Exclusive: The Mavericks Amicably Move On From Big Machine Label Group

The Mavericks. Photo: Larry Busacca/Getty Images for BMLG

The Mavericks. Photo: Larry Busacca/Getty Images for BMLG

The Mavericks will launch their own label after completing a two-album deal with The Valory Music Co., an imprint of Big Machine Label Group.

Paul Deakin, a founding member of the band, tells MusicRow that the parting with Big Machine was amicable on both sides. Big Machine President/CEO Scott Borchetta is a longtime advocate for the band. Deakin credits Borchetta with breaking “What a Crying Shame” at country radio in the 1990s while he was working in radio promotion for MCA.

“He was the one who allowed us to do everything that we’ve done and he championed us and put us out there in a much bigger way than otherwise we would have been,” Deakin said.

Deakin also gives credit to Borchetta for making the new chapter of The Mavericks more than just a reunion tour. In contrast, the band released two acclaimed projects for Valory Music Co.: 2013’s In Time and 2015’s Grammy-nominated Mono.

“I love those records. To me, the two records that we put out on Big Machine are right up there with my favorite things that we’ve ever done,” Deakin adds. “And that was Scott allowing us to be us. There was not any real agenda other than, ‘Hey, go be The Mavericks. Build it and they will come.’ And it’s worked.”

The Mavericks

Pictured (L-R): Jerry Dale McFadden, Raul Malo, Paul Deakin & Eddie Perez. Photo by Cary Baker, Conqueroo

Since departing Big Machine, the award-winning band has aligned with Nashville’s Thirty Tigers to create the label Mono Mundo Recordings. They already have three albums planned through the end of 2017. The first, a concert album titled All Night Live, is expected this fall (once the vinyl is ready). Spring will bring a collection of new material with original songs. They’re also wrapping up a Christmas album expected in fall 2017.

David Macias, President of Thirty Tigers, says, “The Mavericks have been one of my favorite bands for some time, and I know I’m not alone in that sentiment. There is a cool classicism and off the charts craft to the music they make. We feel very grateful for their faith in us to go fight for the amazing new music they are making.“

In the meantime, The Mavericks are performing on CBS This Morning on Saturday (June 25), as a 60th birthday present for business journalist (and big fan) Anthony Mason. Look for a northeast Christmas tour this winter.

Deakin said that a former business manager who handled their finances nearly derailed the band in 2014, to the point where touring in 2015 didn’t seem feasible. After dissolving that deal, the group hired an accounting firm to sort things out. In no uncertain terms, the firm gave the band members some strict guidelines to get back in the black.

“And we did,” Deakin says. “And it was a great experience and also a lesson in ownership in your own business. When someone else is doing it, you tend to focus on other things, and it was empowering for us. Now we know why we’re going to do a certain gig. Now we know why we’re not taking hotel rooms if we have two buses.”

Pictured (L-R): The Mavericks - Paul Deakin, Eddie Perez, Raul Malo & Jerry Dale McFadden. Photo by Trey Fanjoy

Pictured (L-R): The Mavericks – Paul Deakin, Eddie Perez, Raul Malo & Jerry Dale McFadden. Photo by Trey Fanjoy

The more they became financially aware, the more they started to make their own career decisions. As a result they also parted ways with artist manager Ron Kitchener, who Deakin insists is “a great guy and a great manager.”

He continues, “We started meeting with our booking agents and planning everything out, and doing everything ourselves, and all of these things gave us empowerment. It really meant that on the hard days of touring, it reminded us we know why we’re doing this. We’re playing in a casino somewhere in North Dakota, which has nothing to do with our career but it pays really well, so we can play Tipitina’s instead of a corporate club, or something like that.”

Ultimately the touring decisions proved to be profitable, so much so that the band started recording a live album on their own dime. The only trouble was, the band included many of the songs from the Big Machine albums.

That means Borchetta could have busted them on a contractual clause that would have prevented re-recordings of those songs within such a short time frame. However, after a business conversation, the two sides worked out a deal.

