Tag Archive for: featured-2

Virgin Hotel Coming To Music Row

virgin hotelsVirgin Hotels, part of the brand established by billionaire entrepreneur Richard Branson, will open its third U.S. property in Nashville. The address will be One Music Row, and it is expected to open in 2016. Although not confirmed, this address is likely the site at One Music Square West, where a historic home was demolished yesterday (April 16). See story here.
The luxury hotel will include 240 guest rooms, multiple concept suites, food and beverage outlets, and a cutting edge recording studio. Specifically, the Wall Street Journal reports it will have 30 suites, a rooftop bar and restaurant, and spa.
“Nashville’s time is now, and we want to be part of that excitement,” said Branson in a press release. “We hope our first venture in Nashville will open the doors for more Virgin opportunities and more global travelers to enjoy Nashville’s southern hospitality.”
Virgin Hotels Chief Executive Raul Leal told WSJ, “Obviously, our brand has a strong music heritage and so does Nashville.”
Nashville’s D.F. Chase Inc. is developing the property. David Chase said, “We’re excited about the opportunity to bring a global brand with such strong roots in music, entertainment, travel, hospitality and technology to our city. Virgin has 60 million customers from around the world, and we believe this partnership validates Nashville’s position as one of the premier destinations in the U.S. Details of the deal structure are still in discussion, but for us it was all about the location.”
Other Virgin Hotels are being built in New York and Chicago, the latter of which will open this fall. Additional locations under consideration for Virgin Hotels properties include Dallas, Austin, Los Angeles, Miami, Palm Springs, San Francisco, Washington DC, and London.

Historic 1800s Music Row Building Demolished

historicbuilding

1 Music Square West on April 16, 2014. Photo: @SuzanneSimsLee

The Queen Anne style building located at 1 Music Sq. W. is no more.

Construction crews tore down the iconic building yesterday (4/16) that sat across from ASCAP at the corner of Division and Music Square West (the lower end of 17th Ave. S.). Members of the Music Row community drove by the landmark countless times. According to public records, the building was originally recorded as a single family home with six bedrooms and six baths and is estimated to have been built in 1836, containing 6605 square feet on .52 acres.
ASCAP’s Suzanne Lee shared via Twitter, “It *was* the most gorgeous house on Music Row. R.I.P.” “All of us at ASCAP are mourning the loss of this beautiful landmark,” added Lee. A sentiment undoubtedly shared by many on the Row.
Announced today (4/17), Virgin Hotels, part of the brand established by billionaire entrepreneur Richard Branson, will open its third U.S. property in Nashville most likely at this location.
Property on The Row is a hot commodity these days. Developments in-the-works include SESAC’s new $20 million home on Music Sq. E., an 18-story mixed-use property at the roundabout at 1515 Demonbreun, and the purchase of Edgehill Village for $9.2 million. Most recently, a group of property owners went before the Metro Planning Commission on March 13 regarding a development at 54, 56, 58, 60, 62 and 64 Music Sq. W.

DISClaimer: Baby Acts Steal The Musical Thunder

John King

John King


The baby acts stole the thunder from the established stars this week. As much as I loved the performances by Jamie O’Neal, Blake Shelton and Johnny Cash, my heart was captured by record makers who have far less experience than those three. Blake looked like he was sailing straight for a Disc of the Day prize, until he was trumped by his label-mate, Frankie Ballard. And then Frankie got the award snatched from him by the even newer Brothers Osborne.
And just as delightful was a total unknown, John King. He wins this edition’s DisCovery Award.
BROTHERS OSBORNE/Rum
Writers: John Osborne/T.J. Osborne/Barry Dean; Producers: Brothers Osborne & Brad Hill; Publishers: WB/All the Kings Pens/Universal-Careers/Barrytones, ASCAP/BMI; EMI Nashville
-Can I have the hands of everyone who’s ready for beach weather? That’s what I thought. Brothers Osborne have a single that will take you there in your mind. Everything is right about this: the hearty singing, the crunchy rhythms, the cool lyric, the vibe, the good-time mood. Play this massively.
COLE SWINDELL/Hope You Get Lonely Tonight
Writers: Cole Swindell/Michael Carter/Tyler Hubbard/Brian Kelley; Producer: Michael Carter; Publishers: Sony-ATV Tree/Sony-ATV Cross Keys/243/Big Loud Mountain, ASCAP/BMI; Warner Bros.
-Swindell’s sophomore single is a torrid invitation to romance with a roaring track backing a fierce tenor vocal performance. Radio ready.

