ole Piques Interest With Liz Rose’s Notebook

With budgets and playlists getting smaller by the day,
 the Nashville music publishing scene has grown increasingly competitive, forcing songwriters and publishers to become more innovative and resourceful in their efforts to get songs recorded. Ole, one of Nashville’s most successful independent publishers, is leading the charge for creative catalog promotion by handing out copies of songwriter Liz Rose’s notebook.

Back in 2008, when the publisher bought 50 percent of Jody Williams Music, along with it came Rose’s catalog. Known for pairing with Taylor Swift for some of the star’s biggest hits (“You Belong With Me,” “White Horse,” “Teardrops On My Guitar,” “Picture To Burn”), Rose’s name is well-known on Music Row.

With these big singles to her credit, ole knew there was more gold to mine from Rose’s catalog. The ole team decided to send out a promotional package featuring some of her best songs to producers, artists and A&R people. Gilles Godard, ole’s chief creative officer, says the challenge even for a songwriter with Rose’s track record, is to make people open the package and listen to the songs.

“We got together the most creative minds in our company and
we batted around some ideas,” he tells MusicRow. “We proposed and


 critiqued and defended and argued, and we came up with something we call Liz’s notebook. What’s more precious to a songwriter than their songbook? And our writers’ demos are often gems in themselves, so we decided to combine both with this unique promotion.”

The appeal in Liz’s notebook is that it seems so genuine; with post-it notes, scribbled lyrics on the back of an envelope, family photos, a card from a flower arrangement, a to-do list, even concert ticket stubs and a take-out menu. It is a realistic peep into Rose’s personal life, neatly spiral-bound in a 7” x 9” book. The painstaking accuracy of the reproduction is evident on every page.

Upon closer inspection, the promotional aspects of the product come into focus. There are news articles about the songwriter, and an invitation to the Grammy Awards, where Rose and Swift won a trophy for Country Song of the Year. And in the back pocket is a strategically placed photo of Swift and Rose receiving a BMI award. Also included is a birthday email from Josh Turner, and it turns out the card was delivered with a thank-you bouquet from songwriter/artist Rachel Proctor. Though Rose’s work with Swift is her most recognized, a handwritten list also points out her cuts by artists Tim McGraw, Trisha Yearwood, Gary Allan, and Jo Dee Messina. Most importantly, the book contains a CD with a selection of Rose’s best uncut songs.

Godard reports that the response to the notebook has been fantastic. “Putting this song book together was a labor of love,” he says. “We believe that if producers, artists and label people will open Liz’s notebook, Liz’s songs will open their eyes… and their ears.”

Royalty Rights Revenue Stream Maze

Earlier this week Digital Music News highlighted these two royalty payment flow charts. The first, titled Working In Music is drawn from a British perspective and created by Wiggin LLP. The second is from a U.S. perspective offered by royalty admin specialist MusicReports. To see the large size versions click here and click here.

MyWerx Offers Innovative Copyright Ownership ID


Billboard magazine’s current issue (cover date August 21) includes a feature story titled 10 Best Startups of 2010, profiling companies that “share a vision that the best days of the music industry are not behind us, but still lie ahead.” One of the featured startups is Nashville-based MyWerx, a technology company that develops cloud computing software solutions to optimize copyright ownership identification. With a mission to allow creative artists to concentrate on creativity by making it easier for them to manage their catalog at all points in their career, MyWerx allows creators to catalog their works, protect their interests and connect with business partners. The service is aimed at anyone who owns and/or licenses a work.

For record labels, publishers and performing rights organizations MyWerx offers a way to modernize the record collecting process.  After a work is created, the author logs onto the MyWerx site and registers the work, which is added to the author’s database of works. If the work has co-creators, all need to validate the information before the work is secured and finalized by MyWerx. This helps to eliminate problems and discrepancies that can arise if too much time passes before a work is registered. Each step in the validation process requires consensus of the parties.

