by Ralph Murphy
The one thing that you can count on in the music business, as in life, is change. And change was certainly the theme for 2011. The number of country songs reaching No. 1 was at an all-time high of 34 and the number of writers matched that all-time high climbing to 80.
Again this year, 50% of the singles that reached No. 1 (17) were written in whole or in part by the artist. This is good news for the publishers who are investing their money and efforts in artist/writers, not so good for standalone writers and their publishers. In speaking to publishers about what they look for in a writer, the “artist” tag seems to carry a lot of weight and apparently justifiably so.
The only downside to what happened in 2011 is that although more writers had a song go to No. 1, more writers and publishers will have to share the yearly performance money, or “split the blanket” to quote my old pal Harlan Howard. The financial reward may not be as great in some cases, but you had a No. 1 record.
Among songs that raced to the top, the pack leader was Blake Shelton’s “Honey Bee” which made it from zero to No. 1 in 10 weeks. About one-third of the records sprinted up the charts in 11-15 weeks. Fifty percent took the 16-25 week trip. Only five lasted 30-plus weeks: “A Little Bit Stronger,” Sara Evans (33 weeks); “Country Must Be Country Wide,” Brantley Gilbert (33 weeks); “Are You Gonna Kiss Me Or Not,” Thompson Square (36 weeks); and “Crazy Girl,” Eli Young Band (38 weeks). The 800-pound gorilla was Chris Young with “Voices,” which took 51 weeks to get there and made it over a year (53 weeks) on the charts.
As you would expect, because of the amount of No. 1s, 21 of the 34 only had one week at No. 1. “Honey Bee” and Zac Brown Band’s “Keep Me In Mind” both had 4 weeks at the top. Tim McGraw’s “Felt Good On My Lips,” Kenny Chesney’s “Somewhere With You,” Jason Aldean’s duet with Kelly Carkson “Don’t You Wanna Stay,” Blake Shelton’s “God Gave Me You,” and Lady Antebellum’s “We Owned The Night” all stayed No. 1 for three weeks. Residency after leaving No. 1 was generally confined to 0 to 3 weeks.
Artist/Writers
At 50% of the 34 records, it may seem that the artist/writer is the [business] way to go, but the balance that a standalone writer brings to the equation cannot be overemphasized. The artist’s need to put forward a personal view is generally tempered well by the standalone writer, who has a different perspective because he/she is not the performer and doesn’t necessarily shape the song in his/her image.
Seven of the 80 writers involved in creating the No. 1s for 2011 were women. They wrote songs for the nine records that had female artists involved.
Tempo
About 2/3 of the No. 1s were under 100 BPM (Beats Per Minute). Nineteen were 70-90 BPM and only three were under 70 BPM. Although all of 2010’s No. 1s were 4/4, this year Eli Young Band found favor at drive time and waltzed all the way to one of Billboard’s most played country songs.
Intros
Although Kenny Chesney’s “Live A Little” had a 56-second intro and “Old Alabama” (Brad Paisley) came in second with 33 seconds, if you average all the intros together you get 17 seconds. If you take out Kenny’s intro the average falls to 15 seconds, same as 2010. I guess country radio finds that length handy.
Pronouns
You can love them, hate them, be indifferent to them, but don’t ignore them. They define the situational perception of the listener. Me, you, us, etc.— the first person ruled.
Twenty of the 34 were first person (me, you). Illustrations of this are “so listen Romeo, when you’re feelin’ kinda low, let me tell you where to go” (Reba), “Who are you when I’m not looking” (Blake Shelton) and Billy Currington saying he’s “right on the edge of giving into you” in “Let Me Down Easy.”
The third person (him/her/them) allowed Justin Moore to talk about his “long lost cousin John” and tell him about his daughter and that “she’s a doctor and he’d be proud.” Toby Keith got to talk about his dad buying “nothin’ he can’t fix with WD-40 and a Craftsman wrench.” Those pronouns did their job.
