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Inaugural Rising Women on the Row Event Celebrates Business Leaders

MusicRow’s inaugural Rising Women on the Row event, sponsored by City National Bank and held earlier today (March 16) at Maggiano’s Little Italy, honored five women from different segments of Nashville’s music industry: The Greenroom owner Mary Hilliard Harrington, SESAC’s Shannan Hatch, Loeb & Loeb’s Denise Stevens, Sony Music Nashville’s Heather McBee, and Big Yellow Dog’s Carla Wallace.

The sold-out breakfast event was created to recognize women who are becoming visionary leaders in Nashville’s music industry through their dedication, innovation, and contributions.

MusicRow Publisher/Owner Sherod Robertson welcomed the guests and revealed the inspiration behind its creation. “My Grandmother was the most influential person in my life, and she made an impression on me as a kid with all of the struggles she faced as a woman in both her career and role as a single mother. With the platform we have at MusicRow, I knew I wanted to join my staff and do something special to salute and honor the women on Music Row who are making a difference.”

Holly Bell of event sponsor City National Bank noted the female forebears in Nashville who paved the way for today’s leaders. “Today’s honorees continue a longstanding tradition,” she said. Bell also offered a gift from Tiffany for each of the honorees.

Kay West

Robertson introduced the guest speaker, journalist Kay West, whom he lauded for her efforts to help friends and serve as a women’s advocate.

West recalled when she moved to Nashville in 1981 to work in publicity at RCA Records under Joe Galante and Randy Goodman. There were several females in high-powered executive roles at the time, like Connie Bradley at ASCAP, Donna Hilley at Tree, Frances Preston at BMI, Jo Walker Meador at the CMA, and Maggie Cavendar at NSAI. Preston had quite an impact on West, extending her friendship and mentoring the newly arrived publicist. It was a gesture West never forgot.

“After that, I could never say no to Frances Preston,” she explained.

On that point, she urged the honorees and experienced members of the audience to set aside a non-billable hour to spend mentoring a young woman new to the scene.

One by one, the five deserving women were presented their honors. First to take the stage was Mary Hilliard Harrington, whose company Greenroom handles publicity campaigns for Jason Aldean, Tim McGraw, Lady Antebellum, and more. Harrington is also a member of the board of directors for both the ACM and CMA. She was quick to give credit to her staff. “Thanks to the girls in my office. They are all badasses and make me look good every day, and to my artists who believe in me as much as I believe in them.”

(L-R): MusicRow's Sarah Skates, honoree Shannan Hatch, MusicRow's Sherod Robertson, honorees Mary Hilliard Harrington, Heather McBee, and Denise Stevens. Not pictured: honoree Carla Wallace

Next up was SESAC Sr. Director, Writer/Publisher Relations Shannan Hatch, who joined the organization 10 years ago. During her time with the performing rights organization, she has brought in hit songwriters including Monty Powell, Craig Campbell, Jon Stone and Rob Hatch. “I’m used to being on the other side of the award process,” said Hatch. “Thanks to MusicRow. It’s an honor to be part of this creative group. Thanks to SESAC and Tim Fink, who hired me.”

The third honoree was Sony Music Nashville VP of Artist Development/Marketing & Web Initiatives Heather McBee, who has risen through the major label’s ranks to her current post. Like West, she said mentorship was a key component of her professional development. “It can be a challenging industry,” said McBee. “But I must acknowledge the amazing people that I believed in and more importantly, they believed in me along the way. Find those mentors. Be curious and remember what you are passionate about.”

Attorney Denise Stevens was the fourth honoree, and as the Senior Counsel for Loeb & Loeb her accomplishments include drafting the Songwriters Capital Gains Tax Equity Act for NSAI and due diligence and analysis for Warner Music Group’s sale to Access Industries. She also serves clients like Carrie Underwood, Wynonna, and Loretta Lynn. “I’m humbled and inspired by this event,” said Stevens. “There is so much talent in this room.”

The final nominee was Big Yellow Dog Publishing Owner and Creative Director Carla Wallace, who was in Austin at SXSW. She sent her colleague Sarah Johnson to accept on her behalf, who relayed a message to the crowd “I’m honored to share in this ceremony,” said Johnson, “and would like to thank so many women who have shared and touched my life.”

Attendees enjoyed a breakfast buffet of southwest-style potatoes, bacon, eggs, fruit, muffins and bottomless cups of coffee and closed the proceedings with a standing ovation for all the 2012 Rising Women on the Row honorees.