“I just want to make sure that the love is known both ways, from us for Scott and his company and everybody there at Valory,” Deakin concludes. “We’re all still friends and we all still celebrate whatever successes we had together.”

 

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The Producer’s Chair: Trey Fanjoy

Trey Fanjoy

Trey Fanjoy

By James Rea

Don’t miss An Evening with Trey Fanjoy on The Producer’s Chair on Thursday, June 30 at Douglas Corner at 6 p.m.

When Trey Fanjoy rolled into Nashville 20 years ago, in her vintage ‘68 Cutlass convertible from Los Angeles, the world of music video production was pretty much like the music industry itself—male-dominated. And it still is, with a major exception.

Trey Fanjoy is the only female director to capture the coveted CMA Video of The Year award, having done so twice with back-to-back wins in 2009 and 2010 for Taylor Swift’s “Love Story” and Miranda Lambert’s “The House That Built Me.”

She has worked on seven videos for Taylor Swift, eight videos for Keith Urban, over a dozen projects with Miranda Lambert and multiple videos with Reba McEntire, Dolly Parton, Blake Shelton, George Strait, Alan Jackson and Jimmy Buffett. This barely scratches the surface of her illustrious body of work.

But don’t think for one minute that Fanjoy didn’t earn her stripes. After studying journalism and theatre at the University of South Carolina she accepted an internship in New York City working with the Associated Press, while also studying acting at the prestigious Neighborhood Playhouse under Sanford Meisner.

Then, it was off to L.A. where every young actor works at whatever they can to afford pursuing their dream. The difference being, Fanjoy’s day gig was in TV commercial production. As time passed, her interest and expertise in what goes on behind the scenes grew.

When she arrived in Music City, she quickly found work as a freelance producer with Jon Small, who became her mentor. Fortunately for Fanjoy, during this period, CMT was putting the names of both the directors and the producers on music videos so she immediately had her name on the network as a producer. She honed her craft producing for some of the industry’s leading directors.

Because of her writing skills, she found herself coming up with concepts, writing them and doing shotlists. Fanjoy made the transition into the director’s chair with Small’s company Picture Vision. After a decade of directing with their company, Fanjoy left with Small’s blessing to form her own Big Feather Films in 2006.

“Writing is first and foremost in my career because my skills as a writer enable me to write the concepts that get me the jobs as a director,” she says.

The Producer’s Chair: Was there one defining video that stands out?

Fanjoy: I think a defining time for me was my friendship with Keith Urban. Keith was managed by my good friend Anastasia Brown. I did a lot of Keith’s first videos: “Your Everything,” “But For the Grace of God” and “Somebody Like You,” which was the debut single off Golden Road. And I think that was the moment that really launched Keith in a bigger way. It was such a magical video. It’s still one of my favorite songs and favorite videos I’ve ever done. In my career, for me, I don’t see it as one big break. I see many defining moments.

Tell me about your very first directing gig. What was that like?

My grandmother, who I was extremely close to, died the night before my shoot. So it was incredibly emotional, but I had to dig down deep and pull myself together. I completed it and it went incredibly well. Throughout my career I’ve had moments that have had to really test my mettle in that way. It was tough but my grandmother was proud of me and she would have wanted me to fulfill my commitment, and so I did. I worked for 14 hours, I got on a plane, and I went to join my family.

What’s the difference between the director and the producer’s job on a music video?

That’s a good question because a lot of people don’t know that. The director is the creative vision. The producer is there to execute that vision. And so the producer will handle the budget, hire the crew, and they will put all the pieces together for the director. It’s an important job. And the best producers are also highly creative. They’re not just bean counters. The very best producers know how to wrangle the budget, and they have all those organizational skills, but they’re also creative collaborators as well. And so I was a creative producer.

What was it like directing Taylor Swift?

She’s always been extraordinarily bright. When you hear people talk about a preternaturally poised young person—she was all of that. She just had a self-awareness that was beyond her years—and also a professionalism and work ethic that was astounding. You have so many kids in the industry who are pushed by parents, but I didn’t get any of that sense at all. It was her ambition and her dream. So she was and is now just so professional and smart. I think Taylor may be one of the most intuitive and smartest artists I’ve ever worked with.

