Pictured (L-R): Randy Rayburn, Joe Johnson, David Bennett at Johnson 89th birthday party.
Joe Johnson, who made his mark as label executive, record producer and the publisher of dozens of hit songs, has died at age 93.
Johnson produced, published and/or promoted more than 150 hits. He was behind such successes as “Tequila” by The Champs (1958), “Wishful Thinking” by Wynn Stewart (1960), “The One You Slip Around With” by Jan Howard (1960), “Lies” by The Knickerbockers (1966) and “Signs” by The Five Man Electrical Band (1971). He built the Music Row office building that has housed GAC and RFD-TV.
His career as a music executive touched the lives of Willie Nelson, Lorrie Morgan, Jan and Dean, Marty Robbins, Gene Autry, Ricky Nelson, Chubby Checker, Harlan Howard, Glen Campbell and dozens more.
“He was one of the last survivors of those charismatic record men who shaped this business,” said his friend and admirer Rick Sanjek. “I found his energy, demeanor and vision inspirational.”
Johnson suffered a stroke in 2018 and had been in an assisted-living facility in Hendersonville since then. He died there on Tuesday (Dec. 22).
Joe Johnson was born in 1927 in Cookeville, Tennessee. He attended Vanderbilt University law school. He went to work for Columbia Records in the early 1950s.
He was initially charged with promoting the discs of the company’s pop stars, including Tony Bennett (“Rags to Riches,” 1953), Doris Day (“Secret Love,” 1954), Frankie Laine, Johnnie Ray, Roy Hamilton, The Four Lads and Guy Mitchell.
Johnson was sent to Texas to investigate the emerging rockabilly style. He saw Elvis Presley there and urged his label to sign “The Hillbilly Cat.” Instead, he was instructed to replicate the then-unknown artist’s songs. So he took “That’s All Right” to Marty Robbins, who had a big country hit with it in 1955. Johnson also produced the 1954 Jimmy Dickens favorite “Y’All Come.”
He promoted the label’s entire country roster of that era, including Carl Smith, George Morgan, Gene Autry, Lefty Frizzell and Ray Price, as well as Robbins and Dickens. He formed a particular attachment with Autry, who hired Johnson to be the “advance man” for his road show. When Autry quit touring, he chose Johnson to run his music companies in L.A.
On an Autry recording visit to Nashville, he took the superstar to The Tennessee State Prison. They heard the incarcerated group The Prisonaires singing their composition “Just Walkin’ In the Rain.” He arranged for Autry’s Golden West Melodies to buy the publishing to “Just Walkin’ in the Rain” and then pitched the song to Columbia’s Johnnie Ray. It became a massive pop hit for the singer in 1956.
In 1957, Autry, Johnson and businessman Johnny Thompson used the profits from “Just Walkin’ in the Rain” to found Challenge Records and JAT Music. In October 1958, Autry sold his share to his two partners so that he could invest in hotel properties and the California Angels baseball team. Thompson became the Challenge general manager. Johnson handled A&R musical responsibilities.
Initially, the companies prospered thanks to Johnson publishing such tunes as “I’m Available” (Margie Rayburn, 1957) and “I’ll Be There” (Ray Price, 1957). Challenge’s first recording success was “So Tough” by the r&b vocal group The Kuf-Linx in 1958.
The backup band on that record was The Champs, who had a massive hit with “Tequila” later that year. Published by JAT, “Tequila” was at No. 1 on the pop charts for five weeks, became an international smash and won a Grammy Award. Among the future stars who performed as members of The Champs were Glen Campbell and the hit pop duo Seals & Crofts.
Produced by Joe Johnson, Jerry Wallace had a string of pop hits on Challenge. These included “Primrose Lane” (1959), “Shutters and Boards” (1962) and “In the Misty Moonlight” (1964).
In 1961, Joe Johnson bought out partner Johnny Thompson. He also bought 4 Star Records and its publishing company that year. This brought him the income from such evergreen copyrights as “Release Me,” “Lonely Street,” “Stop the World and Let Me Off,” “Hot Rod Lincoln,” “Just Out of Reach” and “Am I That Easy to Forget.” 4 Star’s recording artists had included Hank Locklin, Patsy Cline, Webb Pierce, The Maddox Brothers & Rose, Stuart Hamblen, Jimmy Dean, T. Texas Tyler and Roy Clark. So Johnson instantly had many options for repackaging.
Meanwhile, on Challenge, Jan and Dean’s “Heart and Soul” charted in 1961. The Blossoms (including Darlene Love) answered the big hit “Mother in Law” with “Son in Law” on Challenge that same year. Marty Balin, later of Jefferson Airplane, was a Challenge artist in 1962. Wayne Newton, Gene Vincent and future Monkees member Mickey Dolenz were among the other pop acts who were on Challenge Records.
Johnson acquired “Limbo Rock” as an instrumental for The Champs in 1962. Chubby Checker’s people added lyrics, and the “Twist” star scored a big hit with it later that year.
