Tag Archive for: featured-2

Brett James Signs With Warner/Chappell/ Combustion

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Warner/Chappell Music, together with its joint venture partner Combustion Music, announces a worldwide co-publishing agreement with Grammy-winning songwriter Brett James. Additionally, Warner/Chappell will co-publish a selection of his past works and establish a co-publishing venture with James’ boutique publishing company, Cornman Music. This venture enables James to sign songwriters to publishing deals with the company.

“Brett James is an incredibly talented and creative songwriter who writes hit songs in all genres,” said Cameron Strang, Chairman & CEO, Warner/Chappell Music. “Brett and Warner/Chappell are already having great success together and we are thrilled to have someone of his character and talent join our roster.”
“Combustion Music is thrilled to establish this new relationship with Brett James,” said Chris Farren, President, Combustion Music. “Brett is one of the most dynamic and intelligent songwriters I know, and for years we have talked about partnering. To finally get that opportunity energizes me and the whole Combustion team beyond words.”
“I am truly excited to join forces with Warner/Chappell and Combustion Music,” said James. “Their combined creative and administrative expertise is second to none and it gives me the chance to work with some of my favorite people in the music business. Additionally, I believe that Warner/Chappell will be an amazing partner for my roster of artists and writers at Cornman Music.”

Brett James has had more than 300 of his songs recorded by some of music industry’s biggest artists including Rascal Flatts, Daughtry, Bon Jovi and Backstreet Boys. James’ songs have appeared on albums with combined sales of more than 100 million with 11 of his singles reaching No. 1 on Billboard’s Country Songs chart. In 2006, “Jesus, Take the Wheel,” which James wrote for Carrie Underwood, received Grammy Awards for “Best Country Song.”
He has been twice-named ASCAP’s songwriter of the year, in both 2006 and in 2010, and appeared in Billboard’s year-end Top Ten Country Songwriters list in seven of the ten years it has been published. As a producer, his credits include Taylor Swift, Jessica Simpson, Josh Gracin and Kip Moore. A native of Oklahoma, where he spent three years in medical school, Brett now lives in Brentwood, Tennessee with his wife Sandy and their four children.

(L-R): BJ Hill (Sr. Director A&R WCM Nashville), Steve Markland (VP A&R WCM Nashville), Nate Lowery (Creative Director Cornman Music), Brett James, Chris Farren (President Combustion Music), Phil May (VP & GM WCM Nashville), Alicia Pruitt (Sr. Director A&R WCM Nashville), Chris Van Belkom (Sr. Creative Director Combustion Music), Kenley Flynn (Catalog/Office Mgr, Combustion Music). Photo: LeeAnn Carlen

Tennessee Two's Marshall Grant Passes

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Marshall Grant with his Fender Tele Bass at The Musicians Hall of Fame and Museum. Photo: musicianshalloffame.com


Musician Marshall Grant, the final surviving member of Johnny Cash’s revered Tennessee Two, died yesterday, Aug. 7. Until the very end, the 83-year-old’s life was tied to the late icon.
Grant collapsed Wednesday (8/3) following rehearsals for a Cash tribute concert in Jonesboro, Arkansas that was raising funds to restore the singer’s boyhood home. Grant was hospitalized and never recovered. Among those who shared his final days were fellow concert performers Kris Kristofferson, George Jones, Rodney Crowell, Rosanne Cash, John Carter Cash, and Tommy Cash.
Grant’s “boom chicka boom” bass licks helped shape the Man in Black’s signature sound on classics such as “Ring Of Fire,” “Folsom Prison Blues,” “Walk The Line,” “Get Rhythm,” and “A Boy Named Sue.” The self-taught wonder was eventually inducted into the Musicians Hall of Fame.
Cash and Grant’s storied relationship started in Memphis in 1954, where bassist Grant and guitarist Luther Perkins teamed to become Cash’s Tennessee Two, backing him during gospel songs on local radio. When they added drummer W.S. Holland in 1960, they changed the band’s name accordingly.
For years, Grant did double duty as Cash’s sideman and road manager, often shepherding the star through offstage troubles. Historian Robert K. Oermann recalls, “Of all the people around Johnny Cash during his heyday, Marshall was the heartbeat of the band and the steady presence in the organization. He was a rock.”
Later in his career, Grant furthered his management career, taking on the Statler Brothers as clients.

