Julian King
Long known as a Grammy Award-winning studio engineer,
Julian King has quietly made a name for himself as a record producer as well. In one capacity or another, he has been involved with records that have sold more than 100 million units.
King has worked with a who’s-who of Nashville superstars, including such huge hit makers as
Tim McGraw, Toby Keith, Tracy Lawrence, Clint Black, Martina McBride, Vince Gill, Charlie Daniels, Hank Williams Jr., Randy Travis, Brooks & Dunn, Trace Adkins, Alabama and
Jo Dee Messina. He earned a Grammy as the recording engineer of Faith Hill’s 1999 multi-million-selling, pop-crossover sensation
Breathe. And, his credits extend to some of the hottest young acts in town, such as
Tyler Farr, Chris Young, Justin Moore, Brett Eldredge and
Casey James.
In 2007, he reunited with
Tracy Lawrence and co-produced the star’s CMA Award winning hit “Find Out Who Your Friends Are” which featured
Tim McGraw and
Kenny Chesney. As an engineer his notable work includes
Lee Ann Womack’s 2005 CMA Album of the Year
There’s More Where That Came From and multi-Platinum albums by
Sugarland.
Raised by parents who were both school principals in Charlottesville, VA, King attended nearby James Madison University as a music major. He planned to be a professional trumpet player but that changed when he started off running sound for bar bands on the college circuit.
In 1987, during his junior year, King got an internship working as “an assistant to the assistant” engineer at recording sessions for producer
Jimmy Bowen, with his staff of engineers at Sound Stage, Emerald Studios and Masterfonics. The internship was set up by his advisor,
Rich Barnett, and
Merlin Littlefield. At the end of Julian’s internship they offered him a job, which he started after completing his music degree.
Working under producer Bowen, King was instantly in sessions with such Country superstars as
George Strait. While working on an album with
Charlie Daniels, King was teased by the star for being a trumpeter. Eventually, Daniels not only asked King to play trumpet on the record, he paid for King to join the Musicians Union.
King soon became a favorite of top producers
James Stroud and
Byron Gallimore. He recalls that some of the earliest No. 1 hits he engineered were the career-launching singles by
Tracy Lawrence and
Clay Walker. One of his favorite projects from those early years is the 1992
John Anderson CD
Seminole Wind. In 1993, he was tapped to engineer the debut of then-unknown, McGraw. King has engineered every McGraw album since. He also helped create the sound that kick started
Toby Keith’s career.
The entire community has learned to rely on his skills. One reason for King’s unerringly good “ear” is the fact that he is a recording engineer who is also a formally trained musician. You might even find him listed as a musician on a hit or two.
“That music degree does come in handy sometimes,” he says, “particularly on sessions with string players where music scores are involved. It took me a while to adapt, but now I find that the [musical shorthand] Nashville Number System is more useful on a day to day basis.”
The Producer’s Chair: Who have been your mentors through the years?
Julian King: I learned the bulk of what I know from the engineers that I worked for back then:
Chuck Ainlay, Steve Marcantonio, John Guess, Steve Tillisch and especially from
Lynn Peterzell. Lynn had a heart attack at the studio and died tragically at age 39. I learned so much from Lynn. He was my real mentor. Everything I know, I learned from watching and listening to those guys and then playing with the gear and the music on my own time.
With so many concerned parties, how do you manage to please everyone in the studio?
It’s been my experience that artists, producers and record labels all have the same general goal, but frequently differ on how to reach it. I feel that it’s my job to recognize the merits of each party’s ideas and then help them all come together. I have been fortunate to work with so many talented artists, producers and musicians through the years and am proud of the body of work that we have assembled.
What is your biggest strength in the studio?
I think, the ability to see that a record has many small elements that come together to make it whole. Each piece has to complement the next in order for the record to be the best that it can be. Seeing all these things come together is really satisfying.
Now that you are also producing major artists, which do you enjoy the most, engineering or producing?
