Michael Nesmith. Photo: Rhino Records
Obituaries for Michael Nesmith, who died Friday (Dec. 10) have understandably focused on his fame as a member of The Monkees, but he was also one of the most influential musicians of the country-rock movement.
During Nesmith’s 1965-70 tenure in The Monkees, the group starred on a national TV series and scored major pop hits with “Last Train to Clarksville,” “I’m a Believer,” “Pleasant Valley Sunday,” “Daydream Believer” and more. However, his longer lasting impact was as a video visionary who led the way to MTV, as well as a singer-songwriter who created such country-rock classics as “Joanne” (1970), “Silver Moon” (1970), “Nevada Fighter” (1971) and “Rio” (1976).
Born Dec. 30, 1942, the native Texan was raised in San Antonio. His mother invented liquid paper (marketed as White Out), which eventually made the family independently wealthy. As a teenager, he migrated to L.A. to try to forge a career as a recording artist and film actor. Sometimes billed as “Michael Blessing,” he played The Troubadour and other folk clubs. In 1961-66 he recorded a string of unsuccessful solo singles for such labels as Highness, Eden, Omnibus and Colpix.
In 1965, Nesmith auditioned for a TV role as a member of a zany, fictional pop group. This was The Monkees, an act patterned on The Beatles, as seen in their madcap movies A Hard Day’s Night and Help! of 1964-65. The other three members of The Monkees were Davy Jones (1945-2012), Mickey Dolenz and Peter Tork (1942-2019). Only Nesmith and Tork were professional songwriters who played instruments.
Michael Nesmith initially thought of the group as mainly a theatrical vehicle, and The Monkees did win the 1967 Emmy Award for Best Comedy Series. When it became clear that the producers intended to showcase lots of music, he began to lobby for a greater say-so in the creation of Monkees records. The first Monkees album in 1966 included his song “Papa Gene’s Blues.” Following this hard-won breakthrough, Nesmith placed songs on all eight of the Monkees LPs released while he was a member. In 1967, the band had a top 40 hit with his song “The Girl I Knew Somewhere.” Both he and the group became genuine pop-culture phenomena.
In all, the multi-million-selling Monkees recorded more than a dozen of his songs, including the late-career singles “Listen to the Band,” “Good Clean Fun” and “Tapioca Tundra.” His Monkees song “Mary, Mary” was popularized by the Paul Butterfield Blues Band (1966) and, later Run DMC (2002). Nesmith also wrote such hits as “Different Drum,” which launched Linda Ronstadt’s career in 1967, and “Some of Shelly’s Blues,” which The Nitty Gritty Dirt Band scored with in 1971.
Although he wrote pop hits, Nesmith never lost his fondness for the country music he’d grown up with. He began recording in Nashville in 1968, blending his Texas/California sensibilities with Music Row’s finest session professionals. In 1970, he formed The First National Band and signed with RCA Records. The group pioneered a sound that would later be dubbed country-rock. Its three LPs, Magnetic South (1970), Loose Salute (1970) and Nevada Fighter (1971) defined the melodic, smoothly produced, steel-dominated West Coast style. So did Nesmith’s Second National Band, which issued its lone LP in 1972.
In addition to reviving such country classics as “I Fall to Pieces,” “Tumbling Tumbleweeds,” “Bonaparte’s Retreat” and “She Thinks I Still Care,” Nesmith introduced his own yearning, soaring ballad “Joanne.” It became a hit on the pop charts, plus a top-10 smash on the A/C chart. The same was true of his uptempo heartache tune “Silver Moon.” These early-1970s discs were revered in the Nashville songwriting community. They also influenced Poco, The New Riders of the Purple Sage, Gram Parsons, The Byrds, The Eagles and The Flying Burrito Brothers, all of whom became far better known as California country-rock trail blazers.
Of all the West Coast country rockers, Nesmith was the most “country.” But like the others, he was ignored by the mainstream country-music industry at the time. Rolling Stone once dubbed his sound, “the best music never heard.”
For his 1976 single “Rio,” Nesmith created an accompanying promotional film, setting the stage for the industry’s widespread production of music videos in the 1980s. While touring to support the record, he noticed TV stations in Australia programming similar short music films in blocks. Back in the U.S., he put together a half-hour music show called Popclips, consisting of video-promotion items. He pitched it to Warner Amex, who bought both the show and its concept. Four years later, Popclips was reborn as MTV.
