Sherrill Blackman
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
Industry veteran Sherrill Blackman has owned and operated his SDB Music Group for nearly 30 years. The company is home to three publishing divisions and a professional song-plugging service.
Over the years, Blackman’s pitches have secured recordings in multiple genres such as pop, rock, country, gospel, bluegrass, jazz and polka, resulting in multiple radio hits as well as Gold, Platinum and multi-Platinum certifications, several Grammy and IBMA nominations and one Dove Award. His work landed him MusicRow‘s Songplugger of The Year award in 2004-2006, in addition to others honors and accolades.
Prior to forming his company, Blackman spent time at MCA Music Publishing, American Image Productions, Nashville Songwriters Association International (NSAI) and Buckhorn Music. He is a three-term past President of The Nashville Publishers’ Network and co-founded The Independent Pluggers Association.
MusicRow: Where did you grow up?
I grew up in a little rural community called Dudley, North Carolina. It’s a farming community about an hour southeast of Raleigh.
Were you into music growing up?
No, I was an athlete. I grew up playing basketball and baseball. That background helped me do what I do now because I’m very competitive. I hate to lose. Plus, growing up working on farms instilled [a strong] work ethic [in me]. The work ethic and competitiveness have helped me survive in this town.
Pictured (L-R, back row): Ryan Murphrey, Blake Shelton, Kenny Horton and Sherrill Blackman; (L-R, front row): Amber Leigh, Rachel Proctor, Robin English and Naomi Martin
What did you want to be when you grew up?
I thought I was going to be a professional athlete. I was pretty good at basketball and not bad at baseball. When I was a senior, I had a little bit of interest from some small colleges for baseball, but then I got hurt. That kind of tossed that dream away.
So I went to a community college in that area to figure out what I wanted to do. I was getting ready to graduate from there, and we had to do an exit interview before we could graduate. As I’m waiting for this interview, I started thumbing through some magazines and I see this ad for Belmont College (now Belmont University). It was like a lightning bolt struck me. It said, “music business degree with classes in music publishing, record company administration, studio management and more.” It was literally like the voice of God said, “That’s what you’re supposed to do.”
Did you go right away?
No, it took me another year to get there. I worked and took some more classes. I got here in Aug. 24, 1980. It was everything I thought it would be and more.
Sherrill Blackman & Maggie Cavendar
I’m sure a lot of folks in the industry can relate to this, but nobody understood my passion for music. To me, it meant something else. It was not just something you listened to for enjoyment—it resonated in a different frequency for me. I was always reading and devouring Billboard magazine, when I could find [a copy]. I read the first Clive Davis book. I would listen to the countdown. I would look at the liner notes and see who wrote the songs, who played and who produced. I didn’t know there was a music business, so when I saw that ad from Belmont, I was like, “That’s it.”
I was not into country music at the time, I was into heavy rock & roll. My parents thought it was very amusing that I wanted to move to Nashville to be in country music. I flew out here for a weekend trip to visit and get a lay of the land, and it [affirmed that Nashville] is home.
What happened at Belmont?
I met some great people. There’s a handful of us that are still around in the business from 40-plus years ago. It provided me with the foundation to go forward and learn more.
I did an internship at MCA Music Publishing during that time. A lady named Marty Craighead gave me an internship there. That really helped launch me, because I got on the inside and was able to see how a publishing company worked. I worked in tape copy and saw what the pluggers were doing. Artists would come in and [I got to see] how they interacted with them as well as how they did demos. It gave me insight into how that world works. I actually helped get my first song recorded at that time.
Pictured (L-R): Marijohn Wilkin, Sherrill Blackman, Coweta House and Will Beasley
How did that happen?
Being a music junkie, anytime I’d go into an office and see a vinyl collection, I’d flip through it. We had an upstairs storage closet and I had obviously looked through the vinyl in there. We got this call one day that Hank Williams Jr. was in the studio and wanted to do this old Lynyrd Skynyrd song. They needed to get a copy and a lyric sheet, and [everyone in the office] was scrambling around saying, “We don’t have the old Lynyrd Skynyrd stuff. That’s in New York. We don’t have a copy of it.” I heard them talking and said, “Yeah, we do. It’s on one of the albums upstairs.” So I made a cassette copy, they took it to the studio and he cut the song. That was a thrill.
What was next for you?
I learned a lot from Marty [during my internship]. She was instrumental in helping launch my career.
