Mickey Jack Cones. Photo: mickeyjackcones.com
“I’ve been performing since I was about 10 years old,” says Nashville producer/engineer Mickey Jack Cones. “It definitely runs in my family.”
In the late 1980s, Barry Beckett (a Muscle Shoals rhythm section member, Bob Dylan producer, and former Warner Bros. Records A&R Director) produced the Cones Sisters, a family group comprised of Mickey Jack’s mother Jackie and her sisters. At one point, the group was signed to RCA.
As a teen, Cones played guitar for the trio before making the move to Nashville in 1996. The Texas native has long since made a name for himself in the Nashville music community, engineering recordings for Jason Aldean, George Strait, Luke Bryan, Carrie Underwood, Steven Tyler, Blake Shelton, and Lionel Richie, and producing albums for Dustin Lynch, Joe Nichols, Trace Adkins, Exile, and more. He also has numerous credits as a musician and vocalist to his name.
Cones also owns and operates Westwood Sound Studio in Nashville’s Berry Hill area. It seems that Cones will spend plenty of time in the studio in 2016, working again with Adkins and Lynch, as well as Jackie Lee, Craig Campbell, and others. He also recently launched a new management and publishing venture, Cor Entertainment.
Life’s A Dance
In the mid-‘90s, Cones was a band leader on the Texas dancehall circuit. “When people think dance hall circuit, they think honky-tonks,” Cones says. “There were 3,000 people in this dance hall, and the band had pyros and huge stages. There are bands with record deals that don’t play with that kind of production. I was 19, making great money, playing three or four nights per week.”
When he moved to Nashville to enroll in Belmont University, the music scene in Music City came as a dramatic change. “You can’t really play here in town and make money, nothing compared to what I had just done, so I remember going downtown to get a job. I went to Planet Hollywood, and I remember Will Hoge was waiting tables at the time. He got me a job working there.”
Determined to break into the Nashville music scene, Cones worked multiple jobs, in addition to schoolwork and music work. He began by writing music for a pop act managed by Mark Chesnutt’s management company. The act got a recording deal, and Cones inked a publishing deal with EMI. In 1998, Cones signed on as a staff engineer with David Malloy and J. Gary Smith at Malloy Boys.
He worked as a staff engineer until 2002, when a gig writing with and producing Julie Roberts turned into a radio tour gig after she signed a deal with Mercury Nashville. He worked with Roberts on tour for a few years before turning his focus to co-production efforts with Trace Adkins.
In 2009, Cones purchased Westwood Sound Studio with David Malloy and Marti Frederiksen. In 2014, he bought them out, becoming the sole owner.
Pictured (L-R): Mickey Jack Cones and Dustin Lynch. Photo: courtesy of Mickey Jack Cones
Risky Business
Cones recently celebrated two No. 1 songs for BBR Music Group artist Dustin Lynch as a producer on “Where It’s At (Yep, Yep)” and “Hell of a Night.” The edgy, rock-based production on “Hell of a Night” was a risk for Lynch, who broke through at country radio with the traditional sound of his debut single, “Cowboys and Angels.” “I said I was all in because I’m a rock guy anyway, but we hoped his fans would receive it,” Cones says. “It’s awesome to see that ‘One Hell of a Night’ went No. 1.”
According to Cones, Lynch also has one hell of a work ethic. “I’ve worked with a lot of hard-working artists, but when you are sick, you have to push through. Some people don’t have the ability to do it, but through bad health, good health, little sleep, lots of sleep, missing vacations and holidays, Dustin brings his best. And he’s been so appreciative of everything all along the way. That’s fewer and far between these days.”
Mickey Jack Cones and Joe Nichols. Photo: courtesy of Mickey Jack Cones
Heavy Mettle
Cones’ creative muscle and physical stamina were put to the test during his work on Joe Nichols’ first Red Bow Records release, 2013’s Crickets. At the request of legendary producer Tony Brown, Cones produced four sides on Nichols. “It was after he had gotten off of Show Dog, but before he had his deal with BBR,” said Cones. “That session got him his deal and two of those songs were picked to become part of the record.”
Cones recorded most of the album, and handled mixing, background vocals, and overdubbing. When lead single “Sunny and 75” began climbing the charts at a faster-than-expected pace, Cones says “they moved the [album] deadline up like two months on me, at the last minute. I could have gotten someone else to mix it but we didn’t want to jeopardize that sound.”
According to Cones, he had 16 days to finish the better part of the album, including six songs with no lead vocals laid down at that point. “I had only finished ‘Sunny and 75’ and one other song at that point,” recalls Cones.
