Martina McBride. Photo: Joseph Llanes
Few have impacted the country music genre like Martina McBride. The powerful singer and bold communicator has seen monumental success throughout her 30-year career, including selling more than 23 million albums to date and earning 14 Gold, 9 Platinum, 3 Double Platinum and 2 Triple Platinum certifications. But her legacy is far greater than her powerful selling power.
Martina started performing as a child in Kansas, playing in her family’s band, the Schiffters. As she got older she started performing in rock bands around Wichita, where she met recording engineer John McBride, who she married in 1988.
Martina remembers the night she knew it was time to move to Nashville and pursue a career in country music.
“[My family] had never entered any kind of contest, but for some reason we entered this battle of the bands and Dad asked me if I’d come back and sing with them. My husband, John, engineered the show and he recorded it on a cassette. During the break we went out to our car and listened to the cassette and it just hit me. I was like, ‘This is what I want to do.'” Martina recalls. “I love to sing all kinds of music. And up to that point, I had been singing all kinds of music, but that was the moment that I knew that this is where I wanted my focus to go. It feels like home to me and it was always my dream as a kid. That moment was a realization that this is what I wanted to do: I wanted to pursue a career in country music.
“I went back inside the building and told my mom that night, and we ended up moving to Nashville a few months later,” Martina says.
John started working as a sound engineer on concert tours and became production manager for a booming artist on the rise, Garth Brooks, in 1991. Martina soon started selling t-shirts for Garth.
All the while she was hustling, trying to get a five-song demo to the record labels in Nashville in hopes of a record deal.
To get past RCA Records’ strict rules about submitting new material unsolicited, she wrote “REQUESTED MATERIAL” in large letters on a bright purple package, even though RCA had not asked for the tape.
“I was singing demos, waiting tables and selling t-shirts for Garth at the time and I had heard from a friend of mine at a publishing company that RCA was looking for a female artist to sign and they had three contenders,” Martina says. “Another friend of mine had said that they don’t take any unsolicited material, so you can’t just walk in and drop your tape off. He said a little tip is when you drop your envelope off at the front desk, write ‘requested material’ on it. That’ll get it past the front and get it to the A&R person. So I did that. I went to Kinko’s and got a bright purple envelope and my husband wrote ‘requested material’ with a phone number. About two weeks later we got a phone call that they had heard the demo and they wanted to have a showcase.”
Martina’s plan worked and she signed her deal in 1991.
Martina McBride receiving a RIAA plaque for the Gold-certified The Way That I Am album. Photo: MusicRow Magazine’s December 1994 issue.
With a label deal secured, it was time for her to make her first record. “I wanted to be a really traditional country artist [on that record]. I wanted to be like the female Alan Jackson or something.”
Martina released her debut album, The Time Has Come, in May of 1992. The album earned Martina critical accolades, but it wasn’t until the release of her second album, The Way That I Am, that she began achieving commercial success. “My Baby Loves Me” reached No. 2 on Billboard’s country charts, becoming Martina’s first hit. But her “Independence Day,” an empowering anthem about escaping domestic abuse written by Gretchen Peters, catapulted Martina into stardom.
“Independence Day” was named Song of the Year in 1995 and Video of the Year in 1994 by the CMA—but had trouble at some radio stations at first because of its serious subject matter.
“I was so passionate about the message in the song. It really touched me. So, I went to my radio promotion guys and I said, ‘What’s happening?’ They said ‘Well these stations won’t play the song. They think it’s too controversial. They think the video is controversial.’ I was like, ‘Well, can you give me their numbers? Can I talk to them?’ I don’t think they’d ever had that happen before,” Martina says with a laugh. “I can remember sitting in the office at the studio and calling each of these guys one by one and just saying, ‘Talk to me about this. What is your hesitation?’ I argued my point and I did turn some of them around. Some of them did end up playing it.”
The industry, and country music fans, embraced Martina’s boldness. The Way That I Am crossed the million-seller threshold in May 1995, beginning a streak of Platinum albums that stretched into the 2000s.
“Independence Day” started a path for Martina of cutting songs that dealt with real life, even if it wasn’t pretty. She would follow her “Independence Day” up with other career songs like “A Broken Wing,” “Concrete Angel,” and “This One’s For The Girls.”
“I have to credit Joe Galante because he never, ever gave me any kind of pushback on recording those songs or releasing them as singles,” Martina admits. “It was really his idea to release them as singles. He never shied away from that. As a matter of fact, he wanted ‘Concrete Angel’ to be the first single off my Greatest Hits record and I was like, ‘Joe, it’s summer!’ But he was really passionate about those songs and about my vision as an artist.”