In ’83, I got a job with a company called American Image Productions. What they did was provide [the musical audio clips of] station IDs for radio and television—like what you would hear on the radio of people singing, “WCCC!” They also did instrumental tracks that we sold to radio stations to do their own commercials, so it was different lengths of music with different tempos and feels. They could then customize it and do their own commercials with voiceovers on this music tracks we made.
Sherrill Blackman & Roy Acuff
I wasn’t involved in the production, I was facilitating it. At the same time, my job was also to program Armed Forces Radio—country and pop. I didn’t know what I was doing, but I got it done. I would look at the Billboard charts and then go to a distribution company here called Music City South. I would pick out what I thought were hits and then make recordings on reel-to-reel, and we’d ship them to the Armed Forces headquarters. They would make sure that all Armed Forces Radio got programmed. That ended up being a very good background for trying to find hits.
American Image Productions moved to Memphis. Then the next year, in ’84, I started working for the Nashville Songwriters Association International (NSAI) with Maggie Cavender, who was our Executive Director.
What were those years like?
Maggie had such a super passion for songwriters. It rubbed off on me to really appreciate and respect what writers did. Writers were not very well-appreciated back then. They were looked at as like a necessary nuisance—Maggie and NSAI worked hard to change that.
Next, I got back into publishing and went to work with Marijohn Wilkin at Buckhorn Music. We were a small company, so I got a chance to do everything and learned a lot. I got to pitch songs, help do demos, work and consult with writers and go back through the catalog. Marijohn discovered Kris Kristofferson, and she wanted to get that catalog organized, so my first task there was to go through about 80 of his songs from when he was just starting to write.
Sherrill Blackman & Larry Sparks
What were some highlights from then?
We got a call one day from a guy in Texas. He said, “I’ve got a young daughter who wants to be a singer and we need some songs so she can sell music at her little shows around Texas. Could we get some? Nobody is sending us songs and we’re frustrated.” I figured it would only cost me a cassette to mail down there, so I put some stuff together. He called me up and picked a few they liked. That girl was LeAnn Rimes; she was 10. So when she signed to Curb, one of those songs, “I’ll Get Even With You,” appeared on her first album Blue that sold about seven million copies. The other two songs, “Broken Wing” and “Sure Thing,” ended up on her second album The Early Years, which ended up being triple Platinum. I looked like a genius all because I took a chance.
In 1994 you started your own company, SDB Music Group. Tell me about that.
I went to see my friend Charlie Monk to talk about starting my own company, and he said “You don’t have anything to lose. Go for it.” It was a leap of faith, but I hit the ground running. When I started it, I’d landed another LeAnn Rimes cut. John Michael Montgomery started cutting some stuff for Atlantic. It all started happening.
My first hit with the company was a BlackHawk single. Danny Wells, one of my best friends in the business, called me one night and said, “Don’t you have that BlackHawk single? It’s on the radio!” I turned it on and caught the last half of it. That was so exciting to hear a song on the radio.
At that time, I had a single with them, John Michael Montgomery and George Jones. They were all out at the same time and they were shooting up the chart. Then one by one those companies folded into their parent companies and killed each single. [Laughs] And I was just getting ready to have a huge year.
Sherrill Blackman & David Ross
You’ve had 30 years of success since then. What is next for you? What do you still want to do?
I’m always looking for one more great song. It’s all about the song. In today’s environment, it’s all about the co-write and the artist being a part of it, and that really frustrates me. There’s a lot of great songs out there from writers that are not connected with an artist, but the fans are not getting access to that. I mean if you look at Garth Brooks, he didn’t write his two biggest hits. Reba McEntire‘s career is not based on songs she wrote, neither is George Strait‘s.
These days, most of my success comes outside of Nashville. Marijohn would say, “The world needs music, not just Nashville.” I’ve always adhered to that. I still pitch to country, but I also pitch to pop, R&B, jazz, contemporary Christian, country gospel, bluegrass—I’ve even had a polka cut that was nominated for a Grammy. I look at the whole world as my customer.
Who have been some of your mentors along the way?
I have direct mentors and indirect mentors. My direct mentors have been Marty Craighead, Maggie Cavender and Marijohn Wilkin. Indirect mentors would be great folks like Woody Bomar, where I would watch what they did from a distance and admire them. Just about everybody I’ve encountered is an indirect mentor—I hope I’ve learned something from everybody, because there’s a lot to learn.
Paul Braun, Jim Peterik and Sherrill Blackman
What advice would you give others?