In 1981, Nesmith created a “video record” entitled Elephant Parts, which mixed comedy and music. The following year, Elephant Parts won the first-ever video Grammy Award. He also produced such cult movies as Repo Man, Timerider, Tapeheads and Square Dance, as well as the NBC TV series Television Parts. He created short films for such shows as Saturday Night Live and Fridays.
He was Grammy-nominated for a new-age record in 1994. Nesmith was also a pioneer in surround-sound recording. His Pacific Arts company was his record label as well as the distributor of PBS home videos (The Civil War, I Claudius, etc.) and other top films. In addition, Nesmith was a novelist and a scriptwriter.
His eclectic country-rock sound was eventually documented on more than 20 albums. Along the way, he collaborated with such country greats as Charlie McCoy, Chet Atkins, Harold Bradley, Felton Jarvis, Area Code 615, John Hobbs, Sonny Osborne, Larry Butler, Billy Sanford, Joe Chemay, Linda Hargrove, Weldon Myrick, Lisa Silver and Billy Joe Walker Jr.
Michael Nesmith underwent quadruple bypass heart surgery in 2018. He died at home in California at age 78.
Tenille Arts Celebrates Historic No. 1 At Country Radio With Special Rooftop Party
/by Lydia FarthingPictured (L-R): Allison Veltz Cruz, Tenille Arts, and Alex Kline. Photo: Steve Lowry
BMI and SESAC recently recognized Tenille Arts‘ “Somebody Like That” hitting No. 1 at country radio back in April of this year.
The intimate celebration on the Hampton Social rooftop celebrated country music’s first No. 1 song written, performed, and produced exclusively by women with songwriters Arts (BMI), Allison Veltz Cruz (SESAC), and Alex Kline (SESAC). The Platinum-certified single broke multiple records along the way and marked the first U.S. country radio No. 1 single from a Canadian artist since 2007.
Pictured (top row, L-R): Gator Michaels Consulting’s Gator Michaels, Noblevision’s Hal Oven, Porterfied Publishing’s Tom Porter, Hipgnosis’ Pete Robinson, Porterfied Publishing’s Derek Simon, and BMI’s MaryAnn Keen. (bottom row, L-R): Empire’s Heather Vassar, Hipgnosis’ Emily Boardman, BMI’s Leslie Roberts, Allison Veltz Cruz, Tenille Arts, Alex Kline, SESAC’s Shannan Hatch, and SESAC’s Lydia Schultz. Photo: Steve Lowry
The first No. 1 for Arts and Kline and the second for Veltz Cruz, the party featured presentations from major players on the writers’ teams, including Gator Michaels, Hal Oven, Pete Robinson, Derek Simon, and party hosts, Leslie Roberts and Shannan Hatch.
Arts’ latest single, “Back Then, Right Now,” is currently climbing the charts at country radio. She will hit the road in early 2022, joining both Dierks Bentley and Scotty McCreery on their respective headlining tours.
Chris Stapleton’s ‘All-American Road Show’ Sets Up Camp In Nashville
/by Lydia FarthingChris Stapleton. Photo: Andy Barron
CMA Male Vocalist of the Year Chris Stapleton took up residency in Nashville’s Bridgestone Arena this weekend (Dec. 10-11), bringing his “All-American Road Show” to two night’s worth of sold out crowds.
The highly decorated singer-songwriter waltzed onto the stage to roaring applause after opening performances from Yola and Marcus King Band. He quickly kicked things off with a series of rock-infused songs, including “Nobody To Blame,” “Parachute,” and “Second One To Know.”
Chris Stapleton and his band play Nashville’s Bridgestone Arena. Photo: Andy Barron
Originally slated for Oct. 22-23 before Stapleton was forced to reschedule due to contracting laryngitis, he addressed the delay in his opening mentions, saying: “[It’s] good to be back in my hometown here. Thank you for waiting on us. I’m sorry we’re late, but we made it.” He continued: “I’m not gonna do too much talking tonight, but thank you for being here. I’ll say that. Thank you for being here.”
He then broke out into the namesake for his chart-topping 2020 album, Starting Over, which earned an astounding reaction from the crowd who sang back every word–something that became a regular occurrence as the night progressed.
