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On The Cover – Kenny Chesney (Oct./Nov. 2014)

October 14, 2014/by contributor

When Kenny Chesney decided to take 2014 off from touring, it wasn’t because he was tired, but because he instinctively knew there was more to his music. The only Country performer in Billboard’s Top 10 Touring Acts of the past 25 years – staggering considering he didn’t truly headline until 2002 – the man The Wall Street Journal deemed “The King of the Road” was unplugging from what he often called “the best two hours of my life every day.”
But there’s more to life than staying where you are. Chesney, who rewrote the playbook of post-modern Country with No Shoes, No Shirt, No Problems and the CMA Album of the Year When The Sun Goes Down, realizes that. He’s evolved. His audience has evolved. Loss. Love. Life. Reality. Pressure. Obligation. It all adds up, sometimes obscuring the beliefs that keep us all moving forward.
“This record humanizes my relationship with the fans,” he explains. “It’s always been a two-way relationship. They need me and inspire me, push me. But this time, I knew I needed to inspire them! I needed to find songs that shoved me into my life in new ways, to inspire the guys playing to create something more, because if we couldn’t inspire ourselves, how could we expect anyone else to care? How can we take people who have busy lives and say, ‘This matters… Your life matters…’ when we don’t sound that way?
“These songs almost mandated how hard we came at them. Even the quiet ones demanded real presence. The way Chad Cromwell hits the snare, there’s nowhere to hide; he’ll topple all your walls. The music and players led me to this place. That’s what you need. If you listen to the energy, the raw, honest energy, especially on the tempo tracks, you can hear the shift, actually feel the passion and the energy. It’s palpable – and I like that. It’s what’s needed to really drive it.
“There’s a lot of fast and loud songs, because I like those. But for me, I wanted more than fast and loud, I wanted passionate and truthful. Just because a song makes you feel good, that doesn’t mean it can’t say something. I think those are the ones that really get inside.”
The Big Revival is eleven songs that weigh the state of the human condition between the coasts without bogging down or losing hope. Whether it’s the stark philosophical Appalachia of “Don’t It,” featuring GRAMMY winners Alison Krauss and Dan Tyminski, the rousing invitation to live every last moment of “Til It’s Gone,” the picture postcards of a free spirit in “Wild Child,” with a yearning return from Grace Potter, or the percolating shower of words “American Kids,” the project’s lead track, this is an album about engaging, seeking something more, feeling more alive – wherever you may be in your life – than you ever have.
When he found “American Kids,” the lead single from The Big Revival, he knew he had something unlike anything he’d ever cut before. Co-producing with longtime collaborator Buddy Cannon, The Big Revival marks Chesney’s 15th studio album. With the emphasis on great songs, pushing the boundaries without betraying who he is, The Big Revival takes Chesney’s music and lays it wide open. With its first No. 1 in “American Kids,” it looks like the songwriter/entertainer’s next wave is going to break ground and make his fans really happy.
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Exclusive: Songwriter Chris Tompkins Dishes on "Dirt"

October 14, 2014/by Sarah Skates

Chris Tompkins

Chris Tompkins found inspiration for his latest hit “Dirt” in his own backyard. As the songwriter looked at the mounds of earth piled up outside his Forest Hills home, the wheels in his mind started turning. “We were putting in a pool at my house and doing other renovations, and we had big piles of dirt in the yard,” he recalls. “So maybe that’s where I thought of it.”
He outlined the song and took it to frequent co-writer Rodney Clawson. “I brought in the title and the verses ‘you get your hands in it/ you spin your tires on it/ you build your cornfield whiskey bonfires on it,’ but the chorus was up in the air. Rodney dug it. It’s almost an idea that was made for him because he comes from Texas, with football and farming. As we were writing we were trying to figure out if we wanted to talk about being buried. With that title, ‘Dirt,’ it could have gone a thousand different directions. Burial is in the song, but we mellowed it out. We didn’t want it to go too far that way.”
They weren’t writing “Dirt” specifically for Florida Georgia Line, but they knew their Big Loud Shirt cohorts would likely be the first artist to hear it. Tompkins and Clawson know FGL’s repertoire inside and out, having contributed heavily to the duo’s multi-platinum debut album.
The finished song balances somber material with the party-hearty themes that built the Florida Georgia Line brand. “It has a little bit of the FGL thing in there,” says Tompkins. “The cornfield whiskey bonfires, the post-game party field, but for the most part it’s something new for them. I really dig what Brian and Tyler do, but artists don’t need to beat down the same door too many times. The thing I’ve heard the most is that Florida Georgia Line needed a song like that. I know there are some great songs on this next album too.” Indeed, Tompkins has five co-writes on it: “Smoke,” “Anything Goes,” “Bumpin’ The Night,” “Dirt” and “Like You Ain’t Even Gone.”
“‘Dirt’ is one of those songs, like a lot of songs that are hits, that you don’t really feel like you wrote it. It’s like somebody else held your arm and I was just happy to be part of it.”
Read more of MusicRow’s exclusive interview with Tompkins in the 2014-15 Publisher Issue of the magazine.