Graduating into producing was thrilling but, in the end, I want to put a career together where I can be both a producer and an engineer. I think I will always engineer, as long as they’ll have me. That’s how much I love being in the recording studio.
What have been some of the biggest highlights of your career?
One of the things I look back on fondly is having worked with
George Jones, George Strait, Waylon Jennings, Willie Nelson and
Merle Haggard and many other Country music icons. There aren’t very many folks who can say they got to do that.
Some artists prefer today’s ’80s rock-sounding production and some do not. Which do you prefer and why?
I do not have a preference as long as we make music that comes off as honest for the artist.
When you are producing a new artist, what is the biggest factor that determines the production sound that you create around the artist’s voice?
It is such a lyrically driven format and I feel like the songs have to fit the artist. You can’t have them singing about things they don’t directly relate to. Once the songs are chosen each one has its specific parameters. It is hard to put a single element on every song that glues them together, you have to rely on the artist’s performance to be the glue.
Given the increase in rock-influenced Country, what do you think will happen to the overall Country genre?
The genre has always evolved but I would not be shocked to see it split into two formats someday—one focusing on the rocking thumpin’ stuff and one focusing on more traditional Country. There are a lot of more traditional songs on the hot albums today but they just aren’t getting through the gatekeepers to the listeners.
Which producer has taught you the most valuable lesson about producing, and what was that lesson?
I have been fortunate to work with a lot of great producers but I think the best lesson I’ve learned is something that I see
James Stroud and
Byron Gallimore do. I try and let the musicians and artists give me what they hear first without my clouding their minds with how I have envisioned it. More times than not they deliver! If for some reason it’s not what I am looking for we can talk and make adjustments after they have put their initial thoughts down.
Who are you currently producing and looking for material for?
Jim Catino and I are in the middle of recording
Tyler Farr and I am also co-producing
Casey James, with Casey.
The Producer’s Chair: Julian King
/by contributorJulian King
Don’t miss Grammy winning Engineer/Producer Julian King on The Producer’s Chair on Thursday, June 26, at Douglas Corner at 6 p.m. Details at www.theproducerschair.com.
Long known as a Grammy Award-winning studio engineer, Julian King has quietly made a name for himself as a record producer as well. In one capacity or another, he has been involved with records that have sold more than 100 million units.
King has worked with a who’s-who of Nashville superstars, including such huge hit makers as Tim McGraw, Toby Keith, Tracy Lawrence, Clint Black, Martina McBride, Vince Gill, Charlie Daniels, Hank Williams Jr., Randy Travis, Brooks & Dunn, Trace Adkins, Alabama and Jo Dee Messina. He earned a Grammy as the recording engineer of Faith Hill’s 1999 multi-million-selling, pop-crossover sensation Breathe. And, his credits extend to some of the hottest young acts in town, such as Tyler Farr, Chris Young, Justin Moore, Brett Eldredge and Casey James.
In 2007, he reunited with Tracy Lawrence and co-produced the star’s CMA Award winning hit “Find Out Who Your Friends Are” which featured Tim McGraw and Kenny Chesney. As an engineer his notable work includes Lee Ann Womack’s 2005 CMA Album of the Year There’s More Where That Came From and multi-Platinum albums by Sugarland.
Raised by parents who were both school principals in Charlottesville, VA, King attended nearby James Madison University as a music major. He planned to be a professional trumpet player but that changed when he started off running sound for bar bands on the college circuit.
In 1987, during his junior year, King got an internship working as “an assistant to the assistant” engineer at recording sessions for producer Jimmy Bowen, with his staff of engineers at Sound Stage, Emerald Studios and Masterfonics. The internship was set up by his advisor, Rich Barnett, and Merlin Littlefield. At the end of Julian’s internship they offered him a job, which he started after completing his music degree.
Working under producer Bowen, King was instantly in sessions with such Country superstars as George Strait. While working on an album with Charlie Daniels, King was teased by the star for being a trumpeter. Eventually, Daniels not only asked King to play trumpet on the record, he paid for King to join the Musicians Union.
