Frank Liddell. Photo: Blu Sanders
Don’t miss 2017 ACM Album of the Year recipient Frank Liddell on The Producer’s Chair on Thursday, October 26 at World Music Nashville at 7:30 p.m. Purchase tickets http://www.brownpapertickets.com/event/3115850
If I were to speculate as to why Frank Liddell is one of the most sought-after producers on Music Row, I would have to say he has great ears, great instincts, he knows when to get out of the way and his records don’t sound like anybody else’s. But don’t think for one minute his learning curve was easy. Liddell wasn’t an engineer, a musician, a songwriter or an artist. He joked about being out to dinner with Dann Huff and not understanding a word he says half the time…and Huff thought he was joking. Liddell says having a publishing background and having a musician’s background are worlds apart.
Liddell moved from Houston to Nashville in the early ’90s, where his first two career stops were Bluewater Music and Decca, where he pitched songs, scouted talent, and helped creatively direct careers but, it was during his stint at Decca, that he started doing what producer’s do.
“I started doing demos years ago with a guy named Bill Holiday, a guitar player who had a studio. And the first time I showed up, he had a track sheet and at the top it said my name as a Producer. I said, ‘What does a producer do?’ I was a songplugger. And he said, ‘You’re gonna help me figure this thing out.’ I had so much fun.”
In 1997, Liddell launched Carnival Music’s publishing arm with partner Travis Hill, an embodiment of his fully formed music-first philosophy.
“This is a talent-driven town, not marketing driven,” Liddell says. “The marketing doesn’t inspire the talent; the talent inspires the marketing.”
Today Carnival has a boat-load of publishing awards, a record label division, The Carnival Recording Co. and 14 staff writers including Adam Wright, Aubrie Sellers, Brent Cobb, Dani Flowers, David Nail, Derik Hultquist, Hailey Whitters, Mando Saenz, Scooter Carusoe, Stoney LaRue, Troy Jones, Dustin Christenson, Aham Smith and Gretchen Peters, a handful of whom, are in artist development. Since its inception, Carnival has published the first No. 1 singles of eight songwriters’ careers.
Recently Liddell won his fourth Album of the Year trophy at the 2017 ACM Awards for Miranda Lambert’s The Weight of These Wings and 2014 ACM Producer of the Year, following his three other wins, for his work on Four the Record in 2012, Revolution in 2010 and Crazy Ex-Girlfriend in 2008.
The Weight of These Wings is two discs (24 songs) and debuted at No. 1 on the Billboard Country Albums chart and No. 3 on the all-genre US Billboard 200 chart in 2016 and is certified Platinum by the Recording Industry Association of America (RIAA).
Other releases Liddell has worked on include Lee Ann Womack’s The Way I’m Livin’, The Very Best of Kellie Pickler, David Nail’s Fighter and I’m a Fire, Stoney LaRue’s Aviator, and Eli Young Band’s 10,000 Towns in 2014, Aubrie Seller’s New City Blues album in 2016 and Charlie Worsham’s 2017 album Beginning of Things.
The Producer’s Chair: I saw where your youngest daughter Annalise (18), has an ‘Assistant Engineer’ credit on Miranda’s album. Would you consider that a part of her artist development?
Frank Liddell: To get where they’re going, everybody in our business, took a different path. If you look at Jay Joyce, he was an alternative rock artist and then guitar player and somehow now—among the many other genius things—I see he produces country records. It’s logical but nobody else will do it that way again. She just said; “You know what … I wanna just work in the studio.” And I think she’s trying to find her way. I think that any time you learn one discipline, or even a little bit about that discipline, you know a little more about another.
Your eldest daughter Aubrie (26) is signed to Warner Bros. How did that come about?
We made her record independently and I funded it (Carnival Recording Company) and Warner Bros. bought the record and took over. We put it out and Warner loved it and bought it and worked with her and this next record will be hers and their record, from the ground up and they’ll be more invested top to bottom. She’s made in-roads in other places. She went out on some dates with Chris Stapleton, Miranda and Brent Cobb and she did some shows on her own.
Can you give me an update on David Nail?
He’s no longer on MCA and for the last eight months he’s been writing songs and recording with a buddy of his. Funny you asked, because he sent me a text today and said, ‘Hey man I wanna get together and tell you what I want to do.’ So I’m really excited.
Chuck Ainlay and Glenn Worf have co-produced with you. When and how do you decide if someone is going to co-produce with you?
That’s been a topic of conversation with me lately, with a handful of people for a lot of reasons. I’m not as much of a producer as other people are. When I came to town, I ended up making records for a lot of odd reasons. I started messing around working on demos in the studio and I thought it was a lot of fun. But I needed someone to bounce ideas off-of and the sound of a record is very important to me. I bounce a lot of ideas off engineers and I try to get them more involved than just settin’ up. Glenn Worf is one of my dearest friends in the world and he and Chuck are old friends. But that’s my call. They both bring really great things to the table. And people go, “Well it’s confusing.” Well I don’t care if people are confused or not. If somebody likes the record, why do they care? I like working with people I like and acknowledging them. We just go in there together and have a lot of fun. I’m pretty good at leaning on some other people. I like being around them and I like to listen to them and I like to hear what anybody has to offer.
Who was the first artist you ever produced and how did that happen?