Halfway through, Stapleton took on an acoustic set that featured his first radio single “What Are You Listening To?,” as well as “Traveller” and “Whiskey and You,” with accompanying stories for all of them.
“It wasn’t that many years ago when I had [‘What Are You Listening To?’]–the first song I ever put out on the radio. It shot straight to No. 46. I think some of you have listened to it on Youtube or something cause I’ve [started playing it at shows again],” he shared with the adoring audience. “It wasn’t that long ago that I didn’t play for this many people and I didn’t play in rooms nearly this big. I played in rooms about the size of this stage or maybe half the size of this stage. Sometimes it was the size of this rug on this stage. Sometimes there was nobody there and I would play anyway. I would play over at the Basement here in town, at the Station Inn… But [‘Whiskey and You’] was with me in all of those rooms. And here it is tonight with all of you still, so it’s hanging out,” he said before breaking out into his stripped down, moody track.
Chris Stapleton and his band play Nashville’s Bridgestone Arena. Photo: Andy Barron
The multi-Platinum entertainer displayed his signature blend of southern rock, blues, and traditional country with performances of his Grammy-nominated “Cold,” “Arkansas,” a cover of The Steeldrivers’ “Midnight Train To Memphis,” and Lynyrd Skynyrd’s “Free Bird,” among others from the nearly two dozen-song set. Throughout, the bearded entertainer also showed his renowned guitar skills with a heavy helping of jam sessions and show-stopping guitar solos.
Backed by harmonies from his wife, Morgane, and stunning production, Stapleton also delivered some of his many massive hits and fan-favorites, such as the bluesy “You Should Probably Leave,” “Broken Halos,” and “Fire Away” which saw raised glasses from the audience as far as the eye could see and a deafening choir to which Stapleton uttered, “That’s what magic sounds like to me.”
Pictured: UMG Nashville’s Executive VP/A&R, Brian Wright; Chris Stapleton; UMG Nashville’s President, Cindy Mabe. Photo: Andy Barron
As the show began winding down, Stapleton shared one of his most popular songs, “Tennessee Whiskey,” which had the whole crowd swaying and singing along. Before the second night of the weekend, the soulful singer was surprised backstage with a prestigious RIAA Diamond plaque for the single surpassing 10 million total units sold.
Stapleton closed the full setlist with his heavy-hitting “Outlaw State of Mind,” but not before first sharing his gratitude to the fans and making special mention of the magic that happens behind the scenes. “We’re winding down on this tour and every night I say this, but all the men and women on our crew have worked extra hard this year. We have the greatest crew in the whole wide world and we can’t do this without them.”
The “All-American Road Show” will pick up in spring of next year on April 20 in Toledo, Ohio, before embarking on the tour’s Canadian leg. For a full list of upcoming dates for 2022, click here.
CMA Presents Several Industry Honors
/by LB CantrellThe Country Music Association recently honored six industry members during the organization’s Board of Directors meetings.
During the CMA’s virtual December Board meeting, Brooks & Dunn’s Kix Brooks, a long-serving CMA Board member, was honored with the J. William Denny Award. The J. William Denny Award was created in recognition and appreciation of a lifetime of dedication, distinguished service, and meritorious contributions to the CMA Board of Directors. Hall of Fame member Brooks has a history with the CMA board that dates back to 1998, and is only the third artist to hold positions on the board such as President (2004) and Chairman (2005). Among his many philanthropic accomplishments, Brooks laid the groundwork for what is now the CMA Foundation when he approached the board about helping to provide much needed instruments and supplies to music classrooms. He was also an early proponent of developing affordable health insurance options for CMA members.
Kix Brooks receives the 2021 J. William Denny Award during the virtual December CMA Board Meeting. Photo: CMA
Influential industry executive Bud Wendell was honored with the Irving Waugh Award of Excellence, which is given to an individual who has exhibited ideas and actions that have dramatically broadened and improved country music’s influence on a national or international level for the benefit of the industry as a whole. As the manager of the Grand Ole Opry, Wendell oversaw the Opry’s move from downtown’s Ryman Auditorium to a new facility on the edge of town in 1974 and was named WSM Vice President and General Manager of the Opry and the Opryland theme park that same year. He was President of WSM and then Chairman before Gaylord acquired WSM and Wendell was named President and CEO of Gaylord Entertainment in 1991. Wendell retired in 1997, but remained active behind the scenes, serving as President of the Country Music Hall of Fame and Museum’s board of trustees for many years.
