BOBBY KARL WORKS THE ROOM
Chapter 563
I am almost ashamed to say this, but I have lived in Nashville for more than 30 years and have never been on a Metro bus.
The CMA Music Festival changed that on Thursday (June 8). Fed up with jacked-up Uber prices and obscene downtown parking fees (for spaces that hardly exist), I decided to take public transportation. I hopped on the No. 7 Hillsboro/Green Hills bus at the corner of 21st & Blair, across from the Kroger. Fifteen air-conditioned minutes later, I was at 8th & Broad, two blocks from the Fest action. For less than two bucks.
Anti car-congestion advocate Mayor Megan Barry would be so proud of me. Speaking of Mayor Barry, she began the day by joining Miranda Lambert in her doggie parade Mutt Strut, cheerfully donning one of the charity’s signature pink T-shirts. Miranda’s Mutt Nation Foundation was set up in the Fan Fair exhibit hall with steal-your-heart pups to adopt.
That afternoon on the Chevy Park stage, Luke Pell was rocking the crowd when I arrived. On the lawn were six-foot letters spelling C-H-E-V, blank space, P-A-R-K. On the ground in the blank space was a square with instructions to raise your hands in the shape of the missing “Y” and take a snapshot. Of course the fans did.
On the Bridgestone plaza, tourists were also taking photos of the crushed Smashville car. Predators hockey merch was selling just as well as the CMA stuff, throughout downtown.
Food trucks lined 5th Avenue between the Country Music Hall of Fame and the Music City Center. The weather could not have been more perfect, so hundreds were lunching on the many tables arranged outside the MCC.
Meanwhile, my discovery music of the day turned out to be a punchy, tuneful and spirited set by Adam Sanders on the Chevy Park stage. I don’t know who he is, but he’s gooood.
I headed into Fan Alley, where folks were riding the mechanical shark in the Shark Tank, competing in a corn-hole toss and meeting and greeting ABC-TV stars, in this case The Goldbergs. The Tootsie’s Orchid Lounge stage there presented various acts singing cover tunes.
Over on the Gilden Broadway stage outside the Hard Rock, Smithfield was harmonizing with pep. Tracy Lawrence was doing his “Honky Tonkin’” radio show in the Budweiser Forever Country Park. The fabulously countrified Teea Goans was booked for the Music City Stage. Maren Morris was holding forth in the HGTV Lounge, for which you have to have a special ticket.
Back row, (L-R): Tony Conway, President & CEO, Conway Entertainment Group; Michael Ray; John Esposito, Chairman & CEO, Warner Music Nashville. Front row, (L-R): Randy Travis, Mary Davis-Travis
Michael Ray was on stage at Riverfront. “The great thing about the CMA Music Festival is you never know what’s going to happen or who might show up,” he told the crowd. Michael brought out Randy Travis, and a huge ovation erupted.
Michael led the crowd in singing “Forever and Ever Amen” in honor of the Country Music Hall of Famer. Then he took the last chorus and stopped to allow Randy to sing the final, “Amen.” The place went ape. I choked back a tear.
Other Riverfront stage highlights included Kane Brown, Joe Nichols, Old Dominion, LoCash and Chris Janson.
Heading back up Lower Broadway, I spotted Trump and Hillary impersonators posing for selfies with fans. “Hillary” was wearing a prison jumpsuit. “Trump” was not.
Inside the Fan Fair hall in the MCC, Jacob Davis was delivering a jaunty set on the Radio Disney stage. Wade Hayes was booked at the opposite end of the massive hall on the Durango Stage. The Professional Bull Riders were having a panel discussion on the CMA Close-Up Stage.
But the real stars in the hall are the ones who “press the flesh” with the fans. Autographing and posing for souvenir photos were Trace Adkins, Ryan Kinder, Hunter Hayes, Matt Rogers, Cowboy Troy, The Tennessee Werewolves, The Springs, Jerrod Niemann, The Swon Brothers, Luke Powell, Tucker Beathard, Thompkins Square and Kristian Bush.
Be sure and stop by the exhibit hallway wall that says, “What Makes You Smile?” Post-It notes and pens nearby let the fans put up their answers: “The beach,” “My dog,” “My family” and, of course, “Country Music.”