Themes
Romantic Love: “Are You Gonna Kiss Me Or Not?,” “Don’t You Wanna Stay”
Love of Family: “Voices,” “If Heaven Wasn’t So Far Away”
Love of Country: “Made In America”
Love Lost: “Someone Else Calling You Baby,” “Somewhere With You”
Love Found: “Sparks Fly,” “Let Me Down Easy”
Good Time Party: “Barefoot Blue Jean Night,” “Live A Little,” “Am I The Only One”
Revenge/Satisfaction: “Turn On The Radio”
Life Lessons: “Voices”
Morality: “Country Must Be Countrywide,” “God Gave Me You”
Song Length
Bearing in mind that on-air personalities can use as much or as little fade-time as needed to stretch to a break, 23 records settled comfortably in the three minutes and change length. Eight were over four minutes, two were under three minutes, and only one broke the five-minute barrier.
Song Forms/Shapes/Structures
These are outlines of the way listeners seem to prefer to receive their information at “worst time of day possible.” If you want to find out more about them there is a chapter on them in Murphy’s Laws of Songwriting the book.
Second Form: Verse (Verse Optional), Chorus, Verse, Chorus, Instrumental, Chorus.
Billy Currington’s “Let Me Down Easy,” Jake Owen’s “Barefoot, Blue Jean Night”
Third Form: Verse (Verse Optional), Chorus, Verse, Chorus, (Bridge Middle 8 ) Chorus (with an instrumental before or after the chorus).
Chris Young’s “Tomorrow,” Lady A’s “We Owned The Night”
Fourth Form: Verse, Lift, Chorus, Verse, Lift, Chorus, (Bridge Optional) Lift, Chorus out. ‘Lift’ can also mean Pre-Chorus, Climb, Channel, Ramp, etc.
Taylor Swift’s “Sparks Fly,” Thompson Square’s “Are You Gonna Kiss Me Or Not”
Fifth Form: Verse, Verse, Bridge, Verse (It is also called the AABA).
Tim McGraw’s “Felt Good On My Lips” took this structure, added a couple more A, B sections and did very well.
Sixth Form: Traditionally this would have been Chorus, Verse, Chorus, Instrumental, Bridge/Middle 8, Chorus Out and was called rondeau or rondo (to quote W.O. Smith in his book “Sideman”).
Blake Shelton’s “Who Are You When I’m Not Looking” (chorus, verse, chorus, verse, verse, chorus) almost did it; Jason Aldean’s “Dirt Road Anthem” starts with chorus, raps out four small verses, goes back to the chorus, then raps three small verses and goes on to chorus after chorus.
Repetition
One of the major differences between pop and country chart toppers is the number of repetitions of the title. Country has a lot less. Five No. 1s had only three uses of title, setting the minimum standard for repetition.
The maximum number of title repetitions with 19 was “Remind Me” (Brad Paisley & Carrie Underwood). I guess they really needed reminding. All the rest fell between 3 and 13 repetitions.
Because the country audience “listens into” a song, multiple repetitions over a 3-6 month period would have a high “burn factor,” so less is more I guess.
Humor/Irony/Detail
If you’re looking for humor, check out Dierks Bentley’s “Am I The Only One” where he calls “wild man Willy” “but Idol was on TV” and went to a “joint looking like a morgue.”
Irony is such a large part of country. One of many examples is Luke Bryan’s “Somebody Else Calling You Baby” when he tells her “you wanted your time and you wanted your space” which is code for “I’m really seeing someone else.”
Details set up some great stories. From “blow the speakers out your Chevy truck,” “paint your toes cause you bite your nails,” “he reminded me of Chris LeDoux,” and “that Copenhagen smile,” detail ruled.
Story/Conversation
Story songs like “Colder Weather” (Zac Brown Band), “Felt Good On My Lips” (Tim McGraw), “Barefoot Blue Jean Night” (Jake Owen), etc. were very conversational. About 15 of the 34 No. 1s were more story than conversational.
Advice/Best Bets
Writing this part of the yearly analysis is always the hardest part about doing these “perspectives” on the previous year.
Aside from the “write with the artist” approach, it is worth noting that every year, two or three artist/writers actually write No. 1s for other artist/writers. Does this mean that artist/writers are better than standalone or non-performing writers? No, it means that they are really writer/artists! This may come as a (pleasant) surprise to some of you whose publishers have mandated that you write with artists. In the best scenario, the writer/artist leaves the artist at the door and concentrates on making the song a living, breathing piece of work with a beginning, middle, and an end.
