Doug Johnson
By: James Rea
James Rea of The Producer’s Chair conversation series checked in with Johnson about his new gig. Don’t miss their one-on-one interview Thurs., Nov. 17, 6 p.m. at Douglas Corner.
Tony Brown was right on the money when his recommendation to Irving Azoff ultimately landed Doug Johnson the presidency at Giant Records. After 30 successful years, Johnson’s latest role is VP, A&R at Black River Entertainment.
To date, he’s had significant production credits, and over 100 cuts including seven No. 1s and 10 Top 10s. His career includes time as Sr. VP of Epic Records Nashville and a recent tenure at Curb. Talk about bridging the gap between business and creative—just put an executive/hit songwriter in charge. But Johnson has no delusions about what’s behind all of his success.
Johnson: It’s all about the song. It’s the only thing that solves every problem that we have here on The Row. Every other job I’ve had means absolutely nothing without a GREAT song.
Q: Are you still doing a lot of writing?
Johnson: I’m gonna be. And that was part of the deal with Black River. I’m as much an A&R guy as a writer, so that is a way in with other writers. We have mutual respect.
Q: Are you often surprised by a song on the radio?
Johnson: We can all get confused if we look at radio and look for songs that we don’t love that have done well. But I’m not going to spend too much energy on that. We tend to take our favorite songs and put them in a group. And then we expect radio to always be as good as that group.
At the NSAI Songwriter Hall of Fame dinner you had Garth, Alan, Wynonna and Taylor there. They have phenomenal sales in our format. Over 250 million records, and as hard and as frustrating as it is today, in country music, we need to remind ourselves of that.
Q: Can you tell when a writer has had their heyday?
Johnson: We often see that. It’s human nature in sports, or anything else. I don’t know if their hunger to create or their perspective changes, or they take their eye off the ball, or maybe the format subtlety changes. But then you’ve got Bill Anderson who has been up for Song of the Year a couple of times over the last few years, and six decades of Harlan Howard. So I don’t think it has to happen.
Instead of getting frustrated about not having as many hits this year as last year, it needs to be about the love of the song. There are going to be times when writers get on a roll and then it seems to slows down.
Q: Is there a publishing arm at Black River?
Johnson: Yes, Celia Froehlig runs it, one of the great publishers in this town. She is amazing and she’s the writer’s best friend. A big part of Black River is going to be artist/writer development. I love that. I was doing quite a bit of that at Curb with four or five brand new acts. It was hard walking away from them, but I knew they were in good hands. I’m looking forward to doing that here.
Q: There’s a lot of bitchin’ about how much more difficult it is to get cuts these days, for a number of reasons like labels signing more artist/writers, not to mention producers and others close to the artist, who write and who have publishing interests.
Johnson: We as songwriters need to have the best song that the artist and record company can find, outside, to get on a project. Take “The House that Built Me,” Blake Shelton was going to cut it, and he was not connected to it, and he gave it to Miranda, who was also not connected to it. It’s just a great song.
Now it seems that new artists have to have an up-tempo record. I’d love to get MusicRow’s David Ross or somebody to go back and look from 1990 until now to see every artist’s first hit. Alan Jackson’s second record was “Here in the Real World.” His first record was a tempo, and I don’t even know if it went top 40. So I would call his first impact record a ballad.
Also, how many hits that aren’t associated through publishing and writing happened last year? I think it would be healthy to see that it happens. People find songs inside simply because they’re aware of it.
Last year I had two hits at Curb as a writer. One was “She Won’t be Lonely Long” with Clay Walker. Kelly Lynn pitched that song to him. The other, “Love Like Crazy,” I sent to Lee Brice myself.
The only reason why somebody is going to cut my song or an outside song is because they think it’s a career song, or such a special album song that they need it on their project and in their live show. It’s Garth 101. He found about half of them and co-wrote about half. And he was one of the greatest artist/co-writers who ever lived in this town. That’s something to strive for.
Q: Are we making albums the way we used to?
Johnson: I think most of us are trying to load up ten shots at a career single on an album, which does not make for a great album. We should strive to make sure we’ve got three or four songs that sound like radio hits. Maybe we are in the singles business.
Q: If that’s the case then why are we still putting 10-12 songs on an album?