Always show up. Good things and opportunities can happen if you show up. Even when you don’t want to, do it anyway. You never know who you might meet or what piece of information you might learn that can help your career.
When you look back on it all, what are you most proud of?
The thing I’m most proud of is all the friends I’ve made through the past 40-plus years. I have a lot of friends that I’ve known for 40 years, and I’m still making new friends that I think I’ll have for the rest of my life. I treasure that.
Luke Bryan To Kick Off ‘Mind Of A Country Boy Tour’ In April
/by Lorie HollabaughLuke Bryan. Photo: Jim Wright
Luke Bryan is set to kick off his 2024 “Mind Of A Country Boy Tour” in Canada at Calgary’s Scotiabank Saddledome on April 17, with supporting acts Chayce Beckham and Tenille Arts.
More special guests will join Bryan on tour including George Birge, King Calaway, Dillon Carmichael, Larry Fleet, HunterGirl, Ella Langley, Tracy Lawrence, Kameron Marlowe, Chase Matthew, Meghan Patrick, Lily Rose, Josh Ross, Alana Springsteen, Zach Top, DJ Rock and Bailey Zimmerman.
Named after a song from the country star’s upcoming album, the trek will visit Detroit, Cincinnati, Omaha, San Diego, Kansas City, Jacksonville and more through mid-September. It also boasts two stadium dates, Truist Field in Atlanta on Aug. 17 with Zimmerman, Marlowe and Beckham as well as Wrigley Field in Chicago on Aug. 25 with Zimmerman, Lawrence and Beckham.
The ticket presale for Bryan’s fan club members will take place Feb. 6-8, with general sales starting Feb. 9. For more information, click here. Citi is the official card of the “Mind Of A Country Boy Tour,” and Citi cardmembers will have access to presale tickets Feb. 7-8 through the Citi Entertainment program.
Alysa Vanderheym Recounts ‘Rolling Up The Welcome Mat’ Ahead Of Grammy Awards [Interview]
/by Liza AndersonAlysa Vanderheym. Photo: Jess Williams
Esteemed songwriter and producer Alysa Vanderheym has made waves across genres with her work. Vanderheym’s ability to deeply connect with her collaborators and fellow music lovers, combined with the safe spaces she creates during sessions, have shaped songs and projects that bond people together on closer level. One of those projects is Kelsea Ballerini‘s EP Rolling Up The Welcome Mat. Co-written and co-produced by Vanderheym and Ballerini, the acclaimed collection is currently nominated for Best Country Album at the 66th Grammy Awards.
Ahead of the special event on Sunday (Feb. 4) in Los Angeles, the empowering creator sat down with MusicRow to share her musical story thus far as well as detail the process of making Rolling Up The Welcome Mat alongside Ballerini.
Hailing from California’s Bay Area, Vanderheym moved to Music City in 2012 to study songwriting at Belmont University after spending some time at a school in Seattle, Washington. She began watching fellow writers such as Jimmy Robbins produce the tracks they had penned, and picked up production to help get her foot in the door of the publishing world.
Vanderheym signed her first publishing deal with Jesse Frasure and Major Bob Music in 2015. Frasure then moved on to start Rhythm House, a joint venture with Roc Nation and Warner Chappell Music, and signed her again in 2019. Vanderheym earned her first No. 1 with Jameson Rodgers and Luke Combs‘ “Cold Beer Calling My Name,” and has had cuts with Blake Shelton, Jelly Roll, Kygo and One Republic, Florida Georgia Line, The Band Camino and more. She co-produced Cheat Codes and Russell Dickerson‘s “I Remember,” among other successful tracks. Her writing credits also include eight cuts on Ballerini’s 2023 album Subject To Change.
“I’ve rarely just been a producer on tracks. But when I have been, I’ve just tried to serve the song and get out of the way,” she says. “When it comes to writing from scratch for projects, it’s the same concept in that the song comes first. Whatever serves the song is what the track will be, and sometimes that changes after living with it and thinking of new ideas later down the line. Usually, the conception of the song is the heart of it, so I try to honor that no matter what.”
When it comes to specifically penning and producing country music, lyrics are the core and Vanderheym continues to do her best to honor the story they’re telling. She also sees more opportunity to push the limits in the genre, especially when writing for country radio.
“Country radio is a box. Usually, if you go too far outside of that box, people are scared to make a single. There’s a lot of fear involved, so you have to find that line between cool, fresh and interesting, and commercial and palatable to country radio listeners,” she notes.