MusicRow Debuts TEA Sales Index

2011 TEA benchmarks were 25% country; 27.7% all genre.

The Country Music Sales Landscape is evolving rapidly. According to Nielsen SoundScan, Country tracks are up 19.4% (7% for all genre) and digital album sales are up 30.8% (19.4% all genre) YTD 2012. These numbers show a significant increase in the adoption of digital music by country fans, albeit several years behind the all genre crowd.

Digital album sales are included in SoundScan album sales, which has been the coin of the realm in measuring industry health. But track sales are generating large revenues, and frankly becoming too important to ignore. The TEA index is one of several coming metrics designed to fold track sales back into the discussion.

TEA Index Methodology
We will update the TEA index around the middle of each month. Here’s how it works. We take the total YTD track sales and divide the number by 10 to get TEA (track equivalent albums) units. We then add the TEA albums to the digital and physical albums to get a total. Lastly we determine what percentage of the total is contributed by TEA units.

The percentage shows at a glance how the marketplace is changing. For example, the 2011 TEA index for country music was 25.08% (all genre 27.77%). Three months into 2012 the country TEA index has already risen to almost 31%—a 24% increase.

Looked at another way, the index is dependent upon the balance between tracks and albums. For example, if album sales fall and tracks remain constant, the index rises. Conversely, if album sales increase and track sales remain constant or ebb then the index falls.

TEA Talk
The higher TEA index scores at the start of the year can probably be explained by the post holidays gift card phenomenon when people get new gifts and then rush online to redeem them in the form of buying tracks. But we are also seeing track sale spikes generated by award shows like the Grammys, as well as reality shows such as American Idol and The Voice and sitcoms Smash and Glee which encourage “instant gratification” track purchases.

This past week the index dropped, partially because of some special 25¢ digital album offers, first from Google and then echoed by Amazon which successfully stimulated album downloads (more about that below.) Special sales like this highlight another disconnect between SoundScan numbers and actual industry health—pricing. For example, country album sales last year were down a modest 1.8%. No big deal until you start to realize that albums were selling for less last year than in previous years, so revenues were more seriously compromised than the 1.8% would indicate and of course profits also suffered.

Weekly Sales Shout Out
Lady Antebellum’s Own The Night was the largest single happening of the week for country album sales. Its sales increased 437% W/W. The trio benefited from the aforementioned 25¢ sales price on Google Music—an offer that really “clicked” with fans. Sales moved from 20k to 108k with a whopping 90% of the sales in the digital format!

Informed readers will recall that after last year’s Lady Gaga low debut-week pricing, Billboard added a new chart rule saying it would not include album units sold for less than $3.49 during their first four weeks of release in SoundScan. But Own The Night, now in its 26th week, is way past the four week rule.

Luke Bryan also deserves mention with the No. 2 and No. 3 positions on this week’s country album chart. His Spring Break 4 debut hit almost 30k downloads (it was digital-only) and Tailgates and Tanlines scanned over 17k.

Weekly Chart Report (3/9/2012)

Lee Richey

RADIO NEWS
Former WCJW/Warsaw, NY PD/MD Lee Richey has landed at WKPQ Kickin’ Country in Hornell, NY. Reach him at lrichey@stny.rr.com.

SPIN ZONE
Taylor Swift launched her third album Speak Now with “Mine,” and now six singles in, she’s made it to “Ours” which is the new CountryBreakout Chart No. 1 song. Lady Antebellum’s “Dancin’ Away With My Heart” is less than 100 spins behind at No. 2, trailed closely by Blake Shelton’s “Drink On It.” Everything seems to be on the move this week, with Miranda Lambert’s “Over You” (No. 6), Zac Brown Band’s “No Hurry” (No. 11), Jason Aldean’s “Fly Over States,” and Luke Bryan’s “Drunk On You” (No. 21) just a few of the singles picking up triple digit spin gains.

