John McBride
has been hard at work over the past few months recruiting faculty and designing a curriculum for his recently
revealed Blackbird Academy for studio and live sound production. McBride recently took time to talk exclusively to
MusicRow about his solutions for inefficiencies he saw in the current education system and his desire to invest in a community he has excelled in.
“For three to four years I’ve been thinking about creating a school,” said McBride. “I’m 55 years old—the point in my life where I feel mentoring is a necessity. Without mentors, it would have taken me forever to learn what I have. I love working with kids who want to learn. I thought, ‘there has to be a way to take all the factors in my life from the last 30 years and combine them to make the world a better place.’
“The amount of support I’m getting from artists, producers and engineer friends is really phenomenal,” explained McBride. “It takes money to do it right. I raised funds, mainly from people in the music business who invested with me, to get the school off the ground.
“My goal is to give the greatest education in the shortest amount of time for the least amount of money. I have guys who work at Blackbird that have crippling student loan bills. The beauty is that in six months, you could graduate from this school and go engineer an album for the
Rolling Stones at any studio in the world and do a damn good job at it. We should give you the education you need to make that happen.”
The school will launch with two programs. First, a
Studio Engineering program at Blackbird Studios, which will begin Sept. 30. Afterwards, a
Live Engineering program is expected to begin on Jan. 6, 2014 in conjunction with
Clair Global. Additionally, a three-day seminar for 12 high school kids is planned for teaching recording and mixing basics.
“We’re also looking at doing something called the Blackbird Studio Sessions where we have 12 spots to interact with a serious producer and band for a one-week course, observing the overdubbing, mixing and mastering process,” continued McBride. “There’s a program already out there called ‘Mix With The Masters,’ similar to what we’re looking at.”
In 1997, Clair Brothers (now Clair Global) purchased McBride’s live sound company and has been selected to partner with the 2014 curriculum. “
Troy Clair, the head of Clair Global, is very supportive and a part of the live side of the school. We’re designing our curriculum so you can go on the road for any company. The live course classrooms will be across the street from Clair Brothers.”
As for the staffing and curriculum design, McBride says he was fortunate to be able to surround himself with experienced educators who were able to start from the ground up.
Kevin Becka is the technical editor for
Mix Magazine and was previously the Director for the Audio Engineering program at CRAS for 10 years in Arizona.
Mark Rubel has taught for many years at Eastern Illinois University and also owns a studio in Champagne, Il. called Pogo.
Carma Bandstra, who worked for years at Full Sail in admissions, will work with Blackbird Academy in the same capacity.
“Everyone I just mentioned feel like there are things in the present system that are broken and we should start new and do things better—hopefully better than anyone else—that’s our goal,” explained McBride. “I did talk to one school, thinking it might make sense to partner with someone established, but since starting Blackbird studios in 2002 I have been shocked to sit down and talk with interns, all of which are graduates of various schools around the country. It looks to me that students are not getting what they should out of their education, especially when you look at the amount of money and time invested. I’m afraid that partnering with an existing program, I would have to relinquish some control of what is taught, and how it is taught.
“My biggest concern at this point is the intensity of the program,” said McBride. “So we’re putting together a 2-4 week program to get potential students where they need to be. The cost of that would be applied to tuition to avoid overlap.”
Interns will remain an integral part of Blackbird Studios, which currently maintains 20-24 interns at all times. But McBride estimates that Blackbird Academy students will have the first opportunity at these positions in the future.
Housing has also been taken into consideration, according to McBride, with 7-month lease arrangements in place with certain complexes around Nashville available for students to consider.
The cost of a 6-month program at the Blackbird Academy is expected to be $21,900. Visit the iTunes book store for a free
catalog of the program, or visit the program’s
official website. For more information, contact the school at 615-385-2423.
“Now our job is to get the word out there to get the right kids,” said McBride. “These students will be able to start a lot of relationships that will help in the future when it comes to their careers. Our goal is to change the world and make it better, this is one of the best ways we can do that. I feel confident and inspired when it comes to the future.”