King soon became a favorite of top producers James Stroud and Byron Gallimore. He recalls that some of the earliest No. 1 hits he engineered were the career-launching singles by Tracy Lawrence and Clay Walker. One of his favorite projects from those early years is the 1992 John Anderson CD Seminole Wind. In 1993, he was tapped to engineer the debut of then-unknown, McGraw. King has engineered every McGraw album since. He also helped create the sound that kick started Toby Keith’s career.
The entire community has learned to rely on his skills. One reason for King’s unerringly good “ear” is the fact that he is a recording engineer who is also a formally trained musician. You might even find him listed as a musician on a hit or two.
“That music degree does come in handy sometimes,” he says, “particularly on sessions with string players where music scores are involved. It took me a while to adapt, but now I find that the [musical shorthand] Nashville Number System is more useful on a day to day basis.”
The Producer’s Chair: Who have been your mentors through the years?
Julian King: I learned the bulk of what I know from the engineers that I worked for back then: Chuck Ainlay, Steve Marcantonio, John Guess, Steve Tillisch and especially from Lynn Peterzell. Lynn had a heart attack at the studio and died tragically at age 39. I learned so much from Lynn. He was my real mentor. Everything I know, I learned from watching and listening to those guys and then playing with the gear and the music on my own time.
With so many concerned parties, how do you manage to please everyone in the studio?
It’s been my experience that artists, producers and record labels all have the same general goal, but frequently differ on how to reach it. I feel that it’s my job to recognize the merits of each party’s ideas and then help them all come together. I have been fortunate to work with so many talented artists, producers and musicians through the years and am proud of the body of work that we have assembled.
What is your biggest strength in the studio?
I think, the ability to see that a record has many small elements that come together to make it whole. Each piece has to complement the next in order for the record to be the best that it can be. Seeing all these things come together is really satisfying.
Now that you are also producing major artists, which do you enjoy the most, engineering or producing?
Graduating into producing was thrilling but, in the end, I want to put a career together where I can be both a producer and an engineer. I think I will always engineer, as long as they’ll have me. That’s how much I love being in the recording studio.
What have been some of the biggest highlights of your career?
One of the things I look back on fondly is having worked with George Jones, George Strait, Waylon Jennings, Willie Nelson and Merle Haggard and many other Country music icons. There aren’t very many folks who can say they got to do that.
Some artists prefer today’s ’80s rock-sounding production and some do not. Which do you prefer and why?
I do not have a preference as long as we make music that comes off as honest for the artist.
When you are producing a new artist, what is the biggest factor that determines the production sound that you create around the artist’s voice?
It is such a lyrically driven format and I feel like the songs have to fit the artist. You can’t have them singing about things they don’t directly relate to. Once the songs are chosen each one has its specific parameters. It is hard to put a single element on every song that glues them together, you have to rely on the artist’s performance to be the glue.
Given the increase in rock-influenced Country, what do you think will happen to the overall Country genre?
The genre has always evolved but I would not be shocked to see it split into two formats someday—one focusing on the rocking thumpin’ stuff and one focusing on more traditional Country. There are a lot of more traditional songs on the hot albums today but they just aren’t getting through the gatekeepers to the listeners.
Which producer has taught you the most valuable lesson about producing, and what was that lesson?
I have been fortunate to work with a lot of great producers but I think the best lesson I’ve learned is something that I see James Stroud and Byron Gallimore do. I try and let the musicians and artists give me what they hear first without my clouding their minds with how I have envisioned it. More times than not they deliver! If for some reason it’s not what I am looking for we can talk and make adjustments after they have put their initial thoughts down.
Who are you currently producing and looking for material for?
Jim Catino and I are in the middle of recording Tyler Farr and I am also co-producing Casey James, with Casey.
On The Cover – Thomas Rhett & Rhett Akins (June/July 2014)
/by Kelsey_GradyOf this top-of-the-charts father/son success story, Akins told Billboard earlier this year, “That’s a dream come true for any songwriter or artist, but even more of a dream come true when it happens with your own son. That’s never happened in the history of music that we can figure out so far. That’s probably the highlight of my 20 years of being in Nashville.”
