Pictured (L-R): Michael McCall, Tim DuBois, Mike Dungan, Jim McBride, Roger Wills, Danny Groah
The Country Music Hall of Fame and Museum (CMHoF) gave a behind-the-scenes look at Alan Jackson from some of his closest industry pals this past weekend (April 11).
Label executives Tim DuBois and Mike Dungan joined songwriter Jim McBride (“Chasin’ That Neon Rainbow,” “Chattahoochee”) for a panel discussion alongside Jackson’s Strayhorns band members Roger Wills (bass) and Danny Groah (guitar). Led by CMHoF’s Michael McCall, the hour-long talk ran in conjunction with the hall’s recently extended Alan Jackson: 25 Years of Keepin’ It Country, exhibit.
Three dimensions of the star were noticed through the candid discussion: His quiet nature does not keep him from standing up for his beliefs; He is a man of generosity; The stars aligned in his favor.
His quiet nature doesn’t keep him from standing up for his beliefs
Dungan: I was first struck by how hard Alan was to talk to. He was so shy. Where I come from artists have massive egos. This was the most aw-shucks, quiet guy I had met. Turns out that was probably his biggest calling card. The fans responded to this quiet unassuming nature. We used to get frustrated with him because he didn’t like to do a lot of press or do talk shows or interviews, it was very uncomfortable for him. George Strait was also the same way and anytime we tried to coerce Alan into doing something he’d say, ‘George Strait don’t do that.’ Now you look back and see these two massive careers of Alan and George. I’m grateful that we’re looking back at 25 years. I think part of it was they didn’t burn themselves out by talking about every detail of their lives every time a camera came on. But there’s a thing about him that as Clive Davis would say the indefinable it thing–the star factor despite the quietness. The minute Alan walks in the room you wanted to know about him. It’s that elusive star thing that few people have. It more than compensated for the shyness.
Wills: I was worried about his shyness, too. I thought the only thing that’s gonna keep him from a record deal is that he just wouldn’t talk. I’d get him off to the side and say, ‘Go and talk to these people.’
Groah: Before the [CMAs] he said, ‘I don’t know if I’m gonna do it or not, [referring to cutting short his performance of “Pop A Top,” in protest of the CMA overlooking George Jones’ “Choices”]. If I look over at you and nod, then go into it. Sure enough, he gave the nod and there we went.
Dungan: He got an immediate standing ovation.
McBride: He put the band on the spot.
Groah: [Previously], at the 1994 ACM Awards, Alan wanted to play live. In those days they wanted the music to be tracked. So the band is really just playing air guitar…
Dungan: …They told Bruce (drummer) whatever you do don’t hit the cymbals. He said, “How can I even act like I’m playing the drums with no cymbals?” So he elected to go in with no sticks.
McCall: Does that ever come back to the label?
DuBois: It was over and done, everyone in the audience loved it.
Groah: Bruce didn’t get paid from the TV show but Alan paid him.
Groah: [And after 9/11], we were supposed to do “Where I Come From,” I think. We got a call a couple days from Alan to start working on “Where Were You (When The World Stopped Turning).”
He is a man of generosity
Groah: I had a lawnmower accident I thought would end my playing guitar. I hadn’t been home from the hospital 15 minutes when Alan and Denise showed up. He said, “Don’t worry about your job. I’m gonna pay you just like you were working. It doesn’t matter how long it takes.” That’s the kind of guy he is. Not just for me, but he’s been there for all the band when things happen.
Dungan: A guy who worked for us at Arista had a [medical condition] Alan went to see him in the hospital and Alan said, “Your TV is pretty small.” The next day these guys wheeled in a big television, compliments of Alan Jackson.
The stars aligned in his favor
DuBois: His long legs and blond hair just worked. He had the whole package. And it happened at a time in Nashville that I call the Great Flush at the end of ’89. For the only time I can remember, radio opened its arms to a whole crop of new artists. The system was primed and Alan just rushed through. You just couldn’t do that today. The climate is so different. That was before the Telecommunications Act when you had small family stations. Also, videos were relatively new and they gave Alan a personality. I give Alan and Barry Coburn (Alan’s then manager) the credit for those.
Dungan: Alan would have a hard time [breaking out] now. I’m a believer that this thing we call country music should be wide—as pop, or as country as you want. If the next Alan Jackson came into my office, I would sign them in a heartbeat. It would be tough, but I’d go for it because music is the backbone of everything.
DuBois: I thank my lucky stars he came along in my life. Luck can play such a part because there are other people who will go unnamed today that I believed in as much as Alan. But for some reason it didn’t happen for them. He is an exceptional talent and we were extremely lucky to intercept his orbit.