While Nichols returned to the studio the next day to begin working on lead vocals for the rest of the album, Cones had a conversation with BBR Music Group founder and leader Benny Brown. ‘I told him I would do whatever he needed me to do. I also know that, in this town, sometimes a CD of finished work is turned in and can sit for two months before a label will do anything with it. I remember saying, ‘If I’m going to do this, I’ll need to sleep at the studio and work round the clock. I’ll do it because it’s so important, but the day I finish it and walk it into the studio, it better go in a FedEx bag.’ Now, we were laughing of course, but I said, ‘If it doesn’t go out that day, I might burn down your building, cause I’m going to lose like 10 years off my life to meet this deadline.’”
Cones recalls the hours spent working under tight deadlines to finish the project. “I slept on the couch [in the studio] from 6 a.m. to 7:30 a.m. I did it again the next day, and for 14 days straight. I would mix from 7:30 a.m. until 4 or 5 p.m., then start overdubbing guitar stuff, then start singing background vocals and then when I finished singing background vocals at about 6 in the morning, I would take them off and sleep for an hour and a half, then lay those background vocals into the mix, close the mix, and do it all again. I did that for 14 days straight. When I’m passionate about a project, an artist, I have to put everything I’ve got into it.”
The album produced two No. 1 singles for Nichols, including “Sunny and 75” and “Yeah.” “I am so proud to hang those plaques on my wall,” says Cones.
The hard work involved in the production of Nichols’ album is embedded into the history of Westwood Sound Studio, literally. “We put new floor in the tracking room, and they had to lay this leveling stuff down before they put the floor down. I took a couple of Joe Nichols’ CDs and put them in zip lock bags and put them in there. It’s literally buried in the floor here. I was like, ‘This is permanent, I’ve got to do something to commemorate it.’”
Cones and Westwood Sound Studio are featured in MusicRow‘s upcoming Next Big Thing issue.
Pictured (L-R): Brady Tilow, Mickey Jack Cones, Jason Aldean, and Michael Knox at Westwood Sound Studio. Photo: Courtesy of Mickey Jack Cones.
Exclusive: Producer/Engineer Mickey Jack Cones’ Career Goes Full Throttle
/by Jessica NicholsonMickey Jack Cones. Photo: mickeyjackcones.com
“I’ve been performing since I was about 10 years old,” says Nashville producer/engineer Mickey Jack Cones. “It definitely runs in my family.”
In the late 1980s, Barry Beckett (a Muscle Shoals rhythm section member, Bob Dylan producer, and former Warner Bros. Records A&R Director) produced the Cones Sisters, a family group comprised of Mickey Jack’s mother Jackie and her sisters. At one point, the group was signed to RCA.
As a teen, Cones played guitar for the trio before making the move to Nashville in 1996. The Texas native has long since made a name for himself in the Nashville music community, engineering recordings for Jason Aldean, George Strait, Luke Bryan, Carrie Underwood, Steven Tyler, Blake Shelton, and Lionel Richie, and producing albums for Dustin Lynch, Joe Nichols, Trace Adkins, Exile, and more. He also has numerous credits as a musician and vocalist to his name.
Cones also owns and operates Westwood Sound Studio in Nashville’s Berry Hill area. It seems that Cones will spend plenty of time in the studio in 2016, working again with Adkins and Lynch, as well as Jackie Lee, Craig Campbell, and others. He also recently launched a new management and publishing venture, Cor Entertainment.
Life’s A Dance
In the mid-‘90s, Cones was a band leader on the Texas dancehall circuit. “When people think dance hall circuit, they think honky-tonks,” Cones says. “There were 3,000 people in this dance hall, and the band had pyros and huge stages. There are bands with record deals that don’t play with that kind of production. I was 19, making great money, playing three or four nights per week.”
When he moved to Nashville to enroll in Belmont University, the music scene in Music City came as a dramatic change. “You can’t really play here in town and make money, nothing compared to what I had just done, so I remember going downtown to get a job. I went to Planet Hollywood, and I remember Will Hoge was waiting tables at the time. He got me a job working there.”
Determined to break into the Nashville music scene, Cones worked multiple jobs, in addition to schoolwork and music work. He began by writing music for a pop act managed by Mark Chesnutt’s management company. The act got a recording deal, and Cones inked a publishing deal with EMI. In 1998, Cones signed on as a staff engineer with David Malloy and J. Gary Smith at Malloy Boys.