Brothers Osborne


CARISSA LEIGH/Bad Boy
Writers: Carissa Leigh/Marty Dodson/Andrew Fromm; Producer: ToneDef; Publisher: none listed, BMI; 9 North/Little
-The production is messy with too much going on. The melodically weak song does nothing for me.
JOHN KING/Tonight Tonight
Writers: Marshall Altman/Dylan Altman/Andy Cortes; Producer: Marshall Altman & Doug Johnson; Songs of the Galt Line/Razor & Tie/Music of Cal IV/Andy Cortes, BMI; Black River
– Working for a paycheck, but looking forward to nighttime fun. EVERYBODY can relate to this. Especially since it is ridiculously hooky and completely ebullient. Love the guitar-crazy production, frothing rhythm and little electro touches. Who is this guy?
FRANKIE BALLARD/Sunshine & Whiskey
Writers: Luke Laird/Jaren Johnston; Producer: Marshall Altman; Publisher: Songs of Univeral/Creative Nation/Twanging and Slangin/Sony-ATV/Texa Rae, BMI/ASCAP; Warner Bros.
-This one gets bonus points for being sung in a super catchy, slightly raspy, country soulman style. Plus, the lyric is super clever: “Every time you kiss me/It’s like sunshine and whiskey.” Ain’t that cool?
SCOTTY MCCREERY/Feelin’ It
Writers: Frank Rogers/Matthew West; Producer: Frank Rogers; Publishers: House of Sea Gayle/External Combustion/Songs for Delaney/Songs of Southside Independent, ASCAP; Mercury/19 (CDX)
-The burbling, bubbling production is an audio delight and his vocal is totally assured. I’m even willing to overlook the fact that this is the one millionth summer-country-party lyric.
JAMIE O’NEAL/Wide Awake
Writers: Jamie O’Neal/Jimmy Murphy; Producer: Rodney Good & Jamie O’Neal; Publishers: EMI Pakimo, ASCAP; Shanachie (CDX)
-Jamie’s Eternal CD is mostly reinterpretations of country classics. It’s lone original tune starts out as a dreamy ballad, then takes a hard left turn into a honky-tonk lament about her guy who snores in bed. Wonderfully country-humorous, extremely listenable and sung like a hillbilly goddess.
BLAKE SHELTON/My Eyes
Writers: Josh Osborne/Tommy Lee James/Andrew Dorff; Producer: Scott Hendricks; Publishers: Want a Fresh One/Black River/Pretty Woman/Super Phonic/BMG/Songs of Universal/Endorffin, ASCAP/BMI; Warner Bros.
-Introduced on the ACM telecast this month, Shelton’s latest is an ultra sultry, swaying, sensuous delight. Gwen Sebastian provides the harmony vocal.
DANIELLE BRADBERY/Young In America
Writers: Jaren Johnston/Kylie Sackley/Whitney Duncan; Producer: Dann Huff; Publishers: Sony-ATV/Texa Rae/BMG Gold/We Jam Writers Group, ASCAP; Big Machine
-As long as we’re young, what do you say that we see the country and enjoy being in love? Sounds like a plan to me.
JOHNNY CASH/She Used To Love Me A Lot
Writers: Rhonda Fleming/Dennis Morgan/Charles Quillen; Producers: Billy Sherrill, John Carter Cash & Steve Berkowitz; Publishers: none listed; Columbia Legacy
-Johnny is in fine voice on his “lost” album, Out Among the Stars. Originally recorded in 1984, this dark saga of lost love has a burning, driving quality that is super engaging. The album also includes two June Carter Cash duets, a duet with Waylon Jennings and a remix/production “bonus” track of this song by Elvis Costello. All in all, a fine listening outing.