This article would not be possible without the wonderful assistance of Anna Maki and her research team of Mercedes Davis, Blake Ferguson, Lincoln Faulkner, Gracie Leathers, Lauren Perry, Chelsey Reardon, Rusty Redden, Georgie Sillem, Cami Steger, Kristen Tribble, Renee Urbanc, Kristen Westerbeck and Tania Yegelwel.
2011 Charttoppers: Who Made It And How
/by contributorThe one thing that you can count on in the music business, as in life, is change. And change was certainly the theme for 2011. The number of country songs reaching No. 1 was at an all-time high of 34 and the number of writers matched that all-time high climbing to 80.
Again this year, 50% of the singles that reached No. 1 (17) were written in whole or in part by the artist. This is good news for the publishers who are investing their money and efforts in artist/writers, not so good for standalone writers and their publishers. In speaking to publishers about what they look for in a writer, the “artist” tag seems to carry a lot of weight and apparently justifiably so.
The only downside to what happened in 2011 is that although more writers had a song go to No. 1, more writers and publishers will have to share the yearly performance money, or “split the blanket” to quote my old pal Harlan Howard. The financial reward may not be as great in some cases, but you had a No. 1 record.
Among songs that raced to the top, the pack leader was Blake Shelton’s “Honey Bee” which made it from zero to No. 1 in 10 weeks. About one-third of the records sprinted up the charts in 11-15 weeks. Fifty percent took the 16-25 week trip. Only five lasted 30-plus weeks: “A Little Bit Stronger,” Sara Evans (33 weeks); “Country Must Be Country Wide,” Brantley Gilbert (33 weeks); “Are You Gonna Kiss Me Or Not,” Thompson Square (36 weeks); and “Crazy Girl,” Eli Young Band (38 weeks). The 800-pound gorilla was Chris Young with “Voices,” which took 51 weeks to get there and made it over a year (53 weeks) on the charts.
As you would expect, because of the amount of No. 1s, 21 of the 34 only had one week at No. 1. “Honey Bee” and Zac Brown Band’s “Keep Me In Mind” both had 4 weeks at the top. Tim McGraw’s “Felt Good On My Lips,” Kenny Chesney’s “Somewhere With You,” Jason Aldean’s duet with Kelly Carkson “Don’t You Wanna Stay,” Blake Shelton’s “God Gave Me You,” and Lady Antebellum’s “We Owned The Night” all stayed No. 1 for three weeks. Residency after leaving No. 1 was generally confined to 0 to 3 weeks.
Artist/Writers
At 50% of the 34 records, it may seem that the artist/writer is the [business] way to go, but the balance that a standalone writer brings to the equation cannot be overemphasized. The artist’s need to put forward a personal view is generally tempered well by the standalone writer, who has a different perspective because he/she is not the performer and doesn’t necessarily shape the song in his/her image.
Seven of the 80 writers involved in creating the No. 1s for 2011 were women. They wrote songs for the nine records that had female artists involved.
Tempo
About 2/3 of the No. 1s were under 100 BPM (Beats Per Minute). Nineteen were 70-90 BPM and only three were under 70 BPM. Although all of 2010’s No. 1s were 4/4, this year Eli Young Band found favor at drive time and waltzed all the way to one of Billboard’s most played country songs.
Intros
Although Kenny Chesney’s “Live A Little” had a 56-second intro and “Old Alabama” (Brad Paisley) came in second with 33 seconds, if you average all the intros together you get 17 seconds. If you take out Kenny’s intro the average falls to 15 seconds, same as 2010. I guess country radio finds that length handy.
Pronouns
You can love them, hate them, be indifferent to them, but don’t ignore them. They define the situational perception of the listener. Me, you, us, etc.— the first person ruled.
Twenty of the 34 were first person (me, you). Illustrations of this are “so listen Romeo, when you’re feelin’ kinda low, let me tell you where to go” (Reba), “Who are you when I’m not looking” (Blake Shelton) and Billy Currington saying he’s “right on the edge of giving into you” in “Let Me Down Easy.”
