Tag Archive for: featured-2

SOPA and PIPA Succumb To Internet Activists

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The goal was to move closer to a world where owners of intellectual property were compensated for their works in the digital arena. Toward a utopian era, where education and effective legal remedies combined forces to virtually end the theft of copyrighted material.

Content owners and technology companies seemed to agree on the destination, but as usual, when it comes to government regulation, the devil is in the details. In the case of the Stop Online Piracy Act (SOPA) and the Protect IP Act (PIPA) the details created adversaries. On Jan. 18, major websites censored their own data with black bars. Google, Wikipedia, Mozilla, Reddit, Craigslist, Wired, TechCrunch were some of the many participating.

The remedies of site blocking and search removal upset the technology faction who warned it would undermine the security of domain name servers (DNS) and incentivize the creation of underground DNS systems. PCworld offered an interesting timeline, written by Grant Gross, of how the bills lost favor and were knocked out of contention.

“Last week’s Web protests against two controversial copyright enforcement bills were a huge victory against three powerful and well-funded trade groups that pushed hard for passage of the Stop Online Piracy Act and the Protect IP Act,” says Gross. “By the time the week was over, dozens of lawmakers had abandoned the two bills or voiced opposition, and a cloture vote on PIPA scheduled for this Tuesday (1/24) in the Senate was delayed as lawmakers try to find a compromise. In the House, Representative Lamar Smith, the lead SOPA sponsor and Texas Republican, killed his bill.”

“Just weeks ago, passage of PIPA or SOPA in Congress seemed all but assured,” Gross continues. “[It had] strong support in both the Senate and the House of Representatives judiciary committees and a coordinated lobbying campaign by the MPAA, the U.S. Chamber of Commerce, the Recording Industry Association of America and several other groups.”

Nashville Songwriters Association International, Bart Herbison who had been active in trying to get SOPA passed released a terse message in the aftermath of the bill’s withdrawal.

“Congress was deluged with millions of communications after popular websites went dark this week in protest of both anti-piracy bills and support for both acts dwindled dramatically. Finally, today the legislation was postponed. Concerns expressed by Google and others over the legislation were never accurate to begin with. Most of their previously expressed concerns were addressed when key provisions were removed. Nonetheless, while copyright holders won the debate, we lost in the court of uninformed public opinion. Over the past few weeks this moved from a debate on the issues to a political debate…. and that is when support began to erode. The tech community did a great job of instilling fear and confusion over both bills. I want to thank every songwriter, music industry person and others who worked to pass these bills. NSAI visited with more than 200 Members of Congress about these bills, just last year! Our efforts were unrivaled in terms of putting songwriters in front of lawmakers throughout this process. We will continue fighting until a solution is found. Please watch communications from NSAI over the next few days and weeks as we strategically plan the next steps in this battle.”

Matt Mahaffey Returns To Tennessee With New Studio

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As the creative force behind genre-hopping alternative band Self, Matt Mahaffey played an integral role in the founding and growth of Murfreesboro’s Spongebath Records scene of the mid ‘90s and early ‘00s.

In the ensuing years, he also found success as a studio wiz producing other bands and composing for films and commercials. After a decade in Los Angeles he recently returned to his Tennessee roots with his family and built Fresh Imperial, his new home studio in Franklin.

“I realized I get most of my work through my email,” he explains of the move. “I don’t really need to be sitting out there [in Los Angeles] because it is so expensive and we couldn’t afford to buy a place. We were just renting for 10 years. But we could buy a house here and build a studio. My daughter will be two in February. [Tennessee is] way more kid friendly and the schools are amazing. It was a no-brainer for us.”

Mahaffey originally relocated to Los Angeles while Self was making records under DreamWorks, a short-lived deal that nevertheless earned him a following and his first production clients after the label folded. He found early success with Hellogoodbye, whom he co-produced with Jeff Turzo (of ‘90s electro rockers God Lives Underwater). The group’s “Here (In Your Arms)” eventually hit platinum status and earned him a steady string of work.

“We would just tag team bands just one right after the other for a good 6-7 years straight,” says Mahaffey. “It was a lot of work and as the industry was dissolving, budgets kept getting smaller so for us to split things 50/50 just became impossible.”