Challenge singer-songwriter Jerry Fuller provided Ricky Nelson with major hits including “Travelin’ Man” (1961), “A Wonder Like You” (1961), “Young World” (1962) and “It’s Up to You” (1963). The teen superstar also recorded 21 songs written by Challenge Records artist Baker Knight.
Golden West Melodies songwriter Dave Burgess–the leader of The Champs and the author of the Price hit “I’ll Be There ”–did his part by providing Nelson with several more successes. As a result of all these connections, Joe Johnson tried to sign Ricky Nelson to Challenge, but failed.
Johnson co-published the first 15 songs written by Harlan Howard. This led to Johnson’s re-entry into country music. He produced Wynn Stewart’s breakthrough hits on Challenge, including “Wishful Thinking” (1960) and “Big Big Love” (1962). Challenge also helped launch the careers of country artists Jeannie Seely, Jan Howard, Justin Tubb, Bobby Bare and Donna Fargo, among others.
In 1964, Joe Johnson became a co-founder of the Academy of Country Music (ACM). He also helped provide the seed money to produce the pilot of its annual awards show.
The Knickerbockers brought his label into the rock era with its Beatles-styled 1966 hit “Lies.” The following year, Johnson pitched “Release Me” to Englebert Humperdinck and reaped the benefits of a worldwide pop smash by the song. He next scored by publishing “Signs” by the Canadian group Five Man Electrical Band in 1971. It earned a Gold Record.
Joe Johnson moved back to Nashville in 1972. He got Jerry Wallace signed as a country artist to Decca and produced the star’s comeback hits, including the CMA Award nominated “To Get to You” (1972), plus “If You Leave Me Tonight I’ll Cry” (1972), “Do You Know What It’s Like to Be Lonesome” (1973) and “Don’t Give Up on Me” (1973).
Johnson reactivated 4 Star Records in 1975. He built the 4 Star Building across from the United Artists Tower on Music Row with the intention of housing the label, a song publishing company, a recording studio, a video soundstage and a manufacturing plant under one roof.
He reissued Patsy Cline’s 1959 recording of “Life’s Railway to Heaven” on 4 Star, and it made the charts in 1978. Despite this and 4 Star discs by Lorrie Morgan, The LeGarde Twins, George Morgan, Bonnie Guitar and others, Johnson was forced to sell the building and his publishing catalog in 1980.
He retained the Challenge and 4 Star recordings. He recorded Willie Nelson singing “duets” with Patsy Cline on “Just a Closer Walk with Thee” and “Life’s Railway to Heaven.” Johnson had Sony-ATV administer the licenses for his master recordings, since that’s where his song-publishing copyrights also reside. There have been legal entanglements over his former holdings for decades.
The 4 Star Building at 49 Music Square West has housed the offices of the GAC cable TV channel, the Bullet TV production complex and Quad Recording Studios. More recent tenants include RFD-TV, Trey Turner artist management and Hippie Radio 94.5.
Joe Johnson’s other business interests included the management company Advance Artists and a background-music production firm in partnership with the 3M Company to compete with Muzak.
An avid golfer, he launched a Nashville pro-celebrity golf tournament. Joe Johnson continued to play until age 85.
He is survived by his children Elizabeth Jane Johnson Donoho, Margaret Lane Johnson Palubicki, Joseph “Beau” Burgess Johnson and Charles Martin Johnson, plus four grandchildren. His memory is also cherished by his ex-wife, Marianne Rippey.
Funeral arrangements are being handled by Taylor Funeral Home in Dickson, Tennessee. Joe Johnson will be buried at the Burgess Family cemetery at Upper Cherry Creek Cemetery in Sparta, Tennessee.
Cage The Elephant To Play Bread And Roses’ Winter Benefit
/by Lorie HollabaughCage The Elephant is set to perform a full band and electric virtual concert for Bread & Roses’ Winter Benefit on Jan. 30. The special show will be broadcast from Blackbird Studio in Nashville, and will be available to watch exclusively on Nugs.net.
The night will consist of music, fundraising and celebration to support the essential work of Bread & Roses. The fundraiser will generate critical support for the nonprofit arts organization which produces free, live music and entertainment for Bay Area children, teens, adults, and elders who don’t have the ability to easily experience the power of the arts any other way. Tickets are available here, and previously purchased Eventbrite tickets will be honored for the new broadcast event.
The band won their second Grammy Award for 2020’s Best Rock Album with Social Cues, and has released four additional studio albums —their self-titled debut, 2011’s Thank You, Happy Birthday, the Gold-certified Melophobia, and the Grammy-winning Tell Me I’m Pretty.
Veteran Music Mogul Joe Johnson Passes
/by Robert K OermannPictured (L-R): Randy Rayburn, Joe Johnson, David Bennett at Johnson 89th birthday party.
Joe Johnson, who made his mark as label executive, record producer and the publisher of dozens of hit songs, has died at age 93.
