Susan Nadler and Evelyn Shriver, also known as the ‘Shady Ladies of Music City,’ have been forging their own paths through the Nashville music business since the 1980s.
The close friends and industry stalwarts have always demanded a seat at the table that was largely made up of men, and eventually became first women ever to helm a major Nashville record label. They’ve both led a fascinating career, which they talk about in their hilarious podcast, Shady Ladies of Music City.
The recently announced second season of the podcast is available to stream now–and Susan and Evelyn just revealed more guest stars for the second season, including Clint Higham, Bonnie Garner, Michael Campbell, Shane McAnally and the late Connie Bradley. They join previously announced episodes featuring Martina McBride, Lorrie Morgan, Joel Katz, Raul Malo and Tony Conway.
Evelyn came to Nashville after having started her career in PR in New York, where her husband had a record deal. While in New York Evelyn worked with actors Cary Grant, Bette Davis, and Joan Crawford, and musicians Cher, Diana Ross, and more. She was part of the team that launched People magazine, Entertainment Tonight and MTV.
Eventually she and her husband grew tired of New York and moved to Nashville. Once in Music City, her first management client in Nashville was a young, handsome country newcomer from North Carolina: Randy Travis.
“A girl named Susan Niles who used to work at Warner Brothers, she was my assistant in New York at one time, and she was a huge country music fan,” Evelyn said. “One day I said to her, ‘You should really move to Nashville,’ and she did. So when I came down here, she was the only person I knew and she took me and my husband out to the Nashville Palace to meet Randy.
“They wanted to have somebody outside of Nashville, he had been rejected by so many people in Nashville that they wanted somebody that didn’t have that attitude—and it turned out to be me.”
Evelyn Shriver, Susan Nadler. Photo: Courtesy Shriver & Nadler
Susan grew up in Pittsburg and was a music lover from birth. She started her college degree in Wisconsin, and finished in Jerusalem. Susan returned to the United States, but got involved in smuggling hashish through Mexico. She and her partners were caught and she ended up spending time in prison in Mexico. Susan later published a book about the experience called, The Butterfly Convention.
Susan then moved to Key West, where she owned and operated a popcorn stand and started writing books. She briefly married a songwriter, which got her to Nashville and eventually led her to a career in PR.
“I couldn’t make a dime as a writer, so I decided to get into the music business,” Susan said. “I had just done a series of interviews for my book and I went to talk to a woman named Liz Thiels who had a great PR company called Network Inc. I told her what my background was, I had just had a second book come out, and she hired me right away. So I started off doing PR. I had never worked before, I had never even operated a fax machine.”
After cutting her teeth in PR working with country and blues artists, Susan went to work for manager Stan Moress, doing PR for his artist list that included names such as Lorrie Morgan, Eddie Rabbit, Ronnie Milsap, Roger Miller, KT Oslin, Restless Heart and more. “He was the only management company in town that was going to have an in-house press person, and that was me.”
Eventually Susan became Lorrie Morgan’s manager. “We still are very good friends. We had a long history together and we made a lot of money together, Susan said. “I went on the road a lot with her, she’s an incredible talent. She really has the most authentic country voice.”
Susan Nadler, Lorrie Morgan, Evelyn Shriver. Photo: Courtesy Shriver & Nadler
Evelyn and Susan’s paths crossed in 1988. The two were fast friends.
“We both came from different backgrounds than most people in Nashville,” Evelyn said. “I came from New York, and she thought I was Jewish and that I was more sophisticated, so she was hell-bent on becoming friends. She called me all the time, we would have breakfast or lunch or whatever. We ended up becoming really good friends.”
“Evelyn was fantastic. She was so intelligent and from New York, she knew everybody,” Susan said. “She was representing Randy Travis and I was representing Tammy Wynette. We just became really good friends and that was the beginning of a long and very productive friendship. We have done a lot together.”
Pictured (L-R): Asylum Records Stan Byrd (VP Promotion), Susan Nadler (Exec. VP/A&R), Nancy Jones, George Jones, Evelyn Shriver (Label Head) in 1999. Photo: Courtesy Shriver & Nadler
Evelyn earned the title of the first female president of a major country label when she took over Asylum Records in 1998; Susan served as Asylum’s Exec. VP/A&R. They released the critically-acclaimed projects Cold Hard Truth (George Jones) and Trio II (Emmylou Harris/Dolly Parton/Linda Ronstadt) until Asylum was folded into Nashville-based Warner Bros. Records in 2002.
“We were unbelievably busy. We were overwhelmed with how much work there was,” Susan said. “When we came in [to Asylum] the first day they had fired everybody and we couldn’t even open the door. We had to rehire people back to figure out how to work the switchboard. It was an incredible time in the business. There were some very powerful women in the business, and we really didn’t realize it that much.”