Arista Nashville’s Kristen Kelly recently visited WUSN Chicago to promote her first single, “Ex Old Man.” (L-R): WUSN Jeff Kapugi (WUSN PD), Kristen Kelly, and Marci Braun (WUSN MD)

Carrie Underwood’s new single “Good Girl” made a huge splash last week when it debuted at No. 29, and it doesn’t appear to be slowing much in week 2. It received an additional 711 spins–the biggest increase of the week–and leapt up to No. 20. Where newcomers are concerned, a slew of artists are performing well. Kip Moore has a bonafide hit on his hands with “Somethin’ ‘Bout A Truck,” which lands at No. 15. Tim Culpepper’s “Ghost” ratchets up a 104 spin gain, propelling him to No. 38. Dustin Lynch’s “Cowboys and Angels,” Jana Kramer’s “Why Ya Wanna,” and Thomas Rhett’s “Something To Do With My Hands” are all clustered together at Nos. 44-46, and earned 100+ spins each.

Two trios lead the chart debuts. The Band Perry’s “Postcard From Paris” looks to be another successful single for the Perry siblings as it hits No. 63 in its first week. Aussie sister trio The McClymonts are a few steps behind at No. 68 with “I Could Be A Cowboy.” Also debuting are Aaron Lewis’ “Endless Summer” at No. 73. Matt Kennon’s “You Had To Pick On Me” at No. 76, David Nail’s “The Sound of a Million Dreams” at No. 77 and Scott Steele’s “Paycheck to a Prayer” at No. 78.

Frozen Playlists: KBCR, KITX, KRRV, KTHK, KYEZ, WJMQ, WKSR, WKWS, WTCM, WUPY, WYVY

Upcoming Singles
March 12
Sonia Leigh/Bar/Southern Ground/Quarterback
Glen Templeton/Sing That Song Again/Black River
Josh Abbot Band/Touch/PDT
Joanna Smith/We Can’t Be Friends/Columbia

March 19
Darryl Worley/You Still Got It/Tenacity
Kix Brooks feat. Joe Walsh/New To This Town/Arista
Eric Paslay/If The Fish Don’t Bite/EMI Nashville
Justin Moore/‘Til My Last Day/Valory
Rachel Holder/In Your Arms/Curb

• • • • •

New On The Chart—Debuting This Week
Artist/song/label — chart pos.
The Band Perry/Postcard From Paris/Republic Nashville – 63
The McClymonts/I Could Be A Cowboy/BSM Music – 68
Aaron Lewis/Endless Summer/R & J Records – 73
Matt Kennon/You Had To Pick On Me/Roaddawg – 76
David Nail/The Sound Of A Million Dreams/MCA – 77
Scott Steele/Paycheck To a Prayer/In The Spot Light – 78

Greatest Spin Increase
Artist/song/label — spin+
Carrie Underwood/Good Girl/19 Recordings/Arista – 711
Luke Bryan/Drunk On You/Capitol – 396
Jason Aldean/Fly Over States/Broken Bow – 368
The Band Perry/Postcard From Paris/Republic Nashville – 334
Eric Church/Springsteen/EMI Nashville – 286

Most Added
Artist/song/label — New Adds
The Band Perry/Postcard From Paris/Republic Nashville – 26
Carrie Underwood/Good Girl/19 Recordings/Arista – 23
Easton Corbin/Lovin’ You Is Fun/Mercury – 14
Luke Bryan/Drunk On You/Capitol – 12
Eric Paslay/If The Fish Don’t Bite/EMI Nashville – 11
Justin Moore/’Til My Last Day/Valory – 11
Aaron Lewis/Endless Summer/R & J Records – 10
Dustin Lynch/Cowboys And Angels/Broken Bow Records – 10
David Nail/The Sound Of A Million Dreams/MCA – 10

On Deck—Soon To Be Charting
Artist/song/label — spins
Levi Riggs/My Best Friend’s A Girl/Windridge Records – 202
Clay Walker/Like We Never Said Goodbye/Curb – 196
Acklen Park/Great American Song/Otter Rapids Music – 192
One Night Rodeo/We Could Go To Jail / – 191
Matt Stillwell/Ignition/Average Joe’s – 190

Jaida Dreyer is the debut artist for newly formed Streamsound Records, which was created by Grammy-winning producer Byron Gallimore and music industry veteran Jim Wilkes. Dreyer’s single “Guys Girl” will appear in late March, and she has been busy visiting country radio to introduce herself. Recently she stopped in San Antonio to chat with the staff at KAJA. (L-R): Streamsound’s Jamice Jennings, KAJA PD Travis Moon, Dreyer, Streamsound’s Mike Wilson

