Pictured (L-R): Bart Herbison, Lee Thomas Miller, Kris Kristofferson, Hillary Lindsey, Clint Lagerberg, Steven Lee Olsen. Photo: courtesy NSAI
Chapter 573
What better way to celebrate the 50th anniversary of the Nashville Songwriters Association International (NSAI) than with 50 years of songs?
Wait a minute. That would take all night long and more. To solve this dilemma, the organization mixed live performances with videotaped reminiscences at its anniversary show staged at the Ryman on Wednesday night (Sept. 20).
Amazingly, all 50 NSAI Song of the Year winners were saluted. The sold-out show lasted three hours, but there was so much entertainment in it that my butt never got sore sitting on those pews.
The party people were out in full force, including such top music creators as Bob DiPiero, Kathy Mattea, Gary Burr, Matraca Berg, Pat Alger, Bob Regan, Steve Diamond, Gary Baker, Frank J. Myers, Tom Shapiro, Casey Anderson, Steve Bogard, Wayland Holyfield, Johnny Scoggins and Don Von Tress, plus most of the folks who were in the tribute videos.
Without introduction, Dallas Frazier kicked the celebration off with a stunning rendition of “There Goes My Everything” (NSAI’s 1967 Song of the Year). At 78, he still can hit every one of those notes with finesse, feeling and phrasing.
“Songs and songwriters are what we’re all about,” said the NSAI’s current president Lee Thomas Miller. “Tonight, we’re going to walk you through history, one song at a time.” He wasn’t kidding. That’s exactly what transpired.
Kris Kristofferson strolled out on stage and received a standing ovation before he ever sang a note. He has three Song of the Year honors from the NSAI – “For the Good Times” (1970), “Sunday Morning Comin’ Down” (1971) and “Why Me” (with Marijohn Wilkin, 1973).
Pictured: Garth Brooks and Kent Blazy. Photo: Courtesy NSAI
Singing solo with his guitar, he brought down the house with “Sunday Morning Comin’ Down.” His second standing ovation was accompanied with cheers, whistles and shouts. Kris, by the way, is one of the founders of the NSAI and was also the first artist to sign up to sing at the golden-anniversary celebration.
On video were Jimmy Carter (“Honey,” 1968, by Bobby Russell), James Dean Hicks “Okie From Muskogee,” 1969, by Merle Haggard & Roy Edward Burris), Bart Herbison (“Country Bumpkin,” 1974, by Don Wayne) and Peter Cooper (“Old Dogs, Children and Watermelon Wine,” 1972, by Tom T. Hall).
Justin Peters ably sang the 1975 winner “Before the Next Teardrop Falls.” He is the son of its co-writer Ben Peters (with Vivian Keith).
Video’d Bob McDill (“Amanda,” 1976), Hal Bynum (“Lucille,” 1977, written with Roger Bowling) and Randy Goodrum (“You Needed Me,” 1978) ensued.
Live performances resumed with Bobby Braddock & Curly Putman’s “He Stopped Loving Her Today” (1980). Rising to the considerable challenge was Craig Campbell, who sang it at the piano superbly. Multi-instrumentalist Fats Kaplan was a big boost on steel guitar. This house-band utility player also contributed to others on fiddle, guitar, concertina and more.
Eric Paslay took on “Always on My Mind” (1982’s NSAI winner, by Johnny Christopher, Mark James & Wayne Carson). T.G. Sheppard (“She Believes in Me,” 1979, Steve Gibb) and Walt Aldridge (“Holding Her and Loving You,” 1983, written with Tommy Brasfield) were the next celebrants on screen.
“You’re the Reason God Made Oklahoma” (1981, by Larry Collins & Sandy Pinkard, plus the Byrants) was sung by its originators, Shelly West and the always-superb David Frizzell. This drew another S.O.
2017 Song of the Year winners Hillary Lindsey, Steven Lee Olsen, and Clint Lagerberg, writers of “Blue Ain’t Your Color.” Photo: Courtesy of NSAI
On screen, Kenny O’Dell (“Mama He’s Crazy,” 1984) and Bob McDill (“Baby’s Got Her Blue Jeans On,” 1985) entertained with anecdotes. Paul Overstreet masterfully performed “On the Other Hand” (1986, written with Don Schlitz) with Colin Linden on slide guitar.
Next was a lovely rendition of “Somewhere in My Broken Heart” by Billy Dean & Richard Leigh (1991). Overstreet returned with an audience sing-along on “Forever and Ever, Amen” (1987, written with Don Schlitz).
