From Gibson Guitar:
Born Lester William Polsfuss in Waukesha, Wisconsin on June 9, 1915, Les Paul was already performing publicly as a honky-tonk guitarist by the age of 13. So clear was his calling that Paul dropped out of high school at 17 to play in Sunny Joe Wolverton’s Radio Band in St. Louis. As Paul’s mentor, Wolverton was the one to christen him with the stage name “Rhubarb Red,” a moniker that would follow him to Chicago in 1934. There, Paul became a bonafide radio star, known as both hillbilly picker Rhubarb Red and Django Reinhardt-informed jazz guitarist Les Paul. His first recordings were done in 1936 on an acoustic—alone as Rhubarb Red, as well as backing blues singer Georgia White. The next year he formed his first trio, but by 1938 he’d moved to New York to begin his tenure on national radio with one of the more popular dance orchestras in the country, Fred Waring’s Pennsylvanians.
Tinkering with electronics and guitar amplification since his youth, Les Paul began constructing his own electric guitar in the late ’30s. Unhappy with the first generation of commercially available hollowbodies because of their thin tone, lack of sustain, and feedback problems, Paul opted to build an entirely new structure. “I was interested in proving that a vibration-free top was the way to go,” he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound.” With the good graces of Epiphone president Epi Stathopoulo, Paul used the Epiphone plant and machinery in 1941 to bring his vision to fruition. He affectionately dubbed the guitar “The Log.”
Les Paul’s tireless experiments sometimes proved to be dangerous, and he nearly electrocuted himself in 1940 during a session in the cellar of his Queens apartment. During the next two years of rehabilitation, Les earned his living producing radio music. Forced to put the Pennsylvanians and the rest of his career on hold, Les Paul moved to Hollywood. During World War II, he was drafted into the Army but permitted to stay in California, where he became a regular player for Armed Forces Radio Service. By 1943 he had assembled a trio that regularly performed live, on the radio, and on V-Discs. In 1944 he entered the jazz spotlight—thanks to his dazzling work filling in for Oscar Moore alongside Nat King Cole, Illinois Jacquet, and other superstars —at the first of the prestigious Jazz at the Philharmonic concerts.
By his mid-thirties, Paul had successfully combined Reinhardt-inspired jazz playing and the western swing and twang of his Rhubarb Red persona into one distinctive, electrifying style. In the Les Paul Trio he translated the dizzying runs and unusual harmonies found on Jazz at the Philharmonic into a slower, subtler, more commercial approach. His novelty instrumentals were tighter, brasher, and punctuated with effects. Overall, the trademark Les Paul sound was razor-sharp, clean-shaven, and divinely smooth.
As small combos eclipsed big bands toward the end of World War II, Les Paul Trio’s popularity grew. They cut records for Decca both alone and behind the likes of Helen Forrest, the Andrews Sisters, the Delta Rhythm Boys, Dick Hayes, and, most notably, Bing Crosby. Since 1945, when the crooner brought them into the studio to back him on a few numbers, the Trio had become regular guests on Crosby’s hit radio show. The highlight of the session was Paul’s first No. 1 hit and million-seller, the gorgeous “It’s Been a Long, Long Time.”
Meanwhile, Paul began to experiment with dubbing live tracks over recorded tracks, also altering the playback speed. This resulted in “Lover (When You’re Near Me),” his revolutionary 1947 predecessor to multi-track recording. The hit instrumental featured Les Paul on eight different electric guitar parts, all playing together. In 1948, Paul nearly lost his life to a devastating car crash that shattered his right arm and elbow. Still, he convinced doctors to set his broken arm in the guitar-picking and cradling position. Laid up but undaunted, Paul acquired a first generation Ampex tape recorder from Crosby in 1949, and began his most important multi-tracking adventure, adding a fourth head to the recorder to create sound-on-sound recordings. While tinkering with the machine and its many possibilities, he also came up with tape delay. These tricks, along with another recent Les Paul innovation—close mic-ing vocals—were integrated for the first time on a single recording: the 1950 No. 1 tour de force “How High the Moon.” This historic track was performed during a duo with future wife Mary Ford. The couple’s prolific string of hits for Capitol Records not only included some of the most popular recordings of the early 1950s, but also wrote the book on contemporary studio production. The dense but crystal clear harmonic layering of guitars and vocals, along with Ford’s close mic-ed voice and Paul’s guitar effects, produced distinctively contemporary recordings with unprecedented sonic qualities. Through hits, tours, and popular radio shows, Paul and Ford kept one foot in the technological vanguard and the other in the cultural mainstream.