Martina became one of country music’s most acclaimed stars of the ’90s and 2000s, with four CMA Female Vocalist of the Year awards, three consecutively (1999, 2002-2004), and three consecutive ACM Top Female Vocalist honors (2001–2003). In November 1995, she became a member of the Grand Ole Opry, just four years after signing her record deal.
Since then she has been an outspoken advocate for women in country music. But she remembers the ’90s being more fair.
“We can rattle off a list of 12 to 15 female artists that were doing well then. We had a moment where it was equal—and it was awesome. When you look at country music, you have the golden era of the George Jones, Tammy Wynette, and Patsy Cline. Then we have the late ’90s and early 2000s, which is another highlight era of country music. It was really diverse and there were so many songs about so many different topics.
“When we talk about females getting played on the radio next to some of the bro country, it’s really hard because sonically, we can’t really make song after song that has that lyric content or even sounds in the same vein as that musically. But back then I could release a record like ‘Concrete Angel’ and it was up next to maybe a Rascal Flatts record or an Alan Jackson record. From the standpoint of record production, it was so varied and so rich.”
Martina’s “This One’s For The Girls” has become an anthem of sorts for those working towards equality in country music.
“It’s a really well-written song and it’s a great record. Paul [Worley] and I made a great record on it. It’s so relatable—but I need to add another verse for the 55 year olds. There’s basically three generations that can relate to it and it’s so empowering. What I loved about it was it’s an uptempo song and it’s really hard to find an uptempo song that has some lyrical substance. That is always what I look for in a song.”
Martina McBride at the opening celebration for Martina McBride: The Power of Her Voice at the Country Music Hall of Fame and Museum. Photo: Jason Davis/Getty Images for the Country Music Hall of Fame and Museum
In 30 years, Martina has become a pillar of the story of country music and an inspiration to women and girls everywhere. Her career is being celebrated with an exhibit at the Country Music Hall Of Fame.
“When I started this career, I had two goals: longevity and respect. I do feel like I’ve achieved those two things, which is really amazing. To be respected and accepted as an artist and as a singer was always really important to me,” Martina says. “With the new Country Music Hall Of Fame exhibit, I feel like it’s such a sign of respect. That’s really cool and it makes me feel like I did what I set out to do.”
Martina’s exhibit, The Power of Her Voice, is open now through Aug. 7, 2022. She has also recently released special edition vinyls–Martina McBride Greatest Hits: The RCA Years and is currently on the road with Alabama and Blake Shelton.
Larry Fleet Shares His ‘Stack Of Records’ This September
/by Lorie HollabaughLarry Fleet. Photo: Matt Paskert
Larry Fleet’s new full length project on Big Loud Records, Stack Of Records, is slated for release on Sept. 24. Fleet’s track “Different Shade of Red” from the new album, penned with Lindsay Rimes and Michael Whitworth, is available now.
The Joey Moi-produced collection features his single “Where I Find God,” which has already racked up more than 32 million streams, and finds the White Bluff, Tennessee native coming into his own and collaborating with Jon Pardi, Jamey Johnson and Bryan Sutton. He co-wrote each song on the 14-track project with top-shelf tunesmiths like Rhett Akins, Brett James, the Warren Brothers and Connie Harrington.
“My mom and dad had one of those big record players with the big speakers and they had a little cabinet with all the records in it. I just loved Willie Nelson and dad loved Merle Haggard, the Marshall Tucker Band, Waylon and Hank and all those guys.” Fleet shares. “My mom would listen to soul stuff,” he adds, “and then she’d have Ozzy Osbourne and Pink Floyd so I grew up listening to a lot of different artists. My influences were all compiled in this stack of records… Every song on this record is based off a stack of records.”
Fleet has embarked on his headlining tour taking him around the country through November, and will also be appearing at a handful of fair and festival dates.