Sidewalk Records Hires Promotion Rep
/by Jessica NicholsonEllis has previously worked as a Midwest Regional for MCA Records. Ellis is currently based in Indianapolis, but a move to Nashville is possible.
“Rob’s competency and likeability made this an easy decision,” says Sidewalk Records’ Larry Hughes.
Ellis can be reached at 317-443-8575 or at rellis@sidewalkrecords.com.
Lipscomb Creates Master of Arts in Film and Creative Media
/by Jessica NicholsonFor students wanting to get into the burgeoning film industry, Lipscomb University is meeting a need for training with a newly created Master of Arts in Film and Creative Media. The 36-hour curriculum can be completed in a 17-month time frame, beginning this fall. The inaugural class will receive 20 percent off the cost of the program. Applications are due by Aug. 2.
“The master’s degree in film and creative media prepares graduate students to operate within all digital media, making their skills more marketable in today’s multi-platform world,” said Mike Fernandez, chair of the Lipscomb University Department of Theatre and acting director of the new program. “These students will be able to do so much more than just feature films. They will be prepared to film commercials, music videos, training and education videos as well as content for social media,” he said.
The program will require a one-year internship with a production company. AFFIRM Films/Sony Pictures Entertainment, Veritas Entertainment, Cartoon Pizza and Klausner Creative have signed on as Lipscomb’s first internship partners for the program. Through these internships, students will have the opportunity to work in different areas of film, including development, pre-production, production, post-production and distribution.
In addition, spring 2014 is expected to bring the first Lipscomb University Film Festival. It will be held on campus, featuring the works of creative media graduate students. Industry professionals will serve as judges.
Discussions are currently happening regarding the development of an undergraduate film program as well as a Master of Fine Arts in Film and Creative Media with concentrations in directing, film production, gaming and animation. The program is now accepting applications and expects an inaugural class of 10 students this fall. For more information, visit lipscomb.edu/film or call 615.966.5186.
Industry Ink (5-22-13)
/by Jessica Nicholson• • •
Wix Wichmann
Wix Wichmann has joined Average Joes Entertainment in promoting and marketing the label’s roster. Most recently, Wichmann was a northeast promotion representative for Curb’s Sidewalk Records.
“Knowing Wix for 19 years has been both a blessing and a curse,” laughs Tony Morreale, AJE VP Promotion/Marketing. “Seriously, he’s a smart, funny guy who brings a unique perspective and will complement the Average Joes’ team.” Wichmann can be reached at wix@averagejoesent.com or by phone at 615-972-2326.
• • •
• • •
Songwriter Chris Lindsey has signed an exclusive, worldwide publishing agreement for all of his future works with Universal Music Publishing Group (UMPG) Nashville. Kent Earls, Executive VP/General Manager of UMPG made the announcement recently. Lindsey’s catalog of hits includes Lonestar‘s “Amazed,” Martina McBride‘s “This One’s For The Girls,” and many others.
Pictured: Back row, standing (L-R): Freeman Wizer, Creative Director, UMPG Nashville; Whitney Williams, Creative Director, UMPG Nashville; Missy Wilson, Senior Creative Director, UMPG Nashville; Ron Stuve, VP of A&R/Special Projects, UMPG Nashville; Cyndi Forman, Vice President, Creative, UMPG Nashville; Travis Gordon, Creative Manager, UMPG Nashville. Front row, seated (L-R): Chris Lindsey; Kent Earls, Executive Vice President/General Manager, UMPG Nashville
Artist Photos (5-22-13)
/by Jessica NicholsonLast week, Arista Nashville family recording trio The Henningsens visited Public School 22 in Graniteville, Staten Island, NY, to perform with the talented group of fifth graders in the acclaimed PS22 Chorus. The chorus joined The Henningsens for a rendition of the trio’s hit debut single, “American Beautiful,” as well as a cover of this week’s #1 Billboard Pop Songs radio airplay smash, Justin Timberlake’s “Mirrors.”
