Dann Huff
By James Rea
Don’t miss Dann Huff’s return to The Producer’s Chair for the 7th Anniversary Show. Note the date change: Mon., Oct. 1, 6 p.m., at Douglas Corner. Details at www.theproducerschair.com.
I fully expected Dann Huff’s Brentwood home and studio to be drenched with his sea of past awards, which include 2010 Billboard Country Producer of the Decade, multiple Producer of the Year honors from ACM and MusicRow, and CMA Musician of the Year, but that was not the case. His 2005 Grammy for Best Album wasn’t even on display. According to Huff, he’d rather focus on his current projects. He’s nominated again for CMA Musician of the Year for the upcoming ceremony.
Dann was born and raised in Music City with a musically gifted family. Brother David was a drummer and father Ronn Huff was a sought-after arranger on the cutting edge of Nashville’s contemporary Christian music scene. Young Dann would accompany him to sessions and cites his father as his first influence. He started playing guitar at age nine, mostly by ear. When he was 13, session guitarist John Darnall taught him his first scale, setting Huff on his career path.
Today Dann is first and foremost a family man. He and wife Sherri met at a junior high retreat and have been married for 30 years. Their daughter Madelyne is in her third year at UTK. Daughter Ashlyne, a BMG songwriter, is getting married this month. And Dann says son Elliott is a better musician at 17 than he was; he’s studying with famed swing drummer Duffy Jackson.
In high school at Brentwood Academy, Dann met fellow guitarist Gordon Kennedy and they started a band and played at school assemblies. By 16 Huff was playing on artist demos. He then moved to Los Angeles where he played and recorded with an impressive list of artists. His sessions resume includes Barbra Streisand, Reba McEntire, Celine Dion, Shania Twain, Michael Bolton, Donna Summer, Rod Stewart, Michael Jackson, Madonna, Whitney Houston, The Temptations, Smokey Robinson, Clint Black, Faith Hill, Tim McGraw, Natalie Cole, Toby Keith, Billy Joel, Joe Cocker, Martina McBride, Chicago, Wynonna, Glen Campbell, Paula Abdul, Tammy Wynette, Mariah Carey, Merle Haggard, Bob Seger, and many more.
Dann mostly plays his Tyler Classic signature model built by Los Angeles boutique luthier James Tyler and runs it through a stack of different amps and effect pedals. Huff’s gear also includes a variety of Fender Stratocasters & Telecasters, a Tom Anderson Classic T and a Tyler Ultimate Weapon with Dual Humbuckers, active mid-boost circuitry and a recessed Floyd Rose Original locking Tremolo Bridge.
When he was 20, he formed the Christian band Whiteheart. Other members were his brother, drummer David Huff, singer Steve Green, keyboardists Billy Smiley and Mark Gersmehl, and bassist Gary Lunn. Whiteheart completed three albums before Dann and David left and formed heavy metal band Giant, which scored a massive hit with “I’ll See You In My Dreams.”
Huff’s move into production was the result of friendly persuasion by Mutt Lange, who told Huff, “You are a producer in guitarist’s clothes.” He was flattered but didn’t know where to start until Lange recommended Huff to Faith Hill. Within a couple of years, Huff was making a name for himself as a producer in Nashville. His credits included Hill, Lonestar and SHeDaisy, as well as two Megadeth albums. As their careers took off, so did his.
Today, Dann ranks among Music Row’s most in-demand producers, with an impressive production discography that includes Keith Urban, Rascal Flatts, Carrie Underwood, Jewel, Wynonna, Deana Carter, Pat Green, Billy Ray Cyrus, Jimmy Wayne, Kenny Rogers, LeAnn Rimes, Martina McBride, Bryan White, Chely Wright, Rebecca St. James, Collin Raye, Trace Adkin, Julianne Hough, Steel Magnolia and Bon Jovi.
Over the past year or so, Huff has been working with Hunter Hayes, Brantley Gilbert, Kelly Clarkson, Taylor Swift, Sarah Darling, Mickey G, Johnny Gates and The Invite, Kenny Rogers, Big & Rich, Billy Currington, TV shows Nashville and Malibu Country (Reba), and is scheduled to cut a few sides with The Band Perry.
