SESAC Salutes Hillary Scott, EMI Foray Music

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SESAC executives and top winners (L-R): SESAC’s John Mullins and Shannan Hatch, EMI Foray Music’s Ben Vaughn, SESAC’s Pat Collins, Hillary Scott, and SESAC’s Tim Fink. Photo: Ed Rode

Songwriter of the Year: Hillary Scott
Song of the Year: “Need You Now,” 
Recorded by Lady Antebellum
, Written by: SESAC’s Hillary Scott, with Charles Kelley, Josh Kear, and Dave Haywood. Publisher: Hillary Dawn Songs / EMI Foray Music
SESAC Publisher of the Year: EMI Foray Music
Inspiration Award: Jim Lauderdale

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Hillary Scott was named Songwriter of the Year at last night’s (11/8) SESAC Nashville Music Awards. The Lady Antebellum songstress also took home the Song Of The Year trophy for the crossover smash, “Need You Now.” Publisher of the Year honors went to EMI Foray Music.

Among the hits Scott has co-written for Lady Antebellum are “Need You Now,” “Our Kind Of Love” and “Run To You.” SESAC Vice President Tim Fink also awarded Scott with a one-of-a-kind, handcrafted J-145 acoustic Gibson guitar. She and Lady A bandmates Charles Kelley and Dave Haywood performed “Need You Now” for the black-tie crowd assembled at SESAC’s Nashville offices.

SESAC recognized the growing Americana format during the evening’s festivities, handing out awards to such luminaries as Bob Dylan, Jim Lauderdale, Ray Wylie Hubbard, Allison Moorer and The Avett Brothers.

Lauderdale was presented with SESAC’s “Inspiration Award” recognizing his genre-crossing music which has resulted in collaborations with artists as diverse as Elvis Costello, Ralph Stanley and Willie Nelson. Among those who have recorded Lauderdale’s songs are George Strait, Patty Loveless, George Jones, Dixie Chicks and Solomon Burke. Costello and Stanley sent video congratulations to the event, and Buddy Miller paid tribute by singing Lauderdale’s “The King Of Broken Hearts.”

Songwriter Jeff Stevens Inks With Chrysalis

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Hit songwriter and producer Jeff Stevens has signed with Chrysalis Music Nashville.

Stevens has had hits recorded by George Strait (“Carried Away,” “Carrying Your Love With Me,” “True”); Tim McGraw (“Back When”); Luke Bryan (“All My Friends Say,” “Someone Else Calling You Baby”); Alabama (“Reckless”) and many others.

As Luke Bryan’s producer, Stevens recently celebrated the Gold certification for Bryan’s Doin’ My Thing.

Seated: Jeff Stevens; Standing L-R: Chrysalis Music staffers Jersey Ross, Dale Bobo, Abbe Nameche, and Patricia Wittmer.

Jury Says Hands Off in EMI Fraud Case

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Guy Hands and David Wormsley

Terra Firma Chairman Guy Hands has lost his multibillion dollar legal suit against lender Citigroup yesterday.  The trial explored Hands’ 2007 purchase of EMI and Hands’ alleged claim that Citigroup’s Chairman of U.K. banking David Wormsley “duped” him into overpaying for EMI. The jury unanimously voted that Citigroup was not liable in the buyout.

The New York Post stated that this verdict could severely impact Hands’ reputation as a “top dealmaker,” and that it could force the buyout firm to lose control of the iconic British label, which had been showing signs of recovery with recent successes such as Katy Perry. Terra Ferma is reportedly “considering its options” and “reserves the right to appeal” the decision, although the company’s investors may balk at putting more money towards legal fees.

Citigroup released a statement, claiming, “We are very pleased that the jury reached a unanimous verdict confirming what we have said from the beginning: that Citi and David Wormsley treated Terra Firma with honesty and integrity in the EMI transaction. The jury’s verdict makes clear that Terra Firma’s irresponsible accusations of fraud were nothing more than a misguided attempt to gain leverage in debt restructuring negotiations.”

Terra Firma acquired EMI in August of 2007 for $6.5 billion.

Terra Firma faces a looming debt deadline on March 31, 2011, and industry insiders are exploring the imminent possibility that Terra Firma could default, which could result in Citigroup selling off EMI’s label and publishing groups. Billboard reports that, at best, Terra Firma hopes for income-generating hits that would provide enough revenue and profits, enabling the company to avert violating the loan covenants with Citigroup.

Chrysalis Draws Admiring Glances

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Chrysalis Music Group, an independent British music publishing company is beginning to draw admiring glances from a number of interested suitors according to the New York Post. Interested parties named by the publication include BMG Rights Management and Warner Music Group.