I often like to include a fan-club event in my fest activities. In past years, this has ranged from Chris Young in the Opry House, Pam Tillis at The Bluebird Café, Barbara Mandrell in an Opryland Hotel ballroom and Tim McGraw or Ricky Skaggs in city parks.
Brandy Clark performs at CMA Music Festival. Photo: Brandy Clark/Instagram
This year, I ended my afternoon with Brandy Clark at the Warner Bros. Records office. This is cool, in that the fans get to go inside a label headquarters.
A tent was erected on the patio. The adjacent conference room was set up as a photo-and-autograph line with a snake of velvet ropes. Upon entering, the fan clubbers got water, soda and assorted snacks, plus fans with Brandy’s photo on one side and the slogan, “Warner Music Nashville Is a Fan of Our Fans” on the other side. Free booze was available on the opposite end of the mezzanine in Bic’s “Sip and Shave” room.
“Thank you so much for coming out to see me,” said Brandy to her fans. “I know there’s a lot of things to do, so I appreciate you coming to spend your time with me…..I can’t even say how much your support means to me, to all of us artists. You make our dreams come true.”
She performed a mini set that included “Stripes,” “Love Can Go to Hell,” “I Hope You Have a Daughter” and the sublime “Three Kids No Husband.” One song she sang, “You’re Drunk,” appears on neither of her albums. Dozens held aloft their cell phones to shoot photos and videos.
Brandy introduced lead guitarist and harmony singer Miles Aubrey (apparently already a fan favorite in that they know to bring him donuts) and newer bassist and harmony singer Vanessa McGowan, who hails from New Zealand and evidently recorded a solo CD several years ago. Aubrey, by the way, was once in the Broadway production of Jersey Boys.
For a recap of Thursday evening (June 8)’s nighttime CMA Music Festival shows at Nissan Stadium, click here.
Weekly Chart Report (6/9/17)
/by Alex ParryClick here or above to access MusicRow‘s weekly CountryBreakout Report.
Bobby Karl Works The Room: 2017 CMA Music Festival, Day 1
/by Bobby KarlChapter 563
I am almost ashamed to say this, but I have lived in Nashville for more than 30 years and have never been on a Metro bus.
The CMA Music Festival changed that on Thursday (June 8). Fed up with jacked-up Uber prices and obscene downtown parking fees (for spaces that hardly exist), I decided to take public transportation. I hopped on the No. 7 Hillsboro/Green Hills bus at the corner of 21st & Blair, across from the Kroger. Fifteen air-conditioned minutes later, I was at 8th & Broad, two blocks from the Fest action. For less than two bucks.
Anti car-congestion advocate Mayor Megan Barry would be so proud of me. Speaking of Mayor Barry, she began the day by joining Miranda Lambert in her doggie parade Mutt Strut, cheerfully donning one of the charity’s signature pink T-shirts. Miranda’s Mutt Nation Foundation was set up in the Fan Fair exhibit hall with steal-your-heart pups to adopt.
That afternoon on the Chevy Park stage, Luke Pell was rocking the crowd when I arrived. On the lawn were six-foot letters spelling C-H-E-V, blank space, P-A-R-K. On the ground in the blank space was a square with instructions to raise your hands in the shape of the missing “Y” and take a snapshot. Of course the fans did.
On the Bridgestone plaza, tourists were also taking photos of the crushed Smashville car. Predators hockey merch was selling just as well as the CMA stuff, throughout downtown.
Food trucks lined 5th Avenue between the Country Music Hall of Fame and the Music City Center. The weather could not have been more perfect, so hundreds were lunching on the many tables arranged outside the MCC.
Meanwhile, my discovery music of the day turned out to be a punchy, tuneful and spirited set by Adam Sanders on the Chevy Park stage. I don’t know who he is, but he’s gooood.
I headed into Fan Alley, where folks were riding the mechanical shark in the Shark Tank, competing in a corn-hole toss and meeting and greeting ABC-TV stars, in this case The Goldbergs. The Tootsie’s Orchid Lounge stage there presented various acts singing cover tunes.
Over on the Gilden Broadway stage outside the Hard Rock, Smithfield was harmonizing with pep. Tracy Lawrence was doing his “Honky Tonkin’” radio show in the Budweiser Forever Country Park. The fabulously countrified Teea Goans was booked for the Music City Stage. Maren Morris was holding forth in the HGTV Lounge, for which you have to have a special ticket.
