UMPG Nashville Promotes Missy Roberts To Vice President, A&R

 

Missy Roberts

Universal Music Publishing Nashville has promoted Missy Roberts to Vice President, A&R. She will continue reporting to Troy Tomlinson, chairman/CEO of the company’s Nashville division.

An 18-year industry veteran, Roberts represents notable UMPG songwriters including Ingrid Andress, Justin Ebach, Paul DiGiovanni, Brandi Carlile, Derrick Southerland, Cole Taylor, Caitlyn Smith, Shane Minor, Jamie Paulin and Jeff Middleton. She joined the company in 2012 and previously served as Senior Director, A&R.

Prior to joining UMPG, Roberts held A&R roles at Sony Music Nashville, Disney Music Publishing Nashville, Stage Three Music and EMI Music Publishing.

Tomlinson says, “I’ve had the pleasure of knowing Missy and watching her grow as a leader over a number of years. Her thoughtful approach when signing songwriters and setting up collaborations make her an absolutely excellent example of what A&R should look like. Missy’s voice on our team and within the Music Row community position her well for this leadership role.”

“Universal Music Publishing is home to the absolute best-in-class creators, leadership and culture. Everything we do is designed to make sure songwriters are always first. None of us succeed or grow without belief. Universal Music’s belief in me is inspiring and humbling at the same time, and I want thank Troy for this opportunity,” says Roberts.

Roberts is part of the 2020 class of MusicRow Magazine’s Rising Women on the Row.

Touring Veteran Randy “Baja” Fletcher Passes

Randy “Baja” Fletcher at the Touring Career Workshop in 2016. Photo: Courtesy Chris Lisle

Touring industry veteran and tour production manager Randy “Baja” Fletcher passed away today (Aug. 27), MusicRow has confirmed. Fletcher recently fell at a show site and was critically injured.

Fletcher worked as a Production Manager for ZZ Top, Waylon Jennings, Randy Travis, Brooks & Dunn and most recently with Keith Urban. He was honored with the first-ever CMA Touring Lifetime Achievement Award at the annual CMA Touring Awards in 2017 for all of his contributions.

Fletcher started his near 50-year career in Virginia Beach, Virginia when he was 17. With Bill Deal and the Rhondels, Fletcher traveled with the band up and down the East Coast on solo dates. He also worked with shows of the era that included pop and Motown artists.

In 1978 Feltcher started a 10-year run with Waylon Jennings. During this time he also toured with Johnny Cash, Merle Haggard, George Jones, Willie Nelson, and many more. In 1988 he began working with Randy Travis on his first headlining tour, whom he would continue with for five years. In 1992 Fletcher started working with Brooks & Dunn, where he served as the duo’s production manager for 18 years.

In 2011 Fletcher took his current role as production manager for Keith Urban.

After being awarded with the CMA’s first-ever Touring Lifetime Achievement Award in 2017, he was awarded Production Manager Of The Year in 2019 among other industry honors.

Fletcher served in the United States Army, and did a tour of Vietnam.

Memorial details have not yet been announced.

DISClaimer Single Reviews: Keith Urban, Hannah Dasher, Laci Kaye Booth

Hannah Dasher, Keith Urban, Lacy Kaye Booth

This is a star-packed edition of DisClaimer that features a dazzling number of country A-listers.

Leading the pack is Keith Urban, who wins the Disc of the Day award with fantastic competition from Kane Brown, Kenny Chesney, Chris Janson, Morgan Wallen and Cody Johnson. All are worth your spins.

We also have two splendid duets today. They come from spouses Rose Falcon & Rodney Atkins and from old buddies Jeannie Seely and Willie Nelson. The female vocal performance du jour is unquestionably by Hannah Dasher.

The DisCovery Award goes to BMLG newcomer Laci Kaye Booth.

HANNAH DASHER / “You’re Gonna Love Me”
Writers: Hannah Dasher/Thomas Archer/Andy Albert/Gordie Sampson; Producer: Brandon Hood; Label: Sony Nashville
— She says it best, “I’m a bad Mamajamma,” on this feisty, hooky, rhythm-happy slab of sound. She drawls in all the right places, the thumpy backbeat is killer and the lyric is a stone delight. A fiery hillbilly romp that deserves a place in the sun.

KANE BROWN / “One Mississippi”
Writers: Kane Brown/Jesse Frasure/Levon Gray/Ernest K. Smith; Producer: Dann Huff; Label: RCA Nashville
— His vocal is warm and intimate on the verses, then shouted and urgent on the soaring choruses of this rocking anthem of tipsy passion. Breezy and engaging.

TRAVIS DENNING / “Dirt Road Down”
Writers: Will Weatherly/Cole Taylor/Taylor Phillips/Travis Denning; Producer: Jeremy Stover; Label: Mercury Nashville
— Somewhat tuneless, over produced, thematically backroads generic.

KENNY CHESNEY / “Beautiful World”
Writers: David Lee Murphy/Tom Douglas/Tony Lane; Producer: Buddy Cannon/Kenny Chesney; Label: Blue Chair/Warner Nashville
— Relaxed and laid back, this settles into his sunny-outlook vibe with all the ease of a swaying hammock. It has a simple, catchy melody that I can imagine his stadium crowd singing along to.

CODY JOHNSON / “Let’s Build a Fire”
Writers: Chris Janson/Mitch Oglesby; Producer: Trent Willmon; Label: CoJo/Warner Nashville
— Furiously rocking, but his solid, Texas-accented country singing remains the big draw. A wild ride with plenty of heart.

KEITH URBAN / “Wild Hearts”
Writers: Keith Urban/Eric Paslay/Brad Tursi/Jennifer Wayne; Producer: Keith Urban/Mitch Furr; Label: Capitol Nashville
— His best in ages. It has a steady groove that is undeniable and an uplifting lyric about chasing your dreams, no matter what. Wonderful listening. This is exactly why he is a superstar.

JEANNIE SEELY & WILLIE NELSON / “Not a Dry Eye in the House”
Writers: Dallas Wayne; Producer: Don Cusic; Label: Curb Records
— What’s not to love? Steel soaked, with beautifully accented keyboard notes and an eloquent, fiddle-accompanied Willie guitar solo. Slow and sad, this classic-sounding weeper features both veterans singing splendidly.

ROSE FALCON & RODNEY ATKINS / “Being Here, Being There”
Writers: Rose Falcon/Rodney Atkins/Phil Barton/Seth Mosley; Producer: Seth Mosley/Rodney Atkins; Label: Curb Records
— His gritty country voice contrasts nicely with her lilting pop soprano on this charming outing. The crunchy, bopping track is delightfully ear catching and the reassuring, romantic lyric is heart warming. I totally dig this. It’s about time this doubly talented married couple became a recording duet. I would welcome an entire album with songs this dandy.