Bud Wendell receives the 2021 Irving Waugh Award of Excellence during the virtual December CMA Board Meeting. Photo: CMA
Music icon Dolly Parton was honored with the CMA Foundation Humanitarian Award along with Music Health Alliance’s Tatum Allsep (Founder/CEO) and Shelia Shipley Biddy (COO/Certified Senior Advisor) at an intimate CMA Board reception. The CMA Foundation Humanitarian Award recognizes individuals who have served as humanitarians through community leadership, financial support, personal volunteerism and advocacy.
Parton, as well as Music Health Alliance’s Allsep and Biddy, have been at the forefront of COVID-19 relief and innovation throughout the past two years.
Under Allsep and Biddy’s leadership and guidance, Music Health Alliance developed a COVID-19 Relief Plan that focused on COVID-19 Financial Assistance, a relief grant for immediate financial support; Solution Series, simplified solutions to timely issues like the loss of group health insurance; and Resource Database, a comprehensive list of resources ranging from temporary employment to healthcare.
To further MHA’s efforts, CMA provided additional funding as a part of its Music Industry COVID Support (MICS) initiative, a $3 million long-term commitment to non-profit partners focusing on food insecurity, health care and mental health.
Pictured (L-R): Sarah Trahern, CMA CEO; Shelia Shipley Biddy, COO/Certified Senior Advisor, Music Health Alliance; Tatum Allsep, Founder/CEO, Music Health Alliance; Tiffany Kerns, Executive Director, CMA Foundation, CMA Vice President, Community Outreach. Photo: Donn Jones/CMA
Last year, Parton donated $1 million to Vanderbilt University Medical Center to aid in COVID-19 vaccine research, after forming a friendship with Dr. Naji Abumrad of the Vanderbilt Institute for Infection, Immunology and Inflammation. Known as the Dolly Parton COVID-19 Research Fund, Parton’s contribution helped fund initial vaccine research led by Dr. Mark Denison, a professor of pathology, microbiology and immunology at Vanderbilt. While the federal government eventually invested $1 billion in the creation and testing of the vaccine, Dr. Denison notes that it was Parton’s donation that funded the crucial early stages of the Moderna vaccine’s development. Parton was thanked for her donation by name in a Moderna preliminary report issued in November 2020.
Parton was not available to accept the award in person, but gave her thanks saying, “I’m sorry I couldn’t be there to receive it in person, but I’m always there in spirit.”
Additionally, Tiffany Kerns, the CMA Vice President of Community Outreach and CMA Foundation Executive Director, was surprised with the CMA Chairman’s Award. The honor was presented by Mary Hilliard Harrington, Senior Manager at Red Light Management and CMA Board Chairman. This award, given at the discretion of the incumbent Chairman, is not an annual award, but given when the Chairman feels an individual merits the recognition.
Over the last two years, Kerns has been instrumental in establishing the organization’s Music Industry COVID Support (MICS) initiative, allowing the CMA to aid in three categories: food supply, health and wellness, and career services. Since March of 2020, CMA has made a $3 million long-term commitment to fund multiple nonprofit partners. Kerns’ work with the CMA Foundation has led the organization to becoming one of the nation’s leading music education nonprofits, with an extensive network of music education advocates across the country.
Finally, CMA Chief Executive Officer Sarah Trahern presented mementos to Harrington and Jim Beavers, songwriter at Big Yellow Dog Music and CMA Board President, in recognition of their service to the CMA Board of Directors. Harrington was presented the crystal gavel while Beavers was presented the crystal globe.
Styles Haury Slates Debut Album ‘One Life Ain’t Enough’ For January
/by Lorie HollabaughStyles Haury. Photo: Jessica Amerson
Styles Haury is gearing up for the release his debut album, One Life Ain’t Enough, on Jan. 28. In anticipation of the new album, Haury has released “Country Kids Do,” the latest in a series of autobiographical singles from the forthcoming debut project.
Written by Haury, David Frasier, Mitch Oglesby, and James Kelly, the new track paints a picture of the lifestyle Haury knows from growing up in northeast Ohio, including memories with his father hunting, fishing, riding motorcycles, playing music, and more.