• • •
Parmalee was recently handpicked by Southwest Airlines to perform at 35,000 ft. for passengers on a direct flight from Nashville to Houston as part of Southwest Airlines’ Live at 35 Travelin’ Taylor Tour. “It was a blast!” says Parmalee’s Josh McSwain. “I mean, who gets to do that? It was so much fun. Plus the show was sold-out in pre-sale and no one walked out during the performance. It was a perfect gig.”
Pictured (L-R): Scott Thomas, Josh McSwain, Matt Thomas and Barry Knox post-performance with the official autographed Southwest Airlines Travelin’ Taylor Tour custom GS Mini guitar
• • •
Toby Keith dined at Chappy’s restaurant in Nashville earlier this week. Chappy and his wife Starr can relate to the tragedy in Keith’s homestate of Oklahoma, because they relocated from New Orleans to Nashville following Hurricane Katrina.
Starr, Toby Keith and Chappy
John McBride Discusses Plans for New Recording Academy
/by Eric T. ParkerJohn McBride
John McBride has been hard at work over the past few months recruiting faculty and designing a curriculum for his recently revealed Blackbird Academy for studio and live sound production. McBride recently took time to talk exclusively to MusicRow about his solutions for inefficiencies he saw in the current education system and his desire to invest in a community he has excelled in.
“For three to four years I’ve been thinking about creating a school,” said McBride. “I’m 55 years old—the point in my life where I feel mentoring is a necessity. Without mentors, it would have taken me forever to learn what I have. I love working with kids who want to learn. I thought, ‘there has to be a way to take all the factors in my life from the last 30 years and combine them to make the world a better place.’
“The amount of support I’m getting from artists, producers and engineer friends is really phenomenal,” explained McBride. “It takes money to do it right. I raised funds, mainly from people in the music business who invested with me, to get the school off the ground.
“My goal is to give the greatest education in the shortest amount of time for the least amount of money. I have guys who work at Blackbird that have crippling student loan bills. The beauty is that in six months, you could graduate from this school and go engineer an album for the Rolling Stones at any studio in the world and do a damn good job at it. We should give you the education you need to make that happen.”
The school will launch with two programs. First, a Studio Engineering program at Blackbird Studios, which will begin Sept. 30. Afterwards, a Live Engineering program is expected to begin on Jan. 6, 2014 in conjunction with Clair Global. Additionally, a three-day seminar for 12 high school kids is planned for teaching recording and mixing basics.
“We’re also looking at doing something called the Blackbird Studio Sessions where we have 12 spots to interact with a serious producer and band for a one-week course, observing the overdubbing, mixing and mastering process,” continued McBride. “There’s a program already out there called ‘Mix With The Masters,’ similar to what we’re looking at.”
In 1997, Clair Brothers (now Clair Global) purchased McBride’s live sound company and has been selected to partner with the 2014 curriculum. “Troy Clair, the head of Clair Global, is very supportive and a part of the live side of the school. We’re designing our curriculum so you can go on the road for any company. The live course classrooms will be across the street from Clair Brothers.”
As for the staffing and curriculum design, McBride says he was fortunate to be able to surround himself with experienced educators who were able to start from the ground up.
Kevin Becka is the technical editor for Mix Magazine and was previously the Director for the Audio Engineering program at CRAS for 10 years in Arizona. Mark Rubel has taught for many years at Eastern Illinois University and also owns a studio in Champagne, Il. called Pogo. Carma Bandstra, who worked for years at Full Sail in admissions, will work with Blackbird Academy in the same capacity.
“Everyone I just mentioned feel like there are things in the present system that are broken and we should start new and do things better—hopefully better than anyone else—that’s our goal,” explained McBride. “I did talk to one school, thinking it might make sense to partner with someone established, but since starting Blackbird studios in 2002 I have been shocked to sit down and talk with interns, all of which are graduates of various schools around the country. It looks to me that students are not getting what they should out of their education, especially when you look at the amount of money and time invested. I’m afraid that partnering with an existing program, I would have to relinquish some control of what is taught, and how it is taught.