He worked as a staff engineer until 2002, when a gig writing with and producing Julie Roberts turned into a radio tour gig after she signed a deal with Mercury Nashville. He worked with Roberts on tour for a few years before turning his focus to co-production efforts with Trace Adkins.
In 2009, Cones purchased Westwood Sound Studio with David Malloy and Marti Frederiksen. In 2014, he bought them out, becoming the sole owner.
Pictured (L-R): Mickey Jack Cones and Dustin Lynch. Photo: courtesy of Mickey Jack Cones
Risky Business
Cones recently celebrated two No. 1 songs for BBR Music Group artist Dustin Lynch as a producer on “Where It’s At (Yep, Yep)” and “Hell of a Night.” The edgy, rock-based production on “Hell of a Night” was a risk for Lynch, who broke through at country radio with the traditional sound of his debut single, “Cowboys and Angels.” “I said I was all in because I’m a rock guy anyway, but we hoped his fans would receive it,” Cones says. “It’s awesome to see that ‘One Hell of a Night’ went No. 1.”
According to Cones, Lynch also has one hell of a work ethic. “I’ve worked with a lot of hard-working artists, but when you are sick, you have to push through. Some people don’t have the ability to do it, but through bad health, good health, little sleep, lots of sleep, missing vacations and holidays, Dustin brings his best. And he’s been so appreciative of everything all along the way. That’s fewer and far between these days.”
Mickey Jack Cones and Joe Nichols. Photo: courtesy of Mickey Jack Cones
Heavy Mettle
Cones’ creative muscle and physical stamina were put to the test during his work on Joe Nichols’ first Red Bow Records release, 2013’s Crickets. At the request of legendary producer Tony Brown, Cones produced four sides on Nichols. “It was after he had gotten off of Show Dog, but before he had his deal with BBR,” said Cones. “That session got him his deal and two of those songs were picked to become part of the record.”
Cones recorded most of the album, and handled mixing, background vocals, and overdubbing. When lead single “Sunny and 75” began climbing the charts at a faster-than-expected pace, Cones says “they moved the [album] deadline up like two months on me, at the last minute. I could have gotten someone else to mix it but we didn’t want to jeopardize that sound.”
According to Cones, he had 16 days to finish the better part of the album, including six songs with no lead vocals laid down at that point. “I had only finished ‘Sunny and 75’ and one other song at that point,” recalls Cones.
While Nichols returned to the studio the next day to begin working on lead vocals for the rest of the album, Cones had a conversation with BBR Music Group founder and leader Benny Brown. ‘I told him I would do whatever he needed me to do. I also know that, in this town, sometimes a CD of finished work is turned in and can sit for two months before a label will do anything with it. I remember saying, ‘If I’m going to do this, I’ll need to sleep at the studio and work round the clock. I’ll do it because it’s so important, but the day I finish it and walk it into the studio, it better go in a FedEx bag.’ Now, we were laughing of course, but I said, ‘If it doesn’t go out that day, I might burn down your building, cause I’m going to lose like 10 years off my life to meet this deadline.’”
Cones recalls the hours spent working under tight deadlines to finish the project. “I slept on the couch [in the studio] from 6 a.m. to 7:30 a.m. I did it again the next day, and for 14 days straight. I would mix from 7:30 a.m. until 4 or 5 p.m., then start overdubbing guitar stuff, then start singing background vocals and then when I finished singing background vocals at about 6 in the morning, I would take them off and sleep for an hour and a half, then lay those background vocals into the mix, close the mix, and do it all again. I did that for 14 days straight. When I’m passionate about a project, an artist, I have to put everything I’ve got into it.”
The album produced two No. 1 singles for Nichols, including “Sunny and 75” and “Yeah.” “I am so proud to hang those plaques on my wall,” says Cones.
The hard work involved in the production of Nichols’ album is embedded into the history of Westwood Sound Studio, literally. “We put new floor in the tracking room, and they had to lay this leveling stuff down before they put the floor down. I took a couple of Joe Nichols’ CDs and put them in zip lock bags and put them in there. It’s literally buried in the floor here. I was like, ‘This is permanent, I’ve got to do something to commemorate it.’”
Cones and Westwood Sound Studio are featured in MusicRow‘s upcoming Next Big Thing issue.
Pictured (L-R): Brady Tilow, Mickey Jack Cones, Jason Aldean, and Michael Knox at Westwood Sound Studio. Photo: Courtesy of Mickey Jack Cones.
