Hall of Fame Opens Wynette Exhibit, Ends Miller Residency

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The Country Music Hall of Fame® and Museum recently (8/19) hosted a reception for its new exhibition Tammy Wynette: First Lady of Country Music, Presented by Great American Country Television Network. The exhibit, which runs through June 12, 2011, features video narration by Faith Hill. The reception was supported by RJ Young.

Pictured, left to right, are GAC President Ed Hardy, Faith Hill, GAC SVP Programming Sarah Trahern, Museum Director Kyle Young and RJ Young Marketing Director Lindy Rickert. Photo: Donn Jones

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Buddy Miller performed for the third and final time on Tuesday (8/24) as part of the Country Music Hall of Fame® and Museum’s annual Artist-in-Residence series. Special guests for the sold-out show included longtime friends and collaborators Shawn Colvin, Jim Lauderdale and Emmylou Harris. Guests for the previous two shows included Bill Frisell, Patty Griffin, Tom T. Hall, the McCrary Sisters, Darrell Scott and Lee Ann Womack. Recaps, along with photos and video clips from all three evenings, can be viewed here.

(L-R): Jim Lauderdale, Shawn Colvin, Buddy Miller, Emmylou Harris, Museum Director Kyle Young and VP of Museum Programs Jay Orr. Photo: Donn Jones

Blake Shelton To Debut First Concert Special

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Blake Shelton’s first television concert special will premiere Wed., Sept. 8 on GAC. Shot at Roberts Stadium in Evansville, Indiana, Blake Shelton Live: It’s All About Tonight includes 90 minutes of hits and new music from the Reprise Records artist. Concert footage is interspersed with candid conversations with the star.

The special was produced by Jon Small, the creative mind behind several Emmy-nominated projects including Garth Brooks’ Central Park HBO special.

During the sold-out concert, Shelton offers hits “Austin,” “All About Tonight,” “The More I Drink,” “Kiss My Country Ass,” “She Wouldn’t Be Gone,” “Some Beach,” “Ol’ Red,” and “Hillbilly Bone.” Fans will also hear his new song, “Who Are You When I’m Not Looking,” and see a duet of “Home,” with special guest and fiancé, Miranda Lambert.

AFM President Clarifies Engineer Position

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As President of the Nashville Musicians Association, AFM Local 257, I must clarify the statements made in last Friday’s article in MusicRow regarding engineers joining the Musicians Union. It was premature to say that engineers can “now sign the card on recording sessions.” What should have been said is that we were “considering the possibility of allowing engineers to work under Union recording Agreements when applicable.” This topic is not new and has been discussed with engineers, the AES, and Local 257 members, for quite some time, but no new formal agreement or “understanding” exists, as was stated in Friday’s article.

While it is clear that engineers have the right to join the AFM, when it comes to signing the card as an engineer on a recording session, things are not so simple. After speaking with AFM counsel this morning, it has come to my attention that there are legal obstacles to this concept that cannot be overcome at this time. The 6 p.m. Tuesday meeting was intended to be for an informational discussion, not a formal invitation for engineers to join the AFM as was implied, nor is it intended to be a full scale debate on the topic. I regret any confusion that this incorrect description of where we are in this process may have caused.

The engineer community in Nashville is an important part of our creative process, and Local 257 respects them and the work they do. As we look towards the future, we hope that the positive, constructive dialogue we have had with all segments of the Nashville music community about our collective goals will continue. Local 257 is proud to be the home of “the finest musicians in the world,” and we will continue our mission to represent “Music City” at the highest level possible.

Dave Pomeroy
President, Nashville Musicians Association, AFM Local 257

McClymonts Join Aldean Tour

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Australia’s female fab three, The McClymonts will play a series of tour dates starting Sept. 10 with Jason Aldean. The sister trio, Brooke, Sam and Mollie, also have just released their Gold-in-Australia CD, Chaos and Bright Lights in the U.S.