The first writer I ever found that I thought could get a deal was Chris Knight. This guy’s really special, and this was a process that took many years. I was trying to find someone to produce and a couple of other guys weren’t into it or they couldn’t do it. I didn’t like the way a lot of the records that were coming out of this town sounded for this particular artist. So I just said, “I’ll start figuring this out.” It’s almost like if someone was building on your house and then they quit showing up and you just had to finish it and figure it out for yourself. But I do love it. It’s frustrating ‘cause I’m still slow and I’m still not understanding and I’m not great at it so, when new people call me and want to make a record, I have to be in way early-on, or I’m no good … but for me, it’s easier said than done.
Miranda’s double album The Weight of These Wings was a huge surprise. How did that happen?
When she came to me, she said, “I’m in a different place in my life and I’m open to anything.” And I didn’t want to change anything, but I wanted to capture what she was going through and what she was talking about. So we went over to Eric Massey’s and he has a studio behind his house and we just went over there to work and just see how some of these songs sound and try some different players. It was more about, “Let’s just go have fun and not worry about the end results.” All this was pre-production and so we made the record right there.
She was writing songs and some of the things we recorded early on, experimentally, are on the record. We just amassed songs over time, and one day we had about 35 songs. I said, “We’d better stop recording.”
What was her label’s response, when you delivered that much music?
In this particular case, there were a few things. Miranda wanted to be off on an island and not be bothered. So I told Jim Catino (head of A&R), we’re recording and Miranda wants to be a lot more experimental. Don’t be surprised if some of it makes the record. And to his credit, he understood and he could not have been more helpful about what I was trying to do. So when we got almost done with the record, we had to play it for the label and Miranda said, “Hey, we got a lot of music coming your way,” and they’re like, “What, 24 songs? We’d better start listening now.” And they came and listened to it at Blackbird and they were fired up. We never set out to make a double record. We just started recording and we tried to stay out of editing mode and in creation mode a long as possible and we ended up with two records.
I’ve never had anything but a handshake deal with her. If she walked in one day and said we’re done, then she’s done with me and I don’t take that for granted that we work together. I’m honored and I always have been.
Do you and the artists you develop have your sights set on other labels for them when they’re ready, or are your intensions to build Carnival Recording Company?
That’s a good question. I’m probably in the process of trying to build Carnival a bit more. I would love the opportunity to have a bunch of things to work on, where we don’t have to ask permission, where we can just get careers going.
What are some of the less obvious things that artists in development need to work on?
First of all, you’re going to get asked a lot of questions as you go. How do you start carrying yourself well with poise and self-respect? How when you answer a question, do you not say ‘duh’ or ‘um’? How do you get in a room and say things that matter and look people in the eye? You don’t want to be disingenuous or BS. I think they have to exude some confidence, in some fashion.
How do you as a publisher re-coup the cost of developing artists?
It depends on who’s involved. The monetization of careers is ever-changing. Maybe if you sign someone to a development deal, you’ll have a piece of management and a piece of everything they’re doing. A lot of times now you can develop somebody as a publisher and then you go and get a record deal and they can only sell 80k records and play to 10k people and you’re left out, high-n-dry. It would be nice if someone else paid for it and then just gave me all the money, when it works.
How do new writers develop relationships with publishing companies like Carnival?
Everybody gets in this a different way, but I’ve always said work on your music more than you work the system. I’ve said this on your show before. Somebody can get creative and come in and see me but if the music sucks, they’ll never see me again. It doesn’t have to be me. It could be anybody. I feel like I’ve had all these questions from writers about copyright issues and other people stealing their songs and it’s like, “Dude, no one’s going to steal your songs cause they’re terrible.” Worry about your songs. If you need to go to court, get a lawyer but worry about your songs. If someone is making great music, it’s going to catch someone’s attention somewhere.
Rare Spark Media Signs Brian Layson, Adds Three Staffers
/by Jessica NicholsonBrian Layson
Indie publishing and artist development company Rare Spark Media has added Brian Layson to its roster. The songwriter, producer, and multi-instrumentalist joins a roster that includes Walker Hayes, Park Chisolm, Victoria Banks, and Kirsten Arian. Layson spent nearly seven years recording and touring with Will Hoge after moving to Nashville in 1999, and most recently, six years touring and recording with Dierks Bentley, before Layson left the road in 2016 to pursue writing and producing.
The company, launched by CEO Suzanne Strickland and VP/GM Scot Sherrod, celebrates its fifth anniversary this year and celebrates by adding to its staff.
Stephanie Rew has been tapped as director of media and communications, having joined the company following previous stops at Essential Broadcast Media, LLC; Raycom Media and the Academy of Country Music.
Carly Strickland has been named creative director, following her previous role as an associate producer with Firefly Media.
CeCe Dawson has been tapped as part-time visual designer, overseeing content creation and creative assets for the company.
RareSpark Media Group, Inc. Staff (L-R): Katie Allen, Stephanie Rew, Suzanne Strickland, Scot Sherrod, Carly Strickland and CeCe Dawson
Exclusive: Carla Wallace Talks Big Yellow Dog Music’s Evolution With Artist Development, Synch Placement
/by Jessica NicholsonCarla Wallace
Earlier this week, Jessie James Decker earned her first No. 1 country album with Southern Girl City Lights (her first release for Epic Records). Decker, also a songwriter for Nashville’s Big Yellow Dog Music (BYD), penned nine of the 12 tracks on the album, which was produced by fellow BYD writer Daniel Agee. The company signed Decker as an artist-writer in 2014, and released several singles on its in-house record label, which led to Decker’s signing with Epic.