“It also depends on the artist. I trust the artist more than anyone else, because they know their brand better than anyone else and you have to cater to that,” Vanderheym adds. “But if an artist is excited to do something different, I’m happy to do that.”
She took her signature supportive approach to Rolling Up The Welcome Mat and helped bring Ballerini’s incredibly personal vision to life. Vanderheym held space for the artist’s wildest ideas and assisted her in pushing the envelope, resulting in something raw and real that resonated with so many.
The track “Mountain With A View” was her favorite to produce because she and Ballerini were able to build it together piece by piece. They intentionally moved slowly with production so as not to overshadow the song. “Mountain With A View” strategically opens the EP by setting the scene at 7 a.m. so that the project progresses somewhat chronologically. Vanderheym describes the positive, familial energy present when working with frequent collaborators and friends such as Ballerini and Grammy nominee Jessie Jo Dillon, among others, and believes that the open and judgment-free environment they form is what leads them to success.
“If a line is not right, we all just know we need to think about it a little more,” she says. “I think our individual perspectives and tastes allow us to challenge one another. There’s so much trust there, which makes it a really positive experience.”
The success of Rolling Up The Welcome Mat has made Vanderheym want to double down on the details of production and take more risks. She explains that although production isn’t always examined as closely as lyrics in country music, it’s still important and making something different can pay off. Vanderheym advises any aspiring songwriters and/or producers to trust their gut, especially when it comes to who they work with, as well as what appeals to them musically.
“You’re the tastemaker, you’re setting the bar of what’s cool and what people will want to listen to when they’re driving home after a hard day at work. Trusting yourself is your biggest job,” she expresses. “Maintain relationships as well. Having a good energy really matters and is one of the most important things.”
Eclipse Music Group Purchases Jamie Moore’s JMZL Songs Catalog
/by Lorie HollabaughLiesl Eschbach (Milom Crow Kelley Beckett Shehan, Associate Attorney) , Matthew Beckett (Milom Crow Kelley Beckett Shehan, Partner) Megan Peaker (Loeb & Loeb, Attorney), Jamie Moore, Penny Gattis (Eclipse Music, Partner), Anna Thiel (Eclipse Music, Creative Coordinator)
Eclipse Music Group has acquired three-time Grammy nominee Jamie Moore’s JMZL song catalog.
Producer and songwriter Moore has had cuts by Carrie Underwood, Meghan Trainor, Chase Rice, Carly Pearce, Andy Grammer, Morgan Wallen, Idina Menzel and Florida Georgia Line.
The JMZL catalog contains Wallen’s double-Platinum No. 1 “Chasin’ You,” which was named the fourth most-streamed country song of the year in 2020, as well as Florida Georgia Line’s double-Platinum hit “May We All.” The catalog will continue to be administered by BMG.
“We are thrilled to have Jamie’s special body of work join the Eclipse Music Group catalog,” says Eclipse Partner, Penny Gattis. “These titles complement the growing catalog we are continuing to build with our active roster of talent. We have selectively done acquisitions for a couple years and couldn’t be happier to have these special songs under our roof.”
The deal follows the recent Eclipse Music acquisition of Cory Batten’s catalog interest in songs including “Getting You Home” and “She Wouldn’t Be Gone.” Founded in 2017, Eclipse’s current roster includes Ronnie Bowman, Nick Connors, Sarah Darling, Jeff Garrison, Rob Hatch, Early James, Jordan James, Jim McCormick, Jackson Nance, Payton Smith and Brit Taylor.
Derek Crownover and Megan Pekar of Loeb & Loeb handled the transaction on behalf of Moore. Matthew Beckett of Milom Horsnell Crow Kelley Beckett Shehan PLC handled the transaction on behalf of Eclipse Music Group LLC.
CMHOF Celebrates 50th Anniversary Of Iconic ‘Sources Of Country Music’ Art With New Exhibit
/by LB CantrellPhoto: Courtesy of the Country Music Hall of Fame and Museum
“The Sources of Country Music,” the iconic painting that serves as the centerpiece of the Country Music Hall of Fame’s Rotunda, recently turned 50. To celebrate, the Hall of Fame and Museum opened a new exhibition this week dedicated to its artist Thomas Hart Benton‘s process.