Weekly Register: Everlasting Diva—Martina Sings To The Top Again

everlasting11Martina McBride’s independent release Everlasting sold 21k and debuted as the No. 1 Country album this week.
The top debut overall goes to MercyMe, selling 26k of Welcome To The New (Fair Trade).
[To show the free-fall in sales land: During this week last year, the No. 1 country album was Brad Paisley’s then-new Wheelhouse, with sales of 100k, compared to 21k garnering the No. 1 spot this year.]
Other Country debuts this week include Carlene Carter’s Carter Girl with 1.4k, available on Rounder.
MusicRow critic Robert K. Oermann recently raved about the new sets from McBride and Carter, which were both produced by Don Was and released the same day.
mercymeRonnie Dunn’s Peace Love and Country Music on his own Little Will-E Records, in partnership with Country Outfitter, sold 958k.
The ACM Awards yielded small sales bumps this week for a few performers. Co-host Luke Bryan saw a 24 percent increase week-to-week on downloads of “Play It Again,” selling 108k TW and 620k RTD.
Tim McGraw and Faith Hill debuted “Meanwhile Back At Mama’s” on the show, which entered the chart at No. 9 Country, selling 33k.
Miranda Lambert, George Strait and Paisley saw slight boosts. Lambert’s “Automatic” sold 51k TW, a 63 percent rise for 237k RTD. Strait’s “I Got A Car” sold 21k TW, a 69 percent lift for 125k RTD. Paisley’s “River Bank” moved 21k, a 375 percent increase for 25k RTD.

Carlene Carter visit

Carlene Carter treated “MusicRow” staffers to a performance of tunes from “Carter Girl.”

Bobby Karl Works The CMHoF Expansion Celebration

BOBBY KARL WORKS THE ROOM
Chapter 453
Mayor Karl Dean has another feather in his “convention center” cap.
“The Country Music Hall of Fame & Museum is a key element in our convention-center campus,” said his honor at the grand opening of its 210,000 square foot expansion of the museum. “I guarantee you, we have the most compelling convention experience of any city in the country,” he added, citing the Hall of Fame, the attached Omni Hotel, the Music City Center, Bridgestone Arena, Lower Broadway, the Frist Fine Arts Center and the Schermerhorn Symphony Center as components of this district.

CMHoF's Kyle Young. Photo: Bev Moser/Moments By Moser

CMHoF’s Kyle Young. Photo: Bev Moser/Moments By Moser


A liquor store and a convenience shop on Korean Veterans Boulevard would help. I know what conventioneers need.
“This is a day of celebration and thanksgiving,” said CMHoF exec Kyle Young. “Today, we begin a promising new era. We’re gratified to be in the ‘It’ city.”
“This is yet another milestone in our growing SoBro,” added the Mayor. “For the past year, you’ve heard me say that The New York Times called us the ‘It’ city. Last month, Time magazine called us the ‘red-hot city of the South.’ This is a moment to celebrate Country music as a genre that made us Music City.”
Vince Gill. Photo: Bev Moser/Moments By Moser

Vince Gill. Photo: Bev Moser/Moments By Moser


“Thank you for your generosity and for your belief in our city,” said CMHoF board chairman Steve Turner. He, Young and Dean were all speaking in the facility’s new Event Hall, which Turner praised as having “the best skyline views in our city.”
The opening was celebrated with both afternoon and evening events at the museum on Tuesday (April 15). The official gig in the afternoon was characterized by music, music, music. Which is how we always do things best in Tune Town.
Following the presentation of the Colors by members of the Tennessee National Guard, “The Star Spangled Banner” was sung by The Valentines. The fabulous McCrary Sisters did “Amazing Grace” a cappella. Then Ricky Skaggs performed the museum capital campaign’s “fight song,” The Carter Family’s “Working on a Building.”
“There’s a lot of great cities in the world, and I’ve been to a bunch of them,” said Skaggs. “But there’s only one that can call itself Music City.”
Country Music Hall of Fame member Vince Gill performed “Blue Eyes Crying in the Rain.” Its author, Fred Rose, was one of the first three people inducted into the Hall.
CMHOF Expansion Celebration 4.15.14207111

Lee Ann Womack. Photo: Bev Moser, Moments By Moser

Lee Ann Womack sang “You Don’t Know Me,” which was written by Hall of Fame member Cindy Walker and introduced by Hall of Fame member Eddy Arnold.

