ole Signs Dave Turnbull

(L-R): ole’s Gilles Godard and Michael McCarty; ASCAP’s Marc Driskill; Turnbull; ole’s Robert Ott; and attorney Chip Petree

Global music publisher ole has signed hit Nashville songwriter Dave Turnbull. ole has also acquired Turnbull’s song catalog, which includes three 2011 No. 1 hits.

Notable copyrights in the agreement include Kenny Chesney’s “The Boys of Fall,” Brad Paisley’s “Anything Like Me” and Alabama’s “Old Alabama,” a No. 1 trifecta that earned Turnbull a CMA Triple Play Award in 2011.

“Dave Turnbull is one of a select group of writers to have achieved a Triple Play Award for having three number one singles in a 12 month period.” says ole Chief Creative Officer Gilles Godard. “He is a creator of timeless songs and has the uncanny ability to put into words and music what the rest of the world feels. All of us at ole are pleased to have Dave on board and we look forward to celebrating his next ‘triple play’ together.”

Turnbull’s body of work also includes singles like Montgomery Gentry’s “Lucky Man,” Blake Shelton’s “The More I Drink,” Darry Worley’s “If Something Should Happen,” Trace Adkins’ “Marry For Money” and “Arlington” and many more. He originally moved to Nashville in 1993 after attending the U.S. Naval Academy Prep School and graduating from Virginia Tech, and signed his first publishing deal in 1997.

New YouTube Revenue Streams for Publishers

Since it’s inception in 2005, YouTube has provided a platform for users from around the world to upload audiovisual content. Major labels, with the exception of Warner Music, independently reached agreements to receive compensation for their master recordings with YouTube, but publishers have been unable to establish any formal agreement with the video provider.

As a result, the publishing community, in accordance with the NMPA, set out a longstanding class action lawsuit against YouTube and its owner, Google. In recent months, legal rulings for the suit have favored YouTube over publishers. As the case waits in the U.S. Court of Appeals for the Second Circuit, YouTube has prepared three licensing options for publishers to begin receiving compensation. If a publisher chooses to enter any agreement, they release all pending litigation rights to the class action suit and forgo the ability to benefit from future judgments from those suits.

The licensing process is being facilitated by RightsFlow, a royalty service provider purchased by YouTube in January of this year. Earlier this month, YouTube and RightsFlow representatives held a small conference for independent music publishers at Nashville’s BMI offices to discuss the available licensing options.

Option 1: The first option available for independent publishers is a three-year agreement with the Harry Fox Agency (HFA) under terms negotiated by the NMPA. Under the terms, the HFA charges a 7.5 percent administrative fee from YouTube earnings. Those publishers who opted into the HFA agreement by mid January of this year were subject to share in a $4 million recoupable advance determined by mechanical earnings and market share between 2007-2010. The advance is not a settlement; just a pool paid-forward towards future earnings by YouTube. The HFA has also secured exclusive rights for auditing YouTube’s royalty statements on behalf of its participating publishers. For delinquent payment over 45 days, the HFA has secured a 1.5 percent, per month late provision.

Option 2: Publishers can sign a five-year direct license with the video site. Through this option, publishers evade the third-party HFA administrative fees, but forgo audit rights or the late payment provisions. A publisher also retains direct control with their YouTube online content ID tool. This site manages publishers’ accounts including blocking, monetizing and tracking musical works on YouTube. Under the HFA agreement, the HFA would perform content monitoring on behalf of its clients.

Option 3: Independent publishers can enter Third Party Aggregator agreements. These arrangements enable publishers to collaborate amongst each other to negotiate alternative terms with YouTube. Specific terms of this option have yet to be determined.

The proposals are not retroactive for revenue previously accrued from the site, nor will royalties be based on ‘per view’ rates. Rather, revenues will be based on ad sales within the particular upload as outlined below.

Under the agreements, videos are classified within three categories. 1) Official Commercial Artist Music Videos; royalties typically handled directly between labels and publishers, therefore not included in the agreement. 2) User-Uploaded Videos with Commercial Recordings earn 15 percent of net ad revenue from the video. 3) User-Uploaded Cover Videos can earn 50 percent of net ad revenue.

VEVO President/CEO Rio Caraeff shed light on rarely seen financials for his company in a recent interview. About 35-40 percent of VEVO’s traffic comes from YouTube, which is an outlet for VEVO’s syndicated content. In an effort to provide perspective, Caraeff’s financials surrounding digital video income for his site will be helpful.