Jesse Lee Jones Acquires Nashville Palace

October 14, 2014/by Troy_Stephenson

Musician Jesse Lee Jones is the new proprietor of the renowned Nashville Palace. He has operated Nashville honkytonk Robert’s Western World on Lower Broadway for many years.
Jones will continue to broaden the nightlife music scene with a new weekly concert series. Pick & Stomp at the Nashville Palace launched Oct. 9, bringing music fans an array of Bluegrass, Americana, Roots music and much more.
The series, presented by Robert’s Western World and hosted by Bluegrass duo Newton & Thomas, will feature special musical guests every Thursday night through Nov. 13 at the Nashville Palace. General admission tickets are priced at $10.00 and can be purchased at the door, online at nashville-palace.com, or by calling 615-889-1540. Doors open at 7 p.m.; Pick & Stomp showtime is at 7:30 p.m., and the Barn Dance & Pickin’ Party will follow at 9:30 p.m.
“The Nashville Palace has such rich history and I didn’t want it to be forgotten,” says Jones. “Some of the biggest country stars have performed there and their music played a major role in helping make Music City. That history needs to be shared and celebrated with country music fans from around the world, and especially the local people who live here in our beautiful city.”
After opening in 1977 under the operation of John A. Hobbs, artists including Jerry Reed became regulars; Reed performed more than 30 times at the Nashville Palace in the first year alone. The Palace is credited with helping launch artists including Lorrie Morgan, Ricky Van Shelton, and Randy Travis.
The Nashville Palace is located at 2611 McGavock Pike in Nashville, across from The Opryland Hotel.
Nashville Palace “Pick & Stomp” Musical Guests:
Oct. 16 – Chris Henry & The Hardcore Grass and Greg Garing
Oct. 23 – Richard Smith and Thom Bresh
Oct. 30 – Larry Cordle with Jenee Fleenor
Nov. 7 – Tennessee Mafia Jug Band
Nov. 13 – TBA

Swift Samples New Track from '1989'

October 13, 2014/by Eric T. Parker

Taylor Swift, Billboard’s 2014 Woman of the Year, exclusively sampled 30 seconds of a new track “Out Of The Woods” for ABC-TV’s GMA today (Oct. 13). Thus far, the only track revealed from her forthcoming 1989 pop album is the official radio single “Shake it Off.”
“Out of the Woods” will be available for download on iTunes once the clock strikes midnight (Tuesday, Oct. 14). The track is co-written and co-produced by Swift and Jack Antonoff (lead singer of fun.), with vocal production by Max Martin.
“‘Out Of The Woods’ is one of my favorite songs on 1989,” said Swift. “A goal of mine on this album was to make sure the songs sounded exactly the way the emotions felt. This song is about the fragility of some relationships…where you never feel like you are standing on solid ground. This song stresses that even if the relationship is breakable and fragile, it doesn’t mean it isn’t worthwhile and beautiful.”
1989 will be released by Big Machine Records on Oct. 21. Swift’s current single is promoted to pop radio by Republic Records. The international star just wrapped a trip to France and London where she appeared on the X Factor UK, Graham Norton Show and BBC Radio. Promotional partnerships for the 2014 release include Subway, Diet Coke, Target and Keds.
Swift has career record sales in excess of 30 million albums and almost 80 million song downloads worldwide. Her album RED, released almost two years ago, has sold more than 6 million copies worldwide, including more than 1.2 million copies in the U.S. in its first week.
https://www.youtube.com/watch?v=1_PZKYtu5hM&feature=youtu.be