The Producer’s Chair: Is it more challenging to produce veteran artists or new artists?
Dann Huff: They each have unique challenges. When you’re working with established acts, it forces you to try to re-invent, re-frame and re-think ideas. There’s a certain intensity, especially if you’ve had much success with an artist, to re-define. With new artists, you’re working with an entirely new set of dynamics. It’s a relationship that hasn’t been formed and you’re developing a new language and a trust. With Hunter Hayes, I’d met him several times but didn’t know him very well. Then all of a sudden I’m working with a young man who is going to play everything on his record. We had no language for that. I had a rough idea how to do it, but not to really implement it. Once you start doing that, you have to develop a language and trust. With every new artist, in the back of their mind is, “I don’t want to sound like so-and-so. How are you going to differentiate me from others?” That pressure is as stout as the pressure of working with established artists.
How do songwriters feel about sharing a piece of the pie with artists who want to co-write?
Probably not too good. I think it’s a blessing and a curse scenario, because gone are the days where an artist shows up at the studio with a set of songs. That worked for a decade. Artists are becoming more savvy, the marketplace is not the same and there’s much more competition from every different angle. The idea is to make music that is unique to a certain artist. When that artist is writing, it makes things that much easier. The typical Nashville deal is: if you’re in the room you split it. I would feel embarrassed if I only contributed one line and took a third, if there were three writers. I’ve seen many artists say, “No, I just had the title, 10% max,” out of respect for the other writers. But economics aside, I think it’s ultimately better for everybody when the artist has a story to tell as opposed to boutique shopping songs. Artists who say, “Let’s write songs that share my story” is a positive thing.
How do you know when an artist is ready for the majors?
The whole model is changing. Management, publishing companies, everybody is into the development business these days, not just producers. Hunter Hayes was developed by a publishing company. They just kept me in the loop while they were developing his songwriting, his demos and his sound.
You have to be unique and have a story to tell. Being motivated is not enough. It’s all intangibles in music. Look at Peyton Manning. He can’t run, but look what he can do. It’s not about having the best voice, that’s a moving target. The best voice to one person is an irritant to others. I think at the root of a great entertainer and artist is a person who lives to be heard. You have to have that. And the more different it is the better.
Do you think country music shies away from addressing current events?
No, I think it embraces it. There’s a lot of compassion and unity and neighborliness, small community, standing up for the little guy and honoring commitments. I think those kind of things are a big part of the politics of country music.
Is it difficult to find radio hits today for legendary artists like Kenny Rogers?
Kenny Rogers is a national treasure, an icon, and everything that every artist would aspire to be. I told him, “the idea of trying to find songs that are concurrent with radio right now, to me, is an absolute mistake. It’s irrelevant to who you are as an artist. Let’s try and accentuate who you are. If there’s something for radio that’s magical, that’s great, but to willfully go after that? You’ve lived this phenomenally rich life. Perspective from you today is what I’m interested in.” He has the right to say things that so many artists can’t say.
Do artists with huge financial backing stand a better chance of being signed?
It helps, but if Elvis Presley walked through the door in rags, you’re still going to go for the talent.
What is one of the biggest challenges of your job?
Time management, I was mailing mp3s to Scott Borchetta in Milan at 10 o’clock on Sunday night. Usually I’m up at about 7:30 in the morning working on something before I go to the studios downtown. I don’t have an assistant.
Justin Niebank
How long have you been working with Justin Niebank and what do you find unique about his engineering skills?
We started working together around 1990, when I started working with Keith Urban. Justin has an absolute knack for framing a song and really dealing with the emotional aspects of the music. He’s not static. He understands that it’s not about him. Justin’s a bass player, he understands flow and tempo and the necessity of being able to jump in when there’s not an idea.
Do you do many re-mixes for other markets?
Yes, it is a big part of securing success and getting songs up the charts. The labels are really savvy about that. If you have a radio programmer in the Midwest who says, “That sounds a little too much like pop music,” instead of accepting a “no” labels can get traction in larger urban areas where the lines are a little blurrier by calling the producer and saying, “do you mind pulling down the guitars a little so that it’s not going to ruffle this guy’s listeners?” Then you get into re-mixes for other formats and countries. Some artists say “absolutely not, this is my music” and others just want to be heard.