“In the last year alone we’ve generated over $150 million,” he explained. “We paid the labels about $100 million over the last two years, specifically to artists, songwriters and content owners. Today we’re seeing 3.5 billion views per month. That’s about 42 billion views per year.”

If you’re calculating a per-view rate on today’s numbers, the average view turns out to earn $0.0012. 100,000 views averages $120.00, and 1 million views, $1,200.00. Granted, YouTube agreements do not propose calculating royalties on a per-view basis. However, for the purposes of this article, it is easy to see how royalties of $100 million spreads thin.

Perhaps the most important aspect of these proposals, as they unfold over the next few months, is that they set out to establish a framework of aqueducts hopeful to carry revenue from digital-age sources to claimants. Time will tell if substantial resources will ever flow.

Photo: Razor & Tie Publishing Signs Seth Jones

L–R: Razor & Tie’s Lisa Johnson; SESAC’s John Mullins and Shannan Hatch; Jones; Razor & Tie’s Craig Balsam, Ross Asher and Beka Tischker

SESAC affiliate Seth Jones has signed an exclusive agreement with Razor & Tie Publishing for representation. Jones, a songwriter/producer/multi-instrumentalist proficient in many genres, stopped by SESAC’s Nashville headquarters with Razor & Tie Publishing executives to celebrate the signing.

Publishing Veterans Coburn and Morris Launch New Company

Veteran music publishers Jewel Coburn and Jason Morris have announced the opening of Eleven Eleven Music Group in Nashville.

Eleven Eleven represents songwriters Lauren Lucas, Doug Gill, Angela Kaset and Wendy Waldman. The company has already landed its first cut with the Don Williams and Alison Krauss recording of “I Just Come Here For The Music” on Don’s upcoming And So It Goes album.

Coburn, who also co-owns Ten Ten Music Group, and Morris will share company duties of finding new talent, pitching songs, and assessing catalogs. Morris’ 20 years working in Nashville include cuts by Reba McEntire, Brooks & Dunn, Alan Jackson, George Jones, and Rascal Flatts.

Eleven Eleven staff writers are all accomplished tunesmiths. Lucas is a former Warner Bros. recording artist who earned a Tony nomination for a song in the Broadway production of Urban Cowboy. Gill has had his songs recorded by Wynonna and Patty Loveless. Kaset’s credits include Lorrie Morgan’s “Something In Red” and “The Hopechest Song.” Waldman’s hits include Vanessa Williams’ “Save The Best For Last” and Nitty Gritty Dirt Band’s “Fishin’ In The Dark.”

Reach Coburn at jewel@elevenelevenmusicgroup.com and Morris at jason@elevenelevenmusicgroup.com.

Major Bob Announces Production Agreement With Frasure

Major Bob Music, Inc. has announced a new production agreement with the company’s Director of A&R, Jesse Frasure. In addition to his current role helping lead the publishing company, Frasure will add his remixing, production and DJ background to assist in new endeavors.

A Detroit native who has been with Major Bob for a decade, Frasure has used his live DJ talents across the US and globe for clients including Lil Wayne, Nicki Minaj, Drake and more. As a producer/writer and remix artist, he was worked on projects for Hot Chelle Rae, Luke Bryan, Tobymac, the Tammy Wynette Estate, David Archuleta, Pia Toscano and others.

“Jesse continues to be a valuable member of the Major Bob family. We are excited to see where he will take his newest role in the company,” says Bob Doyle, CEO/Major Bob Music, Inc. and Bob Doyle and Associates.

Congratulate him at jfrasure@majorbob.com.

Jacob Davis Signs With Wrensong

(L-R): Wrensong's Ree Guyer-Buchanan, Jacob Davis, and ASCAP's Robert Filhart

Singer/songwriter Jacob Davis signed his first publishing deal with Wrensong Music Publishing. A native of Shreveport, Louisiana, Davis was a participant in ASCAP’s Country Songwriting Workshop in Fall 2011 and its GPS Program (Guidance from Publishers for Songwriters) earlier in 2012.

 

Signings and Hirings: G7, Hearts Bluff, Bobby Roberts, Centricity

Centricity Music Publishing has signed hit Christian songwriter Sam Mizell to an exclusive contract. His songs have been recorded by Matthew West, Natalie Grant, Madisa, Francesca Battistelli, and many others. His seven No. 1 singles have resulted in a Grammy nomination, and Dove and ASCAP awards. (L-R): Sam Mizell and Centricity Music head Steve Rice

Hearts Bluff Music has expanded its Creative Services department with the addition of Greg Gallo. His background includes placing songs with Faith Hill, Blake Shelton and Lady Antebellum, as well as roles at Ash Street Music and Big Loud Shirt.