“Country Kids Do” is the follow up to Haury’s debut single, “A Man That Didn’t Know Nothin,” written by Haury, Jeremy Bussey and Bobby Hamrick.
“It’s really the story of my life so far, and the journey it took to get where I am today,” Haury says of the upcoming album. “I am about to be 27, and I know that may not seem like not a long time… I’ve lived a quarter of a life. But that’s a quarter of a dollar.”
After forming his first band in the 4th grade, Haury continued to write country music out of his dad’s garage. He has earned opening tour slots with Jake Owen, Brantley Gilbert, Brett Eldredge, Chris Jansen, Dwight Yoakam and Darius Rucker.
Lady A, Chris Janson, Sam Hunt, More Added To Nashville’s New Year’s Eve Bash
/by Lorie HollabaughLady A, Ingrid Andress, Breland, King Calaway, Riley Green, Sam Hunt, Chris Janson, Jon Pardi, Carly Pearce and Lainey Wilson have been added to the list of performers on tap to help ring in the New Year in Music City during New Year’s Eve Live: Nashville’s Big Bash.
Hosted by radio and TV personality Bobby Bones and Entertainment Tonight‘s Rachel Smith, the celebration will air live from Music City on Dec. 31 from 7-10 p.m. and 10:30-12:30 a.m. CT on CBS and will be available to stream live and on demand on Paramount+.
The previously announced star-studded lineup includes Jason Aldean, Jimmie Allen, Kelsea Ballerini, Gabby Barrett, Dierks Bentley, Brooks & Dunn, Luke Bryan, Elle King, Miranda Lambert, Darius Rucker, Blake Shelton, Cole Swindell and Zac Brown Band. The five-hour broadcast will feature more than 50 back-to-back performances and cross multiple time zones, with Nashville counting down with the east coast at midnight and keeping the party going through midnight Central Time with the city’s renowned Music Note Drop.
The show will include collaborations between artists and special guests throughout the night, with collaborations stacked throughout the lineup. More details on the celebration will be announced in the coming weeks.
Recalling The Country-Rock Sound Of Michael Nesmith
/by Robert K OermannMichael Nesmith. Photo: Rhino Records
Obituaries for Michael Nesmith, who died Friday (Dec. 10) have understandably focused on his fame as a member of The Monkees, but he was also one of the most influential musicians of the country-rock movement.
During Nesmith’s 1965-70 tenure in The Monkees, the group starred on a national TV series and scored major pop hits with “Last Train to Clarksville,” “I’m a Believer,” “Pleasant Valley Sunday,” “Daydream Believer” and more. However, his longer lasting impact was as a video visionary who led the way to MTV, as well as a singer-songwriter who created such country-rock classics as “Joanne” (1970), “Silver Moon” (1970), “Nevada Fighter” (1971) and “Rio” (1976).
Born Dec. 30, 1942, the native Texan was raised in San Antonio. His mother invented liquid paper (marketed as White Out), which eventually made the family independently wealthy. As a teenager, he migrated to L.A. to try to forge a career as a recording artist and film actor. Sometimes billed as “Michael Blessing,” he played The Troubadour and other folk clubs. In 1961-66 he recorded a string of unsuccessful solo singles for such labels as Highness, Eden, Omnibus and Colpix.
In 1965, Nesmith auditioned for a TV role as a member of a zany, fictional pop group. This was The Monkees, an act patterned on The Beatles, as seen in their madcap movies A Hard Day’s Night and Help! of 1964-65. The other three members of The Monkees were Davy Jones (1945-2012), Mickey Dolenz and Peter Tork (1942-2019). Only Nesmith and Tork were professional songwriters who played instruments.
Michael Nesmith initially thought of the group as mainly a theatrical vehicle, and The Monkees did win the 1967 Emmy Award for Best Comedy Series. When it became clear that the producers intended to showcase lots of music, he began to lobby for a greater say-so in the creation of Monkees records. The first Monkees album in 1966 included his song “Papa Gene’s Blues.” Following this hard-won breakthrough, Nesmith placed songs on all eight of the Monkees LPs released while he was a member. In 1967, the band had a top 40 hit with his song “The Girl I Knew Somewhere.” Both he and the group became genuine pop-culture phenomena.