What is the most important part of your process from beginning to end?

Prior to the actual shoot date you’ll have what’s called a tech scout. A tech scout is when I bring together all of the department heads, what they call keys—and your keys will be: the gaffer, the key grip, the art director, the DP, the AD (the assistant director) and of course your production staff. So we will have a tech scout and we do an actual run-through prior to the actual shoot date.

And it is so completely detailed. I show up with a shot list. And my list has complete details of every single shot that we are going to do that day. We will do a walk-through, we know where we’re going to place the generator, where we’re going to park the motor home, the grip truck, where we’re going to wrangle the cable. We talk about how we’re going to light that scene so that we know exactly what equipment needs to be ordered.

I’ll bring a viewfinder out, but there are no cameras, unless I’m just taking stills for references. We’re just talking about every single shot, from a lighting and equipment standpoint. I don’t know how other directors do it without a tech scout. I would not want to be their client. (laughs)

Which do you enjoy more, intimate shoots or the big outdoors action?

Honestly, I like them both for different reasons. I’ve done smaller jobs where there’s such an intimacy and such a connection. On the bigger shoots I love the toys. I love helicopters and technocranes. I love all of that and I love the opportunity on a smaller and more intimate setting to really connect with the artist to create something more emotion-driven too.

Has making music videos been a stepping stone to other things?

I’d like to do long-form narrative. I want to do feature films. I see myself as a story teller first and foremost. I’ve done pop, rock, country, a lot of different musical formats. But because I’ve had the opportunity and the blessings to do so many country videos, the songs themselves are story driven and narrative. So it’s really helped me hone my skills as a storyteller.

When did you start Big Feather?

I had been with Jon Small and Picture Vision for around a decade and in 2006 I felt ready to take that next step and I wanted to be able to have a little bit more control. I wanted to be more involved in the executive production decisions and the overall production of the jobs. I had that background, so I wanted to take a more active role in producing my jobs.

They say, “The magic happens in editing.” Who is your editor?

My editor is a guy named Adam Little at Filmworkers. He cut my very first video and he’s over there working on Brett Eldredge for me right now.

Of all the videos that you’ve done, do you have a favorite?

That really is like picking a favorite child. But I do have my favorites. It’s probably plural. One of my absolute favorites that comes to mind is Miranda’s video “Over You.” It’s a song that she and Blake wrote about the death of his brother. During the making of the video, Miranda lost a close friend and I lost my father. It’s probably the most deeply personal video that I’ve ever done.

There’s a lot of hidden metaphors and things that are for my father. My Dad collected pocket watches, he had a thick head of white hair and so the stallion is for my father. And that’s his name on the gravestone that Miranda ends up at. You can hear my voice kind of cracking as I’m telling you this one. That’s as deep as it goes for me in a music video.

Can a music video make a hit record out of an average song?

Absolutely, I do believe that. I come as a fan first. And so music videos were around for a long time before I ever became a director and I was a fan first. And there have been many videos that made me buy a record.

Have you ever been given a job to do a music video and you didn’t care for the song?

I always find something in the song that I like, whether it’s a lyric that I can latch onto, or a melody, or a vocal performance. I’ve never done a video where I didn’t like a song. If I really hated a song I would turn it down, and I have. I think I would be doing a disservice to the artist and the client if I took a song that I hated.

Industry Pics: ASCAP, Black River Publishing, Warner Music Nashville, AIMP

ASCAP, Black River Publishing Offer ‘Top Shelf Songs’

​Pictured (L-R): Black River’s Dave Pacula, Ben Caver, Black River’s Celia Frolig, Kelly Groves, Sara Haze, John King, ASCAP’s Beth Brinker, Scott Stepakoff, Jacob Davis, Nikita Karmen, Hannah Ellis, Nick Wayne, Josh Kerr, Forest Glen Whitehead, Josh Okeefe, Jason Gantt, Ryan Lafferty and Jordan Reynolds.