Max T. Barnes (“Chiseled in Stone,” 1988, by Vern Gosdin & Max D. Barnes) and Don Henry & Jon Vezner (“Where’ve You Been,” 1990) offered video nostalgia. This interlude was followed by standing ovations for Garth Brooks & Kent Blazy (“If Tomorrow Never Comes,” 1989).
Goddess Trisha Yearwood took the performance and song levels to a new high with Hugh Prestwood’s “The Song Remembers When” (1993). Everyone got up and danced as Billy Ray Cyrus and tambourine-smacking, boogie-dancing backup vocalist Bekka Bramlett ignited the house with “Achy Breaky Heart” (1992, Don Von Tress) mashed up with “Tulsa Time.”
With dynamite harmonizing, All-4-One brought a terrific r&b element to the show with “I Can Love You Like That” (1995, Jennifer Kimball/Maribeth Derry/Steve Diamond) and “I Swear” (1994, Frank J. Myers/Gary Baker). They were also rewarded with a standing ovation.
From roughly 1990 on, we were thoroughly into the era of co-writing and multiple co-writing. Clint Black (1997, “Something That We Do,” written with Skip Ewing), Allen Shamblin & Steve Seskin (1998, “Don’t Laugh at Me”) and Steve Wariner & Billy Kirsch (also 1998 [it was a tie] “Holes in the Floor of Heaven”) testified on video. So did Tia Sillers (2000 & 2001, “I Hope You Dance,” written with Mark D. Sanders), Phillip White & D. Vincent Williams (2002, “I’m Movin’ On”), Doug Johnson (2003, “Three Wooden Crosses,” written with Kim Williams) and Jeff Hanna/Marcus Hummon/Bobby Boyd (2007, “Bless the Broken Road”).
Music City native Deana Carter charmed the crowd by saluting Nashville’s sense of community. She sailed through “Strawberry Wine” (1996, Matraca Berg/Gary Harrison). Marv Green, Aimee Mayo & Chris Lindsey did “Amazed” (1999). Hillary Lindsey & Gordie Sampson earned a standing ovation for “Jesus Take the Wheel” (2006, written with Brett James).
All-4-One performs “I Swear” and “I Can Love You Like That.” Photo: courtesy NSAI
On video, Tim Nichols & Craig Wiseman recalled writing “Live Like You Were Dying” (2004), as did Don Sampson & Wynn Varble about their summer song (2009, “Waitin’ on a Woman”).
During this “home stretch,” Miller got a standing ovation by saying, “The technology that delivers the songs is not, nor has it ever been, more valuable than the songs, themselves.” He gave the NSAI President’s Award to Bart Herbison.
Commanding Trace Adkins sang “You’re Gonna Miss This” with Miller on mandolin (2008, co-written by Miller and Ashley Gorley). Alternating video tributes came via Tom Douglas & Allen Shamblin (2010, “The House That Built Me”) and Paul Worley (2011, “If I Die Young” written by Kimberly Perry).
Perry’s salute predicted that the eve’s end would be dominated by female songwriters. Lee Brice was ill and struggling to sing, so super Jessi Alexander came to his rescue. She co-wrote his “I Drive Your Truck” (2013, with Connie Harrington & Jimmy Yeary). Dolly Parton appeared on video to speak of “I Will Always Love You” (2012), as did Nicole Galyon/Natalie Hemby/Miranda Lambert (2014, “Automatic”) and Liz Rose/Hillary Lindsey/Lori McKenna (2015, “Girl Crush”).
McKenna broke into tears as she reached the end of “Humble and Kind “ (2016), which was so sweet and touching. Then Hillary Lindsey equaled Kristofferson’s three-time NSAI win as “Blue Ain’t Your Color” was announced as the organization’s 2017 Song of the Year. “If you want to know what heaven feels like, it feels like right now,” said her co-writer Clint Lagerberg.
The finale was Hillary, Clint and co-writer Steven Lee Olsen doing a fantastic trio vocal arrangement of their song with snappy electric-guitar solos by Clint.
NSAI Executive Director Bart Herbison is presented with the 2017 President’s Award. Photo: courtesy NSAI
If you’re still reading this, you might think we were numb as we reached the three-hour mark. Au contraire. Just ask Barry Coburn, Vernell Hackett, Dennis Lord, John Ozier, Lisa Sutton, Rick Diamond, Ralph Murphy, Aaron Hartley, Eric T. Parker, the NMPA’s David Israelite, Amy Kurland, Erika Wollam Nichols, Eddie Stubbs, Sherrill Blackmon, Tom Long, Del Bryant, Pat Rogers or Brandi Simms.
Songwriter-supportive Congress people included Marsha Blackburn, Doug Collins, Diane Black and Chuck Fleischmann.