Susan and Evelyn continued working together, forming Bandit Records in 2003 and adding Jones on the roster. In 2009, they launched Country Crossings Records, with artists John Anderson and Lorrie Morgan. By 2015, Susan and Evelyn were serving as a talent managers for the TV show Soundstage.
Susan Nadler and Evelyn Shriver’s first Shady Ladies of Music City podcast session. Photo: Courtesy Shriver & Nadler
Over the years, Evelyn and Susan have seen the Nashville music business grow and change, which they often discuss in their podcast.
“I think country music has more pride in itself now, even though it’s gotten so far away from country music. When I came to town, there was like this step-bastard child mentality. Nashville didn’t see itself as being competitive [to other genres],” Evelyn said. “But there was more of a sense of community. It was before everyone became a brand. I remember when people would have No. 1 records, everybody on the Row came. It was a big open family and that was the thing that really appealed to me. Though they had this bastard child mentality, they had a great sense of community. If one person had success, it felt like everybody had it.”
With all the adventures they shared through the ups and downs, the podcast is a perfect media for sharing the good, the bad, the ugly and the hilarious. Click here to stream the Shady Ladies of Music City, and hear about all the fun.
Pictured (L-R): Joel Katz Willie Nelson Evelyn Shriver at Farm Aid in 1993. Photo: Courtesy Shriver & Nadler
Pictured (L-R): Susan Nadler, KT Oslin, Evelyn Shriver in 2014. Photo: Courtesy Shriver & Nadler
Bakersfield-To-Nashville Musician Dennis Payne Passes
/by Robert K OermannA memorial service for Dennis Payne is scheduled for Wednesday evening (April 28) at the Texas Troubadour Theater.
The songwriter, sideman, studio engineer and recording artist died at age 71 on April 8 in Nashville.
His songwriting catalog includes the Junior Brown hit “Highway Patrol” (1995) as well as Vern Gosdin’s “All I Want and Need Forever” (1979). As a lead-guitarist sideman, Payne backed Earl Thomas Conley, David Frizzell, Jimmy Dickens, Cal Smith, Tommy Overstreet and many others. He was a member of the bands Eagle Creek, The Bakersfield Boys and Cigars & Cataracts.
A native of Bakersfield, California, Dennis Bruce Payne was the son of Charles Payne, a member of the western-swing band The Light Crust Doughboys. His uncle was Nashville Songwriters Hall of Fame member Leon Payne, famed for the country standards “I Love You Because,” “Lost Highway,” “They’ll Never Take Her Love From Me,” “Take Me,” “Blue Side of Lonesome,” “You Are the One” and “You’ve Still Got a Place in My Heart,” among others.
Dennis Payne began his career in Bakersfield as a teenager. He was on the local TV shows of Dave Stogner and Bill Woods, was managed by Buck Owens and became a protégée of Red Simpson. Payne and Simpson co-wrote “Truck Drivin’ Fool,” “The City Police,” “I Know Me Too Well” and other songs.
Their song “Highway Patrol” became a Red Simpson single in 1966, but did not become prominent until Junior Brown revived it 30 years later.
Bakersfield star Tommy Collins also recorded Dennis Payne songs, and the songwriter’s guitar skills led to touring with Wynn Stewart, Joe & Rose Lee Maphis and Eddie Dean. He was also in the house band at Gary Paxton’s Bakersfield studio.
Owens got Payne a recording contract with Capitol Records, which issued several singles by him in 1975.
Payne moved to Nashville in 1976. Gosdin had a hit with “All I Want and Need Forever” three years later. Dennis Payne recorded for a series of independent labels in Music City. He charted with two singles on True Records in 1988.
His song “True Blue” was on the soundtrack of the Golldie Hawn/Kurt Russell film Overboard in 1987. “Highway Patrol” was in the Jim Carrey movie Me, Myself and Irene in 2000.
Payne also worked as an audio engineer and studio owner/manager in Nashville. He was featured in the Country Music Hall of Fame’s “Bakersfield Sound” exhibit that opened in 2012.
His death was due to complications from heart disease. Dennis Payne is survived by daughters Tracy Payne Black and DeElla Ann Ray, two granddaughters, two brothers, two sisters and several nieces, nephews and cousins.
His service will take place from 4-7 p.m. on Wednesday at the Texas Troubadour Theatre on Music Valley Drive.
Country Songwriting Great Charlie Black Passes
/by Robert K OermannCharlie Black. Photo: Courtesy Nashville Songwriters Hall of Fame
Nashville Songwriters Hall of Fame member Charlie Black died on Friday (April 23) at age 71.