The landmark occasion was a big cause for celebration for Akins, 44, and Rhett (born Thomas Rhett Akins Jr.) and their performing rights organization, BMI, which toasted the brown-eyed, brown-haired, baseball-cap-wearing pair with a No. 1 shindig at Marathon Village.
Tending to a family tree full of songwriters is nothing new for BMI, which has also represented Hank Williams, Sr. and his family members, among so many other families in the industry: Bobby Bare and Bobby Bare, Jr., Billy Ray and Miley Cyrus, Dean and Jessie Jo Dillon, Waylon Jennings and Jessi Colter and their son Shooter Jennings, as well as brothers Brett and Jim Beavers, and Brett and Brad Warren. Still more bold-faced family names tied to BMI: the Presleys, the Bradleys, the Bergs, the Louvins, the Tillises, the Whitleys, the Morgans, and the Scruggs.
“Usually a songwriter’s longest-lasting professional relationship in the music industry is the one they have with their performing rights organization,” says Jody Williams, BMI’s vice president of writer/publisher relations. “If a successful songwriter who joined BMI has kids of his own, and those kids follow in his footsteps, they also will come to BMI many, many more times than not.”
Southerners are known for their loyalty, most especially to family and tradition—values that apparently extend to the region’s songwriters, most of whom show their allegiance to their performing rights organization by passing the relationship down to their songwriting children. Signing to the same performing rights organization as the songwriter parent who came before you serves as both a comfort and a convenience for artists, though BMI also views it as a larger responsibility, says Williams, whose own children have established strong careers in the industry. Williams’ youngest son Ed develops talent at Sony/ATV, while his eldest son, Driver, plays lead guitar for Eric Church and writes songs for Big Deal Music.
“For someone to bring their child to sign with you, it just shows you what confidence they have in you,” says Williams, who signed Rhett Akins to BMI in 1990, the same year Thomas Rhett was born. “It encourages you to do the best job you can for them—not that you wouldn’t do it anyway, but that’s pretty cool to be entrusted like that. We take that seriously.”
To purchase MusicRow’s 2014 MusicRow Awards issue, or to subscribe to MusicRow, visit musicrow.com.
Bobby Karl Works The 26th Annual MusicRow Awards
/by Bobby KarlBOBBY KARL WORKS THE ROOM Chapter 460
BMI’s Clay Bradley highlights MusicRow‘s MusicRow Awards issue, featuring BMI writers Rhett Akins and Thomas Rhett on the cover. Photo: Bev Moser, Moments By Moser.
It is high time for a big-time MusicRow shout-out to BMI.
The performance rights organization hosted the 26th annual MusicRow awards ceremony on Wednesday evening (June 18) with so much style that I must comment. You know where that big reception desk is at the far end of the lobby? Well, that zone now converts into a large staging area with a video-wall backdrop. That wall had a huge, glowing blow-up of the awards logo. “Look at this set-up,” exclaimed the mag’s Sherod Robertson. “I feel like a star up here.”
Sony/ATV’s Terry Wakefield accepts for Cole Swindell for Breakthrough Songwriter of the Year. Photo: Bev Moser, Moments By Moser
That’s not all. The sound in the echo-y lobby has been famously bad, which BMI overcame with a much-improved audio system. BMI put on the dog in the food department, too. Meat balls. Chunky guacamole with tortilla chips. Stuffed peppers. Chicken tenders. And BMI writers are featured on the cover of the current print, awards-edition of the publication. The father-son BMI songwriter duo of Rhett Akins and Thomas Rhett are smiling there. “We’re proud to have this event here,” said BMI’s Clay Bradley to the throng of attendees. “To me, this is always the kick-off to summer.”