In all, the multi-million-selling Monkees recorded more than a dozen of his songs, including the late-career singles “Listen to the Band,” “Good Clean Fun” and “Tapioca Tundra.” His Monkees song “Mary, Mary” was popularized by the Paul Butterfield Blues Band (1966) and, later Run DMC (2002). Nesmith also wrote such hits as “Different Drum,” which launched Linda Ronstadt’s career in 1967, and “Some of Shelly’s Blues,” which The Nitty Gritty Dirt Band scored with in 1971.
Although he wrote pop hits, Nesmith never lost his fondness for the country music he’d grown up with. He began recording in Nashville in 1968, blending his Texas/California sensibilities with Music Row’s finest session professionals. In 1970, he formed The First National Band and signed with RCA Records. The group pioneered a sound that would later be dubbed country-rock. Its three LPs, Magnetic South (1970), Loose Salute (1970) and Nevada Fighter (1971) defined the melodic, smoothly produced, steel-dominated West Coast style. So did Nesmith’s Second National Band, which issued its lone LP in 1972.
In addition to reviving such country classics as “I Fall to Pieces,” “Tumbling Tumbleweeds,” “Bonaparte’s Retreat” and “She Thinks I Still Care,” Nesmith introduced his own yearning, soaring ballad “Joanne.” It became a hit on the pop charts, plus a top-10 smash on the A/C chart. The same was true of his uptempo heartache tune “Silver Moon.” These early-1970s discs were revered in the Nashville songwriting community. They also influenced Poco, The New Riders of the Purple Sage, Gram Parsons, The Byrds, The Eagles and The Flying Burrito Brothers, all of whom became far better known as California country-rock trail blazers.
Of all the West Coast country rockers, Nesmith was the most “country.” But like the others, he was ignored by the mainstream country-music industry at the time. Rolling Stone once dubbed his sound, “the best music never heard.”
For his 1976 single “Rio,” Nesmith created an accompanying promotional film, setting the stage for the industry’s widespread production of music videos in the 1980s. While touring to support the record, he noticed TV stations in Australia programming similar short music films in blocks. Back in the U.S., he put together a half-hour music show called Popclips, consisting of video-promotion items. He pitched it to Warner Amex, who bought both the show and its concept. Four years later, Popclips was reborn as MTV.
In 1981, Nesmith created a “video record” entitled Elephant Parts, which mixed comedy and music. The following year, Elephant Parts won the first-ever video Grammy Award. He also produced such cult movies as Repo Man, Timerider, Tapeheads and Square Dance, as well as the NBC TV series Television Parts. He created short films for such shows as Saturday Night Live and Fridays.
He was Grammy-nominated for a new-age record in 1994. Nesmith was also a pioneer in surround-sound recording. His Pacific Arts company was his record label as well as the distributor of PBS home videos (The Civil War, I Claudius, etc.) and other top films. In addition, Nesmith was a novelist and a scriptwriter.
His eclectic country-rock sound was eventually documented on more than 20 albums. Along the way, he collaborated with such country greats as Charlie McCoy, Chet Atkins, Harold Bradley, Felton Jarvis, Area Code 615, John Hobbs, Sonny Osborne, Larry Butler, Billy Sanford, Joe Chemay, Linda Hargrove, Weldon Myrick, Lisa Silver and Billy Joe Walker Jr.
Michael Nesmith underwent quadruple bypass heart surgery in 2018. He died at home in California at age 78.
Tonight: Nashville’s Basement East To Hold Kentucky Tornado Relief Benefit Show
/by Lydia FarthingAfter the devastating storms that passed through much of the south and midwest this past weekend (Dec. 10-11), Nashville’s Basement East will host the Kentucky Strong Tornado Relief Benefit show tonight (Dec. 13) at 7 p.m. CT. All proceeds will go towards Kentucky tornado relief.
The benefit will feature a lineup of Nashville-based songwriters and artists, including Liz Rose, Filmore, Emily Weisband, Alana Springsteen, Dylan Schneider, James Barker, Dallas Wilson, Phil Barton, Greylan James, Jordan Minton, Erin Kinsey, Faren Rachels, Josh Kiser, Dylan Marlowe, Jordan James, and more. For tickets, click here.
There will be a COVID entry requirement in place for the night’s event. Patrons must present either proof of full vaccination or a negative COVID-19 test obtained within 48 hours of the event.