Kris Kristofferson, winner of three NSAI Song of the Year honors, performs. Photo: courtesy NSAI
Blake Shelton To Release ‘Texoma Shore’ In November
/by Jessica NicholsonBlake Shelton remains firmly rooted as a proud Oklahoman with the title of his upcoming album, Texoma Shore, slated to release Nov. 3 via Warner Music Nashville.
“Lake Texoma has always been a place of great memories, new and old,” said Shelton. “I literally recorded this album on its shore so it’s full circle for me to take the love of this place and my love of country music.” Fans can pre-order the album here beginning tomorrow.
The album’s lead single “I’ll Name The Dogs” is approaching the Top 20 in just two weeks since its impact at country radio. It was the No. 1 trending video on YouTube from the day of release throughout its first weekend. With over half a million views within 24 hours and 2.1 million first week plays, both the song and the video are earning widespread attention.
Earlier this year, Shelton became the first country artist ever to win the all-genre Favorite Album category at the People’s Choice Awards, along with the title for Favorite Male Country Artist.
“When you listen to the record it will go from something traditional to something that will make your head spin back to something even more traditional. That’s just what you can expect from one of my albums. At this point in my career it’s always good for me to try something different, with different sounds, and I think you’ll hear hints of that on this record. I’ve explored about every part of country music you can explore and it seems like I always keep coming back to my roots, which is traditional country music. I love great songs and there are so many talented writers in Nashville, but I do have a song on the album that I wrote and I’m very proud of it.”
Josh Turner Celebrates 10-Year Anniversary As An Opry Member
/by Lorie HollabaughPhoto Credit: Chris Hollo
Josh Turner has played the Grand Ole Opry a whopping 150 times, and on Tuesday night (Sept. 19), he celebrated his 10th anniversary of being an Opry member. Bill Anderson was on hand to commemorate the special occasion, who also happened to host the night of Turner’s very first appearance at the famed institution over 16 years ago.
“When I was headed back to my dressing room, Bill Anderson asked the crowd if they wanted to hear some more,” said Turner of his first experience on the show. “Bill hollered out at me and said, ‘Josh, let’s make that train a little bit longer.’ I was blown away that he called me back out to do an encore. I didn’t know how to do an encore and I didn’t have a second song prepared so I sang ‘Long Black Train’ again.”
Prior to the anniversary celebration, Turner was surprised by his management and label with the news that his most-recent No. 1, “Hometown Girl,” is now officially RIAA-certified Gold. Turner’s Opry performance included “Hometown Girl,” his Platinum-selling No. 1 hits “Would You Go with Me” and “Your Man,” his latest single “All About You,” and the timeless “Long Black Train.”
Pictured (L-R): UMG Nashville SVP A&R Brian Wright, UMG Nashville CEO & Chairman Mike Dungan, MCA Nashville VP Promotion Katie Dean, Modern Management’s Ted Greene, Josh Turner, UMG Nashville SVP Promotion Royce Risser, UMG Nashville President Cindy Mabe, UMG Nashville COO Mike Harris
Photo: Haley Hall
Mary Chapin Carpenter Launches Fall Tour This Week
/by Lorie HollabaughThe shows will feature material from throughout Carpenter’s career and her most recent album, The Things That We Are Made Of. Released last year on Lambent Light Records via Thirty Tigers, the album was produced by Dave Cobb and features eleven new songs written by Carpenter.
RIAA Posts Mid-Year Statistics
/by Eric T. ParkerAmerican music business revenue has grown 17 percent at retail. Fueled by more than 30 million subscriptions, revenues from streaming services now comprise 62 percent of the total market.
A comprehensive recap of the mid-year numbers is available here.
“Our story continues to be one of great promise, but our footing is fragile, and a sustained, durable recovery is jeopardized by a fundamentally uneven playing field,” said RIAA Chairman & CEO Cary Sherman in his accompanying commentary on the mid-year numbers, continued on Medium.
Sir Richard Branson Celebrates Hotel Groundbreaking
/by Sherod RobertsonSir Richard Branson. Photo: Haley Crow
Virgin founder Sir Richard Branson and Virgin Hotels CEO Raul Leal joined Nashville Mayor Megan Barry Wednesday, September 20, for the groundbreaking ceremony of Virgin Hotels Nashville.
Key members of the city of Nashville, the developer The Buccini/Pollin Group and the construction management team BPGS Construction also attended the celebration along with media and guests.
Before the formal groundbreaking ceremony, Branson walked around greeting and welcoming guests.