LACI KAYE BOOTH / “Shuffle”
Writers: Derrick Southerland/Laci Kaye Booth/Sam Ellis; Producer: Dann Huff/Jimmy Harnen; Label: BMLG Records
— Attractive and clever. She has a slightly hushed, sensual vocal style that is wed to a steady thumping track. She name-checks country oldies since her heart’s playlist is on “shuffle” because she’s so smitten.

CHRIS JANSON / “Bye Mom”
Writers: Chris Janson/Brandon Kinney; Producer: Zach Crowell/Chris Janson; Label: Warner
— Achingly lovely. We all know that one day we will lose our moms, but that doesn’t make it any less painful when we do. Always a masterful communicator, Janson taps into this universal truth with this lump-in-throat song. A lilting, gentle production lifts the whole thing upward. I remain an immense fan.

MORGAN WALLEN / “Sand In My Boots”
Writers: Ashely Gorley/Joshua Shaun Osborne/Michael Wilson Hardy; Producer: Joey Moi; Label: Big Loud/Republic
— He’s such a terrific singer. This heartbroken ballad is a mini country masterpiece, packed with evocative images and intense emotion. Performed solo on piano with fierce conviction, this works on every level.

RANDY TRAVIS / “Ain’t No Use”
Writers: Randy Travis/John Lindley; Producer: Kyle Lehning; Label: Warner
— The 35th anniversary of the landmark Storms of Life LP is being celebrated with a deluxe reissue featuring tracks originally recorded for the collection, but never released before this. This peppy toe tapper is one of them, and it’s a face-slap reminder of what a great country vocalist this Hall of Famer is.

Martina McBride Talks The RCA Days, Bold Songs & Her Lasting Legacy [Interview]

Martina McBride. Photo: Joseph Llanes

Few have impacted the country music genre like Martina McBride. The powerful singer and bold communicator has seen monumental success throughout her 30-year career, including selling more than 23 million albums to date and earning 14 Gold, 9 Platinum, 3 Double Platinum and 2 Triple Platinum certifications. But her legacy is far greater than her powerful selling power.

Martina started performing as a child in Kansas, playing in her family’s band, the Schiffters. As she got older she started performing in rock bands around Wichita, where she met recording engineer John McBride, who she married in 1988.

Martina remembers the night she knew it was time to move to Nashville and pursue a career in country music.

“[My family] had never entered any kind of contest, but for some reason we entered this battle of the bands and Dad asked me if I’d come back and sing with them. My husband, John, engineered the show and he recorded it on a cassette. During the break we went out to our car and listened to the cassette and it just hit me. I was like, ‘This is what I want to do.'” Martina recalls. “I love to sing all kinds of music. And up to that point, I had been singing all kinds of music, but that was the moment that I knew that this is where I wanted my focus to go. It feels like home to me and it was always my dream as a kid. That moment was a realization that this is what I wanted to do: I wanted to pursue a career in country music.

“I went back inside the building and told my mom that night, and we ended up moving to Nashville a few months later,” Martina says.

John started working as a sound engineer on concert tours and became production manager for a booming artist on the rise, Garth Brooks, in 1991. Martina soon started selling t-shirts for Garth.

All the while she was hustling, trying to get a five-song demo to the record labels in Nashville in hopes of a record deal.

To get past RCA Records’ strict rules about submitting new material unsolicited, she wrote “REQUESTED MATERIAL” in large letters on a bright purple package, even though RCA had not asked for the tape.

“I was singing demos, waiting tables and selling t-shirts for Garth at the time and I had heard from a friend of mine at a publishing company that RCA was looking for a female artist to sign and they had three contenders,” Martina says. “Another friend of mine had said that they don’t take any unsolicited material, so you can’t just walk in and drop your tape off. He said a little tip is when you drop your envelope off at the front desk, write ‘requested material’ on it. That’ll get it past the front and get it to the A&R person. So I did that. I went to Kinko’s and got a bright purple envelope and my husband wrote ‘requested material’ with a phone number. About two weeks later we got a phone call that they had heard the demo and they wanted to have a showcase.”

Martina’s plan worked and she signed her deal in 1991.

Martina McBride receiving a RIAA plaque for the Gold-certified The Way That I Am album. Photo: MusicRow Magazine’s December 1994 issue.

With a label deal secured, it was time for her to make her first record. “I wanted to be a really traditional country artist [on that record]. I wanted to be like the female Alan Jackson or something.”

Martina released her debut album, The Time Has Come, in May of 1992. The album earned Martina critical accolades, but it wasn’t until the release of her second album, The Way That I Am, that she began achieving commercial success. “My Baby Loves Me” reached No. 2 on Billboard’s country charts, becoming Martina’s first hit. But her “Independence Day,” an empowering anthem about escaping domestic abuse written by Gretchen Peters, catapulted Martina into stardom.

“Independence Day” was named Song of the Year in 1995 and Video of the Year in 1994 by the CMA—but had trouble at some radio stations at first because of its serious subject matter.

“I was so passionate about the message in the song. It really touched me. So, I went to my radio promotion guys and I said, ‘What’s happening?’ They said ‘Well these stations won’t play the song. They think it’s too controversial. They think the video is controversial.’ I was like, ‘Well, can you give me their numbers? Can I talk to them?’ I don’t think they’d ever had that happen before,” Martina says with a laugh. “I can remember sitting in the office at the studio and calling each of these guys one by one and just saying, ‘Talk to me about this. What is your hesitation?’ I argued my point and I did turn some of them around. Some of them did end up playing it.”

The industry, and country music fans, embraced Martina’s boldness. The Way That I Am crossed the million-seller threshold in May 1995, beginning a streak of Platinum albums that stretched into the 2000s.

“Independence Day” started a path for Martina of cutting songs that dealt with real life, even if it wasn’t pretty. She would follow her “Independence Day” up with other career songs like “A Broken Wing,” “Concrete Angel,” and “This One’s For The Girls.”

“I have to credit Joe Galante because he never, ever gave me any kind of pushback on recording those songs or releasing them as singles,” Martina admits. “It was really his idea to release them as singles. He never shied away from that. As a matter of fact, he wanted ‘Concrete Angel’ to be the first single off my Greatest Hits record and I was like, ‘Joe, it’s summer!’ But he was really passionate about those songs and about my vision as an artist.”

Martina became one of country music’s most acclaimed stars of the ’90s and 2000s, with four CMA Female Vocalist of the Year awards, three consecutively (1999, 2002-2004), and three consecutive ACM Top Female Vocalist honors (2001–2003). In November 1995, she became a member of the Grand Ole Opry, just four years after signing her record deal.