The Band Perry welcomed a few familiar faces backstage after their concert stop in Baltimore with Brad Paisley’s Virtual Reality Tour 2012 at the 1st Mariner Arena. TBP's latest single "Postcard From Paris" just debuted at No. 63 on the CountryBreakout Chart. (L-R): Republic Nashville’s Cliff Blake, TBP’s Neil Perry, WMZQ’s Meg Stevens, TBP’s Kimberly Perry, WPOC’s Justin Cole and TBP’s Reid Perry. Photo: Courtesy of Republic Nashville

Calusa/GMV Nashville recording artist Adam Gregory visits with Jerry Duncan Promotions. Gregory's new single "High On You" shipped to radio this week. (L-R): Jen Trail, Gregory, Lisa Smoot, Jerry Duncan

Charlie Cook On Air: Playing Currents

There is just not enough Adele on the radio.

I actually stole that line from David Letterman who used it 20 years ago to say, “There just is not enough Phil Collins on the radio.”

I put 800 miles on my car this weekend, traveling a lot during early morning hours when there was only “fix-it” and colon cancer programming on the AM band. I like to listen to AM when I am driving. It makes me think, but I didn’t want to think about colon cancer. So I popped in a Phil Collins CD and thought about Letterman’s line and how it is true today with Adele and on Country radio.

There have been many phases of an artist completely taking over the radio. Elvis, The Beatles, The Supremes, Phil Collins, Lionel Richie, Michael Jackson and Madonna come to mind in Pop radio.

The same is true in Country Radio. Brad Paisley, Tim McGraw, Kenny Chesney and Toby Keith all play a lot every day. I chose to look at WUSN on Friday, March 3.

They played Kenny Chesney and Taylor Swift 19 times each. Rascal Flatts played 16 times. Lady A played 15 times. Carrie Underwood and Keith Urban each played 14 times. But in Kenny’s case that was 10 different titles.

I am not complaining about any of the acts or WUSN. What they are doing is correct and I agree with playing all those acts (and a few more) double digit times every day.

The pop chart and country chart are different in many ways. But in Adele’s case, she has three songs in the Top 10. (Using a custom report that does not arbitrarily consider a title recurrent instead of current.)

The marketing plan for Country records and the relationship between Country radio and records does not allow this to happen but it could and probably should.

Adele has had the No. 1 selling CD since 1954. Or so it seems.

Programmers know there are three Zac Brown Band songs we could be playing in current rotation right now. The last three songs are all safe, certainly safer than some of the songs Country Radio is playing in a current category.

“Reality” has been a No. 1 song for Kenny Chesney but Country Radio could be/should be still playing “You and Tequila” as a Power current. This is in addition to having “Reality” in a current category.

Taylor has three songs that fit this situation.

I looked at WTMX in Chicago and found that Adele played 15 times on Friday. Remember, she has only three titles.

If you look at MScore you see that there are a number of titles that stations continue to play that are not as strong as past titles, like the ones that I mentioned above. I am not talking about newer songs that are still gaining an audience. I am talking about songs that have never caught on and have been on the chart for 20 plus weeks.

And before you say, ‘The current/recurrent vs. gold balance is dramatically different on a Country station (WUSN) than on a Hot AC Station (WTMX),’ check it out:

WUSN: Current/Recurrent – 69.5%, Gold – 30.5%
WTMX: Current/Recurrent – 71.6%, Gold – 28.4%

And playing a song in a Power Recurrent category that plays twice a day versus as many as nine times per day (as the most played now get from WUSN), is not the same.

I am not saying we throw out the charts. Heck, the publication that prints this article has a chart and most of you know that I have a friend in the business, but maybe driving sales on the Country chart is not being served with the system now in place.

Unless we’re all happy with how things are going today.

Tin Pan South Schedule Posted, Passes On Sale

Passes for Nashville Songwriters Association International’s 20th Annual Tin Pan South are officially on sale today (March 7) through the organization’s website. A full schedule of venues and performers is available here.

Fast Access Passes provide priority admission and are good for entry to all Tin Pan South shows, but only about 100 of them remain for sale. Over 350 songwriters will perform at the festival, for a total of 90 shows in 10 Nashville venues. Participating venues include Belcourt Taps and Tapas, The Bluebird Café, The Commodore Grille (Holiday Inn Vanderbilt), Douglas Corner Café, eat Restaurant (Loews Vanderbilt Plaza), Hard Rock Café, The Listening Room Café, The Rutledge, Station Inn and 3rd & Lindsley. Individual club admission is available at each venue, space permitting, and ranges from $8-20. In certain instances, reservations at the venue will be required.