The British billionaire says, “The last time I was in Nashville, which sort of shows my age, is when I was sitting in a studio watching Roy Orbison making an album. He was an artist on Virgin Records years ago, who was a wonderful man and wrote beautiful music. So I never thought when I was sitting there in the studio, that one day I would be building a hotel at the end of the street.”
Located on Music Row at the corner of Division St. and Music Square W. (17th Avenue S.), the new Virgin Hotels Nashville, with an address of 1 Music Square W., will offer 240 guest rooms, multiple concept suites, food and beverage outlets, and will include a rooftop pool and bar. The hotel is slated to open in 2019 and will be owned by The Buccini/Pollin Group and operated by Virgin Hotels.
Branson is a genuine fan of Nashville, confessing, “I think there are two iconic cities in America, Nashville and New Orleans, and I’ve always wanted to open hotels in both.” And referencing the address as being number 1 on the street, he added, “That can’t be bad.”
A reception followed the ceremony at RCA Studio. Branson added, “The next time we come, I hope we have even a bigger party on the roof on this building behind me that’s going to grow out of this ground.”
Virgin founder Sir Richard Branson and Virgin Hotels CEO Raul Leal joined Nashville Mayor Megan Barry Wednesday, September 20, for the groundbreaking ceremony of Virgin Hotels Nashville. Photo: Haley Crow
Mayor Megan Barry said, “As someone who has driven by this corner for a long time, this is much anticipated and we are so excited that this is going to be coming out of the ground.” Noting the recent addition of flights from Nashville to San Francisco on Virgin America, Barry added, “This is the second Virgin product that we have been a beneficiary. With Virgin’s roots in the music industry, I think it’s only appropriate that they are going to sit right here on Music Row.”
“We are so excited to be bringing Virgin Hotels to the thriving city of Nashville,” said Raul Leal, CEO of Virgin Hotels. “The spirit of this city is absolutely electric – from the music, to the cuisine, to the culture. We are fortunate to be a small part of what makes Music City such a popular destination among travelers. We can’t wait to welcome guests here.”
The brand’s first hotel, Virgin Hotels Chicago, is now open with hotels in San Francisco, Dallas, Palm Springs and New York slated to open next.
Sir Richard Branson and MusicRow Publisher/Owner Sherod Robertson. Photo: Haley Crow
JoLivi Signs With C2 Media
/by Lorie HollabaughShe is managed by Jenn Littleton at Red 4 Music and produced by Mark McKee.
The C2 Media Relations roster also includes Ronnie Milsap, Smithfield, Fiona Culley, Jillian Cardarelli, Lucy Angel, Caroline Dare, Nashville Universe and more.
Bobby Karl Works The Room: Stars Abound For NSAI 50th Anniversary Concert
/by Bobby KarlPictured (L-R): Bart Herbison, Lee Thomas Miller, Kris Kristofferson, Hillary Lindsey, Clint Lagerberg, Steven Lee Olsen. Photo: courtesy NSAI
Chapter 573
What better way to celebrate the 50th anniversary of the Nashville Songwriters Association International (NSAI) than with 50 years of songs?
Wait a minute. That would take all night long and more. To solve this dilemma, the organization mixed live performances with videotaped reminiscences at its anniversary show staged at the Ryman on Wednesday night (Sept. 20).
Amazingly, all 50 NSAI Song of the Year winners were saluted. The sold-out show lasted three hours, but there was so much entertainment in it that my butt never got sore sitting on those pews.
The party people were out in full force, including such top music creators as Bob DiPiero, Kathy Mattea, Gary Burr, Matraca Berg, Pat Alger, Bob Regan, Steve Diamond, Gary Baker, Frank J. Myers, Tom Shapiro, Casey Anderson, Steve Bogard, Wayland Holyfield, Johnny Scoggins and Don Von Tress, plus most of the folks who were in the tribute videos.
Without introduction, Dallas Frazier kicked the celebration off with a stunning rendition of “There Goes My Everything” (NSAI’s 1967 Song of the Year). At 78, he still can hit every one of those notes with finesse, feeling and phrasing.
“Songs and songwriters are what we’re all about,” said the NSAI’s current president Lee Thomas Miller. “Tonight, we’re going to walk you through history, one song at a time.” He wasn’t kidding. That’s exactly what transpired.
Kris Kristofferson strolled out on stage and received a standing ovation before he ever sang a note. He has three Song of the Year honors from the NSAI – “For the Good Times” (1970), “Sunday Morning Comin’ Down” (1971) and “Why Me” (with Marijohn Wilkin, 1973).
Pictured: Garth Brooks and Kent Blazy. Photo: Courtesy NSAI
Singing solo with his guitar, he brought down the house with “Sunday Morning Comin’ Down.” His second standing ovation was accompanied with cheers, whistles and shouts. Kris, by the way, is one of the founders of the NSAI and was also the first artist to sign up to sing at the golden-anniversary celebration.