Weekly Chart Report (10/10/14)

October 10, 2014/by Troy_Stephenson

Click here or above to access MusicRow‘s weekly CountryBreakout Report

Jason Aldean On Pace For Huge Debut Week

October 9, 2014/by Jessica Nicholson

Jason Aldean released his latest project, Old Boots, New Dirt (Broken Bow Records) on Oct. 7, and the album is projected to sell 280,000 to 300,000 units in its first week, according to Billboard.
If Aldean does sell close to 300,000 units, he would have the biggest-selling week of any Country artist in 2014, topping Brantley Gilbert‘s Just As I Am, which sold 211,000 units during its debut week in May, and Eric Church‘s The Outsiders, which sold 288,000 units upon its release in February.
Old Boots, New Dirt could post the second biggest sales week of any genre this year, trailing Coldplay‘s Ghost Stories which sold 383,000 for the week ending May 25, according to Nielsen SoundScan.
Aldean’s previous album, 2012’s Night Train, sold 409,000 units in its first week.
The singer-songwriter held an album release party, hosted by iHeartRadio, at the iHeartRadio Theater Los Angeles this week. The one-hour event was hosted by Ben and Matt from KNIX in Phoenix. Aldean performed several songs, including hits “My Kinda Party” and his latest, “Burnin’ It Down” from his new album.

Jason Aldean's iHeartRadio Album Release party in New York City. Photo: Getty Images for iHeartRadio

Jason Aldean’s iHeartRadio Album Release party in Los Angeles. Photo: Getty Images for iHeartRadio

The iHeartRadio Album Release Party With Jason Aldean At The iHeartRadio Theater Los Angeles

Jason Aldean’s iHeartRadio Album Release party in Los Angeles. Photo: Getty Images for iHeartRadio

Dove Awards Showcase Diverse Styles, United Message

October 8, 2014/by Jessica Nicholson

Co-hosts Bart Millard and Lecrae

Hillsong emerged as the big winner during the 45th annual Dove Awards, held Tuesday (Oct. 7) at Lipscomb University’s Allen Arena in Nashville.
Hillsong, the musical arm of Sydney, Australia-based Hillsong Church, earned five honors, including Artist of the Year and Song of the Year, for “Oceans (Where Feet May Fail).” Hillsong Church also earned a Lifetime Achievement Award for its work in ministry for the past 20 years. Hillsong team member Jonathon Douglass accepted the honors on behalf of the organization. Hillsong’s musical branch incorporates several groups, including Hillsong United and Hillsong Young and Free. “We believe the local church will be the salvation of generations. People’s lives are meeting Jesus and as long as that keeps happening we will keep doing this in Jesus’ name,” said Douglass.
The evening featured performances from soulful singer Erica Campbell (featuring Lecrae), girl pop group 1 Girl Nation, worship leader Kari Jobe, rapper Andy Mineo, gospel performer Hezekiah Walker and more. Newcomer duo Love and The Outcome displayed their multiple talents during “He Is With Us,” featuring Chris Rademaker on guitar and harmonies, while Jodi King simultaneously handled lead vocals, keyboard and drum duties.