Luther Perkins, Johnny Cash, and Marshall Grant


Through the years, Grant’s friendship with Cash waxed and waned, and their final appearance onstage together was in 1999. Cash died in 2003, and three years later Grant published the autobiography, I Was There When It Happened: My Life With Johnny Cash.
In 2007 The Tennessee Two joined the Musicians Hall of Fame, as part of its inaugural class of inductees. Grant played at the induction ceremony at the Schermerhorn Symphony Center, backing Johnny’s son John Carter Cash.
At the time of his death, Grant and his wife were residing in Hernando, Mississippi, outside Memphis. Arrangements have not been announced, but will be by Memorial Park Funeral Home and Cemetery in Memphis.

Tennessee Two’s Marshall Grant Passes

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Marshall Grant with his Fender Tele Bass at The Musicians Hall of Fame and Museum. Photo: musicianshalloffame.com

Musician Marshall Grant, the final surviving member of Johnny Cash’s revered Tennessee Two, died yesterday, Aug. 7. Until the very end, the 83-year-old’s life was tied to the late icon.

Grant collapsed Wednesday (8/3) following rehearsals for a Cash tribute concert in Jonesboro, Arkansas that was raising funds to restore the singer’s boyhood home. Grant was hospitalized and never recovered. Among those who shared his final days were fellow concert performers Kris Kristofferson, George Jones, Rodney Crowell, Rosanne Cash, John Carter Cash, and Tommy Cash.

Grant’s “boom chicka boom” bass licks helped shape the Man in Black’s signature sound on classics such as “Ring Of Fire,” “Folsom Prison Blues,” “Walk The Line,” “Get Rhythm,” and “A Boy Named Sue.” The self-taught wonder was eventually inducted into the Musicians Hall of Fame.

Cash and Grant’s storied relationship started in Memphis in 1954, where bassist Grant and guitarist Luther Perkins teamed to become Cash’s Tennessee Two, backing him during gospel songs on local radio. When they added drummer W.S. Holland in 1960, they changed the band’s name accordingly.

For years, Grant did double duty as Cash’s sideman and road manager, often shepherding the star through offstage troubles. Historian Robert K. Oermann recalls, “Of all the people around Johnny Cash during his heyday, Marshall was the heartbeat of the band and the steady presence in the organization. He was a rock.”

Later in his career, Grant furthered his management career, taking on the Statler Brothers as clients.

Luther Perkins, Johnny Cash, and Marshall Grant

Through the years, Grant’s friendship with Cash waxed and waned, and their final appearance onstage together was in 1999. Cash died in 2003, and three years later Grant published the autobiography, I Was There When It Happened: My Life With Johnny Cash.

In 2007 The Tennessee Two joined the Musicians Hall of Fame, as part of its inaugural class of inductees. Grant played at the induction ceremony at the Schermerhorn Symphony Center, backing Johnny’s son John Carter Cash.

At the time of his death, Grant and his wife were residing in Hernando, Mississippi, outside Memphis. Arrangements have not been announced, but will be by Memorial Park Funeral Home and Cemetery in Memphis.

Urban Tour Places Artist Closer To Fans

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Keith Urban’s Get Closer World Tour enthralled a sold-out Bridgestone Arena crowd in downtown Nashville, Aug. 6. “The idea of the Get Closer stage,” Urban told the crowd, “is to do away with the fences so there’s no me and you— just us…” And that’s how it was.
The Aussie was all over the arena. He and his four piece band owned a simple but, visually compelling stage. In addition, Urban performed on a small circular hydraulic platform in the center of the crowd and later at the rear of the hall—delighting fans in the process, slapping hands as he navigated the throng.