Black is best known as the co-writer of Anne Murray’s “A Little Good News,” Reba McEntire’s “You Lie” and Jennifer Warnes’ “I Know a Heartache When I See One,” among more than 20 other Top 10 country hits. He was inducted into the Nashville Songwriters Hall of Fame in 1991.
Charles Frank Black was raised in a Maryland suburb of Washington, D.C. He was a construction worker, custodian and produce delivery driver in his early years.
After attending the University of Maryland, he moved to Nashville in 1970 at age 21. His ambition was to become a singer, but country star Tommy Overstreet began recording his co-written songs, which altered Black’s course. Those songs included the top-10 hits “I Don’t Know You (Anymore)” (1971), “Send Me No Roses” (1973), “I’ll Never Break These Chains” (1973), “(Jeannie Marie) You Were a Lady” (1974) and “If I Miss You Again Tonight” (1974).
Black and Rory Bourke became songwriting collaborators in the late 1970s. Anne Murray’s recording of their “Shadows in the Moonlight” became a No. 1 hit in 1979. Teaming up with Kerry Chater, they scored with “I Know a Heartache When I See One” by Jennifer Warnes in that same year. These hits led to Black being named SESAC Country Songwriter of the Year in 1979.
The songwriting team was also responsible for Murray’s hits “Lucky Me” (1980), “Blessed Are the Believers” (1981) and “Another Sleepless Night” (1982). In 1983, “A Little Good News” was named the CMA Single of the Year, earned Murray a Grammy Award and was nominated as the year’s Best Country Song at the Grammys. Black took home ASCAP Country Songwriter of the Year honors in 1983 and 1984.
Black, Bourke and Jerry Gillespie were responsible for “Do You Love As Good As You Look,” which was a No. 1 smash for The Bellamy Brothers in 1981.
Another longtime songwriting collaborator was Tommy Rocco. He and Black co-wrote such hits as “Be There For Me Baby” (Johnny Lee, 1982), “Sounds Like Love” (Johnny Lee, 1983), “Slow Burn” (T.G. Sheppard, 1984) and “Another Motel Memory” (Shelly West, 1984). Joined by songwriter Austin Roberts, they also wrote “Honor Bound” (Earl Thomas Conley, 1985) and “Strong Heart” (T.G. Sheppard, 1986).
Roberts and Black co-wrote the No. 1 Gary Morris hit “100% Chance of Rain” (1986). Roberts, Black and Steve Dorff provided Lee Greenwood with “Someone” (1987). Roberts, Black and Buzz Cason created “Timeless and True Love” for The McCarters (1988), and the song was later covered by Jeannie Kendall & Alan Jackson (2003).
Black entered the 1990s as a songwriter by garnering another No. 1 hit, this time with K.T. Oslin (and Bourke) on “Come Next Monday” (1990). Black, Roberts and Bobby Fischer were behind Reba McEntire’s chart-topping “You Lie” (1990). Fischer, Black and Fred MacRae co-wrote the 1994 BlackHawk hit “Goodbye Says It All.”
In 1998, Jo Dee Messina revived “I Know a Heartache When I See One.” In that same year, Black formed a new songwriting partnership with Phil Vassar. They co-wrote Collin Raye’s “Little Red Rodeo” (1998) and Alan Jackson’s “Right on the Money” (1999), as well as Vassar’s singles “Carlene” (with Bourke, 1999), “Six Pack Summer” (with Rocco, 2001) and “Don’t Miss Your Life” (2012).
Others who recorded Charlie Black’s songs included Kenny Rogers, Lynn Anderson, John Conlee, Crystal Gayle, George Strait, Andy Williams, Juice Newton, Charlie Rich, Jerry Reed, The Osmond Brothers, Bobby Bare, Don Williams and Joe Nichols.
Black was married to songwriter Dana Hunt. She co-wrote the George Strait No. 1 hits “Check Yes or No” (with Danny Wells, the 1995 CMA Single of the Year) and “Write This Down” (with Kent Robbins, 1999).
The couple relocated from Nashville to Port St. Joe, Florida several years ago. Charlie Black’s death there was confirmed on his Wikipedia page and by NSAI board president Steve Bogard. Funeral arrangements have not been announced.
Concord Acquires Downtown Music Publishing’s Owned Copyright Catalog
/by LB CantrellDowntown Music Publishing has sold its portfolio of 145,000 owned and co-published music copyrights to a Concord affiliate. The copyrights included in the transaction were developed or acquired by Downtown over the past 14 years and bring Concord’s owned and controlled music assets to over 600,000 works. As part of the transaction, Downtown will continue to manage global royalty collection for the copyrights included in the sale through the end of 2021.