Jonathon Douglass from Hillsong

Rapper Lecrae, who recently scored a No. 1 debut on the Billboard 200 with his album Anomaly, and MercyMe lead singer Bart Millard proved fitting hosts for the evening of diverse musical styles. The pair turned their musical differences into a comedic moment when Millard tried his hand at rapping, with the aid of a “hypeman,” and Lecrae sang backed by guitars.
“Where are the turntables at?” asked Lecrae.
“Oh we actually play our music,” replied Millard, to the roaring laughter of the crowd.
“I’ll remember that next time I’m on Fallon,” retorted Lecrae, referencing his recent appearance on The Tonight Show Starring Jimmy Fallon.
Later in the evening, after a country/folk-inspired performance, MercyMe was surprised onstage with the news that their signature song, 2001’s “I Can Only Imagine,” has become the first gospel song to earn 2 million digital downloads.
After bringing the crowd to its feet with a rendition of her hit single “Overcomer,” Mandisa took home her first Dove Award for Pop/Contemporary Album of the Year. “I am thankful for this. I think back to [finishing in ninth place on] American Idol eight years ago. I was convinced that I was being kicked to the curb. I didn’t know what to do, but I’m a living witness, if you seek first the kingdom of God.”
Dove Award favorite Natalie Grant showcased her formidable, soulful vocal on an a cappella snippet of “I Need Thee Every Hour,” followed by her recent single “Hurricane.”
Producer Brown Bannister’s daughter and rising artist Ellie Holcomb earned New Artist of the Year. She offered an emotional acceptance speech, quoting Hosea 6:3, and thanking fans who helped her launch her album As Sure As The Sun via Kickstarter this year.
Talented entertainers and musicians For King & Country’s performance closed out the show with a mix of drums, high-energy music and confetti, capping an evening that celebrated uplifting music made of varying styles, but a united message.
The 45th annual Dove Awards will be broadcast on the Trinity Broadcasting Network on Sunday, Oct. 12.
The Dove Awards recently secured a long-term partnership with Lipscomb University in Nashville, which includes housing the Gospel Music Association’s offices on campus. The Dove Awards for 2015 will be held at Lipscomb’s Allen Arena on Oct. 13, while the 2016 Dove Awards will be held at Allen Arena on Oct. 11.
45th Annual Dove Awards Winners
Song of the Year—“Oceans (Where Feet May Fail)” – Hillsong UNITED, (writers) Matt Crocker, Joel Houston, Salomon Ligthelm (publisher) Hillsong Music Publishing/EMICMGPublishing.com
Songwriter of the Year—Chris Tomlin
Contemporary Christian Performance of the Year—“Oceans (Where Feet May Fail),” Hillsong UNITED, Hillsong Music/Sparrow Records, (producer) Michael Guy Chislett
Artist of the Year—Hillsong UNITED, Hillsong Music
New Artist of the Year—Ellie Holcomb
Producer of the Year—Ed Cash
Rap/Hip Hop Song of the Year—“100,” KB (ft. Andy Mineo), (writers) Kevin Burgess, Andy Mineo, Lasanna “ACE” Harris, Joseph Prielozny
Rock Song of the Year—”Not Gonna Die,” Skillet, (writers) John Cooper, Korey Cooper
Rock/Contemporary Song of the Year—“Love Alone Is Worth The Fight,” Switchfoot, (writers) Jon Foreman, Tim Foreman
Pop/Contemporary Song of the Year—“Oceans (Where Feet May Fail),” Hillsong UNITED, (writers) Matt Crocker, Joel Houston, Salomon Ligthelm
Contemporary Gospel/Urban Song of the Year—“Every Praise,” Hezekiah Walker, (writer) David Bratton, Hezekiah Walker
Worship Song of the Year—“Oceans (Where Feet May Fail),” Hillsong UNITED, (writers) Matt Crocker, Joel Houston, Salomon Ligthelm (publisher) Hillsong Music Publishing/EMICMGPublishing.com
Rock Album of the Year—Rise, Skillet, (producer) Howard Benson
Pop/Contemporary Album of the Year—Overcomer, Mandisa, (producers) David Garcia, Christopher Stevens, Chuck Butler, Ronald Rawls
Praise and Worship Album of the Year—Majestic, Kari Jobe, (producer) Jeremy Edwardson
Inspirational Film of the Year—God’s Not Dead, (director) Harold Cronk, (producer) Pure Flix Entertainment
Official images provided by Rick Diamond and Terry Wyatt of Getty Images for the 45th Annual GMA Dove Awards.