​Pictured (L-R): Black River’s Dave Pacula, Ben Caver, Black River’s Celia Frolig, Kelly Groves, Sara Haze, John King, ASCAP’s Beth Brinker, Scott Stepakoff, Jacob Davis, Nikita Karmen, Hannah Ellis, Nick Wayne, Josh Kerr, Forest Glen Whitehead, Josh Okeefe, Jason Gantt, Ryan Lafferty and Jordan Reynolds.

The second installment of ASCAP Happy Hour: Top Shelf Songs, the new quarterly ASCAP series designed for A&R ears and lovers of great songs​,​ was ​held on Wednesday, June 22 at The Basement and featured music from Black River Publishing. ASCAP’s Beth Brinker developed the series to showcase outstanding, not-yet-recorded songs co-written by ASCAP writers. Each installment will feature a different publishing partner and a highly-curated set list of hit-worthy tunes.

June’s show featured performances by Ben Caver, Jacob Davis, Josh Kerr, John King, Nikita Karmen, Ryan Lafferty, Josh Okeefe, Jordan Reynolds, Scott Stepakoff, Nick Wayne and Forest Glen Whitehead.

 

The Last Bandeleros At WMN’s Pickin’ On The Patio

Pictured (L-R): Kevin Herring (SVP Promotion), Scott Hendricks (EVP A&R), John Esposito (Chairman & CEO, WMN), Diego Navaira (The Last Bandoleros), Chris Palmer (VP Promotion), Jerry Fuentes (The Last Bandoleros), Martin Kierszenbaum (Cherrytree Music Company), Derek James (The Last Bandoleros), Peter Strickland (EVP & GM, WMN), Chad Schultz (VP, Radio & Interactive Mktg.), Lisa Ray (VP, Brand Management), Tom Martens (Director, National Promotion)

Pictured (L-R): Kevin Herring, SVP Promotion; Scott Hendricks, EVP A&R; John Esposito, Chairman & CEO, WMN; Diego Navaira, The Last Bandoleros; Chris Palmer, VP Promotion; Jerry Fuentes, The Last Bandoleros; Martin Kierszenbaum, Cherrytree Music Company; Derek James, The Last Bandoleros; Peter Strickland, EVP & GM, WMN; Chad Schultz, VP, Radio & Interactive Mktg; Lisa Ray, VP, Brand Management; Tom Martens, Director, National Promotion

The Last Bandoleros offered a mix of country and Tejano flair during its performance at Warner Music Nashville’s Pickin’ on the Patio. The group included a rendition of their current single “Where Do You Go?” which is impacting country radio now.

 

At The Opry: William Michael Morgan, Charlie Daniels

Charlie Daniels, William Michael Morgan

Charlie Daniels, William Michael Morgan

Warner Bros./Warner Music Nashville artist William Michael Morgan met with Charlie Daniels before hitting the stage at the Grand Ole Opry on Tuesday evening (June 21).

 

AIMP Welcomes David M. Ross To Discuss The Digital Solution

Pictured (L-R): John Ozier, ole, AIMP Exec. Director; David M Ross; Ree Guyer Buchanan, Wrensong Music, AIMP Treasurer; Kari Barnhart, Fifth Third Bank); Denise Nichols, The Primacy Firm.

Pictured (L-R): John Ozier, ole, AIMP Exec. Director; David M Ross; Ree Guyer Buchanan, Wrensong Music, AIMP Treasurer; Kari Barnhart, Fifth Third Bank; Denise Nichols, The Primacy Firm.

The Association of Independent Music Publishers  (AIMP) and Fifth Third Bank welcomed David M. Ross and a conversation about his book The Digital Solution at a lunch held Tuesday (June 21) in ASCAP’s Connie Bradley Boardroom. The book describes the complexity and problems in digital streaming and provides a possible solution. AIMP members joined in a roundtable discussion with Ross.

CRB Honors Randy Travis, Country Radio Hall Of Fame Inductees

Randy Josh

Pictured (L-R): Randy Travis, Josh Turner. Photo: Hunter Berry

Country Radio Broadcasters, Inc. honored the 2016 class of inductees into the Country Radio of Fame on Wednesday night (June 22) at a special ceremony, held at the Omni Hotel in Nashville.