Back row, (L-R): Tony Conway, President & CEO, Conway Entertainment Group; Michael Ray; John Esposito, Chairman & CEO, Warner Music Nashville. Front row, (L-R): Randy Travis, Mary Davis-Travis
Michael Ray was on stage at Riverfront. “The great thing about the CMA Music Festival is you never know what’s going to happen or who might show up,” he told the crowd. Michael brought out Randy Travis, and a huge ovation erupted.
Michael led the crowd in singing “Forever and Ever Amen” in honor of the Country Music Hall of Famer. Then he took the last chorus and stopped to allow Randy to sing the final, “Amen.” The place went ape. I choked back a tear.
Other Riverfront stage highlights included Kane Brown, Joe Nichols, Old Dominion, LoCash and Chris Janson.
Heading back up Lower Broadway, I spotted Trump and Hillary impersonators posing for selfies with fans. “Hillary” was wearing a prison jumpsuit. “Trump” was not.
Inside the Fan Fair hall in the MCC, Jacob Davis was delivering a jaunty set on the Radio Disney stage. Wade Hayes was booked at the opposite end of the massive hall on the Durango Stage. The Professional Bull Riders were having a panel discussion on the CMA Close-Up Stage.
But the real stars in the hall are the ones who “press the flesh” with the fans. Autographing and posing for souvenir photos were Trace Adkins, Ryan Kinder, Hunter Hayes, Matt Rogers, Cowboy Troy, The Tennessee Werewolves, The Springs, Jerrod Niemann, The Swon Brothers, Luke Powell, Tucker Beathard, Thompkins Square and Kristian Bush.
Be sure and stop by the exhibit hallway wall that says, “What Makes You Smile?” Post-It notes and pens nearby let the fans put up their answers: “The beach,” “My dog,” “My family” and, of course, “Country Music.”
I often like to include a fan-club event in my fest activities. In past years, this has ranged from Chris Young in the Opry House, Pam Tillis at The Bluebird Café, Barbara Mandrell in an Opryland Hotel ballroom and Tim McGraw or Ricky Skaggs in city parks.
Brandy Clark performs at CMA Music Festival. Photo: Brandy Clark/Instagram
This year, I ended my afternoon with Brandy Clark at the Warner Bros. Records office. This is cool, in that the fans get to go inside a label headquarters.
A tent was erected on the patio. The adjacent conference room was set up as a photo-and-autograph line with a snake of velvet ropes. Upon entering, the fan clubbers got water, soda and assorted snacks, plus fans with Brandy’s photo on one side and the slogan, “Warner Music Nashville Is a Fan of Our Fans” on the other side. Free booze was available on the opposite end of the mezzanine in Bic’s “Sip and Shave” room.
“Thank you so much for coming out to see me,” said Brandy to her fans. “I know there’s a lot of things to do, so I appreciate you coming to spend your time with me…..I can’t even say how much your support means to me, to all of us artists. You make our dreams come true.”
She performed a mini set that included “Stripes,” “Love Can Go to Hell,” “I Hope You Have a Daughter” and the sublime “Three Kids No Husband.” One song she sang, “You’re Drunk,” appears on neither of her albums. Dozens held aloft their cell phones to shoot photos and videos.
Brandy introduced lead guitarist and harmony singer Miles Aubrey (apparently already a fan favorite in that they know to bring him donuts) and newer bassist and harmony singer Vanessa McGowan, who hails from New Zealand and evidently recorded a solo CD several years ago. Aubrey, by the way, was once in the Broadway production of Jersey Boys.
For a recap of Thursday evening (June 8)’s nighttime CMA Music Festival shows at Nissan Stadium, click here.
Lady Antebellum Celebrates Album Release With CMA Music Fest Pop-Up Performance
/by Lorie HollabaughThe trio will also perform on Saturday’s show (June 10) at Nissan Stadium, before trekking to New York City where they will perform their new single “You Look Good” on Good Morning America Monday morning (June 12) at 8:30 ET on ABC. They will follow that up with a performance and Q&A live from the iHeartRadio Theater NY that evening at 8 p.m. ET. On Tuesday (June 13). The trio will perform the album’s title track on The Tonight Show Starring Jimmy Fallon. Later in the week on Thursday (June 15), Lady A will sit down with “CBS This Morning” host Gayle King to chat about the making of Heart Break.