All the while, Les Paul continued to pine for the perfect guitar. Though The Log came close, it wasn’t quite what he was after. In the early 1950s, Gibson Guitar would cultivate a partnership with Paul that would lead to the creation of the guitar he’d seen only in his dreams. In 1948, Gibson elected to design its first solidbody, and Paul, a self-described “dyed-in-the-wool Gibson man,” seemed the right man for the job. Gibson avidly courted the guitar legend, even driving deep into the Pennsylvania mountains to deliver the first model to newlyweds Les Paul and Mary Ford.
“Les played it, and his eyes lighted up,” then-Gibson President Ted McCarty has recalled. The year was 1950, and Paul had just signed on as the namesake of Gibson’s first electric solidbody, with exclusive design privileges. Working closely with Paul, Gibson forged a relationship that would change popular culture forever. The Gibson Les Paul model—the most powerful and respected electric guitar in history—began with the 1952 release of the Les Paul Goldtop. After introducing the original Les Paul Goldtop in 1952, Gibson issued the Black Beauty, the mahogany-topped Les Paul Custom, in 1954. The Les Paul Junior (1954) and Special (1955) were also introduced before the canonical Les Paul Standard hit the market in 1958. With revolutionary humbucker pickups, this sunburst classic has remained unchanged for the half-century since it hit the market.
“The world has lost a truly innovative and exceptional human being today. I cannot imagine life without Les Paul. He would walk into a room and put a smile on anyone’s face. His musical charm was extraordinary and his techniques unmatched anywhere in the world,” said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. “We will dedicate ourselves to preserving Les’ legacy to insure that it lives on forever. He touched so many lives throughout his remarkable life and his influence extends around the globe and across every boundary. I have lost a dear, personal friend and mentor, a man who has changed so many of our lives for the better.”
“I don’t think any words can describe the man we know as Les Paul adequately. The English language does not contain words that can pay enough homage to someone like Les. As the “Father of the Electric Guitar”, he was not only one of the world’s greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world,” said Dave Berryman, President of Gibson Guitar. “I have had the privilege to know and work with Les for many, many years and his passing has left a deep personal void. He was simply put – remarkable in every way. As a person, a musician, a friend, an inventor. He will be sorely missed by us all,”
With the rise of the rock ’n’ roll revolution of 1955, Les Paul and Mary Ford’s popularity began to wane with younger listeners, though Paul would prove to be a massive influence on younger generation of guitarists. Still, Paul and Ford maintained their iconic presence with their wildly popular television show, which ran from 1953-1960. In 1964, the couple, parents to a son and daughter, divorced. Paul began playing in Japan, and recorded an LP for London Records before poor health forced him to take time off—as much as someone so inspired can take time off.
In the 1977, Paul resurfaced with a Grammy-winning Chet Atkins collaboration, Chester and Lester. Then the ailing guitarist, who’d already suffered arthritis and permanent hearing loss, had a heart attack, followed by bypass surgery.
Ever stubborn, Les recovered, and returned to live performance in the late 1980s. Even releasing the 2005 double-Grammy winner Les Paul & Friends: American Made World Played, featuring collaborations with a veritable who’s who of the electric guitar, including dozens of illustrious fans like Keith Richards, Buddy Guy, Billy Gibbons, Jeff Beck, Eric Clapton, and Joe Perry. In 2008, The Rock and Roll Hall of Fame paid tribute to Les Paul in a week-long celebration of his life which culminated with a live performance by Les himself. Until recently Les continued to perform two weekly New York shows with the Les Paul Trio, at The Iridium Jazz Club in New York City, for over twelve years where a literal who’s who of the entertainment world has paid homage. It has been an honor to have Les Paul perform at The Iridium Jazz Club for the past twelve years hosting such luminaries as Paul McCartney, Keith Richards and others and is a tragic loss to owner Ron Sturm both personally and professionally. Iridium intends to celebrate Les Paul’s music and legacy every Monday night.
Les Paul has since become the only individual to share membership into the Grammy Hall of Fame, the Rock and Roll Hall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. Les is survived by his three sons Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul, his daughter Colleen Wess, son-in-law Gary Wess, long time friend Arlene Palmer, five grandchildren and five great grandchildren.