Decker’s recent success is another feather in the cap for Big Yellow Dog Music, a multi-faceted company with a roster of 19 talented music makers, which co-owner Carla Wallace launched in 1998 with Kerry O’Neil. More recently, the company has become as known for artist development as for publishing, helping launch the careers of Decker’s fellow artist-writers including Meghan Trainor and Maren Morris. Wallace says much of that success is attributed to knowing a publisher’s role in the process.
“Artist development is not something that anyone but the artist can do,” Wallace tells MusicRow.com. “It’s always up to them.
“As a publisher who loves working with new talent, recognizing your place within that role comes first to me. Most writers/artists need room to breathe, room to make mistakes, room to write the best & worst without someone standing over top of them whacking them into shape. Although I do my share of whacking when necessary,” she quips.
Big Yellow Dog Music celebrates Jessie James Decker’s album sales success. Pictured (Back row, L-R): Daniel Tashian, Shane Stevens, Jessie James Decker, Daniel Agee, Micah Wilshire, Matt McVaney. (Front row, L-R): Abe Stoklasa; Jessie’s sister, Sydney Bass; Alyssa Bonagura; Jessie’s daughter, Vivianne Decker
This year alone, BYD writers have earned chart-toppers including Lauren Alaina’s “Road Less Traveled” (co-written by BYD writer and pop star Meghan Trainor), the Florida Georgia Line/Backstreet Boys Platinum-selling smash “God, Your Mama, and Me” (co-penned by Josh Kear), and Josh Turner’s “Hometown Girl” (Daniel Tashian). The company is the reigning AIMP Independent Publisher of the Year. That is in addition to numerous cuts by BYD writers on albums from Chris Stapleton, Dustin Lynch, Lindsay Ell, Sara Evans, Joe Nichols, Charlie Worsham, and Robert Randolph and the Family Band.
28th Annual MusicRow Awards (C) Moments By Moser Photography
Columbia Nashville artist Morris is currently nominated for CMA’s Female Vocalist of the Year, as well as Musical Event of the Year and Music Video of the Year (for “Craving You” with Thomas Rhett). She recently topped the iTunes chart with the compelling “Dear Hate,” featuring Vince Gill on backing vocals. This success follows her breakout singles “My Church” and “’80s Mercedes,” as well as her slow burn current single “I Could Use A Love Song.”
But from the beginning, Morris had Wallace in her corner, championing her no matter which direction Morris’ career would take.
“She would set me up with writers in Nashville and Los Angeles that were out of the box and wrote pop and all sorts of stuff,” Morris says. “At one point, Carla and I flew out to LA. She hooked me up with this girl Audra Mae, who is such a badass and really inspired me. That was the week I wrote “My Church” with busbee. She took me to his place, which was way outside of Los Angeles. Then she picked me up, and the three of us went and got sushi. We were buzzing from the write. I was, like, Carla, I can’t wait for you to hear this. After dinner, busbee and I played her the demo of “My Church.” She freaked out. We were all freaking out. We really thought we had something special.
That song changed my whole thinking pattern from ‘songwriter’ to ‘artist.’ That was the first song I wrote where I was, like, I need to keep this. Carla was the first person we played it for, and she obviously, instantly got it.”
Big Yellow Dog’s in-house label also released Logan Mize’s Come Back Road, which earned Top 20 status on the country albums chart. Wallace and her staff also began working with R&B singer Shy Carter on his album Tha Fountain of Juice Vol. 1.
“I first met Shy probably 10 years ago. I couldn’t believe someone like him was crafting songs with such freshness, I introduced him right away to Meghan Trainor & Billy Currington. I wanted to work with him because I couldn’t stand hearing how great his music was, and not doing something about it.”
Big Yellow Dog’s aim to seek new ways of getting writers and artist-writers’ music into the ears and hearts of listeners drove Wallace and her team to launch an in-house sync department. The company has been aggressive in seeking out synch placements, having success with movies and television shows including Big Little Lies, Grey’s Anatomy, 13 Reasons Why, Nashville and more.
“Synch has been so important to us because we were always signing writers outside of the country genre,” Wallace says. “We found it more effective to build out our own staff than to rely on outside consultants. Our staff travels to Europe & LA and thoroughly knows our writers and catalog, and that works well for us.”
Every new venture represents both a risk and progress to better serve each of the artists and writers under the Big Yellow Dog umbrella.
“I hate to gamble because I feel like I do it everyday,” Wallace says of the inherent roll of the dice that comes with working with a new writer or artist, in hopes of a long-lasting, profitable partnership. “It’s partnering with someone that you might have just met, giving them money to live off of while you both decide to hustle a career in the music business. Personally taking on their lives, their daily struggles, their family, or being their family, being a therapist, moral supporter, voice of reason, critique, salesman, marketing director, cheerleader and friend. But the pay off, is not in the financials, that is the proof of the work, but the reward to me are the lasting relationships that I’ve managed to have with our writers.”
For a separate interview on Carla Wallace, Big Yellow Dog Music, and the Nashville music publishing industry, purchase MusicRow’s 2017 Publisher print issue, or subscribe to MusicRow here.
WMN And Southwest Airlines Announce Expanded Partnership With Artists And Staff
/by Eric T. ParkerDevin Dawson. Photo: Southwest
Warner Music Nashville (WMN) and Southwest Airlines have announced an expanded partnership with Southwest committing support to WMN artists through a variety of fan-focused marketing and promotional opportunities while WMN artists and staff will keep their long-standing tradition of traveling with the Dallas-based international airline.
Sweepstakes, pop up shows, surprises and rewards can be expected with the airline with WMN artists continuing to support Southwest’s Live at 35 inflight concert series and its Opry at the Southwest Porch at Bryant Park summer concert series.
