Pictured (L-R): Ashlee McDonald, EMERGE Committee Co-Chair of Events & Executive Producer, CMT Radio; Anthony Barton; Katie Dean; Chip Dorsch; Cody Alan; Shane Tarleton; Maggie Rose; Mike Gill, CMT’s Lead Chair of EMERGE
In conjunction with Viacom’s EMERGE LGBTQ+ employee group, CMT hosted a community conversation in Nashville on Wednesday, Nov. 7.
The panel included Warner Music Nashville’s Shane Tarleton, UMG Nashville’s Katie Dean, Red Light Management’s Chip Dorsch, CMT’s Anthony Barton, and straight ally recording artist Maggie Rose. CMT host Cody Alan moderated.
Notably, Barton cited a restructuring of CMT within Viacom two weeks ago, expected to yield more progressive programming on various cultural fronts. This builds on the network’s portrayal of a gay and trans character, namely in Nashville.
“[A week ago CMT was] reorganized, now managed by Chris McCarthy who runs MTV, VH1 and LOGO,” said the SVP Marketing, Creative & Operations at CMT. “This is where CMT originally was in Viacom, and those music networks are usually a lot more progressive. Give us around 18 months until things hit the air.
“CMT viewers are a smaller part of country fans,” continued Barton. “Something that made everyone surprised is country fans are in line with the general population—not more conservative or liberal. I think we at CMT have made decisions assuming they were super conservative. We’re not here to teach a bunch of lessons—that’s another network’s job—but we need to be responsible to the people who have access to us. We’re inviting as many people to the table as we can—that’s what good business does.”
The insightful panel continued, with Tarleton speaking on behalf of his record label roster, which over the years has become more inclusive.
“At the end of the day it’s: Do you have a message that we want to help share around the world? This is sad to say, but I started in creative services and there would be people probably 20 lbs overweight and it was my lucky job to say, ‘Before you start radio tour, you’re gonna get a trainer because you have to fit into this mold before we can do something with you.’
“Encouraging someone to change a part of who they are to fit into what we think would work is not something we do today.”
Dean, who was hired by Luke Lewis at UMG, estimates 10 percent of her current workforce identifies as gay. She is proud of her roster’s influence, namely from Kacey Musgraves or Luke Bryan’s MusicRow Song of the Year, “Most People Are Good.”
The panel continued with profound insight in why visibility is important.
“I am sick of people saying, ‘[Shut up and sing]’,” contributed Rose, on behalf of recording artists. “We travel all over the world, we get to see all sorts of people. We work with people from all different backgrounds. We might know what we’re talking about when it comes to seeing all walks of life or people treated in an unjust way.”
Barton continued of the importance in speaking out. “If you hear a message a certain number of times within a certain amount of time, you believe it. If nobody corrects that, then that’s the only message out there. That’s why it’s important for entertainers to speak up if they heard their song was played in a rally they disagree with, because the assumption is they didn’t care enough to speak up.”
Though Viacom is based in New York, Barton cites his occasional experience with co-workers or bosses. “There are junior people on this staff that should never be part of that,” said Barton. “All of us here enjoy great success, and we need to look out for people.
“Saying you’re an out person is actually a really strong political statement. That takes a lot of courage, even now. There were trailblazers long before my time, but it’s important to hold on to what we have now. We are role models by just existing.”
“The way I was treated and brought in to a conversation in 1994 versus 2018 is like night and day,” confessed Tarleton of the industry. “I heard all the words you could imagine when I walked off an artist tour bus when I worked for RCA Records. Of course it was very hurtful, but it gave me the toughest skin you could imagine.” For Tarleton his role models were strong females in the business, like Dolly Parton or Reba McEntire. “They succeeded beyond expectation in an industry that didn’t necessarily support their acceleration,” mused Tarleton. “I saw them pressing against societal norms. That’s a reason gay men can relate to these divas; they had obstacles and did it anyway.”
Moderator Alan, who came out in the public eye in 2017, asked what repercussions a major label country artist may face in following suit.
“There would be lots of people who [didn’t think twice about it], and there would be a percentage saying, ‘I thought I knew you. Is there was something else you haven’t been truthful about?'” Tarleton said. “That’s the reaction I got. It was, ‘I wish I knew you sooner.'”
The panel empathized as to why a country artist might remain closeted, citing repercussions the Dixie Chicks faced in 2003 for standing behind their political beliefs.