DISClaimer: Country Music's Sonic Diversity

October 8, 2014/by Robert K Oermann

One of the coolest things about this week’s collection of country music is its sonic diversity.
We have dusty, Texas-influenced troubadours like Mark Jones and Radney Foster. We have ultra-produced pop-country sounds from Carrie Underwood and Victoria Banks. There’s the throwback, 1950s country style of Doug Seegers as well as the contemporary song craftsmanship of Eric Paslay. The shiny newness of Jon Pardi sits alongside the nostalgia of “Gentle on My Mind” by The Band Perry.
And you know what? It’s all good.
So much so, that both of our awards this week are ties. Although totally different, Radney Foster and Carrie Underwood are both Discs of the Day.
Likewise, our two distinctive DisCovery Award stylists, Doug Seegers and Mark Jones & Twenty Paces.
KENNY CHESNEY/Til It’s Gone
Writer: Rodney Clawson/David Lee Murphy/Jimmy Yeary; Producer: Buddy Cannon & Kenny Chesney; Publisher: none listed, BMI/ASCAP; Columbia/Blue Chair (track)
—The track sounds curiously compressed and mushy, with a constant guitar drone that doesn’t let up and nearly buries the vocal. The song about living in the moment while love is fresh is solid as a rock.
MARK JONES & TWENTY PACES/Breaking Even
Writer: Mark Jones; Producer: Jeffery Armstreet; Publisher: none listed; MJ (www.markjonesxxpaces.com)
—It’s over. Looking back, he realizes they never had a chance. Jones sings with marvelous warmth, giving the ballad its intense, country-boy heartache. The band and production are both stellar, as well. Lend this your ears.
THE BAND PERRY/Gentle on My Mind
Writer: John Hartford; Producer: Dann Huff; Publisher: Sony-ATV, no performance rights listed; Republic Nashville
—The band was on Glen Campbell’s farewell tour and appears in the acclaimed documentary Glen Campbell: I’ll Be Me. This salute to the afflicted superstar retains the classic song’s breezy tempo as well as its wistful, rambling-boy tone. Effortlessly entertaining.
VICTORIA BANKS/Ruined
Writer: Victoria Banks/Phil Barton/Preston Brust/Lindsay Rimes; Producer: Victoria Banks & Park Chisolm; Publisher: Spark Ark Songs/Petrelli Tunes/Better Boat Music/Warner-Tamerlane Publishing Corp./Sony-ATV Tree Publishing/EMI Music Publishing Australia, ASCAP/BMI/APRA; Fontana North (track) (www.victoriabanks.net)
—Banks is a Nashville singer-songwriter who was named Female Artist of the Year and Songwriter of the Year at the 2010 Canadian Country Music Awards. Her new Indigo CD has a refreshing, experimental pop-country sound typified by this crunchy, wooshy, upbeat single. The song craftsmanship is topnotch throughout the collection. This is an artist you absolutely need to pay attention to. Recommended without reservation.
JON PARDI/When I’ve Been Drinkin’
Writer: Jon Pardi/Bart Butler/Jeremy Spillman; Producer: Bart Butler & Jon Pardi; Publisher: The Song Factory/Golden Vault/Bill Butler/HoriPro/Brave Bandito, BMI; Capitol (track)
—He phoned her and babbled lovey-dovey stuff, but it was only because he was loaded. At least that’s the way he remembers it in this wryly drawling ditty. The goofy banjo notes are the perfect audio touch.
ERIC PASLAY/She Don’t Love You
Writer: Eric Paslay/Jennifer Wayne; Producer: Marshall Altman; Publisher: Cal IV/Five Stone/Songwriters of Platinum Pen, ASCAP/BMI; EMI (track)
—Sadly wistful, this ballad paints a portrait of a lost lamb who finds solace wherever she can. Supportive strings sigh along.
CARRIE UNDERWOOD/Something in the Water
Writer: Carrie Underwood/Chris DeStefano/Brett James; Producer: Mark Bright; Publisher: Carrie-Okie/EMI April/Sugar Glider/Sony-ATV/WB, BMI/ASCAP; Arista
—Underwood tears into this gospel rocker with gusto. Bright’s production froths around her, alternately pounding and dropping into near silence. All in all, a brilliant sonic creation.
DOUG SEEGERS/Going Down to the River
Writer: none listed; Producer: none listed; Publisher: none listed; Rounder (track)
—Early this year, Swedish country star Jill Johnson came to Nashville to make a music documentary. She and her crew found Seegers singing on the streets downtown. Captivated by his soulful, retro style, she spearheaded the creation of an album. Listeners in her homeland turned this evocation of the great Hank Williams into a Swedish smash, and soon his reputation spread elsewhere in Europe. Rounder perked up its ears, signed the homeless man to a U.S. deal, and released the record on Tuesday. It is one terrific listening experience, featuring 10 Seegers originals plus one cover each of Hank and Gram Parsons songs. Buddy Miller and Emmylou Harris are among the stellar guests in the cast.
RADNEY FOSTER/California
Writer: Radney Foster; Producer: Justin Tocket & Radney Foster; Publisher: Alamo Lounge/Kobalt, ASCAP; Devil’s River (track)
—If I were king, this man would be a superstar. As it is, he remains an A+ country vocalist and a song craftsman without peer. This heartbroken meditation burns and yearns as its narrator travels the road to the Golden State. Aspiring tunesmiths could use this as a tutorial, because every line of this ballad is a jewel. Kacey Musgraves provides the wafting vocal harmony.
CASEY BERRY/Won’t Let You Make a Fool of Me
Writer: Jim Reilley; Producer: Roger Hodges; Publisher: Mike Curb/Keantunes, BMI; 80615 (track) (www.caseyberry.com)
—Solidly country. He’s not the world’s strongest singer, but the well-written, conversational lyric and steel-soaked production support him admirably.

