Toby Keith’s “Beers Ago” is once again the CountryBreakout Chart’s No. 1 song, which compellingly blends the grand country tradition of drinking beer with reflecting on one’s life experiences. We wrote about it at length in the previous week, including a comparison to the musical Rent (seriously). So in the meantime, just check out Toby’s rocked-up performance of the song from the CMT Music Awards below.

I understand that I am a week or so behind the curve on this topic. It was early last week when the Big Machine Label Group and Clear Channel cut a deal that had Nashville and Washington, DC. buzzing for a day or two.

I think much of the buzz was because of the timing of the announcement. Many broadcasters were surprised (and angered) that this came down the day before they were going before Congress with this issue on the agenda.

Much of the buzz has died down since because most people see this as inconsequential today. It appears to be much ado about not much. I don’t believe that the actual number was ever publically announced and not many outside of Scott Borchetta and Bob Pittman actually know it. Or know the real purpose of the deal.

I want to go on record as saying that Scott is a friend of mine. I consider him a first class promotion person, businessperson and he has proven to be a step ahead of most others in Nashville for several years now.

I have met Bob but he wouldn’t know me if I stepped on his toes in an elevator. I have written in the past that I think that Bob is good for broadcast radio. I like high profile people saying good things about the business and he is radio’s number one cheerleader.

I cannot tell you who went to whom with this idea. This would be in character for either of them. They could both see a promotional benefit. Scott sees a benefit of this being announced at the beginning of CMA week in Nashville and Bob sees this as a benefit to control the room the day before Congress meets. Who the hell knows who benefits the most from the announcement’s timing?

That can be said of the entire deal. Mr. Pittman says that iHeartRadio accounts for 2% of the CCME business today. I wonder if this deal also is going to include Cumulus? Cumulus is soon to be part of iHeartRadio so is it automatically included in this deal?

Does Mike Dungan now say, “Hey, what about my music? I have more music on Clear Channel digital than Scott does. Where is my cut?” What about Gary Overton?

I thought that all of this digital money was supposed to be shared across the entire recording platform. Wasn’t that the original thought? How could radio chains and labels possibly do separate deals?

RIAA says it likes the “acknowledge(ment)” of Clear Channel. RIAA’s Cary Sherman calls this a “breakthrough.”

The National Association of Broadcasters and musicFIRST danced to separate songs after the announcement but it will be interesting to see if this moves the issue forward. I guess that it is possible these organizations know the inside of the deal and maybe this will be a starting point. If that is the case then something good may come from the agreement.

My fear is that Mr. Pittman has taken the issues important to broadcasters off the table. This is not just a digital issue. Radio needs help with FM chips and performance rights costs that deal with music on the broadcast side.

Because radio provides a 360 experience to listeners, not just online, it is in radio’s best interest to keep all of our leverage on the table.

Without question the digital royalty structure is out of whack. But people like Tim Westergren, who does nothing in the public interest, to demand a level playing field is ludicrous. Let him step up and provide public service, daily and during times of tragedy, then he can ask for level playing field.

You do not have a level playing field because you stream music. That’s it.

Until you provide more than just the music, pay your 50% of total revenue and recognize that the model is a tough one. That’s why broadcasters are not willing to come down to your level.

I hope that Scott and Bob see way down the field and have a plan that works on every level.

(The views expressed in this article are those of the author and do not necessarily reflect those of MusicRow.)

(L-R) songwriters Tony Martin and Wendell Mobley; Rascal Flatts' Jay DeMarcus, Joe Don Rooney and Gary LeVox; songwriter Neil Thrasher; Big Machine's Scott Borchetta and producer Dann Huff. Photo: Ed Rode.

Big Machine Records’ Rascal Flatts and songwriters Tony Martin, Wendell Mobley and Neil Thrasher celebrated their recent No. 1 hit “Banjo,” produced by Dann Huff, at Puckett’s in downtown Nashville on Monday (6/12).

BMLG head Scott Borchetta welcomed the guests at celebration proclaiming, “This is our third number one together already, and man, we’re just getting started.”

Presentations were made by ASCAP’s Marc Driskill, peermusic’s Kim Wiggins, BMG Rights’ Dann Huff, (marking his 32nd No. 1 song as a producer), BMI’s Jody Williams, Sony/ATV’s Troy Tomlinson, Warner/Chappell’s BJ Hill, CRB’s Bill Mayne, and MusicRow’s Sherod Robertson.

The down-home, country vibe of Puckett’s provided a relaxed environment for the festivities complete with camaraderie, great food and iced tea. The celebration even had its own “hecklers” in the audience (aka Flatts members Gary, Joe Don, and Jay) which turned the festive party into full-fledged entertainment.

Tony Martin admitted he broke all the rules when he “ghermed the living crap” out of Gary LeVox on the golf course. “Will you sign this golf ball for me?” heckled one of the Flatts guys, bringing a chorus of laughter from the audience.

Wendell Mobley came up and kept it short and sweet by saying, “If you had anything to do with this record, thank you. And if you didn’t, thanks for coming to help us celebrate.” That earned Mobley his own bullyragging, “…very heartfelt!,” from the heckling table and even more laughs.

Before he even spoke, Neil Thrasher got a “thanks for dressing up for us” taunt from the hecklers. Thrasher gave a shout out to his parents sitting in the audience and thanked everyone, admitting when he first heard the song, he sent a text to Huff, “This is the most awesome sounding record you’ve ever made.”

After a fun time of celebrating, Rascal Flatts took the stage and gave a sincere and heartfelt thanks to everyone, including the songwriters, producer, country radio and the Big Machine Label Group staff.