Alan Jackson Highlighted During CMHoF Panel Discussion
/by Eric T. ParkerPictured (L-R): Michael McCall, Tim DuBois, Mike Dungan, Jim McBride, Roger Wills, Danny Groah
The Country Music Hall of Fame and Museum (CMHoF) gave a behind-the-scenes look at Alan Jackson from some of his closest industry pals this past weekend (April 11).
Label executives Tim DuBois and Mike Dungan joined songwriter Jim McBride (“Chasin’ That Neon Rainbow,” “Chattahoochee”) for a panel discussion alongside Jackson’s Strayhorns band members Roger Wills (bass) and Danny Groah (guitar). Led by CMHoF’s Michael McCall, the hour-long talk ran in conjunction with the hall’s recently extended Alan Jackson: 25 Years of Keepin’ It Country, exhibit.
Three dimensions of the star were noticed through the candid discussion: His quiet nature does not keep him from standing up for his beliefs; He is a man of generosity; The stars aligned in his favor.
His quiet nature doesn’t keep him from standing up for his beliefs
Dungan: I was first struck by how hard Alan was to talk to. He was so shy. Where I come from artists have massive egos. This was the most aw-shucks, quiet guy I had met. Turns out that was probably his biggest calling card. The fans responded to this quiet unassuming nature. We used to get frustrated with him because he didn’t like to do a lot of press or do talk shows or interviews, it was very uncomfortable for him. George Strait was also the same way and anytime we tried to coerce Alan into doing something he’d say, ‘George Strait don’t do that.’ Now you look back and see these two massive careers of Alan and George. I’m grateful that we’re looking back at 25 years. I think part of it was they didn’t burn themselves out by talking about every detail of their lives every time a camera came on. But there’s a thing about him that as Clive Davis would say the indefinable it thing–the star factor despite the quietness. The minute Alan walks in the room you wanted to know about him. It’s that elusive star thing that few people have. It more than compensated for the shyness.
Wills: I was worried about his shyness, too. I thought the only thing that’s gonna keep him from a record deal is that he just wouldn’t talk. I’d get him off to the side and say, ‘Go and talk to these people.’
Groah: Before the [CMAs] he said, ‘I don’t know if I’m gonna do it or not, [referring to cutting short his performance of “Pop A Top,” in protest of the CMA overlooking George Jones’ “Choices”]. If I look over at you and nod, then go into it. Sure enough, he gave the nod and there we went.
Dungan: He got an immediate standing ovation.
McBride: He put the band on the spot.
Groah: [Previously], at the 1994 ACM Awards, Alan wanted to play live. In those days they wanted the music to be tracked. So the band is really just playing air guitar…
Dungan: …They told Bruce (drummer) whatever you do don’t hit the cymbals. He said, “How can I even act like I’m playing the drums with no cymbals?” So he elected to go in with no sticks.
McCall: Does that ever come back to the label?
DuBois: It was over and done, everyone in the audience loved it.
Groah: Bruce didn’t get paid from the TV show but Alan paid him.
Groah: [And after 9/11], we were supposed to do “Where I Come From,” I think. We got a call a couple days from Alan to start working on “Where Were You (When The World Stopped Turning).”
He is a man of generosity
Groah: I had a lawnmower accident I thought would end my playing guitar. I hadn’t been home from the hospital 15 minutes when Alan and Denise showed up. He said, “Don’t worry about your job. I’m gonna pay you just like you were working. It doesn’t matter how long it takes.” That’s the kind of guy he is. Not just for me, but he’s been there for all the band when things happen.
Dungan: A guy who worked for us at Arista had a [medical condition] Alan went to see him in the hospital and Alan said, “Your TV is pretty small.” The next day these guys wheeled in a big television, compliments of Alan Jackson.
The stars aligned in his favor
DuBois: His long legs and blond hair just worked. He had the whole package. And it happened at a time in Nashville that I call the Great Flush at the end of ’89. For the only time I can remember, radio opened its arms to a whole crop of new artists. The system was primed and Alan just rushed through. You just couldn’t do that today. The climate is so different. That was before the Telecommunications Act when you had small family stations. Also, videos were relatively new and they gave Alan a personality. I give Alan and Barry Coburn (Alan’s then manager) the credit for those.
Dungan: Alan would have a hard time [breaking out] now. I’m a believer that this thing we call country music should be wide—as pop, or as country as you want. If the next Alan Jackson came into my office, I would sign them in a heartbeat. It would be tough, but I’d go for it because music is the backbone of everything.
