Richard Bennett Earns Recognition As CMHoF Nashville Cat

Pictured (L-R): Back row: Buddy Miller, Bergen White, Duane Eddy, Billy Sanford, Steve Gibson, David Briggs, Michael Rhodes. Front row: moderator Bill Lloyd, musician Nick Bennett, honoree Richard Bennett, musician Sean Weaver, Country Music Hall of Fame and Museum's Abi Tapia.

Pictured (L-R): Back row: Buddy Miller, Bergen White, Duane Eddy, Billy Sanford, Steve Gibson, David Briggs, Michael Rhodes. Front row: moderator Bill Lloyd, musician Nick Bennett, honoree Richard Bennett, musician Sean Weaver, Country Music Hall of Fame and Museum’s Abi Tapia.

Famed guitarist Richard Bennett was honored as a Nashville Cat by the Country Music Hall of Fame and Museum on Saturday (July 30). The distinction is presented to notable studio musicians.

During an event at the museum, Bennett discussed his career and performed several original songs.

Bennett played with Neil Diamond in the 1970s and 1980s, and many others, including Rodney Crowell, Emmylou Harris, Vince Gill, Steve Earle, and Marty Stuart.

Former Nashville Cat honorees Buddy Miller, Bergen White, Duane Eddy, Billy Sanford, Steve Gibson, and Michael Rhodes attended in support of Bennett.

Pictured (L-R): Bill Lloyd, Richard Bennett

Pictured (L-R): Bill Lloyd, Richard Bennett

Josh Miller Jointly Signs To Warner/Chappell, Cornman Music

Pictured (L-R): Front: Nate Lowery, Cornman; Miller; Kelly Donley, Safford/Motley; Scott Safford, Safford/Motley. Back: Bradley Collins, BMI; Ben Vaughn, Warner/Chappell; Ryan Beuschel, Warner/Chappell; Brett James, Cornman; Jody Williams, BMI; Shea Fowler, Cornman

Pictured (L-R): Front: Nate Lowery, Cornman; Miller; Kelly Donley, Safford/Motley; Scott Safford, Safford/Motley. Back: Bradley Collins, BMI; Ben Vaughn, Warner/Chappell; Ryan Beuschel, Warner/Chappell; Brett James, Cornman; Jody Williams, BMI; Shea Fowler, Cornman

Warner/Chappell Music and Cornman Music have signed a worldwide co-publishing agreement with songwriter Josh Miller.

A self-described member of the “mixtape generation,” Miller’s music combines elements from the various genres of music he grew up listening to: country storytelling, pop melodies, and R&B phrasing. This marks the first time Miller has been signed to a music publisher.

Cornman Music was founded in 2007 by Grammy Award-winning songwriter Brett James and launched in partnership with Warner/Chappell Music.

ASCAP, BMI Align To Fight DOJ Consent Decree Interpretation

BMI ASCAP JOINT LOGO

ASCAP and BMI have united in a joint campaign against the Department of Justice’s interpretation of their respective consent decrees, and to advocate for consent decree reform.

BMI has initiated the process of challenging 100 percent licensing in federal court. Meanwhile, ASCAP will take the lead for the two PROs to pursue a legislative solution to continue fractional licensing, as well as other remedies for what the two performing rights organizations call outdated consent decree regulations.

After nearly three years of formal review, on June 29, the Department of Justice announced its decision to decline an update to the consent decrees that have regulated how ASCAP and BMI operate since 1941. The DOJ also implemented the new requirement that mandates each PRO to license songs in their respective repertoires on a 100 percent basis, in contrast to the longstanding industry practice of fractional licensing.

BMI sent a pre-motion letter to Federal Judge Louis Stanton, advising him of a proposed motion to interpret and potentially modify its consent decree. The letter includes requests to determine that BMI’s consent decree allows for the long-standing industry practice of fractional licensing, or, alternatively, an order by the court modifying the decree to allow for fractional licensing. The letter also requests a reasonable transaction period after a final ruling, if compliance with the DOJ’s interpretation is required.