2. Lifetime Guarantee (Larry Fleet, Chris Gelbuda, Brett James)
3. Where I Find God (Larry Fleet, Connie Rae Harrington)
4. Quittin’ Ain’t Workin’ (Larry Fleet, Rhett Akins, Will Bundy)
5. Different Shade of Red (Larry Fleet, Lindsay Rimes, Michael Whitworth)
6. A Life Worth Living (Larry Fleet, Will Bundy, Brett James)
7. Hurt Feelings (Larry Fleet, Will Bundy, Brad Warren, Brett Warren)
8. Church Parking Lot (Larry Fleet, Lindsay Rimes, Michael Whitworth)
9. In Love With My Problems (feat. Jon Pardi) (Larry Fleet, Jake Mitchell, Josh Thompson)
10. Three Chords and a Lie (Larry Fleet, Will Bundy, Brett Tyler)
11. Never Wanna Meet Another Woman (Larry Fleet, Will Bundy, Lydia Vaughan)
12. Heart On My Sleeve (Larry Fleet, Will Bundy, Jeff Hyde)
13. One For The Road (Larry Fleet, Emily Fox Landis, Logan Wall)
14. Highway Feet (feat. Jamey Johnson & Bryan Sutton) [Bonus] – (Larry Fleet, Jamey Johnson)**
**Bonus track available on physical album and album download
Trace Adkins: ‘If I Never Make Another Record, This Would Be The One I’d Like To End With’ [Interview]
/by Lydia FarthingTrace Adkins. Photo: Kristin Barlowe
Multi-Platinum country recording artist Trace Adkins has returned to the spotlight to celebrate the 25th anniversary of his debut LP, Dreamin’ Out Loud. To commemorate the impressive milestone, his new project, The Way I Wanna Go, is available everywhere today (Aug. 27) through Verge Records.
Marking his 13th studio album, this new project includes 25 tracks, including the already released “Empty Chair,” “Heartbreak Song,” and “Where The Country Girls At” with Luke Bryan and Pitbull. However, out of over two dozen new songs, Adkins is joined by quite the cast of collaborators, such as Blake Shelton, Melissa Etheridge, Keb’ Mo’ and Stevie Wonder on harmonica, and Snoop Dogg.
Produced by Mickey Jack Cones and Derek George, The Way I Wanna Go shows Adkins as he looks back on his career which began in 1996.
As a Grand Ole Opry member for nearly two decades, the Louisiana native quickly cracked the Top 5 of Billboard’s Hot Country Songs chart after his debut with “Every Light In the House Is On,” following with the No. 1 smash, “This Ain’t (No Thinkin’ Thing).” In his 25-year career in country music, Adkins has sold over 11 million albums, charted more than 20 singles, earned numerous awards and Grammy nominations, and garnered over two billion streams.
Adkins recently sat down with MusicRow to discuss his quarter-of-a-decade career, the new album, and the next 25 years.
MusicRow: How have the last 16 months been for you?
I’ve been in the studio the whole time, which is why we ended up with 25 songs on this record. We had plenty of time so we just kept cutting stuff. My voice was rested and I felt great, so we just kept moving.
What are some of your favorite moments with fans from the past 25 years?
Trace Adkins graces the cover of MusicRow Magazine in November of 1997.
Anytime you can perform a song and the audience is moved to their feet is an unbelievable experience. I wish everybody on earth could experience that feeling at some point in their lives. It’s just indescribable, and I cherish every time that’s happened.
Out of all of your songs, which ones are you favorite?
I’ve had several No. 1 records which is always great, but my favorite songs throughout my career have tended to be album cuts that, for whatever reason, didn’t seem to be deemed commercial enough to be singles. Those meant the most to me. When I perform some of those songs and people react to them the way they moved me, it’s very gratifying.
People have asked me, “How would I get to know Trace Adkins?” I say, “Listen to the album cuts.” That’s who every artist really is. Most of the time the singles are the commercial ones, but the ones that are very personal usually end up being the album cuts.
Looking back, are there any big moment in your 25-year career that you wish you could go back and re-experience?
I would say when “Every Light In The House Is On ” came out and did what it did. That was the song that gave me confidence that maybe I could do this as a career. I look back on that song and it means so much to me, even to this day.
What was the process of putting together this 25th anniversary album?
There were things that I had been wanting to do for years–collaborations and songs that I’d written that I hadn’t put on an album. I wanted to include those on this project, and those were the kinds of things that COVID afforded me the opportunity to do.
It’s horrible for me to say, but this was one of the best years of my life. I know how horrible it’s been for everybody else but for me, personally, it was awesome.
What was it like to work with such a broad spectrum of artists on this project? How did you dream up this lineup?
This is such a significant list of people that I never would have allowed myself to dream that big. I never would have thought that I could reach out to people of this status and actually have them respond and work with me on something. There is an iconic list of people that performed on this record. I’m so fortunate that these people agreed to do this. I’m just honored to have them on there.