The album was produced by Adam Anders and the sisters wrote or co-wrote all 12 tracks. Based upon singles from the CD, such as “My Life Again,” “Save Yourself” and “Favorite Boyfriend of The Year,” the trio earned four CCMA (Country Music Association of Australia) Awards including Best New Talent. The Golden Guitar Awards have honored the group three years in a row naming them Group of the Year.

Music entered the sister’s lives at a young age when they began traveling Australia’s east coast on weekends and honing their signature sibling harmonies. Originally from Grafton, on Australia’s New Wales north coast the trio rose to national prominence after doing the “hard yards” or “paying their dues,” as we say in the U.S.

The McClymonts confirmed U.S. tour dates
Date                 Venue                                      City/State
September 10   Expo Center                            Corbin, KY                     w/Jason Aldean
September 17   York Fair Grandstand               York, PA                        w/Jason Aldean
September 18   Wachovia Arena                      Wilkes-Barre, PA            w/Jason Aldean
September 19   Burlington Carousel Festival      Burlington, NC
September 21   Patriot Days Festival                 Lake Havasu City, AZ
September 23   Show Me Center                      Cape Girardeau, MO       w/Jason Aldean
September 24   Bancorp South Arena               Tupelo, MS                     w/Jason Aldean
September 25   Mississippi Coast Coliseum        Biloxi, MS                      w/Jason Aldean
September 30   Leon County Civic Center         Tallahassee, FL              w/Jason Aldean
October 1        North Charleston Coliseum        North Charleston, SC      w/Jason Aldean
October 2        Colonial Life Arena                   Columbia, SC                 w/Jason Aldean
October 3        Harrah’s Cherokee Event Ctr.   Cherokee, NC                w/Jason Aldean
October 7        Heart O’Texas Fair & Rodeo    Waco, TX                      w/Jason Aldean
October 8        American Bank Center              Corpus Christi, TX         w/Jason Aldean
October 9        Las Palmas Race Track Park    Mission, TX                   w/Jason Aldean
October 14      Alliant Energy Center                Madison, WI                  w/Jason Aldean
October 15      Roberts Stadium                        Evansville, IN                w/Jason Aldean

Bobby Karl Works The Dale Franklin Award Dinner

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Pictured last night (L-R): Country Music Hall of Fame Director, Kyle Young; Leadership Music Executive Director, Karen Oertley; Honorees Kris Kristofferson, Fred Foster, Willie Nelson; Leadership Music Board President / Flood, Bumstead, McCready & McCarthy’s Jamie Cheek; BMI President & CEO, Del Bryant. All photos by Kay Williams

The speeches were kept to a minimum, and that left more time for music, music, music.

Dolly Parton and Shawn Camp

The good folks at Leadership Music are going to be hard-pressed to top the talent parade that performed at this year’s Dale Franklin Award ceremony. Staged Sunday evening (8/29) at the Renaissance Hotel ballroom, the event saluted Fred Foster, Kris Kristofferson and Willie Nelson and featured tribute songs from Rodney Crowell, Charlie McCoy, Billy Swan, Dolly Parton, Shawn Camp, Lyle Lovett, Lee Ann Womack, Jamey Johnson, Lorrie Morgan and Randy Travis.

Leadership Music executive director Karen Oertley and current board president Jamie Cheek welcomed everyone. Oertley noted that past recipients of this honor have been Tony Brown (2004), Gerry House (2005), Emmylou Harris (2006), Frances Preston (2007), the Bradley family (Owen, Harold, Patsy, Jerry, Connie, 2008) and Jim Foglesong – Allen Reynolds – Garth Brooks (2009). Tony Brown, Patsy Bradley, Harold Bradley and Jim Foglesong were all in the house.

Vince Gill was our able host for the gala. “What three amazing people, and what a legacy they have built,” he noted. “Fred was a true visionary. The motto at Fred’s label was ‘Monument Is Artistry.’”

Foster’s Monument Records was home to not only Kristofferson, Nelson, Swan, Parton and McCoy, but also to Roy Orbison, Boots Randolph, Tony Joe White, Jeannie Seely (who attended), Larry Jon Wilson, Larry Gatlin, Grandpa Jones, Ed Bruce, Henson Cargill and Ray Stevens, among others.