Pictured (L-R): Ben Hall, Vice President of Development at the Country Music Hall of Fame and Museum; Elek Horvath, Senior Registrar at the Country Music Hall of Fame and Museum; Anne Pope, Executive Director of the Tennessee Arts Commission; and Kyle Young, CEO of the Country Music Hall of Fame and Museum. Photo: Courtesy of the Country Music Hall of Fame and Museum
The opening of “An American Masterwork: Thomas Hart Benton’s ‘Sources of Country Music’ at 50” was minted with a reception at the Museum earlier this week. Participants in Nashville’s music and art scenes gathered for a first look.
“Sources of Country Music” was Benton’s final painting before he died in early 1975. Benton was a leader in American Regionalism, a modern art movement that featured realistic scenes of the nation’s rural and small-town heartland. Its commissioning was supported by grants from the Tennessee Arts Commission and the National Endowment for the Arts.
Benton was approached about painting the now iconic mural for the museum in 1973. To create it, he channeled his lifelong passion for country music, and reflected on the wide-ranging cultural contributors to the musical genre. Benton passed away on Jan. 19, 1975, in his Kansas City studio, having placed the finishing touches on this museum commission and while he sat evaluating his work. The completed six-foot by ten-foot mural is a synthesis of the artist, country music subject matter and the museum’s educational mission.
Photo: Courtesy of the Country Music Hall of Fame and Museum
The exhibit, which is now open through January 2025, includes Benton’s sketches, drawings, preliminary paintings and his clay maquette (three-dimensional model), which were created as part of Benton’s process of realizing “The Sources of Country Music” mural. It also features a 1975 video of Benton speaking about the painting.
On April 13 at 2:30 p.m., the museum will host a 90-minute program on “The Sources of Country Music” in partnership with the Frist Art Museum. Panelists will provide insightful interpretation of the painting and discuss Benton’s technique and background, as well as the story behind the commissioning of the mural for the museum.
My Music Row Story: SDB Music Group’s Sherrill Blackman
/by LB CantrellSherrill Blackman
Industry veteran Sherrill Blackman has owned and operated his SDB Music Group for nearly 30 years. The company is home to three publishing divisions and a professional song-plugging service.
Over the years, Blackman’s pitches have secured recordings in multiple genres such as pop, rock, country, gospel, bluegrass, jazz and polka, resulting in multiple radio hits as well as Gold, Platinum and multi-Platinum certifications, several Grammy and IBMA nominations and one Dove Award. His work landed him MusicRow‘s Songplugger of The Year award in 2004-2006, in addition to others honors and accolades.
Prior to forming his company, Blackman spent time at MCA Music Publishing, American Image Productions, Nashville Songwriters Association International (NSAI) and Buckhorn Music. He is a three-term past President of The Nashville Publishers’ Network and co-founded The Independent Pluggers Association.
MusicRow: Where did you grow up?
I grew up in a little rural community called Dudley, North Carolina. It’s a farming community about an hour southeast of Raleigh.
Were you into music growing up?
No, I was an athlete. I grew up playing basketball and baseball. That background helped me do what I do now because I’m very competitive. I hate to lose. Plus, growing up working on farms instilled [a strong] work ethic [in me]. The work ethic and competitiveness have helped me survive in this town.
Pictured (L-R, back row): Ryan Murphrey, Blake Shelton, Kenny Horton and Sherrill Blackman; (L-R, front row): Amber Leigh, Rachel Proctor, Robin English and Naomi Martin
What did you want to be when you grew up?
I thought I was going to be a professional athlete. I was pretty good at basketball and not bad at baseball. When I was a senior, I had a little bit of interest from some small colleges for baseball, but then I got hurt. That kind of tossed that dream away.
So I went to a community college in that area to figure out what I wanted to do. I was getting ready to graduate from there, and we had to do an exit interview before we could graduate. As I’m waiting for this interview, I started thumbing through some magazines and I see this ad for Belmont College (now Belmont University). It was like a lightning bolt struck me. It said, “music business degree with classes in music publishing, record company administration, studio management and more.” It was literally like the voice of God said, “That’s what you’re supposed to do.”
Did you go right away?
No, it took me another year to get there. I worked and took some more classes. I got here in Aug. 24, 1980. It was everything I thought it would be and more.