Since then she has been an outspoken advocate for women in country music. But she remembers the ’90s being more fair.

“We can rattle off a list of 12 to 15 female artists that were doing well then. We had a moment where it was equal—and it was awesome. When you look at country music, you have the golden era of the George Jones, Tammy Wynette, and Patsy Cline. Then we have the late ’90s and early 2000s, which is another highlight era of country music. It was really diverse and there were so many songs about so many different topics.

“When we talk about females getting played on the radio next to some of the bro country, it’s really hard because sonically, we can’t really make song after song that has that lyric content or even sounds in the same vein as that musically. But back then I could release a record like ‘Concrete Angel’ and it was up next to maybe a Rascal Flatts record or an Alan Jackson record. From the standpoint of record production, it was so varied and so rich.”

Martina’s “This One’s For The Girls” has become an anthem of sorts for those working towards equality in country music.

“It’s a really well-written song and it’s a great record. Paul [Worley] and I made a great record on it. It’s so relatable—but I need to add another verse for the 55 year olds. There’s basically three generations that can relate to it and it’s so empowering. What I loved about it was it’s an uptempo song and it’s really hard to find an uptempo song that has some lyrical substance. That is always what I look for in a song.”

Martina McBride at the opening celebration for Martina McBride: The Power of Her Voice at the Country Music Hall of Fame and Museum. Photo: Jason Davis/Getty Images for the Country Music Hall of Fame and Museum

In 30 years, Martina has become a pillar of the story of country music and an inspiration to women and girls everywhere. Her career is being celebrated with an exhibit at the Country Music Hall Of Fame.

“When I started this career, I had two goals: longevity and respect. I do feel like I’ve achieved those two things, which is really amazing. To be respected and accepted as an artist and as a singer was always really important to me,” Martina says. “With the new Country Music Hall Of Fame exhibit, I feel like it’s such a sign of respect. That’s really cool and it makes me feel like I did what I set out to do.”

Martina’s exhibit, The Power of Her Voice, is open now through Aug. 7, 2022. She has also recently released special edition vinyls–Martina McBride Greatest Hits: The RCA Years and is currently on the road with Alabama and Blake Shelton.

Bobby Karl Works The Room: The 14th Annual ACM Honors

Luke Combs accepts the Gene Weed Milestone Award while Ashley McBryde looks on. Photo: Getty Images / Courtesy of the Academy of Country Music

Chapter 647

If we are all going to celebrate music together, let’s try and do it safely, shall we?

So when the fabulons gathered at the Ryman for the ACM Honors on Wednesday (Aug. 25), it was with the stipulation that we will all be vaccinated. The rest of you can feel free to infect one another. Despite the vax stipulation, some wore masks nevertheless. John Esposito, Ben Vaughn and Don Cusic were being extra careful. Other celebrants in the Ryman crowd included David Fox, Sen. Marsha Blackburn, John Zarling, Clarence Spalding, Jessica Nicholson (who has just been hired by Billboard), Katharine Richardson, Troy Putman, Katy Varney & Dave Goetz, LB Cantrell, Sherod Robertson and Paul Kingsbury.

Host Carly Pearce performs during the 14th Annual Academy Of Country Music Honors. Photo: Getty Images / Courtesy of the Academy of Country Music

Considering that the show saluted two years’ worth of honorees and included 19 musical performances, the ACM got the job done with alacrity. Clocking in at three hours, it was quite efficient.

Following opening greetings by new ACM exec Damon Whiteside, rising star Chris Janson presented the Studio Recording Awards for both 2019 and 2020. They were Jenee Fleener & Ilya Toshinskiy, busbee & Jay Joyce, Gordon Mote & Dave Cohen, Rob McNelley & J.T. Corenflos, Jimmie Lee Sloas & Tony Lucido, Miles McPherson & Aaron Sterling, Justin Niebank & F. Reid Shippen and Paul Franklin, Dan Dugmore & Mike Johnson.

Following the announcements of winners Gil Cunningham and Brian O’Connell, plus the venue awards, Michael Strickland was presented with a Gene Weed Milestone Award. When the pandemic hit, he lobbied Congress for funds to shore up the crippled touring industry via the Save Our Stages part of Pres. Biden’s American Rescue Plan.

Lee Ann Womack and Alan Jackson perform. Photo: Getty Images / Courtesy of the Academy of Country Music

ACM show host Carly Pearce was a definite plus. She kept up a lively pace with warmth, professionalism and sincerity. The night’s first Poet’s Award went to Loretta Lynn, about whom Carly has a new song called “Dear Miss Loretta,” which she sang with country class. It earned a standing ovation. But then, so did every performance. That’s the benefit of having the hall full of fans to offset the jaded industry attendees. On the downside, fans sometimes enthusiastically shouted inappropriate and/or irrelevant commentary during the show.

Alan Jackson & Lee Ann Womack offered a sprightly “Louisiana Woman, Mississippi Man” in salute. Loretta accepted via an audio recording, saying, “It’s the greatest award I could get.” Hers was the first of the night’s three Poet’s Award honors.

Cliffie Stone Icon Award Winner Joe Galanta accepts his award. Photo: Getty Images / Courtesy of the Academy of Country Music

Ronnie Dunn presented the first Cliffie Stone Icon Award to Joe Galante. Still one of country’s most electrifying vocalists, Ronnie sang “There Ain’t Nothin’ ‘Bout You,” which Joe had suggested he record. “This town has given me a lot more than I deserve,” said Joe. “The people I’ve met are more than friends to me. They are my family.”

The second Cliffie Stone Icon honor went to Rascal Flatts. Carly sang “Bless the Broken Road.” Caylee Hammack performed “My Wish.” RaeLynn offered “Life Is a Highway.”

“When you’re blessed to do what you love to do, time flies,” said Joe Don Rooney during his rather long-winded acceptance. “Twenty years, snap, like that.” Added Jay DeMarcus, “Everything that’s happened has been one blessing after the next, after the next.” The absence of Gary LeVox was not explained.

Lauren Alaina presented two Songwriter of the Year awards to Hillary Lindsey, commenting on how melodic her compositions are. Then she sang the distinctly unmelodic “One Beer” with HARDY and Devin Dawson. Lindsey was not present.

Dan Smyers and Shay Mooney of Dan + Shay accept the Jim Reeves International Award. Photo: Getty Images / Courtesy of the Academy of Country Music

Chris Janson returned to give the second Poet’s Award to the late Curly Putman, singing “He Stopped Loving Her Today” in Curly’s honor. “His contributions will always be remembered and will play on through the years,” said Chris of Curly.