“These awards started in 1989,” said Robertson. “Some of my staff members weren’t born in 1989. I guess I’m okay with that.” The magazine’s Eric Parker and Sarah Skates presented the Top-10 All-Star Musician awards. These are the only honors by any organization that salute the session musicians who make Nashville’s hits. This year, the group included Russ Pahl (steel), Aubrey Haynie (fiddle), Ilya Toshinsky (guitar), Greg Morrow (drums), Charles Judge (keyboards), Jimmie Lee Sloas (bass), Wes Hightower (background vocalist) and Justin Niebank (engineer). Pahl is a first-time winner in his category. Producer of the Year winner Frank Liddell is on vacation, but sent in this statement: “I’m in the Virgin Islands, celebrating the hell out of this.”
MusicRow celebrates Song of the Year “All Kinds of Kinds.” Pictured (L-R): MusicRow‘s Sarah Skates, Warner/Chappell’s Ben Vaughn, songwriters Don Henry and Phillip Coleman, Carnival Music’s Courtney Gregg, and MusicRow Owner/Publisher Sherod Robertson. Photo: Bev Moser, Moments By Moser
“All Kinds of Kinds” was written way back in 1998, but Miranda Lambert finally made it a hit and the MusicRow Song of the Year. “I told my mom I had a Miranda Lambert cut,” said co-writer Phillip Coleman. “She said, ‘Which song is it?’ I told her it was ‘All Kinds of Kinds,’ and she said, ‘That’s my least favorite song you’ve ever written.’” “Any time you can get a song on the country charts with a cross dresser in it, I’m all for it!” quipped co-writer Don Henry. Coleman and Henry performed the song splendidly at the event.
Pictured (L-R): MusicRow‘s Sarah Skates, MusicRow Breakthrough Artist of the Year Brandy Clark and MusicRow Owner/Publisher Sherod Robertson. Photo: Bev Moser/Moments By Moser
The Breakthrough Artist award went to Brandy Clark over four other nominees, all but her on major labels. “I was a little shocked when I heard that I had been nominated,” she confessed. “The critics, who most people hate, I love. This project has been driven by the press,” she explained offstage, “and by other artists.” Eric Church has chosen her as his current opening act. “Everybody loves you,” I told her. “At least, everybody with taste.” Her album is 12 Stories. “Since it came out, it’s been the most talked-about thing in the music business,” said Robertson. “It’s the best album EVER,” said Woody Bomar. There was a tie for Breakthrough Songwriter. Sony/ATV’s Terry Wakefield accepted for Cole Swindell. The co-winner was Nicolle Galyon.
Nicolle Galyon is honored as one of MusicRow‘s Breakthrough Songwriters of the Year, and is honored with a MusicRow Challenge Coin for her MusicRow CountryBreakout chart-topping hit “Automatic.” Photo: Bev Moser, Moments By Moser.
“I write for the best publishing company in town,” said Galyon. “It took a lot of people believing in me and fighting for me. B.J. Hill signed me [to Warner-Chappell] when I was 23 years old. I’m almost 30 now.” She also thanked Rodney Clawson for his support. “Everybody here knows he’s a great songwriter,” she said. “I can attest to what a great husband and father he is.” Finally, she thanked her father. The day was his birthday, which he spent pouring concrete in 100-degree weather back home in Kansas. “If that doesn’t make us all want to work harder, I don’t know what does,” Galyon concluded. The classically trained pianist sang her co-written Lambert hit “Automatic” in a strong, emotive voice.
Nicolle Galyon performs her MusicRow CountryBreakout chart-topping hit “Automatic.” Photo: Bev Moser, Moments By Moser
The denizens of Music Row turned out in full force for the ceremony. David Ross, David Preston, David Wykoff, Dave Pomeroy and Dale Bobo were there. Plus John Ozier, John Briggs, John Beiter and John Mullins (“I can’t believe a wholly SESAC song won Song of the Year”). Not to mention Joe Moscheo, Josh Osborne, James Elliott, Janie West, Jim Femino, Jody Williams and Jessie Jo Dillon.