Chrysalis has confirmed that it has been discussing “merger opportunities,” but failed to disclose any names. This past year has seen a number of high profile music publishing merger and acquisitions. BMG Rights added Cherry Lane, Stage Three Music and Evergreen Copyrights to its roster. Chrysalis recently acquired S1 Songs America.

According to sources, one stumbling block to a completed deal revolves around Chrysalis Chairman Chris Wright’s desire to maintain management control. Wright owns a 29% stake in Chrysalis.

Publishing company values appear to be undergoing some marketplace fluctuation. According to the Post, “Chrysalis has an estimated value of $200 million, although industry insiders believe that figure is overstated and suggest it might be about half that amount.” Bug Music, now named as a possible Chrysalis merger candidate, was previously involved in acquisition discussions with BMG Rights Management among others, but apparently none of the parties were offering a price in the $250-$300 million range which Bug required.

Chrysalis has a Nashville office headed by Executive VP Dale Bobo.

SESAC Signs Armiger

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SESAC has signed singer/songwriter Katie Armiger for representation.  Armiger recently released her third album, Confessions Of A Nice Girl, on Cold River Records. Armiger stopped by the Nashville SESAC office to celebrate her signing with Craig Hayes (Zumwalt, Almon & Hayes), Tim Fink (SESAC), and Kates Robinson (Cold River).

Confessions debuted at No. 6 on Amazon, No. 11 on iTunes, and No. 36 on Billboard Heatseeker.

Armiger will release her new single, “Best Song Ever,” to radio next week.

Liz Rose Launches Independent Publishing Company

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Award-winning songwriter Liz Rose has launched her own publishing company, Liz Rose Music, Inc. (BMI). Scott Ponce will serve as General Manager/Creative Director, and Kobalt Music will provide administrative services for the boutique publishing house, which will focus on signing uniquely talented and driven writers.

“I am finally doing this,” says Rose about the opening of her own publishing company.  “I am excited to be able to have this opportunity and help to nurture a family of amazing writers.”

Rose is renowned for her work with superstar Taylor Swift, notably, “Tim McGraw,” “Teardrops On My Guitar,”  “Picture To Burn,” “Fearless,” “You Belong With Me” and many more titles with Swift. Other hits include “Songs About Rain,” by Gary Allan, “Walk Away,” by Martina McBride, and cuts by such superstars as Bonnie Raitt, Tim McGraw, Lee Ann Womack, Jewel, Trisha Yearwood and many more.

“We are launching with one of the industry’s most seasoned of songwriters in Liz,” says General Manager/Creative Director Scott Ponce.  “Our goal is to manage our assets to their fullest potential and continue to develop the talent we are signing.”

Grammy winner Rose has been designated as Songwriter of the Year by SESAC (2007) and was honored with BMI’s 2008 Song of the Year for “Teardrops On My Guitar” with Taylor Swift.

Liz Rose Music, Inc. is located at

1301 16th Ave south suite 204 Nashville, TN 37212.

Phone: 615-618-5509

Brown Opens Nashville Format Office

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Anastasia Brown has joined LA/NY based Format Entertainment, which specializes in music supervision, production and soundtracks for film. Format has worked on films such as Iron Man 1 & 2, Sex and the City 1 &2, The Blindside, Alvin and The Chipmunks 1 & 2, and Swingers.

Brown will head up a Nashville Format branch, act as a music supervisor, plus tap into musical talent residing in Nashville and the surrounding areas. Having already developed offices in Los Angeles and New York, Format looks forward to the Nashville expansion.

“I’ve spent the last several years focusing on bridging Nashville with the film and entertainment communities in New York and LA,” says Brown. “I am passionate about music and excited to join forces with Format to take Nashville and its singers, songwriters and musicians to the next level. Whether it be supervision, consultation, artist representation or raising film financing for music driven films, I’m committed. I believe Nashville will become the true third coast within the next few years.”

Dave Jordan, Format’s President and Founder, adds, “Having been friends with Anastasia as well as admiring her talent, I’m thrilled she is joining the Format family.”

Brown has worked with artists such as Sting, Peter Frampton, Leon Russell, Waylon Jennings, Junior Brown, John Berry and Keith Urban, whom she helped launch in 1994 as co-manager. She has experience in artist management, A&R, and publishing and was asked to join NBC’s Nashville Star as a celebrity judge.

Anastasia can be reached at [email protected]

No. 1 Parties in Nashville, More Photos

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BMI and ASCAP joined forces to throw a party at Rooster’s in Nashville, celebrating Josh Turner’s #1 hit, “All Over Me.” The song was co-written by the “Peach Pickers”—the songwriting power trio of Dallas Davidson, Rhett Akins and Ben Hayslip. The Pickers have also collaborated on Joe Nichols’ “Gimmie That Girl,” and Blake Shelton’s “All About Tonight.”