Johnson produced, published and/or promoted more than 150 hits. He was behind such successes as “Tequila” by The Champs (1958), “Wishful Thinking” by Wynn Stewart (1960), “The One You Slip Around With” by Jan Howard (1960), “Lies” by The Knickerbockers (1966) and “Signs” by The Five Man Electrical Band (1971). He built the Music Row office building that has housed GAC and RFD-TV.
His career as a music executive touched the lives of Willie Nelson, Lorrie Morgan, Jan and Dean, Marty Robbins, Gene Autry, Ricky Nelson, Chubby Checker, Harlan Howard, Glen Campbell and dozens more.
“He was one of the last survivors of those charismatic record men who shaped this business,” said his friend and admirer Rick Sanjek. “I found his energy, demeanor and vision inspirational.”
Johnson suffered a stroke in 2018 and had been in an assisted-living facility in Hendersonville since then. He died there on Tuesday (Dec. 22).
Joe Johnson was born in 1927 in Cookeville, Tennessee. He attended Vanderbilt University law school. He went to work for Columbia Records in the early 1950s.
He was initially charged with promoting the discs of the company’s pop stars, including Tony Bennett (“Rags to Riches,” 1953), Doris Day (“Secret Love,” 1954), Frankie Laine, Johnnie Ray, Roy Hamilton, The Four Lads and Guy Mitchell.
Johnson was sent to Texas to investigate the emerging rockabilly style. He saw Elvis Presley there and urged his label to sign “The Hillbilly Cat.” Instead, he was instructed to replicate the then-unknown artist’s songs. So he took “That’s All Right” to Marty Robbins, who had a big country hit with it in 1955. Johnson also produced the 1954 Jimmy Dickens favorite “Y’All Come.”
He promoted the label’s entire country roster of that era, including Carl Smith, George Morgan, Gene Autry, Lefty Frizzell and Ray Price, as well as Robbins and Dickens. He formed a particular attachment with Autry, who hired Johnson to be the “advance man” for his road show. When Autry quit touring, he chose Johnson to run his music companies in L.A.
On an Autry recording visit to Nashville, he took the superstar to The Tennessee State Prison. They heard the incarcerated group The Prisonaires singing their composition “Just Walkin’ In the Rain.” He arranged for Autry’s Golden West Melodies to buy the publishing to “Just Walkin’ in the Rain” and then pitched the song to Columbia’s Johnnie Ray. It became a massive pop hit for the singer in 1956.
In 1957, Autry, Johnson and businessman Johnny Thompson used the profits from “Just Walkin’ in the Rain” to found Challenge Records and JAT Music. In October 1958, Autry sold his share to his two partners so that he could invest in hotel properties and the California Angels baseball team. Thompson became the Challenge general manager. Johnson handled A&R musical responsibilities.
Initially, the companies prospered thanks to Johnson publishing such tunes as “I’m Available” (Margie Rayburn, 1957) and “I’ll Be There” (Ray Price, 1957). Challenge’s first recording success was “So Tough” by the r&b vocal group The Kuf-Linx in 1958.
The backup band on that record was The Champs, who had a massive hit with “Tequila” later that year. Published by JAT, “Tequila” was at No. 1 on the pop charts for five weeks, became an international smash and won a Grammy Award. Among the future stars who performed as members of The Champs were Glen Campbell and the hit pop duo Seals & Crofts.
Produced by Joe Johnson, Jerry Wallace had a string of pop hits on Challenge. These included “Primrose Lane” (1959), “Shutters and Boards” (1962) and “In the Misty Moonlight” (1964).
In 1961, Joe Johnson bought out partner Johnny Thompson. He also bought 4 Star Records and its publishing company that year. This brought him the income from such evergreen copyrights as “Release Me,” “Lonely Street,” “Stop the World and Let Me Off,” “Hot Rod Lincoln,” “Just Out of Reach” and “Am I That Easy to Forget.” 4 Star’s recording artists had included Hank Locklin, Patsy Cline, Webb Pierce, The Maddox Brothers & Rose, Stuart Hamblen, Jimmy Dean, T. Texas Tyler and Roy Clark. So Johnson instantly had many options for repackaging.
Meanwhile, on Challenge, Jan and Dean’s “Heart and Soul” charted in 1961. The Blossoms (including Darlene Love) answered the big hit “Mother in Law” with “Son in Law” on Challenge that same year. Marty Balin, later of Jefferson Airplane, was a Challenge artist in 1962. Wayne Newton, Gene Vincent and future Monkees member Mickey Dolenz were among the other pop acts who were on Challenge Records.
Johnson acquired “Limbo Rock” as an instrumental for The Champs in 1962. Chubby Checker’s people added lyrics, and the “Twist” star scored a big hit with it later that year.
Challenge singer-songwriter Jerry Fuller provided Ricky Nelson with major hits including “Travelin’ Man” (1961), “A Wonder Like You” (1961), “Young World” (1962) and “It’s Up to You” (1963). The teen superstar also recorded 21 songs written by Challenge Records artist Baker Knight.
Golden West Melodies songwriter Dave Burgess–the leader of The Champs and the author of the Price hit “I’ll Be There ”–did his part by providing Nelson with several more successes. As a result of all these connections, Joe Johnson tried to sign Ricky Nelson to Challenge, but failed.