To celebrate this announcement, Atlantic Records/WMN artist Devin Dawson took to the sky for a high-flying performance from Nashville (BNA) to Philadelphia (PHL) as a part of the in-flight series. Dawson’s Dark Horse is due out Jan. 19.
“The employees of Southwest Airlines are already a part of our extended family,” shared Marieke Bianchi, Vice President, Marketing & Strategic Partnerships at WMN. “No airline is more accommodating to our artists’ unique needs when traveling, whether it’s helping them with their guitars and gear, service animals or frequent schedule changes. We are thrilled to formalize this relationship and continue to develop unique ways to celebrate country music and the fans who support it.”
“At Southwest, we connect in a meaningful way with our Customers and Employees through music,” said Linda Rutherford, Vice President & Chief Communications Officer at Southwest Airlines. “With this partnership with Warner Music Nashville, we are excited to continue to offer new music experiences to our Customers, and provide WMN artists and fans our friendly and reliable Customer Service – complete with our promise that bags (and guitars) fly free*.”
Kenny Rogers Brings Legends To ‘All In For The Gambler’ Farewell Concert
/by Eric T. ParkerKenny Rogers, Dolly Parton. Photo: Blackbird Presents/Webster PR
Kenny Rogers is retired. Rogers’ 60-year career culminated at the Bridgestone Arena last night (Oct. 25) for the All In For The Gambler: Kenny Rogers’ Farewell Concert Celebration taping. Pay no attention to his Christmas tour running through December. And the air date has not yet been announced for the special.
Rogers sat side stage, welcoming a slew of friends, including Lionel Richie (“Lady”) and Don Henley (“Desperado”), who once lived with Rogers and his family. Also appearing were Wynonna (“You Turn The Light On”), The Judds (“Back To The Well”), Reba McEntire (“Reuben James”), Kris Kristofferson (“Me And Bobby McGhee”), The Oak Ridge Boys (“Love Or Something Like It”) and Crystal Gayle and Travis Tritt led a chorus of The Gatlin Brothers, Kim Forester, T.G. Sheppard, Lee Greenwood, T. Graham Brown, and Billy Dean for “Blaze of Glory.” Members from Rogers’ 1960s-1970s pop group The First Edition also took the stage for a photo appearance.
Little Big Town. Photo: Blackbird Presents/Webster PR
Don Henley. Photo: Blackbird Presents/Webster PR
Not only were newer artists present—like Justin Moore (“Lucille”), Billy Currington (“Morning Desires”), Chris Stapleton (“The Gambler”) and Little Big Town (“Through The Years”)—crossover artists also took turns, among them Aaron Lewis (“Coward of the County”), The Flaming Lips (“Ruby”), Elle King (“Tulsa Turnround”) and Idina Menzel (“You Decorated My Life”).
The evening’s most sparkling performances were kicked off by mother-daughter duet with Linda Davis and Hillary Scott, “Twenty Years Ago.” Jamey Johnson delivered two, most notably “Sweet Music Man,” and “Just Dropped In.” Alison Krauss was elegant as always on “Love the World Away.” Fresh-faced Lady Antebellum delivered a memorable “She Believes In Me,” while member Charles Kelley continued with a fantastic duet with Menzel, “We’ve Got Tonight.”
Even the house band was top notch, led by Don Was and featuring talent including Jedd Hughes and Tom Bukovak among many others. The evening’s host was Chip Esten.
Bill Haslam and Nashville mayor Megan Barry’s reps presented plaques, marking the day as Kenny Rogers Day and honoring him with the Armed Services Award, among other plaques.
Lionel Richie. Photo: Blackbird Presents/Webster PR
Idina Menzel, Charles Kelley. Photo: Blackbird Presents/Webster PR
The evening’s main attraction, of course, was Rogers with Dolly Parton.
“Thank you for coming here tonight to help me say goodbye,” said Rogers. “You guys have made this a very special night for me. I enjoyed every song—some of those songs I’ll never sing again.”
The pair began their three-song set with their 2013 release “You Can’t Make Old Friends.”
Kenny Rogers, Dolly Parton. Photo: Blackbird Presents/Webster PR
The pair talked for a cumulitive 15 minutes straight about everything from favorite career memories to plastic surgeries with their candid charm and signature wit.
“She is like this 24/7,” said Rogers of Parton’s energy.
“I go on with a lot of foolishness, ‘cuz I like to have fun and lighten things up, but there is a place deep in my country heart that goes beyond understanding—beyond the jokes and everything else,” said a tearful Parton.”I like to think my heart’s real—probably the only thing real about me—but with that heart I have a spot for you that’s never going to be touched by anyone else, and I’m gonna hold you there forever…But good lord, you’re just retiring, you’re not dying!”
Parton then performed her signature “I Will Always Love You” as Rogers again, sat back.
Then the moment everyone waited for. As cameras rolled, the final duet performance of “Islands In The Stream.” Parton and Rogers then took a bow, and “went out like rock stars” with a dual mic-drop before walking back through the risers into the lights, in each others’ embrace.