“There’s probably a lot of pressure on these A-list artists, who are running a pretty big business traveling from town to town,” said Barton. “There’s a lot behind the scenes. A way to be an ally is to say, ‘This could be rough, but we believe in this and think this is the right thing to do. You’ll be better on the other side.'”
“A lot of people are private,” advocated Dean of her own experience. “You share what you’re willing to share when you’re willing to share it. You’re on nobody’s timeline.”
“Having people say, ‘We’re with you in this’ was really helpful,” Alan anecdotally shared of his office’s support. “As it comes to [the country music audience], the human connection and bond that started happening because you’re revealing your authentic self has made what I do a whole lot better…I think we perceive sometimes [the country audience] as not accepting. They’re actually very open.”
Dorsch looks forward to a day when an LGBTQ+ artist feels confident enough to use the proper pronouns on country music. “I would love to see the day where a man can say ‘him’ in a song and the song be so great it has to get played,” said Dorsch. “Melissa Ethredge’s big hits were all ‘they,’ ‘them,’ ‘I,’ and ‘you.'”
Dean, who is VP Radio Promotion at MCA Records, cited several gay radio programmers as hope for the future. Tarleton feels encouraged watching young staffers live openly in an environment that wasn’t always that way. “The most important thing for me is to embrace the fact we all are different,” said Tarleton. “My approach is: If you want to know about me, just ask. My heart’s on my sleeve.
“There are lots of people who have never even had a conversation with someone who they knew to be an out person. Once you have that, they’re like, ‘Wait, you want to go to lunch at noon too? I thought you guys didn’t eat lunch. [Laughs].”
ole Acquires Fifty Percent Stake Of SB21 Music Publishing
/by Lorie HollabaughAn independent publishing company founded in 2011 by artist-songwriter-producer, Steve Pasch, the SB21 catalogue includes Luke Bryan’s No. 1 single “Most People are Good,” as well as “If You Ain’t It” by Danny Gokey, “Like You Were Mine” by Jason Aldean, “Leaving New Orleans” by ole singer-songwriter Jordan Davis, “Drinking Class” by Lee Brice, “Watching You” by Rodney Adkins, and the works of writers such as Brian White, David Frasier, Greg Barnhill, Thomas Tillman, and John Edwards.
“We’re thrilled to have the opportunity to work the SB21 catalog which has many hit songs in it. This is another great acquisition for ole,” said John Ozier, ole’s Vice President of Creative.
Charlie Cook Inks Multi-Year Contract Extension With Cumulus
/by Lorie HollabaughCarrie Underwood and Charlie Cook
Cumulus Media has entered into a multi-year contract extension with Charlie Cook as VP/Country Formats, Cumulus Media, Operations Manager/Cumulus Media-Nashville, and Program Director/WSM-FM (NASH Icon) in Nashville. The veteran country programmer oversees programming for Cumulus Media’s Nashville radio stations including WKDF, WWTN, WGFX and WQQK.
“Charlie Cook is not only one of the best known and most successful country programmers in the history of the format, he is a solid and strategic thinking multi-format radio expert,” said Mike McVay, Executive Vice President, Content & Programming, Cumulus Media and Westwood One. We are excited to continue this partnership with him.”
“I am thrilled that Charlie has agreed to extend his employment agreement for another three years,” said Allison Warren, Vice President/Market Manager, Cumulus Media-Nashville. “Since joining Cumulus five years ago, he successfully launched two of the hottest country brands in Nashville, 95.5 NASH ICON and NASH FM 103.3, capitalized on the combined strength of Cumulus Media’s NASH brands and delivered consistent ratings performance. Most importantly, Charlie’s collaboration with our Nashville programming team to develop and execute the right long-term strategy for our stations positions Cumulus Nashville for continued success in the future.”
“I have enjoyed my five years here in Nashville with Cumulus,” said Cook. “I could not ask for better partners than Dave Milner, Mike McVay and Allison Warren. I have been in the business for many years and honestly, this is as good a group of professionals as I have ever been blessed to work with day in and day out. I look forward to continuing in my roles with the company.”
CMT Predicts More Diverse Programming Amid Restructuring, Discussed At LGBTQ+ Panel
/by Eric T. ParkerPictured (L-R): Ashlee McDonald, EMERGE Committee Co-Chair of Events & Executive Producer, CMT Radio; Anthony Barton; Katie Dean; Chip Dorsch; Cody Alan; Shane Tarleton; Maggie Rose; Mike Gill, CMT’s Lead Chair of EMERGE
In conjunction with Viacom’s EMERGE LGBTQ+ employee group, CMT hosted a community conversation in Nashville on Wednesday, Nov. 7.