Keith Urban Previews New Exhibit at Country Music Hall of Fame and Museum
/by Jessica NicholsonPictured (L-R): Kyle Young, CMHoF; Keith Urban, Mike Dungan, Universal Music Group Nashville. Photo: Rick Diamond/Getty Images for CMHOF
In so many ways, Keith Urban was like so many young aspiring musicians who grow up dreaming of leaving a small town to chase their musical dreams in Nashville. His father Bob was drummer and passed his love of music down to his children. He spent hours honing his musical skills and listening to albums by Johnny Cash and Don Williams.
“For me, all roads lead to Don Williams,” Urban said, recalling the impact that Williams’ music had not only on his father, but on him. “My dad went and bought every record Don made the day it went on sale. I remember one day going to the record store with my dad and I remember saying to my dad, ‘What’s the single off this album?’ and he goes, ‘I don’t know. I haven’t heard anything off of it.’ I said, ‘Well how do you know it’s going to be good?’ He said, ‘It’s Don Williams.’ It hit me in such a way that I thought, ‘I want to make those kinds of records. I want to make records where people know it’s going to be solid.’”
“I had no plan and no timeframe, I just knew I would live in Nashville and make records. Off I went to my merry way to talent quests and various stages of learning how to be a musician,” recalled Urban.
However, for the Australia-raised Urban, his lifelong dream of coming to Nashville meant crossing international waters, instead of just state borders. Once in Nashville, the story became one of determination, struggle, failed record deals and personal setbacks. “I didn’t expect it to be as hard as it was,” Urban said. “Whether it was being naïve or blind faith, whatever it was, I really felt like I could get in here and do this and when it didn’t happen, I didn’t know what to do. I just thought about keeping going because it must be around the corner, but they kept moving the corner.”
Photo: Rick Diamond/Getty Images for CMHOF
Before Urban, Jerry Flowers and Peter Clarke had signed Urban’s first American record deal as members of The Ranch, they were performing at Nashville’s 12th & Porter. Cliff Audretch, who worked at Sony at the time, was a frequent audience member at the shows. “We were standing there after the gig and I said, ‘Why can’t I get anywhere?’” Urban recalled. “He said, ‘Cause you are really unique. And it will be your biggest curse until it becomes your greatest blessing.’ That piece of advice on that night from that guy…was exactly what I needed to go the rest of the distance.”
Now, Urban’s story includes a successful solo career, more than 20 million albums sold, nearly 20 No. 1 hits, four Grammy awards, 17 BMI Awards and a Grand Ole Opry membership. The Country Music Hall of Fame is honoring Urban’s exceptional career thus far with an exhibition of Urban’s life and career alongside many of his musical heroes.
Urban was on hand last night (Dec. 2) at the Country Music Hall of Fame to preview the exhibit alongside many of those who were an essential part of his musical ascent, including Mary Martin, who was once the head of A&R at RCA Records. It was Martin who sent Urban a letter in the late 1980s when he was struggling for a record deal in Nashville, urging him to come to Nashville to pursue his dream, though his musical style didn’t fit the climate of country music at the time. “’I hope you can come to Nashville and find a good home.’ That’s what you wrote in the letter,” Urban told her. “I read it and went, ‘That’s what I’m going to do.’ I just needed one person and you were it, so thank you.”
Keith Urban. Photo: Rick Diamond/Getty Images for CMHOF
Keith Urban So Far…, which is open now to visitors at the Country Music Hall of Fame and Museum, includes a chronicle of Urban’s career, including stage costumes he wore while fronting a cover band called California Suite while still in his teens, audio cassettes of “Got It Bad” and “Only You” from his 1991 solo debut on EMI Australia, to his Grand Ole Opry Induction trophy, and several Grammy, CMA, and ACM Awards. An array of guitars and stage outfits pepper the collection.
“It’s amazing the people I’ve gotten to know and work with, and I’m deeply grateful for that,” Urban told the crowd.
The Keith Urban So Far… exhibit will run through May 2016.
Guitars and banjos at the ‘Keith Urban So Far’ exhibition at Country Music Hall of Fame and Museum’s CMA Theater on December 1, 2015 in Nashville, Tennessee. Photo: Rick Diamond/Getty Images for CMHOF
Pictured (L-R): Steven Tyler, Ross Copperman. Photo: Rick Diamond/Getty Images for CMHOF
Keith Urban and Mary Martin. Photo: Rick Diamond/Getty Images for CMHOF
Photo: Rick Diamond/Getty Images for CMHOF
Pictured (L-R): Elisabeth Ashley, Kyle Young, Gary Borman, Keith Urban, and Mary Ann McCready. Photo: Rick Diamond/Getty Images
Conference Roundup 2016: CRS, Music Biz, ASCAP EXPO
/by Eric T. ParkerCRS and CMHoF Partner For Reception and Tour Experience
This keystone event is one of the many new events planned to launch “The New CRS Experience.” In addition, CRS attendees can visit the museum on Monday, Feb. 8, from 9 a.m to 3 p.m. CRS 2016 is set for Feb. 8-10 at the Omni Hotel. The $529 regular registration rate is now available at CountryRadioSeminar.com.