A full copy of BMI’s pre-motion letter is available here.

Elizabeth Matthews, ASCAP CEO, stated: “The DOJ decision puts the U.S. completely out of step with the entire global music marketplace, denies American music creators their rights, and potentially disrupts the flow of music without any benefit to the public. That is why ASCAP will work with our allies in Congress, BMI and leaders within the music industry to explore legislative solutions to challenge the DOJ’s 100% licensing decision and enact the modifications that will protect songwriters, composers and the music we all love.”

Mike O’Neill, President and CEO of BMI, said, “The DOJ’s interpretation of our consent decree serves no one, not the marketplace, the music publishers, the music users, and most importantly, not our songwriters and composers who now have the government weighing in on their creative and financial decisions. Unlike the DOJ, we believe that our consent decree permits fractional licensing, a practice that encourages competition in our industry and fosters creativity and collaboration among music creators, a factor the DOJ completely dismissed. As a result, we have no recourse other than to fight the DOJ’s interpretation in court. It won’t be easy, and we know it will take time, but we believe that it is the right thing to do and in the best interest of the industry at large.”

Sony/ATV, NMPA Criticize DOJ Ruling On Consent Decree, 100 Percent Licensing

Sony-nmpa

Martin Bandier, Chairman and CEO of Sony/ATV Music Publishing, and David Israelite, President of National Music Publishers’ Association (NMPA) have each issued statements with concerns about the Department of Justice’s decision regarding 100 percent licensing.

The topic has been a major concern since June 29, when the Department of Justice surprised the industry with the decision. The ruling means that a song co-written by an ASCAP songwriter and a BMI songwriter would be available to license with approval from just one PRO. It also means that if a songwriter owns only a portion of the song, he or she can license the full song, as long as that songwriter ensures the other credited writers are getting paid. Under the current system, known as fractionalized licensing, each copyright owner in the song takes care of licensing their portion.

Meanwhile the ruling declined requests from major publishing companies to have a right to negotiate licensing rates with digital music providers like Pandora and Spotify. The original consent decree was enacted in 1941, and pertained specifically to ASCAP and BMI, but the music industry has lobbied for the last two or three years to modernize the law. Their requests were all denied in the ruling.

The statements are below:

Martin Bandier, Chairman and CEO of Sony/ATV Music Publishing

“We are extremely disappointed by the DOJ’s decision to issue a misguided and unprecedented interpretation of the consent decrees that is contrary to how they have worked and how the business has operated over many decades. Not only does it contradict the views of the U.S. Copyright Office and the entire music industry, but it will bring significant uncertainty and disorder to a marketplace that has worked well for years, while leaving everybody in the licensing process, including songwriters, to try to figure out how 100% licensing might work. Instead of modernizing the consent decrees, this decision has created a host of problems that will now have to be addressed by the courts and must be addressed by Congress as well.”

David Israelite, President & CEO, NMPA

“The Department of Justice (DoJ) has dealt a massive blow to America’s songwriters. After a two year review of the consent decrees that govern ASCAP and BMI, career lawyers who were never elected nor confirmed to their positions, led by a lawyer who previously represented Google, determined that songwriters should have even fewer rights, less control over their intellectual property and be treated more unfairly than they already are. The Department ignored the voices of copyright experts, members of Congress and thousands of songwriters and delivered a huge gift to tech companies who already benefit from egregiously low rates.

“The interpretation that the consent decrees demand that all works must be licensed on a 100 percent basis is both unprecedented and disastrous to the songwriting community. The decision represents a misunderstanding of copyright law and directly violates the legal guidance given by the Register of Copyright. The defiance displayed by these career antitrust lawyers in ignoring the legal opinion of the Register of Copyright is shocking.

“Washington bureaucrats should not be in the business of regulating music as they are neither capable of understanding or fixing the problems they’ve created. We are hopeful that through the legal process, conversations with those in Congress who understand copyright law, and ultimately the voices of those most affected, the creators themselves, we can find a path forward.”

