Michael Martin Murphey will celebrate the outlaw spirit of the Austin music scene in the 60’s and 70’s on his upcoming album Austinology – Alleys Of Austin, when Jerry Jeff Walker, Willie Nelson, and other guitar slingers were setting the tone and the stage for the Outlaw movement in country ushered in by Nelson, Waylon Jennings and others. The project, distributed by Soundly Music via The Orchard, is set for release October 5.

Murphey had a front row ticket to the action as a part of the burgeoning Austin music scene back in those days, and for Austinology, he took a trip down Memory Lane and selected songs, including some by Guy Clark, Townes Van Zandt and Jerry Jeff Walker, that were important to that era when he lived in Austin and created the “Cosmic Cowboy” era.

Murphey is joined by plenty of special guests who were integral to that era on the project, as well as those influenced by the work they created, and the songs are given a fresh reading by Murphey and artists like Willie Nelson (on “Alleys of Austin” and “Cosmic Cowboy”), Steve Earle (on “Geronimo’s Cadillac”), Lyle Lovett (on “Alleys of Austin,” “Cosmic Cowboy” and “Drunken Lady of the Morning”), Kelly Willis and Bruce Robison (on “Little Bird”), Jerry Jeff Walker (on “Cosmic Cowboy”), Amy Grant (on “Wildfire”), Randy Rogers (“Backslider’s Wine”), The Last Bandoleros (on Guy Clark’s “LA Freeway”) and more.

Murphey also enlisted some top notch players for the project, including guitarist Kenny Greenberg, dobroist Rob Ickes, keyboardist Tim Akers and more. The album is co-produced with Christopher Harris and will be available for digital pre-order beginning Friday, July 27. The pre-order features both “Geronimo’s Cadillac” with special guest Steve Earle and “Outlaw Medley” as instant grat tracks.

[Update, July 25]: SESAC has released the following statement in response to the calls to action from NSAI and SONA:

SESAC is America’s 2nd oldest PRO. We have a long history of advocating on behalf of songwriters and providing a premium value for their work unavailable at other PROs in the U.S. since the 1940s. SESAC is a driver of competition that benefits ALL songwriters.  SESAC wholeheartedly supports the goals of the Music Modernization Act and wants those goals made law – just like you do. We are concerned that a lack of competition might damage not only our business, but songwriters too. We’ve suggested a simple amendment to improve competition so we can continue to ensure that ALL songwriter and publisher royalties continue to grow. Any assertion to the contrary is simply dishonest.

[Original post, July 24]:

Two songwriter groups have spoken out against private equity firm Blackstone (which acquired music rights organization SESAC in 2017) following a last-minute proposal from Blackstone to alter the Music Modernization Act (MMA).

A portion of the MMA, as currently drafted, calls for the creation of a single Music Licensing Collective (MLC). The collective would oversee digital mechanical licenses, collect money from digital services, track the digital usage of writers’ works and pay writers.

Blackstone and SESAC (which also owns licensing firm The Harry Fox Agency) contends that the creation of such a collective could render firms that handle administration for music licenses unnecessary. So, they have proposed changes to the MMA.

The Nashville Songwriters Association International (NSAI) and Songwriters of North America (SONA) have asked that Blackstone, SESAC and Harry Fox withdraw the proposal and support the MMA as currently drafted. NSAI and SONA contend that the Harry Fox Agency, SESAC, and Blackstone are “using their financial and political muscle for their own narrow corporate self interest.”

The MMA recently passed the House of Representatives with a unanimous favorable vote (415-0). The MMA represents years of negotiation among songwriters, publishers, streaming companies, record labels, performing rights organizations, and more.

Blackstone released the following statement:

“Blackstone strongly supports music modernization, and we are confident legislation will be signed into law this year as long as all parties continue working in the same cooperative spirit that has characterized the process so far.”

SESAC released the following statement:

“SESAC is committed to working towards a version of the Music Modernization Act that retains all of the benefits for writers, publishers and DSPs and which will move music licensing into the 21st Century while supporting a competitive market in music rights administration.”. “We expect that as the Senate continues to work through these issues with input from concerned and well-meaning stakeholders, an appropriate resolution will be reached and the MMA will be passed before the end of the year.”