The third person (him/her/them) allowed Justin Moore to talk about his “long lost cousin John” and tell him about his daughter and that “she’s a doctor and he’d be proud.” Toby Keith got to talk about his dad buying “nothin’ he can’t fix with WD-40 and a Craftsman wrench.” Those pronouns did their job.
Themes
Romantic Love: “Are You Gonna Kiss Me Or Not?,” “Don’t You Wanna Stay”
Love of Family: “Voices,” “If Heaven Wasn’t So Far Away”
Love of Country: “Made In America”
Love Lost: “Someone Else Calling You Baby,” “Somewhere With You”
Love Found: “Sparks Fly,” “Let Me Down Easy”
Good Time Party: “Barefoot Blue Jean Night,” “Live A Little,” “Am I The Only One”
Revenge/Satisfaction: “Turn On The Radio”
Life Lessons: “Voices”
Morality: “Country Must Be Countrywide,” “God Gave Me You”
Song Length
Bearing in mind that on-air personalities can use as much or as little fade-time as needed to stretch to a break, 23 records settled comfortably in the three minutes and change length. Eight were over four minutes, two were under three minutes, and only one broke the five-minute barrier.
Song Forms/Shapes/Structures
These are outlines of the way listeners seem to prefer to receive their information at “worst time of day possible.” If you want to find out more about them there is a chapter on them in Murphy’s Laws of Songwriting the book.
Second Form: Verse (Verse Optional), Chorus, Verse, Chorus, Instrumental, Chorus.
Billy Currington’s “Let Me Down Easy,” Jake Owen’s “Barefoot, Blue Jean Night”
Third Form: Verse (Verse Optional), Chorus, Verse, Chorus, (Bridge Middle 8 ) Chorus (with an instrumental before or after the chorus).
Chris Young’s “Tomorrow,” Lady A’s “We Owned The Night”
Fourth Form: Verse, Lift, Chorus, Verse, Lift, Chorus, (Bridge Optional) Lift, Chorus out. ‘Lift’ can also mean Pre-Chorus, Climb, Channel, Ramp, etc.
Taylor Swift’s “Sparks Fly,” Thompson Square’s “Are You Gonna Kiss Me Or Not”
Fifth Form: Verse, Verse, Bridge, Verse (It is also called the AABA).
Tim McGraw’s “Felt Good On My Lips” took this structure, added a couple more A, B sections and did very well.
Sixth Form: Traditionally this would have been Chorus, Verse, Chorus, Instrumental, Bridge/Middle 8, Chorus Out and was called rondeau or rondo (to quote W.O. Smith in his book “Sideman”).
Blake Shelton’s “Who Are You When I’m Not Looking” (chorus, verse, chorus, verse, verse, chorus) almost did it; Jason Aldean’s “Dirt Road Anthem” starts with chorus, raps out four small verses, goes back to the chorus, then raps three small verses and goes on to chorus after chorus.
Repetition
One of the major differences between pop and country chart toppers is the number of repetitions of the title. Country has a lot less. Five No. 1s had only three uses of title, setting the minimum standard for repetition.
The maximum number of title repetitions with 19 was “Remind Me” (Brad Paisley & Carrie Underwood). I guess they really needed reminding. All the rest fell between 3 and 13 repetitions.
Because the country audience “listens into” a song, multiple repetitions over a 3-6 month period would have a high “burn factor,” so less is more I guess.
Humor/Irony/Detail
If you’re looking for humor, check out Dierks Bentley’s “Am I The Only One” where he calls “wild man Willy” “but Idol was on TV” and went to a “joint looking like a morgue.”
Irony is such a large part of country. One of many examples is Luke Bryan’s “Somebody Else Calling You Baby” when he tells her “you wanted your time and you wanted your space” which is code for “I’m really seeing someone else.”
Details set up some great stories. From “blow the speakers out your Chevy truck,” “paint your toes cause you bite your nails,” “he reminded me of Chris LeDoux,” and “that Copenhagen smile,” detail ruled.
Story/Conversation
Story songs like “Colder Weather” (Zac Brown Band), “Felt Good On My Lips” (Tim McGraw), “Barefoot Blue Jean Night” (Jake Owen), etc. were very conversational. About 15 of the 34 No. 1s were more story than conversational.
Advice/Best Bets
Writing this part of the yearly analysis is always the hardest part about doing these “perspectives” on the previous year.