Sherrill Blackman & Maggie Cavendar
I’m sure a lot of folks in the industry can relate to this, but nobody understood my passion for music. To me, it meant something else. It was not just something you listened to for enjoyment—it resonated in a different frequency for me. I was always reading and devouring Billboard magazine, when I could find [a copy]. I read the first Clive Davis book. I would listen to the countdown. I would look at the liner notes and see who wrote the songs, who played and who produced. I didn’t know there was a music business, so when I saw that ad from Belmont, I was like, “That’s it.”
I was not into country music at the time, I was into heavy rock & roll. My parents thought it was very amusing that I wanted to move to Nashville to be in country music. I flew out here for a weekend trip to visit and get a lay of the land, and it [affirmed that Nashville] is home.
What happened at Belmont?
I met some great people. There’s a handful of us that are still around in the business from 40-plus years ago. It provided me with the foundation to go forward and learn more.
I did an internship at MCA Music Publishing during that time. A lady named Marty Craighead gave me an internship there. That really helped launch me, because I got on the inside and was able to see how a publishing company worked. I worked in tape copy and saw what the pluggers were doing. Artists would come in and [I got to see] how they interacted with them as well as how they did demos. It gave me insight into how that world works. I actually helped get my first song recorded at that time.
Pictured (L-R): Marijohn Wilkin, Sherrill Blackman, Coweta House and Will Beasley
How did that happen?
Being a music junkie, anytime I’d go into an office and see a vinyl collection, I’d flip through it. We had an upstairs storage closet and I had obviously looked through the vinyl in there. We got this call one day that Hank Williams Jr. was in the studio and wanted to do this old Lynyrd Skynyrd song. They needed to get a copy and a lyric sheet, and [everyone in the office] was scrambling around saying, “We don’t have the old Lynyrd Skynyrd stuff. That’s in New York. We don’t have a copy of it.” I heard them talking and said, “Yeah, we do. It’s on one of the albums upstairs.” So I made a cassette copy, they took it to the studio and he cut the song. That was a thrill.
What was next for you?
I learned a lot from Marty [during my internship]. She was instrumental in helping launch my career.
In ’83, I got a job with a company called American Image Productions. What they did was provide [the musical audio clips of] station IDs for radio and television—like what you would hear on the radio of people singing, “WCCC!” They also did instrumental tracks that we sold to radio stations to do their own commercials, so it was different lengths of music with different tempos and feels. They could then customize it and do their own commercials with voiceovers on this music tracks we made.
Sherrill Blackman & Roy Acuff
I wasn’t involved in the production, I was facilitating it. At the same time, my job was also to program Armed Forces Radio—country and pop. I didn’t know what I was doing, but I got it done. I would look at the Billboard charts and then go to a distribution company here called Music City South. I would pick out what I thought were hits and then make recordings on reel-to-reel, and we’d ship them to the Armed Forces headquarters. They would make sure that all Armed Forces Radio got programmed. That ended up being a very good background for trying to find hits.
American Image Productions moved to Memphis. Then the next year, in ’84, I started working for the Nashville Songwriters Association International (NSAI) with Maggie Cavender, who was our Executive Director.
What were those years like?
Maggie had such a super passion for songwriters. It rubbed off on me to really appreciate and respect what writers did. Writers were not very well-appreciated back then. They were looked at as like a necessary nuisance—Maggie and NSAI worked hard to change that.
Next, I got back into publishing and went to work with Marijohn Wilkin at Buckhorn Music. We were a small company, so I got a chance to do everything and learned a lot. I got to pitch songs, help do demos, work and consult with writers and go back through the catalog. Marijohn discovered Kris Kristofferson, and she wanted to get that catalog organized, so my first task there was to go through about 80 of his songs from when he was just starting to write.
Sherrill Blackman & Larry Sparks
What were some highlights from then?
We got a call one day from a guy in Texas. He said, “I’ve got a young daughter who wants to be a singer and we need some songs so she can sell music at her little shows around Texas. Could we get some? Nobody is sending us songs and we’re frustrated.” I figured it would only cost me a cassette to mail down there, so I put some stuff together. He called me up and picked a few they liked. That girl was LeAnn Rimes; she was 10. So when she signed to Curb, one of those songs, “I’ll Get Even With You,” appeared on her first album Blue that sold about seven million copies. The other two songs, “Broken Wing” and “Sure Thing,” ended up on her second album The Early Years, which ended up being triple Platinum. I looked like a genius all because I took a chance.
In 1994 you started your own company, SDB Music Group. Tell me about that.