On video were Jimmy Carter (“Honey,” 1968, by Bobby Russell), James Dean Hicks “Okie From Muskogee,” 1969, by Merle Haggard & Roy Edward Burris), Bart Herbison (“Country Bumpkin,” 1974, by Don Wayne) and Peter Cooper (“Old Dogs, Children and Watermelon Wine,” 1972, by Tom T. Hall).
Justin Peters ably sang the 1975 winner “Before the Next Teardrop Falls.” He is the son of its co-writer Ben Peters (with Vivian Keith).
Video’d Bob McDill (“Amanda,” 1976), Hal Bynum (“Lucille,” 1977, written with Roger Bowling) and Randy Goodrum (“You Needed Me,” 1978) ensued.
Live performances resumed with Bobby Braddock & Curly Putman’s “He Stopped Loving Her Today” (1980). Rising to the considerable challenge was Craig Campbell, who sang it at the piano superbly. Multi-instrumentalist Fats Kaplan was a big boost on steel guitar. This house-band utility player also contributed to others on fiddle, guitar, concertina and more.
Eric Paslay took on “Always on My Mind” (1982’s NSAI winner, by Johnny Christopher, Mark James & Wayne Carson). T.G. Sheppard (“She Believes in Me,” 1979, Steve Gibb) and Walt Aldridge (“Holding Her and Loving You,” 1983, written with Tommy Brasfield) were the next celebrants on screen.
“You’re the Reason God Made Oklahoma” (1981, by Larry Collins & Sandy Pinkard, plus the Byrants) was sung by its originators, Shelly West and the always-superb David Frizzell. This drew another S.O.
2017 Song of the Year winners Hillary Lindsey, Steven Lee Olsen, and Clint Lagerberg, writers of “Blue Ain’t Your Color.” Photo: Courtesy of NSAI
On screen, Kenny O’Dell (“Mama He’s Crazy,” 1984) and Bob McDill (“Baby’s Got Her Blue Jeans On,” 1985) entertained with anecdotes. Paul Overstreet masterfully performed “On the Other Hand” (1986, written with Don Schlitz) with Colin Linden on slide guitar.
Next was a lovely rendition of “Somewhere in My Broken Heart” by Billy Dean & Richard Leigh (1991). Overstreet returned with an audience sing-along on “Forever and Ever, Amen” (1987, written with Don Schlitz).
Max T. Barnes (“Chiseled in Stone,” 1988, by Vern Gosdin & Max D. Barnes) and Don Henry & Jon Vezner (“Where’ve You Been,” 1990) offered video nostalgia. This interlude was followed by standing ovations for Garth Brooks & Kent Blazy (“If Tomorrow Never Comes,” 1989).
Goddess Trisha Yearwood took the performance and song levels to a new high with Hugh Prestwood’s “The Song Remembers When” (1993). Everyone got up and danced as Billy Ray Cyrus and tambourine-smacking, boogie-dancing backup vocalist Bekka Bramlett ignited the house with “Achy Breaky Heart” (1992, Don Von Tress) mashed up with “Tulsa Time.”
With dynamite harmonizing, All-4-One brought a terrific r&b element to the show with “I Can Love You Like That” (1995, Jennifer Kimball/Maribeth Derry/Steve Diamond) and “I Swear” (1994, Frank J. Myers/Gary Baker). They were also rewarded with a standing ovation.
From roughly 1990 on, we were thoroughly into the era of co-writing and multiple co-writing. Clint Black (1997, “Something That We Do,” written with Skip Ewing), Allen Shamblin & Steve Seskin (1998, “Don’t Laugh at Me”) and Steve Wariner & Billy Kirsch (also 1998 [it was a tie] “Holes in the Floor of Heaven”) testified on video. So did Tia Sillers (2000 & 2001, “I Hope You Dance,” written with Mark D. Sanders), Phillip White & D. Vincent Williams (2002, “I’m Movin’ On”), Doug Johnson (2003, “Three Wooden Crosses,” written with Kim Williams) and Jeff Hanna/Marcus Hummon/Bobby Boyd (2007, “Bless the Broken Road”).
Music City native Deana Carter charmed the crowd by saluting Nashville’s sense of community. She sailed through “Strawberry Wine” (1996, Matraca Berg/Gary Harrison). Marv Green, Aimee Mayo & Chris Lindsey did “Amazed” (1999). Hillary Lindsey & Gordie Sampson earned a standing ovation for “Jesus Take the Wheel” (2006, written with Brett James).