Sarah Trahern presented the Mae Boren Axton Service Award to RAC Clark. Alan and Lee Ann reappeared to perform “Murder on Music Row.” RAC related that he lobbied for that song to be performed on the first ACM Awards he produced. I’ll leave aside my misgivings about organizations giving awards to their own employees for doing the jobs they were hired to do.

The Jim Reeves International Award was given to Dan + Shay. They co-wrote their hits with Laura Veltz, Nicolle Galyon, Jordan Reynolds and Jessie Joe Dillon. Those four winningly performed “Speechless,” “Tequila” and “10,000 Hours.”

“We’re so honored to have our friends here,” commented Shay Mooney. “It all starts with you guys, our co-writers on the songs,” added Dan Smyers.

The Merle Haggard Spirit Award went to Toby Keith. This was preceded by Trace Adkins singing Toby’s hit “Love Me If You Can.” Toby was not present, but sent an audio reminiscence of his conversations and performances with the late, legendary Merle.

Carly paused the proceedings to honor Lisa Lee, the ACM’s Senior VP of Creative/Content, who passed away last Saturday. Lisa was loved by all of us who knew her, and her talents as a show producer were acutely missed during the show’s clunky video tributes and its many “dead air” moments. She died of brain cancer at age 52.

Lisa was a charming, small-town personality from Arkansas who rose to the top of her profession. Ashley McBryde sang “Girl Goin’ Nowhere” in her honor. “What a moving performance to honor such a wonderful person,” commented Carly.

Charles Kelley, Hillary Scott, and Dave Haywood of Lady A accept the Gary Haber Lifting Lives Award. Photo: Getty Images / Courtesy of the Academy of Country Music

Earning the Tex Ritter Film Award was the 16-hour PBS Country Music documentary by the Ken Burns team. Ken accepted via video. Thank goodness somebody has finally talked him into cutting off his hair’s Beatle-y bangs. Hank Williams‘ grandson Sam Williams offered an emotional “I’m So Lonesome I Could Cry” as a salute to the landmark film.

ACM Lifting Lives exec Lindsay Cruz presented the first Gary Haber Lifting Lives award to Lady A. The group sang a splendidly harmonized rendition of “What a Song Can Do.”

“We are so honored and humbled it’s unbelievable,” said the group’s Hillary Scott. “We are always looking for ways to give back.”

Ross Copperman accepts Gary Haber Lifting Lives Award. Photo: Getty Images / Courtesy of the Academy of Country Music

Added bandmate Charles Kelley, “When you come into this world of country music, it’s part of the job: You give back.” Amen, brother.

The second Gary Haber Lifting Lives award went to Ross Copperman, whom Keith Urban dubbed, “Mr. Positivity.” Keith performed “John Cougar, John Deere, John 3:16,” which Ross co-wrote. “I would not be on this stage were it not for Lisa Lee lifting me up,” said Ross.

The third Poet’s Award went to Gretchen Peters. Making her debut on the Ryman stage was Brittney Spencer. She sang a slowed-down, impassioned version of Gretchen’s “Independence Day” and brought down the house.

“I was a fool to think I wouldn’t cry,” said Gretchen. “Brittney, that was so moving. I am so proud to receive this alongside Loretta and Curly Putman. Songwriting is a calling. At their best, songs are empathy machines. The world needs love and empathy more than it ever has right now. We need our Poets.”

Brittney Spencer performs. Photo: Getty Images / Courtesy of the Academy of Country Music

The Gene Weed Milestone Award was presented to Luke Combs by Ashley McBryde. She sang “She Got the Best of Me.” That song is one of the 11 consecutive debut singles by Luke that have gone to No. 1, an unprecedented accomplishment.

“Here I am: I cannot believe this,” said Luke. “I’m 31 years old, and I just had my 11th No. 1 song. The reason all of us get to do what we love to do is because of you. Everybody in this room, I love you. There’s a helluva lot more country music in this boy,” added the Everyman entertainer.

Carly Pearce bid us a fond goodnight.

Kelly Rich To Exit Amazon Music

Kelly Rich

Kelly Rich will exit her position as Amazon’s Head of Country Music, MusicRow has confirmed. Her last day will be Aug. 30.

Rich joined Amazon four years ago after time at Big Machine Label Group, UMG Nashville, DreamWorks, Arista Nashville, BMG and Western Merchandisers. At Amazon she worked with artists and labels to drive collaborative efforts around content launches, events and promotions.

Rich has been honored multiple times, with inclusion on power player lists in Billboard and Variety, awards from the Nashville Business Journal and MusicRow’s Rising Women on the Row.

Amazon has posted a job opening for Head of Country Music, Nashville Office. Click here to view the application.

Kacey Musgraves Announces Long-Awaited Fourth Studio Album, ‘Star-Crossed’

Kacey Musgraves. Photo: Sophia Matinazad

Six-time Grammy award-winning singer-songwriter Kacey Musgraves has announced that she will release her highly-anticipated fourth studio album Star-Crossed on Sept. 10 via Interscope Records / UMG Nashville.

Star-Crossed is Musgraves’ first album of new material from the Grammy winner since 2018’s Golden Hour. Musgraves collaborated once again with co-producers and writers, Ian Fitchuk and Daniel Tashian, and recorded the album in Nashville in under three weeks.

The 15-song collection is structured as a modern-day tragedy in three acts, with themes of heartache and healing.

Musgraves will also release Star-Crossed: The Film, directed by Bardia Zeinali, on Sept. 10 via Paramount+. The title track written by Musgraves, Tashian, and Fitchuk, along with the film’s trailer, are both out now.

YouTube video

Star-Crossed: The Film takes the music from the studio to the screen with visuals envisioned by Musgraves and Zeinali and shot by Academy Award-nominated cinematographer Matthew Libatique (A Star Is Born, Black Swan). The 50-minute movie was filmed over a 10 day shoot in Los Angeles and features cameos from Emmy Award-winner Eugene Levy, Victoria Pedretti (Once Upon a Time in Hollywood, You), singer-songwriter Princess Nokia, Symone (RuPaul’s Drag Race winner) and comedian Megan Stalter.

Star-Crossed Track List:
Star-Crossed
Good Wife
Cherry Blossom
Simple Times
If This Was A Movie..
Justified
Angel
Breadwinner
Camera Roll
Easier Said
Hookup Scene
Keep Lookin’ Up
What Doesn’t Kill Me
There Is A Light
Gracias A La Vida

 

Beloved TV Journalist And Producer Lisa Lee Dies At 52

Lisa Lee. Photo: Courtesy Academy of Country Music

Lisa Lee, senior vice president of creative and content for the Academy of Country Music, passed away on Saturday (Aug. 21) after a battle with brain cancer. She was 52.