Urban played a variety of guitars including a Gibson ES-335, and what looked to be (based upon the tailpiece and single coil pickup) a Gold Top early ‘50s Les Paul. He also favored a Fender Startocaster and Telecaster, plus acoustic and gut string instruments.


Urban swept the crowd to its feet beginning with “Days Go By,” quickly followed with strong hits like “Raining On Monday” and “Put You In A Song.” The charismatic singer/songwriter/guitarist, who was CMA Entertainer of the Year in 2005 and Male Vocalist numerous times, has always displayed rare vocal and instrumental ability. But on this tour, he has added an astute interactive element making the show more accessible and boosting its entertainment value. Judging by the crowd’s reaction, there was no doubt that Mr. Urban is country’s 2011 Entertainer of the Year…
It was the sum of all the little things, like taking time to read some of the signs held up by fans.
“Wow, you drove 1400 miles to be here, thank you so much.”
“Keith, it’s been a long hot summer waiting to CU.”
“We’ve been to 47 shows in 24 cities.”
“A picture with you would be priceless.”
“Come and get it,” Urban laughed after reading, pleasing the crowd and giving a fan that 10 seconds of fame of which dreams are made as they made a candid shot together on stage.

Jake Owen was a truly impressive opening act. His bravado, and clear baritone voice made him an instant fan favorite, with songs like “Starting With Me,” his new single “Barefoot Blue Jean Night,” the riveting new ballad “Alone With You.”


Deep into “Kiss A Girl,” the artist shouted out, “Nashville you’re a singing crowd tonight.” He then randomly chose three fans and conducted a mini-Urban Idol contest giving each one a chance to perform the “Kiss A Girl” chorus center stage and judging the winner based upon applause. The crowd was rapt.
“Til Summer Comes Around,” was a concert highpoint. Fans already know that Urban’s prodigious guitar has distinct personalities. For this song, co-written with Monty Powell, he painted with sustain-packed notes in Santana-esque fashion punctuated with blistering note clusters grouped together like infinite solar systems whirling through space and time. Video b-roll played on the oversize mirror monitor as the star sang,
“The words came out, I kissed your mouth,
No fourth of July has ever burned so brightly
You had to go, I understand, but you swore that you’d be back again
And so I’m frozen in this town, til summer comes around.”
It’s a safe bet his fans will be back again, lined up to purchase seats… Over the past few albums, Urban and producer Dann Huff have fashioned a unique and commercial sound that has exposed Urban’s talent, but does makes it difficult, especially  in a live setting to distinguish which album a particular song is from.

Keith Urban with unidentified fan backstage.


“What a magical night tonight,” Urban said to the crowd after two encores, dripping with sweat and glowing like a firebug. “Thank you so much for making the decision, especially in these hard times when I know many of you are facing problems like lost jobs to spend your evening with us. I love you.”
 
Photos: BossRoss

"American Songwriter" Under New Ownership

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Albie Del Favero


Albie Del Favero has taken the reigns of American Songwriter magazine, joining the team as Co-Publisher, and President of its parent company ForASong Media, LLC.
Del Favero’s extensive background in media includes being founding publisher of the Nashville Scene. More recently he served as Nashville-area group publisher at SouthComm, which currently owns The City Paper and the Nashville Scene.
In his latest venture, Del Favero is teaming with former American Songwriter owners Robert Clement and Doug Waterman. They are still in-office at the outlet they purchased in 2004. The magazine has been operated out of Music City since 1984.
The bi-monthly print mag is coupled with American Songwriter’s extensive online activity, which includes free content, iPad apps and more. The May/June issue app alone has been downloaded 5,000 times. Del Favero tells MusicRow, “Besides realizing the full potential of the magazine, the strategy for the company going forward will be to leverage the traffic drawn to the free content on the website to build a membership base of amateur songwriters. These members will have access to tools to hone their writing skills and connect with professionals.”
Songwriting contests are one way American Songwriter attracts users, which have helped the publication amass an email list of over 30,000.
Del Favero admits that some people aren’t bullish on traditional media, but says the shuttering of comparable ‘zines including Performing Songwriter and No Depression has freed up advertising dollars.
He explains, “American Songwriter has a solid niche, a highly recognizable brand and is profitable.”
Albie Del Favero can be reached at [email protected] and (615) 945-2016.