DuBois: I thank my lucky stars he came along in my life. Luck can play such a part because there are other people who will go unnamed today that I believed in as much as Alan. But for some reason it didn’t happen for them. He is an exceptional talent and we were extremely lucky to intercept his orbit.
Thomas Rhett’s “Make Me Wanna” Gets A Fashionable Nashville Celebration
/by Jessica NicholsonPictured (L-R): Larry McCoy, Thomas Rhett, Bart Butler.
Nashville celebrated Thomas Rhett, Bart Butler and Larry McCoy’s Gold-certified No. 1 song “Make Me Wanna” recently at the upscale Peter Nappi showroom in Germantown. The clothing venue was more than appropriate, given that the music video for “Make Me Wanna” was shot there. Friends and family gathered to celebrate the hit, which marked the third consecutive chart-topper off Rhett’s debut album It Goes Like This (Valory Music Co.). The shindig was hosted by BMI and SESAC.
The success of “Make Me Wanna” notched another milestone for singer-songwriter Thomas Rhett: Rhett is the first male country artist in 20 years to earn three consecutive Billboard No. 1 songs from a debut album.
“It’s really cool that we still celebrate this stuff,” Rhett said. “Everybody is so busy, whether you are a singer, songwriter or work for a publisher. Whatever you are doing, you’re always thinking about what the next thing is. It’s really nice to hang out and celebrate for a minute.”
He also gave thanks to country radio, to his fellow writers, to his label home Valory Music Co., to producer Jay Joyce, to his publishing home, and to wife Lauren. “She has picked my last three No. 1s,” said Rhett. “So if I put a single out that doesn’t have Lauren’s stamp of approval, it will probably die pretty quick,” he quipped.
The day was extra sweet for writers Butler and McCoy. It was announced during the celebration that Butler’s hometown of Hondo, Texas, had declared April 9 as “Bart Butler Day.” Meanwhile, McCoy had been working in construction while forging a songwriting career. He remarked that with this No. 1 single, he relished that he can now “lay his hammer down” and focus entirely on songwriting.
Additional accolades were offered throughout the event by the CMA, CRS, and Avenue Bank.
(Back row, L-R): George Briner (Valory Music Co.), Leslie Roberts (BMI), Tim Fink (SESAC), Bill Butler (Bill Butler Music), Tom Luteran (Sony/ATV).
(Front row, L-R): Larry McCoy, Thomas Rhett, Bart Butler.
BMG Chrysalis, Maxx Music Publishing Add Koloff To Roster
/by Jessica NicholsonBMG Chrysalis’ creative venture with Maxx Music Publishing continues with the signing of Kolby Koloff. Koloff is a writer/artist who is perhaps best-known for her role on the Lifetime show Preachers’ Daughters. She is now working on her debut EP which is being produced by Grammy-winning producer Drew Ramsey (Crowder, Jonny Lang, Mandisa).
Pictured (L-R): Sara Knabe (BMG Chrysalis), Chris Oglesby (BMG Chrysalis), Mitchell Solarek (Maxx Music Publishing), Kevin Lane (BMG Chrysalis), Kolby Koloff, Kos Weaver (BMG Chrysalis), Justin Nicolet (Maxx Music Publishing), Ben Pogue (Maxx Music Publishing)
LifeNotes: R.I.P. Nashville R&B Vet Audrey Bryant
/by Robert K OermannAudrey Jean Bryant-Watkins
Vintage Nashville singer Audrey Bryant passed away last week at age 76. Bryant died on April 7. Her funeral service was private and for immediate family only.
One of her r&b performances was featured on the CD Night Train to Nashville, which won the 2005 Grammy Award as Best Historical Album. The record accompanied an acclaimed exhibit at the Country Music Hall of Fame about the history of Nashville’s r&b and soul-music scene. It saluted Bryant, among others. The exhibit’s full title was “Night Train to Nashville: Music City Rhythm & Blues, 1945-1970.”
Audrey Bryant first came to Nashville’s attention in the 1950s when she began appearing on local television. According to the liner notes of the Grammy-winning CD, she pantomimed records by Sarah Vaughan, Dinah Washington, Etta James and the like on WSIX-TV. This was as a cast member on local DJ Noel Ball’s Bop Hop teen TV show, beginning in 1954.
“I believe I was the first black female to be a cast member on Nashville television – maybe in the whole state of Tennessee,” Bryant recalled.
Her prominence and talent were such that Chet Atkins reportedly scouted her to record country music on Music Row. She declined, she said. Still, producer Red Wortham recruited mainstream Nashville musicians — including piano-playing Country Music Hall of Fame member Hargus “Pig” Robbins — to back her in the studio in 1959.