Buddy Miller and The McCrary Sisters romped through “Love’s Gonna Live Here,” by Hall of Famer Buck Owens. Buddy was the bandleader and musical director of the event. And what a band: Tammy Rogers (fiddle, mandolin), Viktor Krauss (bass), Tim Lauer (piano, accordion), Russ Pahl (steel) and Jerry Rowe (drums).
“This speaks to who we are as a state,” said Gov. Bill Haslam. “The thing we’re most famous for is making music. Music represents us all over the world.”
Confetti canons blasted colorful paper bits onto the heads of attendees at the finale. Everybody got pieces of cake and commemorative posters from Hatch Show Print.
Well, almost everybody. The afternoon event was originally scheduled to take place out of doors. Weather forced things to take place inside. The Tennessean failed to mention that this meant that the event was no longer open to everyone. Once the Event Hall was filled past capacity, folks from the pubic were turned away. Also: The Hall ran out of posters as well as printed programs.

Ricky Skaggs. Photo: Bev Moser/Moments By Moser

Ricky Skaggs. Photo: Bev Moser/Moments By Moser


Lucky fabulons who did get to move and groove included Bobby Braddock, Bobby Bare, Jo Walker Meador, Jody Williams, Jody Maphis, Rose Lee Maphis, Don Light, Donna Nicely, Lon Helton, Harold Bradley, Rod Essig, Jimmy Fortune, Chris Horsnell, Bud Wendell, Irene Kelly, Brian Mansfield, Earle Simmons, Ed Salamon, Diane Pearson, Al Bunetta, Mark Ford, Tom Roland, Lori Badgett, Kathi Whitley, Andrew Kintz, Mary Ann McCready, Allison Auerbach, Jennifer Bohler and John Ingrassia.
Needless to say, the galleries were packed after the ceremony. So we returned to a Members-Only Preview event that evening at 5-7 p.m. Apart from Steve West, Jimmy CarterDan Ekback and a few others, we had the expansion galleries to ourselves.
There is 10,000 square feet of new gallery space. We’ve already seen the new Event Hall, its lobby, its balcony, the 800-seat CMA Theater, the Jerry & Ernie Williams Lobby off Fifth Avenue and the new Hatch Show Print headquarters. What we didn’t see is the expanded storage space for artifacts and the library.
What we did see is the Taylor Swift Education Center, with its three classrooms and a learning lab. That’s on the third floor. So is the spectacular Glen Campbell exhibit. Beyond Glen’s many costumes, guitars and artifacts you can peer into the museum’s exhibit-prep area.
On the second floor are the adjoining Dinah & Fred Gretsch Family Gallery and the ACM Gallery. These showcase contemporary Country stars, featuring costumes, hats, plaques, video props and paper collectibles from Brad Paisley, Toby Keith, Eric Church, Thompson Square, Tate Stevens, Alan Jackson, Tim McGraw, Miranda Lambert, The Zac Brown Band, Gregg Allman, Blake Shelton, Luke Bryan, Florida Georgia Line, Craig Morgan and Jason Aldean, as well as such legends as Charlie Daniels, Buck Owens and Merle Haggard.
CMHOF Expansion Celebration 4.15.149411

Pictured (L-R): Bud Wendell, Steve Turner, Vince Gill, Bill Haslam, and Karl Dean. Photo: Bev Moser/Moments By Moser

A few things that caught my eye were Kellie Pickler’s costume from her championship on Dancing With the Stars, Trisha Yearwood’s blender and kitchen utensils from her cooking TV show, Don Schlitz’s typewriter (on which he wrote “The Gambler”), memorabilia from the farewell tours of George Strait and Ralph Stanley, farewell/funeral artifacts from George Jones, stuff representing Darius Rucker’s Opry induction and bluegrass instruments plus an IBMA Award from the gifted Gibson Brothers.