Early Saturday morning (Dec. 11), an intense line of storms rolled through the southern region of the U.S., with the worst of the storms taking place across the state of Kentucky. With 64 confirmed deaths as of reporting time and many more still missing, some cities, such as the small town of Dawson Springs, has seen as much as 75% of the community wiped out. The weekend’s storms spawned at least 50 tornadoes across eight states, according to the National Weather Service’s Storm Prediction Center. Currently, there are over 300 National Guard troops that have been deployed to help with recovery efforts.
Eric Church, Jonas Brothers, More To Ring In The Holidays In White House PBS Special
/by Lorie HollabaughEric Church. Photo: Anthony D’Angio
PBS will ring in the holiday season with the premiere of In Performance at the White House: Spirit of the Season, featuring Eric Church, Jonas Brothers, Norah Jones, Pentatonix, Billy Porter, Andrea Bocelli, Matteo Bocelli, Camila Cabello, the United States Marine Band and more on December 21 at 8 p.m ET.
Hosted by actress Jennifer Garner, the hour-long special will feature performances from historic White House rooms, including the East Room, the State Dining Room and the Blue Room, home of the Official White House Christmas tree. Audiences will also see the First Family’s Gifts from the Heart-themed holiday installations currently on display throughout the White House.
“We are thrilled to celebrate the holiday season with this special musical performance at the White House,” says Paula A. Kerger, PBS president and CEO. “As an important part of our mission, PBS and our member stations will continue to share the very best of theater, music and dance with audiences across the country.’’
“We are pleased to support In Performance at the White House: Spirit of the Season,” adds Pat Harrison, president and CEO of the Corporation for Public Broadcasting. “Although we are still dealing with the pandemic, it is important to take this time to count our blessings through music and song and come together as a nation during this season of celebration and remembrance.”
Produced by WETA Washington, D.C., the public broadcaster in the nation’s capital, in association with Ken Ehrlich Productions, Inc., the special is part of the Emmy Award-nominated PBS In Performance at the White House series and will also be broadcast at a later date via the American Forces Network to American service men and women and civilians at U.S. Department of Defense locations around the world.
RECORDS Nashville Taps Josh Easler & Joe Fisher For Leadership Positions
/by LB CantrellRECORDS Nashville has appointed Josh Easler as Executive Vice President of Promotion and Commercial Strategy, and Joe Fisher as Executive Vice President. Both Easler and Fisher will report to Barry Weiss, RECORDS’ Co-founder and Partner.
Easler comes to RECORDS from Sony Music Nashville, where he most recently served as Vice President of Promotion at Arista Nashville. While at Arista, Easler achieved two No. 1 country radio hits for RECORDS Nashville/Arista Nashville’s Matt Stell in the last two years, including the Platinum “Prayed For You” and Gold “Everywhere But On.” With this news, Stell becomes an exclusive RECORDS Nashville artist.
Based out of the company’s Nashville office, Easler will oversee all radio promotion as well as all commercial strategy which includes all DSPs, commercial platforms, and the like for RECORDS Nashville artists Stell, Erin Kinsey, George Birge, Chris Bandi and more.
Fisher joins RECORDS Nashville having previously spent most of his career at Universal Nashville, where he rose to VP of A&R under Luke Lewis. Most recently, Fisher has been working with Justin Timberlake on his Villa 40 Nashville label venture. Additionally, Fisher founded Boom, a publishing company with Keith Urban and Ross Copperman in 2017.
In his new role, Fisher will oversee the signing, developing, and cultivating of new talent for the label.
“We are so excited to be leveling up and raising the game with our efforts in Nashville and country music,” says Weiss. “I can’t think of two better executives to take us forward and achieve this task than Josh Easler and Joe Fisher. They’re both established superstars in their respective fields in country music with great pedigree and substantial track records.”
“Barry has assembled one of the most dynamic teams in the business and an incredible roster of new talent. I’m excited to work with this amazing group of executives on breaking the next vanguard of country artists,” shares Easler.
Adds Fisher, “I’ve respected Barry from afar for my entire career. He’s a true music man and one of the industry’s most visionary executives. The only thing more impressive than his track record is his passion for music. When he called, there was only one answer. I’m immensely honored to join the RECORDS team and kick off this new chapter.”