CMA Music Festival Special Pulls In 5.54 Million Viewers

CMAFest_TuneIn_wHosts-575x310

The Wednesday night (Aug. 3) airing of CMA Music Festival: Country’s Night To Rock on ABC garnered a 1.1/4 Live+Same Day rating, pulling in a viewership of 5.54 million, up from 2015’s average of 5.19 million viewers, according to zap2it.com.

In 2015, CMA Music Festival: Country’s Night To Rock averaged a 1.2/4 rating among adult viewers age 18-49.

The three-hour show featured hosts Thomas Rhett and Brett Eldredge, and included performances from Jason Aldean, Kelsea Ballerini, Dierks Bentley, Luke Bryan, Eric Church, Brett Eldredge, Florida Georgia Line, Miranda Lambert, Little Big Town, Rascal Flatts, Thomas Rhett, Blake Shelton, Chris Stapleton, Cole Swindell, Steven Tyler, Carrie Underwood, Keith Urban and Chris Young with Cassadee Pope.

YouTube video

CMA Music Festival: Country’s Night to Rock was executive-produced by Robert Deaton.

Filmed during CMA Music Festival June 9-12, the special featured performances from four-day celebration, which this year was highlighted by meet-and-greets in Fan Fair X, live music on 11 stages, more than 600 artists and celebrities, and a guest list of 88,500 fans.

YouTube video
YouTube video

Exclusive: Cody Johnson Brings Rodeo Lessons To Music Career

Cody Johnson

Cody Johnson. Photo: Cameron Powell

After leaving behind a career in pro rodeo (with the shiny buckles to prove it), Cody Johnson has settled into a 25-acre ranch in Huntsville, Texas, with a family and a promising country music career.

He’s been traveling to Nashville over the last few years to write and record, and says he considers the city a second home, yet he remains fiercely independent. His 2014 release, Cowboy Like Me, debuted at No. 7 on Billboard’s country album chart. His new project, Gotta Be Me, releases Friday (Aug. 5). With memorable tunes like “Half a Song” (which conjures classic George Strait) and the single “With You I Am,” Johnson is keeping his eyes on the prize.

“I take my old rodeo background directly to heart with this music,” Johnson tells MusicRow. “It’s not the bucking off and getting thrown on the ground, it’s the getting back on. Man, it’s a scary industry no matter what part of the industry you’re in. There’s no certainty in it anyway, so let’s just throw the dice on the table and see if we can make it happen. So far the good Lord’s been good to us.”

Cody Johnson

Cody Johnson. Photo: Cameron Powell

MusicRow: Why was it important for you to record the album in Nashville?

Cody Johnson: Backing up a few projects, A Different Day was the first project I had come up here and done. I was writing with Trent Willmon and he wasn’t really producing at the time, but I know he was thinking about it. He kind of used me as his guinea pig. He wanted to do demo sessions of songs we’d written, and when I heard them, I said, “You call this a demo? This is a record!” So that is what started our first project [in 2011], A Different Day.

Moving to the follow-up project, Cowboy Like Me, it was obvious I wanted to come back here. My touring band that I have back home, I uphold them to the highest of standards. They are great! They’re good enough to be on an album but they didn’t want to be on the album.

Their thoughts were the same as mine: If we get those guys in Nashville that are the best of the best, to hone in on who you are, and your sound, and what we do as a live band, they’re going to play licks that are more out of the box. More creative stuff that we wouldn’t think to do. And if we get that, then we get to learn that record and take it to the stage and make ourselves better.

SiriusXM and the Highway channel have been playing “With You I Am.” What has that support meant for you?

That’s been a recent big deal. We were sitting at a bar not too long ago, after soundcheck, just eating and grabbing a beer. They had the Highway on and we heard “With You I Am” come on the radio and I asked the bartender to turn it up.

Everybody was so shocked at how shocked I was. I said, “Guys, that’s the first time I’ve ever heard myself on a radio station, period.” That’s a different world and a totally different broad spectrum to know that we’re getting that kind of light shown on us. I feel the ballgame changing a little bit. That’s really, really cool to see.