The panel included Warner Music Nashville’s Shane Tarleton, UMG Nashville’s Katie Dean, Red Light Management’s Chip Dorsch, CMT’s Anthony Barton, and straight ally recording artist Maggie Rose. CMT host Cody Alan moderated.
Notably, Barton cited a restructuring of CMT within Viacom two weeks ago, expected to yield more progressive programming on various cultural fronts. This builds on the network’s portrayal of a gay and trans character, namely in Nashville.
“[A week ago CMT was] reorganized, now managed by Chris McCarthy who runs MTV, VH1 and LOGO,” said the SVP Marketing, Creative & Operations at CMT. “This is where CMT originally was in Viacom, and those music networks are usually a lot more progressive. Give us around 18 months until things hit the air.
“CMT viewers are a smaller part of country fans,” continued Barton. “Something that made everyone surprised is country fans are in line with the general population—not more conservative or liberal. I think we at CMT have made decisions assuming they were super conservative. We’re not here to teach a bunch of lessons—that’s another network’s job—but we need to be responsible to the people who have access to us. We’re inviting as many people to the table as we can—that’s what good business does.”
“At the end of the day it’s: Do you have a message that we want to help share around the world? This is sad to say, but I started in creative services and there would be people probably 20 lbs overweight and it was my lucky job to say, ‘Before you start radio tour, you’re gonna get a trainer because you have to fit into this mold before we can do something with you.’
“Encouraging someone to change a part of who they are to fit into what we think would work is not something we do today.”
Dean, who was hired by Luke Lewis at UMG, estimates 10 percent of her current workforce identifies as gay. She is proud of her roster’s influence, namely from Kacey Musgraves or Luke Bryan’s MusicRow Song of the Year, “Most People Are Good.”
The panel continued with profound insight in why visibility is important.
“I am sick of people saying, ‘[Shut up and sing]’,” contributed Rose, on behalf of recording artists. “We travel all over the world, we get to see all sorts of people. We work with people from all different backgrounds. We might know what we’re talking about when it comes to seeing all walks of life or people treated in an unjust way.”
Barton continued of the importance in speaking out. “If you hear a message a certain number of times within a certain amount of time, you believe it. If nobody corrects that, then that’s the only message out there. That’s why it’s important for entertainers to speak up if they heard their song was played in a rally they disagree with, because the assumption is they didn’t care enough to speak up.”
Though Viacom is based in New York, Barton cites his occasional experience with co-workers or bosses. “There are junior people on this staff that should never be part of that,” said Barton. “All of us here enjoy great success, and we need to look out for people.
“Saying you’re an out person is actually a really strong political statement. That takes a lot of courage, even now. There were trailblazers long before my time, but it’s important to hold on to what we have now. We are role models by just existing.”
“The way I was treated and brought in to a conversation in 1994 versus 2018 is like night and day,” confessed Tarleton of the industry. “I heard all the words you could imagine when I walked off an artist tour bus when I worked for RCA Records. Of course it was very hurtful, but it gave me the toughest skin you could imagine.” For Tarleton his role models were strong females in the business, like Dolly Parton or Reba McEntire. “They succeeded beyond expectation in an industry that didn’t necessarily support their acceleration,” mused Tarleton. “I saw them pressing against societal norms. That’s a reason gay men can relate to these divas; they had obstacles and did it anyway.”
Moderator Alan, who came out in the public eye in 2017, asked what repercussions a major label country artist may face in following suit.
“There would be lots of people who [didn’t think twice about it], and there would be a percentage saying, ‘I thought I knew you. Is there was something else you haven’t been truthful about?'” Tarleton said. “That’s the reaction I got. It was, ‘I wish I knew you sooner.'”
The panel empathized as to why a country artist might remain closeted, citing repercussions the Dixie Chicks faced in 2003 for standing behind their political beliefs.
“There’s probably a lot of pressure on these A-list artists, who are running a pretty big business traveling from town to town,” said Barton. “There’s a lot behind the scenes. A way to be an ally is to say, ‘This could be rough, but we believe in this and think this is the right thing to do. You’ll be better on the other side.'”
“A lot of people are private,” advocated Dean of her own experience. “You share what you’re willing to share when you’re willing to share it. You’re on nobody’s timeline.”