BMI’s Del Bryant recalled the close friendship forged between Foster and his late father, Boudleaux Bryant. “I’m proud to be a part of the night that honors you,” he said.

Then Crowell and McCoy performed a smoking version of Orbison’s “Dream Baby.” McCoy did his 1972 hit harmonica instrumental of “Today I Started Loving You Again.” Swan romped through his 1974 Monument smash “I Can Help.” Parton performed her 1967 breakthrough hit “Dumb Blonde,” which was produced by Foster.

“It’s amazing how far we’ve come and how far we’ve traveled,” she said. “Thank you for believing in me and for helping me to get started. I love you.”

“I love you, too,” Foster responded. “I will always love you.” Hmmm. I think there’s a song in there somewhere.

Added Foster, “I’m so happy to be part of this music family. To have my name mentioned in the same breath as Dale Franklin is honor enough. I’ve had some wonderful experiences with some wonderful people. This might be the Big Time, right here.”

Attendee Bob Beckham was shown on video, reflecting on Kristofferson’s career. Tribute-show bandleader Shawn Camp was up next, with a sensational cover of “Sunday Morning Coming Down.”

“Man, it’s my birthday!” he exclaimed. “Best birthday present I ever got….I can’t tell you what an honor it is to be part of this night.”

Before I go any further, I have to give a shout-out to the rest of the musicians who backed everyone. They were simply superb – Steve Hinson (steel), Bobby Wood (keys), Kenny Malone (drums), Dennis Crouch (upright bass) and Guthrie Trapp (lead guitar), plus Camp (acoustic guitar) and McCoy (harmonica).

Billy Swan, Kris Kristofferson, and Lyle Lovett

Backed by those guys, Lovett turned in a mesmerizing version of “Me and Bobby McGee.” A tearful Kristofferson gave him a standing ovation. “Kris Kristofferson loves and respects music,” said Lovett. “He takes the personal and makes it universal. He takes the universal and makes it personal.”

Following Womack’s “Loving Her Was Easier,” Tamara Saviano did the award presentation. “The selection committee has chosen well,” she said. “All of us would be better leaders if we followed Kris’s example.

“The Kris I know is a reluctant icon. He is genuinely perplexed by the recognition.”

A clearly moved Kristofferson stammered, “I’m kinda speechless. To be up here getting an award along with Fred Foster and Willie Nelson, I kind of feel like I’m dreaming.”

Host Gill said of Nelson, “They ought to put a fifth head on Mt. Rushmore. He’s done more for this country than just about anybody. He’s what America is all about.”

Steven Colbert appeared on video to salute Nelson. Country radio DJ Hall of Famer Lee Arnold stated of Nelson, “He is the most cherished person in country music today. He has touched more lives than just about anybody, in all genres of music.”

Johnson did “Angel Flying Too Close to the Ground” as a solo with just his own acoustic guitar accompaniment. Backed by pianist Mark Oliverius and the band, Morgan totally nailed the oft-sung “Crazy.”

“I’m such a big fan – This makes me a little bit nervous,” said Travis prior to an excellent rendition of “Funny How Time Slips Away.”

Willie Nelson and Brenda Lee

“My, my what a night,” said award presenter Brenda Lee. “Willie Nelson is certainly a rare commodity. You don’t get more ‘real’ than Willie Nelson. I’ve always wondered how somebody that laid back could get so much done.”

“All the nice things people said about me, I almost gave myself a standing ovation,” quipped Nelson.

Gill summoned all the singers to the stage to round out the evening with a spirited “On the Road Again.” To shouts of acclaim, Nelson again left his seat to lead the merry music making of Camp, Lovett, Travis, Johnson, Swan and Kristofferson.

Not surprisingly, the cheering section was liberally sprinkled with major songwriting talents. In the crowd were Bobby Braddock, Dickey Lee, Beth Nielsen Chapman, Eddy Raven, Bob & Leslie Tomasino DiPiero, Gretchen Peters, Randy Houser, Dene Anton, Guy Clark, Dennis Morgan, Fred Knobloch and the legendary Ronnie Hawkins.