There are song lyrics, award statuettes and LOTS of interactive video screens. There’s a wall-size display of bobble-head dolls representing jobs in the music industry. I didn’t get the turntable where I think you were supposed to put post-it notes containing song ideas. I did get the big “anatomy” guitar with a kiddie play-slide inside. Do not be deceived by the room in the shape of Taylor’s tour bus. It does not house tour-bus bunks or kitchenettes. Just more touch screens.
Afterward, we headed to Josephine’s on 12th Avenue South. Don’t miss the heirloom-beet salad or the scallops main course. Sitting at the next table was Connie Britton. I resisted the urge to tell her that we’re addicted to her Nashville TV series.

Exclusive: Bob Romeo On Sold-Out 50th Anniversary ACM Awards

romeo11

ACM CEO Bob Romeo


The Academy of Country Music sold out two of the nation’s largest stadiums today (April 15), selling 70,000 tickets in 18 minutes for the ACM Awards’ 50th Anniversary show, and the ACM Party For A Cause: 50 Years of Music & Memories.
The 50th Anniversary show will take place at AT&T Stadium in Arlington, Texas on Sunday, April 19, 2015 and air live on CBS. The ACM Party For A Cause: 50 Years of Music & Memories will take place April 17-18 at Globe Life Park, home of the Texas Rangers, also in Arlington.
MusicRow spoke with ACM CEO Bob Romeo about the fastest-selling event in the Academy’s history. “For the pre-sale, we had 55,000 people hit within the first few minutes. We knew by the time we got to the public on-sale, that it would sell out even faster. We sold out all of the hotels we had on hold today, and we will put more hotels on hold for fans.”
Accommodating the fans: “We are asking fans to sign up on the A-list database, because I’m sure when we get into it, we’ll have some production seats killed that we’ll be able to release. We are also batting around some ideas; we’re thinking about creating a Sunday tailgate-type party, and in one of the end zones we’re going to do the all-star jam, which is our awards show after-party. There is a second outdoor end zone area in the stadium, so we might do an outside viewing party for the awards show. My fear is that there are a lot of fans, in Texas specifically, that didn’t get a chance to buy tickets, so we’re going to sit down as a team and figure out some options to create some more events to take care of the fans who might not have had a chance to purchase tickets.”
Artist Logistics: “Obviously, a lot of people loved being in one hotel at the MGM Grand [in Las Vegas], and people could literally walk to rehearsals. In Arlington, there will be some pluses. As someone who has been on the road a lot with artists, I know a lot of the artists really love to have their buses there, which was not possible at MGM, because we don’t have enough parking for buses. The Cowboys [organization] helped us create a bus compound, so we’ll be able to house 100 of the artists’ buses in a secure lot. Close to the lot, there is a door which leads to an elevator and directly down to the stage level.
“To some degree, it will be as convenient, if not more convenient, for artists that want to house out of their buses. I’m sure for rehearsals on Saturday and for dress [rehearsals] on Sunday, most of the artists will stay on the buses and we’ll pull talent out of the buses. I think from that aspect, it will work really great.”
Awards Show Logistics and remote performances: “Within the stadium, we will have two stages, each about the size of the MGM Grand Garden Arena stage, with fan pits. Since we’ve sold out so fast, there could be an outside chance that we would offer some outdoor space for a viewing area and do a remote from there. We haven’t addressed that yet as it just sold out today, but as we get our team together we will talk about more opportunities for the fans to take part in what we’re doing.”
Nashville Town Hall:  “We plan on having a town hall [meeting] in Nashville for the industry so we can show them the stage diagram, and where the bus parking is, and the logistics. I think once they see that, it will become as convenient as what MGM is. My board has seen some of the conceptual drawings, but the industry hasn’t, and I think when they see it, they will be amazed at how it looks.”
Return To Las Vegas in 2016: “We are not 100 percent sure, but the hope is that when we come back to Las Vegas in 2016, MGM Resorts will have a new arena. We hope to be the first event to open up that arena. If that happens, we’ll take the ACM Fan Jam that was in Mandalay Bay, and we’ll move that to the Grand Garden Arena. Between those two spaces, we hope to take care of about 30,000 fans for the awards show.
“This year we moved the ACM Party For A Cause to the LINQ in Las Vegas. The plan is to come back to Vegas and to supersize that event, because that lot will hold 40,000-50,000 people. When we come back to Vegas, we’re hoping to bring a lot of our friends from Texas, and they’ll be able to come to the festival, and we’ll be able to take care of about an additional 10,000 people for the awards show, between the venue and making MGM our remote.”
Summing up the event, Romeo stated, “I can’t think of a better place for the awards show than at the AT&T Stadium. No matter where you are seated, because of that huge screen, they’ll have an unbelievable experience.
“As we get to planning the show, there will be a lot of special moments in it. We’ve had a lot of acts already indicating they want to participate. Now we have a chance to focus on being creative and making the 50th anniversary ACM Awards show something special.”