Hearts Bluff President/CEO Scott Parker leads the company which according to a press release has $20 million in private funding and has acquired over 50 No. 1 hits in recent years.

In addition, Gallo continues to provide creative services for Revelry Music Group, Extreme Writers Group, Brave Music, Silent Gate Music, Savannah Music Group, Yacht Haven Music and Beautiful Day Music.

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The Bobby Roberts Company has signed Curb Records artist Morgan Frazier and Bigger Picture artist Chris Janson for exclusive booking representation. President Lance Roberts also announced the hiring of Matt Rizor as an agent.

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G7 Entertainment Marketing today announced the appointment of four new executives. Lori Cloud has joined G7 as Executive Director of Client Services. She has 25 years of entertainment marketing experience and was most recently VP Brand Strategy and Digital Media at management firm Big Enterprises. Previously she was a Brand Agent at the LA headquarters of Creative Artists Agency, where she managed client relationships such as The Coca-Cola Company, P&G, Sprint, Harley-Davidson Motor Company and Starwood Hotels.

Rick Whetsel is on board as G7’s Director of Booking and Production. He has more than 20 years experience in the music industry including founding Nashville-based Great Big Shows, a top concerts promotions and productions company. Most recently he has focused on sponsor-driven events and corporate productions, working with a variety of Fortune 500 consumer brands.

Diana Garcia has joined G7 as Digital Strategist and Project Manager, specializing in data collection, viral marketing, social media and interactive storytelling. She has more than eight years of experience working with acts including Rascal Flatts, Madonna, Red Hot Chili Peppers, Brooks & Dunn, Dolly Parton and many others.

Christian Henderson has joined G7 as Project Manager. Henderson was most recently at Creative Artists Agency.

RowFile: Tom Luteran

Big Tom Luteran

“One of the biggest thrills of being a publisher is when you get a great song, and you are so excited you go pitch it immediately,” says Tom Luteran, VP of A&R for EMI Music Publishing Nashville. “I love to call somebody and say ‘you gotta give me three minutes to hear this song.’” That’s what happened a year or two ago with “Honey Bee.” Luteran recalls, “Rusty Gaston [from This Music] called me up and said, ‘we’ve gotta go see Scott Hendricks [at Warner] right now. Scott loved it immediately, and it became a big hit for Blake Shelton. That kind of success opens the door for future pitches.”

“Big Tom,” as the 6’6″ A&R man is known to friends, joined EMI Music a decade ago, but his story starts way before that. He moved to Nashville in 1994, relocating from what he jokingly refers to as “country music hotbed New Jersey.” “I wanted to combine my love of music with the sales experience I gained after college,” he explains. “I just packed up a U-Haul and moved. I didn’t know anybody.”

A temp agency placed him in RCA’s finance department, working with a then-new Paul Barnabee, who has since climbed the ranks to Sony Music Nashville, Sr. VP, Sales & Operations. Barnabee’s New York roots meshed well with Luteran’s New Jersey background, and Luteran managed to drag out his temp job for several months. In the summer of 1995 Luteran scored his first publishing gig. A year later he moved to Zomba Music for a five year run working with songwriters including Mutt Lange and George Teren.

By 2002, Luteran’s reputation as a songman was growing. In the same week he was approached with job offers from both Acuff Rose and EMI. “It was a really, really difficult decision,” he recalls. He joined the team at Acuff Rose, but six months later the company was sold to Sony/ATV and he was out of a job. He says, “Thank God Gary Overton [who was then heading EMI] had a soft spot in his heart for me—maybe because he’s from New Jersey too—because he let me come on board and I’ve been there ever since. I’ve been incredibly lucky to work for two amazing guys—Gary first and Ben Vaughn now—and to be able to learn from them.”

Since joining EMI, Luteran has guided the careers of some of Nashville’s top tunesmiths, including as an early supporter of Jamey Johnson. “I was floored the first time I heard him,” says Luteran. “Pound for pound, he’s one of the most talented guys I’ve ever come across. There are certain songs that you remember the first time you heard them, and ‘In Color’ was one of those. It was an amazing song, and he’s written several songs like that. He also wrote ‘Honky Tonk Badonkadonk’ with Randy Houser and Dallas Davidson. I’ll never forget the look on the face of [Capitol’s] Autumn House the first time I played it for her. I’m grateful she took it to Trace Adkins, it went on to monster success.”

Among the hit writers signed to EMI are Davidson, Rhett Akins, Kelley Lovelace, and the Warren Brothers. Luteran says the office’s motto is “no writer left behind,” and when they get a song they think is ideal for a particular artist, they “attack from all points,” covering the management, producer, and label.