Mahaffey was also moonlighting in the film and commercial business, thanks to his DreamWorks ties. He’s contributed to many of the studio’s early animated features like Shrek and Shark’s Tale as well as producing the surprise musical endings for all the Shrek DVDs. He also did two seasons of music for Ni Hao, Kai-Lan, a Nickelodeon show about a Chinese-American household, and (along with his brother Mike) composed the unforgettable Expedia.com tagline. But trying to produce records and write music for film/tv in LA proved exhausting.

“It was like three jobs all the time,” he recalls. “So one of the main reasons for the move was just to slow down a little bit. It was just brutal, constant, around the clock work.”

The return move to Tennessee afforded him the ability to build Fresh Imperial, with the aid of studio designer Mark Wenner. The space totals 1100 square feet and offers large control and tracking rooms.

“I’m used to operating out of a bedroom or office room and running cable,” notes Mahaffey. “Now I can actually have a drum kit set up, keep it up, and keep tweaking my sound—change out mics, try different EQs, different pre amps, as opposed to being like ‘Okay we’ve got two days to do drums,’ throw it up, then move that because we have to do bass.”

Mahaffey says the large tracking room set up is conducive for songwriting work and creative jam sessions.

“My whole thing is to eliminate the demo phase,” he explains. “Have everything up, let’s make a master right when we’re thinking of it. It’s spontaneous and you’re never going to capture that again if you keep re-recording it, massaging it, and lacquering it.”

Also helping to get the creative juices flowing are interior design motifs pulled from sci-fi and music geek heaven.

“The control room is Death Star-themed, like if Darth Vader wanted to lay down some ill beats,” he laughs. “It’s gray and clinical and then there’s a life size Darth Vader. The floor is black stained concrete. There are these two huge red things that give it this Imperial feel. The tracking room is colorful, with graffiti, more of an ‘80s Keith Haring hip-hop vibe.”

And despite the geographical separation, Los Angeles and points further abroad are still calling for Mahaffey’s expertise. He’s currently composing music for a Disney cartoon that has writers in Dublin and producers in London.

“It’s all just synching it up and working together,” he says. “There’s no need to be on the phone all the time when you can just email or Skype and see someone.”

And importantly, it allows Mahaffey the freedom to spend time with his family and see his daughter grow up.

“When were moving I looked at places to have a spot,” he says, “but if I did that I really wouldn’t see my family. It’s important that you’re around. I try to treat it like a job—I try to get up and be in the studio by 9 and be out of the studio by 6:30-7.”

Mahaffey’s next couple months will be focused on writing songs for his upcoming Disney cartoon, and another Hellogoodbye album is reportedly on the horizon. Self fans also have cause for celebration, because Mahaffey is currently working on a new album for his old musical guise.

“I’ve got half a dozen songs done already and I just started this month,” he says. “I’m just forcing myself to write. I saw a really good Ira Glass quote and the gist of it was you have to force yourself to write everyday, be creative everyday. No matter if it’s good or bad, you have to do it. That just seems to be the smart thing that any writer should do.”

30A Songwriters Festival: Q&A with Joanna Cotten

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The 3rd annual 30A Songwriters Festival was held on Jan. 13-15, 2012. Produced by the Cultural Arts Alliance of Walton County and presented by Visit South Walton, the festival featured more than 125 songwriters along the South Walton’s scenic Highway 30A in northwest Florida.

MusicRow spoke exclusively with one of its talented participants, singer/songwriter Joanna Cotten about her first experience at the festival.

MusicRow: As a first-time performer and attendee, how would you describe the culture of the 30A Songwriters Festival?

Joanna Cotten: Even though this was my first year participating in the festival, I am certainly no stranger to 30A. The area is a string of small coastal communities, and since January is slow season for them it allows the festival to be the focus in the area. The venues included various bars, restaurants and performing halls all along 30A that were run mainly by volunteers. You could tell they put a lot of effort into this and really came together to pull something like this off. The atmosphere there is very relaxed and I think the white-sand beaches are some of the most gorgeous I’ve ever seen. I’ve done several writers retreats down there and even got married on 30A, so that tells you how much I love it. I felt an excitement from the local people about the festival, and every audience I encountered was so eager to hear music and was very appreciative of the talent that was there to share their gifts.

MR: What was a personal highlight from participating in the festival?

JC: They created a true listening environment at the festival, which allows us as artists and writers to share the messages and gifts that we have. So, personally, any time I get to share my music directly with people, that is why I participate. We were also able to connect with other songwriters and see them play and get to know them a bit, so hopefully it will open doors for future co-writes and gigs.