Regions Bank returns as Tin Pan South’s presenting sponsor for the sixth consecutive year. The Faith Family Medical Clinic has been selected to receive proceeds from the Pat Alger, Wayland Holyfield, Jon Vezner and Paul Williams show Thursday, March 29 at 6:00 PM at The Bluebird Cafe.

These announcements follow NSAI’s Tin Pan South Preview Party yesterday afternoon (March 6) at The Rutledge. The party featured performances from Lionel Cartwright, J. Fred Knobloch, Richard Leigh, Angaleena Presley, and Charlie Worsham.

Kay West To Speak at Rising Women on the Row Breakfast

MusicRow is pleased to announce revered journalist Kay West as guest speaker at the Rising Women on the Row Breakfast.

As a longtime advocate for women’s rights, West recently explored the subject of female executives in the music business for an in-depth article in the Nashville Post.

With a career spanning more than 30 years, her work includes articles for People magazine, the Nashville Scene, and numerous other outlets. She entered the magazine industry as a receptionist at Penthouse in New York City—a job she scored just two days after moving from her hometown, Wilmington, Delaware. Eventually, West worked her way up to Associate Editor of the publication, and began freelancing for Soho Weekly News.

West moved to Nashville when former New York record label execs Joe Galante and Randy Goodman recruited her to serve as Director of Publicity for their new home at RCA Nashville. She settled in Music City, where she would go on to raise her children, Joy and Harry.

She has written five books:  How To Raise a Gentleman, How To Raise a Lady and 50 Things Every Young Lady Should Know, part of the Gentlemanners series for Thomas Nelson; Around The Opry Table: A Feast of Recipes and Stories from the Grand Ole Opry; and Dani’s Story: A Journey From Neglect to Love.

She has served on the board of Nashville CARES and The Nashville Farmer’s Market, volunteers regularly with Magdalene and Room in the Inn, and has chaired numerous fundraisers.

MusicRow founded Rising Women on the Row to encourage, support and motivate females in the Nashville music business. Honors will be presented to Mary Hilliard Harrington, Shannan Hatch, Heather McBee, Denise Stevens and Carla Wallace at a private sit-down breakfast and ceremony set for Friday, March 16, 2012, 8:30 a.m. at Maggiano’s Little Italy. Due to high demand, no additional tickets are available at this time. To be put on a waiting list, email tickets@musicrow.com.

Marathon Music Works Fills Void In Music City Landscape

Two years ago entrepreneurs Chris Cobb and Josh Billue set out to fill a void in Nashville’s live music landscape. They knew the town needed a mid-size establishment to attract touring artists who often skipped Music City because there wasn’t a venue of the right size and style.

In November 2011, they opened Marathon Music Works, with a standing capacity of 1500, as well as permanently installed sound equipment, lighting, and two large bars.

“There was a hole in the Nashville market for a long time,” explained Cobb during a recent interview at Marathon. “Years back, 328 Performance Hall was a similar size and capacity, but after we lost that the market was without a mid-size venue for several years. Then City Hall opened, had a three year run, and then it was gone. [In the current market] The Cannery has a 1000 cap, and War Memorial can hold 1800, but it’s not a club-style facility.”

The owners’ lengthy hunt for the right space eventually led them to an empty warehouse in burgeoning Marathon Village. It was Cobb’s first foray into club ownership and the first time Billue—owner of Nashville’s Exit/In and Birmingham’s Zydeco—had built anything from the ground up.

Several months of remodeling transformed the space into a facility that hosts concerts, corporate events, wedding receptions, and video/TV shoots, such as GAC’s recent ACM New Artist of the Year taping.

Because the room is used for all types of events, no signage or branding is on display. Instead, the owners sold naming rights for the three artist dressing rooms, with Gibson Guitar claiming one and Blackbird Tattoo sponsoring another.

“We’re an open facility. That means any [outside promoter] can come in and do an event here,” Cobb explained. “In theory, the more shows we get, the more shows Nashville gets, particularly artists who might not have played the market otherwise.”

Cobb’s initial experience in live music came more than ten years ago when he was a Belmont University student, booking talent for a concert series in the parking lot of Jackson’s restaurant. “I built relationships with agents, and eventually went on to Windows On The Cumberland and Mercy Lounge,” he recalled. His career grew, including work as an independent promoter, talent buyer and production tech. With that background, he’s seen first-hand how the economic downturn of recent years has affected the live music industry, as fans have less discretionary income to spend on concert tickets.