Tim Smith

MyWerx was founded by Tim Smith, the entrepreneur behind innovative copyright administration systems Copyright Management, Inc. and Copyright.net. MyWerx Chairman Tim DuBois is VP/Managing Director of ASCAP. The MyWerx advisory board consists of former National Songwriters Association President Steve Borgard, Copyright Management CEO Terry Smith and veteran Nashville publisher and former Atlantic Records head Barry Coburn. The foundation of the MyWerx platform is a validated-wiki, copyright registry. Registering and validating a work is a free service to help creators and their representatives organize a portfolio of the life’s work of an author. Premium subscriptions provide access to services that will benefit all stakeholders in a work.

Subsequent MyWerx versions will allow storing and communicating with business representatives of a work and track copyright ownership transfers throughout the life cycle a registered work. MyWerx promises to continuously research and develop forward-thinking copyright focused services that bring value to the global copyright community.

Photos: Dave Bartholomew; Nashville Publishers Network

Rock and Roll Hall of Famer Dave Bartholomew recently stopped by BMI’s Music Row offices. The legendary songwriter, producer, musician, arranger and A&R man hooked up with Fats Domino and their collaborations sent shock waves from New Orleans, forever changing the soundscape of American music. Bartholomew wrote classics including “Ain’t That a Shame,” “I’m Walkin’” “Blue Monday,” “Walkin’ to New Orleans” “I Hear You Knocking,” “Let the Good Times Roll” “Lawdy Miss Clawdy,” “One Night (With You),” and thousands more.

Pictured at BMI are BMI’s Perry Howard; Dave Bartholomew’s son, Ron; attorney Russ Hicks; Dave Bartholomew, Jr.; Dave Bartholomew, and BMI’s Thomas Cain and Clay Bradley. Photo by Drew Maynard

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New Revolution Entertainment’s Rob Dalton was the guest speaker at a recent Nashville Publishers Network meeting. The organization of independent song publishers meets monthly at BMI to share information about recording artists and labels who are looking for material. If you are interested in joining NPN, contact Frank Michels at 615-354-0670 or michels8@comcast.net.

Pictured at a recent Nashville Publishers Network meeting (L-R): Erik Thorson, NPN treasurer; guest speaker Rob Dalton of New Revolution Entertainment; Bob Dellaposta, NPN president; Bill Renfrew, NPN guest coordinator; Marc Rossi, NPN tip sheet writer; and Frank Michels, NPN vice president.

Hirings At Black Ink Publishing

From (l-r): Noah Dewey, Justin Lantz, Matt Jenkins, Meghan Orga, Gene Cook, Richard Orga, Leigh Reynolds

Black Ink Music Publishing announced two new hirings today. Noah Dewey has re-joined the company as VP of Creative Services and Meghan Orga is on board as the Office Manager.

Richard Orga has been at the helm of Black Ink for seven months. The boutique music publishing company is home to writers Matt Jenkins, Justin Lantz, Leigh Reynolds and Gene Cook.

“We try diligently to provide an environment at Black Ink Music that encourages creativity,” says Orga. “We don’t take ourselves too seriously but we do work very hard—we have to. We are small but we think big!”

Brigitte DeMeyer Signs with Green Hills Music

(L-R): BMI’s Mark Mason, Green Hills Pres. Woody Bomar, manager Dan Herrington, Brigitte DeMeyer, Green Hills Creative Director Bonnie Baker, and manager Mitchell Fox. Photo: Michelle Stephens

Americana artist/writer Brigitte DeMeyer has signed a publishing agreement with Nashville’s Green Hills Music Group. The soulful touring artist plays festivals worldwide and has opened shows for such headliners as Bob Dylan, Dan Fogelberg and Marc Cohn. The longtime San Francisco resident recently relocated with her family to Nashville, which she calls her “spiritual home.” Her most recent album, Red River Flower, was recorded in Nashville with producer Brady Blade and features many of her musical heroes including Buddy Miller, Chris Donohue, Phil Madeira, Mike Henderson and Al Perkins. DeMeyer is managed by Herrington-Fox Management.