MR: Were there any special moments that you came back with?

JC: I had a lady come up to me who saw me play the first night of the festival and tell me that she wanted to make sure that she saw me the second night. So she went to the venue at noon to get a good seat and waited until we played…at 9:30 p.m.! It’s always nice to get positive feedback from your gift and to know it’s touching people in a way that will make them wait that long to see more!

MR: Who are some of the other performers you connected with?

JC: The first round I participated in was with Lenny LeBlanc (Dove award winning writer for “Above All” recorded by Michael W. Smith) and Teddy Gentry (of the group Alabama). It’s always a humbling experience to know you are on the stage next to guys who have sold millions of records! I was also really excited to get to hang with Lori McKenna. We were on Warner Bros. together and never got a chance to meet, so we had a lot of funny stories about being on a major label and moving away from that to what we do today. Also, Mary Gauthier and I were able to meet and it turns out she had heard the project I did on Warner Bros. through Peter Collins, the producer of that record. I have heard so much about her music and was able to go see her show and now I am a total fan! She is a brilliant writer.

MR: This festival seems to offer a broad spectrum of talent. Is that what you found?

JC: I thought the talent was amazing. You’ve got everybody from up-and-comers like Davin McCoy all the way to legends like Randall Bramlett. There was actually so much going on that I was sad that some of the show times conflicted with my show, because I really wanted to go see as many people as I could. Jeffrey Steele is always so much fun to see play live, and of course you had The Bangles and John Oates, so the spectrum of artists I thought gave all music lovers something to see within the genre they enjoy.

MR: What was your favorite part of this year’s event?

JC: I always love to see so many creative types in one area. There were singer/songwriters and bands from all over the United States, including some from the area there in Florida, and it was fun to connect with different people and not just the same writers we run into here on Music Row. It reminds me that there are a lot of other artists walking down the same path, just trying to share their music with people.

MR: Describe the audience at the festival.

JC: I found the audience to be very sophisticated and so eager to hear music. They were intently listening to every word, and I would see people with their schedule all stretched out over a table at a restaurant mapping out their plan to see as many acts as they could. It’s so refreshing to see people who just love music that much. It gives us hope in this ever-changing industry that music still touches people. The CD may die and it may get harder and harder to get on radio, but one thing that is still going strong is live performance, and I can assure you that there are many, many people out there who still support that.

MR: Other than you, who was the craziest one there (we promise not to tell!)?

JC: Lord, you know with that many creative types all in one place, that’s a hard question because we are all somewhat crazy just to be doing this! I would have to say it was Tommy Womack. I wasn’t able to meet him but I did see him play in a round and he sang some of the craziest, funniest songs that I could tell were from personal experience! So I would have to say if he has lived half of what he’s singing about, his journey has been full of adventure!

MR: Do events like these offer opportunities that may lead to future writing collaborations? If so, anything in particular?

JC: I think for sure it will. Personally, I like to collaborate with artists and writers who have a similar musical style, which for me always leans towards the soulful side. It’s helpful to be able to see performers live and meet them in a setting like the after-party for this festival so you can get to know each other a little bit, as opposed to being thrown in a writing room with somebody you don’t know. Seeing them perform gives you a good idea if your musical styles work together. And getting to hang out lets you know if your personalities click, because half the time writing a song is about just enjoying the person you are in a room with. If it’s fun, you usually come out with a pretty cool song.

MR: Sounds like a great experience for both songwriters and music lovers. And if you’re jonesing for some Joanna, you can catch her playing 3rd & Lindsley on Fri., Feb. 3rd at 7:00 p.m.

Industry Celebrates Brantley Gilbert’s “Country Wide” No. 1

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(L-R): Jon Freeman, Brantley Gilbert, Scott Borchetta and George Briner. Photo: Caitlin Rantala

Tuesday night (1/17), music industry professionals joined the Valory Music Co. in congratulating Brantley Gilbert on his first no. 1 hit as an artist, “Country Must Be Country Wide.” The party gathered at Cabana in Nashville, where Gilbert and the single’s songwriters Colt Ford and Mike Dekle were honored.