Sam Hunt to Receive Breakthrough Artist Award at Music Biz 2016
Sam Hunt performs Song of the Year “Leave the Night On” at ASCAP’s Awards.
The Music Business Association (Music Biz) will honor rising country star Sam Hunt with its Breakthrough Artist Award at the annual Music Biz Awards Luncheon on Wednesday, May 18, at the Renaissance Nashville Hotel.
Past winners include Meghan Trainor, Ariana Grande, Emeli Sandé, Nicki Minaj, John Legend, and Carrie Underwood.
Registration for Music Biz 2016’s May 16-18 conference is available with early bird discounts until March 11 at MusicBiz.org.
ASCAP’s California EXPO to Feature Ashley Gorley and Adele Co-Writer
In addition, the EXPO will offer a conversation between Nate Ruess, songwriter and vocalist for the Grammy-winning group fun., and ASCAP President and Hall of Fame songwriter Paul Williams. A special appearance by Salt-N-Pepa‘s Sandra “Pepa” Denton, Cheryl “Salt” James and Dee Dee “DJ Spinderella” Roper will be featured for a discussion about music, lives and careers. To register for the conference, visit ascap.com.
CMA Foundation Humanitarian Award Presented To Steve Turner
/by Troy_StephensonPictured L-R: Bill Denny, lifetime CMA Board member; Judy Turner; Steve Turner; Country Music Hall of Fame member Brenda Lee; Jon Loba, CMA Awards and Recognition Committee Chairman and Executive Vice President, BBR Music Group; Sarah Trahern, CMA Chief Executive Officer; Frank Bumstead, CMA Board Chairman and Chairman, Flood, Bumstead, McCready & McCarthy, Inc.
Photo Credit: Christian Bottorff/CMA
Steve Turner, President of the Country Music Hall of Fame’s Board of Directors and Founder of MarketStreet Enterprises, was presented the CMA Foundation Humanitarian Award today (Dec 2) during the CMA Board of Directors meeting at the Omni Hotel in Nashville.
“I am honored and touched by this award from the Country Music Association,” said Turner. “I am also gratified by the fact that it symbolizes the shared goals of two institutions striving to build and maintain the stature of country music around the world.”
The award was presented to Turner by Jon Loba, Chairman of the CMA Awards and Recognition Committee and Executive Vice President of BBR Music Group; Bill Denny, lifetime CMA Board member; and Country Music Hall of Fame member Brenda Lee.
“His steadfast enthusiasm, his contribution of countless hours, and his vision has secured the Hall of Fame’s future without compromising its mission of preserving the music we all love,” said Lee. “I can’t think of a more deserving recipient of the CMA Foundation’s Humanitarian Award.”
The CMA Foundation Humanitarian Award is for an individual who has served as a humanitarian through community leadership, financial support, personal volunteerism, and advocacy. Those recognized must be a Country Music professional who has evidenced commitment to worthwhile causes that are important to the Country Music Association and the Country Music community.
The honor was created in 2014 and Kix Brooks was the first recipient.
Round Hill Music Signs Schmarx & Savvy to Nashville Roster
/by Jessica NicholsonPictured (Front Row, L-R): Josh Saxe, Assoc. Dir. A&R, Round Hill; Marc “Schmarx” Schneider; Savannah “Savvy” Giersch; Mark Brown, VP / GM Round Hill, Nashville. (Back Row, L-R): Eric Griffin, attorney; Matthew Beckett, attorney
Round Hill Music has signed songwriters Marc “Schmarx” Schneider and Savannah “Savvy” Giersch to its Nashville roster. They will concentrate on pop songwriting and artist development, as well as writing for synch placements.
“I am excited to welcome Schmarx and Savvy to Round Hill. They are two of the most talented and hardworking young writers that I have met, and we are thrilled with the skills they bring to our growing Nashville songwriting team,” says Mark Brown, VP and GM of Round Hill Music Nashville.
