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.
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.
Blackburn Introduces Bill To Help Songwriters/Publishers
/by adminPictured shortly after introducing the bill (L-R): Jennifer Purdon (NSAI), Steve Bogard (President, NSAI), Bart Herbison, Congressman Marsha Blackburn, Mickey Kelley (singer/songwriter), Bob Regan
This bill encourages investment in song catalogs and songwriters because such investments can be written off, or amortized, over a short five years, instead of a longer time period.
The “Five Year Method” was authorized by Congress in 2005 for five years to begin in tax year 2006. It expired on Dec. 31, 2010 when it was grouped in with a number of measures during the tax extension reauthorization process. Business models have been underway, based on this legislation, for five years.
Previously music publishers utilized either a “straight-line” 15-yr amortization or the “income-forecast” method which resulted in 90% or more amortized over 2-5 years.
15-Year Method
The 15-year amortization method allows a 6.6% annual straight-line amortization. Unfortunately this method does not encourage potential investors within the music industry or from outside the music industry to invest. (Investment is defined by the signing of songwriters to publishing agreements that involve song catalogs and the outright purchase of song catalogs.)
Income Forecast Method
The “income-forecast” method allowed for much quicker amortization…as much as 90% within two to five years but required projecting every song’s income for the tax year. Prior to the widespread digital distribution of music and all the micro royalties it produces this was relatively simple. Today it is not practical.
NSAI explains the need to re-enact this five year method saying:
Click HERE to read the bill.
UA Tower Finds New Owner
/by Sherod RobertsonAccording to the report, they plan to reopen the building next spring after extensive rehabilitation rebranding the building’s name as “50MSW”.
The building has gone through several incarnations over the years but this renovation, according to Nashville Post, will have “eight stories of open and flexible space offered at economically attractive prices.” Tenants will be allowed to create their own floor plans, a rarity on Music Row.
Click here for pre-leasing information.
Jeff Black Plans Album Release
/by Freeman“I feel like I already have the brass ring in my pocket, just being able to nurture this thing that I’ve wanted, this need to observe and relate, since I was 10 years old,” says Black. “But I had to ask myself, ‘What’s the best way to do it now?’ Over the past decade I’ve learned that I have to make changes in how I create music and put it out there.”
CMA Honors Nominees and Broadcast Awards Winners
/by Michelle(L-R): Moore and Urban, who is nominated for CMA Entertainer and Male Vocalist of the Year.
The 45th Annual CMA Awards is a week away, but the nominees were already celebrating Tuesday night (11/1) at a dinner in their honor at The Pinnacle at Symphony Place in Nashville.
“Keith Urban proposed the idea of CMA hosting a private event to honor all of our nominees,” said Steve Moore, CMA Chief Executive Officer. “It was a great idea and an excellent opportunity for our nominees and CMA Broadcast Awards winners to celebrate in a relaxed setting with members of the CMA Board of Directors without the pressure of a live TV broadcast.”
Each nominee was presented with a commemorative trophy.
The 45th Annual CMA Awards, hosted by Brad Paisley and Carrie Underwood, airs live from the Bridgestone Arena in Nashville, Wednesday, Nov. 9 (8:00-11:00 PM/ET) on the ABC Television Network.
Class of 2011 (L-R): Teresa Davis/KCLR (CMA Small Market Station of the Year); Kix Brooks (CMA National Broadcast Personality of the Year); Charissa Loethen/KCLR (CMA Small Market Personality of the Year); Dann Huff (CMA Musician of the Year nominee); Trey Fanjoy (CMA Music Video of the Year nominee - Director "Honey Bee"); Scott Hendricks (CMA Album of the Year nominee- Producer All About Tonight); Keith Urban (CMA Entertainer and Male Vocalist of the Year nominee); Jim Shea (CMA Music Video of the Year nominee - Director "Old Alabama"); Clay Cook of Zac Brown Band (CMA CMA Vocal Group, Album, Single, and Musical Event of the Year nominee); Sam Bush (CMA Musician of the Year nominee); David McClister (CMA Music Video of the Year nominee- director "If I Die Young"); Karen Fairchild, Jimi Westbrook, Kimberly Schlapman, and Phillp Sweet of Little Big Town (CMA Vocal Group of the Year nominee); Joe Don Rooney, Gary Levox, and Jay DeMarcus of Rascal Flatts (CMA Vocal Group of the Year nominee).