I went to see my friend Charlie Monk to talk about starting my own company, and he said “You don’t have anything to lose. Go for it.” It was a leap of faith, but I hit the ground running. When I started it, I’d landed another LeAnn Rimes cut. John Michael Montgomery started cutting some stuff for Atlantic. It all started happening.
My first hit with the company was a BlackHawk single. Danny Wells, one of my best friends in the business, called me one night and said, “Don’t you have that BlackHawk single? It’s on the radio!” I turned it on and caught the last half of it. That was so exciting to hear a song on the radio.
At that time, I had a single with them, John Michael Montgomery and George Jones. They were all out at the same time and they were shooting up the chart. Then one by one those companies folded into their parent companies and killed each single. [Laughs] And I was just getting ready to have a huge year.
Sherrill Blackman & David Ross
You’ve had 30 years of success since then. What is next for you? What do you still want to do?
I’m always looking for one more great song. It’s all about the song. In today’s environment, it’s all about the co-write and the artist being a part of it, and that really frustrates me. There’s a lot of great songs out there from writers that are not connected with an artist, but the fans are not getting access to that. I mean if you look at Garth Brooks, he didn’t write his two biggest hits. Reba McEntire‘s career is not based on songs she wrote, neither is George Strait‘s.
These days, most of my success comes outside of Nashville. Marijohn would say, “The world needs music, not just Nashville.” I’ve always adhered to that. I still pitch to country, but I also pitch to pop, R&B, jazz, contemporary Christian, country gospel, bluegrass—I’ve even had a polka cut that was nominated for a Grammy. I look at the whole world as my customer.
Who have been some of your mentors along the way?
I have direct mentors and indirect mentors. My direct mentors have been Marty Craighead, Maggie Cavender and Marijohn Wilkin. Indirect mentors would be great folks like Woody Bomar, where I would watch what they did from a distance and admire them. Just about everybody I’ve encountered is an indirect mentor—I hope I’ve learned something from everybody, because there’s a lot to learn.
Paul Braun, Jim Peterik and Sherrill Blackman
What advice would you give others?
Always show up. Good things and opportunities can happen if you show up. Even when you don’t want to, do it anyway. You never know who you might meet or what piece of information you might learn that can help your career.
When you look back on it all, what are you most proud of?
The thing I’m most proud of is all the friends I’ve made through the past 40-plus years. I have a lot of friends that I’ve known for 40 years, and I’m still making new friends that I think I’ll have for the rest of my life. I treasure that.
CRS 2024 To Feature Jason Prinzo As Keynote Speaker
/by Madison HahnenAfter facing early-life traumas, Prinzo set out on his mental health journey. After high school, the Cincinnati native started a 25-year career in radio and record promotion. Through his time, he gained an understanding of the emotional challenges being in the music industry can cause. Despite being in the middle of a successful career, he was battling depression, anxiety, anger and imposter syndrome. By sharing his story with audiences, he highlights the realities of mental illness, challenges misconceptions, fosters empathy, promotes self-care and inspires others on their paths to coping and discovery.
“Your Brain Is A Liar” will focus specifically on how anxiety affects us professionally, overcoming imposter syndrome, understanding the effects of trauma, the benefits of therapy and practical steps to alleviate symptoms, within the specific context of the music industry.
Additionally, CRS will also include the “Paws n’ Play Program.” In partnership with Agape Animal Rescue & Training Center, attendees will be able to interact with puppies during session breaks. While providing stress relief, those who visit the site will also learn about fostering, adopting and dog training tips.
CRS Executive Director, RJ Curtis, says, “CRS continues our serious commitment to providing mental health resources for our industry members. Jason’s deep background in the music business brings a relatable, hands-on approach to our attendees and their unique challenges. We strongly urge everyone to see his talk on Friday. An additional hands-on experience this year is our first-ever Hug-A-Pup program, where attendees can use session breaks to meet and play with adorable, adoptable puppies—the ultimate stress relievers—which will brighten everyone’s day.”
Luke Combs Extends Record On MusicRow Radio Chart With Five-Week No. 1
/by LB CantrellLuke Combs. Photo: Jeremy Cowart
Luke Combs is on his longest consecutive run at No. 1 on the MusicRow CountryBreakout Radio Chart, with his “Where The Wild Things Are” notching its fifth week in the top spot this week.
“Where The Wild Things Are” was written by Randy Montana and Dave Turnbull and appears on Combs’ Gettin’ Old album.
Combs is gearing up to perform his hit “Fast Car” alongside its writer Tracy Chapman at the Grammy Awards on Sunday (Feb. 4). He is also up for Best Country Solo Performance for the beloved cover.