Johnson co-published the first 15 songs written by Harlan Howard. This led to Johnson’s re-entry into country music. He produced Wynn Stewart’s breakthrough hits on Challenge, including “Wishful Thinking” (1960) and “Big Big Love” (1962). Challenge also helped launch the careers of country artists Jeannie Seely, Jan Howard, Justin Tubb, Bobby Bare and Donna Fargo, among others.
In 1964, Joe Johnson became a co-founder of the Academy of Country Music (ACM). He also helped provide the seed money to produce the pilot of its annual awards show.
The Knickerbockers brought his label into the rock era with its Beatles-styled 1966 hit “Lies.” The following year, Johnson pitched “Release Me” to Englebert Humperdinck and reaped the benefits of a worldwide pop smash by the song. He next scored by publishing “Signs” by the Canadian group Five Man Electrical Band in 1971. It earned a Gold Record.
Joe Johnson moved back to Nashville in 1972. He got Jerry Wallace signed as a country artist to Decca and produced the star’s comeback hits, including the CMA Award nominated “To Get to You” (1972), plus “If You Leave Me Tonight I’ll Cry” (1972), “Do You Know What It’s Like to Be Lonesome” (1973) and “Don’t Give Up on Me” (1973).
Johnson reactivated 4 Star Records in 1975. He built the 4 Star Building across from the United Artists Tower on Music Row with the intention of housing the label, a song publishing company, a recording studio, a video soundstage and a manufacturing plant under one roof.
He reissued Patsy Cline’s 1959 recording of “Life’s Railway to Heaven” on 4 Star, and it made the charts in 1978. Despite this and 4 Star discs by Lorrie Morgan, The LeGarde Twins, George Morgan, Bonnie Guitar and others, Johnson was forced to sell the building and his publishing catalog in 1980.
He retained the Challenge and 4 Star recordings. He recorded Willie Nelson singing “duets” with Patsy Cline on “Just a Closer Walk with Thee” and “Life’s Railway to Heaven.” Johnson had Sony-ATV administer the licenses for his master recordings, since that’s where his song-publishing copyrights also reside. There have been legal entanglements over his former holdings for decades.
The 4 Star Building at 49 Music Square West has housed the offices of the GAC cable TV channel, the Bullet TV production complex and Quad Recording Studios. More recent tenants include RFD-TV, Trey Turner artist management and Hippie Radio 94.5.
Joe Johnson’s other business interests included the management company Advance Artists and a background-music production firm in partnership with the 3M Company to compete with Muzak.
An avid golfer, he launched a Nashville pro-celebrity golf tournament. Joe Johnson continued to play until age 85.
He is survived by his children Elizabeth Jane Johnson Donoho, Margaret Lane Johnson Palubicki, Joseph “Beau” Burgess Johnson and Charles Martin Johnson, plus four grandchildren. His memory is also cherished by his ex-wife, Marianne Rippey.
Funeral arrangements are being handled by Taylor Funeral Home in Dickson, Tennessee. Joe Johnson will be buried at the Burgess Family cemetery at Upper Cherry Creek Cemetery in Sparta, Tennessee.
Brett Young Plans Caliville Getaway With Fans In Palm Springs In June
/by Lorie HollabaughBrett Young is heading to the desert next year for his first-ever “Caliville Weekend” in Palm Springs, California on June 18-21, 2021. The experience, presented by Pollen and curated by Young, will feature daily live performances, wellness activities, pool parties, plenty of surprises and more.
“Bringing us all together for a weekend in one of my favorite places in the world is definitely a dream come true for me,” Young said. “I can’t wait for everyone to see what we have planned for them next summer!”
Ticket packages are available now here. All event packages include hotel accommodations, payment plans available and only $25 deposit to reserve your spot.
Young’s latest single, “Lady,” a heart-bending love letter to his daughter and wife written with Ross Copperman and Jon Nite shortly before his first daughter Presley’s birth in October 2019, is currently rising up the charts. While touring is on hold, Young has been tapped for several high-profile, all-genre live streams in an effort to bring music and relief to fans across the world including Live at The Ryman, Levi’s 5:01 Music Series, Visible’s Red Rocks Unpaused, Pepsi’s Unmute Your Voice Concert and Camping World’s Taking The Highways Across America series.
Scott And Sandi Borchetta Announce First Five Grant Recipients Awarded Through The Music Has Value Fund
/by Alex ParryJust over fifteen years ago, Scott Borchetta opened the doors of a small office on Music Row for a start-up label he named Big Machine Records. To celebrate the label’s historic 15-year successes, BMLG President/CEO Scott and his wife Sandi Borchetta, who is BMLG’s Senior Vice President of Creative, announced the launch of a grant fund for 501c3 non-profit music schools and organizations, awarding fifteen recipients with $10,000 grants through the Music Has Value fund.