Do you have a track on the album that you’re most excited for fans to hear?
I don’t usually like to name a favorite because every song on there is something that I poured my heart and soul into in the studio. I exercised my creative muscles to the best of my ability, so it’s hard to pick a favorite. However, “The Way I Wanna Go” is one of my favorites along with “Honey Child.” “I Should Let You Go” is gut-wrenching every time I perform it.
Do you think it’s a record that really captures the last 25 years well for you?
I think it does. If I never make another record, this would be the one I’d like to end with.
What are you most excited about as you move on to your next 25 years?
I’m looking forward to being 80 years old and walking out on the stage of the Grand Ole Opry. I’m going to go out there, dance to “Honky Tonk Badonkadonk,” and embarrass my grandchildren.
CRB Unveils Lisa McKay Women in Radio Scholarship Program
/by Lorie HollabaughIn honor of the late Lisa McKay, the Country Radio Broadcaster’s have unveiled its new Lisa McKay Women in Radio Scholarship program set to debut at CRS 2022. The CRB is accepting applications now through Sept. 17.
McKay, who programmed WQDR/Raleigh for 16 years, was inducted into the Country Radio Hall of Fame in 2018. McKay was integral in helping the CRB launch the well-established annual Rusty Walker Scholarship program, formed to mentor up-and-coming programmers.
The new scholarship program will award three aspiring female radio programmers the opportunity to attend their first-ever CRS, which includes access to the educational, networking, and mentoring opportunities that the annual conference provides. Each package will include complimentary registration, hotel, and airfare for CRS 2022, held Feb. 23-25. Scholars will be recognized at CRS 2022 during the CRS Honors, which is the kick-off to the three-day event.
“The Lisa McKay Scholarship opens a very specific door for young, female broadcasters,” says Country’s Radio Coach Owner/CEO and CRB Scholarship Chairman John Shomby. “The more we can create these avenues of opportunity, the more dynamic our industry will be. How fitting this is named after one of the premiere mentors in our business who championed so many aspiring female broadcasters throughout her career.”
Eligible applicants must be either a female College Senior broadcast communications student involved in radio programming or a female with one to three years maximum experience in the radio business as a Program Director, Assistant Program Director, or Music Director. This individual must also be a first-time CRS attendee.
Those interested must fill out an online application and explain, in 500 words or less, why she should be considered.
Luke Combs Jets To The Top Of The MusicRow CountryBreakout Radio Chart
/by Alex ParryLuke Combs earns his fourteenth MusicRow Challenge Coin for his single, “Cold As You.” These coins include his now twelve career No. 1s, a songwriter credit for “I Hope Your Happy Now” by Carly Pearce and Lee Brice, and his feature on Jameson Rodger’s hit “Cold Beer Calling My Name” which went No. 1 on the MusicRow CountryBreakout Chart three weeks ago.
Combs co-wrote the single with Shane Minor, Randy Montana, and Jonathan Singleton.
Last week, Combs was honored as Artist of the Year at the 33rd annual MusicRow Awards.
Click here to view the latest edition of The MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Prolific Drummer Kenny Malone Passes
/by Lydia FarthingKenny Malone. Photo: Courtesy Dave Pomeroy
Lauded drummer and studio musician Kenny Malone died today (Aug. 26) after being hospitalized earlier this week due to COVID-19. He was 83.
Born Aug. 4, 1938 and raised in Denver, Colorado, Malone served in the Navy band in Washington, D.C., eventually becoming head of the percussion department at the Armed Forces School of Music. He made the move to Tennessee in 1970 and quickly found success as a session musician.
Malone was known for his unique hand drumming technique that allowed for a special combination of sounds for his recordings. Spanning folk, country, and other genres with early sessions for John Prine (Sweet Revenge), Dolly Parton (Jolene), Waylon Jennings (Dreaming My Dreams), Ronnie Milsap (Night Things), Wanda Jackson (I’ll Still Love You), and Amy Grant (Amy Grant), among others.
Throughout his nearly 40 year career, Malone has been asked to record for an array of artists, including Carl Perkins, Ray Charles, George Jones, Janie Fricke, Johnny Cash, Don Williams, Dobie Gray, Donna Fargo, David Allen Coe, Merle Haggard, The Whites, Crystal Gayle, Charlie Pride, Moe Bandy, Floyd Cramer, Dr. Hook, Barbara Mandrell, Johnny Paycheck, Kenny Rogers, Michael Johnson, Dottie West, Lynn Anderson, John Hartford, New Grass Revival, Béla Fleck, Barefoot Jerry, B.J. Thomas, Bobby Bare, Emmylou Harris, Ricky Skaggs, John Anderson, and Lacy J. Dalton.