Country Added To Grammy Noms Concert, Thanksgiving Parade
/by Sarah SkatesFrom the country camp, Jason Aldean was previously announced. Also on the docket are Ludacris, Lupe Fiasco, Lady Gaga, and host LL Cool J. There will also be a surprise announcement about a historic band reunion set to take place on the GRAMMY stage on Feb. 12, 2012.
The one-hour nominations special airs on the CBS Television Network at 9 p.m. CT. Following suit of many awards shows and similar events, tickets are available to the public.
Rodney Atkins and Scotty McCreery will perform on the annual Macy’s Thanksgiving Day Parade®, making its way down the streets of New York City on Thursday, Nov. 24 at 9 a.m. It will air on NBC.
The 85th Anniversary celebration will have over 8,000 participants including additional performers Mary J. Blige, Cobra Starship, Neil Diamond, Cee Lo Green, Avril Lavigne, and Daniel Radcliff.
“The Voice” Gears Up For Season 2
/by Sarah SkatesA few changes in the works for the new season of the NBC hit include more contestants per team (up from eight to 12), as well as extended show time devoted to the blind audition rounds. Christina Milian is on board as the new social media correspondent.
Executive producer Mark Burnett told the press that viewer feedback enticed producers to devote more time to the blind auditions. Compared to last year, there was also more time to produce those episodes. Burnett also talked about how the big red chairs have become another star of the show.
Season 1 provided room for the contestants and judges to figure out the dynamics and strategy of the show, so expect more savvy on all sides for the upcoming season. One new contestant even enticed judges to promise to keep him/her on the show for a few rounds if he/she joined their team.
New Valory Music Signing
/by FreemanThe Georgia native is the son of singer/songwriter Rhett Akins, and may have inherited some of his father’s songwriting prowess. In 2010, while still enrolled at Nashville’s Lipscomb University, Rhett signed a publishing deal with EMI and promptly got a cut on Jason Aldean’s double-platinum My Kinda Party with “I Ain’t Ready To Quit.”
“I honestly can’t believe all of this is finally here! I am so pumped to be working with The Valory Music Company!” says Rhett. “There is no doubt in my mind that Scott Borchetta and his staff are the most caring, family-oriented, hardest working team in the business. It truly is an honor to be labelmates with Brantley, Justin and Reba.”
Rhett is currently working on his debut album and playing select dates on Brantley Gilbert’s fall headlining tour (dates included). He is managed by Virginia Davis of B.A.D. Management.
Upcoming Dates:
Nov 3 — Cincinnati, OH (Bogart’s)
Nov 4 — Indianapolis, IN (8 Second Saloon)
Nov 5 — Chicago, IL (Joe’s)
Nov 10 — Nacodoches, TX (Banita Creek Hall)
Nov 11 — Texarkana, AR (Shooters)
Nov 12 — Tyler, TX (Electric Cowboy)
Nov 18 — Goliad, TX (Schroeder Dance Hall)
Dec 1 — Lubbock, TX (Wild West)
Dec 9 — Wichita Falls, TX (Denim & Diamonds)
Dec 10 — Amarillo, TX (Midnight Rodeo)
Dec 15 — Lafayette, LA (Outlaws)
Dec 16 — Abilene, TX (Guitars & Cadilacs)
Dec 17 — Lawton, OK (CW Scooters)
Hall Of Fame Highlights Nudie Cohn
/by Caitlin RantalaIt traces the tailor’s journey across America, from designing burlesque costumes in New York to opening his legendary shop in North Hollywood. Cohn created ornamented masterpieces for A-list performers including Gene Autry, Elton John, Gram Parsons, Elvis Presley, Roy Rogers, Hank Williams and many others. For decades, his rhinestone-studded, colorful western wear helped shape the images of some of country music’s biggest stars.
The exhibit will run through November 2012.
Other current spotlight exhibits focus on the Academy of Country Music Awards, Bobby Braddock, Reba McEntire, Bill Monroe, Brad Paisley, Rascal Flatts, Jean Shepard, Carrie Underwood, Porter Wagoner and Hank Williams Jr.