Johnson: Because it’s still 70% of our sales. That’s the last number I heard. Digital hasn’t replaced that yet. Hopefully we develop artists that somebody wants to take the complete package home and own it. We have to earn their trust that if they buy ten or twelve songs by a particular artist that it’s worth their money.
Q: What is the biggest challenge our industry is facing?
Johnson: Math. How much we’re spending on records to get played on the radio and what the potential sales are. And yet, radio needs us promoting like we do.
As a co-writer and co-publisher of the Lee Brice song, I was very blessed to have the longest-lasting Billboard song and single ever on the Country charts. But as a record label, it sucked, because we had to promote a single for 56 weeks. We used to promote one for 13 or 14 weeks and we could have four singles on a new artist in one year. The math is a real challenge and yet we don’t see the sales equating the difference.
Q: Is there a special project that you’ve always wanted to produce?
Johnson: I’m a huge fan of so many people, but I love helping a young artist find him or herself and have the nerve to be honest. So many artists are afraid to say the wrong thing. I want them to come show us how to do it, to come bend the rules. It’s an insane dream, but we’re in a business where that can happen.
Nail Gives Exclusive Album Sneak Peek
/by Caitlin RantalaIt was standing room only when Universal Chairman and CEO, Luke Lewis, introduced the Grammy-nominated artist. Lewis gave Nail an “all-in-good-fun” introduction, calling the singer out on his rocky start in the industry nearly ten years ago. “He was just this cocky kid when I met him,” Lewis said, explaining that after signing Nail to the label, he later dropped the singer only to resign him again five years later. “We dropped him because he was an asshole,” Lewis went on jokingly, “And he still is one, but just not as much.”
“Wow,” Nail laughed along with the audience, “I’ve had some introductions before, but never quite like that.” On a more serious note, Nail took a minute to express gratitude for his success, saying at thirty-one years old, he never expected to have one, let alone two, albums.
Nail opened his 30-minute acoustic set with the title track off his album, “The Sound of a Million Dreams,” knocking it out of the park. Nail’s performance also included his current radio single “Let It Rain,” and “Red Light,” the hit off his previous album I’m About To Come Alive. He went on to perform an impromptu rendition of “Catherine,” a song off his upcoming album dedicated to his wife. “I’m sorry, I don’t normally play this acoustic,” Nail told the audience, “but I just found out twenty minutes ago that my wife would be here, and I promised to play this song whenever she was in the room.” The set list change was a treat and everyone swooned along.
Produced by Chuck Ainlay and Frank Liddell, The Sound of a Million Dreams is slated for release Tuesday, Nov. 15 on MCA Nashville.
In addition to his new album, Nail is finishing up a touring stint with Taylor Swift. He is scheduled to open for her Speak Now Tour this Saturday, Nov. 5. He also recently performed “God Bless America” last week during the seventh inning stretch at the World Series.
CountryBreakout No. 1 Song
/by FreemanThat’s the feeling captured in Lady Antebellum’s “We Owned The Night,” which is now the CountryBreakout Chart’s new No. 1 song. Written by group members Dave Haywood and Charles Kelley with songwriting all-star Dallas Davidson, the tune recalls a short fling from the past and the lasting impression it created. “We Owned The Night” is the second single (and sort of title track) from the trio’s third album Own The Night (Capitol Records), produced by Paul Worley. It’s still a young single at 12 weeks old, but it’s clearly a potent one.
Lady Antebellum has of course “owned” just about everything else in the past couple years, from winning numerous CMA and ACM honors to practically sweeping the 2010 Grammy Awards. Their second album Need You Now has sold over five million copies worldwide, and they will be honored as one of CMT’s five Artists of the Year in December. Their Own The Night arena tour of North America has been extended through Summer 2012, with Darius Rucker and Thompson Square supporting.
Kids, get your cell phones and/or lighters ready.
Weekly Chart Report (10/04/11)
/by FreemanMark Wayne Glasmire recently visited with WATZ/Alpena, MI and performed his new single “Going Home”. After hearing about the Michigan Legend of The Michigan Dogman (seriously, Google it), Mark announced he was ready to go home. (L-R) WATZ MD Susie Martin, Mark Wayne Glasmire
RADIO NEWS
El Dorado Broadcasters KTTI/Yuma, AZ morning co-host Misty Smith has taken over PD duties following the departure of Jay Walker, who left the station to pursue a career in the restaurant industry. Smith has been with the station five years, and will segue to the midday airshift. Reach out to her here.