Malone is thought to be one of most recorded drummers in Nashville history, although the complete list of his credits is unknown.
“He expanded the vocabulary of Nashville drumming, and was always an innovator who invented his own unique style of hand drumming, often combining sticks and brushes with hand percussion to create a unique sound and feel that left lots of space for other instruments and the vocals. He was well known for asking for a lyric sheet instead of a chord chart, and always put the song first in a way that was very special,” Dave Pomeroy, president of the AFM Local 257, says of the 51-year AFM 257 member.
Malone will be remembered by the Nashville music community for his influence on music and his joke-telling.
Funeral arrangements have not yet been announced.
DISClaimer Single Reviews: Keith Urban, Hannah Dasher, Laci Kaye Booth
/by Robert K OermannHannah Dasher, Keith Urban, Lacy Kaye Booth
This is a star-packed edition of DisClaimer that features a dazzling number of country A-listers.
Leading the pack is Keith Urban, who wins the Disc of the Day award with fantastic competition from Kane Brown, Kenny Chesney, Chris Janson, Morgan Wallen and Cody Johnson. All are worth your spins.
We also have two splendid duets today. They come from spouses Rose Falcon & Rodney Atkins and from old buddies Jeannie Seely and Willie Nelson. The female vocal performance du jour is unquestionably by Hannah Dasher.
The DisCovery Award goes to BMLG newcomer Laci Kaye Booth.
HANNAH DASHER / “You’re Gonna Love Me”
Writers: Hannah Dasher/Thomas Archer/Andy Albert/Gordie Sampson; Producer: Brandon Hood; Label: Sony Nashville
— She says it best, “I’m a bad Mamajamma,” on this feisty, hooky, rhythm-happy slab of sound. She drawls in all the right places, the thumpy backbeat is killer and the lyric is a stone delight. A fiery hillbilly romp that deserves a place in the sun.
KANE BROWN / “One Mississippi”
Writers: Kane Brown/Jesse Frasure/Levon Gray/Ernest K. Smith; Producer: Dann Huff; Label: RCA Nashville
— His vocal is warm and intimate on the verses, then shouted and urgent on the soaring choruses of this rocking anthem of tipsy passion. Breezy and engaging.
TRAVIS DENNING / “Dirt Road Down”
Writers: Will Weatherly/Cole Taylor/Taylor Phillips/Travis Denning; Producer: Jeremy Stover; Label: Mercury Nashville
— Somewhat tuneless, over produced, thematically backroads generic.
KENNY CHESNEY / “Beautiful World”
Writers: David Lee Murphy/Tom Douglas/Tony Lane; Producer: Buddy Cannon/Kenny Chesney; Label: Blue Chair/Warner Nashville
— Relaxed and laid back, this settles into his sunny-outlook vibe with all the ease of a swaying hammock. It has a simple, catchy melody that I can imagine his stadium crowd singing along to.
CODY JOHNSON / “Let’s Build a Fire”
Writers: Chris Janson/Mitch Oglesby; Producer: Trent Willmon; Label: CoJo/Warner Nashville
— Furiously rocking, but his solid, Texas-accented country singing remains the big draw. A wild ride with plenty of heart.
KEITH URBAN / “Wild Hearts”
Writers: Keith Urban/Eric Paslay/Brad Tursi/Jennifer Wayne; Producer: Keith Urban/Mitch Furr; Label: Capitol Nashville
— His best in ages. It has a steady groove that is undeniable and an uplifting lyric about chasing your dreams, no matter what. Wonderful listening. This is exactly why he is a superstar.
JEANNIE SEELY & WILLIE NELSON / “Not a Dry Eye in the House”
Writers: Dallas Wayne; Producer: Don Cusic; Label: Curb Records
— What’s not to love? Steel soaked, with beautifully accented keyboard notes and an eloquent, fiddle-accompanied Willie guitar solo. Slow and sad, this classic-sounding weeper features both veterans singing splendidly.
ROSE FALCON & RODNEY ATKINS / “Being Here, Being There”
Writers: Rose Falcon/Rodney Atkins/Phil Barton/Seth Mosley; Producer: Seth Mosley/Rodney Atkins; Label: Curb Records
— His gritty country voice contrasts nicely with her lilting pop soprano on this charming outing. The crunchy, bopping track is delightfully ear catching and the reassuring, romantic lyric is heart warming. I totally dig this. It’s about time this doubly talented married couple became a recording duet. I would welcome an entire album with songs this dandy.