“American Songwriter” Under New Ownership

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Albie Del Favero

Albie Del Favero has taken the reigns of American Songwriter magazine, joining the team as Co-Publisher, and President of its parent company ForASong Media, LLC.

Del Favero’s extensive background in media includes being founding publisher of the Nashville Scene. More recently he served as Nashville-area group publisher at SouthComm, which currently owns The City Paper and the Nashville Scene.

In his latest venture, Del Favero is teaming with former American Songwriter owners Robert Clement and Doug Waterman. They are still in-office at the outlet they purchased in 2004. The magazine has been operated out of Music City since 1984.

The bi-monthly print mag is coupled with American Songwriter’s extensive online activity, which includes free content, iPad apps and more. The May/June issue app alone has been downloaded 5,000 times. Del Favero tells MusicRow, “Besides realizing the full potential of the magazine, the strategy for the company going forward will be to leverage the traffic drawn to the free content on the website to build a membership base of amateur songwriters. These members will have access to tools to hone their writing skills and connect with professionals.”

Songwriting contests are one way American Songwriter attracts users, which have helped the publication amass an email list of over 30,000.

Del Favero admits that some people aren’t bullish on traditional media, but says the shuttering of comparable ‘zines including Performing Songwriter and No Depression has freed up advertising dollars.

He explains, “American Songwriter has a solid niche, a highly recognizable brand and is profitable.”

Albie Del Favero can be reached at [email protected] and (615) 945-2016.

The Authenticity Debate, Revisited

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Kanye West, Eric Church


There’s been much discussion lately on the subject of authenticity in country music, particularly among its male stars.
To quickly recap, CMT.com’s Chet Flippo took issue with Eric Church for appreciating high thread count sheets and Justin Moore for his self-appointed “outlaw” status, then The Tennessean’s Peter Cooper followed declaring that all the redneck posturing simply wasn’t believable. The subject has prompted numerous strong reactions on both sides, so here’s mine.
This weird obsession with country music’s authenticity, both from the artistic community and from critics, borders on preposterous.
I’ve been a big hip-hop fan for some time. Lately I see country music beginning to mirror hip-hop’s growth in some interesting ways, and I’m not just talking about Jason Aldean spitting a few bars in his current single.
An artist should be free to believably inhabit the characters in his songs, and not have that persona confused with his offstage life. And it probably goes without saying, but an artist should also sing about something.
Which brings me to my first point.
There are a group of artists, mostly male, who seem to think if they can spout off more country cliches than the last dude that it somehow magically conveys an air of authenticity. There have been so many songs in the last few years referencing dirt roads, tailgates, bonfires, and every other “country” trope that I’m starting to get them all confused.
As a fellow small-town southerner (Arab, Alabama: Pop. 7,500) I agree these things are, to some degree, part of life. In younger years I spent more than one Friday night drinking in a cow pasture (sorry Mom!), and Saturdays boating on the Tennessee River. And yep, I hung out in the Food World parking lot after dark. When you grow up in a place where there everything closes at 6, you improvise.
But here’s the problem: these songs aren’t about anything. Small town life is quite complex, a rich tapestry of joy, heartache, community, sin and salvation. The offending songs actually do it a great disservice by making it appear completely one-dimensional. So songwriters, can we stop doing that? Please?
On to the second point.
People in the listening world, particularly critics, insist on projecting this myth that an “authentic” country artist needs to work on an assembly line, kill deer with his bare hands, and live out the tales in his songs. He should probably also sleep on a dirt floor in a shotgun shack with no running water, if he’s worth his redneck salt.
Which is totally absurd. I can say with a pretty high degree of certainty that Johnny Cash did not, in fact, shoot a man in Reno just to watch him die. But accusing the Man in Black of not being authentic, well that’s blasphemy and I don’t want to be near anyone who’d ever suggest such a thing (you know, in case the lightning strikes).
I’m reminded of a period in hip-hop, following the all-too-real murders of Tupac Shakur and Notorious B.I.G. New face 50 Cent was being touted as the realest rapper on the scene, presumably because he’d been shot multiple times. Jay-Z and Nas were having an epic feud through their songs about who was bigger, better, more real and true.
It was a strange time to be a fan, because there was so much to love (like Outkast putting Southern hip-hop on the map or Missy Elliott’s brilliantly weird pop hits) and so much to hate (most every P.Diddy song that sampled an FM rock standard or knifeplay at the Source Awards) at the same time. Many artists were releasing songs that varied thematically between chest-beating ‘realer-than-thou’ proclamations and misogynistic, booty-obsessed fare. (Speaking of which, is Juvenile’s “Back That Azz Up” really all that different from “Country Girl (Shake It For Me)” and the like? Just saying.)
The good news is hip-hop in 2011 has (mostly) gotten over itself. I don’t know that there was some great watershed moment for the genre, but people now seem to no longer be so obsessed with an artist’s street credentials so much as they just want a banging song.
For an example, see Kanye West. He may have drawn the ire of country fans for the Taylor Swift kerfuffle, but he’s one of the biggest artists in the game and nobody doubts his artistic credibility. What’s interesting is he didn’t grow up in an inner city slum surrounded by violence and poverty, nor does he pretend that he did. He grew up in a middle class, suburban setting outside Chicago. He wears skinny jeans and understands high fashion. No one seems the least bit bothered, long as he can crank out innovative jams like “Monster” or “Stronger.”
Hip-hop got over it, and so too will country music. Come at us with a great song, not one listing things that sound country. Create an artistic persona, and sing about the human experience with all its beauty, tragedy and utter strangeness. We’ll stop making such a fuss over your life outside music.
And for the record, I’m with Eric Church on high thread count sheets.