SPIN ZONE
Nashville’s hottest new country stars populate the top of this week’s CountryBreakout Chart, with Lady Antebellum’s “We Owned The Night” taking over the No. 1 spot. Miranda Lambert’s “Baggage Claim” moves up to No. 2 ahead of Brantley Gilbert’s recent No. 1 “Country Must Be Country Wide.” Jason Aldean’s “Tattoos On This Town” is in the hunt at No. 4 and being chased by Eric Church’s “Drink In My Hand” at No. 5.
Always reliable George Strait leaps onto the chart with his new single “Love’s Gonna Make It Alright,” debuting at No. 57. Also making their first chart appearances are David Bradley’s “If You Can’t Make Money” at No. 71, Mark Wayne Glasmire’s “Going Home” at No. 75, Erica Nicole’s “Shave” at No. 76, Burns & Poe’s “I Need A Job” at No. 77, Bill Gentry’s “This Letter” at No. 79, and Joanna Mosca’s “Where Does Good Love Go” featuring Richie McDonald at No. 80.
Frozen Playlists: KITX, KYKX, KYYK, KZTL, WAKG, WTCR, WYBL
Upcoming Singles
November 7
Rodney Atkins/He’s Mine/Curb
George Strait/Love’s Gonna Make It Alright/MCA
November 14
Wade Bowen/Saturday Night/Sea Gayle/BNA
Love and Theft/Angel Eyes/RCA
Mark Cooke/Any Way The wind Blows/CVR/Quarterback
• • • • •
New On The Chart—Debuting This Week
Artist/song/label — chart pos.
George Strait/Love’s Gonna Make It Alright/MCA — 57
David Bradley/If You Can’t Make Money/Gecko Music Productions — 71
Mark Wayne Glasmire/Going Home/Traceway — 75
Erica Nicole/Shave/Heaven Records — 77
Burns & Poe/I Need a Job/Blue Steel — 78
Bill Gentry/This Letter/Tenacity Records — 79
Joanna Mosca w/ Richie McDonald/Where Does Good Love Go?/Dolce Diva Music — 80
Greatest Spin Increase
Artist/song/label — spin+
Toby Keith/Red Solo Cup/Show Dog-Univeral — 409
Keith Urban/You Gonna Fly/Capitol — 408
George Strait/Love’s Gonna Make It Alright/MCA — 355
Trace Adkins/Million Dollar View/Show Dog-Universal — 288
Brad Paisley/Camouflage/Arista — 265
Most Added
Artist/song/label — New Adds
George Strait/Love’s Gonna Make It Alright/MCA — 31
Trace Adkins/Million Dollar View/Show Dog-Universal — 17
Keith Urban/You Gonna Fly/Capitol — 16
Scotty McCreery/The Trouble With Girls/19 Ent./Mercury — 10
Toby Keith/Red Solo Cup/Show Dog-Univeral — 10
Lee Brice/A Woman Like You/Curb — 10
Rodney Atkins/He’s Mine/Curb — 9
On Deck—Soon To Be Charting
Artist/song/label — spins
McGuffey Lane/Bartender/Lick — 120
Shane Yellowbird/Bare Feet On The Blacktop/On Ramp — 118
Mockingbird Sun/Lucky Guy/Toomey Starks — 114
Bryan Cole/Pride & Passion — 109
Gloriana/(Kissed You) Good Night/Emblem/WMN — 104
CMT Radio Live With Cody Alan landed in Dallas for the second stop on the show’s tour, and visited with local CMT Radio affiliate, KPLX-FM 99.5 The Wolf. They broadcasted live and hosted a free concert featuring Rodney Atkins, JT Hodges and Ashley Gearing at Billy Bob’s in Ft. Worth (L-R): Cody Alan, JT Hodges, Stephen Linn, Ashley Gearing, Mark Phillips, Rodney Atkins
Buddy Jewell has been out visiting country radio in support of his new single “Jesus, Elvis, and Me,” which is now at No. 44 on MusicRow’s CountryBreakout Chart. (L-R): Jewell, Al Brock (Spin Doctors Promotions), Jason Aldridge (WYVY/Union City TN)
Cold River Records artist Katie Armiger performed at WGH/Norfolk-Virginia Beach’s “Up Close & Personal” concert series yesterday at the station’s own venue, the Eagles’ Nest Rockin’ Country Bar. (L-R): Mark McKay (WGH APD/MD/afternoon), Katie Armiger, and John Shomby (WGH PD), Mary Lynne O’Neal (Cold River)
Charlie Cook On Air
/by contributorThese ideas make coming up with topics for this column easy. Coming up with ideas is the hardest part of writing this column. So now and in the Spring. Two down, 50 to go.