Taylor Swift Releases Full Catalog To All Streaming Services
/by Jessica NicholsonThe move celebrates Swift’s certification for moving 100 million song units, from the Recording Industry Association of America and comes on the heels of rumors about the wheels starting to spin on the release of a forthcoming sixth studio album.
“In celebration of 1989 selling over 10 Million Albums Worldwide and the RIAA’s 100 Million Song Certification announcement, Taylor wants to thank her fans by making her entire back catalog available to all streaming services tonight at midnight,” a statement said.
In 2014, Swift famously removed her music from Spotify and only released her work with Apple Music, after a 2015 tussle with the tech giant involving the payment of artist royalties during the trial period at launch.
SiriusXM Invests $480 Million In Pandora
/by Eric T. ParkerWith a loyal quarterly audience of nearly 100 million listeners in the U.S., the capital provided through the SiriusXM investment will allow Pandora to make targeted investments and capitalize on opportunities to build on its position in the streaming radio business.
Under the terms, Liberty Media—a subsidiary of SiriusXM—purchased an aggregate of $480 million in newly issued Series A convertible preferred stock of Pandora. When the transaction closes, three individuals designated by SiriusXM will be named to the Pandora Board of Directors. One of those individuals will serve as Chairman and SiriusXM designated directors will serve as select Board committee representatives. With these appointments, the Pandora Board will be expanded to consist of nine directors.
“The investment from SiriusXM infuses resources to help Pandora continue to grow and innovate,” said Pandora CEO and founder Tim Westergren. “With the strategic review behind us, and a strong balance sheet, we look forward to focusing on business execution and the optimization of our strategy.”
SiriusXM purchased $172.5 million of Series A preferred stock upon execution of the agreement and has agreed to purchase the balance of the Series A preferred stock at a second closing. The Series A preferred stock will represent a stake of 19 percent of Pandora’s currently outstanding common stock and a 16 percent stake on an as-converted basis. The Series A preferred stock is convertible into common stock at a purchase price of $10.50 per share. The conversion price of the Series A preferred stock is approximately a 14.2 percent premium to Pandora’s volume weighted average price for the 20-day period preceding June 9, 2017. The Series A preferred stock will bear a 6 percent cumulative dividend, payable in cash, accretion of the Series A preferred stock or a combination thereof.
Jim Meyer, Chief Executive Officer of SiriusXM, said, “This strategic investment in Pandora represents a unique opportunity for SiriusXM to create value for its stockholders by investing in the leader in the ad-supported digital radio business, a space where SiriusXM does not play today. Pandora’s large user base and its ability to provide listeners with a personalized music experience are tremendous assets. With its strong technology and new product offerings, we believe there are exciting opportunities for Pandora to accelerate its growth and increase value for Pandora and SiriusXM stockholders.”
“Liberty Media has long recognized the strength of the Pandora brand and the opportunities in the ad-supported digital radio market,” said Greg Maffei, Chairman of the SiriusXM Board of Directors and Chief Executive Officer of Liberty Media Corporation. “We are very supportive of SiriusXM’s strategic investment.”
“Pandora’s Board and management team are committed to driving stockholder value and have carefully evaluated alternative strategies as part of the process disclosed on May 8,” said Tim Leiweke, member of Pandora’s Board of Directors. “We are pleased that the conclusion of that process resulted in a major investment by SiriusXM. With this investment, we have the backing of one of the media industry’s most successful investors and significant capital to accelerate growth. Pandora is now poised to advance to the next stage of the company’s lifecycle. Lastly, this transaction ensures that Pandora stockholders get the benefit of additional capital from an important strategic investor who can help enhance stockholder value.”
In connection with the transaction, Pandora agreed with an affiliate of Kohlberg Kravis & Roberts to terminate their Investment Agreement announced on May 8, 2017, and pay KKR a termination fee of $22.5 million.
Pandora is required to redeem the Series A preferred stock on the fifth anniversary of the closing for an amount equal to its liquidation preference plus all accrued and unpaid dividends. Pandora can also redeem the Series A preferred stock at any time after the third anniversary of the closing if the daily volume weighted average price of Pandora’s common stock is greater than or equal to 175 percent of the then applicable conversion price for a period of at least 20 days during a 30 day trading window prior to the notice of redemption.