The Band Perry Announces New Tour

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The Band Perry has announced The Purveyors of Performance Tour – a trek of approximately 75 dates that will include their own headlining shows, support dates for Keith Urban, Reba and yet-to-be-announced dates with one of Country music’s major touring forces. The tour kicks off Aug 15 and will continue into 2012 with performances at theaters, arenas, amphitheaters and stadiums.
August is a high profile month for TBP with the debut of a new video, the airing of the Teen Choice Awards (8/7) where they have two nominations, a performance on CMA Music Festival: Country’s Night To Rock on ABC (8/14), and a Jimmy Kimmel Live! concert (8/17).

“It has always been our dream to play Country music,” says the band. “We’ve been on the road as a family band for thirteen years and experienced the intimacy of theaters, the energy of county fairs and the joy of connecting with new faces as we support these amazing artists at arenas and amphitheaters. Artists like Tim McGraw, Keith Urban and Reba were the ones who originally inspired us to dream big…now they have helped our dreams come true. We couldn’t be more grateful to them or excited about the future.”

The new video for their fourth Country single, “All Your Life” is planned for a mid-August debut. The cinematic video will feature TBP as a vagabond troupe and actually inspired the “Purveyors of Performance” theme of the upcoming tour.
The band is also celebrating the extended life of “If I Die Young,” which is now climbing the pop charts.
The Band Perry’s Purveyors of Performance Tour Dates:
8/15/2011 — LEWISBURG, WV (State Fair of West Virginia)
8/17/2011 — DES MOINES, IA (Iowa State Fair)
8/18/2011 — FAIRMONT, MN (Martin County Fairgrounds)
8/19/2011 — ABERDEEN, SD (Brown County Fair)
8/20/2011 — IMPERIAL, NE (Chase County Fair & Expo)
8/21/2011 — SAINT JOSEPH, MO (Trails West Festival)
8/24/2011 — MITCHELL, SD (The Corn Palace Festival)
8/26/2011 — GRAND ISLAND, NE (Nebraska State Fair)
8/27/2011 — PUEBLO, CO  (Colorado State Fair Grandstand)
8/30/2011 — MONROE, WA (Evergreen State Fair)
8/31/2011 — WALLA WALLA, WA (Walla Walla Frontier Days)
9/02/2011 — SALEM, OR  (L.B. Day Amphitheater)
9/03/2011 — LAKEVIEW, OR (Lake County Fair)
9/04/2011 — FILER, ID (Twin Falls County Fair)
9/09/2011 — OTTAWA, ONTARIO, CA (Scotiabank Place) [with Keith Urban]
9/10/2011 — TORONTO, ONTARIO, CA (Air Canada Centre) [with Keith Urban]