Jimmy Bowen Chronicles Nashville Legacy

Jimmy Bowen with Museum Writer-Editor Michael McCall. Photo: Donn Jones. 

Jimmy Bowen with Museum Writer-Editor Michael McCall. Photo: Donn Jones.


Jimmy Bowen whisked onto the stage of the Country Music Hall of Fame and Museum’s Ford Theater Saturday, April 12, with a declarative, “What the hell happened to this town since I left?”
The museum’s Michael McCall replied that much of the city’s change and growth is a result of Bowen’s legacy. Credited with boosting Nashville’s clout for label operations, recording technology, and executive positions for women, Bowen went on to charismatically chronicle his career which brought him from Los Angeles to Nashville at the turn of the ’70s.
Bowen recalled the Garth Brooks era and how after seeing the performer’s live show, he instructed his staff to earmark 75 percent of their budget for “the biggest [artist] of them all.” “When something like that happens, it had to be like Elvis or The Beatles,” said Bowen, whose career also includes work with Frank Sinatra, Glen Campbell, Mel Tillis, Kenny Rogers, Dean Martin, Hank Jr., George Strait, Reba McEntire and a few self-described “misses,” including passing on The Eagles.
“When you look back, you say ‘I’ll be damned, I was working with Country music all along,'” reminisced Bowen of the relationships and experiences. (He absorbed Phil Spector‘s work while writing and producing Campbell across the hall in Los Angeles.) “I’ve always been aware of signs, and follow them,” he said.
Pres./CEO Warner Music Nashville, John Esposito visits with Jimmy Bowen after the program. Photo: Donn Jones.

Pres./CEO Warner Music Nashville, John Esposito visits with Jimmy Bowen after the program. Photo: Donn Jones.


Those types of friendships led to executive positions at Chancellor Records, Sinatra’s Reprise Records, and MGM Records before Bowen’s attention turned to Nashville in an effort to discover why records weren’t selling while singles were.
“I didn’t know how to record fiddle, but knew how to record twenty at a time,” recalled Bowen of adapting to the genre. “I had the best education. Tompall Glaser taught me the history of the music and business – if it hadn’t been for that, I wouldn’t have understood how to change anything here.
“I started to build the first label in Nashville with an accounting department, and marketing and sales, which had previously been done in Los Angeles or New York.
“I paid musicians double-scale and brought cartage to Nashville.” This gave musicians the freedom to create music rather than spend time hauling and loading equipment. Bowen also leveraged label contracts to justify millions in upgrades for a studio owner.
“When I worked with Dean and Sinatra, I learned it was their music, not mine,” noted Bowen, who holds the record for the most MusicRow Producer of the Year wins with eight consecutive honors. “I wanted artists to co-produce so they would understand hit songs and figure out what they want to say. I explained to Reba that albums open like concerts, then they peak, valley and close. And she understood.”
During Bowen’s reign, he was quick to promote the advantages of music producers as label heads, which also included Tony Brown and James Stroud. “At that time, there had been a distrust from artists for labels,” said Bowen. “I mainly said [producers were better label heads] because the competition was otherwise.”
“I’ve been accused of using the press,” he reminisced. When Brooks’ “Thunder Rolls” music video was banned, Bowen hired PR representation for news programs, print outlets and more because “The best thing is to be banned! We changed it from music to a national topic about a woman standing up for herself.”
Of female executives, Bowen recalled, “Dollars weren’t huge when I arrived. I figured out what [staff] I needed, then projected sales to meet that. For some reason women bought the concept that if you ‘take care of the music, it will take care of you,’ and they worked their butts off.”
The label titan departed Nashville, when he was then helming Capitol Nashville, in the early ’90s after a cancer diagnosis.
The two hour discussion was part of the Reba: All the Women I Am exhibition, which is slated to close June 8.