SiriusXM will be subject to certain standstill restrictions, including, among other things, that it will be restricted from acquiring additional securities of Pandora for 18 months. After that period and for so long as a director designated by it is serving on the Board of Directors, SiriusXM has agreed not to acquire more than 31.5 percent of Pandora’s equity securities without the approval of Pandora’s Board of Directors.
The second closing contemplated by the agreement is subject to customary closing conditions, including antitrust approval, and is expected to close by the fourth quarter. The agreement may be terminated by either party if closing has not occurred by February 1, 2018.
Additional information relating to the SiriusXM investment may be found in the Form 8-K that will be filed by Pandora with the U.S. Securities and Exchange Commission.
Allen & Company LLC and BofA Merrill Lynch are serving as financial advisors to SiriusXM and Jones Day and Simpson Thacher & Bartlett LLP are serving as its legal counsel. Centerview Partners LLC and Morgan Stanley & Co. LLC are serving as financial advisors to Pandora and Sidley Austin LLP and Wachtell, Lipton, Rosen & Katz are acting as legal counsel.
LifeNotes: Songwriter/Producer Norro Wilson Passes
/by Robert K OermannNorro Wilson at the Country Music Hall of Fame’s Poets and Prophets: Salute to Legendary Country Songwriter Norro Wilson on March 5, 2011. Photo: Country Music Hall of Fame.
Nashville Songwriters Hall of Fame member Norro Wilson died at age 79 on Thursday, June 8.
Wilson was the producer of hit records for Charley Pride, George Jones, Kenny Chesney, Tammy Wynette, Con Hunley and Keith Whitley, among others. He was an executive at several publishing and record companies.
He was also widely loved on Music Row for his twinkling wit, clever imitations and quirky sense of humor. But his most important legacy is the stunning song catalog he leaves behind.
Norro Wilson’s co-written “The Grand Tour” has been a hit three times. George Jones introduced it in 1974. Aaron Neville revived it in 1993. It is currently a hit single and video for Tony Jackson. The song has also been recorded by Sammy Kershaw, Joe Stampley, Dwight Yoakam and Dale Watson, among others.
“A Very Special Love Song,” which was a 1974 Charlie Rich hit, won Wilson a Best Country Song Grammy Award. “A Picture of Me Without You” topped the charts for both George Jones (1972) and Lorrie Morgan (1991).
Wilson also co-wrote such classic songs as “Soul Song” (Joe Stampley 1972), ”The Most Beautiful Girl” (Charlie Rich 1973), “Another Lonely Song” (Tammy Wynette 1973) and “He Loves Me All the Way” (Tammy Wynette 1970).
Wilson was named BMI’s Country Songwriter of the Year in 1973, 1974 and 1975.
Born Norris Denton Wilson in 1938, he was a native of Scottsville, Kentucky who learned piano and sang barbershop harmonies as a youth. He began his music career as the tenor singer in the gospel act The Southlanders Quartet. He migrated to Nashville with the group in 1957.
He continued to sing with the quartet until 1960. Wilson then formed a vocal duo with fellow future Music Row song publisher Don Gant (1942-1967).
As a songwriter, Norro Wilson signed with Acuff-Rose in 1962. He joined Al Gallico Music in 1967, initially working for the company as a song plugger.
But he continued to harbor an ambition to be a recording artist. Wilson recorded for Monument, Smash (the 1969 LP Dedicated to Only You), Mercury (1970’s “Do It to Someone You Love,” his only top-20 country hit), RCA, Capitol and Warner Bros. He also worked as a session backup singer for Faron Young, Ferlin Husky and others.
Meanwhile, Gallico had him pitching its writers’ songs to country recording artists on Music Row. In the late 1960s, Wilson began collaborating with the company’s tunesmiths.
Among his early songwriting successes were “Baby Baby (I Know You’re a Lady)” (David Houston 1969), “I’ll See Him Through” (Tammy Wynette 1969), “Then He Touched Me” (Jean Shepard 1970), “My Man (Understands)” (Tammy Wynette 1972), “Bring It On Home (To Your Woman)” (Joe Stampley 1973), “I Love My Friend” (Charlie Rich 1974) and “The Door” (George Jones 1974). These are in addition to several of the classics listed above.
Warner Bros. Records hired him to work in its A&R department in 1975. He retired his recording career two years later. In 1982, he joined RCA Records, also as an A&R executive.