A private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date. The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001.
Les Paul Bio
/by Sarah SkatesBorn Lester William Polsfuss in Waukesha, Wisconsin on June 9, 1915, Les Paul was already performing publicly as a honky-tonk guitarist by the age of 13. So clear was his calling that Paul dropped out of high school at 17 to play in Sunny Joe Wolverton’s Radio Band in St. Louis. As Paul’s mentor, Wolverton was the one to christen him with the stage name “Rhubarb Red,” a moniker that would follow him to Chicago in 1934. There, Paul became a bonafide radio star, known as both hillbilly picker Rhubarb Red and Django Reinhardt-informed jazz guitarist Les Paul. His first recordings were done in 1936 on an acoustic—alone as Rhubarb Red, as well as backing blues singer Georgia White. The next year he formed his first trio, but by 1938 he’d moved to New York to begin his tenure on national radio with one of the more popular dance orchestras in the country, Fred Waring’s Pennsylvanians.
Tinkering with electronics and guitar amplification since his youth, Les Paul began constructing his own electric guitar in the late ’30s. Unhappy with the first generation of commercially available hollowbodies because of their thin tone, lack of sustain, and feedback problems, Paul opted to build an entirely new structure. “I was interested in proving that a vibration-free top was the way to go,” he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound.” With the good graces of Epiphone president Epi Stathopoulo, Paul used the Epiphone plant and machinery in 1941 to bring his vision to fruition. He affectionately dubbed the guitar “The Log.”
Les Paul’s tireless experiments sometimes proved to be dangerous, and he nearly electrocuted himself in 1940 during a session in the cellar of his Queens apartment. During the next two years of rehabilitation, Les earned his living producing radio music. Forced to put the Pennsylvanians and the rest of his career on hold, Les Paul moved to Hollywood. During World War II, he was drafted into the Army but permitted to stay in California, where he became a regular player for Armed Forces Radio Service. By 1943 he had assembled a trio that regularly performed live, on the radio, and on V-Discs. In 1944 he entered the jazz spotlight—thanks to his dazzling work filling in for Oscar Moore alongside Nat King Cole, Illinois Jacquet, and other superstars —at the first of the prestigious Jazz at the Philharmonic concerts.
By his mid-thirties, Paul had successfully combined Reinhardt-inspired jazz playing and the western swing and twang of his Rhubarb Red persona into one distinctive, electrifying style. In the Les Paul Trio he translated the dizzying runs and unusual harmonies found on Jazz at the Philharmonic into a slower, subtler, more commercial approach. His novelty instrumentals were tighter, brasher, and punctuated with effects. Overall, the trademark Les Paul sound was razor-sharp, clean-shaven, and divinely smooth.
As small combos eclipsed big bands toward the end of World War II, Les Paul Trio’s popularity grew. They cut records for Decca both alone and behind the likes of Helen Forrest, the Andrews Sisters, the Delta Rhythm Boys, Dick Hayes, and, most notably, Bing Crosby. Since 1945, when the crooner brought them into the studio to back him on a few numbers, the Trio had become regular guests on Crosby’s hit radio show. The highlight of the session was Paul’s first No. 1 hit and million-seller, the gorgeous “It’s Been a Long, Long Time.”
Meanwhile, Paul began to experiment with dubbing live tracks over recorded tracks, also altering the playback speed. This resulted in “Lover (When You’re Near Me),” his revolutionary 1947 predecessor to multi-track recording. The hit instrumental featured Les Paul on eight different electric guitar parts, all playing together. In 1948, Paul nearly lost his life to a devastating car crash that shattered his right arm and elbow. Still, he convinced doctors to set his broken arm in the guitar-picking and cradling position. Laid up but undaunted, Paul acquired a first generation Ampex tape recorder from Crosby in 1949, and began his most important multi-tracking adventure, adding a fourth head to the recorder to create sound-on-sound recordings. While tinkering with the machine and its many possibilities, he also came up with tape delay. These tricks, along with another recent Les Paul innovation—close mic-ing vocals—were integrated for the first time on a single recording: the 1950 No. 1 tour de force “How High the Moon.” This historic track was performed during a duo with future wife Mary Ford. The couple’s prolific string of hits for Capitol Records not only included some of the most popular recordings of the early 1950s, but also wrote the book on contemporary studio production. The dense but crystal clear harmonic layering of guitars and vocals, along with Ford’s close mic-ed voice and Paul’s guitar effects, produced distinctively contemporary recordings with unprecedented sonic qualities. Through hits, tours, and popular radio shows, Paul and Ford kept one foot in the technological vanguard and the other in the cultural mainstream.