LACI KAYE BOOTH / “Shuffle”
Writers: Derrick Southerland/Laci Kaye Booth/Sam Ellis; Producer: Dann Huff/Jimmy Harnen; Label: BMLG Records
— Attractive and clever. She has a slightly hushed, sensual vocal style that is wed to a steady thumping track. She name-checks country oldies since her heart’s playlist is on “shuffle” because she’s so smitten.
CHRIS JANSON / “Bye Mom”
Writers: Chris Janson/Brandon Kinney; Producer: Zach Crowell/Chris Janson; Label: Warner
— Achingly lovely. We all know that one day we will lose our moms, but that doesn’t make it any less painful when we do. Always a masterful communicator, Janson taps into this universal truth with this lump-in-throat song. A lilting, gentle production lifts the whole thing upward. I remain an immense fan.
MORGAN WALLEN / “Sand In My Boots”
Writers: Ashely Gorley/Joshua Shaun Osborne/Michael Wilson Hardy; Producer: Joey Moi; Label: Big Loud/Republic
— He’s such a terrific singer. This heartbroken ballad is a mini country masterpiece, packed with evocative images and intense emotion. Performed solo on piano with fierce conviction, this works on every level.
RANDY TRAVIS / “Ain’t No Use”
Writers: Randy Travis/John Lindley; Producer: Kyle Lehning; Label: Warner
— The 35th anniversary of the landmark Storms of Life LP is being celebrated with a deluxe reissue featuring tracks originally recorded for the collection, but never released before this. This peppy toe tapper is one of them, and it’s a face-slap reminder of what a great country vocalist this Hall of Famer is.
Hit Songwriter Kim Tribble Dies
/by LB CantrellKim Tribble. Photo: Courtesy SESAC
Songwriter Kim Tribble passed away last night (Aug. 25) after a battle with Lewy Body Syndrome.
The songwriter was born in Muscle Shoals, Alabama, and became an active writer in Nashville in the ’90s.
Among Tribble’s hits are “Guys Do It All the Time” (Mindy McCready), “I Can Still Feel You” (Collin Raye) “A Feelin’ Like That” (Gary Allan), and “One in Every Crowd” (Montgomery Gentry). Tribble also wrote songs with and for Shania Twain, Aaron Tippin, Martina McBride, Jason Aldean, and more. He was a frequent collaborator of David Lee Murphy, having written songs on all of his albums.
Tribble was a SESAC writer, and was honored by the PRO in 2013 for his hit with Chris Cagle’s, “Let There Be Cowgirls.”
Tribble is survived by his wife Patti, daughter Samantha and two granddaughters. An outpouring of tributes to the songwriter on social media remember Tribble’s humor and laugh.
Memorial details have not yet been announced.
Grand Ole Opry Unveils Exclusive Barbara Mandrell Collection
/by Lorie HollabaughThe Grand Ole Opry is launching an exclusive new merchandise line with Barbara Mandrell in celebration of her signature hit “I Was Country When Country Wasn’t Cool.” The collection includes “I Was Country When Country Wasn’t Cool” branded t-shirts, a Hatch print posters, coffee mugs and more.
The three-time ACM/CMA Entertainer and four-time ACM/CMA Female Vocalist of the Year was inducted as a member of the Grand Ole Opry on July 29, 1972. A 9x People’s Choice Award winner, she released “I Was Country When Country Wasn’t Cool” in April 1981, hitting the No. 1 spot on July 4 of the same year.
Her final performance took place on the stage of the Grand Ole Opry House in 1997. In 2009, Barbara was inducted into the Country Music Hall of Fame and the Steel Guitar Hall of Fame.
“The Opry has always felt like a second home to me. My love for that historic stage is why I chose it as the location for my final performance. I simply had to step in the circle one last time,” Mandrell shares. “I am blessed to have recorded this song, honored that country fans are still listening to it and thrilled to celebrate 40 years of ‘being country, when country wasn’t cool’ with the Grand Ole Opry.”
Mary Ann McCready Elected As CMHOF&M Board Of Officers And Trustees Chair
/by Lydia FarthingMary Ann MCready
Entertainment and music business visionary Mary Ann McCready has been elected as the new chair of the Country Music Hall of Fame and Museum’s Board of Officers and Trustees for a one-year term.