Cody Johnson

Cody Johnson. Photo: Cameron Powell

You have a solid base on socials and in streaming. Have you seen an uptick since SiriusXM picked you up?

Absolutely. We’ve done like 80 or 90 million streams in the last 18 months. It’s been unreal. And I’m one of those guys who keeps my head out of social, and I keep my head out of the clouds. I treat this just like any other job. You wake up, put on your work boots and go give it your all. I don’t think I’ll ever let myself get too caught up in all that stuff.

Are you going to try to shop your music to a major label?

We actually have had some majors approach us, but the thing is, I’ve built my career off the fan base we’ve developed. Not just in Texas. We’re honestly playing more outside the state of Texas than we are in, because we haven’t oversaturated our markets.

It’s great to go play in front of 10,000 people somewhere, but what about those 78 people in South Carolina, and the fans there that know every word of your stuff? You can’t not go there because there’s not enough of them. You have to go develop that and bust your knuckles, so to speak.

You’re clearly very driven. Where does that come from?

My dad worked every day growing up. My mom, my brother and I cleaned houses so my mom could homeschool us, because we didn’t have a lot of good school districts around us. I’ve never met a more hard-working man than my father. I’ve always wanted to make them proud. Now that I have a wife and a daughter, and I have 12 guys on a bus, and a staff of over 15, I feel like I owe them that, to put on my work boots every day.

I think that a lot of it comes from rodeo. You’re going to knock me down, but you’re not going to knock me down forever. I’m always going to get back up and say, “Hit me again.” I’m one of those people that when the fight is heaviest, I perform my best.

YouTube video

DISClaimer: Reckless Kelly Bashes And Blazes

Reckless Kelly

Reckless Kelly

Here we are in the blazing heat of a Southern summer, but the sounds from the country world aren’t nearly as hot.

The new single by Reckless Kelly is a dandy, and the latest from Lucas Hoge is well worth some spins, too. But most of the rest of what is in today’s column is not really essential listening.

One exception is the Disc of the Day winner, “Wildflowers” by Dolly Parton, Linda Ronstadt and Emmylou Harris, our eternally excellent Trio.

I also liked newcomer Shawn Byrne. He’s a singer-songwriter who has everything it takes to succeed. Give him a DisCovery Award.

FLORIDA GEORGIA LINE & TIM McGRAW/May We All
Writers: Rodney Clawson/Jamie Moore; Producer: none listed; Publisher: none listed; BMLG Records
– Yearning and nostalgic, yet still very breezy and romantic. The vocals and production are very “processed” sounding, but there is “heart” here as well. Nicely done.

AMERICAN YOUNG/God Sends a Train
Writers: Kristy Osmunson/Bob Regan; Writers: Jon Stone, Justin Niebank & Lee Brice; Publishers: Getting Grown/Osmunson/Dixie Stars/Tahoe Kid/HoriPro, BMI/ASCAP; Curb
– It’s an atmospheric story song about a woman who is delivered from an abusive relationship by a railroad tragedy. Spooky and cool.

LUCAS HOGE/Boom Boom
Writers: Philip LaRue/Ben Glover; Producer: Matt McClure; Publishers: Razor & Tie/Aroise/9t One Songs, BMI/ASCAP; Rebel Engine
– Jaunty and romantic, with a nifty, bubbling, burbling percussion track. Easily his most commercial outing yet. Infinitely programmable.

YouTube video

 

KELSEY WALDON/All By Myself
Writer: Kelsey Waldon; Producer: Michael Rinne; Publisher: none listed; Monkey’s Eyebrow
– This moody, downbeat ballad has a hypnotic appeal with its ghostly echo-chamber guitar and her hushed, haunted vocal delivery. Intriguing, despite some problems with the band keeping tempo. This gal has real promise.