Weekly Register: Blake Shelton, Lady A Debut On Top

October 8, 2014/by Sarah Skates

It’s debut week for Blake Shelton and Lady Antebellum, who zoomed into the No. 1 and 2 slots on the overall albums chart, respectively.
Shelton sold 101K, fueled in part by hit lead single “Neon Light,” and the season premiere of The Voice. He chose the title Bringing Back the Sunshine because he says, “Country is sunshine to me…I’m bringing back some country music.” Among the album’s guests are Ashley Monroe (“Lonely Tonight”) and Rae Lynn (“Buzzin'”), a former The Voice contestant.
Lady A’s 747 landed with sales of 74K. The hit “Bartender” was a strong sales lead-in, and the group’s promotional rounds included performances on TODAY and Jimmy Fallon, a Yahoo! live stream, and the 7FOR7 project where they gave seven surprises to seven fans in seven days. New single “Freestyle” is out now.
Rounding out the top 5 Country albums are current releases by Kenny Chesney (39K), George Strait (14K) and Tim McGraw (13K).
This week’s other Country debuts include Marty Stuart and his Fabulous Superlatives, Alabama & Friends at The Ryman, Lady Antebellum (4-CD Wal-Mart pre pack), Moonshine Bandits, Ricky Skaggs, Chase Bryant (EP), and Jeff Bridges. These all sold 2K or less.
Jason Aldean’s new album was released yesterday, so we will have those sales numbers next week.
Tracking Tracks
Carrie Underwood’s new single “Something in the Water” sold 125K, swimming in at No. 1 Country. Jason Aldean and Florida Georgia Line share the rest of the Top 5. Aldean’s “Just Gettin’ Started” debuted at No. 2 with 86K, and “Burnin’ It Down” sold 71K, topping the 1 million mark. The latest from FGL, “Bumpin’ The Night,” sold 71K, and “Dirt” rounded out the Top 5 with 49K and nearing 1 million.
Meanwhile, Megan Trainor is still bumpin’ on the overall tracks chart, selling 202K downloads this week of “All About That Bass,” for a RTD total of 2.7 million.