“Having people say, ‘We’re with you in this’ was really helpful,” Alan anecdotally shared of his office’s support. “As it comes to [the country music audience], the human connection and bond that started happening because you’re revealing your authentic self has made what I do a whole lot better…I think we perceive sometimes [the country audience] as not accepting. They’re actually very open.”
Dorsch looks forward to a day when an LGBTQ+ artist feels confident enough to use the proper pronouns on country music. “I would love to see the day where a man can say ‘him’ in a song and the song be so great it has to get played,” said Dorsch. “Melissa Ethredge’s big hits were all ‘they,’ ‘them,’ ‘I,’ and ‘you.'”
Dean, who is VP Radio Promotion at MCA Records, cited several gay radio programmers as hope for the future. Tarleton feels encouraged watching young staffers live openly in an environment that wasn’t always that way. “The most important thing for me is to embrace the fact we all are different,” said Tarleton. “My approach is: If you want to know about me, just ask. My heart’s on my sleeve.
“There are lots of people who have never even had a conversation with someone who they knew to be an out person. Once you have that, they’re like, ‘Wait, you want to go to lunch at noon too? I thought you guys didn’t eat lunch. [Laughs].”
Weekly Chart Report (11/9/18)
/by Alex ParryClick here or above to access MusicRow’s weekly CountryBreakout Report.
Americana Music Association UK 2019 Awards Nominees Announced
/by Lorie HollabaughThe nominees and special award recipients for the Americana Music Association UK’s upcoming fourth annual UK Americana Awards have been announced. The 2019 awards are set to take place during AmericanaFest UK on Jan. 29-31 in London and are part of AmericanaFest UK, a three-day event similar to Americanafest in the States, which will include a daytime conference with keynote speaker Rhiannon Giddens, as well as guest speakers John Oates, Asleep at the Wheel’s Ray Benson, and others.
The special award recipients will be honored during a ceremony at London’s Hackney Empire on January 31. The prestigious Lifetime Achievement Award will go to two-time Rock and Roll Hall of Fame inductee, Graham Nash. Other special award recipients will include Joe Boyd (Trailblazer Award), Curse of Lono (Bob Harris Emerging Artist Award), and Immy Doman and Risa Tabatznik of The Green Note (Grass Roots Award).
Other UK Americana Awards Nominees:
UK Song of the Year:
“Uh-Huh” by Jade Bird (written by Jade Bird)
“Chicago” by Josienne Clarke and Ben Walker (written by Josienne Clarke)
“Southern Wind” by Dean Owens (written by Dean Owens and Will Kimbrough)
“Be More Kind” by Frank Turner (written by Frank Turner)
International Song of the Year:
“The Joke” by Brandi Carlile (written by Brandi Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth)
“Hold Your Head Up High” by Darlingside (written by Auyon Mukharji, Caitlin Canty and Donald Mitchell)
“Mockingbird” by Ruston Kelly (written by Ruston Kelly)
“Rolling On” by Israel Nash (written by Israel Nash)
UK Artist of the Year:
Ethan Johns
Robert Plant
Bennett Wilson Poole
The Wandering Hearts
International Artist of the Year:
Mary Gauthier
Lukas Nelson & Promise of the Real
John Prine
Nathaniel Rateliff & The Night Sweats
UK Instrumentalist of the Year:
Martin Harley
CJ Hillman
Seth Lakeman
Gwenifer Raymond
Josh Turner Celebrates Album Release With Back-To-Back Ryman Shows
/by Jessica NicholsonPhoto ID (L-R): Josh Turner with Sonya Isaacs. Photo courtesy Grand Ole Opry LLC. Chris Hollo, photographer
Josh Turner made his way back to Nashville’s Ryman Auditorium on Tuesday night (Nov. 6) for back-to-back Opry performances. Turner just released the project I Serve A Savior, debuted at No. 1 on Nielsen’s Country Albums Chart and No. 2 on both the Billboard Top Country Albums Chart and Billboard Top Christian Albums Chart. Turner was joined on stage for his Ryman Auditorium performance by Sonya Issacs and Bobby Osborne.