Pictured (L-R): Phillip Coleman and Don Henry perform “All Kinds of Kinds.” Photo: Bev Moser, Moments By Moser
Mike Vaden, Mike Martinovich, Martha Moore, Scott Stem, Beth Laird and Luke Laird mingled with Ben Vaughn, Barry Dean, Beth Gwinn and Bill Wence, who has just returned from performing with Wanda Jackson on the Queen Mary in L.A. at an “Iron & Ink” tattoo convention. I don’t make this stuff up. Wence says that Junior Brown and Merle Haggard were there singing, too. Back at the party: Susan Collier, Shannan Hatch, Steve Nathan, Sherrill Blackman and new artist Sydney Lett worked the room with Allen Brown, Al Schiltz, Lance Miller and Leslie Mitchell. Other fabulons attending included Trent Summar, Pat Higdon, Ree Guyer Buchanan, Rich Fagan, Earle Simmons, Holly Bell and Phil Graham. Speaking of Graham, thank-you, again, BMI.
Michael Knox To Lead peermusic
/by Sarah SkatesMichael Knox
Michael Knox will assume leadership of peermusic’s Nashville operations, when longtime office head Kevin Lamb steps down at the end of August.
Knox, who joined peermusic in 2010, is being promoted from Sr. Creative Director to Vice President, Nashville. Additionally, Kim Wiggins will rise to Sr. Creative Director and Craig Currier is being elevated to Vice President of Advertising Markets.
Lamb has served as VP, Nashville since 1993. Prior to that the industry veteran spent 10 years in music publishing in Muscle Shoals and nine years overseeing Alabama’s Maypop Music Group. He is an active supporter of Country Cares for St. Jude Kids.
Knox is most noted for his production work with Jason Aldean, which has resulted in over 25 million singles and 10 million albums sold. He has won three ACM Awards and has at least 14 No. 1 singles to his credit. Other production credits include Thomas Rhett, Trace Adkins, Brantley Gilbert, Frankie Ballard, Hank Williams, Jr. and more.
Knox also helms his production management company Music Knox, and serves on the boards of directors of the CMA and ACM.
Music Row Veteran Don Light Passes
/by Sarah SkatesDon Light
Revered Music Row veteran Don Light died on June 17, leaving behind a wide-ranging legacy comprised of establishing the first Gospel music booking agency, co-founding the Gospel Music Association, and discovering Jimmy Buffett.
The Tennessee native’s entree into the music business came as a drummer on the Grand Ole Opry. Next, he helped lead Billboard’s Nashville outpost.
He noticed a need for a Gospel booking agency and opened Don Light Talent in 1965, representing groups including the Happy Goodman Family and The Oak Ridge Boys. He eventually signed the Chuck Wagon Gang, Governor Jimmie Davis, The Florida Boys, the Lewis Family, the Rex Nelon Singers, the Cathedral Quartet, the Singing Rambos, Wendy Bagwell & the Sunliters, and the Thrasher Brothers.
In the ’70s Light added record producer and artist manager to his multi-faceted repertoire, producing more than 50 albums and discovering and managing a diverse roster of artists such as Buffet, the Oaks, Delbert McClinton, Keith Whitley, Steve Wariner, Marty Stuart and Mark Collie.
Eventually he co-founded the Gospel Music Association, and was very active with the GMA, CMA, Recording Academy, IBMA and the Country Music Hall of Fame. Fittingly, his work led to induction in the Gospel Music Hall of Fame and Southern Gospel Music Association Hall of Fame.
His longtime clients The Steep Canyon Rangers shared this rememberance with MusicRow:
WME's Nashville Office To Relocate to the Gulch
/by Jessica NicholsonWME will relocate 80 staff members from its current location at 1600 Division Street to a 26,000 square feet space in the new building in 2016. The building, which Eakin Partners will begin work on this summer, will be located at 1201 Demonbreun Street, at the corner of 12th Ave. S and Demonbreun, next to condominium tower Twelve Twelve.
Recently Kevin Neal, former president of Buddy Lee Attractions, joined William Morris Endeavor, bringing with him Jason Aldean, Florida Georgia Line, Colt Ford and Parmalee. Additional clients represented by WME include Miranda Lambert, The Band Perry, Eric Church, Lee Brice, Luke Bryan, Brad Paisley and Blake Shelton.