Among the works acquired by Concord are songs popularized by Adele, Aretha Franklin, Beyoncé, Blake Shelton, Bruno Mars, Carrie Underwood, David Bowie, Eric Clapton, the Grateful Dead, Jay-Z, Lady Gaga, Madonna, Maroon 5, Marvin Gaye, Mary J. Blige, Mos Def, Mötley Crüe, New Order, Rage Against the Machine, Ray Charles, Santigold, Sam Smith, Stevie Wonder, and The 1975 among many others. Iconic songs such as “Green Onions,” “Dancing In the Streets,” “Runaway,” “Home Sweet Home,” “Change the World,” “Moves Like Jagger,” “Halo,” “Stay With Me” and “Shallow” are all included in the transaction.
This is Concord’s latest acquisition and its most significant since its purchase of Imagem in 2017, underscoring Concord’s longtime leadership position in the acquisition of music and theater assets. Lisbeth R. Barron and her firm Barron International Group acted as the exclusive financial advisor to Concord on both transactions, as well as half a dozen more.
Downtown’s decision to divest its owned copyright portfolio follows a strategic review of its business interests initiated in Q4 2020. As a result of that process, Downtown has decided to focus exclusively on the fast-growing music services sector to support the extraordinary growth of the independent music economy, as well as the creators and entrepreneurial businesses that rely on its platforms and services. As the global music industry’s largest pure-play service provider, Downtown manages more than 23 million music assets on behalf of more than 1 million creators and 2,500 enterprise clients around the world.
Proceeds from the catalog sale are being reinvested back into Downtown.
“Concord is an excellent home for this extraordinary catalog that we’ve had the unique privilege to build over the past 14 years. Not only does Concord recognize the value of these works, but this transaction further demonstrates the true strength of the modern independent music sector,” says Downtown Founder and CEO Justin Kalifowitz.
“The incredible catalog of songs is an excellent complement to the timeless and valuable copyrights upon which Concord has built a successful business,” says Concord’s Chief Publishing Executive Jim Selby. “Our global publishing team is honored to now represent these songwriters and their works to the world.”
Dierks Bentley Revives High Times And Hangovers Tour With Club Run
/by Lorie HollabaughDierks Bentley is heading back to the clubs next month, bringing back his High Times And Hangovers tour with five shows in five nights. The mini-tour with special guests Cody Canada & The Departed kicks off May 11 and runs through May 15, with shows in South Carolina, North Carolina, Florida, and Tennessee.
Bentley headlined a dive bar tour by the same name back in 2006, also with special guest Cody Canada & The Departed (Cross Canadian Ragweed). Pre-sale tickets for fan club members begins tomorrow (April 27 @ 10 a.m. local time), before tickets go on sale to the public Friday (April 30) at dierks.com. Each date will be in compliance with CDC regulations based in each market.
Bentley has logged 19 No. 1s at country radio and racked up over 6.4 billion career streams. He recently celebrated his 15-year anniversary as a member of the Grand Ole Opry, and is currently climbing the chart with his latest Top 20 single “Gone.”
High Times & Hangovers Tour Dates:
5/11/21 Isle of Palms SC – Windjammer
5/12/21 Greenville, SC – Blindhorse Saloon
5/13/21 Charlotte, NC – Coyote Joe’s
5/14/21 Gainesville, FL – Knockin Boots
5/15/21 Knoxville, TN – Cotton Eyed Joe
Veteran And Contemporary Agents Launch Reliant Talent Agency [Exclusive]
/by LB CantrellSteve Lassiter, Matt McGuire, Heath Baumhor
Talent agents Steve Lassiter, Matt McGuire, and Heath Baumhor have announced the launch of the full-service entertainment company Reliant Talent Agency.
Headquartered in Nashville, Reliant Talent is comprised of a growing team of veteran and contemporary agents with decades of experience spanning major talent agencies. Lassiter, who got his start in the music business at age 19, most recently served as Co-Head of Worldwide Music at APA Nashville. Baumhor worked in a few different areas of the music industry before landing at APA, where he spent the last 15 years and was part of their contemporary music department. McGuire spent time at Buddy Lee Attractions before joining APA in 2013 to help form their club and small theatre department and rose to line agent just a few years after joining the company.
“Unfortunately COVID took out a lot of companies, and a lot of companies just had to make do with what they had. Fortunately for us, it created an opportunity for some of us to regroup and start our own thing,” Lassiter tells MusicRow. “We wanted to start an independent boutique operation instead of a corporate operation. We all spent many years at APA, and still have a lot of respect for those people as they were always really good to us through the years, but we just saw this opportunity and felt it was the right thing to do.”