“It’s getting harder and harder for independent promoters,” Cobb said. “Back when I started doing it, there were only about three independent promoters in Nashville, and we did a lot of the club-level shows. In the past five years, there has been a huge shift in the industry. There are a lot fewer artists who can sell the really big touring numbers. As a result, the [major] promoters have started doing more shows in the club world. It is pretty standard that a big promoter might do a show at a 1500 cap venue, but majors are also doing the 200-300 level now. Five years ago, that would have never happened. It has made it really hard for the independent promoters to survive.”

Cobb continues to promote shows at Marathon and other venues, but he also focuses on diversification. The Dallas native does production work for Luke Bryan’s Farm Tour and the CMA Music Festival. He buys talent for the Live On The Green concert series and the Nashville Earth Day Festival. A few years ago he also purchased casino tables which his company sets up and operates for private events.

Meanwhile, at Marathon Music Works, Cobb and his cohorts are grateful for the community’s support and want to reciprocate. They promote recycling, encourage fans to bring charitable donations to concerts, and let the community name the venue. Marathon also partnered with inner-city ministry Provision International, which staffs the event parking lots in exchange for the proceeds. “The local support has been so positive and overwhelming,” summed Cobb. “So thank you Nashville.”

Bobby Karl Works the Hall of Fame Inductees Announcement

(L-R): Kix Brooks with Hall of Fame inductees Hargus "Pig" Robbins, Connie Smith, and Garth Brooks. Photo: Alan Mayor

Chapter 392

Bobby Karl is a very, very happy boy today.

You see, three absolutely perfect 2012 inductees into the Country Music Hall of Fame were announced this morning (3/6). In the Musician category, it’s virtuoso country piano player Hargus “Pig” Robbins. In the Veterans category, it’s the divinely gifted Connie Smith. And in the Modern Era category it’s the titanic Garth Brooks.

“Notifying the inductees is one of my favorite things I do as the CEO,” said the CMA’s Steve Moore. “They always think it’s a crank call.”

Following greetings by Moore and the Hall of Fame’s Kyle Young, Kix Brooks took the podium in the Rotunda of the Country Music Hall of Fame. “What an awesome responsibility this is,” said Kix. “When I got a chance to see these names early, what a smile I wore around the house.”

He breathlessly rattled off a list of greats Robbins has recorded with – Neil Young, Chris Young, Joan Baez, Vince, Merle, Tammy, Shania, Willie, Conway, Loretta, Dolly, Porter, k.d. lang, Roy Orbison, Keith Whitley and so many more. That rapid-fire piano attack in “White Lightning” by George Jones? That would be Pig. The keyboard parts on Bob Dylan’s masterwork Blonde on Blonde? Pig. That gorgeous rippling keyboard intro in “Behind Closed Doors” by Charlie Rich? Pig. Patsy’s “Walkin’ After Midnight” and “I Fall to Pieces?” Pig again. The distinctive tinkling figure that runs through “Don’t It Make My Brown Eyes Blue” by Crystal Gayle? Pig, Pig, Pig.

Robbins acknowledged the standing ovation he received and pronounced himself “honored” to be following in the footsteps of such prior Musician honorees as Floyd Cramer, Harold Bradley and Charlie McCoy. He thanked Murray Nash, Buddy Killen, Shelby Singleton, Jerry Kennedy, Billy Sherrill, Owen Bradley, Chet Atkins and Allen Reynolds. “There have been so many people down through the years who have been kind to me,” concluded the blind keyboardist.

Kix retook the stage to remind one and all of what Dolly Parton once said, “There are really only three female singers – Barbra Streisand, Linda Ronstadt and Connie Smith – the rest of us are only pretending.”

“I’ve had a great week,” said Connie after everyone settled down from a standing ovation. “I get to be here with all my friends and peers. I also had my eighth grandbaby!

“Just to be in the same company as Miss Kitty Wells is enough,” she added. “I’m just honored.” She recalled the importance of Bill Anderson, Chet Atkins, Bob Ferguson and her husband/producer Marty Stuart to her career. The last-named was on the front row, beaming. “To be called a Veteran is kinda funny to me,” she added. “I’m still learning.