“My biggest concern at this point is the intensity of the program,” said McBride. “So we’re putting together a 2-4 week program to get potential students where they need to be. The cost of that would be applied to tuition to avoid overlap.”
Interns will remain an integral part of Blackbird Studios, which currently maintains 20-24 interns at all times. But McBride estimates that Blackbird Academy students will have the first opportunity at these positions in the future.
Housing has also been taken into consideration, according to McBride, with 7-month lease arrangements in place with certain complexes around Nashville available for students to consider.
The cost of a 6-month program at the Blackbird Academy is expected to be $21,900. Visit the iTunes book store for a free catalog of the program, or visit the program’s official website. For more information, contact the school at 615-385-2423.
“Now our job is to get the word out there to get the right kids,” said McBride. “These students will be able to start a lot of relationships that will help in the future when it comes to their careers. Our goal is to change the world and make it better, this is one of the best ways we can do that. I feel confident and inspired when it comes to the future.”
'MusicRow' Awards Announce Breakthrough Songwriter Nominees
/by Jessica NicholsonBreakthrough Songwriters (L-R): Kacey Musgraves, Jimmy Robbins, Ross Copperman, Jim McCormick, Barry Dean, Brandy Clark, Hunter Hayes
The final nominees of the 2013 MusicRow Awards have been announced, including the category of Breakthrough Songwriter of the Year. The award honors a songwriter who for the first time wrote or co-wrote a Top 10 song.
MusicRow subscriber members can vote for nominees in the Breakthrough Songwriter of the Year category, along with nominees in other MusicRow awards categories, until 5 p.m. on Friday (May 24). Subscribers were sent ballots on Monday (May 20). This year’s MusicRow awards will take place on June 25 at ASCAP’s Nashville office.
This year’s Breakthrough Songwriter of the Year nominees include:
Brandy Clark (“Better Dig Two,” recorded by The Band Perry and “Mama’s Broken Heart,” recorded by Miranda Lambert)
Ross Copperman (“Pirate Flag,” recorded by Kenny Chesney and “Tip It On Back,” recorded by Dierks Bentley)
Barry Dean (“Pontoon,” recorded by Little Big Town)
Hunter Hayes (“Wanted” and “Somebody’s Heartbreak,” both recorded by Hunter Hayes)
Jim McCormick (“You Don’t Know Her Like I Do,” recorded by Brantley Gilbert and “Take A Little Ride,” recorded by Jason Aldean)
Kacey Musgraves (“Merry Go ‘Round,” recorded by Kacey Musgraves and “Mama’s Broken Heart,” recorded by Miranda Lambert)
Jimmy Robbins (“Sure Be Cool If You Did,” recorded by Blake Shelton)
Click here to see all of the nominees for the 2013 MusicRow Awards.
To subscribe to MusicRow and receive your ballot due Friday (May 24) at 5pm, click here.
Blake Shelton Organizing Concert To Aid Oklahoma Tornado Victims
/by Jessica NicholsonBlake Shelton
Blake Shelton is partnering with NBC to organize a benefit concert for the victims of the tornado that ripped through Oklahoma on May 20, killing at least 24 people and destroying the city of Moore, Okla.
“We’ll know more about it in the next 24 hours,” Shelton told Billboard at the conclusion of the Tuesday edition of The Voice. “I’m hoping it will raise a lot of money. Obviously it will be televised and will happen really quickly.”
Shelton hails from Ada, Okla., located approximately 75 miles south of where the tornado touched down.
“I think it was the perfect song for this situation,” Shelton said. “The moment was right and I wish things would’ve been different and I wouldn’t have been thinking about performing a song like that.”
Weekly Register: Strait Talk—Does On-Demand Drive Sales?