The first five organizations to receive a grant have been announced including during a ZOOM call with the Borchetta’s. The organizations are as follows:
Chattanooga, Tennessee’s Chattanooga Boys Choir
Tacoma, Washington’s Ted Brown Music Outreach
Higley, Arizona’s United Sound
Boston’s Education Through Music
Oklahoma City’s El Sistema Oklahoma
“When we set out on this journey a little over 15 years ago, the mission was the same then as it is now—find great artists and make great music,” said Borchetta. “Music comes at us from all corners in all shapes and all sizes. Sandi and I feel the responsibility to continue to enable opportunities for all students to experience music-making, whether it’s the sheer joy of just doing it… all the way to successful recording artist. These first five recipients of MHV grants all have a unique take, and challenge, to carry out this mission. We applaud them and proudly support them.”
The Borchettas’ Music Has Value Fund is a fund they created in 2015 to provide financial support to organizations which support those who make music, aspire to make music, and access and appreciate music.
New License For U.S. Digital Audio Mechanicals Available January 1st
/by Lorie HollabaughThe new blanket mechanical license covering the use of musical works in the U.S. by eligible digital audio services established by The Music Modernization Act of 2018 will be available beginning January 1, 2021. The arrival of this new licensing system will mark the beginning of a new era of greater efficiency and transparency in mechanical licensing for musical works in the U.S.
For most digital service providers operating digital audio services in the U.S. that offer interactive streaming or digital downloads to consumers, the MMA imposes several new obligations that they will be required by law to fulfill. Some require immediate action, while others must be completed no later than February 15, 2021. The MMA created two new organizations to help DSPs fulfill their new responsibilities: The Mechanical Licensing Collective, which is responsible for administering this new blanket license, and the Digital Licensee Coordinator, which is responsible for representing the digital audio services that will be operating under the new blanket license.
The new blanket license offers a host of benefits to DSPs that opt to secure it, including helping to make the administration and payment of mechanical royalties much easier and more effective and providing services with a way to ensure that they are properly licensed to use all of the musical works that they make available on their services. DSPs that secure the blanket will also avoid the costly liability that would arise from using works that were not properly licensed. Finally, even if a service elected not to secure the blanket despite its many benefits, the MMA still imposes a number of reporting obligations on all but the smallest of those services. For this reason, The MLC and DLC hope that any service eligible to operate under the new blanket license will choose to do so.
“The MLC has engaged with more than 50 DSPs so far, both to make sure they aware of their new legal responsibilities and to preview the resources we’ve created for them, including reporting specifications and the templates for notices to The MLC,” said Kris Ahrend, CEO of The MLC. “These resources are all on The MLC’s website, and our DSP Relations Team is available to answer any questions about them that DSPs might have. All of this should ensure that currently-operating DSPs are in a position to begin operating under the new blanket license starting on January 1, 2021.”
Music Community Applauds Omnibus COVID-19 Relief Bill, Step Forward On DMCA Reform
/by LB CantrellBenjamin Franklin With Worried and Concerned Expression Wearing Medical Face Mask On One Hundred Dollar Bill.
In addition to the victory of the Save Our Stages Act being included in the $900 billion COVID relief stimulus package that Congress reached an agreement on Monday (Dec. 22), the bill also included good news on other music-industry related legislation.
The Save Our Stages Act will provide $15 billion in aid to qualified live venues, independent movie theaters, talent representatives, and cultural institutions who have faced unmeasurable challenges since the COVID-19 pandemic began.
Also included in the omnibus budget appropriation passed late Monday night was The CASE Act (Copyright Alternative in Small Claims Enforcement Act). The CASE Act allows songwriters and publishers to press copyright infringement claims without going through a lawsuit, by creating a three-judge panel Copyright Claims Board at the Copyright Office that would hear and rule on claims where damages would be capped at $15,000 per claim and $30,000 in total.
Congress also made streaming of copyrighted work, without the proper licensing, a felony, with the Protect Lawful Streaming Act. This allows the Department of Justice to file charges against digital services that provide such material for financial gain. It excludes individual users from being prosecuted under the law.
Among the six Republican senators who voted against the bill was Tennessee Senator Marsha Blackburn, along with, Sens. Rand Paul of Kentucky, Rick Scott of Florida, Ron Johnson of Wisconsin, Mike Lee of Utah, and Ted Cruz of Texas.
President Donald Trump’s signature is required for the above legislation to become law.
The American Association of Independent Music (A2IM), Artist Rights Alliance (ARA), Music Artists Coalition (MAC), Nashville Songwriters Association International (NSAI), Recording Academy, Recording Industry Association of America (RIAA), SAG-AFTRA, and Songwriters of North America (SONA) issued the following statement on the passage of the omnibus bill:
The National Independent Talent Organization (NITO), the non-profit organization comprised of over 100 independent booking agencies and 140 independent management firms, were also included in the legislation.