This year’s Country Radio Hall of Fame inductees were Blair Garner, Mike & Dana Schuff, and Lisa Dent in the On-Air Category, and Mick Anselmo, Kerby Confer, Jack Reno, Tim Roberts, and Jim Slone in the radio category.

Carole S

Carole Bowen. Photo: Hunter Berry

In addition, Randy Travis was recognized as the recipient of the 2016 CRB Artist Career Achievement Award. Josh Turner provided a special performance honoring Travis. Carole Bowen was honored with the 2016 President’s Award.

The Country Radio Hall of Fame is dedicated to the recognition of those individuals who have made significant contributions to the radio industry over a 20-year period, 15 of which must be in the country format.

The CRB Artist Career Achievement Award is presented to an individual artist or act that, through their creativity, vision, performance or leadership has made a significant contribution to the development and promotion of country music and country radio.

The President’s Award is presented to an individual who has made a significant contribution to the marketing, production, growth and development of the Country Radio Seminar and the multiple services that Country Radio Broadcasters provides to the country radio and music communities.

Pictured (L-R): Charlie Morgan, CRB President; Kerby Confer; Bev Reno (accepting on behalf of her late husband, Jack Reno); Mick Anselmo; Lisa Dent; Blair Garner; Dana Schuff; Tim Roberts; Jim Slone; Bill Mayne, CRB Executive Director (back), RJ Curtis, Country Radio Hall of Fame chairman. Photo: Hunter Berry

Pictured (L-R): Charlie Morgan, CRB President; Kerby Confer; Bev Reno (on behalf of her late husband, Jack Reno); Mick Anselmo; Lisa Dent; Blair Garner; Dana Schuff; Tim Roberts; Jim Slone; Bill Mayne, CRB Executive Director (back); RJ Curtis, Country Radio Hall of Fame Chairman. Photo: Hunter Berry

Sony Music Nashville Promotes Tracy Baskette Fleaner; Two Staffers To Exit

Tracy Fleaner

Tracy Baskette Fleaner

Tracy Baskette Fleaner has been promoted to Vice President, Creative Services, Sony Music Nashville.

In her new role, Fleaner will head the Sony Music Nashville creative team, overseeing artist imaging and all operations related to print and video creation, including music video and video tool production, album packaging, photography, advertising and design for the label group and its three recording imprints: Arista Nashville, Columbia Nashville and RCA Nashville. Fleaner previously held the post of Senior Director, Creative Services, Sony Music Nashville.

Paul Barnabee, Sr. VP, Marketing, said, “No one is more deserving of this promotion than Tracy! She has the well-earned respect of our artists, managers and staff that not only comes from 22 years of history with Sony Music Nashville, but also from her undying desire to learn and grow creatively and inspire those around herto do so, as well. The scope of Tracy’s accomplishments is stunning, as she’s been instrumental in the design and visual branding of Dixie Chicks, Gretchen Wilson, Miranda Lambert, Chris Young, Jake Owen, and, more recently,Old Dominion, Maren Morris and Kane Brown, among so many others.”

Scott McDaniel

Scott McDaniel

Fleaner adds, “In my years with Sony, I’ve worked with many artists and colleagues who have allowed me to push creative boundaries, matching visually what our artists create sonically. This experience has given me a template for taking this next step, and I’m proud to be entrusted with leading our mission of delivering groundbreaking creative and visual art that will best represent our artists’ music.”

Fleaner may be reached at tracy.fleaner@sonymusic.com.

Fleaner succeeds Scott McDaniel, who will join the Nashville Convention & Visitors Corp as VP, Creative on July 1.

McDaniel began at Sony Music Nashville in 2008. Prior to his work at Sony, McDaniel worked in artist development with EMI Christian Music Group and oversaw the creative services department at ForeFront Records.