/by bossross© 2013 The Nielsen Company
Consumer research giant Nielsen recently debuted its first Entertainment Consumers Report aimed at exploring how people listen, buy and play with music, home video, games and books in the U.S. Overall the data showed that home entertainment consumers are embracing digital at a higher rate than ever before.
No. 1 Country Album this week!
The on-demand streaming results stood out to this writer since they added fuel to the debate question: Does on-demand streaming drive sales?
Music is considered to be “on-demand” when the consumer can choose exactly which song to hear. Examples of on-demand companies include Spotify, Muve and most recently Google All Access. (Streaming that is programmed by the station, like Pandora, is called “webcaster” or non-interactive.)
Nielsen’s report found that on-demand streamers are highly motivated music lovers and 29% of them are likely to purchase new music after hearing it through a streaming service. As the red circles reveal, compared to the average U.S. Internet user they are 96% more likely to follow a celebrity on a social network and 90% more likely to be heavy music spenders.
Why? Two main reasons. Firstly, paid on-demand subscribers still represent a very small portion of the overall streaming sample. The RIAA reports that for year-end 2012 all U.S. streaming services (on-demand and webcaster) had a total of only 3.4 million paid subscribers. So the majority of streaming listeners are experiencing a free or ad-supported experience. They have not yet committed to pay. Secondly, streaming depends upon uninterrupted connectivity which is still not a completely ubiquitous experience. Loading a digital file on your device, so you are not dependent upon bandwidth everywhere you go still makes sense. But what about when the bandwidth is universal— in the air, in your car and in every nook and cranny on the planet? Won’t that destroy the concept of owning MP3 files?
What are your thoughts?
And now onto this week’s sales results…
Like a premium single malt scotch, George Strait enters the Current Country album chart at No. 1 while simultaneously placing his well-worn Resistol atop the radio airplay charts at the same time. Pretty smooth, Mr. Strait, and well deserved. Love Is Everything scanned almost 120k units (27% digital) showing improvement over his last album release which registered first week sales of 92k.
Also debuting this week was Donald Trump’s new favorite Celebrity Apprentice, Trace Adkins. Trace placed Love Will at No. 6 with sales of almost 25k (28% digital). Adkins’ new offering fell short of his last trip to the Weekly Register when his debut rang up 47k units.
The new product pipeline has been active the past few weeks and correspondingly we see country move from last week’s +1.1% to a kinder gentler +2.6%. This lead is especially appreciated when comparing country sales to all-genre, which is down YTD -5.1%. That means country has almost an eight percentage point lead over the general industry. Way to go Music City. (Shhh, let’s hope the Mayor doesn’t decide to tax our good fortune to pay for the new Music City Center…)
Next week the album release fun continues with Darius Rucker leading the charge…
Tracks are also a bright spot for country labels showing an 8.8% gain YTD, and a 2% boost W/W. Did the upswing this week come from impulsive Sunday evening downloads spurred by the Billboard Awards and the Tim McGraw special? Probably, but we’ll know better when we see next week’s numbers.
Currently, we hear that Big Machine Records is trying to pass a bill in Congress that would rename the Digital Genre Country Chart the Florida Georgia Line “Cruise” Chart. Why not, they are always in the No. 1 spot. They now have almost 3.5 million in total downloads, adding a nifty 189k this week. We’ve mentioned it before, but note that “Cruise” has two versions—the country track and a remix with Nelly. On the country chart they add sales from both versions together with one listing (No. 1). But on all-genre tracks chart they are listed separately. This week the remix downloaded 125k copies and the country version added almost 64k.
Blake Shelton, who we hear is organizing an NBC relief concert for Oklahoma (good job Blake) sits at No. 2 with “Boys ‘Round Here” ringing up a solid 109k units.
Got a question? Something you’d like to know about, but wasn’t mentioned? Don’t be a lazy slug, write me a note (dross@bossross.com) and I’ll do my best to answer it. Oh, and about the rumor I might be heading to the BVI next week to interview Richard Branson—“no comment.”!