All-4-One performs “I Swear” and “I Can Love You Like That.” Photo: courtesy NSAI
On video, Tim Nichols & Craig Wiseman recalled writing “Live Like You Were Dying” (2004), as did Don Sampson & Wynn Varble about their summer song (2009, “Waitin’ on a Woman”).
During this “home stretch,” Miller got a standing ovation by saying, “The technology that delivers the songs is not, nor has it ever been, more valuable than the songs, themselves.” He gave the NSAI President’s Award to Bart Herbison.
Commanding Trace Adkins sang “You’re Gonna Miss This” with Miller on mandolin (2008, co-written by Miller and Ashley Gorley). Alternating video tributes came via Tom Douglas & Allen Shamblin (2010, “The House That Built Me”) and Paul Worley (2011, “If I Die Young” written by Kimberly Perry).
Perry’s salute predicted that the eve’s end would be dominated by female songwriters. Lee Brice was ill and struggling to sing, so super Jessi Alexander came to his rescue. She co-wrote his “I Drive Your Truck” (2013, with Connie Harrington & Jimmy Yeary). Dolly Parton appeared on video to speak of “I Will Always Love You” (2012), as did Nicole Galyon/Natalie Hemby/Miranda Lambert (2014, “Automatic”) and Liz Rose/Hillary Lindsey/Lori McKenna (2015, “Girl Crush”).
McKenna broke into tears as she reached the end of “Humble and Kind “ (2016), which was so sweet and touching. Then Hillary Lindsey equaled Kristofferson’s three-time NSAI win as “Blue Ain’t Your Color” was announced as the organization’s 2017 Song of the Year. “If you want to know what heaven feels like, it feels like right now,” said her co-writer Clint Lagerberg.
The finale was Hillary, Clint and co-writer Steven Lee Olsen doing a fantastic trio vocal arrangement of their song with snappy electric-guitar solos by Clint.
NSAI Executive Director Bart Herbison is presented with the 2017 President’s Award. Photo: courtesy NSAI
If you’re still reading this, you might think we were numb as we reached the three-hour mark. Au contraire. Just ask Barry Coburn, Vernell Hackett, Dennis Lord, John Ozier, Lisa Sutton, Rick Diamond, Ralph Murphy, Aaron Hartley, Eric T. Parker, the NMPA’s David Israelite, Amy Kurland, Erika Wollam Nichols, Eddie Stubbs, Sherrill Blackmon, Tom Long, Del Bryant, Pat Rogers or Brandi Simms.
Songwriter-supportive Congress people included Marsha Blackburn, Doug Collins, Diane Black and Chuck Fleischmann.
Kris Kristofferson, winner of three NSAI Song of the Year honors, performs. Photo: courtesy NSAI
Janine Appleton Named Head Of WordCountry
/by Jessica NicholsonJanine Appleton
Janine Appleton has been promoted to Head of WordCountry, the country publishing venture she helped develop from the ground up, four years ago as part of Word Music Publishing. Her previous title was Creative Director.
“Janine is a passionate advocate for each of our writers and works tirelessly to maximize every opportunity,” says Word Entertainment president/CEO Rod Riley. “I am thrilled with what she has accomplished over the last four years since the launch of WordCountry and am excited for her continued partnership with this great roster of writers.”
Since WordCountry launched in 2013, the publishing company has grown to represent writers including Steven Dale Jones, Justin Ebach, Jason Blaine, and Brice Long, as well as more recently signed singer-songwriter Hannah Ellis, who joined in late 2015.
WordCountry’s first official single came in 2015, with “When I’m Gone,” a 100 percent Word published song penned by Jones and Ebach, and recorded by Craig Morgan.
“It was a 100 percenter right out of the gate,” Appleton tells MusicRow. “It showed the creative mojo those two have together.”
WordCountry reached chart-topper status in 2016 with its first No. 1 song, Brett Young’s “Sleep Without You,” co-written by Ebach. Jon Pardi’s “Heartache On the Dance Floor,” co-written by Long, is currently in the Top 5. WordCountry also has writing representation on the current Jordan Davis outing, “Singles You Up,” in addition to cuts on albums from George Strait, Jon Pardi, Josh Turner, Dustin Lynch, Dan & Shay, Love & Theft, Parmalee, Lindsey Ell, Randy Houser, Eric Paslay, Trent Harmon, Russell Dickerson, Danielle Bradbery and more.
Appleton is uniquely qualified for the role at WordCountry. In 2006, she made her foray into the music industry by working for another then-fledgling publishing company, Rusty Gaston’s THiS Music. Appleton met Gaston while spearheading a student songwriting showcase at Belmont University. She interned for THiS Music before officially joining upon her graduation from Belmont in 2007.