To make it even easier I reached out to some friends to give me their perspective of the format as of November 4, 2011. Really, the ideas are the only hard part if you have any friends at all.
I asked them only one question. “What is the state of the format days before the CMA Awards show?”
I reached out to label bigwigs (major and indie), a disc jockey, programmers and other trade organizations. I did not ask Steve Moore, CEO of the CMA, or CMA Board Chairman Steve Buchanan because they are going to get enough print this weekend.
First to weigh in is Tom Baldrica, president of Average Joe’s Entertainment. “From my perspective, there is an excitement and vibrancy in country music right now—with authentic, real music (and musicians) being discovered, shared and evangelized by the younger demo. In addition to what they hear on the radio, they are scouring YouTube, attending live shows, sharing files and engaging with other fans of similar tastes.”
Having a level of excitement about the music and the acts is about all we can ask for. From Brad and Carrie to The Band Perry we do have exciting acts. It isn’t every year that a group in the New Category goes Triple Platinum the month before the award is passed out.
Paul Freeman, afternoon disc jockey at KKGO/Los Angeles is excited about the energy in today’s country music. “American Idol, The Voice, and the Apprentice (are) all giving Country Music national exposure along with really great upbeat music coming from Nashville this year.”
It seems like passion and appeal beyond the genre is important for radio personnel. “The format has done a great job in adding very vibrant talent to an already strong roster of artists,” says KEEY/Minneapolis Programmer Gregg Swedberg. “Our stars are stars, no matter whether we get proper credit from the rest of the world (and we don’t). Our audience is passionate about many artists. Sales are great, concert business is great, ratings are generally great, and there is an obvious path forward. We cross over into other formats and young people are interested in what we do.”
The CMA and ABC gotta love the “stars are stars” part of Gregg’s comment. In the past and today the format got boosts from TV and movies. The film Urban Cowboy gave the format a lift many years ago and there was a time when Country acts were on TV every week with Barbara Mandrell’s show, Reba and Billy Ray Cyrus with some young lady named Miley. Or was it Hannah?
Today Trace Adkins is quickly recognized from his appearance on The Apprentice. Reba will be back on weekly TV next year and Taylor has acted on TV and in the movies. Brad and the Flatts were on the little screen in high profile situations.
Programmer extraordinaire Becky Brenner put her thoughts to music. You’ll have to hum along in your head. “Country is country wide, in fact it is worldwide and sizzling hot. Whether you’re a family man, a farmer’s daughter, a homeboy or an all American girl you can feel that fire! We should be proud of this house we built. I got a feelin’ we must be doin’ something right. Welcome to the Future. God bless the USA, we’ve all gone Country!”
Really! I asked you to hum along IN YOUR HEAD.
Echoing what Gregg said, Becky continues, “There has never been a more exciting time in the country format. Country music is connecting with more people worldwide than ever before.”
The recent announcement that the Wembley Festival is being resurrected in Great Britain is great news for Country fans in Europe and all around the world. Needless to say, it is also good news for Music Row.
Though John Anthony of WKWS in Charleston, WV, has some concerns about the broad appeal. “I’m excited to see the success of new artists such as Chris Young, The Band Perry, Zac Brown Band and Miranda Lambert,” he says. “But (I’m) concerned for the amount of Country songs that are crossing over to our sister AC station. Today alone, Jason Aldean, Rascal Flatts, Taylor Swift, Lady Antebellum, Carrie Underwood, The Band Perry and Diamond Rio.”