Keep on clicking…
Kellie Pickler Wins 'Dancing With The Stars'
/by Sarah SkatesDerek Hough and Kellie Pickler. Credit: Kelsey McNeal/ABC
Kellie Pickler was named the winner of Dancing With the Stars last night (May 21) during the show’s season 16 finale. She, along with professional dance partner Derek Hough, beat out Disney star Zendaya and Baltimore Ravens wide receiver Jacoby Jones for the mirror ball trophy.
Scoring is based half on judges scores and half on viewer votes.
Former Dancing contestant Wynonna, who was eliminated early this season, returned to perform on last night’s finale.
Pickler is the second country star to take home a major reality show win this week. Sunday night Trace Adkins was crowned champion of All-Star Celebrity Apprentice.
DISClaimer: The Other Sides of Music City
/by Robert K OermannParamore
Not one song mentions pickup trucks or beer this week. That’s because I took a break from country music and concentrated on the other side of Music City. Or should I say “sides?” In this stack of platters we find the rock of Paramore and The Features, the r&b of Lo Carter and Jonathan Winstead and the pop of Amy Grant and Courtney Jaye, among other styles.
The aforementioned Jonathan Winstead walks off with this week’s DisCovery Award. Who knew there was a quiet-storm crooner this soulful in our midst?
Because of the musical diversity, it’s apples and oranges I’m trying to compare. So there are two Disc of the Day winners. From the pop-rock column, it’s Paramore. From the gospel tradition come The McCrary Sisters, who also won with their previous disc.
MARY GAUTHIER/You Don’t Know Me
Writers: Eddy Arnold/Cindy Walker; Producer: Cheetah Chrome; Publisher: Sony-ATV/Mijac, BMI; Plowboy (track)
-Alt-folkie Gauthier has the title tune of the new Eddy Arnold tribute CD. Her drawled, behind-the-beat phrasing is accompanied by slow, shuffled drumming and a jazz clarinet solo. It has a vaguely New Orleans funeral vibe. Other participants on the eclectic collection include such non-country Nashvillians as The Bluefields, Jason Ringenberg, Melinda Doolittle, Lambchop, Bobby Bare Jr. and co-producer Cheetah Chrome, in addition to the solidly country Chuck Mead, Mandy Barnett and Chris Scruggs. Imported to Music City for the project are such rockers as Sylvain Sylvain, Drivin’ n’ Cryin’ and Frank Black. Whether you like the resulting re-imaginings that this motley crew bring to Arnold’s classics or not, I promise you’ll listen, fascinated.
Jonathan Winstead
COURTNEY JAYE/One Way Conversation
Writers: none listed; Producer: Mike Wrucke; Publisher: none listed; CJ (track)
-This new Nashville pop princess has been showcasing the tunes from her debut CD in clubs around town during the past few weeks. Titled Love and Forgiveness, the album’s emphasis track is this stylish lament featuring her soaring, double-tracked soprano riding atop a groovy, tempo-shifting track. Tuneful and catchy.
THE FEATURES/This Disorder
Writers: Matthew Pelham; Producer: The Features; Publisher: Bug/Bughouse/Silent But Violent/This Is Daiglenetics/Ghost Riding, BMI/ASCAP; Serpents and Snakes
-This durable Nashville institution spotlights this steadily driving pop rocker on its self-titled new album. Characterized by bleating tenor singing, stomping rhythm and bright guitar bursts, it commands you to get out on the floor and shake your money maker. Hard to believe that these always-entertaining psych-rockers first appeared on our radar screens 16 years ago.
AMY GRANT/Don’t Try So Hard
Writers: Ben Glover/Amy Grant; Producer: Marshall Altman; Publisher:none listed; Capitol/Sparrow
–How Mercy Looks From Here, Grant’s first studio album in 10 years, contains a number of collaborations. Stellar guests include Carole King, Sheryl Crow, Eric Paslay, Will Hoge and Vince Gill. On this gentle, breathy, graceful pop performance, she is joined by James Taylor on a soft harmony vocal. Airy, whispered magic.