Rachel Fontenot

Rachel Fontenot

“Music is known to find you where you live, and in that spirit I’ll be forever grateful that its beloved home of Nashville found me,” McDaniel said. “After the honor of serving the country artists who call Sony Music Nashville home, while under the leadership of Joe Galante, Gary Overton and Randy Goodman, it will be a privilege to now serve the city of Nashville, alongside Butch Spyridon, Deana Ivey and the entire NCVC team.”

Sony Music Nashville Director of Marketing Rachel Fontenot is also set to exit the label next week on June 30 after resigning from the label to pursue new opportunities. She shares, “I’ve loved being part of the Sony Music Nashville family for fifteen years. I’ve learned so much while working in the sales and marketing departments and chose to exit for the chance to explore other avenues of the music business.”

A 15-year veteran of the company, Fontenot began her career with Sony Music Nashville as a receptionist for RCA Label Group-Nashville and has held several positions of increasing responsibility within sales, artist development and marketing, culminating in her most recent role as Director, Marketing.

A New Orleans native and Middle Tennessee State University graduate, Fontenot has overseen the development and execution of strategic and tactical marketing campaigns for her many artists including Kenny Chesney and Jake Owen.

She can be reached at rachel.fontenot@comcast.net.

 

Freddy Powers’ Memoir Will Be Published In 2017

Freddy Powers

Freddy Powers

The memoir of the late singer, songwriter, guitarist and producer Freddy Powers will be published next year.

Powers died this week at age 84 in Texas. His book, The Spree of ’83, is scheduled for publication by Waldorf Books in February 2017.

Powers co-wrote the memoir with his widow, Catherine Powers, as well as biographer Jake Brown. Merle Haggard and Willie Nelson are also contributors to the book.

Freddy Powers wrote or co-wrote the Haggard hits “A Place to Fall Apart” (1984), “Natural High” (1985), “Let’s Chase Each Other Around the Room” (1984) and “A Friend in California” (1986).

He co-produced Nelson’s million-selling LP Over the Rainbow. He also served in both stars’ bands.

DISClaimer: Elizabeth Cook, Paul Burch, Derik Hultquist Among Americana’s Top Offerings

Elizabeth Cook

Elizabeth Cook

There is a whole lot to like in today overview of current Americana recordings.

So much so, that I’m splitting the Disc of the Day award in two. Our female winner is Elizabeth Cook, and our male prize goes to Paul Burch. These two are among the best this genre has to offer.

The DisCovery Award goes to singer-songwriter Derik Hultquist. His is the most “different” sounding record in this stack, and for that we applaud him. Don’t be surprised if pop/rock programmers aren’t smitten by him as well.

 

DARRELL SCOTT/Love Is The Reason
Writer: Darrell Scott; Producer: Darrell Scott; Publisher: none listed; Full Light (track)
-Scott’s songwriting resume includes “Born to Fly,” “It’s a Great Day to Be Alive,” “Long Time Gone,” “Heartbreak Town,” “No Way Out,” “Family Tree” and “You’ll Never Leave Harlan Alive,” all of which are best known in versions by others. But he remains his own finest interpreter, as the performances collected on his new Couchville Sessions CD demonstrate. The album includes treatments of songs by Johnny Cash, Hank Williams, Townes Van Zandt, Peter Rowan and James Taylor, but at its heart are the nine gems from the songwriter, himself. This one is a rippling, lilting, uplifting tune sung in Scott’s characteristically warm, enveloping voice.

THE HONEYCUTTERS/On The Ropes
Writers: Amanda Anne Platt; Producers: Amanda Anne Platt; Tim Surrett; Publishers: Button Down/Windsor Forest, ASCAP; Organic (track)
– Don’t let the name throw you: This is a country combo. The group is fronted by singer-songwriter Amanda Anne Platt, who delivers the goods in a tart, yearning tone that is captivating. Her fellow band members are tight and super engaging. This title tune to The Honeycutters new CD is a portal into a myriad of alternative honky-tonking delights. The group is a cornerstone act on the Asheville, North Carolina, music scene. Sign me up for the Nashville fan club.