Originally from Pennsylvania, Schmarx attended Full Sail University where he studied production and songwriting. After moving to Nashville, Schmarx developed a relationship with hit songwriter Brett James, with whom he gained engineering and programming credits on Kip Moore’s sophomore album, Wild Ones.
Hailing from Virginia, Savvy attended Berklee College of Music. After college, she moved to Austin, Texas, and signed her first publishing deal. There she achieved success with Rebecca Stella’s No. 1 dance hit “Give Me That O” and a placement on ABC’s Nashville with The Wagoneers‘ “Take You There.”
Schmarx and Savvy also co-wrote “Miami To L.A.,” the single for YouTube star Noah Schnacky. They are writing and programming a project with recording artist Julia Cole.
Artist Updates: Brothers Osborne, Carrie Underwood, Kip Moore, Griffin House
/by Craig_ShelburneBrothers Osborne Toast Their New Album With Christmas Party
Brothers Osborne.
Carrying holiday cheer into East Nashville, Brothers Osborne celebrated the upcoming release of their debut album with a festive party at the Basement East on Tuesday night (Dec. 1). John and TJ Osborne spoke briefly from the stage to welcome the industry crowd, then previewed their album, Pawn Shop, over the sound system while guests (including labelmates Kacey Musgraves and Lauren Alaina) posed with friends in the photo booth and snacked on Christmas cookies. Featuring the hit single, “Stay a Little Longer,” Pawn Shop will be released on Jan. 15 on EMI Nashville.
Carrie Underwood Sings “Heartbeat” on UK’s The X Factor
Carrie Underwood. Photo: Syco/Thames/Corbis/Dymond
Carrie Underwood performed her new single, “Heartbeat,” on the UK series, The X Factor, in London on Sunday (Nov. 29). She received a standing ovation from judges Simon Cowell, Cheryl Cole, Rita Ora, and Nick Grimshaw. The song is the second single from Underwood’s new album, Storyteller.
Kip Moore Extends His Wild Ones Tour
Kip Moore will continue headlining his Wild Ones Tour in early 2016. The first stop of the 17-city tour will be Milwaukee, Wisconsin, on Jan. 28, with dates scheduled through February 27 in Anaheim, California. The Cadillac Three and Chase Bryant will open shows on select dates.
“The feedback from the fans this fall has been so insane and we’re having so much fun that we’re just not ready to end this tour yet,” said Moore. “We live for our live show. That’s how this whole journey started and I’m looking forward to playing some of our favorite cities at the beginning of the year, as well as having my buddies from The Cadillac Three and Chase Bryant along for the ride.”
Griffin House Releases “Paris Calling” From Upcoming Album
Griffin House
Nashville singer-songwriter Griffin House has released a song titled “Paris Calling” to show his support after terrorist attacks in Paris. House studied in Paris as a college student and wrote the new song about living in Nashville, but dreaming about going back to France.
“For me, Paris will always be a place that can be described by three words: magical, surreal, and enchanting. My heart is in love there – in love with life itself. I celebrated the completion of my album with a return this summer to my favorite city on Earth,” says House. “I was so saddened by this awful tragedy and the suffering it has brought to such a beautiful city and their beautiful people. I send this song out to the people of Paris, who I know will not let this darkness get in the way of the joyous life that abounds in the City of Light.”
Griffin will donate all proceeds from the sale of the single “Paris Calling” through the end of the year to Secours Populaire, a non-profit organization that aims to fight against poverty and exclusion in France and throughout the world. House’s album, So On and So Forth, will be released on March 4.
ASCAP Names Lisa Selden As SVP, Administration Services
/by Troy_StephensonLisa Selden
ASCAP announced today (Dec. 2) that Lisa Selden will join its executive leadership team as Senior Vice President, Administration Services, effective Jan. 1, 2016.
Selden will oversee processing and payment of royalties services for clients of Administration Services. She will also identify opportunities to develop new competitive service offerings for existing and new domestic and international customers as market needs evolve.
Selden has 15 years of experience with multi-platform and digital businesses, most recently as SVP, Strategy, Operations and Business Development for Viacom Music Brands. During 10 years with Viacom, she launched its music publishing business, and increased revenue and profitability from its media assets by innovating ways to monetize content across the web, television and mobile. Selden held earlier positions with Napster 2.0 and HBO. She has an MBA from NYU Stern School of Business and a B.A. from Syracuse University.