Such notable songwriter boosters as Bart Herbison, Erika Wollam-Nichols, Tim DuBois, Tim Fink, Jody Williams and Phil Graham were in attendance, too. Also working the room were Steve Gibson, Steve Fishell & Tracy Gershon, Charles Dorris, John Dorris, John Lomax III, Jonathan Yudkin, Kay Clary, Kay Williams, Kay West, Kerry O’Neil, Kyle Young, Kira Florita, Ken Levitan, David & Carolyn Corlew, Caroline Davis, Jay Frank, Anita Hogin, Denise Stiff, Ben Vaughn, Blake Chancey, Doug Howard, Rod Essig, Evelyn Shriver, Harry Chapman, Michelle Berlin, Peter Collins, Bonnie Garner, Ed Benson and Jo Walker-Meador.

MR Artist Roster (Aug./Sept. 2010)

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Purchase The Artist Roster Issue

On The Cover: BLAKE SHELTON

Label: Reprise Records
Current Album: All About Tonight
Current Single/Video: “All About Tonight”
Current Producer: Scott Hendricks
Hometown: Ada, Oklahoma
Management: Starstruck Management Group
Booking: William Morris Endeavour
Recent Hits: “Hillbilly Bone” (No. 1), “She Wouldn’t Be Gone” (No. 1), “Home” (No. 1)
Awards: ACM Award for “Vocal Event of the Year” and CMT Award for “Collaborative Video of the Year”
Special TV/Film Appearances: Good Morning America, The Today Show, Chelsea Lately
Birthdate: June 18, 1976
Interesting Facts: Likes orange flavored gum, thinks Chuck Taylors look ridiculous, loves the Golden Girls and garage sales.
Outside Interests: Hunting, gardening (growing watermelon, squash, sweet corn and potted tomatoes)
Musical Influences: Earl Thomas Conley, Bellamy Brothers, Conway Twitty, John Conlee… notice I am not listing anyone who isn’t country
Favorite Record: Somewhere Between Right & Wrong (Earl Thomas Conley)

Two Six Paks in, Shelton is feeling as good as he’s ever felt about his career. “This has been an amazing year for me,” he says. “If you would have told me when I started out that I would have two major awards, a CD in the upper reaches of the charts, a sold-out show at the Ryman Auditorium and a career that’s generally on fire, I would have thought you were pulling my leg.”

He’s got all that and more. The Six Paks, of course, are Blake’s two most recent CD’s, innovative ways to get music into the hands of his fans more often. The first, Hillbilly Bone, included a title track that sped to the coveted No. 1 spot on the singles charts and won Blake two major awards—Vocal Event of the Year from the Academy of Country Music and Collaborative Video of the Year (with his partner in crime Trace Adkins) from CMT.

Now, with the release of the follow-up, All About Tonight, Blake is ready to take it up yet another notch. “No one should be surprised that I love a good six-pack,” says the Ada, Oklahoma, crowd-rocker, “and when you’ve got a party crowd, if one is good, two is better.”

Blake has hit a sweet spot with these latest releases, drawing on the talents of songwriting buddies like Rhett Akins, Dallas Davidson, Ben Hayslip, Jeff Bates, Tony Mullins and Craig Wiseman. All About Tonight continues Blake’s tradition of capturing on record both the touching and the rowdy aspects of country life.

Blake has visited the No. 1 spot on the country singles chart six times, with three of those coming in the last three years. Both “Home” from Pure BS Deluxe and “She Wouldn’t Be Gone” from Startin’ Fires hit the top, and he has not had a single that peaked outside the Top Ten since 2007.

And while he is blazing trails with Six Paks, he is also re-inventing the way country’s rowdier acts are connecting with fans via social networking. Though Twitter, YouTube and the like were once thought to be the domain of younger, more pop-oriented artists, Blake has recreated the genre in his own image. His tweets are irreverent, edgy, timely and hilarious, and they have become the talk of fans and industry alike.

