A new book on The Jordanaires by Gordon Stoker with Michael Kosser and Alan Stoker is set for release this November from Backbeat Books.

The Jordanaires: The Story of the World’s Greatest Backup Vocal Group chronicles the story of the gospel group of mostly Tennessee boys that formed in the 1940s and set the standard for studio vocal groups in the ’50s, ’60s, ’70s, and beyond. In their sixty-five-year career, from 1948 through 2013, the recordings they sang on have sold an estimated eight billion copies.

They appeared on more than 200 Elvis Presley recordings, including most of his biggest hits. They were in three of his best-known movies, appeared with him on most of his early nationwide TV shows, and toured with him for years. Throughout the superstar’s early career, they were his most trusted friends and probably his most positive influence.

The Jordanaires also did plenty of pop sessions in LA, singing on most of Ricky Nelson‘s biggest hits and over the years backed up Andy Williams, Fats Domino, Willie Nelson, Dolly Parton, Dinah Shore, The Everly Brothers, Glen Campbell, Patti Page, Neil Young, Perry Como, Loretta Lynn, Ringo Starr, Tom Jones, Andy Griffith, Brenda Lee, Patsy Cline, Billy Ray Cyrus, and about 2,100 other recording acts.

Kosser is a senior editor at American Songwriter where he has written a column on songwriting called “Street Smarts” for the past twenty years. Since 1979, his songs have been recorded by George Jones, Barbara Mandrell, Conway Twitty, Tammy Wynette, Charlie Rich, and others. Kosser offers an in-depth, insider’s view of Nashville during its ascendancy in his book How Nashville Became Music City, U.S.A.: Fifty Years of Music Row.

Alan Stoker, the son of Gordon Stoker of the Jordanaires quartet, is s a Grammy-winning audio engineer, a musician/vocalist, and a music historian. Throughout his career, he’s backed up beach music legend Clifford Curry and Sam Moore of the Stax Records duo Sam and Dave. He’s also recorded with prog-rock group McKendree Spring and E Street Band bassist Gary Tallent. Additionally, he’s the long-time archivist for the Country Music Hall of Fame and Museum in Nashville, where he’s preserved some of the earliest recordings of the biggest names in music.

Warner Music Group Corp. has announced its third-quarter financial results for the period ended June 30, 2022.

Revenue was up 6.9% and driven by continued recovery of recorded music artist services and expanded-rights revenue, as well as continued growth in music publishing performance revenue.

Digital revenue increased 1.7% while total streaming revenue increased 2.7%, primarily driven by growth in music publishing streaming revenue of 29.6%. This includes a benefit of $17 million resulting from the recent ruling by the Copyright Royalty Board in Phonorecords III that upheld higher percentage of revenue U.S. mechanical royalty rates for 2018 to 2022, and reflects amounts expected to be paid.

Recorded music operating income was $166 million, down from $197 million in the prior-year quarter. Music publishing revenue increased 29.6%, which was driven by growth in digital, performance and synchronization revenue, partially offset by a decline in mechanical revenue. Digital revenue increased 27.4% and streaming revenue increased 29.6%, reflecting the continued growth in streaming, the CRB Rate Benefit and timing of new digital deals.

“We delivered solid double-digit growth on a constant-currency basis, even against the backdrop of a slowdown in the advertising market and some one-time items affecting year-over-year comparisons,” notes Steve Cooper, CEO, Warner Music Group. “In June, we saw the beginning of a new wave of amazing releases and we’re looking forward to a strong end to our fiscal year. Long term, we have the scale to best capitalize on trends in artist development, and the agility and resources to continue to propel the globalization and diversification of our business.”

“Our third-quarter results reflect the inherent resilience of our business that comes from our diverse portfolio of revenue streams,” adds Eric Levin, CFO, Warner Music Group. “With significant runway ahead in our core streaming business and new growth vectors constantly emerging, we are incredibly bullish on our growth potential for many years to come.”

Financial Highlights:
– Solid Underlying Streaming Growth Despite Ad-Supported Pressure
– Impressive Recovery of Artist Services with Continued Double-Digit Revenue Growth
– Continued Momentum in Music Publishing with Double-Digit Revenue Growth
– Significant Growth in Operating and Free Cash Flow

For the three months ended June 30, 2022:
– Total revenue grew 7% or 12% in constant currency
– Digital revenue grew 2% or 6% in constant currency
– Net income was $125 million versus $61 million in the prior-year quarter
– OIBDA (Operating Income Before Depreciation & Amortization) decreased 3% to $233 million versus $241 million in the prior-year quarter or increased 3% in constant currency
– Adjusted OIBDA decreased 3% to $255 million versus $263 million in the prior-year quarter or increased 2% in constant currency
– Adjusted EBITDA decreased 7% to $263 million versus $282 million in the prior-year quarter
– Cash provided by operating activities increased 79% to $163 million versus $91 million in the prior-year quarter

“Only in the Nashville music business do you get to hear Jason Aldean and songwriters perform a No. 1 song in a bar on a Wednesday at lunch,” said BMI Assistant Vice President of Creative Leslie Roberts when welcoming the industry to The Local on Wednesday (Aug. 10).