SAM BUSH/Bowling Green
Writers: Sam Bush/Jon Randall Stewart; Producer: Sam Bush; Publishers: Samanda Lynn/BMG/Whayasay/Reynsong, BMI; Sugar Hill (track)
– How do I love him; let me count the ways: Awesome instrumentalist, hearty vocalist, great record maker, fabulous human being. Bush’s upcoming Storyman CD is all over the map, stylistically. Which is another reason to love him. Jazz, folk, blues, reggae, swing and more bubble in the mixes. This toe-tapping ode to his hometown is so rootsy and grassy it sounds like a folk song. It is immediately followed by a honky-tonk shuffle called “Handmics Killed Country Music” (co-written with Emmylou Harris and complete with Pig Robbins on piano) and then a down-home blues titled “Where’s My Love.” Go, man, go.

DERIK HULTQUIST/Dark Side Of Town
Writers: Derik Hultquist; Producers: Frank Liddell/Eric Masse; Publishers: Scrambler/Carnival, ASCAP; Carnival (track)
– This singer-songwriter is a real find. This clear, dark, direct song is delivered in a conversational hush that’s surrounded by an ethereal electronic soundscape. The mysterious audio settings throw his super-strong songwriting skills into high relief throughout his Southern Iron collection. Enthusiastically endorsed. Pop tastemakers also take note.

 

ELIZABETH COOK/Straightjacket Love
Writer: Elizabeth Cook; Producer: Dexter Green; Publishers: Agent Love/Wixen, SESAC; Agent Love (track)
Exodus of Venus is Cook’s brand new collection. She simply doesn’t know how to make a dull disc. This rousing mountain country rocker features harmony vocals by the sublime Patty Loveless. It’s great, but you can “needle drop” anywhere on this record and strike audio gold.

NED VAN GO/Lost In The Trouble
Writers: N. Hill/B. Grant/R. Becker/C. Becker/M. Webb; Producer: Michael Webb; Publisher: none listed, ASCAP/BMI/SESAC; DSF (track)
– This Nashville band used to lean toward a rock sound. But the addition of mandolin ace Bob Grant in 2010 led to its evolution into an Americana act. The group’s current CD, The Dirt and the Sun, features this wildly energetic crowd favorite. It brilliantly fuses rock attitude with acoustic instrumentation.

TONY JOE WHITE/Hoochie Woman
Writers: Tony Joe White/Leann White; Producer: Jody White; Publishers: Wampus Cat/Wolf Woman, BMI; Swamp/Yep Roc (track)
– This ageless cult figure still conjures magic with his groove-tastic swamp rhythms and spooky lyrics. His womper-stomper guitar sets the tone in this dark, sexy, throbbing portrait of a witchy beguiler. It leads off a splendid collection titled Rain Crow.

JENNIFER WARNES/The Well
Writers: Jennifer Warnes/Doyle Bramhall; Producers: Martin Davich/Jennifer Warnes; Publishers: Warnes/BMG, BMI; Porch Light/BMG
– I have been in love with this woman for years. Best known as a peerless interpreter—“Right Time of the Night,” “I’ve Had the Time of My Life,” “Up Where We Belong” and the like—she now emerges as a songwriter of striking strength. This CD was originally recorded in 2001, but is only now getting an “official” release. Its title tune is a heartbeat pulsing meditation on nature that marries lilting instrumentation to her always caressing vocals. The album also features her silky versions of songs by Tom Waits, Billy Joel, Jesse Winchester, Cindy Walker and Arlo Guthrie, in addition to her originals. Warnes is now working on a new collection. I can’t wait.

 

PAUL BURCH/Back To The Honky Tonks
Writers: Paul Burch; Producers: Paul Burch/Dennis Crouch; Publishers: Borrowed & Broke, BMI; Plowboy (track)
Meridian Rising is a stunning achievement. Burch imagines the life of the legendary Jimmie Rodgers in a 20-tune song cycle that takes the Singing Brakeman from his Mississippi roots to his premature death from TB in a Manhattan hotel room. On this tune, he’s vowing to die as he lived, to the accompaniment of a cool little jazz combo. This whole project is absolutely essential listening. Buy it now.