The Producer’s Chair: Frank Liddell
/by contributorFrank Liddell. Photo: Blu Sanders
Don’t miss 2017 ACM Album of the Year recipient Frank Liddell on The Producer’s Chair on Thursday, October 26 at World Music Nashville at 7:30 p.m. Purchase tickets http://www.brownpapertickets.com/event/3115850
If I were to speculate as to why Frank Liddell is one of the most sought-after producers on Music Row, I would have to say he has great ears, great instincts, he knows when to get out of the way and his records don’t sound like anybody else’s. But don’t think for one minute his learning curve was easy. Liddell wasn’t an engineer, a musician, a songwriter or an artist. He joked about being out to dinner with Dann Huff and not understanding a word he says half the time…and Huff thought he was joking. Liddell says having a publishing background and having a musician’s background are worlds apart.
Liddell moved from Houston to Nashville in the early ’90s, where his first two career stops were Bluewater Music and Decca, where he pitched songs, scouted talent, and helped creatively direct careers but, it was during his stint at Decca, that he started doing what producer’s do.
“I started doing demos years ago with a guy named Bill Holiday, a guitar player who had a studio. And the first time I showed up, he had a track sheet and at the top it said my name as a Producer. I said, ‘What does a producer do?’ I was a songplugger. And he said, ‘You’re gonna help me figure this thing out.’ I had so much fun.”
In 1997, Liddell launched Carnival Music’s publishing arm with partner Travis Hill, an embodiment of his fully formed music-first philosophy.
“This is a talent-driven town, not marketing driven,” Liddell says. “The marketing doesn’t inspire the talent; the talent inspires the marketing.”
Today Carnival has a boat-load of publishing awards, a record label division, The Carnival Recording Co. and 14 staff writers including Adam Wright, Aubrie Sellers, Brent Cobb, Dani Flowers, David Nail, Derik Hultquist, Hailey Whitters, Mando Saenz, Scooter Carusoe, Stoney LaRue, Troy Jones, Dustin Christenson, Aham Smith and Gretchen Peters, a handful of whom, are in artist development. Since its inception, Carnival has published the first No. 1 singles of eight songwriters’ careers.
Recently Liddell won his fourth Album of the Year trophy at the 2017 ACM Awards for Miranda Lambert’s The Weight of These Wings and 2014 ACM Producer of the Year, following his three other wins, for his work on Four the Record in 2012, Revolution in 2010 and Crazy Ex-Girlfriend in 2008.
The Weight of These Wings is two discs (24 songs) and debuted at No. 1 on the Billboard Country Albums chart and No. 3 on the all-genre US Billboard 200 chart in 2016 and is certified Platinum by the Recording Industry Association of America (RIAA).
Other releases Liddell has worked on include Lee Ann Womack’s The Way I’m Livin’, The Very Best of Kellie Pickler, David Nail’s Fighter and I’m a Fire, Stoney LaRue’s Aviator, and Eli Young Band’s 10,000 Towns in 2014, Aubrie Seller’s New City Blues album in 2016 and Charlie Worsham’s 2017 album Beginning of Things.
The Producer’s Chair: I saw where your youngest daughter Annalise (18), has an ‘Assistant Engineer’ credit on Miranda’s album. Would you consider that a part of her artist development?
Frank Liddell: To get where they’re going, everybody in our business, took a different path. If you look at Jay Joyce, he was an alternative rock artist and then guitar player and somehow now—among the many other genius things—I see he produces country records. It’s logical but nobody else will do it that way again. She just said; “You know what … I wanna just work in the studio.” And I think she’s trying to find her way. I think that any time you learn one discipline, or even a little bit about that discipline, you know a little more about another.
Your eldest daughter Aubrie (26) is signed to Warner Bros. How did that come about?
We made her record independently and I funded it (Carnival Recording Company) and Warner Bros. bought the record and took over. We put it out and Warner loved it and bought it and worked with her and this next record will be hers and their record, from the ground up and they’ll be more invested top to bottom. She’s made in-roads in other places. She went out on some dates with Chris Stapleton, Miranda and Brent Cobb and she did some shows on her own.
Can you give me an update on David Nail?
He’s no longer on MCA and for the last eight months he’s been writing songs and recording with a buddy of his. Funny you asked, because he sent me a text today and said, ‘Hey man I wanna get together and tell you what I want to do.’ So I’m really excited.
Chuck Ainlay and Glenn Worf have co-produced with you. When and how do you decide if someone is going to co-produce with you?
That’s been a topic of conversation with me lately, with a handful of people for a lot of reasons. I’m not as much of a producer as other people are. When I came to town, I ended up making records for a lot of odd reasons. I started messing around working on demos in the studio and I thought it was a lot of fun. But I needed someone to bounce ideas off-of and the sound of a record is very important to me. I bounce a lot of ideas off engineers and I try to get them more involved than just settin’ up. Glenn Worf is one of my dearest friends in the world and he and Chuck are old friends. But that’s my call. They both bring really great things to the table. And people go, “Well it’s confusing.” Well I don’t care if people are confused or not. If somebody likes the record, why do they care? I like working with people I like and acknowledging them. We just go in there together and have a lot of fun. I’m pretty good at leaning on some other people. I like being around them and I like to listen to them and I like to hear what anybody has to offer.
Who was the first artist you ever produced and how did that happen?
The first writer I ever found that I thought could get a deal was Chris Knight. This guy’s really special, and this was a process that took many years. I was trying to find someone to produce and a couple of other guys weren’t into it or they couldn’t do it. I didn’t like the way a lot of the records that were coming out of this town sounded for this particular artist. So I just said, “I’ll start figuring this out.” It’s almost like if someone was building on your house and then they quit showing up and you just had to finish it and figure it out for yourself. But I do love it. It’s frustrating ‘cause I’m still slow and I’m still not understanding and I’m not great at it so, when new people call me and want to make a record, I have to be in way early-on, or I’m no good … but for me, it’s easier said than done.