BMI’s Clay Bradley shared that each time he hears the chorus “In every state, there’s a station / Playing Cash, Hank, Willie and Waylon,” he gets, what he referred to as, the “Music City measles,” causing the hair on the back of his neck to rise. ASCAP’s Marc Driskill and Big Machine Label Group Pres./CEO Scott Borchetta also shared Bradley’s enthusiasm for the song, as they each handed out their congratulatory plaques.

MusicRow also presented the country singer with a no. 1 plaque. Jon Freeman, managing editor and chart director of MusicRow did the honors, noting that “Country Must Be Country Wide” went no. 1 on MusicRow’s CountryBreakout Chart on Oct 27, 2011.

Dekle, Ford and Gilbert each shared their gratitude with the crowd.

(L-R): ASCAP’s Marc Driskill, Average ZJs Music Publishing’s Noah Gordon, producer Dann Huff, co-writers Colt Ford and Mike Dekle, Brantley Gilbert, Big Machine Label Group President/CEO Scott Borchetta, Warner-Tamerlane Publishing Corporation’s Steve Markland, and BMI’s Clay Bradley. Photo by Eric England

“I cried like you hit me with a trace train,” Dekle said, referring to the first time he heard Gilbert’s “Country Must Be Country Wide.”

Ford teared up for a moment when he was given the mic. He expressed how happy he was to see Gilbert greeted with so much success.

But Gilbert was quick to pass the credit on, pointing into the audience to single out his band members. “I’ve got the best band in world,” he said proudly of the musicians, who not only tour with him but also play on his album.

While “Country Must Be Country Wide,” produced by Dann Huff, is Gilbert’s first no. 1 as an artist, it’s not the first time his talent has been recognized. Gilbert also wrote Jason Aldean’s “My Kind Of Party” and “Dirt Road Anthem.” Both songs reached no. 1 status.

After the celebration, Gilbert was headed out of town with Eric Church Blood, Sweat and Beers Tour. The tour kicks off today (1/19) in Fort Smith, AR.

ACM Nominations Coming Thursday

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Academy of Country Music Award nominations will be revealed Thursday (1/26) at 6:30 a.m./PT, 8:30 a.m. CT.

In keeping with the Academy’s ever-growing fan engagement initiatives, the nominees will be announced for the first time via a digital press conference on the Academy’s social media channels. Reba, who is set to host the 47th annual ACM Awards with Blake Shelton, will read the nominations and will be joined by surprise guests. Some categories will be revealed via pre-taped video message and some will be announced in text.

The press conference will culminate with country music fans announcing the nominees for Entertainer of the Year, a fan-voted award.

Beginning today fans are invited to visit the ACM YouTube Channel at www.youtube.com/acmcountry to learn how to post videos announcing the name of the artist(s) they would like to see receive an Entertainer of the Year nomination. On Thursday during the real-time digital press conference fans can watch to see if their video submission is used to announce their pick for the Academy’s biggest prize.

Following the announcement, nominee reaction videos will be posted throughout the day.

The ACM Awards, Country Music’s Party of the Year®, will be broadcast live from the MGM Grand Garden Arena in Las Vegas Sunday, April 1, 2012 at 8:00 PM live ET/delayed PT on the CBS Television Network.

ACM on Facebook: facebook.com/AcademyOfCountryMusic
ACM on Twitter: twitter.com/ACMawards

Soul Queen Etta James Dies

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Rock ‘n’ Roll Hall of Fame member Etta James, one of the greatest soul singers in history, has died in Los Angeles at age 73.

A frequent visitor to the studios of Nashville, she was renowned for such searing performances as “The Wallflower” (1955), “All I Could Do Was Cry” (1960), “At Last” (1961), “Something’s Got a Hold on Me” (1962), “Stop the Wedding” (1962), “Pushover” (1963), “Tell Mama” (1967), “I’d Rather Go Blind” (1967) and “Security” (1968).

She was also notable as an interpreter of such country classics as “Almost Persuaded” (1969), “Loving Arms” (1975). “Sweet Memories” (1969), “When I Stop Dreaming” (1969), “Don’t Touch Me” (1997) and “Lovesick Blues” (1978).

In 1963, Etta James became one of the earliest major r&b stars to travel to Nashville to record. Her landmark Etta James Rocks the House LP was recorded at Music City’s New Era nightclub.