NITO President / High Road Touring exec, Frank Riley, offered the following statement:
Further, 22 music community organizations released the following statement on Senate Judiciary Subcommittee on Intellectual Property Chairman Thom Tillis’ proposal to restore balance to the Digital Millennium Copyright Act (DMCA), so that it can best achieve its objective to address online infringement while continuing to foster the growth of internet-based services:
NMPA President & CEO, David Israelite, also offered the following statement: “We commend Congress for passing key legislation within today’s Omnibus bill that will help creators. The CASE Act provides a reasonable and needed pathway to justice for everyone from songwriters to photographers whose work is being used unlawfully. Additionally, the Protecting Lawful Streaming Act is crucial to enforcing copyrights by fixing the streaming ‘loophole,’ which has allowed rogue enterprises to run rampant and profit without the necessary law enforcement tools to prosecute them. Now, criminal penalties for illegal streaming will be aligned with illegal downloading and distribution. Both of these bills are important steps forward for the music industry and larger creative community and will allow songwriters to better enforce their rights. We sincerely appreciate Congressman Hakeem Jeffries (D-NY) and Senator Thom Tillis’ (R-NC) leadership on these issues.”
BMI’s President & CEO, Mike O’Neill, offered: “We’re grateful that Congress has come together and passed this much needed relief package which will help many who have been impacted by this pandemic, including the songwriters and composers who have been hit particularly hard. This bill provides important relief for the self-employed, helps creators protect and enforce their rights, and importantly, provides funding for the live music venues which are so important to our songwriters’ livelihoods. We know there are still difficult months ahead, and BMI will continue working on behalf of our community, including advocating for any additional assistance needed to recover from the devastation caused by this pandemic.”
The Recording Academy’s Chair & Interim President/CEO, Harvey Mason jr., said: “The Recording Academy® is pleased that Congress heard the call of thousands of music creators and included protections for the music community in the omnibus bill. In addition to extended and improved unemployment benefits and small business loans for freelance creators, the package includes several bills which the Recording Academy, its members, and the larger music community advocated for. From the Save Our Stages Act, which provides a lifeline to performance venues and promoters, to the CASE Act, which creates an avenue for smaller creators to defend their copyrighted works, Congress has ensured that both music creators and those who act behind the scenes to bring music to life are given the support they need during this difficult time.”
The Artist Rights Alliance (ARA) commented: “As an organization by and for working artists and songwriters, we applaud Congress for making a down payment on the critical needs of a music community devastated by the pandemic. We are pleased the combined COVID relief bill and omnibus appropriations act includes economic assistance for venues and unemployment programs that determine benefit amounts by taking into account the multiple sources of income many songwriters and artists rely upon to earn a living wage.
We are also pleased that the bill includes measures to create a better music economy for the long term, including a small claims court for independent creators to use to ensure they are paid for the use of their work (the CASE Act) and a bill modernizing laws used to fight industrial scale piracy for the streaming age.”
National Museum of African American Music Grand Opening Set For Martin Luther King Jr. Day
/by Lorie HollabaughThe National Museum of African American Music is officially slated to open on Martin Luther King Jr. day, Monday, Jan. 18, on Broadway in Downtown Nashville. The museum’s grand opening was originally set for earlier this year but was postponed due to COVID-19.
The museum’s board members and staff, elected officials and community leaders will participate in a socially distanced ribbon-cutting ceremony at the museum’s entrance at the corner of Fifth Avenue and Broadway that day.
The National Museum of African American Music museum is the only museum in the world dedicated to all dimensions of the contributions African Americans have made to American music. NMAAM will serve a global landscape by celebrating and honoring the legacy, impact, and influence of African American music on musicians and consumers around the world and countless musical genres.
The 56,000-square-feet museum houses five interactive galleries dedicated to 50 genres of African American tunes, including blues, jazz, hip-hop, and rap, and includes more than 1,400 artifacts showcasing generations of musical history created and inspired by the work of African Americans. It also features seven content galleries, including six permanent galleries and one rotating gallery that chronicle black musical traditions from the 1600s through modern day, incorporating more than 50 genres of music, from spirituals, gospel, and jazz, to hip-hop, blues, R&B, and more.
More information on the exciting new addition to Nashville’s musical landscape can be found at nmaam.org.
Jason Isbell And The 400 Unit To Play Brooklyn Bowl Nashville New Year’s Eve Show
/by Lorie HollabaughJason Isbell and the 400 Unit
Jason Isbell and the 400 Unit are ringing in the New Year with a special New Year’s Eve show streaming from Brooklyn Bowl Nashville at 8 p.m CT.
Isbell and wife Amanda Shires played Brooklyn Bowl’s very first concert back in May and return to the venue to help fans celebrate the New Year. Tickets and a New Years Eve limited edition poster are on sale now at FANS.live. While watching or in advance now, viewers can support Nashville’s Independent Radio, Lightning 100, by donating.
Isbell and Shires also recently performed as part of Home For The Holidays, a live stream benefit organized by Cyndi Lauper. Proceeds from the benefit supported Lauper’s True Colors United organization. The show also featured Taylor Swift, Dolly Parton, Phoebe Bridgers, Brittany Howard and more, and premiered on TikTok on Dece. 11 and on YouTube and Facebook on Dec. 13.