All the while, Les Paul continued to pine for the perfect guitar. Though The Log came close, it wasn’t quite what he was after. In the early 1950s, Gibson Guitar would cultivate a partnership with Paul that would lead to the creation of the guitar he’d seen only in his dreams. In 1948, Gibson elected to design its first solidbody, and Paul, a self-described “dyed-in-the-wool Gibson man,” seemed the right man for the job. Gibson avidly courted the guitar legend, even driving deep into the Pennsylvania mountains to deliver the first model to newlyweds Les Paul and Mary Ford.
“Les played it, and his eyes lighted up,” then-Gibson President Ted McCarty has recalled. The year was 1950, and Paul had just signed on as the namesake of Gibson’s first electric solidbody, with exclusive design privileges. Working closely with Paul, Gibson forged a relationship that would change popular culture forever. The Gibson Les Paul model—the most powerful and respected electric guitar in history—began with the 1952 release of the Les Paul Goldtop. After introducing the original Les Paul Goldtop in 1952, Gibson issued the Black Beauty, the mahogany-topped Les Paul Custom, in 1954. The Les Paul Junior (1954) and Special (1955) were also introduced before the canonical Les Paul Standard hit the market in 1958. With revolutionary humbucker pickups, this sunburst classic has remained unchanged for the half-century since it hit the market.
“The world has lost a truly innovative and exceptional human being today. I cannot imagine life without Les Paul. He would walk into a room and put a smile on anyone’s face. His musical charm was extraordinary and his techniques unmatched anywhere in the world,” said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. “We will dedicate ourselves to preserving Les’ legacy to insure that it lives on forever. He touched so many lives throughout his remarkable life and his influence extends around the globe and across every boundary. I have lost a dear, personal friend and mentor, a man who has changed so many of our lives for the better.”
“I don’t think any words can describe the man we know as Les Paul adequately. The English language does not contain words that can pay enough homage to someone like Les. As the “Father of the Electric Guitar”, he was not only one of the world’s greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world,” said Dave Berryman, President of Gibson Guitar. “I have had the privilege to know and work with Les for many, many years and his passing has left a deep personal void. He was simply put – remarkable in every way. As a person, a musician, a friend, an inventor. He will be sorely missed by us all,”
With the rise of the rock ’n’ roll revolution of 1955, Les Paul and Mary Ford’s popularity began to wane with younger listeners, though Paul would prove to be a massive influence on younger generation of guitarists. Still, Paul and Ford maintained their iconic presence with their wildly popular television show, which ran from 1953-1960. In 1964, the couple, parents to a son and daughter, divorced. Paul began playing in Japan, and recorded an LP for London Records before poor health forced him to take time off—as much as someone so inspired can take time off.
In the 1977, Paul resurfaced with a Grammy-winning Chet Atkins collaboration, Chester and Lester. Then the ailing guitarist, who’d already suffered arthritis and permanent hearing loss, had a heart attack, followed by bypass surgery.
Ever stubborn, Les recovered, and returned to live performance in the late 1980s. Even releasing the 2005 double-Grammy winner Les Paul & Friends: American Made World Played, featuring collaborations with a veritable who’s who of the electric guitar, including dozens of illustrious fans like Keith Richards, Buddy Guy, Billy Gibbons, Jeff Beck, Eric Clapton, and Joe Perry. In 2008, The Rock and Roll Hall of Fame paid tribute to Les Paul in a week-long celebration of his life which culminated with a live performance by Les himself. Until recently Les continued to perform two weekly New York shows with the Les Paul Trio, at The Iridium Jazz Club in New York City, for over twelve years where a literal who’s who of the entertainment world has paid homage. It has been an honor to have Les Paul perform at The Iridium Jazz Club for the past twelve years hosting such luminaries as Paul McCartney, Keith Richards and others and is a tragic loss to owner Ron Sturm both personally and professionally. Iridium intends to celebrate Les Paul’s music and legacy every Monday night.