“Still a Woman” (Margo Smith 1979), “Never Been So Loved” (Charley Pride 1981), “Surround Me With Love” (Charly McClain 1981), “Night Games” (Charley Pride 1983) and “You’ve Got Something on Your Mind” (Mickey Gilley 1985) continued his hit songwriting streak. But Wilson always emphasized that he was merely a collaborator, rather than a songwriting star. Among his frequent songwriting partners were Glenn Sutton (1937-2007), Billy Sherrill (1936-2015), Carmol Taylor (1931-1986), and George Richey (1935-2010).
As his songwriting career waned, Norro Wilson became CEO of the Merit Music publishing company in 1987. He then started Norro Productions in 1990, signing Kershaw as one of his first clients. He and Buddy Cannon began co-producing Jones and Chesney and formed Bud Ro Productions in 1998.
Wilson continually evolved as country music modernized in the 1980s and 1990s. He became a producer for Reba McEntire, Shania Twain, John Anderson, Chely Wright, John Michael Montgomery, Craig Morgan and Sara Evans, among others.
Norro Wilson was elected into the Nashville Songwriters Hall of Fame in 1996. He joined the Kentucky Music Hall of Fame in 2008. He was saluted by the Country Music Hall of Fame in its “Poets & Prophets” spotlight series in 2011.
The songwriter, producer, publisher, record-label executive and performer had been in ill health for some time, although he did attend last fall’s Nashville Songwriters Hall of Fame ceremony in the Music City Center.
Funeral arrangements have not been announced.
Exclusive: Music Executive Todd Cassetty To Consult For ‘American Idol’
/by Sherod RobertsonTodd Cassetty
Long-time music executive Todd Cassetty has been retained as the Nashville talent consultant for the new American Idol, set to air early next year on ABC.
Cassetty and his team will be looking for both male and female artists, ages 15-28, from all styles and genres of music. “We’re just now getting started on our search,” says Cassetty. “We look forward to contributing some great Nashville talent to such an iconic television program.”
Cassetty will continue his regular duties with Hi-Fi Fusion and Cassetty Entertainment while consulting with American Idol.
Cumulus Media’s Kelly Ford, Cheree Carter Earn Gracie Awards
/by Jessica NicholsonKelly Ford
Kelly Ford, Co-Host of Cumulus Media and Westwood One’s nationally syndicated morning radio show, Ty, Kelly & Chuck, was honored Wednesday night (June 7) in Los Angeles with a 2017 Gracie Award as Best Co-Host, Radio.
Cumulus Media’s Cheree Carter (who was unable to attend) was also awarded with two Gracies for Host/Personality and Imaging.
The Gracie Awards, held at Los Angeles’ Beverly Wilshire Hotel, honor outstanding programing created by, for, and about women.
A full list of winners is available at allwomeninmedia.org.
Industry Ink: Big Machine, Sony Music Nashville, Bullseye Marketing, CMHoF, Jammber
/by Lorie HollabaughBig Machine Hosts Pour It On Event
A full schedule can be found at SoundtrackToSummer.com. Fans 21 and older who visit the store will also be among the first to have a taste during the POUR IT ON World Premiere event, featuring Big Machine Platinum Filtered Premium Vodka, Clayton James Tennessee Whiskey and All Mighty 140 Shine bottled and distilled by Tenn South Distillery in Lynnville, TN.
Sony Music Nashville Launches Live @ 1201 With Luke Combs
Hoda And Kathie Lee Chat With Nashville Country Club
Andrea Zonn Interviewed At Country Music Hall Of Fame
The Zonn interview is included with museum admission and free to museum members. Seating is limited, and passes are required for admittance. Members can reserve program passes in advance by phone (615-416-2050) or via e-mail (reservations@
Jammber And Sony/ATV Writers Round At The Listening Room
Jammber is partnering with Sony/ATV for a monthly writers round beginning June 13 at the Listening Room Cafe featuring Monty Criswell and several other writers. Jammber’s mission is to help empower the people behind the music, especially songwriters.
DISClaimer: Gary Allan, Maggie Rose Outshine Star-Packed Competition
/by Robert K OermannGary Allan
Looks like it’s all-hands-on-deck for the CMA Fest edition of DisClaimer.