Aside from the “write with the artist” approach, it is worth noting that every year, two or three artist/writers actually write No. 1s for other artist/writers. Does this mean that artist/writers are better than standalone or non-performing writers? No, it means that they are really writer/artists! This may come as a (pleasant) surprise to some of you whose publishers have mandated that you write with artists. In the best scenario, the writer/artist leaves the artist at the door and concentrates on making the song a living, breathing piece of work with a beginning, middle, and an end.
This article would not be possible without the wonderful assistance of Anna Maki and her research team of Mercedes Davis, Blake Ferguson, Lincoln Faulkner, Gracie Leathers, Lauren Perry, Chelsey Reardon, Rusty Redden, Georgie Sillem, Cami Steger, Kristen Tribble, Renee Urbanc, Kristen Westerbeck and Tania Yegelwel.
Bonnaroo 2012 Lineup Revealed
/by FreemanHeadlining bands include Radiohead, the Red Hot Chili Peppers, and Phish. Also slated to perform are Best New Artist Grammy winner Bon Iver, the reunited Beach Boys (Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks), Americana darlings The Avett Brothers, The Shins, Foster The People, electronic wiz Skrillex, hip-hop star Ludacris, comedian/actor Aziz Ansari, Feist, The Roots and many more. Full lineup here.
Artists making the cut from Tennessee or on Nashville labels include a reunited Ben Folds Five, The Civil Wars, Needtobreathe, Sarah Jarosz and Moon Taxi. Others will be named as the Road To Bonnaroo contest unfolds.
Tickets go on sale Saturday, Feb. 18 at 11 AM/CT at bonnaroo.com.
Artist Snapshots (2/14/12)
/by FreemanOn February 3, many members of the Grand Ole Opry paid tribute to the Ryman Auditorium’s long-lasting stage for the final time before its replacement. Among those present for the occasion were Whisperin’ Bill Anderson and the Oak Ridge Boys, who sang the first-ever live rendition of their collaboration “Gone Away.” The song was produced by Buddy Cannon, and Anderson co-wrote it with Steve Ripley, Tim DuBois, and John Wooley.
(L-R): Oak Ridge Boys Joe Bonsall, Duane Allen, William Lee Golden, and Richard Sterban with Bill Anderson.
• • • • •
MCA Nashville’s Josh Turner recently filmed the music video for his new song “Time Is Love,” the ninth video release of his career. The single is the first off his upcoming album Punching Bag.
On the set of the “Time Is Love” video shoot are (L-R): Ted Greene (Modern Management), Peter Zavadil (Director), Renee Behrman-Greiman (Modern Management), Josh Turner, Chandra Pereira (Exec. Producer), Fount Lynch (UMG Nashville). Photo: Stephen Shepherd.
• • • • •
Big Machine Records’ trio Edens Edge (Hannah Blaylock, Dean Berner, and Cherrill Green) were recently invited to become honorary Friends and Family of the Country Music Hall of Fame and Museum. The group’s debut single “Amen” was recently a Top 20 hit and they have toured with Brad Paisley, Reba, and Lady Antebellum. Their debut album is expected later in 2012.
(L to R) back: Jay Orr (Vice President, Programs), Sharon Burns (Vice President, Sales and Marketing), Kyle Young (Museum Director), Pamela Johnson (Vice President, Development),Virginia Davis (B.A.D Management), Whitney Cheshier (B.A.D Management) and Nikki Burns (Big Machine Label Group); front: Edens Edge Members Cherrill Green, Hannah Blaylock, and Dean Berner
Beloved Publicist Jayne Rogovin Passes
/by Sarah SkatesJayne and her horse Diva. Photo: Gina Binkley
Veteran Nashville publicist Jayne Rogovin passed away last night (2/13) from incurable breast cancer.
For eight years she ran her successful Jayne Gang PR, with most recent clients including The Americana Music Association, Sunset Grill, Cabana Restaurant, Midtown Cafe and Manuel Exclusive Clothier. A devoted publicist, she was working even in recent weeks, as her condition worsened. Friends say the decline in her health was sudden.
Proof of her courageous spirit and drive, she proclaimed in a recent interview, “I’m living, not battling.”