Exclusive: Q&A With Aubrey Preston, RCA Studio A's Future Owner

October 7, 2014/by Jessica Nicholson

Aubrey Preston

Last week, MusicRow reported that AMT Trust swooped in with a last-minute contract to purchase 30 Music Square West, home of historic RCA Studio A, and save it from destruction. The property had recently been purchased by Bravo Development who planned to build a five-story condo building on the site. Bravo, led by Tim Reynolds, paid approximately $4 million for the property.
Local philanthropist Aubrey Preston formed AMT Trust in order to purchase and preserve the property. Preston, whose trust is under contract to pay $5.6 million for 30 Music Square West, was previously involved in other local Nashville-area preservation projects, including the Franklin Theatre and Leipers Fork area, which he calls home. The Cleveland, Tenn. native also worked with the Americana Music Association to create the Americana Music Triangle, a budding multistate tourism project stretching from Nashville to Memphis, Tenn., to New Orleans.
MusicRow spoke with Preston about his plans for 30 Music Square West.
How did you become interested in the project?
It comes from my appreciation of the history of American music and the role that Studio A played in that.
The person that got me involved was [songwriter and SaveStudioA member] Trey Bruce, an old friend. Our kids went to school together. He called me and we went out for coffee and he started showing me what was going on [with RCA Studio A], and to tell you the truth, I didn’t believe what I was hearing, so I had to go look and understand it a little more. I was astonished about what was getting ready to happen. I’m so grateful that Mr. Reynolds gave us an option at the eleventh hour to purchase the property, and avoid this disaster for our town.
Talk about forming AMT Trust.
AMT is a little company that I put together really at the eleventh hour, because I didn’t wake up last Tuesday thinking I was going to buy a building. I realized that nobody else was going to buy it and I thought it was impossible that the building could be torn down. We bought the property in that entity [AMT Trust] that was created that day, to have the flexibility to learn more about the property and listen to smart people who can help us with the best strategy to preserve it in the long run. What we learn from the preservation people, and our legal and accounting advisors, will determine what the ownership vehicle will be. There’s a lot of discovery that needs to happen as far as the best way to preserve it in the long run, which is our primary goal.
What is the closing day on the sale?
The closing day is Dec. 31, so it will happen on or before that day.
Are there plans to sell the building to another owner?
That kind of got out into the press. The general idea is that we needed to get the property under contract. When we talk about selling the building, we’re really talking about trying to find the right vehicle, the appropriate entity for us to own the building. We’re planning on being the owners of the property, we’re just not sure what that will look like.
What are your ideas for what the building will look like? Will you incorporate the building into a new development, or is it more about leaving it as is?
It’s real early in our process of discovering exactly what we bought, and listening closely to the talented preservation people who can help us understand the obstacles.
My general way of going about things in the past has been to follow a path of pure preservation. Obviously, there was the Leipers Fork area, and then the Franklin Theatre that I was highly involved in redeveloping. There are things you want to do to update them, but in both of those situations, and in general, try to take the most pure path we can take, yet still kind of update the property to make it economically vibrant.
If I was guessing right now, I would say we would try to make the property look and feel a lot like it did in 1965, and of course this will involve getting pictures from the archives. We understand RCA and New York [have archives], and there are other people who have a lot of pictures. As some of those things come forward and we understand what the building looked like in 1965, when it was opened, that will be very important to how we guide the property.
What about the tenants who have been told that they will have to leave the property?
The problem that we’re up against is that the contract we had to sign literally at the eleventh hour was really more of a “dare” contract than a sales contract. The terms of the contract are so onerous on the buyer, that’s one of the reason there weren’t any buyers. We’re prohibited from talking to any of the existing tenants for 30 days until the due diligence period is over. So, we won’t be able to really comment in depth on who will be staying until we have some conversations with those folks. Our goal is to preserve the building and preserve the music-making way of life there that’s been going on for 50 years. It seems crazy to re-purpose the building now and do something else, when sites like this are so rare globally.
Are there other historical music industry-related properties that might be purchased in the future?
I think we’ll keep an open mind to that, but we’re not Music Row investors, that’s not our primary purpose. This we’re seeing as a philanthropic kind of acquisition that hopefully over time, will heal itself from an economic perspective. Clearly we’ve overpaid for the property from a pure economic perspective. It’s hard to make that kind of investment regularly and make it up on volume.
Next year marks 50 years for RCA Studio A.
I think next year will be a great opportunity to look back over history and really kind of revisit all of the great things that have happened there. I think Chet Atkins, the party that they opened it at, if I heard it right, was in March 1965, so maybe we can get together in March and have a party to celebrate it. It’s interesting the people who have taken note of this. Justin Timberlake dropped it to his 40 million Facebook fans on Sunday, which I think is kind of indicative of how important this is to people around the world who are watching. He’s been watching this obviously, and you wonder who else has been watching to see what Nashville is going to do.

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