Are major labels still going to operate the same way in 20 years?
Not in the structure they’re in right now. Big Machine wasn’t a major label but it is now. Talent can’t help but become bigger. I don’t think it’s going to be a bunch of boutique situations; it’s just re-structuring the real estate. I think there’s going to be the ability to be more stealth. There’s not going to be the redundancy in the labels. I think they’re going to be able to outsource more things and they’ll be smaller.
What are the benefits for artists of having label and management under one roof?
You get the ultimate amount of attention. Everybody’s in it together. Details are not going to be missed. This is the answer to the mega record labels with 25 artists and departments that have to service all. People have been outsourcing for a while, especially marketing and publicity. Labels don’t need people to tell them what a hit record is, they need partners. One size doesn’t fit all. Some artists are better served at a major label and other artists are better served by the 360 mentality. It all boils down to the people, their intensions and commitment level.
The Producer’s Chair: Dann Huff
/by contributorDann Huff
By James Rea
Don’t miss Dann Huff’s return to The Producer’s Chair for the 7th Anniversary Show. Note the date change: Mon., Oct. 1, 6 p.m., at Douglas Corner. Details at www.theproducerschair.com.
I fully expected Dann Huff’s Brentwood home and studio to be drenched with his sea of past awards, which include 2010 Billboard Country Producer of the Decade, multiple Producer of the Year honors from ACM and MusicRow, and CMA Musician of the Year, but that was not the case. His 2005 Grammy for Best Album wasn’t even on display. According to Huff, he’d rather focus on his current projects. He’s nominated again for CMA Musician of the Year for the upcoming ceremony.
Dann was born and raised in Music City with a musically gifted family. Brother David was a drummer and father Ronn Huff was a sought-after arranger on the cutting edge of Nashville’s contemporary Christian music scene. Young Dann would accompany him to sessions and cites his father as his first influence. He started playing guitar at age nine, mostly by ear. When he was 13, session guitarist John Darnall taught him his first scale, setting Huff on his career path.
Today Dann is first and foremost a family man. He and wife Sherri met at a junior high retreat and have been married for 30 years. Their daughter Madelyne is in her third year at UTK. Daughter Ashlyne, a BMG songwriter, is getting married this month. And Dann says son Elliott is a better musician at 17 than he was; he’s studying with famed swing drummer Duffy Jackson.
In high school at Brentwood Academy, Dann met fellow guitarist Gordon Kennedy and they started a band and played at school assemblies. By 16 Huff was playing on artist demos. He then moved to Los Angeles where he played and recorded with an impressive list of artists. His sessions resume includes Barbra Streisand, Reba McEntire, Celine Dion, Shania Twain, Michael Bolton, Donna Summer, Rod Stewart, Michael Jackson, Madonna, Whitney Houston, The Temptations, Smokey Robinson, Clint Black, Faith Hill, Tim McGraw, Natalie Cole, Toby Keith, Billy Joel, Joe Cocker, Martina McBride, Chicago, Wynonna, Glen Campbell, Paula Abdul, Tammy Wynette, Mariah Carey, Merle Haggard, Bob Seger, and many more.
Dann mostly plays his Tyler Classic signature model built by Los Angeles boutique luthier James Tyler and runs it through a stack of different amps and effect pedals. Huff’s gear also includes a variety of Fender Stratocasters & Telecasters, a Tom Anderson Classic T and a Tyler Ultimate Weapon with Dual Humbuckers, active mid-boost circuitry and a recessed Floyd Rose Original locking Tremolo Bridge.
When he was 20, he formed the Christian band Whiteheart. Other members were his brother, drummer David Huff, singer Steve Green, keyboardists Billy Smiley and Mark Gersmehl, and bassist Gary Lunn. Whiteheart completed three albums before Dann and David left and formed heavy metal band Giant, which scored a massive hit with “I’ll See You In My Dreams.”