“I love the Hall of Fame. It’s always been magical and very, very spiritual to me. God has given me many blessings. And this is a very special blessing.”

“This next guy changed our town in a huge way,” said Kix in introducing Garth. With sales of 128 million, the RIAA has named Garth the Male Solo Artist of the 20th Century. “I’m convinced that half of the records we sold [as Brooks & Dunn] were people reaching for the ‘other’ Brooks.”

Garth recounted a series of people he met who changed the course of his life – Stephanie Brown, Kent Blazy, Trisha Yearwood and attendees Bob Doyle, Allen Reynolds, Mark Miller, Kerry O’Neil and Rusty Jones, plus the studio musicians and his road band. “It is truly a circle. That’s what I love about Nashville.” Garth is notable for the length and loyalty of his music associations.

“We’ve been together for 25 years,” he commented. “Bob says it feels like 50.” Songwriters, video directors, road companions, record-label execs and more were acknowledged. “There is a guilty feeling about standing here today,” Garth added. Although mentors George Strait, Merle Haggard and George Jones are in the Hall of Fame, he noted that Randy Travis, Keith Whitley and Ricky Skaggs are not. “These are the guys I cut my teeth on. I stand here in total humbleness. It’s out of order.

“It’s all about God. It’s all about love. It’s all about the songs.”

The Rotunda was full of fabulons. Recent DJ Hall of Fame inductee Eddie Stubbs, always a font of knowledge, pointed out that today is the release date of Bear Family Records’ Just For What I Am, the second boxed-set of Connie’s RCA recordings. Barry McCloud, Barry Mazor, Ed Hardy, Ed Morris, Stacy Schlitz, Jessie Schmidt, Troy Tomlinson, Vanessa Sellers, Steve Buchanan, Gary Overton, Hunter Kelly, Storme Warren and Pat Collins led the cheers.

A continental breakfast was served – muffins, pastries, fruit, coffee and juices. Most of us were too excited to eat.

Universal Music Publishing Re-Signs Luke Laird

Pictured (L-R): Evan Lamberg, President, UMPG North America; attorney Derek Crownover; Luke Laird; Kent Earls, EVP/General Manager, UMPG Nashville; Jody Williams, Vice President, Writer/Publisher Relations, BMI; and Beth Laird, Creative Nation.

Universal Music Publishing Group (UMPG) today announced the re-signing of Nashville’s award-winning songwriter, Luke Laird, to an exclusive, worldwide publishing agreement. Through the deal, UMPG will now also administer select writers from Creative Nation, the publishing entity of Luke and Beth Laird.

Luke Laird has co-written three No. 1 singles in the last 12 months (“Take a Back Road” recorded by Rodney Atkins, “Drink in My Hand” recorded by Eric Church, and “You” recorded by Chris Young), earning his second consecutive Country Music Association Triple Play Award.

In total, Laird has co-written nine singles that hit No. 1 on Billboard’s Hot Country Songs charts: the three mentioned above as well as Carrie Underwood’s “Undo it,” “So Small,” “Last Name,” and “Temporary Home;” Sara Evans’ “A Little Bit Stronger;” and Blake Shelton’s “Hillbilly Bone” featuring Trace Adkins. Laird celebrated multiple wins at the BMI Country Awards in November, and is nominated for Songwriter of the Year at the April 1 ACM Awards. His songs have contributed to the sales of more than 20 million albums. Laird is also co-producing Kacey Musgraves’ debut album on Mercury/Lost Highway.

“It’s an honor, for Universal Music Publishing, to continue to work with Luke who is one of the most successful songwriters to come out of any music genre in years. And it’s an additional honor to start a business relationship with Beth Laird and Luke’s Creative Nation Music,” said Evan Lamberg, President, UMPG North America. “Kudos to Kent Earls and his staff for continuing to put songwriter relationships at the core of what matters most.”

“We are excited and thrilled to continue our already successful relationship with Luke Laird,” said Kent Earls, Executive Vice President/General Manager, UMPG Nashville. “Luke continues to deliver smash after smash after smash. He has solidified his place among the Nashville hit-makers with nine No. 1 songs over the last few years. As well, we look forward to working with Beth Laird and the Creative Nation writers to help accomplish their goals.”

“I am so blessed to have the opportunity to make music every day and have really enjoyed working with Evan, Kent and the whole UMPG team,” summed Laird. “With the addition of Creative Nation, I couldn’t be more thrilled about the future.”