“I was lucky enough to get in on the ground level of what is an incredibly successful independent publishing company at THiS Music,” Appleton says. “I got to learn from one of the best publishers in this town. I learned how to take care of writers, pitch songs, manage a writer’s calendar, and everything that you don’t really learn from a class, but that you have to learn just by doing.”
That experience learning to operate, promote, and essentially brand a new publishing company proved invaluable when WordCountry came calling.
“I said the only way this is going to work is if we brand WordCountry as a unique boutique company within the walls of Word Entertainment,” Appleton recalls. “Otherwise it would be confusing to people and they wouldn’t understand what kind of songs are coming out of WordCountry.”
MusicRow spoke with Appleton about the state of the publishing industry, and the increasing role publishers play in developing new artists.
On writing for multiple genres:
If writers are versatile enough to write for multiple genres, why wouldn’t a publisher utilize their talents? For a first time country writer, it can easily take years to have a single that generates income. With the way the business is changing, we as publishers have to get creative. Sync placements, Canadian singles, cuts in other markets, all help us keep a writer on our Roster long enough to have significant success in the country genre. Time is the biggest thing a publisher can give to their writer.
On the expanding role of music publishers:
Publishers are starting to take the role of artist development out of the labels’ hands. Labels simply don’t have the time and resources these days to spend two to three years developing an artist’s writing skills, honing in on their sound, and grooming their live performance.
Using Hannah Ellis as an example, I signed her as a writer, but believed in her artistry from the beginning. Our end goal has always been to find a record label to champion her but we have been getting cuts along the way—Danielle Bradbery, Russell Dickerson, Tim and Faith—while perfecting her sound and live performance.
I am the kind of publisher who acts more like a writer manager than anything. I’ve done everything from watch someone’s child so they could write, to introducing them to bankers who understand our world, to booking shows and writers rounds for exposure. I try to do whatever is necessary to help each of my writers succeed, remain in a good headspace, and able to focus just on being creative.
On investing in songwriters and artists for the long-term:
I’ve been a publisher in town for 11-plus years now, and if I’ve learned anything, it’s just how LONG everything actually takes. Time is the biggest thing you hope you have enough of with your writers enough time for the seeds you planted to come into fruition, for the cuts to turn into singles, for the singles to generate income.
Loyalty and community are two things that make Nashville such a vibrant and unique place for creatives to plant their roots, meet their ‘people’ and create great music. I hope to work with every writer I represent for a long, long time. For a young writer or artist who blows up, you hope that they remember who believed in them first; the co-writers who took a chance on them when no one understood yet, and the publisher who was the believer, risk taker and champion. As a publisher too, you find that in a very similar way, with setting up co-writes, and the early on meetings people take to hear your songs, because you have that music row fire.
ASCAP I Create Music EXPO Set For May 7-9
/by Lorie HollabaughASCAP has set the date for its 13th annual “I Create Music” EXPO for May 7 – 9, 2018 at the Loews Hollywood Hotel in Los Angeles.
The largest conference for songwriters, composers, artists and producers in the country, the “I Create Music” EXPO offers a rare opportunity for aspiring music creators to learn from and collaborate with some of the most successful and creative people in the music industry.
” When we started the ASCAP EXPO, the vision was always to create a sense of community and offer songwriters a chance to network and hear from their peers and idols. One of our EXPO high point s was the presentation last year of the inaugural ASCAP “Key of Life” Award to Stevie Wonder and the chance to hear him perform and talk about his life and music,” said ASCAP Executive Vice President/ Chief Marketing Officer Lauren Iossa. “That was an incredible moment, and every year EXPO attendees have one-of-a-kind opportunities like this to be inspired to take the next step in their careers.”
Last year’s three-day event included performances from Michael McDonald, Ashley Gorley, J.T. Harding, Matt Jenkins, Dave Bassett and more. Among the previous EXPO keynote speakers are Justin Timberlake, Tom Petty, John Mayer, Katy Perry, Bruno Mars, Quincy Jones, Ludacris, Carly Simon, Sara Bareilles, Lindsey Buckingham, Randy Newman, Jackson Browne, Steve Miller, Ne-Yo, Bill Withers, Aloe Blacc, Jon Bon Jovi, Richie Sambora Jeff Lynne.
Every year, ASCAP “I Create Music” EXPO participants attend creative and business-focused panels, workshops, master classes, keynotes, one-on-one sessions, networking events, state-of-the-art technology demonstrations and performances. The ASCAP EXPO provides music creators with knowledge, tools, connections and a unique community of support and guidance. Registration information for the event will be announced at a later date.