The debate over whether Country Music should be played on non-country stations is one only going on in radio stations. I have heard record people say, “We don’t want (fill in the blank) changing his music to get on AC radio.” Hogwash. They tell Country radio that while NY is dialing and smiling to AC and CHR radio.
Arista Nashville VP National Promotion Lesly Tyson has a more solid position on the issue. She was asked a couple of weeks back in All Access, and she told me the same things, on the topic of whether she is concerned about Country acts crossing over and losing their identities. Lesly said, “I’m really not. Brad and Carrie, for example, are both Country artists. They have built incredible fan bases of people who love their music and love who they are as people. Exposing them to more people through their music when it works in another format does not change that in any way.”
Lesly makes a great point about the fan base loving them as people and what they stand for. We would never catch Carrie dressed like Rihanna (darn!) or Lady GaGa. I don’t think we’ll ever hear Brad Paisley and Chris Brown in the same sentence. (Now watch Robert Deaton put them together on the show next week).
I didn’t exactly go to anyone who would say anything overly negative about the format but what I heard here is that radio wants energy and tempo and records want diversity and more exposure.
Me, I want Carrie to rethink those Rihanna outfits.
Keith Urban To Undergo Surgery
/by Sarah SkatesUrban has had to substantially scale back his appearances requiring multiple songs, but will be honoring his pre-existing one-song performance commitments leading up to his procedure at the end of this month. All other appearances will be rescheduled in the new year.
Wynonna Tour Brings “Thanks & Giving”
/by Sherod RobertsonIn 2010, OWN followed the country duo on their tour, The Judds: Final Encore. The six-episode docu-series premiered on the network in April with the highest ratings outside of OWN’s launch week. With the success of the show and the farewell tour behind her, Wynonna is back touring solo. In gratitude of the loyal support of her fans over the years, Wynonna will also host a “Thanks & Giving” meet and greet at every stop along the tour.
Before closing out the year, Wynonna will return to the studio in December to continue working on her eighth studio album for Curb Records.
Wynonna’s fall tour will visit the following cities:
11/03/11 – Phoenix, AZ – Celebrity Theatre
11/04/11 – Palm Desert, CA – McCallum Theatre for the Performing Arts
11/05/11 – Yuma, AZ – Paradise Casino
11/06/11 – Northridge, CA – Valley Performing Arts Center
11/08/11 – Yountville, CA – Lincoln Theater
11/09/11 – Lemoore, CA – Tachi Palace Hotel & Casino
11/11/11 – Reno, NV – Silver Legacy Hotel
11/12/11 – Turlock, CA – Turlock Community Theatre
11/13/11 – San Luis Obispo, CA – Christopher Cohan Performing Arts Center
11/15/11 – Arcata, CA – John Van Duzer Theatre
11/17/11 – Snoqualmie, WA – Snoqualmie Casino Ballroom
11/19/11 – Aberdeen, WA – D&R Theatre
Visit www.wynonna.com for more info.
CMA Awards Add Presenters, Chevy Partnership
/by Sarah SkatesOther just-in news from the show: Singer/songwriter Matt Nathanson will perform his new single “Run” with Sugarland. The artists co-wrote the tune and toured together earlier this year.
Singer/actress Laura Bell Bundy will host the Pre-Telecast Award Ceremony, where she will present Awards to the winners in three CMA Awards categories as well as to recipients of the CMA Broadcast Awards.
Luke Bryan will be the Nashville red carpet correspondent for the Ellen DeGeneres Show. That night he is nominated for New Artist and will also perform. The segment will air on Ellen Thurs., Nov. 10.
Bryan made his first appearance on Ellen in late September to perform his smash hit “Country Girl (Shake It For Me)” and also portrayed “Pierre” in Ellen’s ongoing soap opera drama, “As the Tide Turns” (see clip below).
Celebs strolling the red carpet will be asked to autograph a 2012 Chevy Camaro convertible. CMA Awards co-host Brad Paisley will be the first artist to sign the hood when he performs live on ABC’s Good Morning America on Tuesday, Nov. 8 from the Bridgestone Arena Plaza in Nashville.
Chevy donated the car to be auctioned off to benefit the CMA music education initiative Keep the Music Playing. The two-year partnership between Chevy and CMA for the cause will be highlighted during a segment of the awards show featuring students from Nashville School of the Arts.