Pictured (L-R): Warner/Chappell’s Steve Markland; This Music’s Rusty Gaston; ASCAP’s Tim DuBois; co-writers Ben Hayslip, Rhett Akins, and Dallas Davidson; Josh Turner; BMI’s Jody Williams; UMG Nashville’s Royce Risser; and EMI Music Publishing’s Tom Luteran.

ASCAP hosted a celebration for Brad Paisley’s latest hit, “Water,” with a party at Watermark in Nashville. “Water,” written by Paisley, Chris DuBois and Kelley Lovelace, marks Paisley’s 17th chart-topper and 13th consecutive No. 1 hit. “Water” is also the fourth No. 1 from his lauded American Saturday Night album.

Pictured (L-R): Sony Music Nashville’s Gary Overton, Sea Gayle Music's Liz O'Sullivan, Kelley Lovelace, Chris DuBois, Brad Paisley, ASCAP's Marc Driskill and producer Frank Rogers.

Artist Karli Whetstone recently visited the MusicRow office to play her new single, “I Didn’t” and to gift the staff with promotional mugs featuring a line from the song, “He thought that I should have a D-cup … and I didn’t.”

Pictured (L-R): Chart Director Jon Freeman, RowFax Manager Michelle Stephens, Karli Whetstone, Publisher/Editor David Ross and GrassRoots Promotion’s Nancy Tunick.

The Songwriter Agency Opens In Nashville

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The Songwriter Agency, a firm centered on booking hit songwriters in mainstream venues, has opened its doors in Nashville. Music industry veterans Paul Compton, Randy Harrell, and Rod Parkin co-founded the agency, which already has a roster of over 30 country, rock, and pop writers.

Among those on the roster are Regie Hamm (David Cook’s “Time Of My Life”), Buddy Cannon, Wynn Varble, Deanna Bryant (Keith Urban’s “Stupid Boy”), and Phillip White (Rascal Flatts’ “I’m Moving On”).

“We created The Songwriter Agency as an outlet for some of the most talented and gifted composers and creators of award-winning music to get out and perform their songs,” says Compton, President/co-founder of the company. “Music fans know the songs, now they’ll get a chance to listen to the creators of songs that are literally woven in the fabric of our lives.”

For booking opportunities contact Randy Harrell at 904-437-8463 or [email protected].

Sound Exchange Offers New Artist Checklist

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SoundExchange is a non-profit performance rights organization appointed by congress to pay digital royalties earned through play on Internet radio, satellite radio, cable TV music channels plus revenue collections from foreign societies. The organization recently distributed $54.8 million to recording artists and sound recording copyright holders in Q2 2010 payments, its largest ever quarterly payments. SoundExchange also recently joint ventured with AFTRA (American Federation of Television and Radio Artists) to identify and distribute SoundExchange royalties owed to AFTRA member recording artists who are not yet registered with SoundExchange. AFTRA will mail letters, send email notices and make direct person-to-person phone calls to all its members who are due royalties.

The following “New Artist Checklist” was created by SoundExchange to help answer artist questions regarding launching a career and protecting creative works. It’s not intended as a complete list or legal advice, but offers some good advice nonetheless.

New Artist Checklist

Register your copyrights
Copyrights to your original creative works exist as soon as you fix the sounds or words or notes to a medium (written down or recorded). But to secure additional legal rights, you must register your copyrights with the US Copyright Office. Electronic registrations can be processed much more quickly than mailed registrations. Also, sound recording and music composition recordings can be registered together, which, if you own both, is cheaper than doing them separately.

Draft an agreement between band members
In the glow of the creative process, it’s easy to forget to put things in writing. Write out an agreement in case issues come up at a later time (and they often do). The agreement should address the rights and responsibilities of the band members including who owns what percentage of the business, what property is owned or controlled by the business (including the band name, web site, and equipment) and who funds the bands and looks after its finances. Break out the percentage of ownership rights of each track – who wrote it? How will you split royalties? Discuss what will happen if band members depart, or new members join. Again, we suggest you consult a qualified attorney, to see if and when incorporation or a formal partnership would be recommended to help protect your assets. At any stage, it’s important to have some kind of written agreement in place.

Trademark your name and logo
The US Patent and Trademark Office oversees trade and service marks. Make sure no one else owns the rights to your name and/or logo and if not, be sure to register it. It may be your only way to prevent someone from claiming he or she owned the name first, or claiming to be you later. Registrations can be made in different “classes” to cover recordings, live performances, merchandise and other classes, so make sure you cover the bases. Registration costs can add up in a hurry, but a band or artist name and brand may become one of your biggest assets, so it’s well worth it to protect it early.