Huff’s move into production was the result of friendly persuasion by Mutt Lange, who told Huff, “You are a producer in guitarist’s clothes.” He was flattered but didn’t know where to start until Lange recommended Huff to Faith Hill. Within a couple of years, Huff was making a name for himself as a producer in Nashville. His credits included Hill, Lonestar and SHeDaisy, as well as two Megadeth albums. As their careers took off, so did his.
Today, Dann ranks among Music Row’s most in-demand producers, with an impressive production discography that includes Keith Urban, Rascal Flatts, Carrie Underwood, Jewel, Wynonna, Deana Carter, Pat Green, Billy Ray Cyrus, Jimmy Wayne, Kenny Rogers, LeAnn Rimes, Martina McBride, Bryan White, Chely Wright, Rebecca St. James, Collin Raye, Trace Adkin, Julianne Hough, Steel Magnolia and Bon Jovi.
Over the past year or so, Huff has been working with Hunter Hayes, Brantley Gilbert, Kelly Clarkson, Taylor Swift, Sarah Darling, Mickey G, Johnny Gates and The Invite, Kenny Rogers, Big & Rich, Billy Currington, TV shows Nashville and Malibu Country (Reba), and is scheduled to cut a few sides with The Band Perry.
The Producer’s Chair: Is it more challenging to produce veteran artists or new artists?
Dann Huff: They each have unique challenges. When you’re working with established acts, it forces you to try to re-invent, re-frame and re-think ideas. There’s a certain intensity, especially if you’ve had much success with an artist, to re-define. With new artists, you’re working with an entirely new set of dynamics. It’s a relationship that hasn’t been formed and you’re developing a new language and a trust. With Hunter Hayes, I’d met him several times but didn’t know him very well. Then all of a sudden I’m working with a young man who is going to play everything on his record. We had no language for that. I had a rough idea how to do it, but not to really implement it. Once you start doing that, you have to develop a language and trust. With every new artist, in the back of their mind is, “I don’t want to sound like so-and-so. How are you going to differentiate me from others?” That pressure is as stout as the pressure of working with established artists.
How do songwriters feel about sharing a piece of the pie with artists who want to co-write?
Probably not too good. I think it’s a blessing and a curse scenario, because gone are the days where an artist shows up at the studio with a set of songs. That worked for a decade. Artists are becoming more savvy, the marketplace is not the same and there’s much more competition from every different angle. The idea is to make music that is unique to a certain artist. When that artist is writing, it makes things that much easier. The typical Nashville deal is: if you’re in the room you split it. I would feel embarrassed if I only contributed one line and took a third, if there were three writers. I’ve seen many artists say, “No, I just had the title, 10% max,” out of respect for the other writers. But economics aside, I think it’s ultimately better for everybody when the artist has a story to tell as opposed to boutique shopping songs. Artists who say, “Let’s write songs that share my story” is a positive thing.
How do you know when an artist is ready for the majors?
The whole model is changing. Management, publishing companies, everybody is into the development business these days, not just producers. Hunter Hayes was developed by a publishing company. They just kept me in the loop while they were developing his songwriting, his demos and his sound.
You have to be unique and have a story to tell. Being motivated is not enough. It’s all intangibles in music. Look at Peyton Manning. He can’t run, but look what he can do. It’s not about having the best voice, that’s a moving target. The best voice to one person is an irritant to others. I think at the root of a great entertainer and artist is a person who lives to be heard. You have to have that. And the more different it is the better.
Do you think country music shies away from addressing current events?
No, I think it embraces it. There’s a lot of compassion and unity and neighborliness, small community, standing up for the little guy and honoring commitments. I think those kind of things are a big part of the politics of country music.
Is it difficult to find radio hits today for legendary artists like Kenny Rogers?
Kenny Rogers is a national treasure, an icon, and everything that every artist would aspire to be. I told him, “the idea of trying to find songs that are concurrent with radio right now, to me, is an absolute mistake. It’s irrelevant to who you are as an artist. Let’s try and accentuate who you are. If there’s something for radio that’s magical, that’s great, but to willfully go after that? You’ve lived this phenomenally rich life. Perspective from you today is what I’m interested in.” He has the right to say things that so many artists can’t say.
Do artists with huge financial backing stand a better chance of being signed?