RECORD INDUSTRY CONFESSIONS: Distribution & The Years Of Denial

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David M. Ross

The music industry has partnered with technology many times during the past century and embraced business models that helped it survive and thrive. It is only now in the midst of the digital age that the industry seems unable (or unwilling?) to adapt. Although there are many windows through which to view the current situation, one interesting perspective centers around distribution. Could it be that the music industry, which has always controlled distribution of its product, is now stymied by its inability to recognize it can no longer “lock the store at night?” But first, let’s take a brief look backward…

One of the first truly disruptive technologies to affect the music industry was the invention of the phonograph in 1877 by Thomas Edison. It wasn’t until a few decades later that the format became commercially viable, but the complicated manufacturing process afforded the industry total control over the music and its distribution. By the ’50s there was a battle brewing over various vinyl sizes such as the 45, 78 and 33. Again, although the formats evolved, the industry maintained and expanded its tight grip on distribution. In some cases, companies like RCA Victor owned the music and the players.

By the late ’70s, cassettes had found their way into the mainstream. And although the format with the enclosed tiny tape reels made copying easier than ever before, the quality of copies suffered and the resulting piracy did not prevent the industry from continuing to grow.

But in the ’80s, the CD arrived with a Trojan horse-like, secret surprise. The ones and zeros embedded on the shiny plastic could communicate directly with computers and therefore the Internet. That power grew exponentially in 1994 with the MP3 file. The compressed format boasted the ability to make unlimited exact duplicate song copies distributable worldwide. The cat was out of the bag, the genie out of the bottle and the industry’s established model out of luck.

Jay Frank

Napster (1999) embraced the MP3 file and gave disruptive technology a whole new meaning as it grew from an idea, to a community with over 80 million registered users virtually overnight. Record companies reacted angrily, and fought to regain control of distribution through litigation. Could this event have been exploited to become an ally for the music industry? Undoubtedly. But feeling a threat to its way of life, record labels destroyed Napster and scattered its users. The distributors won the battle, but did not regain control of distribution.

“Napster came on board and caused such an upheaval in the distribution of music that it fundamentally altered the entire music experience,” says Jay Frank in his book FutureHit.DNA (page 28).

After Napster, labels proceeded for years believing that they would soon find a way to lock the unlock-able, to somehow hobble technology and limit the Internet’s ability to freely distribute pirated music.

Charlie Anderson

During the Years Of Denial, the period from Napster’s demise, through the tumultuous years during which the record companies tried to reclaim distribution control using Digital Rights management (DRM), the six majors underwent convulsive change. Sony purchased CBS; and PolyGram and MCA merged into Universal. Then Sony and BMG merged, shrinking the major players from six to four. Plummeting sales and massive declines resulted in additional layoffs and downsizing.

Today industry leaders such as Charlie Anderson, CEO/President of Anderson Cos. which distributes to over 12% of the U.S. CD market, predicts that without substantial change, the CD business could be dead in three years. “If nothing is done for CD sales there will come a day when Walmart, Target and Best Buy will say, ‘It’s just not worth it anymore,’” he says.

Digital entrepreneur Paul Schatzkin who in the mid-90s developed Songs.com, one of the first online music sales sites for independent artists says, “The industry hasn’t merely lost control of distribution, the entire concept has become obsolete. Distribution is predicated on the analog notion of limited supply. Digital technology has made supply effectively both infinite and ubiquitous—which eliminates the need to distribute anything. Those creators and content providers who can foster a stronger sense of connectedness will find value outside the conventional supply chain.” (Schatzkin currently is involved with www.CohesionArts, a digitally-oriented artist management firm.)

Paul Schatzkin

Jay Frank also notes the disruptive force unleashed by the change in distribution. “Nearly every industry maintains some control over distribution in order to maximize profits,” he tells MusicRow. “The digital shift created multiple rapid changes including product configurations, primary retail outlets, music distribution methods and more. Having these all occur at once would cause difficulties in any business. Profitability is still possible, but everyone has to learn new skills and languages quickly.”

Navigating change, however, can be made more difficult by corporate inertia. A recent Wall Street Journal article by Alan Murray and taken from the author’s book The Wall Street Journal Essential Guide To Management presents possible scenarios which may apply as to why adapting has been so difficult for record labels.