Miranda’s double album The Weight of These Wings was a huge surprise. How did that happen?
When she came to me, she said, “I’m in a different place in my life and I’m open to anything.” And I didn’t want to change anything, but I wanted to capture what she was going through and what she was talking about. So we went over to Eric Massey’s and he has a studio behind his house and we just went over there to work and just see how some of these songs sound and try some different players. It was more about, “Let’s just go have fun and not worry about the end results.” All this was pre-production and so we made the record right there.
She was writing songs and some of the things we recorded early on, experimentally, are on the record. We just amassed songs over time, and one day we had about 35 songs. I said, “We’d better stop recording.”
What was her label’s response, when you delivered that much music?
In this particular case, there were a few things. Miranda wanted to be off on an island and not be bothered. So I told Jim Catino (head of A&R), we’re recording and Miranda wants to be a lot more experimental. Don’t be surprised if some of it makes the record. And to his credit, he understood and he could not have been more helpful about what I was trying to do. So when we got almost done with the record, we had to play it for the label and Miranda said, “Hey, we got a lot of music coming your way,” and they’re like, “What, 24 songs? We’d better start listening now.” And they came and listened to it at Blackbird and they were fired up. We never set out to make a double record. We just started recording and we tried to stay out of editing mode and in creation mode a long as possible and we ended up with two records.
I’ve never had anything but a handshake deal with her. If she walked in one day and said we’re done, then she’s done with me and I don’t take that for granted that we work together. I’m honored and I always have been.
Do you and the artists you develop have your sights set on other labels for them when they’re ready, or are your intensions to build Carnival Recording Company?
That’s a good question. I’m probably in the process of trying to build Carnival a bit more. I would love the opportunity to have a bunch of things to work on, where we don’t have to ask permission, where we can just get careers going.
What are some of the less obvious things that artists in development need to work on?
First of all, you’re going to get asked a lot of questions as you go. How do you start carrying yourself well with poise and self-respect? How when you answer a question, do you not say ‘duh’ or ‘um’? How do you get in a room and say things that matter and look people in the eye? You don’t want to be disingenuous or BS. I think they have to exude some confidence, in some fashion.
How do you as a publisher re-coup the cost of developing artists?
It depends on who’s involved. The monetization of careers is ever-changing. Maybe if you sign someone to a development deal, you’ll have a piece of management and a piece of everything they’re doing. A lot of times now you can develop somebody as a publisher and then you go and get a record deal and they can only sell 80k records and play to 10k people and you’re left out, high-n-dry. It would be nice if someone else paid for it and then just gave me all the money, when it works.
How do new writers develop relationships with publishing companies like Carnival?
Everybody gets in this a different way, but I’ve always said work on your music more than you work the system. I’ve said this on your show before. Somebody can get creative and come in and see me but if the music sucks, they’ll never see me again. It doesn’t have to be me. It could be anybody. I feel like I’ve had all these questions from writers about copyright issues and other people stealing their songs and it’s like, “Dude, no one’s going to steal your songs cause they’re terrible.” Worry about your songs. If you need to go to court, get a lawyer but worry about your songs. If someone is making great music, it’s going to catch someone’s attention somewhere.
Luke Bryan Unveils New Video, Tour During ‘Ellen’ Appearance
/by Lorie HollabaughLuke Bryan premiered his new video for his single “Light It Up” on The Ellen DeGeneres Show today. The clip, directed by Michael Monaco, was shot in Nashville last month and stars Minnesota Timberwolves’ Jimmy Butler, who is a country music fan and has been a guest of Luke’s at several of his concerts. “Light It Up” is the lead single from Bryan’s upcoming What Makes You Country album.
During his Ellen appearance Bryan also announced the first leg of his 2018 What Makes You Country Tour. The tour launches Feb. 16 in Springfield, Missouri with guests Kip Moore and The Cadillac Three and will run through the Fall of next year with more dates announced soon. Tickets go on sale Nov. 3. Citi is the official pre-sale credit card of the “What Makes You Country Tour,” and Citi card members will have access to purchase pre-sale tickets beginning Nov. 1 through Citi’s Private Pass program.
2018 What Makes You Country Tour Dates:
Feb. 16-Springfield, Mo.; JQH Arena
Feb. 17-Evansville, Ind.; Ford Center
Feb. 18-Louisville, Ky.; KFC Yum! Center
Feb. 22-State College, Pa.; Bryce Jordan Center
Feb. 23-Atlantic City, N.J.; Atlantic City Boardwalk Hall
Feb. 24-Charlottesville, Va.; John Paul Jones Arena
Industry Pics: Kelsea Ballerini, Holly Gleason, Musicians On Call, Warner Music Nashville
/by Haley CrowKelsea Ballerini Gives NASH Team Her First Platinum Album
Pictured (L-R): John Shomby, NASH Director of Programming and NASH FM PD; Kelsea Ballerini; Mike McVay, EVP, Content & Programming, Cumulus Media and Westwood One; and John Kilgo, VP, Label Relations, Cumulus Media.
Black River artist Kelsea Ballerini stopped by the NASH campus Tuesday (Oct. 24) to present the NASH team with a gift–her first platinum album. Ballerini shot to stardom after releasing three consecutive Platinum-certified No. 1 hits–“Love Me Like You Mean It,” “Peter Pan” and “Dibs”–from her debut album The First Time, making her the only female artist in country music history to achieve this feat. Ballerini’s sophomore album, Unapologetically, is slated to drop next Friday, Nov. 3.