Green Hills Music Group Pres. Woody Bomar said, “We love what Brigitte does as an artist and who she is as a person. Her music is filled with honesty and compassion. It is an honor to represent these wonderful songs and to work with such a passionate musician and songwriter.”

DeMeyer will perform on the Green Hills Music Writers Night at the Bluebird Cafe at 6:00 on Aug. 26.

Green Hills Music Group opened in 2007 and also markets the music of Steve Williams, Georgia Middleman, Bob Regan, Rick Giles, Bonnie Baker, Paul Nelson, Warren Wilken and J. Fred Knobloch.

Jackson To Recieve ASCAP Founders Award

ASCAP (American Society of Composers, Authors and Publishers) will honor Alan Jackson with its prestigious Founders Award at the ASCAP Country Music Awards on Tuesday, September 14, 2010. The invitation-only gala will be held at the War Memorial Auditorium in downtown Nashville.

With album sales totaling more than 50 million, Jackson is a fitting recipient for the Founders Award, which is bestowed on songwriters and composers who have made pioneering contributions to music. During his 20-year career, Jackson has scored 34 No. 1 hits and won numerous awards, including a Grammy for Best Country Song for “Where Were You (When the World Stopped Turning),” 16 CMA Awards, and 16 ACM Awards. He is a seven-time ASCAP Songwriter/Artist of the Year and a reciepeint of the ASCAP Golden Note Award. Among his biggest hits are “Don’t Rock The Jukebox,” “Chattahoochee,” “Gone Country,” “Drive (For Daddy Gene),” and “Small Town Southern Man.”

He ranks among other renowned Founders Award recipients, including musical innovators such as Paul McCartney, Garth Brooks, Stevie Wonder, Billy Joel, Smokey Robinson, Emmylou Harris, James Taylor and Jackson Browne.

“Alan is one of the most prolific and influential artists in country music,” said ASCAP President and Chairman Paul Williams. “He has consistently topped the charts without compromising his artistry, style and love of tradition, captivating millions with songs that are honest, heartfelt and entertaining. He’s a genuine superstar, and we are very proud to honor him with ASCAP’s Founders Award.”

“Alan upholds the songwriting legacy of country music’s greatest icons,” said Tim DuBois, Vice President and Managing Executive, ASCAP Nashville. “The fact that he’s been celebrating chart-topping hits for 20 years is a testament to his ability to speak directly to his audience. I’ve had the pleasure of knowing him for more than two decades and am proud of his remarkable career achievements.”

The ASCAP Country Awards will also salute the songwriters and publishers of ASCAP’s most performed country songs from April 1, 2009 through March 31, 2010. Honors will be presented for Songwriter of the Year, Songwriter/Artist of the Year, Song of the Year and Publisher of the Year. The evening will feature performances by several award-winning songwriters and artists.

Anderson Spurs Industry Dialog

Charlie Anderson, CEO/President Anderson Cos.

The chaotic, forced restructuring
 of the global music industry is not a well kept secret. Stats abound from SoundScan, the RIAA, various research projects, IFPI and others that clearly demonstrate hurricane strength winds of change.

Unfortunately, there is little public dialog among major stakeholders regarding the massive shift unleashed by the digital era. Occasionally we hear lip service about “new models” that aren’t very new. And bizniks rush to brand each of the declining number of success stories as “revolutionary,” when realistically it is the talent and personality driving the process, not methodology. Finally, the circle of pain now stretches end to end. The labels were first to suffer, but publishers, songwriters, distributors and touring have now been added to the list of those impacted.