BMI also released the following statement:

“The Music Modernization Act represents an historic opportunity to enact meaningful music licensing reform. The bill is the product of unprecedented collaboration among music stakeholders and passed unanimously through the House Judiciary Committee, the full House, and the Senate Judiciary Committee. BMI is disappointed that at this late stage, the MMA is being endangered by last minute asks. During the long process of drafting this bill, BMI, like many others, had to compromise on certain provisions in order to achieve a final result that benefits the industry as a whole. We hope that the parties currently in disagreement can work together to resolve their issues, allowing this important piece of legislation to move forward.”

Tom Douglas, Brett Eldredge, Heather Morgan, Ross Copperman and Jordan Reynolds at CMA Songwriters Series presented by US Bank at Joe’s on Weed in Chicago, IL on Tuesday, July 24, 2018.

The Country Music Association visited Chicago on Tuesday (July 24) with Illinois native Brett Eldredge and fellow songwriters Ross Copperman, Tom Douglas, Heather Morgan and Jordan Reynolds, joining the CMA Foundation and U.S. Bank to visit students at Chicago’s Notes for Notes studio followed by a sold-out CMA Songwriters Series Presented by U.S. Bank performance at Joe’s on Weed Street.

Chicago’s Notes for Notes studio welcomed attendees with three performances by student musicians Ifeanyi Elswith, Devon Fields and Armoni Taffe. The songwriters then joined students to assemble and paint guitars and ukulele kits as well as create percussion instruments from recycled materials, participate in a songwriting session where students had the chance to ask the songwriters for tips in writing and producing songs, and finally jump into the recording/mixing room where students created a track. Copperman and Douglas also recorded a podcast episode at WN4N Radio with students during the visit.

During the songwriting session, the five songwriters spoke about their inspirations and their writing processes. Douglas revealed that he writes with a special pencil, the same brand and style that author John Steinbeck wrote with. Copperman explained that connecting with the listener and writing about things they do is the best way to write a hit song. Reynolds agreed with students that establishing character and a point of view is essential in songwriting. Eldredge said he cried in the studio a few days prior because a line someone had written was so powerful and reminded him of his family. And Morgan said she used to sing her little sister to sleep, extending the songs she knew or making up new ones before she learned to play guitar and began writing more.

CMA Songwriters Series presented by US Bank visits the newly-opened Notes for Notes Studio at the James R. Jordan Boys and Girls Club in Chicago, IL on Tuesday, July 24, 2018.

In 2017, the CMA Foundation partnered with Notes for Notes to help fund studios across the country and allow the studio spaces to operate freely each year. As part of U.S. Bank’s Community Possible giving platform and its Places to Play partnership along with the CMA Foundation, both entities presented a combined $75,000 in funding to Chicago’s Notes for Notes studio during the visit, which will sustain operational costs for the remainder of 2018. To date, the CMA Foundation has funded nearly $2 million with the Notes for Notes organization in 13 state-of-the-art recording studios nationwide, serving 4,400 total youth around the country.

Following the Notes for Notes studio visit, the five songwriters hit Joe’s on Weed Street for a sold-out CMA Songwriters Series Presented by U.S. Bank show. Eager and excited fans lined up outside the venue early and were treated to performances of songs including “Beat of the Music,” “Tequila,” “Lose My Mind,” “Woman, Amen,” and “The House That Built Me.” The night was special for Eldredge, who explained to the crowd Joe’s on Weed Street was where he got his start back in 2011. After Morgan performed “Haven’t Met You Yet,” Eldredge gushed, calling her an angel. Douglas shared that “The House That Built Me” was a song he had tried to write for seven years, which went on to receive “Song of the Year” at the CMA Awards in 2010. All of the songwriters have written with Eldredge, as Reynolds expressed what an honor it was to write with Eldredge.

Tom Douglas, Brett Eldredge, Heather Morgan, Ross Copperman and Jordan Reynolds perform at CMA Songwriters Series presented by US Bank at Joe’s on Weed in Chicago, IL on Tuesday, July 24, 2018.

CMA Songwriters Series presented by US Bank visits the newly-opened Notes for Notes Studio at the James R. Jordan Boys and Girls Club in Chicago, IL on Tuesday, July 24, 2018.