She returned to Nashville to record her 1988 comeback LP Seven Year Itch with producer Barry Beckett. Stickin’ to My Guns (1990), How Strong Is a Woman (1993) and Love’s Been Rough on Me (1997) were also recorded in Music City. Nashville’s Curb Records issued her 2002 two-volume Greatest Gospel Hits CDs.

During the second half of her career she recorded the works of such Nashville songwriters as Tracy Nelson, Dan Penn, Dobie Gray, Tony Joe White, Russell Smith, Kenny Greenberg, Greg Barnhill, Gretchen Peters, Troy Seals, Fred Knobloch, Steve Bogard, Mike Reid and Al Anderson.

She never knew her father, but believed him to be the legendary billiards player, Minnesota Fats, a longtime resident of Nashville’s Hermitage Hotel. He neither confirmed nor denied it when they met, saying that he couldn’t remember.

During her lifetime, Etta James won six Grammy Awards. She was inducted into the Rock ‘n’ Roll Hall of Fame in 1993 and was given a Lifetime Achievement Award by the Recording Academy in 2003. She was also given a star in the Hollywood Walk of Fame in 2003.

Her death today, January 20, was due to complications from leukemia, and she also suffered from hepatitis C and dementia. She is survived by her husband, two sons and numerous grandchildren.

MusicRow Reveals 2012 CRS CountryBreakout Awards Performers

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L-R: The McClymonts, JT Hodges, Marlee Scott

MusicRow Magazine is pleased to announce a must-see lineup for its 10th Annual MusicRow CRS Meet & Greet and CountryBreakout Awards with performances by JT Hodges, The McClymonts, and Marlee Scott.

The invitation-only event takes place Feb. 21 2:30-4:45 PM/CT at Margaritaville in downtown Nashville and serves as an unofficial kick-off to Country Radio Seminar Feb 22-24, which attracts broadcasters from around the country.

The afternoon’s events will feature food and drink, performances from the talented lineup, and appearances from yet-to-be-announced award recipients. Awards presented during the show are based on radio airplay and include Independent Artist of the Year, Label of the Year, Breakout Artist of the Year, Artist of the Year and CountryBreakout Reporter of the Year. An in-depth profile of each recipient will be featured in the February/March 2012 MusicRow print magazine.

For 10 years, the MusicRow CRS Meet & Greet and CountryBreakout Awards has celebrated the next generation of rising superstars with past performances and appearances by Jason Aldean, Lady Antebellum, Eli Young Band, and The Band Perry.

“The MusicRow CRS Meet & Greet and CountryBreakout Awards gives artists a tremendous amount of exposure to the radio industry and provides a great opportunity to showcase their talents,” says Publisher/Owner Sherod Robertson. “This year’s event is going to be ‘off the hook’ with the talents of JT Hodges, The McClymonts, and Marlee Scott. Seriously, off the hook! We are all very excited to offer this event to the CRS participants and look forward to honoring deserving recipients with their CountryBreakout Awards.”

The CRS print issue will be available at the 2012 awards ceremony and at the MusicRow kiosk in the Nashville Convention Center during CRS. As with all issues, it is available for sale on MusicRow.com and MusicRow subscribers receive their copies in the mail.

About the Performers:

The McClymonts— Sisters Brooke, Samantha and Mollie McClymont joined forces five years ago to become one of the largest country acts in their native Australia. They debuted in the U.S. (BSM) in June 2010 and opened for Jason Aldean and Lady Antebellum. This past year, the girls released Wrapped Up Good in the U.S. and picked up the 2011 CMA Global Artist of the Year award.

JT Hodges— Two years ago the singer/songwriter relocated from Texas to Nashville, and in the spring of 2010 landed a record deal at Show Dog Universal. Hodges met producers Mark Collie and Don Cook who brought him to Show Dog Universal’s Mark Wright. The result is Hodges’ debut album, which is undoubtedly country with a rock-edge.

Marlee Scott— Scott is set to release her new single, “Train Wreck,” on Jan. 23. The Ontario, Canada, native and Nashville resident is currently finishing her U.S. debut album, due out in early 2012 on BigRide Entertainment. Scott released the single “Beautiful Maybe” in 2011 and reached international acclaim with the song “Here To Heaven,” which went Top 20 in Canada and Australia and No. 1 in England, Germany and Holland.

CountryBreakout No. 1 Song

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At some point in a romantic relationship, the partners have to make a bold declaration of commitment or move on. But before that can ever happen, as Kimberly Perry notes, the object of one’s affection has to take “notice.”