With so many unanswered industry
concerns, it was gratifying to see Charlie Anderson, CEO/President of Anderson Cos. stand publicly to address CD sales, in a recent Billboard Q&A (7/17/2010; page 9). Anderson Cos. is the umbrella entity for Anderson Merchandisers, rackjobber to Walmart and Sam’s Club and the military which according to the trade publication distributes about 12.5% of the U.S. CD market and is country music’s largest sales partner. Anderson has served as Chairman of the Country Music Association and still serves on its Board of Directors.

Succinctly stated, Anderson predicts that on its current course, the CD business will end sooner than most record labels anticipate. “Label executives think that at the end of three years it could be a much smaller industry, but don’t project that they will go away,” Anderson says. “But if nothing is done for CD sales there will come a day when Walmart, Target and Best Buy will say, ‘It’s just not worth it anymore.'”

Anderson bravely offers a five step plan to extend the life of the CD an additional three years (6 total) which he hopes will allow time to “create new revenue streams.”

In the spirit of honest debate, and to keep the discussion alive, MusicRow visited with some anonymous industry heavyweights to gauge reaction to Anderson’s ideas. We also asked, “Is keeping the CD alive a worthwhile endeavor? Or are we simply prolonging the inevitable loss of a product which will be less painful if done quickly?”

Two of Anderson’s five steps are related to pricing.
1)  “We suggest that instead of having a 99¢ or $1.29 single compete against a $12.50 album, we should reduce the price of CD albums to significantly under $10.”
2)  “Presently artists put out an album with 14-16 cuts on it every 18 months. We recommend going to six to eight cuts and coming out with a CD every six months. We will need to release product more frequently to keep the artist relevant.”

Three of the five steps try to transfer some of the digital advantages to the physical side.
3)  “When you buy a CD you should also…receive a digital copy of what you just bought.”

4)  “We should get the CD the same day the labels are delivering the song to radio and iTunes. Many times when we get a CD they have already released two digital singles and there is nothing left to buy.”

5)  “We ask that the record labels deal on consignment which would put us on the same field as iTunes. If we did this retailers would be slower to cut the space and hopefully more amenable to adding catalog product.”

The mix of industry stakeholders and marketplace factors is like a Rubik’s cube of opinions and connected outcomes. And despite one’s opinion of the best pathways, it is instructive to note the popularity of the physical CD for country fans. YTD 2010, about 85% of the approximately 20 million country albums sold were physical CDs, down from last year at this time when about 89% were physical CDs. Looking at the industry overall for perspective, only 72.5% of the 170 million all-genre album units scanned were physical YTD. So with respect to country music, the CD remains a more significant revenue producer.

Digital tracks are now widely available at iTunes, Amazon and soon at Google for 99¢—to $1.29. So it seems intuitive that CD pricing should not be greater than the per track sum. Programs like iTune’s “Complete the Album” let fans purchase tracks one at a time and then opt to get the complete album later without paying extra. It makes the process risk free to the consumer which raises the question, “Why would a consumer want to pay a higher per track price plus buy them all at once in a physical package?” Anderson’s suggestion that CD prices be lowered to, “significantly under $10” seems well advised. But there is the nagging problem of costs, margins and profits to deal with, which is heightened with respect to his championing of the less expensive six track package.

The question is can the labels make money for all artists under the new six cut scenario? One executive responds, “The distribution fee doesn’t lower, manufacturing doesn’t lower, mechanicals don’t lower, overhead doesn’t lower, promo & marketing don’t lower. Wholesale price is around $3.50. 55¢ in mechanicals, 80¢ in production, $1.10 distribution fee, $1.10 artist royalty…Even if wholesale is $4, it doesn’t add up for the label.”

When asked by MusicRow if Anderson Merchandisers would be willing to also lower its fees Anderson replied, “If the retail price drops from say $12 to $6 my company makes exactly half of what we made before. Or to put it another way, we must sell twice as many at $6. It’s not what I want. It’s just where we are. We must offer a better value to the consumer.”