Born Alicia Faye Young in Cabot, Arkansas, on Dec. 24, 1968, Lee earned a bachelor’s degree in journalism and English from the University of Arkansas at Fayetteville and a master’s degree in broadcast journalism from Northwestern University’s Medill School of Journalism. After graduation, Lee got a reporting job at Cabot Star-Herald newspaper.

One of her early jobs was at KTAL-TV, an NBC affiliate serving Texarkana and Shreveport, Louisiana, where she began to be interested in entertainment stories. Although her assignments covered a variety of topics, Lee eventually convinced station management to allow her to do movie reviews; she promptly constructed her own little critic’s corner set. She also started covering country music concerts and events in the Arkansas area and surrounding states at this time.

Lee started a friendship with a reporter/producer from Jim Owens and Associates, the Nashville-based production company behind TNN Country News at the time. Soon she was checking in with the folks at Jim Owens, updating them on all the entertainment pieces she was working on, while not so subtly working to convince them to hire her. Her persistence paid off when Jim Owens and Associates hired her, and she moved to Nashville to work for the company from 1995 to 1999.

In 2000, Lee moved to CMT and CMT.com as a news correspondent and producer.

Lee also had a calling to expand the social conversation. She wrote and produced the Prism Award-winning special Addicted to Addiction, as well as the TV news specials Sex in Videos: Where’s the Line and Controversy: Tammy Wynette.

In 2004, Lisa moved to Los Angeles, becoming the Hollywood-based correspondent and West Coast News Bureau Chief for CMT Insider, the network’s interview-driven news show, where she covered music, movies, and television.

In 2007, three years after her move to L.A., Lisa accepted the Academy of Country Music’s offer to draw on her experience as a TV journalist and producer to help the Academy establish and grow their own in-house creative and video production department. As the Academy’s lead staff producer, she oversaw all video production as well as the design, creation, and editing of ACM logos, digital and printed materials including ACM Tempo magazine, the ACM Awards program book, and both the ACM and ACM Lifting Lives websites.

With her long history of production and network teamwork, Lee served as a liaison with CBS television’s creative departments and CBS.com for promos and creative content surrounding the annual ACM Awards. She was named producer of the Academy of Country Music Honors, a live industry event dedicated to celebrating the Academy’s special award honorees, off-camera category winners, and ACM Industry and Studio Recording Awards winners. Held each year at the historic Ryman Auditorium in Nashville, Lisa imbued the event with a real love for the people who go the extra mile to support, expand, and protect Country Music in its most creative places.

In 2014, Lee wrote and created This Is Country: A Backstage Pass to the Academy of Country Music Awards. The deeply researched coffee table book celebrated the 50 the anniversary of the ACM Awards and included a forward by Reba McEntire.

Lee was a member of the Writers Guild of America. She was also a Leadership Music alum.

Lisa Lee is survived by her parents, Charlie and Faye Young; her husband (and high school sweetheart) Doug Lee; daughter Grayson, and son Jackson. Also, in laws Phillip and Sarah Lee of Cabot and many other Lee family members. She was preceded in death by her grandparents and brothers, Jason Young and Dennis Young.

Visitation is to be held this Friday from 5-8 pm at Moores Funeral Home, 700 North Second Street, Cabot, Arkansas followed by a memorial service Saturday. To stay updated on details for next weekend’s services, the celebration of life to be held in Nashville at a later date, and to support her family by contributing to her memorial fund, please click here.

Luke Bryan & Lisa Lee. Photo: Courtesy of Academy of Country Music

“Lisa has always been a light inside our industry,” shares Luke Bryan. “Her ability for telling not only my story but the story of so many was unmatched because it was from her heart. She truly loved her job and it showed on her face every time she was around. I will miss her.”

“I always loved getting to visit with Lisa whether it be about the music business or an interview. She was a huge asset to our business. I sure will miss her smiling face,” comments Reba McEntire.

“We lost one of our true lights yesterday. Lisa Lee was one of the most passionate and caring people I’ve ever met. Her love and appreciation of music, and the artists who made it, was everything you’d ever want,” adds Keith Urban. “I loved being interviewed by her for that reason and because she always brought such a warmth into the room. Peace be with all of her family today.”

“It is certainly a sad day for Country Music. We have lost a bright light and true leader in our business who cared deeply for telling the story of the music, artists and creators,” Lori Badgett, ACM Chair & Senior Vice President of City National Bank says. “Our hearts go out to her entire family, especially her husband, Doug and precious children, Grayson and Jackson at this terribly difficult time. We look forward to honoring her in many ways in the future.”

Lisa Lee & Kenny Chesney. Photo: Courtesy of Lisa’s Instagram

“Lisa Lee and I grew up together in this business. She was a TV reporter, producer, writer and big executive. She covered my heroes and my friends, she wrote about me and my mother,” Kenny Chesney says. “She truly cared about country music – and I absolutely cared about her. Good-bye, my sweet friend.”

“The Academy has lost a huge part of its heart and soul with the passing of Lisa Lee. She was a champion for Country Music and fiercely dedicated to the Academy’s mission for her over 15 years of service to the ACM,” shares Damon Whiteside, CEO, Academy of Country Music. “She is irreplaceable, but her heart and spirit will live on throughout our industry. ACM Honors was her favorite event, and I know she will be singing along and smiling down on us from above on Wednesday night.”

Lisa Lee & Reba McEntire. Photo: Courtesy of Lisa’s Instagram

“Ever since she joined the Academy, she became the heart, the soul and the historian for the ACM… On a personal level, I relied on her to keep me honest when it came to telling the Academy’s story. She had such depth of knowledge and passion. I will miss her tremendously,” comments RAC Clark, Executive Producer of the ACM Awards, 1999 to present, ACM Board Member and interim Executive Director of the Academy of Country Music 2019.

“I always loved getting to visit with Lisa whether it be about the music business or an interview. She was a huge asset to our business. I sure will miss her smiling face,” comments Reba McEntire.

Rock And Country Titan Don Everly Passes [Updated]

The Everly Brothers. Photo: Country Music Hall of Fame

Don Everly, one of the most influential artists in pop-music history, died in Nashville on Saturday (Aug. 21).

His death at age 84 was confirmed yesterday by Variety, The Los Angeles Times, The Washington Post, the BBC and other worldwide media outlets. As half of The Everly Brothers, he became an inaugural inductee into the Rock & Roll Hall of Fame. The team is also in the Country Music Hall of Fame. The Everlys have sold more than 40 million records. They toured globally for six decades.