Partners at WME’s Nashville office include Rob Beckham, Joey Lee, Greg Oswald, Jay Williams and Kevin Neal.
2014 MusicRow Awards Winners Announced
/by Jessica Nicholson26th Annual MusicRow Award Winners
Breakthrough Songwriter of the Year—(tie) Cole Swindell, Sony/ATV, BMI. Hit(s): “Chillin’ It,” written with Shane Minor, recorded by Cole Swindell; “Get Me Some of That,” written with Michael Carter and Rhett Akins, recorded by Thomas Rhett; “This Is How We Roll,” written with Luke Bryan, Tyler Hubbard and Brian Kelley, recorded by Florida Georgia Line.
(tie) Nicolle Galyon, Warner/Chappell, BMI; Hit(s): “Automatic,” recorded by Miranda Lambert; “We Were Us,” written with Jimmy Robbins and Jon Nite, recorded by Keith Urban and Miranda Lambert
Producer of the Year—Frank Liddell
Breakthrough Artist of the Year—Brandy Clark (Slate Creek Records)
Song of the Year— “All Kinds of Kinds” by Phillip Coleman and Don Henry. Publishers: Gravitron, Carnival, Warner-Tamerlane; SESAC/BMI. Producers: Frank Liddell, Chuck Ainlay and Glenn Worf
Top 10 Album All-Star Musician Awards
Vocals—Wes Hightower
Keys—Charles Judge
Guitar—Ilya Toshinsky
Steel—Russ Pahl
Bass—Jimmie Lee Sloas
Fiddle—Aubrey Haynie
Drums— Greg Morrow
Engineer—Justin Niebank
An in-depth look at the award recipients can be found in MusicRow’s June/July 2014 print edition, available now. The MusicRow Awards is one of three annual events hosted by MusicRow. Others include Rising Women on the Row and the CountryBreakout Awards.
APA Signs Keith Anderson
/by Jessica NicholsonKeith Anderson
APA has signed Keith Anderson to its country music roster. Anderson’s Top 10 hits include “Pickin’ Wildflowers,” “Every Time I Hear Your Name,” and “I Still Miss You.”
“Keith has a wealth of talent,” commented APA Nashville Sr. Vice President Steve Hauser. “His songwriting and live shows are top-notch. We are excited to have him become a part of the APA family.”
“APA’s passion and enthusiasm for live music is contagious,” said Anderson. “The minute I met them, I could feel their energy and excitement. I’m ready to hit the road, and feel so blessed to have them in my corner.”
Anderson’s latest single, “I’ll Bring The Music,” is currently spinning on Sirius XM Radio.
Nashville's Wildhorse Saloon To Celebrate 20th Anniversary
/by Jessica NicholsonThe 20th anniversary concert will take place Thursday, June 19, at 7 p.m. Doors will open at 6 p.m.
Richochet, Trick Pony and Lonestar all got their start at the Wildhorse Saloon, a three-level historic warehouse located on 2nd Avenue in Nashville that was converted into a 66,000-square-foot live entertainment venue in 1994. An estimated 1.5 million music fans visit the Wildhorse Saloon each year.
For more information, visit wildhorsesaloon.com.
YouTube Battles With Indies Over Royalties
/by Sarah SkatesIndependent labels have not reached an agreement with the Google-owned video site over how royalties will be dolled out when it debuts an ad-free paid subscription service.
Because an agreement hasn’t been reached, YouTube’s head of content and business operations Robert Kyncl, told the Financial Times that YouTube will start blocking the indies’ videos “in a matter of days.”
In retaliation for refusing YouTube’s terms about the paid subscription service, YouTube could remove content from those labels from its ad-supported streaming service as well, notes Billboard. This means the labels would lose that income stream. Additionally, because it is the responsibility of rights holders to request the removal of infringing work, YouTube might leave music from those labels up on its site but refuse to monetize it with advertising.