9/12/2011 — LONDON, ONTARIO, CA (John Labatt Center) [with Keith Urban]
9/15/2011 — WINNIGPEG, CA (MTS Centre) [with Keith Urban]
9/16/2011 — REGINA, SASKATCHEWAN, CA (Brandt Centre) [with Keith Urban]
9/17/2011 — REGINA, SASKATCHEWAN, CA (Brandt Centre) [with Keith Urban]
9/18/2011 — SASKATOON, SK, CA (Credit Union Centre) [with Keith Urban]
9/21/2011 — EDMONTON, ALBERTA, CA (Rexall Place) [with Keith Urban]
9/23/2011 — CALGARY, AB, CA (Scotiabank Saddledome) [with Keith Urban]
9/24/2011 — PENTICTON, BC, CA (South Okanagan Events Centre) [with Keith Urban]
9/26/2011 — VANCOUVER, CA (Rogers Arena) [with Keith Urban]
9/28/2011 — FORT SMITH, AR (Arkansas Oklahoma State Fair)
9/29/2011 — MARIETTA, GA (North Georgia State Fair)
9/30/2011 — ST. LOUIS, MO (The Pageant)
10/6/2011 — MOLINE, IL (iWireless Center) [with Reba]
10/7/2011 — BLOOMINGTON, IL (US Cellular Coliseum) [with Reba]
10/8/2011 — MARYVILLE, TN (Foothills Festival)
10/11/2011 — JACKSON, MS (Mississippi State Fair)
10/13/2011 — GREEN BAY, WI (Resch Center) [with Reba]
10/14/2011 — FT. WAYNE, IN (Allen County WMC) [with Reba]
10/15/2011 — HUNTINGTON, WV (Big Sandy Arena) [with Reba]
10/19/2011 — PHOENIX, AZ (Arizona State Fairgrounds)
10/20/2011 — BOZEMAN, MT (Brick Breeden) [with Reba]
10/21/2011 — CASPER EVENTS CENTER (Casper, WY) [with Reba]
10/22/2011 — BISMARCK, ND (Bismarck Civic Ctr) [with Reba]
10/27/2011 — SIOUX CITY, IA (Tysons Events Center) [with Reba]
10/28/2011 — ST. LOUIS, MO (Chaifetz Arena) [with Reba]
10/29/2011 — KANSAS CITY, MO (Sprint Center) [with Reba]
11/3/2011 — OMAHA, NE (Quest Center) [with Reba]
11/4/2011 — TULSA, OK (BOK Center) [with Reba]
11/5/2011 — WICHITA, KS (InTrust Bank Arena) [with Reba]
11/10/2011 — GRAND RAPIDS, MI (Van Andel Arena) [with Reba]
11/12/2011 — ATLANTA, GA (Gwinnett Center) [with Reba]
11/17/2011 — LAFAYETTE, LA (Cajundome) [with Reba]
11/18/2011 — BILOXI, MS (Mississippi Coast Coliseum) [with Reba]
11/19/2011 — TUPELO, MS (Bancorp South Arena) [with Reba]
 

Weekly Chart Report (8/05/11)

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Ronnie Milsap has been busy promoting the release of his album Country Again with a Satellite Media Tour, a visit with Cody Alan for CMT Radio Live, and an interview with Eddie Stubbs (who produced Country Again) on 650 AM WSM. The album’s first single is “If You Don’t Want Me To (The Freeze).” (L-R) Milsap, CMT Radio Live’s Cody Alan