Don and younger brother Phil Everly (1939-2014) were famed for their spine-tingling vocal harmonies, The Everly Brothers were profound influences on artists ranging from The Beatles to Simon & Garfunkel. Their sound has been cited by The Byrds, The Eagles, Peter & Gordon, The Hollies, Emmylou Harris, Bob Dylan, Linda Ronstadt, The Beach Boys, Rodney Crowell, The Bee Gees and every harmony duo that has succeeded them.

Don’s driving, open-tuned, steel-string guitar work was also influential. Keith Richards of The Rolling Stones is among many who emulated it.

Don Everly was the writer behind such enduring songs as “Cathy’s Clown,” “So Sad (To Watch Good Love Go Bad),” “(‘Til) I Kissed You” and “The Price of Love.” Both he and Phil also had solo recording careers.

Born in 1937, Isaac Donald Everly was the son of country entertainers Ike Everly (1908-1975) and Margaret Everly. He was born in the family’s home state of Kentucky. Phil followed two years later. He was born in Chicago, where Ike was working in local clubs and on WLS radio.

Former coal miner Ike Everly was an accomplished guitarist whose distinctive thumb-picking style was admired by Merle Travis, Chet Atkins, Mark Knopfler and many others. Don was mentored by his father from an early age, and made his debut as a radio performer in 1945 when Ike was working at KMA in Shenandoah, Iowa. He had a regular singing segment as “Little Donnie.”

The Everly parents and their sons turned their radio appearances into a family affair when Margaret, Don and Phil joined Ike’s act. Thus, The Everly Brothers became show-biz professionals in 1949, when Don was 12 and Phil was 10. The family relocated to WROL in Knoxville, Tennessee in 1953.

Ike contacted Chet Atkins in Nashville, who took an interest in Don’s songwriting. Atkins took the teenager’s song “Thou Shalt Not Steal” to Kitty Wells, who scored a big country hit with it in 1954. In addition, Anita Carter recorded Don’s “Here We Are Again.” After he graduated from high school, the brothers moved to Nashville.

Still shepherded by Atkins, The Everly Brothers signed with Columbia Records in 1955 and issued “The Sun Keeps Shining”/ “Keep A Lovin’ Me,” both Everly originals. The single went nowhere. Atkins kept plugging away on the brothers’ behalf. They were rejected by RCA and Capitol. But Justin Tubb recorded their song “The Life I Have to Live” for Decca in 1957.

The Everly Brothers. Photo: Ed Caraeff

Wesley Rose at Acuff-Rose Publishing signed the boys to songwriting contracts and took them to Cadence Records. Acuff-Rose staff writers Boudleaux & Felice Bryant supplied the Everlys with “Bye Bye Love,” to which Don applied a rollicking Bo Diddley beat. In the summer of 1957, it rocketed to the top of the pop, r&b and country charts. Backed by Don and Chet’s ringing guitars, the single combined the brothers’ hillbilly harmonies with the punch of rhythm & blues, a perfect distillation of the emerging rock & roll sensibility.

The single’s flip side also charted. Credited to both Don and Phil, “I Wonder If I Care As Much” has since been recorded by Dickey Lee, Johnny Winter, Robin & Linda Williams, Tracy Nelson, Andy Kim and more. In 1987, it was a country hit for Ricky Skaggs.

Although they effortlessly switched harmony vocal parts, Don generally sang lead, was usually the dominant songwriter and led the band. Phil’s electrifying high harmonies and “sock” rhythm guitar rounded out their thrilling sound.

The follow-up single to “Bye Bye Love” was the even bigger hit “Wake Up Little Susie,” again penned by the Bryants. Don once again wrote the flip side, “Maybe Tomorrow.” It was subsequently sung by Don Gibson, The Browns, Englebert Humperdinck, Richard Leigh and Del Shannon, among others.

In 1957-59, the Bryants supplied The Everly Brothers with additional major hit songs – “All I Have to Do Is Dream,” “Bird Dog,” “Devoted to You,” “Problems,” “Take a Message to Mary” and more.

The brothers continued to contribute their own compositions to the cause. The Everly-penned success “Should We Tell Him” of 1958 was revived by The Flying Burrito Brothers in 1990. Don’s “(‘Til) I Kissed You” was a top-10 Everly hit in 1959. The song is now certified as a Million-Air song by BMI, thanks to recordings by Tom Wopat, Kenny Rogers, Connie Smith (top-10 in 1976), The Angels, Johnny Rodrguez, Gary Lewis & The Playboys, Sue Thompson, Sandy Posey, Anne Murray and others. The hit single’s flip side was also a Don Everly song, “Oh What a Feeling.”

The brothers paused in their rocking and rolling to create their acclaimed 1958 LP Songs Our Daddy Taught Us. This eloquently gentle, folk/country collection was ahead of its time and an early “concept” album.

Between 1957 and 1959 the duo had eight million-selling singles. In 1960, the Everlys became the first artists to be offered a million-dollar recording contract when they signed with the fledgling Warner Bros. Records. Their presence on the label led to it becoming a major force in the music world.

The Everly Brothers. Photo: Courtesy Robert K. Oermann

Don’s song “Cathy’s Clown” became their first hit for the company. It sold three million copies, the biggest selling record of their career. It also became an evergreen, with recordings by Pat Boone, The Shadows, The Williams Brothers, The Springer Brothers, Neil Sedaka, Dee Dee Ramone and more. Reba McEntire’s giant country smash with “Cathy’s Clown” led to it being named BMI’s Country Song of the Year in 1990.

Phil provided the team with the 1960 hit “When Will I Be Loved.” Don followed suit by penning “So Sad (To Watch Good Love Go Bad)” as the follow-up single. The song has since been a country hit for Hank Williams Jr. & Lois Johnson (1970), Connie Smith (1976) and Emmylou Harris (1983). It has also been recorded by Tammy Wynette, Del Reeves, Frank Ifield, Dillard & Clark, Mott the Hoople, Steve Wariner, Albert Lee, Louise Mandrell, Sweethearts of the Rodeo, Bryan Hyland, The Hombres and John Prine, to name a few.

Don’s “Since You Broke My Heart” (1960) has been reprised by The Searchers, The Chocolate Watchband, Terry Jacks and Dino, Desi & Billy. The Everly Brothers hits with Warners continued, particularly overseas. “Walk Right Back,” “Ebony Eyes,” “Temptation,” “Stick with Me Baby,” “Don’t Blame Me,” “Crying in the Rain,” “How Can I Meet Her,” “No One Can Make My Sunshine Smile” and “The Ferris Wheel” were big British Everly successes in 1961-64.