“Where The Wild Things Are” currently sits at No. 7 on the Billboard Country Airplay chart and No. 7 on the Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Blanco Brown Announces Upcoming EP ‘Heartache & Lemonade’
/by Madison HahnenGrammy-nominated artist Blanco Brown has announced that his new EP Heartache & Lemonade, via Wheelhouse Records/BMG Nashville, will be available April 5.
Already known for breaking barriers in the country music scene with his proclaimed “Trailer Trap” sound, Brown will showcase his versatility in singing, songwriting and producing on the project. Listeners will be able to hear his distinctive style and charisma on each song.
“This EP feels a bit different for me,” says Brown. “I’ve now traveled the world, looked death in the eyes and somehow made it back alive. Bitter moments never lasted, sweeter moments brought me back to purpose…Heartache & Lemonade brings about a new chapter. Try turning some of your worst moments into a smile every once in a while.”
To celebrate the announcement, Brown dropped the lead single, “Sunshine Shine,” today (Feb. 2). The single is centered around positivity and resilience, with catchy melodies. The feel-good anthem seeks to resonate with listeners from the first play.
George Richey Estate Sues Showtime Over His Depiction In ‘George & Tammy’ Miniseries
/by Lorie HollabaughMichael Shannon and Jessica Chastain as George Jones and Tammy Wynette
Showtime is being sued over its award-winning 2022 miniseries George & Tammy by the estate of Tammy Wynette‘s last husband, the late George Richey.
Richey’s heirs are displeased with his portrayal in the series and contend that it disparages and villainizes him, and as such, is in violation of a previous non-disparagement agreement with Georgette Jones, Wynette and Jones’ daughter who participated in the making of the show.
Jones was a consulting producer on George & Tammy and penned the memoir it was based on, therefore the lawsuit claims the series represented the network’s “interference of contract” in a previous settlement agreement the estate had made with Jones seven years prior not to defame or disparage Richey. Jones is not named as a defendant in the suit however, only the network.
The suit was filed Thursday (Feb. 1) in Delaware on behalf of Richey’s widow Sheila Slaughter Richey, the executor of Richey’s estate, as well as the couple’s daughter, Tatum Keys Richey. George Richey, who was portrayed by actor Steve Zahn in the miniseries, passed away in 2010.
Claims in the filing include accusations that the miniseries paints Richey out to be an abusive husband who encouraged Wynette’s painkiller addiction and engaged in financial and managerial manipulation of the country star. Attorneys for the Richeys claim Paramount Networks was aware of the non-disparagement agreement with Jones when the company was adapting her book and employing her on the miniseries. The suit asks for Paramount and Showtime to be forced to withdraw George & Tammy from any form of distribution, and be held responsible for restitution to be determined in a trial.
In a statement, the estate’s attorney Todd McMurtry shares, “Showtime transformed George Richey into the villain of its story, raking in profits and views. Showtime unjustly benefitted from Georgette’s violation of her prior contractual promise to never again disparage or encourage the disparagement of the Richey family. We are honored to represent Sheila and Tatum Richey in this important lawsuit. Many serious issues are at stake, and we look forward to addressing them with the court.”
Chris Young Shares Message & Surprises Fans With ‘Double Down’ Release
/by Lorie HollabaughFollowing last week’s release of video evidence and the Nashville District Attorney’s dismissal of all charges against him after his arrest, Chris Young shared a personal message with fans and announced the release of his new song “Double Down” via social media today (Feb. 1).
“Hey guys, so I just wanted to say something. You know, I’m still processing a lot through the false accusations and everything that went on in the past week But I wanted to say first and foremost, thank you to everybody that had my back,” he expressed. “It meant the world to me and I had so many friends and fans reach out and say ‘We got you, we don’t believe you did any of this.’ So it’s really nice to see the charges get dismissed. It’s not something I wish anybody has to go through ever. But, like I said, the bright spot was seeing just all the love and support. So what I wanted to do as a thank you to you guys—because this was not planned—is drop a new song from the album so you guys will have something to listen to. We’re going to put out ‘Double Down’ at midnight and I really hope you guys enjoy this one. Crank it up, enjoy it—I appreciate you, I love you and thank you.”
Written by Monty Criswell, Derek George and Tyler Reeve, “Double Down” is one of 18 songs on Young Love & Saturday Nights, out March 22.