As a party held by BMI and ASCAP, Aldean and crew celebrated the country hitmaker’s 27th No. 1 single, “Trouble With A Heartbreak.” Before the presentations began, Aldean treated the crowd to an acoustic performance of the tune alongside its writers, John Morgan, Kurt Allison, Tully Kennedy, and Brett Beavers.

“Songwriters are the backbone of the community and Jason is one of their biggest champions,” Roberts said. “Of his 27 No. 1 songs, 22 of them were outside songs. That just shows how many songwriters lives he’s changed and how much he believes in their songs.”

ASCAP’s Mike Sistad was on hand to celebrate affiliates Allison and Kennedy. “Congratulations on all the friendships up here!” he said.

Double Down Music Publishing’s Dallas Davidson spoke about breakout artist-writer John Morgan. “This guy comes in the office and grinds. He writes his butt off,” noted Davidson. “He’s a naturally gifted dude.”

Davidson also brought the stats about the multi-week chart topper. He let the crowd know that “Trouble With A Heartbreak” was a four-week No. 1 and serves as the first song since Taylor Swift’s “Mean,” over a decade ago, to re-enter the top position on the Mediabase/Country Aircheck Singles chart.

BMG’s Chris Oglesby spoke about Aldean’s bandmates and hit songwriters Kurt Allison and Tully Kennedy.

“You stay so busy writing, producing, touring, being with family, and you succeed at all of it at an extremely high level with a smile on your face,” he said. “Every time I see you walk through the halls at BMG, you take time with everybody who comes up and talks to you.”

Oglesby also spoke about country hitmaker Brett Beavers.

“He is the ultimate student of the songwriting process. The great encourager. The writer, producer, musician and book author who aligns himself with writers and artists that he believed in and felt he could add value to,” Oglesby said. “Thanks for being a steady, calm voice.”

“Jason, thank you for being a friend to the songwriters,” he added.

BBR’s Carson James spoke on behalf of the label and promotion team. “It’s so exciting to be up here for Jason’s 945th No. 1,” he joked. “We have a great publicity department, we have a great digital space, we have great marketing. More than anything else, we have passionate promotion.”

Next it was time to hear from the songwriters. Kennedy kicked it off.

“I mentioned this last time I was up here, but looking around this room and seeing these faces… It’s 20 years worth of making music together,” he said. “Every night we play these songs and it feels better than ever.”

“This has really been a gift for me,” Beavers added. “I had never really written with this crew before but I had a rockstar publisher and song-plugger down the hall from me, Courtney Allen, [who set it up.]”

Beavers lets the crowd know that “Trouble With A Heartbreak” was written in a shack in the BMG parking lot.

“I was super blessed to be in the room that day,” Beavers said. “These are super sweet guys to do it with. They look like rockstars. They might look mean with their hair and black clothes, but they smell good and they’re just super great people to be around.”

“I gotta say a few words about the shack as well,” Morgan said. “I miss that place to be honest. I’m very thankful for everybody who was a part of this song.”

Allison echoed the sentiments of gratitude. “I don’t have enough time to talk about what these guys mean to me. Any day I’m in the room with them, or actually just around them, is a better day for me.”

Producer Michael Knox furthered Roberts’ point about Aldean cutting outside songs.

“We had one album where we had nine writers get their first cut,” he said. “If you go through all our records, I can promise you, we have given first cuts to a lot of freaking people. We’ve helped find that situation. There’s not a better embracer of songwriters than Jason and this promotion team.

“Having to go out and promote a song where nobody has heard of these writers can’t be fun,” Knox said. “It’s a big spoke in what we do.”

When it came time for Aldean to speak, he piled on the thanks and praise for his team.

“I say this all the time, but Michael is the guy that found me in a bar in Atlanta in 1998. That’s the whole reason I’m here in this town,” Aldean said. “The first friend I met when I got here was Tully.

“Every time we get a chance to celebrate one of these, it’s really cool because we were the guys scraping our money together to buy a pizza to eat for dinner while we were trying to write songs in my apartment. To watch what’s happened to my career and to these guys, as songwriters and friends of mine, it’s pretty cool.”

Kane Brown is set to make his MTV Video Music Awards debut on Aug.  28 from the Toyota Stage with the first-time TV performance of “Grand.” The track serves as the newest single from his upcoming, third album Different Man, dropping Sept. 9.

Brown continues to make VMAs history as the first male country artist to perform on the show. Last year, he was the only country artist to receive a 2021 nomination for “Video for Good” for his emotionally-charged single “Worldwide Beautiful.”

“Toyota continues to be an incredible partner and we’re excited for The Famous Group’s creative excellence in mixed reality to help MTV send Kane Brown’s historic performance into the stratosphere,” says Dario Spina, CMO, Velocity, Paramount.

“Toyota joins forces with the MTV VMAs for the fourth year in a row to bring a show-stopping remote performance to the Toyota Stage,” adds Jessamine Merrill, general manager, media and digital engagement, Toyota Motor North America. “This exclusive collaboration showcases the all-new Corolla Cross and a first-ever mixed reality technology, in partnership with The Famous Group, creating an added performance element to Kane Brown’s exciting VMAs debut.”

This year’s VMAs lineup also includes Anitta, J Balvin, Marshmello and Khalid, and Panic! At The Disco. Nicki Minaj will also perform live for the first time since 2018 and receive the prestigious Video Vanguard Award. Fans can vote for the 2022 MTV Video Music Awards through Friday, Aug. 19.