The brothers served in the Marines in 1961-62. Don was troubled, hospitalized and sidelined by drug and psychological problems in late 1962.

Both Don and Phil are credited with writing 1964’s “Gone, Gone, Gone.” It has been covered by The Ventures, The Surfaris, Crow and Fairport Convention. In 2007, it was a stand-out track on Raising Sand, the Grammy Album of the Year by Robert Plant & Alison Krauss.

The brothers’ composition “The Price of Love” became a No. 1 hit on the British charts in 1965. It has since been recorded by a myriad of acts, including The Move, Bryan Ferry, The Status Quo, Poco, The Highthawks, Roxy Music, The Cactus Brothers, The Kinleys, BR5-49 and Buddy Miller.

The Everlys continued to record for Warner Bros. throughout the rest of the decade. Their 1968 LP for the label, Roots, is regarded as one of the seminal country-rock records. In 1970, the siblings starred in a network TV variety series on ABC, Johnny Cash Presents The Everly Brothers.

A contract with RCA resulted in the albums Stories We Could Tell (1972) and Pass the Chicken and Listen (1973). The latter was produced by their old benefactor, Chet Atkins.

The brothers broke up in 1973. Phil settled in L.A. Don returned to Nashville.

Don issued his solo albums Don Everly (1971, Ode Records), Sunset Towers (1974, Ode Records) and Brother Jukebox (1977, Hickory Records). He made the country charts with “Yesterday Just Passed My Way Again,” “Since You Broke My Heart” and “Brother Jukebox” in 1976-77.

After a decade of estrangement, The Everly Brothers joined forces again in 1983. Their reunion concert in London’s Royal Albert Hall aired around the world on HBO.

Paul McCartney wrote their 1984 comeback single “On the Wings of a Nightingale.” It became their first music video. Don’s song “Born Yesterday” brought the duo back into the country top-20 in 1986, and it, too, spawned a hit video.

He also wrote “Asleep,” “Some Hearts,” “Be My Love Again,” “Can’t Get Over It” and “Three Bands of Steel” for the team’s 1984-88 comeback albums on Mercury Records. His “Following the Sun” and “You Make It Seem So Easy” inspired music videos in 1984 and 1986, respectively.

In 1986, The Everly Brothers were among the 10 debut selections for the Rock n Roll Hall of Fame. Neil Young inducted the Everlys. Of their fellow pioneer inductees—Chuck Berry, Fats Domino, Elvis Presley, Jerry Lee Lewis, Buddy Holly, James Brown, Ray Charles, Sam Cooke and Little Richard—Don’s death makes Lewis the only one still living.

The Everlys final appearance on the charts was on a 1989 remake of “Ballad of a Teenage Queen” with Johnny Cash and Rosanne Cash. Heartaches and Harmonies was issued as their four-CD, boxed-set salute in 1994.

The Everly Brothers were given a Grammy Lifetime Achievement Award in 1997. They were inducted into the Country Music Hall of Fame and the Nashville Songwriters Hall of Fame in 2001.

In 2003-04, Don and Phil toured with Simon & Garfunkel nationwide. It was the farewell concert tour for the latter duo, whose career began in imitation of the Everly Brothers.

The siblings drifted apart again around 2005. Phil eventually settled south of Nashville, in Columbia, Tennessee. He passed away in 2014.

Four Everly Brothers tribute records were released in 2013. Norah Jones and Green Day’s Billie Joe Armstrong offered Foreverly. The Chapin Sisters issued A Date With The Everly Brothers. The albums Bird Dogs and What the Brothers Sang came from The Wieners and Bonnie Prince Billy & Dawn McCarthy, respectively.

One of Don’s last notable public appearances was when he joined Paul Simon to sing “Bye Bye Love” at the latter’s 2018 Nashville concert. In 2019, Don was voted into the Musicians Hall of Fame in Nashville.

Don and Phil Everly have been the subjects of a theater musical, 1998’s Bye Bye Love. They have provided authors with the material for at least four books, John Hosum’s Living Legends: An Illustrated Discography (1985), Phyllis Karpp’s Ike’s Boys (1988), Consuelo Dodge’s The Everly Brothers: Ladies Love Outlaws (1991) and Roger White’s The Everly Brothers: Walk Right Back (1998).

Don Everly is survived by his wife of 24 years, Adela, his son Edan. and daughters Venetia, Stacy and Erin, once married to Guns N’ Roses singer Axl Rose. He is also survived by his mother Margaret Everly, who is 102. Funeral arrangements have not been announced.

“The Storyteller“ Tom T. Hall Passes [Updated]

Tom T. Hall. Photo: Courtesy Robert K. Oermann

Country Music Hall of Fame member Tom T. Hall has died at age 85.

Known as “The Storyteller,” the singer-songwriter and Grand Ole Opry star passed away on Friday, according to his son Dean Hall. He had been in failing health for several years.

Tom T. Hall created such indelible songs as “Harper Valley P.T.A.” for Jeannie C. Riley, “Little Bitty” for Alan Jackson and “How I Got to Memphis” for Bobby Bare. As a recording artist, he placed more than 50 singles on the country popularity charts in 1967-87, 21 of which became top-10 hits.

The Nashville Songwriters Hall of Fame inductee was born near Olive Hill, KY in 1936. His family was poor, but the boy’s upbringing was relatively carefree. He picked up the guitar at age four and wrote his first song when he was nine.

His childhood ended at age 13 when his mother died, as did his boyhood musical hero, the latter immortalized in his 1971 hit “The Year That Clayton Delaney Died.” When he was 15, his father was shot and wounded in a hunting accident, Hall dropped out of school and went to work in a garment factory, a “sweat shop.”

He joined a local bluegrass band and began appearing on WMOR radio in Morehead, Kentucky. When his fellow musicians were drafted for the Korean War, Hall remained at the station as a disc jockey.

In 1957, he enlisted in the Army for a three-year hitch. While stationed in Germany, he earned his high-school diploma and performed in a servicemen’s country band. He impressed the G.I.’s with his original songs. His 1970 hit “Salute to a Switchblade” was inspired during this time.

Back in civilian life, he resumed work as a D.J. and attended college in Virginia on the G.I. Bill. An acquaintance sent his songs to Nashville, where Newkeys Music signed him to a songwriting contract. The company’s co-founder Jimmy C. Newman turned Hall’s “D.J. For a Day” into a top-10 country hit in 1963. On Jan. 1, 1964, Tom T. Hall moved to Music City with $46 and a guitar.