SPIN ZONE
Every once in awhile, you land a big one. Trace Adkins has done just that with “Just Fishin’,” which ascends to No. 1 by jumping over Zac Brown Band’s “Knee Deep.” The big man’s latest gains 72 spins in its 21st week charting with 98 stations on board. Also advancing are Kenny Chesney’s “You and Tequila” at No. 3, Toby Keith’s “Made In America” at No. 4, and the Paisley/Underwood juggernaut “Remind Me” at No. 5.
Fishing is a pretty common theme for the summer country singles climbing the current chart. Bigger Picture’s Craig Campbell is promoting his second single, “Fish,” which moves to No. 33 with a gain of 160 spins. Newcomer Kelly Parkes is at No. 45 with “Girl With A Fishing Rod.” Right behind and red hot is Justin Moore’s “Bait A Hook,” which reels in 322 new spins and moves to No. 48.
Speaking of red hot, there are big debuts from The Band Perry and Miranda Lambert. TBP’s “All Your Life” is the fourth single from the group’s self-titled Republic Nashville album, and clocked in at No. 62 for the week’s highest debut. “Baggage Claim” is the first single from Lambert’s anticipated Four The Record album due November 1, and programmers spun it enough out of the box to earn the No. 69 spot with no prior reports.
LIFENOTE
Our thoughts and best wishes are with KBOE/Oskaloosa, IA PD Steve Shettler, whose mother recently suffered a stroke. According to Shettler, she’s showing hopeful signs of progress in the last few days. Reach out to him here.
Frozen Playlists: KBOE, KYES, KYKX, KYYZ, WAKG, WATZ, WKWS, WTCM, WTCR



Upcoming Singles
August 8
Danny Gokey/Second Hand Heart/RCA
The Band Perry/All Your Life/Republic Nashville
August 15
Crystal Shawanda/Love Enough/Sun/Nine North
Brett Eldredge/It Ain’t Gotta Be Love/Atlantic/WMN
Tyrone Vaughan/Downtime/CO5
Casey James/Let’s Don’t Call It A Night/BNA
• • • • •
New On The Chart—Debuting This Week
Artist/song/label — chart pos.
The Band Perry/All Your Life/Republic Nashville — 62
Miranda Lambert/Baggage Claim/Columbia — 69
The McClymonts/Wrapped Up Good/BSM — 75
Brad Wolfe/Love Ought To Be Perfect/Evergreen — 78
Ashton Shepherd/Where Country Grows/MCA — 80
Greatest Spin Increase
Artist/song/label — spin+
Miranda Lambert/Baggage Claim/Columbia — 348
Blake Shelton/God Gave Me You/Warner Bros./WMN — 337
Justin Moore/Bait a Hook/Valory — 332
Taylor Swift/Sparks Fly/Big Machine — 297
The Band Perry/All Your Life/Republic Nashville — 293
Most Added
Artist/song/label — New Adds
Miranda Lambert/Baggage Claim/Columbia — 31
The Band Perry/All Your Life/Republic Nashville — 26
Justin Moore/Bait a Hook/Valory — 26
Montgomery Gentry/Where I Come From/Average Joe’s — 14
Bradley Gaskin/Mr. Bartender/Columbia — 11
Mark Wills/Crazy Bein’ Home/Tenacity — 11
Tracy Lawrence/The Singer/Lawrence Music Group — 11
Martina McBride/I’m Gonna Love You Through It/Republic Nashville — 10
On Deck—Soon To Be Charting
Artist/song/label — spins
Eric Paslay/Never Really Wanted/EMI Nashville – 200
Cash Creek/Unlikely Angel/Ohana Music Group – 200
Kevin Fowler/Hell Yeah, I Like Beer/Average Joe’s Ent. – 191
Keith Bryant/Can’t Tell Somebody (Who To Love)/Jordash Records – 178
Big & Rich/Fake ID/Warner – 162