“Corporations, whose leaders portray themselves as champions of the free market, were in fact created to circumvent that market,” says Murray. “They were an answer to the challenge of organizing thousands of people in different places and with different skills to perform large and complex tasks, like building automobiles or providing nationwide telephone service. Corporations are bureaucracies and managers are bureaucrats. Their fundamental tendency is toward self-perpetuation. They are, almost by definition, resistant to change. They were designed and tasked, not with reinforcing market forces, but with supplanting and even resisting the market. Yet in today’s world, gale-like market forces—rapid globalization, accelerating innovation, relentless competition—have intensified what economist Joseph Schumpeter called the forces of ‘creative destruction.’ Decades-old institutions like Lehman Brothers and Bear Stearns now can disappear overnight, while new ones like Google and Twitter can spring up from nowhere. A popular video circulating the Internet captures the geometric nature of these trends, noting that it took radio 38 years and television 13 years to reach audiences of 50 million people, while it took the Internet only four years, the iPod three years and Facebook two years to do the same. It’s no surprise that fewer than 100 of the companies in the S&P 500 stock index were around when that index started in 1957.”

Murray points out the shortcomings of the corporate model, but notes that envisioning what’s next is a bit more difficult. “The new model will have to be more like the marketplace, and less like corporations of the past,” he says. “It will need to be flexible, agile, able to quickly adjust to market developments, and ruthless in reallocating resources to new opportunities. Resource allocation will be one of the biggest challenges. The beauty of markets is that, over time, they tend to ensure that both people and money end up employed in the highest-value enterprises. In corporations, decisions about allocating resources are made by people with a vested interest in the status quo. The new model will have to instill in workers the kind of drive and creativity and innovative spirit more commonly found among entrepreneurs. It will have to push power and decision-making down the organization as much as possible, rather than leave it concentrated at the top. Traditional bureaucratic structures will have to be replaced with something more like ad-hoc teams of peers, who come together to tackle individual projects, and then disband. Can the 20th-century corporation evolve into this new, 21st-century organization? It won’t be easy. The innovator’s dilemma applies to management, as well as technology. But the time has come to find out. The old methods won’t last much longer.”

Murray’s premise is already playing out in the music industry as we see barriers to entry such as high recording, marketing and publicity costs come tumbling down. Uncontrolled supply, demand and scarcity have degraded the record industry’s ability to set prices.

Exactly what the new music industry will look like is unknown, but already we are seeing small-yet highly successful examples of corporate enterprise that have taken Murray’s management warnings to heart. It’s a proven fact that the industry can no longer force consumers to pay as they leave the online store. So perhaps they’ll find a way to get them to pay on the way in…regardless, wasting resources desperately trying to achieve a goal which is not achievable —locking distribution—benefits no one.

Friday Photos: Artists On Parade

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Rich And His Uncle In St. Louis
Warner Bros. Records artist John Rich and his pal, Atlantic Records artist Uncle Kracker, recently stopped by WIL in St. Louis to visit with station MD Danny Montana.

(l-r) Uncle Kracker, WIL MD Danny Montana and John Rich

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Trace Adkins Comes In Peace
Trace Adkins brought together several radio stations at a recent stop in Pittsburgh on Toby Keith’s American Ride Tour, proving peace in the Northeast is possible.

(l-r) WOVK/Wheeling, WV PD Jim Elliott; WDSY Marketing & Promotions Jane O’Malia; WDSY PD Keith Clark; WDSY morning show host Monty; Trace Adkins; WOGI PD Dave Anthony; WOGI VP Frank Bell; WOGI afternoon host: Danger Frog; & WOGI media director Josh Walker

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Montana In Tennessee
Mercury Nashville artist Randy Montana stopped by the CMA offices recently to perform songs for the staff including his debut single, “Ain’t Much Left of Lovin’ You.”

(l-r) BMI Director of Writer-Publisher Relations, Bradley Collins; Montana; CMA Senior Coordinator of Member and Industry Relations, Betsy Walker; and Borman Entertainment's Randy Brown.