It helps, but if Elvis Presley walked through the door in rags, you’re still going to go for the talent.
What is one of the biggest challenges of your job?
Time management, I was mailing mp3s to Scott Borchetta in Milan at 10 o’clock on Sunday night. Usually I’m up at about 7:30 in the morning working on something before I go to the studios downtown. I don’t have an assistant.
Justin Niebank
How long have you been working with Justin Niebank and what do you find unique about his engineering skills?
We started working together around 1990, when I started working with Keith Urban. Justin has an absolute knack for framing a song and really dealing with the emotional aspects of the music. He’s not static. He understands that it’s not about him. Justin’s a bass player, he understands flow and tempo and the necessity of being able to jump in when there’s not an idea.
Do you do many re-mixes for other markets?
Yes, it is a big part of securing success and getting songs up the charts. The labels are really savvy about that. If you have a radio programmer in the Midwest who says, “That sounds a little too much like pop music,” instead of accepting a “no” labels can get traction in larger urban areas where the lines are a little blurrier by calling the producer and saying, “do you mind pulling down the guitars a little so that it’s not going to ruffle this guy’s listeners?” Then you get into re-mixes for other formats and countries. Some artists say “absolutely not, this is my music” and others just want to be heard.
Are major labels still going to operate the same way in 20 years?
Not in the structure they’re in right now. Big Machine wasn’t a major label but it is now. Talent can’t help but become bigger. I don’t think it’s going to be a bunch of boutique situations; it’s just re-structuring the real estate. I think there’s going to be the ability to be more stealth. There’s not going to be the redundancy in the labels. I think they’re going to be able to outsource more things and they’ll be smaller.
What are the benefits for artists of having label and management under one roof?
You get the ultimate amount of attention. Everybody’s in it together. Details are not going to be missed. This is the answer to the mega record labels with 25 artists and departments that have to service all. People have been outsourcing for a while, especially marketing and publicity. Labels don’t need people to tell them what a hit record is, they need partners. One size doesn’t fit all. Some artists are better served at a major label and other artists are better served by the 360 mentality. It all boils down to the people, their intensions and commitment level.
ACM Honors Adds Performers
/by Caitlin RantalaArtists T Bone Burnett, Rodney Crowell, Hunter Hayes, Will Hoge and Buddy Miller have all been added to the list which includes previously announced performers Clint Black, Luke Bryan, Rodney Crowell, Randy Houser, Ashley Monroe, Kellie Pickler and Dailey & Vincent.
Dierks Bentley will host the show and perform. Buddy Cannon is the evening’s musical director. Presenters include Jana Kramer, Big Kenny and Love and Theft. Click here for a complete list of honorees.
The event will take place Monday, Sept. 24 at the Ryman. Doors open at 5:15. Tickets are available at Ticketmaster.com for $37 each. The evening is presented by City National Bank.
Kimberly Schlapman Cooks Up Show on GAC
/by Eric T. ParkerKimberly Schlapman
Little Big Town’s Kimberly Schlapman will debut a new cooking program titled Kimberly’s Simply Southern this Saturday, Sept. 22 at 1:00 p.m. ET on GAC, produced by Al Roker Entertainment.
The 13-episode series finds the artist in a different city each week discovering America’s best local and regional food secrets. Upon returning to Nashville, Schlapman will combine her experiences and traditional family recipes to create southern meals with help from Lauren Alaina, Holly Williams, Laura Bell Bundy, band mate Karen Fairchild, and her young daughter, Daisy Pearl.
“I’m not a professional chef but when I was a kid, I would stand at the counter and pretend I was a cooking show host,” says Schlapman. “I never, ever thought it would be a reality.”
For recipes and more information, click here.
‘Full Moon Full Life’ Benefit Concert Features Jessi Colter, Jamey Johnson
/by FreemanJohnson’s latest album is Livin’ For a Song: a Tribute to Hank Cochran, inspired by the late songwriter who lost his battle with pancreatic cancer in 2010. The vinyl version of the album hits stores Sept. 25, the same day as Goin’ Down Rockin’, a collection of Waylon Jennings’ last recordings.