Les Paul has since become the only individual to share membership into the Grammy Hall of Fame, the Rock and Roll Hall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. Les is survived by his three sons Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul, his daughter Colleen Wess, son-in-law Gary Wess, long time friend Arlene Palmer, five grandchildren and five great grandchildren.
A private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date. The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001.
Photos: Music City Songwriters Make The Rounds
/by Sarah SkatesBob DiPiero and The Floating Stones played at 3rd & Lindsley on Saturday night to a full crowd, performing his hits such as "Blue Clear Sky," "American Made," "Wink," "Church on Cumberland Road," and "Gone." (L-R): Pat Buchanan, Steve King, Bob DiPiero, Shawn Fichter, and Adam Beard
Veteran BMI musician and songwriter Pete Sallis recently inked a deal with premier Christian music publisher Brentwood Benson Publishing Group. Pictured at BMI in Nashville are (back row) BMI’s Bradley Collins, Brentwood Benson Publishing Group’s Stacey Wilbur, John Andrade, Brentwood Benson’s Dale Mathews, and Eric Hurt, with Pete Sallis, seated. (Photo: Drew Maynard)
Daywind Music Publishing songwriter Marty Funderburk was recently honored for his song, “Life Goes On,” recorded by the Talley Trio, as well as for penning Daywind's first choir songs released with LifeWay Worship. Most significantly, Funderburk was given the Daywind Music Publishing Impact Award, the company’s highest honor. Funderburk, Daywind's first Director of Publishing, has been with the company 12 years and recently completed his 500th song, with more than 50 published in the choral format and distributed to churches nationally. Photo: (L-R): Ed Leonard, Pres. of Daywind Records; Marty Funderburk; Dottie Leonard Miller, Daywind Music Group Founder and Owner; and Rick Shelton, Director of Daywind Music Publishing
Country’s Shrinking Middle Class
/by bossrossThe joke may be on the Sony CEO because, know it or not, he’s a card carrying member of the country [music] club which can certainly be described these days as “making very little [much less] money.” Sales are down, margins crunched, marketing costs up, labels continue to buy their way up the radio charts and retail shelf space evaporates while most players do the same ole, same ole shuffle. Most troubling is the format’s lack of an artist middle class.
It’s easy to point to the superstar crowd—Swift, Underwood, Flatts, Sugarland, Paisley, Urban, Chesney, Strait, McGraw, Keith and maybe a few others we’ve mistakenly omitted, but what about the up and comers? Where is country’s middle class? A quick look at the Top 10 selling country albums this year names the following; Swift, Hannah Montana, Rascal Flatts, Zac Brown Brand, Keith Urban, Darius Rucker, Jason Aldean, Sugarland, Swift and Underwood. Only two of those CDs have broken the million mark this year; only three have passed the 500k goalposts, which is the start of profitability for many labels.
So yes, based upon RTD sales (release to date over 500k), we can point to a few middle class candidates, such as ZBB, Darius and Aldean named above plus toss in a pinch of Lady Antebellum and some Jamey Johnson for seasoning. That still leaves precious few to fill the spots at the top. And we invite readers to answer this one for themselves: How many of the superstars named above passed their career zeniths long ago? [Answer: lots.]
Google CEO Eric Schmidt, who, like Stringer was attending an ultra-exclusive media mogul gathering in Sun Valley, Idaho called the faltering economy “the new normal,” advising companies to “figure out how to be happy and get our lives together in this new configuration.”
One overdue prescription for country’s “new configuration” might be to get smarter about radio promotion. Entire Nashville business models are built upon the promise of airplay, factoring zero for sales risk. Few if any other business industry would accept such a deal. Sure radio exposure remains an important part of the success mix, but how many records have we seen in recent months that paid and paid to enter the Top 10 mainstream airplay charts only to reap coal in their Christmas SoundScan stockings? Marketers can judge early on if a song is going to move the sales needle using data from a myriad of available sources. Isn’t it time to get more aggressive about indexing the correlation between airplay and sales and stop the tail from wagging the dog?
On the Music Row Cover: Williams Riley
/by LB CantrellCurrent Album: Williams Riley
Current Single & Video: “I’m Still Me”
Current Producers: Noel Golden, Derek George
Hometowns: Larose, LA; Nashville, TN
Interesting Fact: The band is named after the guitar player’s great-grandfather.