PARAMORE/Still Into You
Writers: Hayley Williams/Taylor York; Producer: Justin Meldal-Johnsen; Publisher: WB/But Father I Just Want to Sing/FBR/Hunterboro, ASCAP; Atlantic/Fueled By Ramen (track)
-The reconfigured, new edition of Paramore rocks as righteously as the old one did. Lead vocalist Hayley Williams adopts an ‘80s punk-rocking, new-wave attitude on this frothing rocker, the collection’s second single. Also check out the first one, the wildly slamming “Now.” The band remains one of Music City’s finest pop/rock ambassadors.
MARSHALL CHAPMAN/Blaze of Glory
Writers: Marshall Chapman; Producer: Michael Utley and Marshall Chapman; Publisher: none listed; TallGirl (track)
-Chapman concludes her new album with its title tune. “I never intended to make it this far….I always thought I’d go in a blaze of glory….playing rock ‘n’ roll music with my hair on fire,” she meditates over the simmering track. Don’t let her kid you with this slow-burn number, she’s still a rockin’ blueswoman at heart. In addition to her own fine tunes, the CD includes covers of “Blues Stay Away from Me” and “The Nearness of You.”
KEB MO & B.J. THOMAS/Most of All
Writers: Buddy Bule/James B. Cobb, Jr.; Producer: Kyle Lehning; Publisher: Sony-ATV, BMI; Wrinkled (track)
-Nashville’s most prominent bluesman doesn’t have a CD of his own this year. But you can hear him loud and clear on B.J. Thomas’s new collection of duets, The Living Room Sessions. The two men are soul brothers harmonizing on this lightly bopping classic. Keb Mo is especially riveting when he ad libs asides during B.J.’s vocal lines.
The McCrary Sisters
THE McCRARY SISTERS/Train
Writers: Ann McCrary/Tommy Sims/Calvin Smith; Producer: Tommy Sims; Publisher: none listed; BMI/ASCAP; MS (track)
-Since their last album together in 2011, the McCrarys have weathered health issues and personal woes. Their new All the Way collection contains spiritually uplifting songs like this chugging rocker that triumphs over all adversity. It practically begs you to clap hands and shout, “Hallelujah.” So do the Gary Nicholson/Tom Hambridage tune “Skin Deep,” the Bonnie Bishop/Jimmy Wallace rocker “Right Where You Are” and the sisters’ own “Hum and Moan,” “Let It Go” and “Victory.” Once again, Regina, Alfreda, Ann and Deborah prove they are Music City’s glorified, bona fide, riding-high soul sisters supreme. They’ve been hired to back everyone from Bob Dylan and Buddy Miller to Stevie Wonder and Solomon Burke. You’ll hear why on every track of this extraordinary set.
JONATHAN WINSTEAD/SexyLadyLove
Writers: none listed; Producer: Jonathan Winstead; Publisher: Winstead, SESAC; One Staj (track)
-Winstead was a winner at the last Nashville Independent Music Awards as our top male r&b vocalist. He has also developed a fan base in the U.K. His Lovestry CD includes this sensuous slow jam featuring his supple tenor riding atop a track with wah-wah guitar, throbbing bass, heartbeat drumming and “answering,” harmonizing background vocalists. Hang with him to the finale where he scat sings up into his high register. Cool in the extreme.
LO CARTER/Let Go
Writers: L. Carter/D.L. Anderson/J. Richey; Producer: Joey Richey; Publisher: Loc Over Time/Darnell Levine/Daddy’s Boy, ASCAP/BMI; Loc Over Time
-This Nashville chanteuse is a retro-soul stylist with a delectable CD titled Seasons. This lilting, jazz-inflected track has become a music video. She weaves through its melody with a feathery wafting soprano supported by a spare rhythm section and some synth work. Carter co-wrote all 10 of the collection’s tracks, including the rhythmic fan favorite, “Bill Collector.” Call her Music City’s answer to Sade.