Valory Names New VP Promotion
/by Sarah SkatesThe Valory Music Co. recently hosted a radio gathering at Brantley Gilbert’s sold-out performance in Foxboro, MA. They also used the opportunity to introduce the label’s newest artist, Thomas Rhett. Back Row: George Briner, Mike Brophey (WKLB), Dave Hovel (WXCY), John "JT" Thomas (KYGO), Kris Wilson (Citadel) Mike Ferris (WMAD), Mike Tyler (WPKX), JoJamie Hahr (Valory), Miranda Williams-McDonald (Valory) Front: Bob Walker (WCTK), Don Gosselin (WNOE), Thomas Rhett, Brantley Gilbert, Brooke Yancey (Valory)
The Valory Music Co. has promoted George Briner to Vice President of Promotion, up from his previous post as VP of Field Promotion. His vast industry experience includes stints at Warner Bros., DreamWorks and Universal Nashville as well as the National Director of Promotion for BNA.
“Having worked with The Valory Music Co. and the Big Machine Label Group for the past four years, it was an honor to receive this promotion. Scott Borchetta’s vision and dedication, as well as the hardworking team, are the reasons I love working for this company,” said Briner.
Borchetta added, “George is the consummate record man. His undying passion and energy for our music and our mission is second to none.”
Valory VP Promotion Chris Loss also remains with the company, and a label rep says that he is overseeing some national promotion initiatives.
Briner can be reached at (615) 324-7782 or George.Briner@valorymail.com. He will report directly to Borchetta.
No Shave November Gets Hairy For Charity
/by FreemanParticipants were required to start the month of November with a clean shave (on Oct. 31) and will let their whiskers grow for the following 30 days. Clean-shaven “before” photos were posted on the event’s Facebook page, and “after” photos will be posted at the end of November. Participants include WMN veeps Chris Stacey, Bob Reeves, and Peter Strickland (essentially the male members of the label’s promo staff), Thompson Square manager Shawn Pennington, UMG veep Damon Moberly, plus numerous other music industry figures and country radio personnel.
(Full disclosure: I too am among the recently de-bearded, and might be able to pass for late twenties for a couple more days. Don’t get used to it.)
The cost to enter was $30, and outside parties can pay an additional $30 to invoke the “Meeker clause” and allow a participant to shave before month’s end. The clause was named for WMN regional George Meeker, who entered last year’s contest as a newlywed and was asked by his wife to shave. An additional $30 is required to trump a request to shave. The benefit’s original fundraising goals of $2500, $5000, and $10,000 have already been smashed, and a new goal of $20,000 is in place.
On Nov. 30, The Moose Music Row grooming lounge will host a Beard Bash, where prizes will be awarded and a “No Shave November Champion” will be named by celebrity judges. “We are really excited to be part of No Shave November and are looking forward to hosing the Beard Bash! It’s going to be awesome!” says Moose Music Row owner April Feenstra.
To show make a donation for the event or on behalf of an individual, visit the event page.
Q and A: Doug Johnson Digs Into New Role
/by contributorDoug Johnson
By: James Rea
James Rea of The Producer’s Chair conversation series checked in with Johnson about his new gig. Don’t miss their one-on-one interview Thurs., Nov. 17, 6 p.m. at Douglas Corner.
Tony Brown was right on the money when his recommendation to Irving Azoff ultimately landed Doug Johnson the presidency at Giant Records. After 30 successful years, Johnson’s latest role is VP, A&R at Black River Entertainment.
To date, he’s had significant production credits, and over 100 cuts including seven No. 1s and 10 Top 10s. His career includes time as Sr. VP of Epic Records Nashville and a recent tenure at Curb. Talk about bridging the gap between business and creative—just put an executive/hit songwriter in charge. But Johnson has no delusions about what’s behind all of his success.
Johnson: It’s all about the song. It’s the only thing that solves every problem that we have here on The Row. Every other job I’ve had means absolutely nothing without a GREAT song.
Q: Are you still doing a lot of writing?
Johnson: I’m gonna be. And that was part of the deal with Black River. I’m as much an A&R guy as a writer, so that is a way in with other writers. We have mutual respect.