Bob Lefsetz

Better value, may in fact be an important concept. Controversial industry spokesperson Bob Lefsetz writes in a recent editorial, “Files have replaced CDs. Quote all the SoundScan statistics you want. Then call Eric Garland at BigChampagne. Illegal trading of files far outstrips physical sales, to the point where the latter are essentially irrelevant. End result, everybody’s got a lot of music, and this is good. The only piece of the puzzle left is to move the public to paid services providing everything all the time for a low price. Emphasis on low price. The majors refuse to win this war, refuse to collect a little if it insures they won’t collect a lot. But rental/streaming/rented tracks living on handsets is the legal solution that’s imminent. Just like digital books.”

If it is true that lower prices will spur increased volume, then publishers and labels will need to work together on pricing and royalties. Presently song mechanicals are fixed at 9.1¢ per track regardless of the sales price. At a price of 99¢ that is about 9%. However, if a label lowers the track price to 50¢ they still are required to pay the same 9.1¢ in mechanical royalty (18%) which makes experimenting with downward pricing very difficult.

If the mechanical rate was calculated as a percentage, might it ultimately achieve greater revenues for publishers and labels through lower prices? We don’t know, but it would be in the entire industry’s interest to find out.

One executive notes, regarding Steps 3 and 5 above, “Call your favorite publisher and ask if they will allow a gratis license or a two-for-one mechanical royalty. The labels will get caught holding the bag on that one. And consignment? We are basically already on consignment. They can return product with no penalty for 60-120 days depending upon the release.”

Jay Frank

Jay Frank, SVP Music Strategy CMT was on a panel with Charlie Anderson at the recent Billboard Country Music Summit, where Anderson spoke about his five step plan. Frank agreed that music needs to be released more frequently, but questioned trying to save the CD. “Trying to extend the life of the CD is like going back to the rotary phone and saying let’s keep this around a while longer,” says Frank. “We think of ourselves as a business of CDs transferring into the digital download business; but for the young consumers, we are in the digital download business transferring into the cloud-based streaming business. Recognizing multiple streams plus releasing music more often is going to be a winning combination.”

Another executive summarizes with a bit of anger. “Walmart won’t care when the rackjobber or the labels are gone—out of WM. Physical is not the future. We shouldn’t run from the CD, but we can’t assume giving away our product with very little margin will keep us in business three years longer than he’s projecting. Anderson Merchandisers has an army of people racking stores. Get into more chains! Get into more stores! We’re going to sit here and let WM dictate? How stupid is that?”

In a perfect economic world, optimizing the balance between price, supply and demand is straightforward. But that model assumes product scarcity. With illegal free music readily available, scarcity is challenged and the ability to raise and/or maintain prices weakened. Imagine trying to raise the price of snowflakes in the middle of a blizzard.

Is there a single answer to all the problems facing the music industry? Probably not. But continuing the discussion and experimenting may be the best way to forge some solutions.

HoriPro Marks 20 Years On Music Row

HoriPro executives Butch Baker, Kaz Hori, Ronnie Gant, and Bob Beckham.

HoriPro Entertainment Group celebrated the 20th anniversary of the opening of its Music Row office with a party July 19 at Nashville’s Bound’ry Restaurant. The music publishing company has had offices in Tokyo, Japan for 50 years and then 20 years ago Kaz Hori and his family opened a Nashville branch with Bob Beckham.

Kaz Hori and his international HoriPro team, represented by staff members from the Tokyo, Los Angeles and Nashville offices.

Black River Music Signs Matt Lopez

Black River Music Publishing has signed Matt Lopez to a publishing deal.

“I am looking forward to working with Matt,” said Celia Froehlig, Vice President of BRMG Publishing. “He is a wonderful addition to the BRMG publishing family!”

Lopez is a member of the emerging group Due West who recently signed a record deal with Black River Music Group’s label. He has had songs recorded by Lady Antebellum and Joanna Smith.

(l to r): Celia Froehlig, Matt Lopez and Tonya Ginnetti, BRMG's Vice President/Director Artist Relations.