So the Band Perry’s “All Your Life” is the CountryBreakout Chart’s new No. 1 song, making it the trio’s third career chart-topper. The catchy mid-tempo walks the thin line between yearning and desperate, making a sturdy case for Kimberly Perry as one of country’s secret weapon vocal stylists in the process. The carnival atmosphere video features snake handlers, masked boxing matches, fortune tellers, and more.

Kimberly, Neil, and Reid are currently out on Brad Paisley’s huge Virtual Reality Tour, but will return to Nashville in summer to play CMA Music Festival. And there’s no official word regarding release date, but a new Band Perry album is in the works.

Weekly Chart Report (1/20/12)

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Bigger Picture Group recently kicked off 2012 with an industry showcase at the Rutledge featuring the talents of four new signings plus Craig Campbell. (L-R): Bigger Picture’s newest artists, Rachel Bradshaw and Ryan Kinder. Photo: Eric England

SPIN ZONE
Following a small shakeup at the top of the CountryBreakout Chart, The Band Perry’s “All Your Life” emerges as the new No. 1 song after 23 weeks. This is the trio’s third overall No. 1 on our chart, after “You Lie” and their breakout smash “If I Die Young.” Perennial hitmakers Keith Urban (“You Gonna Fly”), Dierks Bentley (“Home”), and Kenny Chesney (“Reality”) are clustered together in spots 2-4, a margin of 17 spins separating highest from lowest. Anything can happen in the next chart.

Country radio has really taken to Rascal Flatts’ new release “Banjo.” The first single from the group’s upcoming album Changed, “Banjo” strummed up nearly 600 new spins in its second week charting and jumped to No. 33. Just ahead at No. 32 is Kellie Pickler’s “100 Proof,” already at No. 32 after three weeks and gaining quickly. New to the chart this week with no prior reports are Alan Jackson’s “So You Don’t Have To Love Me Anymore” at No. 57, Zac Brown Band’s “No Hurry” (a James Otto co-write) at No. 68 and Kelly Parkes’ “Don’t Make Me” at No. 73

Frozen Playlists: KXKZ, WBKR, WTCM

Upcoming Singles
January 23
Eli Young Band/Even If It Breaks Your Heart/Republic Nashville
Marlee Scott/Train Wreck/Big Ride
Jason Cassidy/What If/A-Blake/Quarterback

January 26
Acklen Park/Great American Song

• • • • •

New On The Chart—Debuting This Week
Artist/song/label — chart pos.
Alan Jackson/So You Don’t Have To Love Me Anymore/ACR/EMI — 57
Zac Brown Band/No Hurry/Southern Ground/Atlantic — 68
Kelly Parkes/Don’t Make Me/Lofton Creek — 73

Greatest Spin Increase
Artist/song/label — spin+
Rascal Flatts/Banjo/Big Machine — 593
Alan Jackson/So You Don’t Have To Love Me Anymore/ACR/EMI — 391
Blake Shelton/Drink On It/WMN/Warner Bros. — 373
Lady Antebellum/Dancin’ Away With My Heart/Capitol — 357
Miranda Lambert/Over You/RCA — 344

Most Added
Artist/song/label — New Adds
Rascal Flatts/Banjo/Big Machine — 38
Alan Jackson/So You Don’t Have To Love Me Anymore/ACR/EMI — 37
Zac Brown Band/No Hurry/Southern Ground/Atlantic — 23
Kellie Pickler/100 Proof/19/BNA — 15
Phil Vassar/Don’t Miss Your Life/Rodeowave — 14
Kelly Parkes/Don’t Make Me/Lofton Creek — 10
Brantley Gilbert/You Don’t Know Her Like I Do/Valory — 10
Josh Turner/Time Is Love/MCA — 9
Blake Shelton/Drink On It/WMN/Warner Bros. — 9
JT Hodges/Goodbyes Made You Mine/Show Dog-Universal — 9

On Deck—Soon To Be Charting
Artist/song/label — spins
Bucky Covington/I Wanna Be That Feeling/E One — 173
Kinsey Sadler/Sometimes I Forget — 171
Sherry Lynn/Breakin’ Up Song/Steal Heart — 155
Coy Taylor/Fall For You — 152
Brent Anderson/Amy’s Song/Arista — 139

The Band Perry hung out backstage with Premium Choice PD and Grand Rapids OM Doug Montgomery during the first stop on Brad Paisley’s “Virtual Reality World Tour.” The sibling trio played to a sold-out house at the Van Andel Arena. Pictured (L-R): TBP’s Neil Perry, Montgomery, TBP’s Kimberly Perry, Republic Nashville’s Cliff Blake and TBP’s Reid Perry. Photo: Courtesy of Republic Nashville

Charlie Cook On Air: How Come

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How Come:

  • Craig Morgan isn’t a bigger star?