Holly Gleason Discusses New Book at Change the Conversation
Pictured (L-R): Tracy Gershon, Ann Powers, Holly Gleason, Margaret Hart, Beverly Keel, Leslie Fram, Cameo Carlson and Amanda Cates. [Click photo to enlarge]
Musicians On Call and Warner Music Nashville Launch Bedside Performance Program
Pictured (L-R): Pete Griffin, President, Musicians On Call; Shane Tarleton, SVP Artist Development, Warner Music Nashville; Michael Ray; John Esposito, CEO, Warner Music Nashville; and Matt Signore, COO, Warner Music Nashville. Photo: Dusty Barer
Musicians On Call celebrated its 10th anniversary in Nashville by teaming up with Warner Music Nashville to launch its Bedside Performance Program at TriStar Centennial Medical Center. Warner Music Nashville recording artists Michael Ray and Ryan Kinder performed within the new orthopedic patient unit, where Ray surprised patients with acoustic renditions of his hits “Kiss You In The Morning” and “Think a Little Less.” Kinder performed “Still Believe in Crazy Love” and “Close.”
Warner Music Nashville COO, Matt Signore, and SVP Artist Development, Shane Tarleton, were on hand to present a check for $10,000 to support the new program. Warner Music Nashville employees also embarked on a volunteer initiative throughout the day where they volunteered at Musicians On Call programs throughout Nashville.
Cody Brooks Signs With Razor & Tie Music
/by Lorie HollabaughBrooks first picked up the guitar as a teenager, and growing up near Nashville drew inspiration from legends like Tommy Dorsey, Robert Johnson, Hank Snow, and Jimmy Hendrix. He has toured across the U.S. and is prepping the release of his upcoming album, which was produced by Ken Coomer (Wilco / Uncle Tupelo). The project is set for release in early 2018.
“There’s no one like Cody anywhere,” says Brad Kennard, Vice President of Razor and Tie Publishing, “When he takes the stage, you can’t take your eyes off of him. His songwriting, musicianship, and stage performance are all enthralling…and perhaps a little frightening. He’s a damn star.”
“I’m a pit-bull wearing matador shoes just trying to dance in a cockfighting town,” said Brooks on joining Razor & Tie. “It became a motif for me to put on a muzzle and scare the chickens, but no one would take me home after the spectacle they paid for…not because of my nature, but because of my breed. That’s when Razor & Tie stepped in. I have felt nothing but support and understanding from everybody within the Razor & Tie family. And that makes me want to give them the best damn parts of me that I possess.”
LANCO Gets Gold Surprise During Opry Debut
/by Jessica NicholsonTrade Photo (L-R): LANCO’s Eric Steedly (lead guitar), LANCO’s Tripp Howell (drums), LANCO’s Brandon Lancaster (lead vocals), Grand Ole Opry GM Sally Williams, LANCO’s Chandler Baldwin (bass), LANCO’s Jared Hampton (keyboards, banjo). Photo: Chris Hollo/Grand Ole Opry
Emerging Sony Music Nashville band LANCO made their Grand Ole Opry debut last night (Oct. 24) during the ninth annual Opry Goes Pink. The five-man band received a standing ovation after offering up a performance of “Trouble Maker” off their self-titled EP, a medley of Alabama’s “Dixieland Delight” and “Song of the South” along with their Top 10 single, “Greatest Love Story.”
LANCO was surprised with the news that “Greatest Love Story” has been certified Gold by the RIAA for selling over 500,000 units, and it shot to the No. 1 spot on the iTunes Country Chart as they walked offstage.
“It was an honor to make our Grand Ole Opry debut during such a special night and take the stage that is the original home to the entire country music genre,” said lead singer Brandon Lancaster. “Since I was six-years-old I remember sitting in those pews and seeing acts like Alabama so to have our families out there watching us was a full circle moment.”
LANCO makes debut Grand Ole Opry performance. Photo: Chris Hollo/Grand Ole Opry
Inspire Nashville Honors Sony/ATV Music Publishing’s Troy Tomlinson With Star-Studded Celebration
/by Haley CrowPictured (L-R): Troy Tomlinson, President/CEO, Sony ATV Music; Kenny Chesney; and Miles Adcox, Owner/CEO, Onsite.
“Songwriters are creative people and we are dreamers. We are supposed to keep dreaming and creating and we need protecting as the constant rejection is devastating. For every dreamer, there has to be a true believer,” songwriter Tom Douglas told a crowd filled with industry members and supporters Tuesday evening (Oct. 24) during a celebration held by Inspire Nashville.
For countless songwriters and superstars, that believer and champion has been Troy Tomlinson, president and CEO of Sony/ATV Music Publishing’s Nashville operation.
As the evening’s honoree and Inspiration Award recipient, Tomlinson was feted for not only his work in helping numerous aspiring songwriters such as Douglas and artist-writers such as Kenny Chesney, Taylor Swift, Luke Bryan, and Thomas Rhett fulfill their dreams, but for his work with organizations including Belmont University’s Bridges To Belmont, Abe’s Garden, Porter’s Call and more.
Country Music Association CEO Sarah Trahern welcomed guests to the event, which also raised awareness and funds for therapy organization The Onsite Foundation, led by founder Miles Adcox.
Douglas shared how much of Tomlinson’s success comes from pure passion and an almost unparalleled work ethic. Tomlinson, a Portland, Tennessee native, dropped out of college to become an apprentice at a tool and die company. After an incident left him with second and third degree burns on his hands, Tomlinson needed to find a new career direction.