SHAWN BYRNE/Lonesome Ol’ Guitar
Writers: Shawn Byrne/Chuck McCarthy/Todd Elgin; Producer: none listed; Publishers: none listed; SB (track)
– I like this guy. His baritone voice has a warm resonance. The production is admirably spare. And there’s something about this lonely-troubadour performance that keeps you hanging on every line.

EMMYLOU HARRIS, DOLLY PARTON, LINDA RONSTADT/Wildflowers (alternate version)
Writer: Dolly Parton; Producer: George Massenburg; Publisher: Velvet Apple; Rhino
– The 1988 and 1999 Trio masterpieces by Dolly Parton, Linda Ronstadt and Emmylou Harris will be the basis of a triple-CD reissue by Rhino next month. One disc will have the original album. The second will contain the tracks from its follow-up. A third disc will contain 12 previously unheard tunes and 8 alternate takes, plus “Even Cowgirls Get the Blues” and “Mr. Sandman” (Trio performances which appeared on Harris LPs). This previously-unheard alternate take of Dolly’s poetic song, available as a lyric-video download, has each woman singing a verse, full-throated trio harmonies and a bouncier, more twangy arrangement than the original. On the hit version, 28 years ago, Dolly sang lead throughout, the arrangement was more Appalachian/acoustic and she and Linda sometimes did duo harmonies. At any rate, I still tingle all over whenever I hear these three sing together, and the song is enduringly wonderful. I cannot WAIT to hear the rest of what is coming out of the vaults.

YouTube video

JEREMY & THE HARLEQUINS/Into the Night
Writers: Jeremy Fury; Producer: Jeremy & The Harlequins; Publisher: none listed; Yep Roc
– Galloping and pop-ish, with plenty of oomph and echo. The relentless tempo is very exciting, and the lead vocalist isn’t afraid to let the fur fly.

KENNY DAVIN FINE & THE TENNESSEE TEXANS/Ballad of the Tennessee Texans
Writer: Kenny Davin Fine; Producer: Michael Lloyd: Publisher: FinerMusic, BMI; Higher Ground
– A cheesy attempt at a retro sound that falls flat, largely because the song is as dull as mud. Also, the band’s playing is sloppy.

SMITH & WESLEY/You’re the One
Writer: Scott Smith; Producer: Shane Hill; Publisher: Dream Walkin,’ ASCAP; Garage Door (CDX)
– This is a change-of-pace love ballad for these Southern rockers.

RECKLESS KELLY/How Can You Love Him (You Don’t Even Like Him)
Writers: Willy Braun; Producer:Willy Braun, Cody Braun & David Abeyta; Publishers: Fah-Q Music; No Big Deal
– The band bashes and blazes in a tight, jangle-filled arrangement highlighting harmonica, organ, throbbing bass, cascading piano notes and shuddering guitars. The drawling, conversational vocal is just right. This would sound absolutely great on country radio. So nice I played it twice.

Artist Updates: Kelsea Ballerini, Toby Keith, Olivia Lane

Kelsea Ballerini On Jimmy Kimmel Live! As Part Of TV Blitz

YouTube video

Black River Entertainment’s Kelsea Ballerini took to Jimmy Kimmel Live!’s outdoor stage on Monday (August 1) to offer her Top 10 single “Peter Pan.” Filmed in front of a backlot audience, the program also treated fans to her platinum-selling debut single “Love Me Like You Mean It.” The first-time presenter at the 2016 Teen Choice Awards continued her week of national TV appearances on Wednesday on ABC with the CMA Music Festival: Country’s Night to Rock. She will co-host the grand finale of Greatest Hits  on Thursday, live from Microsoft Theater in Los Angeles.

 

Toby Keith Visits With Cody Alan at Oregon Festival

Cody Alan was on hand at the Oregon Jamboree music festival this past weekend to capture all the action and interviews with artists for CMT After MidNite with Cody Alan and CMT’s Hot 20 Countdown. On Saturday (July 30), Alan was invited to have an exclusive conversation with Jamboree headliner Toby Keith on his tour bus. The segment aired on CMT After MidNite with additional footage on Hot 20 Countdown airing this Saturday morning (August 6, 9:00/8:00 CT).