Since its inception, Reliant has brought on other agents and expanded its artist roster to include talent representing Americana, comedy, country, rock, jazz, and more. Reliant’s roster currently includes Travis Tritt, Kenny Loggins, Everclear, Rodney Carrington, Phil Vassar, Yacht Rock Revue, Take 6, Average White Band, Sister Hazel, and more. Additional artists continue to be added to the roster, and more will be announced in the coming weeks.
Reliant artist Travis Tritt says, “Steve Lassiter has been in my corner for many years as a loyal agent and friend. I look forward to what’s on the horizon for Steve and the entire team at Reliant Talent Agency.”
In addition to its fundamental base of booking and live event services, Reliant continues to expand into a full-service agency, offering representation in TV/Film, commercials, voiceovers, and endorsements. They have formed strategic alliances with other global branding agencies to maximize opportunities and deals for the clients they represent.
Lassiter says, “The staff is about one quarter of the staff that we had. With a smaller staff, it creates more of an opportunity to focus more on the clients and not have to deal with a lot of the corporate agency minutia. It frees up a lot of time to act independently and be a smaller shop where the result is more focused on the clients, better routing for the clients, being able to work on each deal a little bit more and maybe squeeze in a little bit more money out of it.”
Additional agents that make up the Reliant Talent team include Chris Burke, Chris Gaulke, Fred Hansen, Jeff Howard, Chris Looney, and Frank Wing.
“Through the pandemic, there’s been quite a few independent boutique agencies to spring up that consists of agents from Paradigm, WME or CAA. For the last many years, they’ve all been competitors and now they found themselves working together. They’re starting from scratch. Whereas in this situation, all of us have already been working together for 10 to 20 years. So we were able to hit the ground running and really just blast out of the gate.”
Reliant continues to add partners, agents, and staff, who will be announced in the coming months.
Luke Bryan Announces ‘Proud To Be Right Here’ Tour
/by LB CantrellLuke Bryan. Photo: Ryan Anderson
Newly-named ACM Entertainer of the Year Luke Bryan has announced he will launch his Proud To Be Right Here Tour on July 8 in Syracuse, New York.
Dylan Scott, Caylee Hammack and Runaway June, along with DJ Rock, will serve as tour support.
“There is nothing more gratifying about writing and recording music than getting to play it live for the fans. There’s several songs off my new album that I’ve never performed live” says Bryan. “I can’t believe this moment is nearly here when we get to hop on the tour bus and roll into towns across America and get back to doing what we do best. What we live to do!”
New concert dates on the schedule will be available for presale to Bryan’s fan club, the Nut House, on Tuesday, April 27 and on sale to the public beginning Friday, April 30 at 10 a.m. local time at lukebryan.com. Tickets previously purchased will be honored on the newly reschedule dates as indicated below.
The announcement comes a day after his Crash My Playa 2022 concert vacation event sold-out due to record-breaking demand from returning event alumni and Bryan’s fans through pre-sale access. The sell-out is the event’s fastest in its seven-year history.
2021 Proud To Be Right Here Tour Dates:
July 8 – Syracuse, NY – St. Joseph’s Health Amphitheater at Lakeview
July 9 – Hershey, PA – Hersheypark Stadium
July 10 – Boston, MA – Xfinity Center
July 16 – Hartford, CT – Xfinity Theatre *
July 17 – Bristow, VA – Jiffy Lube Live
July 18 – Holmdel, NJ – PNC Bank Arts Center
July 22 – Cincinnati, OH – Riverbend Music Center *
July 23 – Charlotte, NC – PNC Music Pavilion
July 24 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
July 30 – Nashville, TN – Bridgestone Arena
July 31 – Orange Beach, AL – The Wharf *
Aug 5 – Bangor, ME – Darling’s Waterfront Pavilion
Aug 6 – Gilford, NH – Bank of New Hampshire Pavilion
Aug 7 – Gilford, NH – Bank of New Hampshire Pavilion
Aug 8 – Philadelphia, PA – BB&T Pavilion
Aug 12 – Columbia, MD – Merriweather Post Pavilion
Aug 13 – Wantagh, NY – Northwell Health at Jones Beach Theater
Aug 14 – Darien Center, NY – Darien Lake Amphitheater *
Aug 19 – St. Louis, MO – Hollywood Casino Amphitheater
Aug 20 – Indianapolis, IN – Ruoff Music Center
Aug 21 – Chicago, IL – Hollywood Casino Amphitheatre
Aug 27 – Rogers, AR – Walmart AMP
Aug 28 – Dallas, TX – Dos Equis Pavilion
Aug 29 – Brandon, MS – Brandon Amphitheater *
Sept 3 – Welch, MN – Treasure Island Amphitheater
Sept 23 – San Diego, CA – North Island Credit Union Amphitheatre
Sept 24 – Phoenix, AZ – AK-Chin Pavilion
Sept 30 – Bend, OR – Les Schwab Amphitheater
Oct 1 – Bend, OR – Les Schwab Amphitheater
Oct 2 – Portland, OR – Sunlight Supply Amphitheater
Oct 8 – Los Angeles, CA – STAPLES Center *
Oct 9 – Mountain View, CA – Shoreline Amphitheatre
Oct 10 – Sacramento, CA – Toyota Amphitheatre
Oct 14 – Irvine, CA – FivePoint Amphitheatre
Oct 15 – Fresno, CA – Save Mart Center *
Oct 16 – San Bernardino, CA – Glen Helen Amphitheater *
*indicates concerts that have been rescheduled to these dates
Dylan Scott on all dates except July 8-18
Caylee Hammack on all dates through August 14
Runaway June on all dates beginning August 19
DJ Rock on all dates
Justin Moore: ‘I’m As True To Myself As An Artist As I’ve Ever Been’ [Interview]
/by LB CantrellJustin Moore. Photo: Cody Villalobos
As a torch-bearer for traditional country music, Justin Moore continues onward with the release of his sixth studio album Straight Outta The Country, available everywhere today (April 23).