WMN’s Frankie Ballard recently visited with KEGA/Salt Lake City. Ballard’s single “A Buncha Girls” is currently at No. 49 on MusicRow’s CountryBreakout Chart. (L-R): KEGA MD Jon Watkins, Ballard, KEGA PD Alan Hague, W.A.R. West Coast Regional Rhonda Christensen

Charlie Cook On Air

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PPM Pitfalls

If you’re reading this, my second note for MusicRow, then last week’s article didn’t end my writing career right out of the chute. That is great for me as there is so much to say about the relationship between radio and records.
Last week I touched, briefly, on research and how it is used and misused by stations and researchers themselves. Comprehensive research is a valuable tool for everyone looking for the truth and a navigable direction for your label, artists, individual songs and radio stations.
There is no more comprehensive research for radio than Arbitron. I remember sitting in the audience at an Arbitron seminar where they detailed the People Meter process. I said to myself, “wow, what a great system. Truthfully track the listeners and report their listening.” The presenters then went on to explain the system and detail what it takes to familiarize them with the participants. Then I thought, “Who the heck would take this project on?” It is not easy and the results make half of the station’s personnel angry on some level.
The People Meter has caused concern in both radio stations and then at record companies, as so much of what we do impacts the other industry. Radio programmers in the top 48 markets in America are living with PPM measurement and many Country Stations are thriving. Wow, Americans like Country Music. Wow, Americans like music that they can understand with lyrics about life experiences that are similar to theirs. Wow, Americans want to be able to share their radio with their families on the way to school, shopping and church.
We should all be very pleased with the current success of Country radio stations in PPM markets but I am afraid that long term PPM could be bad for building artist careers. The way stations are reading PPM many of them are removing the passion for the artists. We have passion for individual songs without building a foundation for the artists.
Many stations have eliminated on-air interviews or moved them to the station’s website. Many stations have eliminated disc jockey interaction with the artist.
Radio people will remember that famous PPM experiment in Houston years ago around a Kenny Chesney interview on the two Country stations. One of the stations was clearly more successful with the interview, ratings wise. PPM allows us to look, minute by minute, to rating’s results.
Apparently unfocused and uninteresting interviews are bad. Uninteresting chatter is also bad at cocktail parties, during dinner, on the phone and in the workplace. If you want to hold someone’s attention say something interesting, concise and with a punch line.
Suggestion number one for artists for PPM markets: come with something interesting. Come with something that can be transmitted to the listener in short order. If I am going to play “A Buncha Girls” give me five bits of information about Frankie Ballard that I can communicate in 5-7 seconds. WYCD would want to tell listeners that Frankie grew up across the state in Battle Creek. What about that Frankie toured with fellow Michigander Uncle Kracker. That he has opened for (another Michigander) Bob Seger. In fact, Frankie performed in front of two sold out audiences in Nashville. Opening for Seger one night and singing the National Anthem at a Predators Playoff game a few nights later. He also opened for Taylor Swift.
Nothing earth-shattering but it is a beginning of building a picture of Frankie and he is coming to life.
Second PPM tip for record companies. And this one is off the wall. PPM has seen a resurgence of Classic Rock radio. I contend that there are two reasons. Familiarity and…long songs. PPM measures listenership differently. If you can score 5 minutes of listening in a quarter hour you get credit for the entire quarter hour. Not any 15 minute segment, but: 00 to: 15 or: 15 to: 30 and so on.
So many of the Classic Rock songs are near the 5 minutes that makes collecting that quarter hour’s listening pretty simple. Play the right songs and you have minimized opportunities for tune outs. If you can collect listening with one hit song instead of having to pair two hit songs, you’re more than half way there.
Country record producers can identify some music that should be re-edited to approach that 5 minute length. How many Country stations would object to “Need You Now”-Lady Antebellum being 5 minutes long? That would pretty much guarantee that quarter hour’s listening. “Remind Me”-Brad and Carrie is 4:31. Give me a 5 minute version. Everyone knew that was going to be a huge record.
In single Country Music station markets you can play as much music as possible and depend on the popularity of the music. In markets with more than one Country Music station it is the subtle things that gain the advantage over your competitors.