Outside Interests: Hunting, fishing, horses, cattle and thumb wrestling
Awards: American Country Countdown Superstars 2009, Voted Best New Country Artist on AOL for 2009
Musical Influences: Restless Heart, Bryan White, Edwin McCain, Hall & Oates
Favorite Records: Hotel California (The Eagles), Don’t Look Back (Boston), Flirtin’ With Disaster (Molly Hatchet), Defying Gravity (Keith Urban)
Band Members: Steve Williams—lead singer, acoustic guitar; Charlie Hutto—background vocals, acoustic and electric guitar; Derek George—background vocals, electric guitar; Travis Thibodaux—background vocals, keyboards; Joe Rogers—pedal steel guitar, fiddle, harmonica; Dave Guidry—bass guitar; and Nick Buda—drums.
Williams Riley lead singer Steve Williams was working in the oil fields of the Gulf of Mexico when he passed along some of his songwriting work to popular singer-songwriter Edwin McCain at McCain’s concert in New Orleans. He won McCain’s support and eventually other top names in the music industry rallied behind Williams to help his music find a larger audience. Among those offering support is rock’s most famous guitarist, Slash, who joins country artist Bryan White and McCain on Williams Riley’s debut album.
That’s only part of the lineup of all-stars on the recording. Co-producer Noel Golden is an award-winning studio veteran who has worked with platinum selling artists Matchbox Twenty, Metallica, Edwin McCain, Sister Hazel, Sammy Hagar, Willie Nelson and Lee Ann Womack. Derek George, best-known as Bryan White’s primary collaborator, also co-produced. Besides Slash, other acclaimed instrumentalists on the album include A-team players Dan Dugmore, Kenny Greenberg and John Hobbs.
“I can’t believe how passionate everyone has been about what we’re doing,” says Williams. “Not long ago, I was just a guy writing songs in Louisiana. Now a bunch of my heroes are playing with me and my band on my songs because they love what I’m doing, that tells me that we must be doing something right.” Williams realizes that an album featuring McCain, Slash and White might sound diverse—and he says that’s exactly what it is. “I wanted to make a country album, but one that pushed against the boundaries and appealed to fans outside of country music too,” he says. “One reason I asked Derek George to co-produce was that I wanted the album to stay within the parameters of contemporary country music. The reason I insisted that Noel (Golden) co-produce was that I knew he’d push the boundaries and capture the energy that I wanted for this record.”
Paisley, Chesney on “GMA,” And More
/by Sarah SkatesBrad Paisley is pictured with "Good Morning America’s" Sam Champion when Brad was in New York on Friday to play GMA’s Summer Concert Series.
Brad Paisley—busy celebrating last week’s No. 1 country debut of his album American Saturday Night—will be the first country artist featured on the MySpace Music Feed. The exclusive interview, in which Paisley talks about his new project and the creative thread flowing through his family, is online now and viewable here. The album’s chart-topping first single, “Then,” has now earned RIAA Gold Digital Single certification, representing sales of 500,000 downloads. The second single, “Welcome to the Future,” impacts country radio today.
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Kenny Chesney will perform on Good Morning America’s “Summer Concert Series,” on Aug. 14. He’ll swing by Central Park in the Big Apple for the show while en route to his fifth straight SRO concert at the New England Patriots’ Stadium in Foxboro, MA. Chesney is in the midst of his Corona Extra sponsored Sun City Carnival which will play 12 stadiums, as well as arenas and amphitheatres. He is on his way to selling over a million tickets for the eighth summer in a row.
Billy Currington, currently on Sugarland's "Love On The Inside" tour, visited GAC's "Top 20 Countdown" on Friday, July 10 to chat with host Nan Kelley. His "People Are Crazy" video nears the No. 1 spot this week.
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Trace Adkins was the celebrity volunteer on Friday’s (7/10) episode of Extreme Makeover: Home Edition. He traveled to Lancaster, Texas, to meet Carlton Marshall who lost most of his mobility and all of his hearing after being shot while leading a Dallas Police Department SWAT team. Carlton and his wife Susan, a homicide detective, will have their home rebuilt in seven days, solving structural and accessibility issues.
Asleep at the Wheel Honored
/by MichelleAsleep At The Wheel
Asleep at the Wheel will receive a Lifetime Achievement Award for Performance at the 8th Annual Americana Honors & Awards ceremony, presented by the Gibson Foundation, scheduled for Sept. 17 at the Ryman Auditorium. Since 1969, the Austin-based band has released over twenty-five albums, charted over twenty Billboard singles and won nine Grammy Awards.