Country Artists Remember K.T. Oslin
/by LB CantrellK.T. Oslin signs autographs for fans in 1987. Photo: Don Putnam
Iconic singer-songwriter K.T. Oslin died Monday (Dec. 21), following a battle with Parkinson’s disease in recent years. She was diagnosed with COVID-19 last week, but it is unclear whether this contributed to her death. She was 78.
Oslin made music history by becoming the first middle-aged woman to rise to stardom in Nashville. Oslin was 45 years old when she scored a smash hit with the female anthem “80’s Ladies” in 1987. The song made her the first female songwriter in history to win the CMA’s Song of the Year prize. She was the CMA Female Vocalist of the Year in 1988.
During her career, she also earned four Academy of Country Music honors, as well as her three Grammys. In 2014, she was inducted into the Texas Songwriters Hall of Fame.
Following news of Oslin’s death, many artists paid tribute to the Nashville Songwriters Hall of Fame member, including Terri Clark, Randy Owen, Brandy Clark, Ricky Skaggs, Pam Tillis, and more.
Read below for several tributes to Oslin:
“I am so sad to hear that K.T. Oslin has passed. She was truly one of the best singers I ever heard. I loved the way she made the words come alive with the expressiveness of her unique voice. Thank God we still have her music to learn from.” – Ricky Skaggs
“Did we look up to her? Did we admire her? Hell, we studied her. As a young artist I knew she knew things I wanted to know. I met K.T. Oslin on her terms and never regretted it. We all just loved her.” – Pam Tillis
“What a unique talent. She was a breath of fresh air to country music. We will miss you.” – Ray Stevens
“First off, I’m blown away to get the sudden news today. It was very awakening to say the least. I was a huge K.T. Oslin fan and just recorded one of her songs on my last album with Pam Tillis. She was a big inspiration to me and her writing about the strength of women. I also know she had a great sense of humor and loved to laugh. She was a great lady from a great time of great music. One who will truly be missed by me and many fans.” – Lorrie Morgan
“I nearly ran off the road when ‘Don’t kiss like we’re married, kiss me like we’re lovers’ came across my car radio back in 1980 somethin’ or other. I nearly fell out of my rockin’ chair just this minute when I listened to it again. What a song!! What a singer!! What a songcraftswoman!! What a woman… PERIOD!! Rest in Peace, Lady K.T. Why don’t you go look up my old friend Roy Orbison and y’all write and sing a duet up there. I always thought you were a female Roy Orbison… or maybe Roy was a male K.T. Oslin. I miss both of you.” – Larry Gatlin
“K.T. was the definition of a songstress. Her work stood on its own and will always stand the test of time.” – John Anderson
“The Oak Ridge Boys are saddened by the loss of the Eighties Lady, K.T. Oslin. We didn’t know her very well, but anytime we met, she was always gracious and first-class all the way. Rest easy K.T.” – Joe Bonsall, The Oak Ridge Boys
“I am very sorry to hear that K.T. Oslin passed away. My prayers are with her and her family during this time.” – Lee Greenwood
“K.T. was a great artist, with an instantly identifiable voice and a Hall of Fame songwriter, who was a joy to hang out with. She had a big smile, a big heart, and a big laugh! She was a sweet soul and we are all going to miss her. Condolences to her friends and family. Rest easy, sister.” – T. Graham Brown
Ratings Dropped For Awards Shows Across The Board In 2020
/by LB CantrellEric Church accepts award for Entertainer of the Year at The 54th Annual CMA Awards. Photo: Donn Jones/CMA
Even with more people at home during the COVID-19 pandemic this year, awards show TV ratings plummeted across the board. From the country-specific CMA and ACM Awards, to the American Music Awards and the Grammys, ratings were down significantly from 2019.
Notably, Nielsen—the company who calculates TV ratings—revealed plans to launch a new system that includes impressions from the TV screen, as well as those embedded in a smartphone or computer in ratings calculation. The process is expected to start in the fourth quarter of 2022 and be completed by the fall of the 2024 TV season.
The 62nd Annual Grammy Awards
January’s 62nd Annual Grammy Awards narrowly avoided the complications of carrying out an awards show with COVID-19 safety regulations in place. However, the televised awards suffered a 12-year low in viewership, according to The Hollywood Reporter.
The 62nd Annual Grammy Awards drew 18.7 million viewers and a 5.4 rating among adults 18-49 in time zone-adjusted ratings. 2019’s ceremony ended up with 19.88 million viewers and a 5.6 in the 18-49 demographic.
The 2020 telecast was the show’s smallest audience since it garnered 17.18 million viewers in 2008. The all-time low in viewership for the Grammy Awards was in 2006, when 17 million people tuned in.
Dan + Shay won their second Grammy for Best Country Duo/Group Performance at the Awards for “Speechless.” Tanya Tucker earned her very first two Grammy honors, with Best Country Song for “Bring My Flowers Now,” and Best Country Album for While I’m Livin’. Willie Nelson earned Best Country Solo Performance for “Ride Me Back Home,” the title track from his 2019 album.