The most star-packed review column of the year to date includes such red-hot names as Thomas Rhett and Jason Aldean, plus plenty more. Because of all the big-time attractions, there was no room for newcomers today. Hence, no DisCovery Award.
The male contenders for Disc of the Day looked, on paper, to be a duel between our resident bruiser vocalists Luke Combs and Chris Stapleton. But both were bested by a come-from-behind dark horse, Gary Allan. It has been way too long since we have had new music from this talented fellow.
The female division appeared to be a contest between our happening ingenues, Lauren Alaina and Kelsea Ballerini. But here again, the front runners were beaten by a lesser known star, Maggie Rose. To retread a cliche, you go, girl.
MAGGIE ROSE/Body On Fire
Writers: Maggie Rose/Chad Carolson; Producers: Jimmy Robbins/Maggie Rose/Chad Carolson; Publishers: none listed; MR (track)
– A home run. Steamy, sensuous, slow-burning and sensational. Her voice explodes into little firecrackers and ignites sparklers throughout. The production is a beautifully textured tapestry of electronic wonder. Why is this gifted woman not on a major label?
LUKE COMBS/When It Rains It Pours
Writers: Luke Combs/Ray Fulcher/JOrdan Walker; Producer: Scott Moffatt; Publishers: Big Music Machine/50 Egg/Straight Dimes/Works of RHA/Atlas/Extremely Comustible/On Cor/PAJ, BMI; Columbia/River House
– A drawling good ole boy’s lament of love gone wrong becomes a toe-tapping celebration of freedom and good fortune. This guy sounds exactly like somebody you want to have a beer with.
CHRIS STAPLETON/Either Way
Writers: Chris Stapleton/Tim James/Kendall Marvell; Producers: Dave Cobb/Chris Stapleton; Publishers: none listed; Mercury (track)
– It’s just that magnificent voice and an acoustic guitar delivering a heartbreak ballad. And, boy, do they pack a wallop. Riveting and gripping and righteous and real.
KELSEA BALLERINI/Legends
Writers: Ballerini/Forest Glen Whitehead/Hillary Lindsey; Producer: none listed; Publishers: Forest Glen Whitehead/Jason Massey; Black River
– Echoey, atmospheric and utterly lovely. It’s about finding perfect love and soaring with the feeling.
CHRIS JANSON/Fix A Drink
Writers: Chris Janson/Chris DuBois/Ashley Gorley; Producers: Brent Anderson/Chris DuBois; Publishers: none listed, BMI/ASCAP; Warner Bros.
– He can’t fix the weather, job worries, a broken heart, the blues or the news. But he can sure ‘nuff fix a drink. Rollicking fun.
ELI YOUNG BAND/Fingerprints
Writers: Mike Eli/James Young/Ross Copperman/Josh Osborne; Producers: Ross Copperman/Jeremy Stover; Publishers: Small Town Kid/Young James Young/NTAC/EMI Blackwood/Rezolant/Sony-ATV/Songs of Black River/One Little Indian Creek, BMI/ASCAP; Valory Music
– Dense sounding, with loads of “bottom” in the mix. It’s not nearly as catchy as their big hits have been.
LAUREN ALAINA/Doin’ Fine
Writers: Lauren Alaina/Emily Shackleton/busbee; Producer: Busbee; Publishers: none listed; Mercury/19/Interscope (CDX)
– It’s a bit of a letdown as the follow-up to a star-making performance. But it has plenty of pluck, and she sings it splendidly, particularly in her upper register.
GARY ALLAN/Mess Me Up
Writers: Ashley Gorley/Ross Copperman/Shane McAnally; Producers: Gary Allan, Ross Copperman, Greg Droman; Publishers: none listed; EMI (CDX)
– Darkly compelling. In front of a throbbing track, he begs a woman he is obsessed with to torture his mind. As usual, he sings with tremendous fire and conviction. A burning cauldron of sound.
JASON ALDEAN/They Don’t Know
Writers: none listed; Producer: none listed; Publishers: none listed; Broken Bow (ERG)
– In defense of rural life, to the accompaniment of screaming guitars.
THOMAS RHETT & MAREN MORRIS/Craving You
Writers: none listed; Producer: none listed; Publishers: none listed; Valory Music (ERG)
– It’s a potent rocker with plenty of thump and crash. Despite the billing, this is essentially a Rhett solo with some occasional vocal coloring by Morris.