She joined the board in 2006 and has served as a finance committee member and investment committee chair. McCready also serves as an inaugural member of the museum’s Circle Guard, which honors all current Country Music Hall of Fame members and their enduring contributions in advance of each new class’s induction.
McCready, co-founder of Flood, Bumstead, McCready & McCarthy, is a national leader in entertainment business management, contributing to the success of top artists responsible for shaping the city’s musical legacy. She was honored in 2018 with Variety’s Business Managers Elite Award—making her the first person outside of Los Angeles and New York to be honored as a recipient.
Additionally, Steve Turner, cultural arts activist and longtime museum board chair, was honored as chairman emeritus. Turner has served as board chair since 2008. His service caps two decades of steady leadership, with retired Gaylord Entertainment CEO and Country Music Hall of Fame Member E. W. “Bud” Wendell as his predecessor.
“The strength, consistency and fortitude of our board guides and inspires us as we continue to navigate the uncertainties of the pandemic,” says Kyle Young, CEO of the Country Music Hall of Fame and Museum. “We’re fortunate to have such engaged and accessible community leaders invested in the heart of our institution.
“Steve Turner has been our pillar of valor for the past 13 years as board chair, and we can’t possibly thank him enough for his immeasurable contributions to the museum and the greater community,” Young adds. “We look forward to beginning the next bright chapter with Mary Ann—a true visionary, a unifier and a formidable force for good.”
All board officers were reelected, as well as returning trustees Mark Bloom, David Conrad, Bill Denny and David Ross. Board trustees are elected for three-year terms, and officers are elected annually. For a full list of the museum’s Board of Officers and Trustees, click here.
Martina McBride Talks The RCA Days, Bold Songs & Her Lasting Legacy [Interview]
/by LB CantrellMartina McBride. Photo: Joseph Llanes
Few have impacted the country music genre like Martina McBride. The powerful singer and bold communicator has seen monumental success throughout her 30-year career, including selling more than 23 million albums to date and earning 14 Gold, 9 Platinum, 3 Double Platinum and 2 Triple Platinum certifications. But her legacy is far greater than her powerful selling power.
Martina started performing as a child in Kansas, playing in her family’s band, the Schiffters. As she got older she started performing in rock bands around Wichita, where she met recording engineer John McBride, who she married in 1988.
Martina remembers the night she knew it was time to move to Nashville and pursue a career in country music.
“[My family] had never entered any kind of contest, but for some reason we entered this battle of the bands and Dad asked me if I’d come back and sing with them. My husband, John, engineered the show and he recorded it on a cassette. During the break we went out to our car and listened to the cassette and it just hit me. I was like, ‘This is what I want to do.'” Martina recalls. “I love to sing all kinds of music. And up to that point, I had been singing all kinds of music, but that was the moment that I knew that this is where I wanted my focus to go. It feels like home to me and it was always my dream as a kid. That moment was a realization that this is what I wanted to do: I wanted to pursue a career in country music.
“I went back inside the building and told my mom that night, and we ended up moving to Nashville a few months later,” Martina says.
John started working as a sound engineer on concert tours and became production manager for a booming artist on the rise, Garth Brooks, in 1991. Martina soon started selling t-shirts for Garth.
All the while she was hustling, trying to get a five-song demo to the record labels in Nashville in hopes of a record deal.
To get past RCA Records’ strict rules about submitting new material unsolicited, she wrote “REQUESTED MATERIAL” in large letters on a bright purple package, even though RCA had not asked for the tape.
“I was singing demos, waiting tables and selling t-shirts for Garth at the time and I had heard from a friend of mine at a publishing company that RCA was looking for a female artist to sign and they had three contenders,” Martina says. “Another friend of mine had said that they don’t take any unsolicited material, so you can’t just walk in and drop your tape off. He said a little tip is when you drop your envelope off at the front desk, write ‘requested material’ on it. That’ll get it past the front and get it to the A&R person. So I did that. I went to Kinko’s and got a bright purple envelope and my husband wrote ‘requested material’ with a phone number. About two weeks later we got a phone call that they had heard the demo and they wanted to have a showcase.”
Martina’s plan worked and she signed her deal in 1991.
Martina McBride receiving a RIAA plaque for the Gold-certified The Way That I Am album. Photo: MusicRow Magazine’s December 1994 issue.
With a label deal secured, it was time for her to make her first record. “I wanted to be a really traditional country artist [on that record]. I wanted to be like the female Alan Jackson or something.”