JIMBO MATHUS/Play With Fire
Writers: Jimbo Mathus/Robert Earl Reed; Producer: Jimbo Mathus; Publisher: none listed; BLM (track)
– Mississippian Mathus is a mainstay of the esteemed vaudeville/folk/swing ensemble The Squirrel Nut Zippers. His new solo project is a nine-song, gumbo/voodoo delight titled Band of Storms. This track is a neo-rockabilly summons to romance featuring twang guitar, echo-chamber vocal and a cool, lingering hiss each time he sings the word “yes.” Elsewhere on the collection, you’ll find elements of blues, rock, honky-tonk and bluegrass. It’s all good.

 

Entertainment Attorney John Beiter Joins Leaven Strand & Glover

John Beiter

John Beiter

John Beiter, one of Nashville’s prominent music and intellectual property attorneys, has joined entertainment law firm Leavens, Strand & Glover as a partner.

Beiter will be based in the firm’s Nashville office on 17th Avenue S., which was opened by Hillel Frankel in 2015.

In his more than 20 years as an entertainment lawyer, Beiter has represented clients from recording artists and producers, record companies, songwriters and music publishers, to documentary filmmakers and book authors. He represents clients in copyright-related legislation such as the Songwriters Capital Gains Tax Equity Act and the Songwriter Equity Act. His litigation background in federal and state courts includes representing clients regarding copyright infringement and entertainment industry contracts.

“We have known John for many years and have been impressed with his skills as a litigator, intellectual property and music attorney,” said Leavens, Strand & Glover Founding Partner Peter Strand. “We are delighted that he elected to join our firm to continue the growth of our Nashville and national practices. And personally, I’m excited to add another guitar player to our firm.”

“Leavens, Strand & Glover has an incredible reputation in the entertainment industry, and I am delighted to join the team,” said Beiter. “The Nashville office has the potential to be one of the strongest in the city, and I am looking forward to being a part of this growth.”

Following law school, Beiter served as law clerk to the Honorable John T. Nixon, U.S. District Judge in the United States District Court for the Middle District of Tennessee. Before practicing law, he was a newspaper reporter and a songwriter for a Nashville-based music publisher. He received his J.D. from Vanderbilt Law School and a degree in journalism and English from Indiana University.

The addition of Beiter is the latest step in the firm’s significant growth over the past year. In addition to last year’s opening of a second office in Nashville, earlier this month the firm added entertainment attorney Linda Mensch as of counsel in the Chicago office.

Leavens, Strand & Glover, LLC is an entertainment, media, and intellectual property law firm concentrating on creative industries and endeavors. With offices in Chicago and Nashville, the firm represents both institutional and talent clients on transactional and litigation matters.

Randy Himes Joins The TEAM Companies

Randy Himes

Randy Himes

Randy Himes has joined The TEAM Companies, a payroll provider for the concert tour and sound recording industries.

Formerly SAG-AFTRA Nashville Executive Director, Himes is now The TEAM Companies’ Vice President of Labor Relations and Director of Business Development. The company has recently expanded into the Southeast region.

“Labor laws, union agreements and generally what it takes to conduct business in the music world have become more and more complicated,” says Himes. “I am excited to be able to continue to work with recording artists and their representatives in my new role at TEAM. The TEAM Companies have years of music industry experience as well as tools and processes that simplify hiring and paying singers, musicians, and other folks whether they’re recording an album or out on tour.”

During his career, Himes also spent a decade as the union’s Assistant National Director for Sound Recordings. During his tenure, he was involved in negotiating worldwide streaming provisions as well as updating other aspects of the code to keep pace with the changing music landscape.

Himes was also involved in agreements including the Nashville songwriter and publisher’s demonstration recording agreements, as well as the national music video, independent artist and touring agreements and numerous specialized industry agreements, including the Armed Forces Radio and Television agreement and the artists and performers agreement for the Grand Ole Opry.

Himes can be reached at rhimes@theteamcompanies.com.