I saw him perform in Las Vegas last month and it seemed like every song was a hit and the stuff he did off his new CD is very good. The CD is in my player in the car. He seems like a nice enough guy. That shouldn’t be a problem.

  • Taylor Swift (whom I love) still struggles with research numbers yet sells more music and tickets than almost anyone?

No one has anything bad to say about Taylor. I look forward to her new music. I try to watch her every time she is on TV because she reflects so positively on Country Music and Country Radio but song after song, her stuff scores poorly and burns quickly.

  • Females just have not risen to the level of consistency in Country Music like they have in Pop?

Country has its stars. The aforementioned Taylor, Miranda, Carrie, Martina and Sara come to mind right away but if you look at the chart (Mediabase 1/16/12) Martina and Taylor are the only females in the top 20. Pop’s biggest stars are females and this week 5 of the Top 10 are females in CHR and 8 of the top 20 are females in AC with two more are males/female duets.

  • Every radio station doesn’t support the ACM and the CMA?

We have a couple of organizations that are advocates for the format and are there to help it grow (along with both doing incredible charity work) and yet most of the stations in the format ignore any participation with the groups. (Okay, I serve on the board of both the ACM and CMA and I may be biased about them but believe me we are better for the efforts of Steve Moore and Bob Romeo.)

  • More radio stations and personalities don’t enter the ACM and CMA awards competition?

I know that this takes some effort. Think of it as show prep. You do need to prepare all year so that you can collect the material for when you enter the competition. But you can do it once for both contests with basically the same entry. It is a good team building exercise and a great morale builder for stations that make the finals.

  • That NARAS just does not get Country Music?

I admit that this year they got it right. There are a couple of goofy songs but that’s okay. Getting it 80% right is better than in the past. They made so many changes after the show last year that the good stuff may have trickled up to the Country categories too. I know that when a Country Song wins as THE song of the year (“Need You Now”) I shouldn’t complain but you need to look at the nominees in 2011 and you’ll agree with me. This year? Maybe they are starting to get it.

  • Radio stations and artists don’t all require fan “gating” on Facebook?

Hand in hand with this is the need to provide material that the visitor really wants. If you provide something valuable to the fan make sure that they “Like” you before they have access to it. Remember what mom used to say, “who’s gonna buy the cow when they get the milk for free?” Not sure that’s what she was talking about but you get the idea.

  • Radio stations still play the chart game with record companies?

I understand that record promotion and record sales are not necessarily tied together. Different staffs and different goals but shouldn’t one’s goal be to drive the other? I had a friend send me SoundScan information for LA. The highest Country CD was Lady A at No. 17 with less than 1000 units sold. The second highest country record was The Band Perry at No. 35 at about 500 units sold. The bad news here is that both of these acts get considerable AC/CHR play to drive the sales. The top Country radio only CD was Clancy’s Tavern – Toby Keith at No. 38. And those were the only Country acts in the Top 50. This in a city where over a million listeners cume the Country station each week. Something about promoting music to Country Music fans is not working.

  • Every Country Radio station, with live personnel, is not attending the Country Radio Seminar?

Nothing provides more usable information for the success of your station and your staff then the three days in Nashville next month. Plus you meet the artists that you play every day. I know that this is not inexpensive and it is time away from the station but the ROI is incredible.

  • Every Country Station is not doing something with St. Jude?

I did not go to Memphis last week. I have never been to the facility. But I believe in the work that they do and the relationship with Country Radio and the kids that are helped. If you’re not THE St. Jude station in your town, still do a weekend event sometime during the year to raise some money for the cause.

  • No Country stations have played Adele?

If AC can play the acts mentioned in the last comment how about Country inviting Adele into Country. Heck she’s Country…well from another Country. That should count for something.

• • •

Just thinking. Let me know about your “How comes.”  And do not write, “How come you have a weekly column?” Just get over that.