourofnashville.com.

• Take of tour of the Nashville TV show at a new site featuring character profiles, scenes from the show, Edgehill Republic Records, and dressing room mock-ups complete with links to the character’s Pinterest and Instagram boards. Nashville premieres Wed., Oct. 10 on ABC. MusicRow’s upcoming print magazine, the Publisher issue, goes behind the scenes of the show with an exclusive interview with executive producer Steve Buchanan. tourofnashville.com

• A two-acre lot near the convergence of 21st Ave., Broadway, and Division could be home to a new mixed-use development. The Nashville Post reports the site will include a 19-story hotel, retail, residential and structured parking. The lot currently includes Ken’s Sushi, Benchmark, Wendy’s, and the former home of Mario’s. The project is pending Metro Planning Commission approval.

The Civil Wars are accepting entries of music videos for song “20 Years.” The winner will receive $5,000. Deadline for entries is Nov. 15, 2012. Details here.

Lady A to Release Live Concert Film

Lady Antebellum will release the live concert film Own The Night in the US and Canada on Dec. 4. The film will celebrate the successful Own The Night 2012 World Tour, which wraps tonight (10/3) at Australia’s Sydney Opera House.

To be released worldwide in 2013, the DVD includes 90 minutes of performance from the group’s concert in Little Rock, AR this past June, plus tour documentary footage and seven additional bonus cuts.

Fans will be able to purchase the film in multiple formats including DVD and Blu-ray as well as all digital retailers.

“The success of this tour is probably the accomplishment we are most proud of as a band,” said Charles Kelley. “It started as a sketch on a paper plate and it ended halfway around the world performing three nights at one of the most famous venues in the world. To think that we were able to take country music to all of these new places is mind-boggling to me.”

Lady A is currently nominated for Vocal Group of the Year and Album of the Year at the 46th Annual CMA Awards scheduled to air Nov. 1 on ABC.

To read an exclusive MusicRow interview with the band, click here.

Watch behind-the-scenes footage from the tour below.