The concert begins at 6 pm in front of the River Cafe on Front Street in Normandy. River Cafe was founded by former Jennings assistant Nikki Mitchell (also a friend of Johnson’s), who has been battling pancreatic cancer since 2010.
Seventy-five percent of proceeds will go to TGen and 25 percent will go to Johns Hopkins. Advance tickets are $20 and are available here. Tickets will be $25 at the gate.
BMI 2012 Fiscal Report
/by Sarah SkatesBMI’s revenues are down approximately 3% from fiscal year 2011, due primarily to new agreements with the Radio Music Licensing Committee (RMLC), which represents the vast majority of U.S. radio stations. BMI recognized the entire financial impact of the radio settlement in fiscal year 2012.
For the 2011 fiscal year, revenues were in excess of $931 million, with royalty distribution of about $796 million. In 2010 revenues totaled $917 million with distributions of about $789 million.
The impact on total revenues from the radio settlement was blunted by revenue increases in international, general licensing, cable networks and digital media.
New media and digital revenue reached an all-time high of $35 million, representing an increase of 27% over fiscal year 2011 and generating 6% of domestic revenue.
For the first time, international revenues accounted for more than a third of BMI’s revenue, totaling $302 million, up 12% from the prior year.
General Licensing revenue from physical establishments such as restaurants and nightclubs saw an 8% increase to $108 million.
BMI distributed payments on the largest number of individual musical works in its history in 2012. A total of 40 billion performances from BMI’s catalog of 7.5 million musical works were processed during fiscal year 2012.
BMI serves more than 650,000 licensed businesses and 550,000 songwriters, composers and music publishers. Songwriters including Lady Gaga, Foster the People’s Mark Foster, Maroon 5, Benny Blanco and Pitbull, Taylor Swift, Nicki Minaj and The Band Perry wrote many of BMI’s most-played hits of the year.
“BMI has weathered the economic storm remarkably well considering the negative conditions that have impacted many of our revenue sources,” said BMI President and CEO Del Bryant. “Our distributions to music publishers and songwriters have remained predictable and reliable. Even with the retroactive radio settlement and a challenging financial landscape, we have still been able to return nearly 84 cents of every dollar we have generated back to our publishers and songwriters. Our performance in fiscal year 2012 under these difficult conditions is a testament to our prudent fiscal management and to our resolve to responsibly manage the copyrights and income entrusted to us by our publishers and songwriters.”
MusicRowPics: Scarletta Artist Visit
/by Caitlin RantalaScarletta visited MusicRow headquarters yesterday (9/19) to share some of their music. The trio, who writes all their own songs, is made up of Aubrey Collins, Benji Harris and Nathan Stoops.
They kicked the acoustic set off with their single “Right Here, Right Now.” The music video, shot in the Bahamas, is currently part of CMT 12-Pack.
MusicRow was also treated to “Want Me.” The tune was the second song the trio had written together and was penned quite fittingly in an attic as a thunderstorm rolled in. “This is our spooky, dramatic song,” Stoops said.
Afterwards, the trio ended wrapped everything up with an uptempo performance of “Put Your Money Where Your Mouth Is.”
Scarletta is in GA today (9/20), scheduled to play at Darton College later this evening. For tour dates and more information click here.
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The Hot Seat Aligns With TuneIn
/by Eric T. ParkerThe program, hosted by the outlaw’s son Shooter Jennings, will be accessible by TuneIn’s nearly 40 million listeners across more than 200 devices, available on all smartphones, tablets, smart TVs and radios, car dashboards and on the web at tunein.com.
“The Hot Seat is excited to reach an engaged, global audience of millions through TuneIn,” said Jason Turner, VP/Operations at The Hot Seat. “We’ve gotten amazing feedback from the special and look forward to working with TuneIn on more projects in the future.”
Jennings wrote 11 of the 12 songs on Goin’ Down Rockin’, 11 of which have never been released before. He recorded them with his accompanist Robby Turner shortly before Jennings’ death in 2002. A decade later, Turner finished the tracks, working with musicians Reggie Young, Richie Albright and tour mate Tony Joe White. The album will be available September 25.