Featuring co-writes with Rhett Akins, Casey Beathard, Randy Montana, Hardy and others, each of the eight songs find Moore embracing his signature Arkansas-twang and traditional country themes. Produced by Jeremy Stover, Straight Outta The Country includes Moore’s latest single “We Didn’t Have Much,” which is climbing at country radio.
Moore spoke to MusicRow recently about the new project, his collaborators, and the last 14 years of music.
MusicRow: Did you make the album during the pandemic?
We really recorded a lot of this while recording the Late Nights And Long Necks album. We had 30 or 40 songs that we were really excited about for that, but my label shockingly would not let me put 30 or 40 songs on that album. We knew that we were in a good spot and we knew that we loved these songs enough that we wanted to get them out to folks, so as we moved through this crazy year we were just trying to figure out how we were going to go about doing that. I might’ve recorded a couple of vocals here at home, but other than that, we were just very fortunate that we didn’t have to go in and track those things because it could have been very challenging, to say the least
With that many songs, how did you decide which songs went on which project?
Honestly it’s like putting a puzzle together. There’s songs that I wrote 18 or 19 years ago that I still want to put on an album. I’ll give you a prime example: I thought a song that I wrote 17 years ago called ‘Late Nights And Long Necks’ was going to be on the Late Nights And Long Necks album, so much so that we named it Late Nights And Long Necks and then that song didn’t make it on that album.
Sometimes putting an album together is just what fits together the best, it’s not necessarily ‘These are the best songs.’ We wouldn’t record them if I didn’t think they were great songs, I don’t mean it in that regard, but I’m a fan of albums having continuity throughout them. So I always try my best to put them together where I think they best fit.
You worked with Jeremy Stover again on production. You guys have have been working together your whole career. Why do you think it works so well with you guys?
We just get each other. It sounds silly to say, but we literally finish each other’s sentences. We’re not only partners in music and have been since the beginning of my career, but we’re like brothers. He’s one of my best friends in the world. I’ve heard him say that if he was an artist, he would be me. By the same token, if I was a producer/songwriter, I’d be him. I learned a lot from him early on in my career about writing songs.
Another collaborator, Paul DiGiovanni, is all over the Straight Outta The Country track list. With his background in pop-punk [Boys Like Girls] before starting to work in the country music space, and your very traditional sound, how does that work?
Well in complete transparency, I didn’t have a clue he was in [Boys Like Girls]. I love Paul, I would tell him this to his face, I just didn’t listen to that type of music. The reason it works is because he brings something to the table completely different than what Jeremy and I do, or whomever else is in the room with us. He will say something in a way that none of us have thought about, not to mention his ability to put tracks together and his melodies are just stuff that I would personally never think of. That has put me on a different path, lyrically. If he comes up with something melodically, or just says his thoughts about where to take a song, it may be a direction that never even entered my mind. I think it’s good to not only have [a variety] in the amount of voices in the room, but I think different types of voices in the room helps too. It makes songs better.
You have two versions of “We Didn’t Have Much” on the track list. Why is that song is so special to you?
It’s more special to me because of what we’ve all dealt with this year than it would have been otherwise. I heard the song really early on in the pandemic. We had Tracy Lawrence on as one of first guests on my podcast. He said something that really resonated with me and I really related to, and then after hearing this song, I related it to the song. What he said was that especially early on in the pandemic, he and his wife and family had been forced to lead a much more simple life, literally borrowing eggs from neighbors and things like that. Things that sound like a cliche country song, but we were kind of in the same boat here at home. I thought, man, this song speaks to the beauty in that simplicity.