“It was a special night at the Opry and I always look forward to when it returns to the Ryman in the winter,” shares Turner. “There’s so much history at the Ryman Auditorium for me. Getting to share these new songs from I Serve A Savior and having my friends Bobby Osborne and Sonya Isaacs join me made it a night I will always remember.”
ole/Red Dot Signs Scott Stevens
/by Jessica NicholsonPictured (L-R): Alex Tamashunas (ole’s Creative/Label Services Coordinator), Jenn Tressler (L3 Entertainment), Neil Vance (L3 Entertainment), Scott Stevens, John Ozier (ole’s VP, Creative), Pete Hartung (L3 Entertainment), Lauren Lieu (ole’s Sr. Creative Coordinator)
ole has inked a global, 360-degree deal with singer-songwriter Scott Stevens, signing him to its red dot label. The deal includes exclusive publishing and recording rights, and administration of all properties on YouTube, with all releases to come via ole label group’s red dot imprint.
“Scott Stevens is the real deal. He’s an incredible songwriter and artist, and I know we’re going to have a great run together. Scott already has a great team around him, so we’re thankful that ole is a part of it,” said John Ozier, ole’s Vice President, Creative.
Stevens said, “I’m fired up to have the support of a company like ole. They see my vision both as a writer and an artist and they aren’t afraid to venture off the beaten path a bit. That’s the only type of people I need on my team. I think we’re all ready to show everyone what we’ve been up to!”
Stevens grew up in Knoxville, Tennessee. His mother led the church choir, and his father played with the Talking Heads and Joe Walsh of the Eagles. His current single, “Sounds Like Us,” has been streamed over 620,000 times on Spotify. Stevens is managed by Pete Hartung, Neil Vance and Jenn Tressler from L3 Entertainment whose other clients include Justin Moore, Tyler Rich, Leah Turner and Heath Sanders.
Stevens will release a series of singles throughout the remainder of 2018 and into 2019.
Jay Leno, Jeff Foxworthy To Perform At Nashville’s Opry House
/by Jessica NicholsonJay Leno, Jeff Foxworthy
Comedic dynamos Jay Leno and Jeff Foxworthy will team for a joint show at Nashville’s Opry House on April 14, 2019. The unprecedented performance will mark the first time the two powerhouses have shared the stage.
Leno served as the host of NBC’s The Tonight Show With Jay Leno from 1992-2009; he then ran the NBC talk show The Jay Leno Show from 2009-2010, before returning to host The Tonight Show With Jay Leno from 2010-2014. That same year, he was inducted into the Television Hall of Fame. He currently hosts his Jay Leno’s Garage online.
Foxworthy has been part of eight comedy albums, and is known for his signature “You Might Be A Redneck If…” jokes, as well as his work as part of the Blue Collar Comedy Tour alongside Bill Engvall, Larry the Cable Guy, and Ron White.
“These two legends, Jay Leno and Jeff Foxworthy, have never shared a stage together,” notes Outback Concerts’ David Bastidos. “We couldn’t be more excited to be the ones to make it happen and bring these two comedy icons to the great city of Nashville for our annual Nashville Comedy Festival.”
The show will begin at 6 p.m. CT on April 14. Tickets go on sale Monday, Nov. 12 at 10 a.m. CT at ticketmaster.com, the Opry House box office, Ryman Auditorium box office and all ticketmaster outlets.
Music Row Entertainment Law Firm Adds Partners, Rebrands As Milom Horsnell Crow Kelley Beckett Shehan
/by Jessica NicholsonPictured (L-R): Mike Milom, David Crow, Molly Shehan, Page Kelley, Chris Horsnell, Matthew Beckett. Photo: Five Folds Creative
Music Row law firm, Milom Horsnell Crow Kelley has named Matthew Beckett and Molly Shehan as partners, resulting in the firm’s rebranding to Milom Horsnell Crow Kelley Beckett Shehan PLC (MHCKBS).
“Chris, David, Page and I are excited to have Matthew join us as a partner and to have Molly assume the responsibilities of a partner,” said founding partner Mike Milom. “Adding Matthew and Molly to our team assures that we can continue to provide the highly personalized counsel and quick response that our clients expect.”
Milom oversees several of the firm’s longstanding client relationships, including country band Alabama (37 years) and Ricky Skaggs (36 years), as well as longterm partnerships with Rascal Flatts (16 years) and Luke Bryan (14 years).
MHCKBS draws on more than 45 years of entertainment law experience, including work in music publishing, recorded music and copyright protection. In recent years, MHCKBS has expanded its national and international practice to include the areas of media and technology. The firm also provides complete trademark and brand protection services to its clients.