One result was the rockabilly-flavored “Let’s Trade a Little” on Do-Re-Mi Records. This is the track that appeared on the Grammy-winning Night Train to Nashville 47 years later. Her vintage recording of “Good, Good Love’ was reissued on 2001s Nashville Rock ‘N’ Roll.
She was Audrey Jean Bryant-Watkins at the time of her death.
She is survived by husband James P. Watkins, daughter Jamye K.Watkins-Jenkins, three grandsons and one great-grandson.
11th Annual Stars For Second Harvest Set For June 9
/by Jessica NicholsonNashville-based O’Charley’s is the benefit show’s presenting sponsor for the 11th consecutive year.
“Stars for Second Harvest is one of my favorite events each year,” said Wiseman. “I am honored to be part of such a tremendous benefit to help to raise awareness for the hungry in Middle Tennessee. We are proud to have O’Charley’s along as our presenter for the 11th straight year. Their continued significant support has made this event possible and provided more than 3 million to children, families and seniors. My goal this year is to raise at least $150,000, which get us even closer to the 1 million dollar total mark in our involvement with Stars for Second Harvest.”
Proceeds from the concert benefit Second Harvest Food Bank of Middle Tennessee in their efforts to feed hungry people and work to solve hunger issues in our community.
MusicRowPics: Jon Wolfe Brings Texas-Sized Success to Nashville
/by Jessica NicholsonJon Wolfe performs during a visit to the MusicRow offices.
Miami, Okla., native Jon Wolfe‘s music has flowed through countless dancehalls throughout Texas, and broken into the Top 10 on the Texas charts six times, with the singles “Let A Country Boy Love You,” “That Girl In Texas,” “I Don’t Dance,” “It All Happened In A Honky Tonk,” “The Only Time You Call,” and “What Are You Doin’ Right Now.”
After garnering regional success, Wolfe’s release It All Happened In A Honky Tonk was re-released as a Deluxe Edition by Warner Music Nashville in 2013. The project has sold more than 25,000 units.
Though based in Texas, Wolfe brought his music to Nashville for the making of his most recent project, titled Natural Man (Fool Hearted Productions/Tone Tree Music). The 13-track album was recorded in Nashville’s Westwood Studios and Ronnie’s Place, and features an array of top writers, including Jon Pardi, Deric Ruttan, Pat Alger, Chris Cavanaugh, Casey Beathard, Wyatt Durrette, and more.
Wolfe recently visited MusicRow‘s office for a three-song preview of the project. He offered up “Smile On Mine,” penned by Dallas Davidson, Ben Hayslip, and Rhett Akins, along with “That’s What I’m Talking About,” penned by Tom Shapiro, Jacob Powell, and Michael Carter.
Wolfe lent his songwriting talents to two tracks on the project, including “I’m Doin’ Alright” and “Singin’ Thing.” The latter was the last song he co-wrote with Tim Johnson and James Dean Hicks, before Johnson lost his battle with cancer.
“This is a song about my life, a little bit of Tim’s, all three of us,” he said before the performance. “James and I got together after Tim passed away to finish the song. It’s definitely an emotional song for me.”
For Wolfe, Natural Man is an authentic expression of his musical roots, which are steeped in traditional country soil. “My passion has always been traditional country,” Wolfe says. “Nowadays there is a controversy between those who like pop country and those who like traditional country. I’ve never participated in that, because you have to do what is true to you as an artist. That’s why fans love you. I tell people if I tried to rap, it would be the biggest debacle ever. My passion has always been guys like George Strait, Alan Jackson, and Clint Black. I think there is without a doubt a place for that. As the genre continues to evolve, there will always be traditional artists.”
Wolfe worked for more than a year on the project, which he co-produced with Lex Lipsitz and Billy Decker. He maintains that though he is based in Texas, listeners shouldn’t expect a typical “Texas Country” sound. “When you are in Texas, you get thrown into the Texas Country scene. I never put myself in any particular category. I just want to make a great country record,” he says.
Jon Wolfe with MusicRow staff.
Ahnquist Joins Sea Gayle Music Roster
/by Jessica NicholsonSea Gayle Music has signed Danville, Ky., native and songwriter Smith Ahnquist. Ahnquist moved to Nashville in 2006 to attend Belmont University, and earned his Bachelor’s degree in Music Business in 2009.
Ahnquist said, “I have such a respect for Sea Gayle and their commitment to songwriters. It’s humbling to be a part of such a creatively driven group of people.”