Form a company (or companies as necessary) for your label, songwriting/publishing, touring, merchandising, etc.
It’s important to look at your work as a small business, not just a creative hobby, and to get all your legal protections in place. Forming a company, partnership, sole proprietorship or LLC and keeping separate financial records can help ensure that you’re compliant with taxes and can protect your interests. At the very least, develop a system to track your expenditures and income, even if it’s just entering them into a notebook or spreadsheet. As your revenue streams diversify, you may want to consider some small business accounting software. A consultation with an entertainment attorney and/or an accountant is strongly recommended.

Pick a songwriting Performing Rights Organization and register – ASCAP, BMI or SESAC
If you’re a songwriter or publisher with a song copyright, you’re entitled to collect royalties from public performances of your musical compositions (for instance, the royalties that you are entitled to receive when the songs you wrote are played on the radio). ASCAP, BMI and SESAC take care of this kind of licensing, collect fees from them and pay them to you. They all cover the same copyright, so you only need to affiliate with one. Check out their websites and see which might be best for you.

Register with SoundExchange
If you performed on and/or own the masters of a sound recording, you can collect royalties from anyone who streams that track digitally (webcasters, satellite or Internet radio, etc). SoundExchange is the only organization designated by the US government to collect and distribute these royalties, so register now to claim your money. It’s totally free.

Arrange for Distribution
Set up an account for digital distribution with an aggregator like IODA, INgrooves, TuneCore, The Orchard or similar companies which allow you to make your music available to the public for digital downloading at popular sites like iTunes, Amazon and others. Be sure to properly enter all metadata accurately during this process since it will propagate everywhere after that. Understand the obligations, splits and commitments you make by entering into an agreement so that you know how it may limit other opportunities.

Embed metadata about each track into each digital file
If a music service opens your file or pops in your CD, and sees ‘Track 1’ and ‘Artist Unknown,’ you could miss out on royalties. While services and webcasters are supposed to report all the tracks they play, they’re busy, and you need to make it as easy as possible. Many millions of dollars have been earmarked for “promo only,” “self-released” and “artist unknown.” Include, at the very least, the artist or group name, copyright holder or label name, and track and album titles, and the ISRC number, if available. Most mastering software includes the ability to embed this data, and online services are available.

Buy/register your website address and social network domains
Start your online marketing and fan building by registering and creating your domain names. It’s common practice for vendors to buy up domains in hopes they’ll be able to jack up the price to sell them back to you when you need them, so pin down the names as soon as you can. Also, create your band’s official profiles on the various popular social networking and sharing sites such as MySpace, Facebook, Twitter, iLike and YouTube.

Check out organizations and associations which may benefit you
There are lots of groups out there doing great things for musicians. Not all of them will be right for you, but a few of them may be. Consider unions like the American Federation of Musicians and the American Federation of Television & Radio Artists, which represent a wide variety of musicians and performers, at all stages in their careers. Check out what groups like The Recording Academy and musicFIRST are doing to protect your work. There are also payment funds, including the Alliance of Artists and Recording Companies (www.aarcroyalties.com) and the AFM & AFTRA Intellectual Property Rights Distribution Fund (www.ahra.org/index_flash.html), which may have funds to offer for certain kinds of work you’ve done. Many regional and local organizations are also available, and many of these groups offer member benefits and discounts on services you may use. Educate yourself about all the associations which may be open to you, and find out what choices can help you advance your career.

Build your web presence
Use your site and social network profiles to sell merchandise, display a photo gallery, and dispense news updates and tour events. Keep the information fresh and interesting. Cross-link and expand your social network communications to drive fans to your website. Consider periodic email or other mass-blasts to keep your audience informed. Be authentic and consistent.

Get health and equipment insurance
You want to be able to rock on for years to come, so don’t take any risks. When you’re on the road or at gigs, equipment can disappear, so find affordable but adequate insurance. In addition to private companies, some labor unions and organizations, offer health plans, but do your research to find the right plan for you. Visit http://tinyurl.com/HINTprogram to check out the Health Insurance Navigation Tool (HINT) program—a good place to start looking, and get some free advice.

Build your team and assign responsibilities (merchandising, bookings, social media, accounting, licensing, publicity, email management, etc.)
Build your business by having the right helpers in place. Assign those tasks to the person or group best suited to them. Many online enhancements or replacements for hired help are available (SonicBids, CDBaby, TopSpin, ReverbNation, Rumblefish, FanBridge, Nimbit and others) which allow artists to take on many of these tasks themselves.

Create great music!
There is no substitute for creative productivity. This is what artists do. So create often and let your audience know what you’ve been up to. It’ll take a lot of work, but before you know it, you could be living the dream.