EMI has also had significant pop success in recent years. Country hitmaker Tom Shapiro scored cuts by Kelly Clarkson, Adam Lambert and Dia Frampton, and the Warrens penned songs for Joss Stone and Hinder.

Luteran attributes theses crossover cuts to Jon Platt, EMI’s President, North America Creative. “He made a conscious decision to make sure that our creative departments in New York, Nashville, L.A. and Miami get together. Our creative retreats have grown from two days to five days, mixing and matching genres. The Nashville writers and L.A. writers get together more often now, and the creative teams in each city know each other much better.”

As for the newer artist/writers signed to EMI, Luteran is excited about Thomas Rhett (BMLG), The Henningsens (Sony), and Drake White (UMG). “There are so few people who to get work in a job they love, and I’m one of them,” Luteran says gratefully. “Everyday I get to discover great songs.”

Wide Open Music Group Signs Lonnie Wilson

Wide Open Music Group has added songwriter and award-winning studio musician Lonnie Wilson to its publishing roster. Wilson, a 20 year veteran of the music industry, is a renowned drummer and songwriter who has played on over 400 singles including songs by Toby Keith, Brooks & Dunn, Andy Griggs and many others.

Wilson launched his music career in 1981 as a member of the group Bandana, and was named the Academy of Country Music’s Drummer of the Year in 2002 and 2004. His songs have been recorded by Luke Bryan, Martina McBride, Rascal Flatts, Brooks & Dunn and many others, and he scored hits with Rascal Flatts’ “Love You Out Loud” and Luke Bryan’s “All My Friends Say.” Wilson has also produced several albums for Joe Diffie and is currently co-producing Curb artist Dylan Robinson with veteran producer Jim Ed Norman.

“I’ve had the pleasure of working with Lonnie in the studio for over 15 years,” says Derek George, President of Wide Open Music. “I’m honored to finally have the opportunity to work with him as a songwriter! We at Wide Open are excited about what Lonnie will bring to our creative family!”

www.wideopenmusicgroup.com

Industry Ink (3/14/12)

Country-rock group Parmalee recently signed a publishing deal with Nashville’s Gallo and Landers Music. The North Carolina group also recently inked a recording contract with Stoney Creek Records.

“Our team feels very fortunate to get to work with a talent like Parmalee,” said Gallo and Landers Music’s Jim Landers, “and I look forward to seeing great things happen with them.”

(L-R): Almon Law’s Noah McPike; Gallo and Landers Music's Jim Landers; Parmalee’s Barry Knox, Matt Thomas, Scott Thomas, and Josh McSwain; Gallo and Landers Music's Greg Gallo; and BMI’s Bradley Collins. Photo: Drew Maynard

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Cindy Collins has announced the formation and launch of C2 Managment, with services in artist development and management. Collins’ first client, Maggie Eckford, recently earned a placement deal with Razor and Tie. Collins career includes time with CMT, and more recently with Spalding Entertainment where she worked with Jason Aldean and Rascal Flatts.

“I will always appreciate the guidance Clarence provided during my time with the firm, and I am now thrilled to begin this new chapter with such a genuine and exceptional talent as Maggie Eckford,”says Collins.

Reach her at cnd.collins@gmail.com.

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The deadline to enter the inaugural Unsigned Only Music Competition has been extended until April 11, 2012. The contest to find unsigned talent features celebrity judges Cyndi Lauper; Kenny Rogers; Angie Stone; 3 Doors Down; Charlie Daniels; Jeremy Camp; Manchester Orchestra; Craig Morgan; Robert Smith (The Cure); Kelly Clarkson; and more. More info here.

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The 2012 International Entertainment Buyers Association Conference will take place in Nashville October 7-9, and the organization’s board is currently planning the event. IEBA also recently announced the endowments of three new scholarships: one in honor of Barry Jeffrey of WME at John Brown University; one in honor of Steve Tolman of LogiCom Project Management at Murray State University; and one in honor of Mike Smardak of Outback Concerts, also at Murray State.

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PCG Nashville and Crawdad’s Classics Gourmet Flavorings recently launched the “Flavor of Music,” a weekly series featuring artists in development at PCG Nashville. Hosted by radio personality Rick Marino, the showcases are held 6-8 pm on Tuesdays at Red Rooster (1530 Demonbreun). Eight artists will be featured in total, and the first artist showcase took place on Tuesday (March 13) with Lauryn Taylor Bach. Next up on March 20 is Samantha Landrum. There is also an Android app for the series available here.