Best friend Kay West helped Rogovin keep on living, acting as a point person for others who wanted to help. “I met Jayne when Steve West asked her to direct the first Nashville Music Awards aka The NAMMIES 17 years ago and I wrote the script,” recalls West. “We have been dear friends since. Jayne was fearless, adventurous, insatiably curious, always learning, generous, devoted to her friends and clients and a damned fine horsewoman and dancer. She lit up a room and touched countless lives. I will miss her terribly.”
Longtime friend Kay Clary agrees, “Jayne was bursting with life and seriously had the widest circle of close friends of anyone I’ve ever known! She had an hilariously quick wit, the tenderest of hearts, and sharpest of minds. Yes, she did impassioned work as a PR and marketing exec, but she’ll be remembered most by so many as a vibrant and true friend.”
Rogovin’s more than twenty-year career included time as Pecos Films Director/Producer, as well as work in media, marketing and creative services.
The New York native graduated from the University of Florida and went into broadcast journalism. Later, after a two-month stint with a TV crew covering the Branch Davidian standoff in Waco, Texas, she decided a career change was in order. She eventually landed in Nashville, and became a much-loved, hard-working member of the music community. She was passionate about horses, and indulged her caring nature with gardening, and her feisty side with salsa dancing.
Friends rallied around Rogovin during her illness, organizing the Kick the Crap Outta Cancer benefit in her honor. Held April 5, 2011 at Cabana, the event attracted performers including Raul Malo, Jim Lauderdale, Steve Cropper, and Foster & Lloyd, and raised about $30,000.
She was as devoted to the community as it was to her, working with charitable causes including UPAW (United Partnership for Animal Welfare), and Billy’s Wish Foundation, which helps children with cancer.
Ronna Rubin saw her friend as an inspiration. She says, “In good health and in bad, Jayne inspired me. I will always remember Jayne’s passion; her passion for life, for her friends, for our creative community. Those artists, songwriters and singers lucky enough to have had her as their cheerleader were gifted with a rare combination of vision and devotion.”
In recent months Rogovin continued her longtime work with the Americana Music Association, including at its September Festival and Conference. She was one of the most devoted and earliest supporters of the organization and the genre it represents. According to her blog, she also enjoyed traveling to see family in the months before her passing.
Read more about Rogovin’s history here and her recent interview here.
Arrangements have not been announced.
Americana Music Association Executive Director Jed Hilly shared this moving letter today.
Friends rallied aroud Jayne Rogovin at the Kick The Crap Outta Cancer benefit. (L-R): Steve Cropper, Jonell Mosser, Jayne Rogovin, Harry Stinson and Beth Hooker. Photo: Alan Mayor
Tracy Lawrence To Host CRS Benefit
/by Eric T. ParkerThe performance lineup includes Lexi James, Kaleb Hensley & II Smokin’ Barrels, Stephen Cochran, Cody McCarver and additional surprise guests.
The benefit celebrates Operation Troop Aid’s fifth year promoting entertainment initiatives raising funding to send care packages to deployed US Troops.
Mark Woods, a 21-year military veteran, founded Troop Aid after being inspired by Garth Brooks’ 9/11 concert live from the USS Enterprise, where he was stationed at the time.
New Upward Management Signing
/by FreemanSheer first began getting noticed two years ago after posting YouTube videos of herself performing covers of Taylor Swift, Lady Antebellum, Bruno Mars and others. Her videos have accumulated over 42 million views, including more than three million views of “You Will Never Be,” an original song she co-wrote. She is currently working on songs for her debut album with several Nashville songwriters.
In addition to Sheer, the Upward Management roster also includes multi-platinum artist Clay Walker and newcomer Sarah Marince.
Mel Tillis Honored At White House Yesterday
/by Sarah SkatesPresident Obama bestows the National Medal of Arts on Mel Tillis. Photo: UPI/Kevin Dietsch
Mel Tillis was honored with the National Medal of Arts yesterday during a ceremony at the White House. President Obama presented this year’s awards to Tillis, actor Al Pacino, and several others.
First Lady Michelle Obama was also on hand for the event in the East Room.