The MTV Video Music Awards
Ariana Grande and Lady Gaga perform on The MTV Video Music Awards. Photo: Courtesy MTV
The MTV Video Music Awards was comprised of pre-recorded performances and select live moments. According to Variety, a total of 6.4 million viewers tuned in across MTV and the 12 other ViacomCBS brands on which it was simulcast, as opposed to 6.8 million last time around (that includes the pre-show, main show, post-show, and encores).
The VMAs drew in a huge social media response, however, delivering 41.1 million interactions across social media, making it the second most-socialed show of the year, only behind the Super Bowl.
The 55th Annual Academy of Country Music Awards
Carrie Underwood. Photo: Carrie Underwood/Instagram
The 55th annual Academy of Country Music Awards, aired on CBS in Sept., surprised viewers with a shocking tie for Entertainer of the Year. The show dominated primetime, bringing in 6.59 million viewers and earning a 1.0 rating in the 18-49 demo (1.5 in adults 25-54 demo).
While 6.59 million viewers was enough for the Academy of Country Music Awards to dominate its timeslot, it fell significantly short of last year’s ratings of 9.9 million viewers over three hours (and a 1.6 rating in the 18-49 demo).
This year, the show moved from its usual April airing to Sept., and aired from Nashville for the first time, incorporating performances and awards presentations from three iconic venues—The Bluebird Cafe, the Grand Ole Opry, and the Ryman Auditorium.
Carrie Underwood and Thomas Rhett tied for the night’s top honor, Entertainer of the Year, while Luke Combs earned two honors, Male Artist of the Year and Album of the Year (for What You See Is What You Get).
Dan + Shay took home the evening’s first honor, Duo of the Year, while Maren Morris was named Female Artist of the Year. Old Dominion was also a double winner, picking up Song of the Year for “One Man Band,” as well as the Group of the Year honor. Blake Shelton‘s “God’s Country” was named Single of the Year.
The 2020 Billboard Music Awards
Garth Brooks. Photo: Courtesy Maurice Miner Media & Marketing
The 2020 Billboard Music Awards, which aired in Oct., also fell to an all-time ratings low.
NBC’s broadcast of the show managed only 3.71 million viewers and a 0.8 rating among adults 18-49, down by more than 50 percent in both measures from the 2019 show (8 million viewers and a 2.1 in the key ad demographic), according to The Hollywood Reporter.
During the telecast, Garth Brooks was recognized with an ICON Award, and was the first country artist to receive the honor. Luke Combs walked away with three awards, including Top Country Artist, Top Country Male Artist, and Top Country Album for What You See Is What You Get. Maren Morris was awarded Top Country Female Artist, while George Strait won Top Country Tour. Dan + Shay took home Top Country Duo/Group and their hit with Justin Bieber “10,000 Hours,” won Top Country Song.
The 54th Annual Country Music Association Awards
Maren Morris accepts award at The 54th Annual CMA Awards.
The ratings for The 54th Annual CMA Awards slipped by 40 percent, earning 6.8 million total viewers, and a 1.1 rating among adults 18-49—an all-time low in viewership for the program. The 2019 awards show brought in 11.3 million viewers, earning a 2.0 rating in the 18-39 demo.
The previous lowest-viewership for the show was in 2018, when 10.06 million viewers tuned in, earning the show a 2.1 rating in the 18-49 demo.
New winners abounded at the Nov. 2020 CMA Awards. Most notably, Eric Church cinched his first CMA Entertainer of the Year honor after three previous nominations. Maren Morris, a three-time winner this year, took home her first wins for Female Vocalist of the Year, as well as Single of the Year and Song of the Year for “The Bones.” Songwriter Laura Veltz, a first-time nominee this year, also earned her first win for Song of the Year as a co-writer on “The Bones”, and Jimmy Robbins won his first CMA Award with the song.
Morris’ Sony label-mate Luke Combs took home his first Album of the Year win (for What You See Is What You Get), along with his second Male Vocalist of the Year honor.
The American Music Awards
Dan + Shay. Photo: Emma McIntyre for AMA/Getty Images for dcp
The American Music Awards‘ Nov. show drew its smallest audience ever, according to The Hollywood Reporter. The show garnered 4.01 million viewers for the night, a 40 percent drop from the 2019 show, and earned a 1.0 in adults 18-49 (a 41 percent drop in the demo year-over-year).
Dan + Shay, Kane Brown, Blake Shelton and Maren Morris were among the winners at the Awards. Dan + Shay earned three awards including Favorite Duo or Group—Country, Favorite Song—Country, and Collaboration of the Year, for “10,000 Hours” with Justin Bieber. With the latter win, the duo became the first ever country artists to take home the all-genre Collaboration of the Year title. They also performed their current Top 10 (and climbing) track “I Should Probably Go To Bed.”
Brown took home the Favorite Country Artist—Male honor while Morris was named Favorite Country Artist—Female. Shelton earned Favorite Album—Country for Fully Loaded: God’s Country.