“Lisa brings an innovative, entrepreneurial mindset and client service experience to this position. She has worked at the digital, cutting edge of traditional companies as they strive to leverage their assets in productive new ways to meet changing industry dynamics,” said Alice Kim, ASCAP Chief Strategy and Development Officer. “As we seek to expand capabilities for all of our members and customers, Lisa’s approach will be essential to helping ASCAP continue to flourish in tomorrow’s performing rights landscape.”
“Lisa is a key addition to the strong executive team that we are building to evolve ASCAP’s mission to meet the demands of the new music marketplace,” added ASCAP CEO Elizabeth Matthews.
Mickey Jack Cones Launches Cor Entertainment, Co-Venture With Combustion Music
/by Jessica NicholsonPictured (L-R): Mickey Jack Cones, Cor Entertainment; Chris Van Belkom, Combustion Music; Jordan Walker and Johnny McGuire of Walker McGuire; Chris Farren, Combustion Music; Kenley Flynn, Combustion Music.
Producer Mickey Jack Cones has launched Cor Entertainment, including the subsidiaries Cor Music Publishing, and Cor Artist Services. The company has entered into a co-venture with Combustion Music.
The first artist signed to the new venture is duo Walker McGuire, which includes Jordan Walker of Vernon, Texas, and Johnny McGuire of Fairway, Kansas. The duo formed in 2012, and spent years performing at Nashville writers nights. The duo was featured by radio show hosts Big D and Bubba each week on the radio talent show, Chasin’ The Dream.
“I will definitely keep producing, but I’m branching out and able to have a little more creative control,” says Cones. “When you are just producing there are so many other elements that can make or break that album and artist. I feel I have new perspective to offer. I’ve been on the Rascal Flatts tour, I’ve done some tour management, I’ve been on radio tours. With the right act, I feel like I can bring all of that to the table to help streamline things where all these sidesteps are involved to get from A to Z.”
For a full profile on Mickey Jack Cones, click here.
Hirings & Promotions: Skyline Music Agency, Ryman Auditorium, The Doobie Brothers, Josh Turner
/by Jessica NicholsonSkyline Music Opens Nashville Office, Expands Team
“As the agency for country rock pioneers like Roger McGuinn, John Sebastian, Poco and Pure Prairie League, we’ve always done a lot of business there,” said Bruce Houghton, President of Skyline Music. “More recently some of our growing Americana roster including Darlingside, Star and Micey and Feufollet have found a great partner in Nashville’s Thirty Tigers. This, in addition to my spending more time in Nashville as part of Leadership Music’s current class, and we knew immediately that we had to be a part of the city’s exciting growth.”
As part of Skyline Music’s expansion, James Leslie has been promoted to Agent at Skyline and is based full-time in Nashville. Also, Adam Davis has joined Skyline Music as one of its three agents based in Los Angeles.
Hypebot.com, the Skyline-published music tech and new music industry site, will also house its Nashville operation at InDo.
Hirings, Promotions at Ryman Auditorium
Jason Oschwald
Jason Oschwald has joined Ryman Auditorium as Director of Marketing. Oschwald joins the venue from a 10-year stint at Feld Entertainment where he most recently was Director of Event Marketing & Sales. In his new role at the Ryman, Oschwald will oversee all concert and event marketing including proprietary events such as Bluegrass Nights and Sam’s Place. He also will work closely with sponsors on activations and programming. Oschwald can be reached at joschwald@ryman.com
Gary Levy, previously Senior Facility and Event Services Manager, has been promoted to Director of Operations. Part of the Ryman team since 2008, Levy joined the venue from the Florida Marlins. Levy will focus on guiding the quality, growth and profitability of the Ryman’s daytime, event and facility operations.
David Collier has been named Senior Events Manager. A 20-year veteran with the company, Collier started his career at the Opryland Hotel in 1995. He is responsible for all private rentals of the Ryman and manages the Ryman front of house event staff.
Genevieve Laas, previously Assistant to the General Manager, has been promoted to Booking & Events Manager. Laas will book and produce both Bluegrass Nights and Sam’s Place. She also will collaborate with the team on both private & public event bookings and operations. Laas joined the Ryman from the Grand Ole Opry and has been with the company since 2012.
The Doobie Brothers Add Little Feat’s Bill Payne To Touring Band
The Doobie Brothers
The Doobie Brothers have added Bill Payne as resident keyboard player in their touring band. Payne is known for his own band, Little Feat, as well as performing on studio albums for artists including Bonnie Raitt, Emmylou Harris, Pink Floyd, and more. He previously collaborated with The Doobie Brothers both in the studio and on the road.
Payne is still a member of Little Feat, and, while not a member of Leftover Salmon any longer, is still very much a part of their extended family and will still be sitting in with them when schedules allow.