Q: Are you often surprised by a song on the radio?
Johnson: We can all get confused if we look at radio and look for songs that we don’t love that have done well. But I’m not going to spend too much energy on that. We tend to take our favorite songs and put them in a group. And then we expect radio to always be as good as that group.
At the NSAI Songwriter Hall of Fame dinner you had Garth, Alan, Wynonna and Taylor there. They have phenomenal sales in our format. Over 250 million records, and as hard and as frustrating as it is today, in country music, we need to remind ourselves of that.
Q: Can you tell when a writer has had their heyday?
Johnson: We often see that. It’s human nature in sports, or anything else. I don’t know if their hunger to create or their perspective changes, or they take their eye off the ball, or maybe the format subtlety changes. But then you’ve got Bill Anderson who has been up for Song of the Year a couple of times over the last few years, and six decades of Harlan Howard. So I don’t think it has to happen.
Instead of getting frustrated about not having as many hits this year as last year, it needs to be about the love of the song. There are going to be times when writers get on a roll and then it seems to slows down.
Q: Is there a publishing arm at Black River?
Johnson: Yes, Celia Froehlig runs it, one of the great publishers in this town. She is amazing and she’s the writer’s best friend. A big part of Black River is going to be artist/writer development. I love that. I was doing quite a bit of that at Curb with four or five brand new acts. It was hard walking away from them, but I knew they were in good hands. I’m looking forward to doing that here.
Q: There’s a lot of bitchin’ about how much more difficult it is to get cuts these days, for a number of reasons like labels signing more artist/writers, not to mention producers and others close to the artist, who write and who have publishing interests.
Johnson: We as songwriters need to have the best song that the artist and record company can find, outside, to get on a project. Take “The House that Built Me,” Blake Shelton was going to cut it, and he was not connected to it, and he gave it to Miranda, who was also not connected to it. It’s just a great song.
Now it seems that new artists have to have an up-tempo record. I’d love to get MusicRow’s David Ross or somebody to go back and look from 1990 until now to see every artist’s first hit. Alan Jackson’s second record was “Here in the Real World.” His first record was a tempo, and I don’t even know if it went top 40. So I would call his first impact record a ballad.
Also, how many hits that aren’t associated through publishing and writing happened last year? I think it would be healthy to see that it happens. People find songs inside simply because they’re aware of it.
Last year I had two hits at Curb as a writer. One was “She Won’t be Lonely Long” with Clay Walker. Kelly Lynn pitched that song to him. The other, “Love Like Crazy,” I sent to Lee Brice myself.
The only reason why somebody is going to cut my song or an outside song is because they think it’s a career song, or such a special album song that they need it on their project and in their live show. It’s Garth 101. He found about half of them and co-wrote about half. And he was one of the greatest artist/co-writers who ever lived in this town. That’s something to strive for.
Q: Are we making albums the way we used to?
Johnson: I think most of us are trying to load up ten shots at a career single on an album, which does not make for a great album. We should strive to make sure we’ve got three or four songs that sound like radio hits. Maybe we are in the singles business.
Q: If that’s the case then why are we still putting 10-12 songs on an album?
Johnson: Because it’s still 70% of our sales. That’s the last number I heard. Digital hasn’t replaced that yet. Hopefully we develop artists that somebody wants to take the complete package home and own it. We have to earn their trust that if they buy ten or twelve songs by a particular artist that it’s worth their money.
Q: What is the biggest challenge our industry is facing?
Johnson: Math. How much we’re spending on records to get played on the radio and what the potential sales are. And yet, radio needs us promoting like we do.
As a co-writer and co-publisher of the Lee Brice song, I was very blessed to have the longest-lasting Billboard song and single ever on the Country charts. But as a record label, it sucked, because we had to promote a single for 56 weeks. We used to promote one for 13 or 14 weeks and we could have four singles on a new artist in one year. The math is a real challenge and yet we don’t see the sales equating the difference.
Q: Is there a special project that you’ve always wanted to produce?
Johnson: I’m a huge fan of so many people, but I love helping a young artist find him or herself and have the nerve to be honest. So many artists are afraid to say the wrong thing. I want them to come show us how to do it, to come bend the rules. It’s an insane dream, but we’re in a business where that can happen.