The Lifetime Achievement Award for Performance is one of several career honors that will be handed out during the awards ceremony, which will be hosted by Jim Lauderdale.
From Sept. 16-19, 2009, the 10th Annual Americana Music Festival & Conference will offer seminars, panels and networking opportunities at the Nashville Convention Center by day, and bring a stellar lineup of musical showcases each evening. Conference registrations are currently available at the early bird discount rate of $350 for members and $450 for non-members at the Americana Music Online Store.
Fast Ryde Visits MusicRow
/by bossrossRepublic Nashville’s newest act, Fast Ryde visited the Music Row conference room to share some of their new music. Here’s what happened when we turned on our iPhone video camera to capture some of the action.
A Cecil B. deRoss Production
Halfway To Hazard
/by ProgrammerPlaylist“I Know Where Heaven Is”
Stylesonic/Picnic Hill/Bigger Picture
In fact, the words “Halfway to Hazard” were the first ever penned by the duo. The phrase not only inspired their name, but also serves as a symbol of the musical journey their lives have taken; the journey from tiny rural towns hidden in the mountains to huge arenas filled with thousands of screaming fans. “That’s what I love about music, it bridges the gaps between people in so many ways and can even make distances seem closer,” says Warrix.
Halfway to Hazard released its self-titled debut album, produced by Tim McGraw and Byron Gallimore, in 2007 on Mercury Records. They joined McGraw and Faith Hill’s Soul II Soul Tour as the opening act the same year, which was the year’s highest grossing tour.
2008 was also a success for H2H as they again opened for their self-proclaimed biggest “fan” Tim McGraw along with Jason Aldean. Other highlights of 2008 included: a nomination in the Academy of Country Music’s coveted Best Duo of the Year category, several NFL national anthem pre-game appearances, and the singing the national anthem at Rupp Arena for their beloved UK Wildcats.
The first Annual Halfway to Hazard Charity Trail Ride and Concert in Sept. 2008 was another high point for H2H, allowing them to give back to the region that means so much to them. The event raised over $100,000 for the Buckhorn Children’s Center and Family Services and helped secure the East KY Leadership award for the pair. The duo are gearing up for this year’s event in late summer.
http://www.halfwaytohazard.com/
http://www.myspace.com/halfwaytohazard
http://twitter.com/HalfwayToHazard
The Farm Aid Concert Location Mystery
/by MichelleConcert hint #1: Your state feeling left out? This year’s concert will be in a city & state where Farm Aid has never been held! via @FarmAid
Concert hint #2: This year’s concert will be in a state that is in the top 12 for number of farms! (via @FarmAid)
Willie is joined by Neil Young, John Mellencamp and Dave Matthews on the Farm Aidboard. Each year, artists come together to perform and help raise money and awareness for America’s family farms. Farm Aid has raised $33 million for farmers since its inception in 1985.
Click here to follow Farm Aid on Twitter.
Artists On TV
/by bossrossThe 80th Major League baseball game will be held at St. Louis’ Busch Stadium on Tues. July 14. Sara Evans has been invited to perform “God Bless America” during the 7th inning stretch of this year’s diamond shaped contest. Evans plans to make the event a family outing. “I’m a huge baseball fan, as are all of our children,” Sara says. “This will definitely be one of the highlights of our 2009!” The game will be televised by FOX Sports, including Evan’s performance and the tossing of the first pitch which will be handled by President Barack Obama.
Sarah Darling
Kenny Chesney has agreed to join Good Morning America’s Diane Sawyer, Robin Roberts and Chris Cuomo in New york City’s Central Park on Aug. 14. Logistics for the visit was more complicated than usual because Chesney will also be headed toward his fifth sellout appearance at New England Patriot’s Gillette Stadium in Foxboro, Mass. Chesney’s Sun City Carnival is slated to play 12 stadiums this summer plus many arenas and amphitheaters. “Out Last Night” just ended a two-week run at No. 1.
Black River recording artist Sarah Darling will be in Chicago (7/10) to sing the National Anthem at the NASCAR Nationwide Series Race at Chicagoland Speedway. The event will be televised on ESPN. Darling will also perform tracks from her new album Every Monday Morning, including her current single “Jack Of Hearts.”