Brittney Spencer’s ‘Perfect World’ Takes Over Nashville’s Basement East
/by Lydia FarthingBrittney Spencer. Photo: Catherine Powell
Vocal powerhouse Brittney Spencer‘s “In A Perfect World Tour” took over Nashville’s Basement East last night (Dec. 9) as she delivered a stacked set of over a dozen tracks.
With only a handful of songs actually released on music platforms, Spencer gave the audience, which included a wave of Nashville music industry executives, a heavy helping of new music slated to come in 2022. With vocals that command an audience’s attention with every note and powerful lyrics to match, the crowd hung on to each honey-soaked word and falsetto-filled run.
Brittney Spencer. Photo: Catherine Powell
Spencer kicked things off with a song drenched in gratitude titled “My Stupid Life,” which reminisces on the whirlwind year she’s had, singing: “Man, I must be living right. Man, I love my stupid life.”
“I put out my first EP this past December, and I can’t believe that it’s been a year already. I call myself a quarantine child because, for whatever reason, I released music during a pandemic for the first time in my life,” Spencer joked with the demographic-spanning crowd.
She continued: “I wrote this next song because I felt like people were putting boxes around me and telling me who I could be, what I couldn’t do, and I was taking all that shit in. One day I woke up and thought, ‘What would Jay-Z say?’ He would say, ‘Allow me to reintroduce myself.’ So I told myself that everyone was wrong. I had to figure this thing out and reintroduce myself to everybody else, but also to myself. I believe that you can do whatever you want, we can be whoever we want.” Spencer then shared her aptly named “Damn Right, You’re Wrong.”
Bringing a unique combination of jazz and R&B mixed with country sensibility, organic instrumentation and a spice of pop relatability, Spencer wowed the crowd with a full spectrum of genre-defying songs. Her set included a soul-filled cover of “Man’s World;” the rocking “Bad Habits;” a dreamy, up-tempo track titled “When I Think About Love;” and the vibey drinking song, “Party Problems,” which also featured a medley of “I Wanna Dance With Somebody (Who Loves Me),” Niko Moon’s “Good Time,” and “I Should Probably Go To Bed” from Dan + Shay.
Brittney Spencer plays the Basement East in Nashville, Tennessee on Dec. 9, 2021. Photo: Catherine Powell
Paired with pitch perfect harmonies from her band, the songstress, who first came to Nashville 8 years ago and got her start busking on Broadway, also toned things down for a stripped down version of her change-inspiring track “Compassion,” as well as her own shimmering version of The Highwomen‘s “Crowded Table.”
“In October of 2020 my life changed in a very weird and wonderful way when I posted a cover of this song. I love The Highwomen with all of my heart. They’re incredible women in my life, both musically and as people. I’ve learned so much from them and [they’ve made me feel less alone]. No one really gives you a manual about artistry when shit happens, so it’s really nice to have people in your corner who can be your friend and be there,” she explained. “I’ve learned so much about holding the door open for other people because of The Highwomen, Mickey Guyton, and so many artists who have given a damn about little ole me–this girl from Baltimore, Maryland. I just want to do the same for other people.”
In a standout performance from the night, the singer-songwriter showcased her clever lyrical prowess on “Bigger Than The Song,” which serves as an ear worm tribute to some titans of the radio such as Reba McEntire, Beyonce, Whitney Houston, Brittney Spears, Janet Jackson, Maren Morris, and more. What’s sure to be fan-favorite, Spencer belted the catchy chorus, offering: “Be fancy like Reba, a Queen like Latifah, and love like Johnny & June / Get mad like Alanis, scream like Janet, do it all like Dolly would do / It’s more than a three minute listen when the radio’s on / It’s bigger than the song.”
Brittney Spencer & Lindsay Ell. Photo: Catherine Powell
Spencer closed the show with special guest Lindsay Ell who backed the killer vocals with her signature guitar riffs on the unreleased “Thankful.”
2021 has been quite a monumental year for Spencer who has celebrated the release of her Compassion EP, performed alongside Guyton and Madeline Edwards at The 55th Annual CMA Awards, was a featured performer at the 2021 ACM Honors, and was named a part of MusicRow‘s Next Big Thing Artists Class of 2022, among other impressive accolades.
The “In A Perfect World Tour” will pick up after the holidays with a stop at Tuffy’s in Sanford, Florida, on Jan. 14, followed by a two-day stay at the 30A Songwriters Fest in Walton Beach, Florida, on Jan. 15-16.