This song kind of describes my youth and what we’re trying to impress upon my kids as best you can in this world we live in today. And I thought the song, from a timing perspective was perfect with what we’re all dealing with.
This is your sixth studio album. You signed to Valory Music Co. in 2008 and “Small Town USA” hit in 2009. What do you think it says about how far you’ve come musically and in your career?
It’s hard to believe, first and foremost, that we’ve been able to do this as long as we have and continue to have the success that we’ve been able to enjoy. I’ve got friends in town that I met when I came here and for whatever reason they didn’t [make it]—there’s a lot of luck involved in it. It’s a lot of timing and things. I just feel so blessed that I never had to get a real job.
More specifically pertaining to the music and me as an artist 14 years later, I think you learn who you are and what you want to say and what you want to be as an artist. You have an idea when you come out as a young artist, but then as you try this and you try that and you have the opportunity to go out and meet your audience, whether it be on stage, meet and greets, or social media. I think you just learn your craft. I feel as though I’m as true to myself as an artist as I’ve ever been.
Fisk Jubilee Singers Celebrate 150th Anniversary With Performance Film
/by Steven BoeroTPAC is partnering with the Fisk Jubilee Singers in releasing Walk Together Children: The 150th Anniversary of the Fisk Jubilee Singers for rent through Vimeo on Demand.
The new performance film featuring the multi-award-winning and world-renowned Fisk Jubilee Singers will be available from April 26 – May 10.
The film, created in collaboration with Musical Director Dr. Paul T. Kwami and producer/director Jon Royal, features current Fisk Jubilee Singers paying tribute to the original nine members of the storied ensemble and reflecting on their roles as preservers of this rich legacy. They explore the personal stories of these trailblazers, and invite the viewer to learn the significance of the music the Fisk Jubilee Singers sing and its value in today’s culture.
Fans can preorder the concert film now for $20. Proceeds will go to TPAC’s nonprofit mission and the Fisk Jubilee Singers Endowed Scholarship Fund.
Walk Together Children: The 150th Anniversary of the Fisk Jubilee Singers® from TPAC on Vimeo.
Sam Williams Set To Release Debut Album ‘Glasshouse Children’ This Summer
/by Lorie HollabaughSam Williams. Photo: Alexa King.
Sam Williams will be releasing his indie debut album, Glasshouse Children, this summer.
The grandson of country pioneer Hank Williams and the son of outlaw legend Hank Jr., Williams fuses gut-wrenching honesty with raw vulnerability. Suffering such a sudden loss this past year of his sister Katie has been profoundly devastating, but he has found himself on a journey that has led to a deeper understanding of his purpose in life.
Williams made his TV debut on The Late Show with Stephen Colbert, last night (April 22) performing his latest single, “Can’t Fool Your Own Blood.” This newest release was preceded by “Shuteye” and “The World: Alone,” a song he released in honor of his late sister’s 28th birthday.
Williams debut album, Glasshouse Children, is available for pre-order and pre-save now.
‘Shady Ladies’ Susan Nadler And Evelyn Shriver Talk Business, Friendship, And Hilarity [Interview]
/by LB CantrellSusan Nadler and Evelyn Shriver, also known as the ‘Shady Ladies of Music City,’ have been forging their own paths through the Nashville music business since the 1980s.
The close friends and industry stalwarts have always demanded a seat at the table that was largely made up of men, and eventually became first women ever to helm a major Nashville record label. They’ve both led a fascinating career, which they talk about in their hilarious podcast, Shady Ladies of Music City.
The recently announced second season of the podcast is available to stream now–and Susan and Evelyn just revealed more guest stars for the second season, including Clint Higham, Bonnie Garner, Michael Campbell, Shane McAnally and the late Connie Bradley. They join previously announced episodes featuring Martina McBride, Lorrie Morgan, Joel Katz, Raul Malo and Tony Conway.
Evelyn came to Nashville after having started her career in PR in New York, where her husband had a record deal. While in New York Evelyn worked with actors Cary Grant, Bette Davis, and Joan Crawford, and musicians Cher, Diana Ross, and more. She was part of the team that launched People magazine, Entertainment Tonight and MTV.
Eventually she and her husband grew tired of New York and moved to Nashville. Once in Music City, her first management client in Nashville was a young, handsome country newcomer from North Carolina: Randy Travis.
“A girl named Susan Niles who used to work at Warner Brothers, she was my assistant in New York at one time, and she was a huge country music fan,” Evelyn said. “One day I said to her, ‘You should really move to Nashville,’ and she did. So when I came down here, she was the only person I knew and she took me and my husband out to the Nashville Palace to meet Randy.