Martina released her debut album, The Time Has Come, in May of 1992. The album earned Martina critical accolades, but it wasn’t until the release of her second album, The Way That I Am, that she began achieving commercial success. “My Baby Loves Me” reached No. 2 on Billboard’s country charts, becoming Martina’s first hit. But her “Independence Day,” an empowering anthem about escaping domestic abuse written by Gretchen Peters, catapulted Martina into stardom.
“Independence Day” was named Song of the Year in 1995 and Video of the Year in 1994 by the CMA—but had trouble at some radio stations at first because of its serious subject matter.
“I was so passionate about the message in the song. It really touched me. So, I went to my radio promotion guys and I said, ‘What’s happening?’ They said ‘Well these stations won’t play the song. They think it’s too controversial. They think the video is controversial.’ I was like, ‘Well, can you give me their numbers? Can I talk to them?’ I don’t think they’d ever had that happen before,” Martina says with a laugh. “I can remember sitting in the office at the studio and calling each of these guys one by one and just saying, ‘Talk to me about this. What is your hesitation?’ I argued my point and I did turn some of them around. Some of them did end up playing it.”
The industry, and country music fans, embraced Martina’s boldness. The Way That I Am crossed the million-seller threshold in May 1995, beginning a streak of Platinum albums that stretched into the 2000s.
“Independence Day” started a path for Martina of cutting songs that dealt with real life, even if it wasn’t pretty. She would follow her “Independence Day” up with other career songs like “A Broken Wing,” “Concrete Angel,” and “This One’s For The Girls.”
“I have to credit Joe Galante because he never, ever gave me any kind of pushback on recording those songs or releasing them as singles,” Martina admits. “It was really his idea to release them as singles. He never shied away from that. As a matter of fact, he wanted ‘Concrete Angel’ to be the first single off my Greatest Hits record and I was like, ‘Joe, it’s summer!’ But he was really passionate about those songs and about my vision as an artist.”
Martina became one of country music’s most acclaimed stars of the ’90s and 2000s, with four CMA Female Vocalist of the Year awards, three consecutively (1999, 2002-2004), and three consecutive ACM Top Female Vocalist honors (2001–2003). In November 1995, she became a member of the Grand Ole Opry, just four years after signing her record deal.
Since then she has been an outspoken advocate for women in country music. But she remembers the ’90s being more fair.
“We can rattle off a list of 12 to 15 female artists that were doing well then. We had a moment where it was equal—and it was awesome. When you look at country music, you have the golden era of the George Jones, Tammy Wynette, and Patsy Cline. Then we have the late ’90s and early 2000s, which is another highlight era of country music. It was really diverse and there were so many songs about so many different topics.
“When we talk about females getting played on the radio next to some of the bro country, it’s really hard because sonically, we can’t really make song after song that has that lyric content or even sounds in the same vein as that musically. But back then I could release a record like ‘Concrete Angel’ and it was up next to maybe a Rascal Flatts record or an Alan Jackson record. From the standpoint of record production, it was so varied and so rich.”
Martina’s “This One’s For The Girls” has become an anthem of sorts for those working towards equality in country music.
“It’s a really well-written song and it’s a great record. Paul [Worley] and I made a great record on it. It’s so relatable—but I need to add another verse for the 55 year olds. There’s basically three generations that can relate to it and it’s so empowering. What I loved about it was it’s an uptempo song and it’s really hard to find an uptempo song that has some lyrical substance. That is always what I look for in a song.”
Martina McBride at the opening celebration for Martina McBride: The Power of Her Voice at the Country Music Hall of Fame and Museum. Photo: Jason Davis/Getty Images for the Country Music Hall of Fame and Museum
In 30 years, Martina has become a pillar of the story of country music and an inspiration to women and girls everywhere. Her career is being celebrated with an exhibit at the Country Music Hall Of Fame.
“When I started this career, I had two goals: longevity and respect. I do feel like I’ve achieved those two things, which is really amazing. To be respected and accepted as an artist and as a singer was always really important to me,” Martina says. “With the new Country Music Hall Of Fame exhibit, I feel like it’s such a sign of respect. That’s really cool and it makes me feel like I did what I set out to do.”
Martina’s exhibit, The Power of Her Voice, is open now through Aug. 7, 2022. She has also recently released special edition vinyls–Martina McBride Greatest Hits: The RCA Years and is currently on the road with Alabama and Blake Shelton.