Within months of his arrival, Dave Dudley scored with Hall’s songs “Mad” (1964) and “What We’re Fighting For” (1965). Dudley subsequently issued singles of eight additional Hall songs, including the No. 1 hit “The Pool Shark” (1970). Newman reprised his support with the top-10 hits “Artificial Rose” (1965) and “Back Pocket Money” (1966). Meanwhile, Johnny Wright hit No.1 in 1965 with Hall’s “Hello Vietnam.”

Mercury Records signed Tom T. Hall as a recording artist, and he debuted on the country charts with the top-40 hit “I Washed My Face in the Morning Dew” in 1967. During that same year, fellow Mercury artist Margie Singleton asked him to write her a song. She was out of town when he finished it, so newcomer Jeannie C. Riley was pitched the tune. Her version of “Harper Valley P.T.A.” was recorded on a Friday night in 1968. By Saturday afternoon, radio stations were playing it. By the close of the following week, factories were shipping the singles to stores as fast as they could press them.

“Harper Valley P.T.A.” topped the pop and country charts, sold six million copies, won a Grammy and a CMA award, inspired a movie and a TV series and became a national sensation. Tom T. Hall never recorded it.

Instead, he released his debut top-10 hit in 1968, “Ballad of Forty Dollars.” The following year, he repeated the feat with “Homecoming.” In 1970, he had his first No. 1 hit as an artist, “A Week in a Country Jail.”

With songs like these, Tom T. Hall vaulted to the front ranks of Nashville songwriters. Along with Kris Kristofferson, Mickey Newbury, Dolly Parton and a handful of others, he transformed country songwriting, taking the artform to new levels of insight and sensitivity.

Bobby Bare scored with Hall’s “(Margie’s At) The Lincoln Park Inn,” “The Town That Broke My Heart” and “How I Got to Memphis” in 1968-70. The last-named became a perennial favorite, thanks to recordings by Buddy Miller, Rosanne Cash, Solomon Burke, Eric Church, Ronnie Dunn, The Avett Brothers, Kelly Willis, Lee Hazelwood and Deryl Dodd, among others.

As a recording artist, Hall’s next No. 1 hits were 1971’s “The Year That Clayton Delaney Died” plus 1973’s “(Old Dogs, Children and) Watermelon Wine” and “I Love.” They opened the floodgates for a string of top-10 smashes, including “Ravishing Ruby,” “County Is,” “I Like Beer,” “Faster Horses,” “Fox on the Run” and “Your Man Loves You Honey.” All were produced by legendary session guitarist Jerry Kennedy.

Hall’s peers voted him into the Nashville Songwriters Hall of Fame in 1978, but he was far from finished. Success continued on RCA Records with “I Wish I Loved Somebody Else” (1978), “What Have You Got to Lose” (1978), “The Old Side of Town” (1980) and more.

Despite the hit records, he insisted he wasn’t a “star.” Nevertheless, he was the TV host of the nationally syndicated Pop Goes the Country (1980-83), the longtime commercial spokesman for Tyson Chicken and Chevy Trucks, a guest on the top variety and talk shows and an inductee into the Opry cast.

And despite being something of a “loner” in Nashville, he discovered Johnny Rodriguez and brought him to town. He championed songwriter Billy Joe Shaver by recording “Old Five and Dimers Like Me” and “Willy the Wandering Gypsy and Me.” He teamed with Earl Scruggs on a 1982 LP that introduced the future Alabama No. 1 hit “Song of the South.” He sang with Johnny Cash on his 1988 composition “The Last of the Drifters.”

Hall returned to Mercury Records in the mid-1980s and recorded a series of albums in rural Florida in the following decade. One song from these sessions was “Little Bitty,” which became a No. 1 hit for Alan Jackson in 1996.

Storyteller, Poet, Philosopher was issued as the Tom T. Hall boxed set in 1995. The title reflects the literary bent that underlies his music. He published six books, including the novel The Laughing Man of Woodmont Cove, a short-story collection titled The Acts of Life and the autobiographical The Storyteller’s Nashville.

The depth of Tom T. Hall’s songwriting catalog is revealed on such albums as I Witness Life (1970), 100 Children (1971), In Search of a Song (1971), We All Got Together And (1972), The Storyteller (1972), The Rhymer and Other Five and Dimers (1973) and his much- loved children’s album Songs of Fox Hollow (1974). The last-named was saluted with a tribute album in 2011.

He was inducted into the Country Music Hall of Fame in 2008. He was presented with a BMI Icon award three years later.

In 1968, Tom T. Hall married song lyricist and former Music City News journalist Dixie Dean (1934-2015). Born in England as Iris Violet May Lawrence, she blossomed as his song collaborator in the 1990s. Separately and together, they enjoyed more than 500 bluegrass recordings of their songs.

Hall had grown up playing bluegrass and dedicated his 1976 LP The Magnificent Music Machine to the genre. He often opened his Toy Box Studio to bluegrass bands. Dixie formed a bluegrass song-publishing company and record label. Tom T. and Dixie Hall were inducted into the Bluegrass Music Hall of Fame in 2018.

Literary scholars have taught Tom T. Hall’s songs as poetry in university courses. More than anyone, Hall illustrated the elevation of country songwriting from a simple folk art to an expression that can plumb the depths of the soul, comment on politics, paint a vivid personality portrait, observe an emotional tumult or take a snapshot of the social world. Even decades after their creation, the best of them remain extraordinary listening experiences.

Tom T. Hall died at his home, Fox Hollow, according to his son Dean Hall, a blues-rock performer. Funeral arrangements have not been announced.

Tom T. Hall speaks at the 2008 Country Music Hall of Fame inductee press conference on Tuesday, Feb. 12, 2008 at the Country Music Hall of Fame and Museum in Nashville. Photo: John Russell

“Tom T. Hall’s masterworks vary in plot, tone and tempo, but they are bound by his ceaseless and unyielding empathy for the triumphs and losses of others,” says Kyle Young, CEO, Country Music Hall of Fame and Museum. “He wrote without judgment or anger, offering a rhyming journalism of the heart that sets his compositions apart from any other writer. His songs meant the world to Bobby Bare, Johnny Cash, George Jones and other greats, and those songs will continue to speak to generations. He was a storyteller, a philosopher, a whiskey maker, a novelist, a poet, a painter, a benefactor, a letter writer, a gift giver, a gentleman farmer and many more things. My bet is that we won’t see the likes of him again, but if we do I’ll be first in line for tickets to the show.”

“Few could tell a story like Tom T. Hall. As a singer, songwriter and instrumentalist, he was one of those triple threat artists who continued to make an impact on the next generation. I’ll always remember growing up listening to Tom T.’s music with my father, who was a huge bluegrass and country fan,” says Sarah Trahern, Country Music Association, CEO