Exclusive: 'Rolling Stone Country' Adds Hudak As Sr. Editor

hudak1

Joseph Hudak


Rolling Stone Country has named Joseph Hudak as Sr. Editor.
Hudak will join Beville Dunkerley, also Sr. Editor at Rolling Stone Country, as a partner in the new venture.
“Joe is not only a terrific writer but is also a walking encyclopedia of Country music — with knowledge that goes way beyond what’s played on terrestrial radio,” says Dunkerley. “His enthusiasm for all things Country music is infectious, making him the perfect person to help start Rolling Stone Country from the ground up.”
Hudak was previously Managing Editor at Country Weekly, and spent time at TV Guide, where he ascended from copy editor to Sr. Editor.
Rolling Stone Country is slated to launch June 1 from the local office at 1510 16th Ave. S., Nashville, TN 37212.

Taylor Swift Lands New Publicist

Tree Paine. Photo: Nashville Lifestyles

Tree Paine


Warner Music Nashville’s Sr. VP Publicity Tree Paine is set to leave WMN on May 31 to launch Premium PR, MusicRow has confirmed. She will begin in her new role June 1. Her first client is Taylor Swift. Paine fills a role previously occupied by Paula Erickson, who resigned earlier this year.
Prior to working with WMN in 2007, Paine worked at the Academy of Country Music.
WMN is currently working to fill its Sr. VP position.

[Updated]: LifeNotes: Gary Haber

Gary Haber

Gary Haber


[Updated, April 9, 2014 @ 5:26 p.m.]
Respected business manager and accountant Gary Haber died April 7, 2014 at Cedars Sinai Hospital in Los Angeles. He was 68. Haber is survived by his wife, Sherri, Katelyn Haber (daughter), Spencer Haber (son), Lauren Haber-Mendoza (daughter), and Randal Haber (son), Brooklyn Mendoza (granddaughter) and Phoenix Mendoza (grandson).
Funeral services will be Friday, April 11, 2014 at 2 PM at Mt. Sinai Memorial Parks and Mortuaries located at 6150 Mount Sinai Drive, Simi Valley, CA 93063.
In lieu of flowers, the family gratefully requests that memorial donations be sent to:
ACM Lifting Lives
5500 Balboa Blvd.
Encino, CA. 91316
www.acmliftinglives.org
TJ Martell Foundation
15053 Ventura Blvd, Suite 206
Sherman Oaks, CA 91403
www.tjmartell.org

• • •

[Original post, April 9, 2014 @ 9:43 a.m.]
Additional reporting by Sarah Skates.
Respected business manager and accountant Gary Haber died April 7, 2014 at Cedars Sinai Hospital in Los Angeles. He was 68.
His superstar client list has included Carrie Underwood, Lynyrd Skynyrd, Julianne Hough, Peter Frampton, Joe Cocker, screenwriter Les Bohem, and numerous others. The Haber Corporation was established in Encino, Calif., in 1977.
His Nashville branch was opened in 1990. Haber was an active member of the music industry on both coasts. The company expanded again in 2000 to better respond to the global market by joining forces with Mark Robertson to open Loire Valley-based Haber & Robertson International, LLC.
He served on the boards of directors for Alliance of Artists and Recording Companies, ACM, and ACM Lifting Lives, where he was a past president. An advocate for uniting the worlds of music, film and TV across the country, he was a founder and president of the Nashville Screenwriters Conference.
With a reach beyond entertainment, Haber also worked as CFO of the Professional Baseball Scouts Foundation, and was part-owner and CFO of Nashville hot spot Music City Tippler.
He was a strong supporter of the charitable endeavors of MusiCares and the TJ Martell Foundation, and was a longtime member of CMA, NARAS and American Institute of CPAs. Haber was a graduate of Long Island University.
His company, The Haber Corporation, also has a Paris office.