Hall of Fame Promotes Tina Wright
/by FreemanWith the Museum since 2001, Wright will continue to handle publicity campaigns for the organization’s educational, fundraising and marketing activities. She will report to VP of Public Relations Liz Thiels.
“For more than ten years, Tina has served the media and the museum with intelligence and commitment,” Thiels said. “As we look forward to an expanded museum on a unique downtown campus, we know that we will continue to benefit from her vision and leadership.”
Prior to joining the Museum, Wright spent six years as a publicist with The Press Network. She holds a bachelor of journalism from the University of Missouri and edited and wrote the introduction for the book Cardinal Memories: Recollections from Baseball’s Greatest Fans, published by the University of Missouri Press in 2000.
Curb Records Offering Cracker Barrel Exclusives
/by Freeman“This is a great opportunity to share these special packages of our most popular recordings with Cracker Barrel customers,” said Benson Curb, VP Sales/Curb Records. “We’re happy to offer these projects and look forward to adding more recordings into their stores in the near future.”
The packages include LeAnn Rimes (a special 3 CD collection); Classic Collection hits from Tim McGraw, Larry Gatlin & The Gatlin Brothers, The Judds and Wayne Newton; and self-titled Rodney Atkins and Love Heals, by Wynonna. All albums retail for $11.99
BMLG To Share in Entercom’s Broadcast Royalties
/by Sarah SkatesBMLG reached a similar agreement with Clear Channel in June. Terms of the deals have not been disclosed.
Artists signed to Big Machine’s wholly owned labels who will benefit from this agreement include Big Machine Records artists Taylor Swift, Tim McGraw, Rascal Flatts, Edens Edge and Ella Mae Bowen; and Valory Music Co. artists Reba McEntire, Justin Moore, Brantley Gilbert, The Mavericks and Thomas Rhett. The deal doesn’t include Universal Republic artists.
“This agreement represents a bold step forward to align our interests with those of Big Machine and their artists. While the deal comes with some significant costs and risks, we believe that by working with the labels and the artist community to establish a new business model, we will ultimately enhance the opportunities for all parties concerned,” said Entercom President and CEO David Field. “I also want to acknowledge Scott Borchetta, [and Clear Channel’s] Bob Pittman and John Hogan for their vision and leadership in blazing the trail that made this deal possible.”
“As great and leading visionaries in the broadcast world continue to look into the future, they are seeing where listeners are going in regards to how radio is being used now and where and how it will be used in the very near future. Among the many choices in the audio entertainment landscape, radio is now portable again thanks to smartphones and soon-to-be ubiquitous Internet streaming in the car,” said Scott Borchetta, President and CEO of the Big Machine Label Group. “David Field and his cutting edge team at Entercom Communications completely understand this vision. I’m honored that they have joined us as partners in growing digital radio as well as compensating the artists that provide great musical content for their terrestrial stations. They have chosen to lead and everyone in the artist and creative community applauds their bold leadership role.”
Agreements of this kind are important in two respects: 1) the Clear Channel deal marked the first time artists will be paid a performance royalty for radio airplay in the United States. Traditionally, only songwriters/copyright holders have received radio performance royalties. 2) It is designed to drive digital radio growth.
The new business model set forth in the agreement is designed to level the royalty payment playing field for all types of radio. The model has BMLG and its artists being paid terrestrial performance royalties in exchange for a lower rate on digital performance royalties, which will distribute the royalty cost more evenly between both kinds of radio.
Under current circumstances, which the new model aims to change, the growth of digital radio is stunted because a high percentage of each company’s income goes to pay artist and songwriter royalties. These royalty rates are often based on individual song plays, and though they are fractions of a cent, can add up very quickly to large sums. By comparison, a low percentage of terrestrial radio station revenue goes to royalties, which are exclusively paid to songwriters via the performing rights organizations. Additionally, terrestrial radio recently entered a different agreement to decrease the rates it pays to the P.R.O.s.
The Wall Street Journal said the Clear Channel agreement “represents a historic shift,” calling it “a major bet that radio’s future is online rather than over the air… With the growing ubiquity of smartphones and more cars that include Internet-radio options, consumers are spending more time listening to music online, escalating the royalty costs along the way.”