Country Music Hall of Fame Inductees Revealed

The 2012 class of inductees into the Country Music Hall of Fame were revealed this morning during a press event at the Hall. For more in depth coverage keep an eye on musicrow.com for Bobby Karl’s insider report.

Modern Era: Garth Brooks

Billboard and the Nielsen Company have named Garth Brooks “the Best-Selling Artist of the SoundScan Era” with more than 128 million albums sold. The Oklahoma native signed with Capitol Records Nashville, and his self-titled debut album featuring the No. 1 hits “If Tomorrow Never Comes” and “The Dance” was released in 1989. It went on to become the top-selling country album of the ‘80s and has since sold over 10 million copies. Brooks’ second album No Fences arrived in 1990 and cemented his superstar status with the smashes “Friends in Low Places,” “Unanswered Prayers,” “Two of a Kind (Workin’ On a Full House),” and “The Thunder Rolls.”

Brooks’ third album Ropin’ The Wind made history when it became the first Country album ever to debut at No. 1 on both the Billboard Top 200 and Top Country Albums charts. It went on to win the 1992 CMA Album of the Year Award and earn Brooks his first Grammy Award. His status as an entertainer is legendary, and his four CMA Entertainer of the Year wins has been matched only by Kenny Chesney. In 1997, he took over New York City and drew the largest-ever concert to Central Park. “Garth – Live From Central Park” was HBO’s most-watched and highest-rated original program of the year. In 2007, he made history again when his single “More Than A Memory” debuted at No. 1 on Billboard’s Country Singles Chart. In 2008, he performed at the inauguration of President Barack Obama, and began performing his acoustic residency at the Wynn Las Vegas. In 2010, Brooks performed nine sold-out shows at Nashville’s Bridgestone Arena to raise money for The Community Foundation of Middle Tennessee for flood relief. The concerts raised $5 million and set a record in Tennessee for ticket sales by a single performer.

Veterans EraConnie Smith

Connie Smith, born Constance June Meador in Elkhart, Ind., was signed to RCA Victor Records in 1964 by Chet Atkins. Her recording of Bill Anderson’s “Once A Day” was rushed to radio and went on to become the first debut single from a female artist to hit No. 1. Following the song’s success, she was named Billboard’s Most Promising Female Country Artist and was nominated for three Grammy Awards.

Her self-titled debut album spent seven weeks at No. 1, and its second single “Then and Only Then” (also penned by Anderson) hit No. 4. In 1965, Smith fulfilled her childhood dream of joining the Grand Ole Opry. A member of the Grand Ole Opry for over 45 years, she also released hits like “If I Talked To Him,” “Ain’t Had No Lovin’,” “The Hurtin’s All Over,” and more. She began recording more gospel oriented material in the late ‘60s, and went into semi-retirement in 1979 to concentrate on raising her five children. In the early ‘90s, she signed with Warner Bros. and worked with Marty Stuart as her producer. The two were married in 1997, and have proven to be great musical collaborators. Smith’s 2011 album Long Line of Heartaches (Sugar Hill) was produced by Stuart and hailed as one of the year’s best country recordings.

Recording or Touring MusicianHargus “Pig” Robbins

Robbins is one of the most accomplished Nashville session piano and keyboard players in history. He was born in Spring City, TN in 1938. An accident blinded him in one eye at the age of two, and by age four he lost his vision completely. While studying at the Nashville School for the Blind, he learned to play classical music on piano and began to play country songs by ear after hearing them on the radio.

He has recorded with legendary country artists such as Bobby Bare, Patsy Cline, Willie Nelson, Roy Orbison, Dolly Parton, Ray Price, Charley Pride, Connie Smith, Hank Snow, Ernest Tubb and more. His work can be heard on Cline’s “Walkin’ After Midnight” and “I Fall To Pieces.” He also played on Bob Dylan’s landmark 1966 album Blonde on Blonde, and classic country recordings like Crystal Gayle’s “Don’t It Make My Brown Eyes Blue” and Charlie Rich’s “Behind Closed Doors.” He released eight solo albums in the ‘60s and ‘70s, and remained in demand as a session player through the ‘80s, ‘90s and early ‘00s. In 1976 he won CMA Instrumentalist of the Year. Thirty-four years later in 2000, he won the CMA Musician of the Year Award.

Fans were able to watch the live announcement online at www.livestream.com/CMA.