According to Douglas, Tomlinson met music publishing executive Cliff Williamson through a mutual friend. Williamson noticed Tomlinson had retrofitted his old Monte Carlo to accommodate 400 cassette tapes in wooden slots in the back seat, and figured he had a strong passion for music. That instinct would usher Tomlinson into the beginnings of a prestigious role in Nashville’s music community, and, in the process, help numerous songwriters fill their dreams.
Tom Douglas
The evening highlighted The Onsite Foundation’s work to help inspire people and help them heal from emotional wounds, via short- and long-term experiential therapy workshops and retreats. A video was shown spotlighting a retreat for veterans, held at Onsite’s campus just outside of Nashville. The foundation partners with therapists specializing in trauma, codependency, stress, addiction and more.
“You are one of a kind,” Tomlinson said of Adcox, as the audience applauded. “You have a heart for people and you have a deep, deep soul and you are a great encourager, the kind of guy we all want to have a round as much as possible in our lives. I appreciate your staff, I’ve gotten to meet them a number of times, and the board of directors. It’s a representation of what is the best about us in this part of the world. Thank you for the redemptive work you do. The work you do there is beautiful. If you have been to Onsite or have supported someone who has been there, you know why supporting it is easy.”
Songwriters Douglas, Allen Shamblin and Tony Lane were also on hand to perform in honor of Tomlinson. Speakers in attendance included Donald Miller and Bob Goff.
Lee Ann Womack performed a stunning rendition of “Stubborn (Psalm 151),” which was included on her There’s More Where That Came From project.
Bill Haslam was in attendance, and video tributes came from the likes of Dean Dillon, Luke Bryan, Brett Eldredge, Kelsea Ballerini, Cole Swindell, Thomas Rhett, and Keith Urban, who called Tomlinson his “favorite hillbilly publisher and friend.”
One of Tomlinson’s most enduring associations in his career has been with superstar singer-songwriter Kenny Chesney, who was on hand to honor his longtime friend and publisher.
Kenny Chesney
“From the first day I met him, I knew Troy and I were going to be friends. We had a lot of the same family value and the same experiences growing up,” Chesney told MusicRow backstage. “I remember going into Troy’s office the first day, playing him a song I had written and he and I just connected on a personal level and not only did he sign me to Acuff-Rose years ago, he has not only been my publisher but also a really true friend.
“As it’s called Inspire, he has inspired me as a publisher and as a friend and somebody you want to model your life after. He is so deserving of tonight. Troy has been there for me in the best of times and the worst of times, and he has been truly a positive voice in my life.”
At the end of the evening, Adcox presented Chesney with a check to support Chesney’s recently-launched charity, Love For Love City, in its work to support those affected by the recent hurricanes, especially those affected in the US and British Virgin Islands.
“They are hurting and it’s broken,” Chesney continued backstage. “Anything you could possibly think you need day to day, they need. That’s what Love For Love City is trying to accomplish, as is this event tonight. Music does heal, and I feel eventually…it won’t ever be the same, but it will be a new normal, down there and in Texas and the Florida Keys and Vegas. Everybody’s life has been altered in the past few months. It’s been a tough time of loss.”
Troy Tomlinson
Chesney closed out the evening with an acoustic set that included “Beer In Mexico,” “I Go Back,” and “Old Blue Chair.”
That shared passion for great, inspiring songs and for the craft of songwriting continues for Chesney and Tomlinson. He recounted for the crowd how he added a second verse to “Old Blue Chair” at Tomlinson’s insistence.
“As a songwriter, I scratch and claw for everything I get. Good ones are hard to come by,” Chesney summed. “Troy has always been very honest with me when I call him in the middle of the night with a great song idea. He’ll either get excited or he’ll say, ‘I’ve got to go back to sleep.’” He says, laughing. “My career, I might be in this business without Troy Tomlinson, but I might not, because he was the first guy to raise his hand and say, ‘I believe in this guy from East Tennessee,’ and really worked with me as a songwriter. He helped me over the years to grow into the songwriter I’m still working to be.”
Troy Tomlinson
Visibly moved by the evening’s speeches and performances, Tomlinson took the stage to thank the crowd for their support of The Onsite Foundation, and to thank those who impacted his own career.
“I would like to say I’m speechless, but those of you who know me know that wouldn’t be true.”
Tomlinson gave thanks to his family, including Sylvia, his wife of 30 years, as well as his children and grandchildren.
He paid tribute to Cliff Williamson and Jerry Bradley, who were both in attendance.
“Cliff pulled me out of a factory when I was 20 years old and taught music publishing. I will never understand why you did what you did, but I will always be inspired by what you did.
“Jerry Bradley, when I was 24 years old, Jerry hired me as a song plugger at Acuff-Rose. You pushed me out front, and you taught me to learn about contracts and not only what the words meant, but what the spirit of that contract meant. You told me how to negotiate when needed, and when you do it tough when needed and when to do it softly when needed. You gave me opportunity after opportunity. I will always try to do the same thing with the young people around me that you did for me.”
He ended with a thank you to all the songwriters he has heard or worked with in his career. “If you have ever put pen to paper and you have endeavored to write down the truth and something you’ve lived or seen someone live, if you have done that and you have made me feel something—humor, sadness, joy, escape, anger even—I’ll take it, just make me feel something. If you have done that, you have inspired me.”
For more on The Onsite Foundation, visit onsiteworkshops.com.
Lee Ann Womack