Additional MHCKBS clients include Keith Urban, Kelsea Ballerini, Brett Eldredge, Emmylou Harris, Hank Williams, Jr., and the Country Music Hall of Fame and Museum.
DISClaimer: Blake Shelton Tops New Tracks With “Tequila Sheila” Remake
/by Robert K OermannThis is evidently a week for song craftsmanship.
There are a number of releases here that go way beyond wallpaper music. Joy Williams’ “Canary,” Tim McGraw’s “Gravity,” Devin Dawson’s “Dark Horse” and Ty Herndon’s revival of “Walking in Memphis” are all songs that command respect.
Topping them all is Blake Shelton, reminding us how many clever rhymes there are for the word “Sheila,” thanks to Nashville Songwriters Hall of Fame members Shel Silverstein and Mac Davis. This audio tickler is our Disc of the Day.
Blake is closely trailed by labelmates Dawson and Cale Dodds, the latter of whom brings a bucket load of happy in his bopping tune.
JOY WILLIAMS/Canary
Writers: Joy Williams/Caitlyn Smith/Angelo Petraglia; Producer: none listed; Publishers: Eleven Eleven, no performance rights listed; JW
– Formerly a CCM artist and half of the acclaimed Americana duo The Civil Wars, Williams has a haunting new track. Over rippling guitars, she soars into her upper soprano while delivering a lyric of singing strongly, even when you’re shadowed with the cold chill of being the canary in the mine.
CARLY PEARCE/Closer To You
Writers: none listed; Producer: none listed; Publisher: none listed; Big Machine
-Sweetly romantic. Sunny and bright.
CHUCK WICKS/Better Than Flowers
Writers: Chuck Wicks/Jeffrey East/Michael Lotten; Producer: none listed; Publishers: none listed; CW
– Sexy pop country. He’s promising love for hours and something that’s more than an overnight fling while guitars ring in an echo chamber.
BLAKE SHELTON/Tequila Sheila
Writers: Shel Silverstein/Mac Davis; Producer: none listed; Publisher: none listed; BS
– We all hail the greatness that is Bobby Bare. Penultimate country vocalist Blake Shelton has the ideal pipes to show his love on this toe-tapping remake of Bare’s rowdy 1980 classic. A delightful song, delightfully delivered. Love the Latin guitar licks, too.
TY HERNDON/Walking In Memphis
Writers: none listed; Producer: none listed; Publishers: none listed; TH
– The Marc Cohn pop classic from 1991 gets a revved-up, dance-floor remake. Ty’s still a country singer, and his vocal is mixed front and center. Although the track is rhythm happy, it’s not so electronic that you couldn’t spin it alongside most other pop-country outings. Catchy, to say the least.
TIM MCGRAW/Gravity
Writers: McGraw/Lori McKenna; Producers: McGraw/Byron Gallimore; Publisher: none listed; Columbia/Tim McGraw
– Created for the soundtrack of the film Free Solo, this ballad is an uplifting orchestral ode to perseverance and belief. Luxuriously produced. I remain an enormous fan, all these years later.
CALE DODDS/Where I Get It From
Writers: Cale Dodds/Sarah Buxton/Corey Crowder/Jared Mullins; Producer: none listed; Publisher: none listed; Warner Bros.
– A down-home, Southern frolic with a stuttering beat and rapid-fire lyrics. Fun with a capital “F.” This fellow has charm to spare.
COLE SWINDELL/Love You Too Late
Writers: Brandon Lynn Kinney/Michael Carter/Cole Swindell; Producer: none listed; Publishers: Peermusic/Sony-ATV, no performance rights listed; Warner Bros.
– She’s out having a blast while he’s wallowing in misery. Nevertheless, the track rocks ridiculously.
DEVIN DAWSON/Dark Horse
Writers: Dawson/Andy Albert/Andrew DeRoberts; Producer: none listed; Publisher: none listed; Atlantic
– A song for outsiders everywhere. The echoey atmosphere and his affecting voice are both superb vehicles for the message of alienation. Poignant and potent. Give this your undivided attention.
DOLLY PARTON/Girl In The Movies
Writers: Dolly Parton/Linda Perry; Producer: Perry; Publisher: none listed; RCA
– This is from the soundtrack to the forthcoming film Dumplin.’ It’s a wistful, soft ballad about dreaming big, shiny dreams. The woman is an American Treasure. She’s been nominated for a best-song Oscar twice before (for “9 To 5” and “Travelin’ Through”). Could the third time be the charm?