“Smith is such a talented songwriter. From his work ethic to his fresh ideas and instincts, he is a tremendous addition to the Sea Gayle songwriting team,” says Sea Gayle Executive VP/GM, Marc Driskill.
Pictured (L-R) at Paisley’s Ye Olde Potion Room Pub: Jake Gear, Sea Gayle Creative Director; Chris DuBois, Sea Gayle Partner; Brad Paisley, Sea Gayle Partner; Ahnquist, Driskill, Freeman Wizer, Sea Gayle VP Creative; and Brandon Gregg, Sea Gayle Office Manager.
ACM Offers Two-Hour Radio Special Free To Programmers
/by Troy_StephensonThe two-hour radio special, hosted by Donna Hughes, will feature audio clips from past ACM Awards alongside recordings celebrating the ACM Awards’ 50-year history including contemporary hits and timeless classics from NOW That’s What I Call ACM Awards 50 Years.
The radio program is barter-free with up to 14 minutes of local avails per hour. Stations may contact Bob Guerra at radio2222@aol.com for download and cut sheet information.
The 50th Academy of Country Music Awards airs live on CBS next Sunday, April 19.
‘Country: Portraits of an American Sound’ to Make World Premiere at NaFF
/by Eric T. ParkerThe full-length feature film is based on the short film that was a central component of the Country: Portraits of an American Sound exhibition at the Annenberg Photography Space in Los Angeles which attracted nearly 30,000 visitors in 2014.
Produced and directed by Steven Kochones, Country: Portraits of an American Sound explores country music through the lens of photographers who have documented its rise from innocent beginnings to a thriving industry and to a national identity. From the Carter Family to The Band Perry, the film spans over 80 years of county music history.
The film features the work of photographers Les Leverett, Leigh Weiner, Henry Horenstein, Henry Diltz, Raeanne Rubenstein, David McClister and Michael Wilson. The work will also include interviews with exhibit curators, clothier Manuel, and country artists such as Lyle Lovett, Keith Urban, Rosanne Cash, Charley Pride, Roy Clark, Larry Gatlin, Marty Stuart, Brenda Lee, Terri Clark, Holly Williams, Ronnie Milsap, Lorrie Morgan and Kenny Rogers.
“I’m so pleased that our first feature film focuses on some of the best photographers ever to chronicle the genre,” said Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation. “Their work has all of the mood, and attitude, and emotional complexity of the greatest country songs. But this movie has allowed us to go far beyond the images themselves, to celebrate the photographers who have helped elevate country, and to tell the stories behind their iconic shots. I couldn’t be prouder of the film, and I’m delighted by its inclusion in this year’s NaFF.”
“We began filming in Music City 18 months ago, and I am excited to return for the world premiere,” said Kochones.
The signature project will additionally be featured in the Gibson Music Films/Music City Feature Competition.
NaFF tickets are currently available to members. Additional music-focused films for the NaFF can be viewed here.
LifeNotes: Grammy-Winning Picker Tut Taylor Passes
/by Robert K OermannTut Taylor. Photo: Chris Murphy
Dobro master Tut Taylor has died in North Carolina at age 91.
The former Nashvillian recorded with John Hartford, Leon Russell, Brother Oswald, Norman Blake, Porter Wagoner and others. He made solo albums for Rounder, World Pacific, Takoma and United Artists. His CD with Jerry Douglas, The Great Dobro Sessions, won a 1995 Grammy Award as Best Bluegrass Album.
Taylor was known as a “musician’s musician.” Legendary in bluegrass circles, he also played mandolin, guitar and banjo.
He was born in Georgia in 1923. Inspired by hearing “Bashful” Brother Oswald in Roy Acuff’s Smokey Mountain Boys band, Taylor began playing Dobro at age 14. Early in his career, he performed in The Folkswingers alongside Glen Campbell and members of The Dillards and The Dixie Gentlemen bands. He moved to Nashville in the late 1960s.
In 1970, Taylor co-founded the GTR instrument shop in Music City. This institution became the still-thriving Gruhn Guitars.
Taylor co-founded the long-running Nashville bluegrass nightclub The Old Time Pickin’ Parlor in 1971. He also ran Tut Taylor’s General Store in Nashville beginning around 1979. He produced records by Mark O’Connor, Jerry Douglas, Norman Blake, Brother Oswald and others.
Tut Taylor died Thursday morning, April 8, at the Wilkes Regional Medical Center in North Carolina. He is survived by four sons, three daughters, 16 grandchildren and 18 great-grandchildren. His visitation is today, April 9, from 7-9 p.m. at Miller Funeral Service in Wilkesboro, N.C.