“They wanted to have somebody outside of Nashville, he had been rejected by so many people in Nashville that they wanted somebody that didn’t have that attitude—and it turned out to be me.”
Evelyn Shriver, Susan Nadler. Photo: Courtesy Shriver & Nadler
Susan grew up in Pittsburg and was a music lover from birth. She started her college degree in Wisconsin, and finished in Jerusalem. Susan returned to the United States, but got involved in smuggling hashish through Mexico. She and her partners were caught and she ended up spending time in prison in Mexico. Susan later published a book about the experience called, The Butterfly Convention.
Susan then moved to Key West, where she owned and operated a popcorn stand and started writing books. She briefly married a songwriter, which got her to Nashville and eventually led her to a career in PR.
“I couldn’t make a dime as a writer, so I decided to get into the music business,” Susan said. “I had just done a series of interviews for my book and I went to talk to a woman named Liz Thiels who had a great PR company called Network Inc. I told her what my background was, I had just had a second book come out, and she hired me right away. So I started off doing PR. I had never worked before, I had never even operated a fax machine.”
After cutting her teeth in PR working with country and blues artists, Susan went to work for manager Stan Moress, doing PR for his artist list that included names such as Lorrie Morgan, Eddie Rabbit, Ronnie Milsap, Roger Miller, KT Oslin, Restless Heart and more. “He was the only management company in town that was going to have an in-house press person, and that was me.”
Eventually Susan became Lorrie Morgan’s manager. “We still are very good friends. We had a long history together and we made a lot of money together, Susan said. “I went on the road a lot with her, she’s an incredible talent. She really has the most authentic country voice.”
Susan Nadler, Lorrie Morgan, Evelyn Shriver. Photo: Courtesy Shriver & Nadler
Evelyn and Susan’s paths crossed in 1988. The two were fast friends.
“We both came from different backgrounds than most people in Nashville,” Evelyn said. “I came from New York, and she thought I was Jewish and that I was more sophisticated, so she was hell-bent on becoming friends. She called me all the time, we would have breakfast or lunch or whatever. We ended up becoming really good friends.”
“Evelyn was fantastic. She was so intelligent and from New York, she knew everybody,” Susan said. “She was representing Randy Travis and I was representing Tammy Wynette. We just became really good friends and that was the beginning of a long and very productive friendship. We have done a lot together.”
Pictured (L-R): Asylum Records Stan Byrd (VP Promotion), Susan Nadler (Exec. VP/A&R), Nancy Jones, George Jones, Evelyn Shriver (Label Head) in 1999. Photo: Courtesy Shriver & Nadler
Evelyn earned the title of the first female president of a major country label when she took over Asylum Records in 1998; Susan served as Asylum’s Exec. VP/A&R. They released the critically-acclaimed projects Cold Hard Truth (George Jones) and Trio II (Emmylou Harris/Dolly Parton/Linda Ronstadt) until Asylum was folded into Nashville-based Warner Bros. Records in 2002.
“We were unbelievably busy. We were overwhelmed with how much work there was,” Susan said. “When we came in [to Asylum] the first day they had fired everybody and we couldn’t even open the door. We had to rehire people back to figure out how to work the switchboard. It was an incredible time in the business. There were some very powerful women in the business, and we really didn’t realize it that much.”
Susan and Evelyn continued working together, forming Bandit Records in 2003 and adding Jones on the roster. In 2009, they launched Country Crossings Records, with artists John Anderson and Lorrie Morgan. By 2015, Susan and Evelyn were serving as a talent managers for the TV show Soundstage.
Susan Nadler and Evelyn Shriver’s first Shady Ladies of Music City podcast session. Photo: Courtesy Shriver & Nadler
Over the years, Evelyn and Susan have seen the Nashville music business grow and change, which they often discuss in their podcast.
“I think country music has more pride in itself now, even though it’s gotten so far away from country music. When I came to town, there was like this step-bastard child mentality. Nashville didn’t see itself as being competitive [to other genres],” Evelyn said. “But there was more of a sense of community. It was before everyone became a brand. I remember when people would have No. 1 records, everybody on the Row came. It was a big open family and that was the thing that really appealed to me. Though they had this bastard child mentality, they had a great sense of community. If one person had success, it felt like everybody had it.”
With all the adventures they shared through the ups and downs, the podcast is a perfect media for sharing the good, the bad, the ugly and the hilarious. Click here to stream the Shady Ladies of Music City, and hear about all the fun.
Pictured (L-R): Joel Katz Willie Nelson Evelyn Shriver at Farm Aid in 1993. Photo: Courtesy Shriver & Nadler
Pictured (L-R): Susan Nadler, KT Oslin, Evelyn Shriver in 2014. Photo: Courtesy Shriver & Nadler