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Rodney Atkins Joins The Possum
Platinum hit-maker Rodney Atkins recently joined country legend George Jones on stage in Lewisburg, West Virginia to perform the classic Jones hit “I Don’t Need Your Rockin’ Chair.”

Rodney Atkins (left) on stage with George Jones

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Randy Rogers Band Hits No. 1

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MCA Nashville recording artist the Randy Rogers Band made a splash this week with their new album landing at No. 1 on the iTunes country albums chart and No. 2 on the iTunes all genre album chart just behind pop superstar Katy Perry. Their new album, Burning The Day, entered the chart ahead of Fantasia, Usher, Little Big Town and Harmony who also launched new albums this week.

When the band learned they held the No. 2 spot, ahead of a laundry list of superstars, they were thrilled.

“To have the number two album on the iTunes album chart is beyond huge, we’re fired up,” said Rogers. “We’re grateful to our fans and to anyone that decided to click and purchase!”

Critics across the country are raving about the new album in USA Today, Associated Press, Country Weekly, Dallas Morning News among others.

Recently, RRB was selected by Rolling Stone for a marketing campaign that gave them prime visibility leading into the new album launch.

The new album marks the bands third No. 1 on the iTunes. Their last effort, Randy Rogers Band, landed them performance slots on The Late Show With David Letterman, The Tonight Show with Jay Leno as well as an ACM Nomination for Top Vocal Group.

This week you can catch the band on GAC’s On The Streets or log onto AOL.com where you can watch an exclusive Randy Rogers Band concert. Look for the band on GAC’s Headline Country and in an upcoming issue of Country Weekly.

For a complete list of upcoming performances log onto randyrogersband.com.

Source Honors Nashville Women

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SOURCE is movin’ on up, in every way. The organization’s eighth annual awards presentation honoring women in the Nashville music business featured a new venue, more attendees than ever, the announcement of its exhibit at the Nashville Airport, splendid food and an excellent roster of honorees. 

Beginning with the last, saluted this year were Celia Froehlig, Carol Phillips, Sherytha Scaife, Liz Thiels, Ruth White and Frances Preston. Co-host Jeannie Seely presented Phillips, drawing chuckles when she noted that the honoree had worked for Bob Beckham for 35 years at both Combine and Hori-Pro. Beckham took the stage to say that Phillips and 2006 SOURCE honoree Carolyn Sells, “were probably more responsible for any success Combine had than I ever was. I really love what SOURCE is doing for these ladies. If it wasn’t for these ladies, we wouldn’t have a music business.

“It was so much fun working in the music business,” said Phillips in accepting her crystal trophy. “This just means so much to me.”

Co-host Brenda Lee introduced herself to the capacity crowd at the elegantly decorated Noah Liff Opera Center (I just love finding new places to party). “I’m still short,” she said. “I still have big hair. I don’t mind dumb-blonde jokes, because I know I’m not dumb, and I’m certainly not blonde.” 

She told of Froelig’s journey from Hill & Range to Famous, Chappell, Screen Gems, EMI and Black River Music. “She still loves music and the people who make it,” Lee concluded.

“There are so many brilliant, fantastic women in our industry,” said Froelig. “I don’t know what I’ve ever given to the music industry. But what you’ve given me far exceeds it.”

Scaife was presented by Seely, who noted the honoree’s involvement in late husband Cecil Scaife’s Music Incorporated, Hall of Fame Studio, Tennessee Music Publishing and other businesses. Scaife was also the first director of the Country Music Hall of Fame. 

“I’m not much for speeches,” said Scaife, “but I want to thank everyone who helped me.” Her talented children Joe Sciafe and LaRawn Scaife led the cheering section from her table.

Lee described Thiels’s progress from Holder & Kennedy to co- founding The Exit/In to Sound Seventy and the Volunteer Jam to creating Network Ink as Nashville’s first full-service music p.r. firm to her current position at the Country Music Hall of Fame & Museum. The last-named’s Kyle Young said, “I hate to think where we’d be without her. She is the consummate professional.