 

Olivia Lane Performs Anthem for Padres

Olivia Lane. Photo: Big Spark Music Group

Olivia Lane. Photo: Big Spark Music Group

On the heels of releasing her self-titled debut EP, rising country newcomer Olivia Lane delivered the national anthem prior to the San Diego Padres game at Petco Park on Monday (August 1). Lane continues to spread good vibes with her #SunshineMovement as part of the release of her single, “Make My Own Sunshine.”

 

RCA Nashville’s Kane Brown Earns First Gold Certification

 From (L-R): Keith Gale, RCA Nashville; Bob Foglia, Sony Music Nashville; Randy Goodman, Chairman/CEO, Sony Music Nashville; Kane Brown; Ken Robold, Sony Music Nashville; Hannah Dudley, Sony Music Nashville; Martha Earls, Brown's manager; Caryl Healey, Sony Music Nashville; Darren Stupak, EVP/GM, Sales, Sony Music Entertainment.

From (L-R): Keith Gale, RCA Nashville; Bob Foglia, Sony Music Nashville; Randy Goodman, Chairman/CEO, Sony Music Nashville; Kane Brown; Ken Robold, Sony Music Nashville; Hannah Dudley, Sony Music Nashville; Martha Earls, Brown’s manager; Caryl Healey, Sony Music Nashville; Darren Stupak, EVP/GM, Sales, Sony Music Entertainment.

RCA Nashville artist Kane Brown has notched his first gold-certified single with “Used To Love You Sober” from his major label debut EP Chapter 1.

Sony Music Nashville Chairman/CEO Randy Goodman and members of Brown’s team surprised him with his first plaque during Kane’s sold-out show at Gramercy Theater in New York City.

The track, which was penned by Kane, Josh Hoge and Matt McVaney, has amassed more than 25 million streams to date.

“I was completely surprised by Sony when they presented me with a plaque on stage in New York. I am so proud of ‘Used To Love You Sober’ going gold, and I am so grateful to all the fans and supporters along the way who helped me achieve this,” said Kane.

Kane is currently opening for Florida Georgia Line on their Dig Your Roots Tour through October. In November, Kane will kick off his 30-city Monster Energy Outbreak Ain’t No Stopping Us Now headlining tour, where he will return to New York City to play Irving Plaza on Dec. 3.

The Ft. Oglethorpe, Georgia, native has notched more than 54 million audio and video on-demand streams, has sold more than 700k track downloads, and has sold out more than 45 markets on his 2015/2016 debut headlining tour.

Muddy Magnolias Plan Oct. 14 Album Release

Muddy Magnolias. Photo: Josh Telles

Jessy Wilson and Kallie North of Muddy Magnolias. Photo: Josh Telles

Muddy Magnolias, the Nashville duo of Kallie North and Jessy Wilson, will release their debut album, Broken People, on Oct. 14 via Third Generation Records.

Produced by Rick Beato (with additional production by Mario Marchetti and Butch Walker), the album was recorded in Atlanta and Nashville in late spring 2016.  John Legend provides piano and vocals on the closing track, “Leave It to the Sky.”

The music video for the lead single “Brother, What Happened?” premiered on NPR on Tuesday (Aug. 2).

Muddy Magnolias albumNorth has roots in southeast Texas and the Mississippi Delta, while Wilson was born and raised in Brooklyn, New York. They met in 2013.

North said, “The first day we wrote together, there wasn’t much thought that we were blending genres and worlds. That never came up. It was just natural. Ultimately, this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships.”

Wilson adds, “It’s about getting out of your comfort zone and being rewarded with a great friendship. We’ve both felt the power of that.”

The band was formerly signed to I.R.S. Nashville. They will perform at Mercury Lounge in New York City on Aug. 23. They are co-managed by Clay Bradley of Third Generation Entertainment and Coran Capshaw of Red Light Entertainment. They are represented by Scott Clayton at CAA.