Josh Turner’s Guitar Tech Promoted To Stage Manager
Riq Lazarus
Riq Lazarus, formerly the guitar tech/backline manager for Josh Turner, has been promoted to the position of stage manager.
He has been with Turner’s organization for five years.
‘Country Faith Christmas’ Book Shares Stars’ Favorite Memories
/by Jessica NicholsonPictured (L-R): Author and journalist Deborah Evans Price and Little Big Town’s Kimberly Schlapman.
For author Deborah Evans Price, Christmas has already arrived.
Her new book, Country Faith Christmas (Regnery Publishing), features 37 favorite Christmas memories, holiday traditions, and scriptures from country artists. Among the contributors are Luke Bryan, Dolly Parton, Florida Georgia Line, Vince Gill, Alan Jackson, Craig Morgan, The Oak Ridge Boys, Brad Paisley, Darius Rucker and Canaan Smith. Little Big Town’s Kimberly Schlapman provided a foreword for the book, along with her own favorite Christmas memory and recipe.
“I loved the idea of getting people to talk about their Christmas traditions, and favorite recipes and memories,” said Price, who has been recognized by the CMA and GMA for her achievements as a journalist.
“I love [the story of] Charlie Daniels giving [his wife] Hazel a bowling ball for Christmas back when they were first married and didn’t have much money. He worked some extra gigs and surprised her, ‘cause she was on a bowling team and didn’t have her own ball. I love that story. They have been married for 51 years now and are such a great couple. Charlie wrote four Advent devotionals. He knows the Bible and is a great Bible scholar and to have him sit down and write those, it was so kind of him to do that.”
These vignettes are set alongside an assortment of Christmas photos and savory holiday recipes, including: Christmas coconut noodles from Eric Paslay’s mother; Phil Vassar’s pumpkin bread; Mickey Guyton’s blueberry dump cake; and whole grain gingerbread courtesy of Brad Paisley’s mother, Sandy.
“I really have to thank the mothers,” Price said. “They tracked down the recipes and the childhood photos and were such a great help putting this book together.”
The passion project came with a tight deadline. “We signed on to do the book in March and it was due in June. We really had to rush to get it together, but everybody has been so helpful, with artists jumping on the phone to do interviews,” she said.
Scotty McCreery was the first artist Price interviewed for Country Faith Christmas. “We were having dinner one night with Scotty when he was in town, along with his publicist, Scott Stem. I told him I was working on the book, and he was gracious and did the interview right then. So we finished Scotty’s chapter with the production team and we were able to send that out to show other people what we were doing and how we were going to incorporate childhood photos, recipes and design elements into each artist’s chapter.”
Price is quick to credit the artists and artists’ publicists for their aid throughout the process. “I couldn’t have done this without them. We got to the end and we were like, ‘Oh my gosh, we don’t have Luke Bryan’s chili dog recipe!’ And Jessie [Schmidt, Bryan’s publicist] was a great help,” Price said.
Country Faith Christmas also includes a CD. The compilation, Country Faith Christmas: 14 Songs of the Season From Today’s Leading Country Music Stars, features Carrie Underwood (“Do You Hear What I Hear”), Dolly Parton (“Joy To The World”), Martina McBride (“Silent Night”), Alan Jackson (“Let It Be Christmas”), Hunter Hayes (“Go Tell It On The Mountain”), and more.
Pictured (L-R): Deborah Evans Price and Craig Morgan
Price released the first book in the series, Country Faith, in 2013. She has since expanded the Country Faith brand with a new jewelry line in collaboration with Los Angeles’ Bob Siemon Designs, a faith-based jewelry manufacturer that crafted merchandise for the 2004 movie The Passion of the Christ.
“They sent us photos and asked what we thought would most appeal to a country music consumer,” Price said of the line, which includes bracelets, keychains, necklaces and more.
After HarperCollins released the first Country Faith book, Price brought the rights to the Country Faith brand. “That’s how we were able to do the jewelry deal, because we own the name. I’ve learned a lot through this. I’m not a business person, but I’m learning to be,” she said.
There is more to come under the Country Faith brand. “Next year there will be two more albums coming out. A Country Faith hymns collection will come out around Easter, so we are selecting songs for that now. We have a wish list of 20-25 hymns we are in the process of getting the licenses for. In the fall, we will have a second volume of Country Faith which will be country songs from a faith-based perspective.”
Country Faith Christmas is available at amazon.com, barnesandnoble.com, booksamillion.com, target.com, and more.