“I admire your organization,” Thiels told the crowd. “To be recognized by a group of accomplished businesswomen is a great honor to me.”

Seely presented Ruth White, who has worked in just about every capacity in the biz — publishing, radio, management, retail, record companies. She is even the published author of several music books.

“I started in this business in 1947, so I assume this is my last hurrah,” said White. “I worked in this business before there was a Music Row and before David Cobb named us Music City.” 

One of her books is her late steel guitarist husband Howard White’s memoir Every Highway Out of Nashville. “Howard said, ‘Enjoy this. It’ll never come around again.’ And it didn’t. But I wish I could do it all again.”

The legendary Frances Preston’s five-decade career in the music business was recalled by Lee. Preston had attended the cocktail reception, but is currently weakened by complications following hip surgery and had to leave the gala early. She was there to receive SOURCE’s Jo Walker-Meador Lifetime Achievement Award.

“I was thrilled to death to get this invitation to come and present this to Frances,” said Vince Gill. “You could be a kid getting their first songwriter award, or you could be Harlan Howard – and she treated you the same. I really love women. A woman knows how to nurture. A woman knows community. A man never ‘gets’ that. I value these relationships, these friends.”

Son David Preston accepted. “It really meant a lot for her to be honored by her peers, the women of Music Row,” he said. “There are so many women in this town to whom she is an inspiration.” Then he read the speech that Frances had prepared herself: “I told this group I would make it tonight come hell or high water. Well, we had high water in May, and this brace I’m wearing is hell. “There is a network of women helping our industry grow. Let’s hear it for the girls!”

That last phrase, in fact, was the title of the gala staged Thursday (8/26). The Opera Center was bedecked in red roses and silver metallic embellishments. Tables were draped in dramatic black and white. The Chef’s Market catering featured tender roast beef with rosemary sprigs, squash, carrots and baked potato carved into mushroom shapes. Ladyfinger desserts were surrounded by raspberry chocolate and berries and topped with raspberry whipped cream and mint leaves. Following dinner and a quite lively cocktail hour, Kay Smith opened the ceremony by recounting SOURCE’s history. 

The organization was founded in 1991 by Judy Harris, Pat Rolfe and Shelia Shipley-Biddy. It began giving honors out in 2003. On August 18, a new, museum-quality exhibit featuring 25 of SOURCE’’s 53 honorees to date opened in Concourse C of the Nashville Airport. The display will remain there until July 2011.

Music at that reception was provided by Carolyn Martin and her band. Previous honorees in the crowd at either the airport opening and/or the banquet included Patsy Bradley, Rose Drake, Polly Roper Edenton, Pat McCoy, Hope Powell, Jean Stromatt, Hazel Smith, Sandy Neese, Jo Walker-Meador, Cecile Light, Peggy Sherrill, Carolyn Sells, Corky Wilson, Mary Martin and Jan Ray Suk.

Charlie Monk provided the pre-award laughs at the gala. “The music business is so bad, Haiti is giving a benefit for us,” he quipped. He pointed out Anita Kerr Singers member Millie Kirkham in the audience as someone who helped create the Nashville Sound. She stood to receive the crowd’s ovation. Other luminaries working the room were Charlie McCoy, Robert Ellis Orrall, Don Schlitz, Michael Bolton (who had a show at the Wildhorse that night), Johnny MacRae, Lee Clayton, Mayor Karl Dean and Bob Morrison. Schmoozing fabulons included Blake Chancey, David Corlew, David & Karen Conrad, Bill Denny, Bill & Barbara Turner, Judi Turner, Cathy Gurley, Kathy Dozier, Nancy Shapiro, Susan Stewart, Debbie Carroll, Bebe Evans, Fletcher Foster, Walt Trott, Teena Camp, Margie Hunt, Paula Szeigis, Sarah Brosmer, Jill Napier and Katie Gillon. The setting was especially fitting for Kira Florita, who begins work at Nashville Opera next week. 

“We just wanted to start something for women to network and help each other,” said Judy Harris. “Thank you all so much for being here. Have a blessed evening.”

And with that, we called it a night.