Tillis, a member of the Country Music Hall of Fame, said, “I’ve had a blessed career, and that has been acknowledged in many ways over the years. I was pleasantly surprised when I got the call because I didn’t know there were anymore awards left to win. I’m very thankful and what an honor!”
The National Medal of Arts is the highest award given to artists and arts patrons by the United States Government. It recognizes outstanding contributions to the excellence, growth, support and availability of the arts in the United States. Past recipients include George Jones, Minnie Pearl, Johnny Cash, and Bob Dylan.
Tillis has recorded more than 60 albums and scored 35 Top Ten singles during his career. He was named the CMA Entertainer of the Year, and is a member of the Grand Ole Opry. Among the other artists who have recorded his songs are Kenny Rogers (“Ruby, Don’t You Take Your Love To Town”), George Strait (“Thoughts of a Fool”), and Ricky Skaggs (“Honey, Open That Door”). BMI named Tillis Songwriter of the Decade for two decades.
Rider Joins RPM Management
/by Freeman“I am so excited to be working with April,” said Siman. “She did an amazing job launching Thompson Square and she has developed into one of the top executives in our industry. She had a lot of companies seeking her out and I’m honored she chose RPM.”
Siman and Rider previously worked together on promotion efforts for Tim McGraw during Rider’s decade-long tenure with Curb Records, where she ended as VP of Promotion. Rider’s promotion experience also includes time with Skip Stevens Promotions and Decca Records.
Rider is already on the job, and she can be congratulated here.
Industry Ink Monday
/by Sarah Skates• Leadership Music is seeking an Executive Director. Click here to download the job description.
• Warner Music Nashville is seeking a Regional Promotion Manager for the WMN promotion team. The position will work directly with the WMN roster which includes The Dirt Drifters, Hunter Hayes, the JaneDear girls and Blake Shelton. Resumes can be sent to Ann.Jurasek@wmg.com.
• SunTrust Mortgage has named Ellen May to its President’s Team, one of the highest honors the company bestows upon its loan officers. May has been a fixture at the bank’s Music Row branch for over a decade, catering to the specialized needs of the music community.
• Condolences to Trisha Walker-Cunningham on the passing of her father Major Terry Walker. She was at his bedside in England when he died. In lieu of flowers, the longtime music promoter and booker asks for donations to hospice facilities that rely on charitable contributions.
Wade Bowen Plays Nashville’s Exit-In
/by FreemanThat marriage of darker subject matter to gritty, driving country rock is a particular strength of Bowen’s, and he was in fine form when he played Nashville’s Exit-In last Thursday (Feb. 9) with Charlie Worsham and Striking Matches. Backed by his usual six-piece band, the beloved Texas artist debuted songs from his upcoming BNA Records album and spirited versions of his older material.
The set kicked off with “God Bless This Town,” a bitter take on the gossip and narrow-mindedness that plagues small town dwellers. He originally recorded the song in 2006, but has re-recorded it for the new album. Other new songs included “All That’s Left,” “Say Anything,” and the rocking “Patch of Bad Weather.”
Years of playing hundreds of dates have given Bowen a commanding stage presence, and he’s built a great chemistry with his band. As a unit, they excel in building the suspense for each new song.
Failed relationships were a popular topic in the evening’s selections, and they range from the haunted memory ballad “Ghost In This Town,” to the done-me-wrong kiss off “Nobody’s Fool,” and breakup aftermath tale “You Had Me At My Best.” He even touched on the casualties of alcoholism in “Daddy And The Devil.” Pretty grim stuff, but the crowd loved it.
Fans were also treated to a special appearance by Dave Loggins, whose “Please Come To Boston” is a staple of Bowen’s live sets. Loggins joined the band onstage for a verse and chorus of the song before turning the stage back over.
Bowen closed out his main set with the cathartic and triumphant “Resurrection,” which ought to feel familiar to anyone who’s ever endured a bad breakup. “We’ve all been there,” he said. “If you haven’t, you’re not living like you should.”
For his encore, he played an acoustic “Before These Walls Were Blue” accompanied by vocalist Jessica Murray. He closed out the evening with one more poison-arrow anthem called “Beat Me Down,” accompanied by the song’s co-writer Sean McConnell and a pack of rowdy music lovers pumping their fists in time.
Being bummed out never felt so good.