Miranda Lambert Tours Through ‘The Weight Of These Wings’ For CMA Songwriter’s Front & Center Taping
/by Eric T. ParkerPictured (L-R): Crystal Dishmon, ShopKeeper Management; Damon Whiteside, CMA Chief Marketing Officer; Ken Robold, Sony Music Nashville Executive Vice President/Chief Operating Officer; Miranda Lambert; Randy Goodman, Sony Music Nashville Chairman & CEO; John Zarling, Sony Music Nashville Executive Vice President Marketing & New Business; and Marion Kraft, ShopKeeper Management. Photo: Donn Jones / CMA
Miranda Lambert brilliantly toured through her now certified Platinum album, The Weight Of These Wings, on Tuesday, Sept. 19 at Nashville’s Marathon Music Works.
The event, taped for public television’s Front & Center, was part of the CMA’s songwriter series, presented by US Bank. In fact, Lambert’s acoustic event was the CMA’s 121 st songwriter show.
“Tonight we’re celebrating The Weight of These Wings going Platinum,” said a proud Lambert. “It’s a double-record and very much the story of my last couple years and all you go through in life. It’s a privilege and blessing to be able to write songs to help you get through something in your life that is really hard. Every songwriter on this record completely embraced where I was, whatever day that was—I was all over the map. I’m so thankful that I can say that some of my best friends in the world also get in the trenches with me and put words on paper. Music is medicine. So thank you to all the songwriters for going down the road with me and spending their time on my journey.”
Lambert then invited a variety of co-writers to the stage including Natalie Hemby, Anderson East, Aaron Raitiere, Shane McAnally, Luke Dick, Jessi Alexander, John Randall, Waylon Payne, Adam Hood, Scotty Wray, Brent Cobb, Jack Ingram, Liz Rose, and Gwen Sebastian.
Additional co-writer guests, many of whom were in attendance, recieved plaques to celebrate the sales success, including for Mando Saenz, Terry Jo Box, Rodney Clawson, Nicolle Galyon, Foy Vance, Lucie Silvas, Ashley Monroe, Josh Osborne, Shake Russell and Danny O’Keefe.
“I wanted this night to feel like being in our living room or our magic porch, where we write songs,” said Lambert. “We’re literally all friends, so this is really special.”
Miranda Lambert. Photo Donn Jones
While Lambert wrapped with “Greyhound Bound For Nowhere,” a song she wrote with her first co-writer—father and special guest Rick Lambert, helping her get a foot in the door on season one of Nashville Star (2003)—the Vanner Records/RCA Nashville star kicked off the evening with her only solo-write on The Weight Of These Wings album, “We Should Be Friends.”
“Natalie has a direct line to Miranda,” teased McAnally with Dick and Hemby on stage before playing a rare outside cut and fun title for the album, titled “Highway Vagabond.” “They have two cups with a string in the middle and Natalie just picks it up and says, ‘I’ve got a song,’ and Miranda says, ‘I’m cutting it.’
“Natalie has 10 songs on this record, so she’s kinda just got a permanent seat on this stage,” prefaced Lambert.
Of those 10 songs of Hemby’s, the Front & Center taping played through five, also including “Tomboy” with Raitiere, who was featured on “For The Birds.” Additionally, fabulous harmonies were featured on Hemby, Lambert and Alexander’s “Things That Break” and Lambert’s new beau, Anderson East joined for a three-way on “Getaway Driver.”
The lead single, “Vice,” was a co-write with McAnally and Osborne, who could not be in attendance. “Miranda came in [the day we wrote ‘Vice’] and I feel like she took her heart out of her chest and put it on the table,” said McAnally, who Lambert reminded she also brought a rolling cooler to the write. “She showed up…with the vulnerability of, ‘Let’s do this, let’s talk about this, let’s write a song.’
The depth of evening also touched on Lambert’s 2015 divorce, chronicled in the album.
“I did start drinking a lot,” said Lambert. “ I did go to bars in Midtown: Losers and Winners. I did have to pick up my car that had been there for three days, and I still had mascara on from the first day. And it was a Monday.” Rose and Hemby thus helped tease out the track “Ugly Lights.”
From Carnival Music Publishing, owned by Lambert’s producer Frank Liddell, the evening welcomed Hood and Cobb on “Good Ol’ Days” in addition to Payne for the traditional country song “To Learn Her.”
The evening concluded with Lambert’s Sebastian and Wray co-write, “Wheels.”
“We wrote this song in a dressing room at a venue,” said Lambert. “It basically says everything this record said and everything this journey amounted to—You gotta keep rolling on. You gotta keep going. You can’t stay in it.”