Garth Brooks will reflect on his history-making career in a five-part anthology that will chronicle his rise from ambitious newcomer to becoming the first artist in history to earn seven RIAA diamond awards and to be named Entertainer of the Year five times by the Country Music Association. Brooks has earned over 148 million album sales in the course of his career.

He is also the first artist in history to receive 7 Diamond awards for the now seven albums certified by the RIAA at over 10 million album sales each and remains the No. 1-selling solo artist in U.S. history certified by the RIAA with over 148 million album sales.

The Anthology Part 1: The First Five Years, as told by Brooks as well as those involved in the creating, recording and promotion of his first five albums, offers details and true stories from the early days of his career, taking fans behind the scenes for moments such as when “The Thunder Rolls” was recorded and about to be released by another artist. Brooks recalls that “Friends In Low Places” and “The Dance” were almost never recorded, and discusses how “That Summer” was rewritten and rerecorded, and fans can hear the two different master versions. Readers can also learn about and listen to the first time Trisha Yearwood sang on a ‘Garth’ song, long before Brooks’ first album.

The 240-page book is accompanied by five CDs, containing 52 total songs including 19 new, unreleased or demo versions of tracks. The book also includes more than 150 never-before-seen photos, as well as sessions charts, tracking sheets and more.

The Anthology Part 1: The First Five Years will release Nov. 14.

Garth will air a very special Inside Studio G on his Facebook page this Monday, Oct. 2 at 7 p.m. ET. On the episode, he will share very personal details from the first five years of his career, along with special guests were involved and featured in the anthology.

Chapter 573

What better way to celebrate the 50th anniversary of the Nashville Songwriters Association International (NSAI) than with 50 years of songs?

Wait a minute. That would take all night long and more. To solve this dilemma, the organization mixed live performances with videotaped reminiscences at its anniversary show staged at the Ryman on Wednesday night (Sept. 20).

Amazingly, all 50 NSAI Song of the Year winners were saluted. The sold-out show lasted three hours, but there was so much entertainment in it that my butt never got sore sitting on those pews.

The party people were out in full force, including such top music creators as Bob DiPiero, Kathy Mattea, Gary Burr, Matraca Berg, Pat Alger, Bob Regan, Steve Diamond, Gary Baker, Frank J. Myers, Tom Shapiro, Casey Anderson, Steve Bogard, Wayland Holyfield, Johnny Scoggins and Don Von Tress, plus most of the folks who were in the tribute videos.

Without introduction, Dallas Frazier kicked the celebration off with a stunning rendition of “There Goes My Everything” (NSAI’s 1967 Song of the Year). At 78, he still can hit every one of those notes with finesse, feeling and phrasing.

“Songs and songwriters are what we’re all about,” said the NSAI’s current president Lee Thomas Miller. “Tonight, we’re going to walk you through history, one song at a time.” He wasn’t kidding. That’s exactly what transpired.

Kris Kristofferson strolled out on stage and received a standing ovation before he ever sang a note. He has three Song of the Year honors from the NSAI – “For the Good Times” (1970), “Sunday Morning Comin’ Down” (1971) and “Why Me” (with Marijohn Wilkin, 1973).

Singing solo with his guitar, he brought down the house with “Sunday Morning Comin’ Down.” His second standing ovation was accompanied with cheers, whistles and shouts. Kris, by the way, is one of the founders of the NSAI and was also the first artist to sign up to sing at the golden-anniversary celebration.

On video were Jimmy Carter (“Honey,” 1968, by Bobby Russell), James Dean Hicks “Okie From Muskogee,” 1969, by Merle Haggard & Roy Edward Burris), Bart Herbison (“Country Bumpkin,” 1974, by Don Wayne) and Peter Cooper (“Old Dogs, Children and Watermelon Wine,” 1972, by Tom T. Hall).

Justin Peters ably sang the 1975 winner “Before the Next Teardrop Falls.” He is the son of its co-writer Ben Peters (with Vivian Keith).

Video’d Bob McDill (“Amanda,” 1976), Hal Bynum (“Lucille,” 1977, written with Roger Bowling) and Randy Goodrum (“You Needed Me,” 1978) ensued.

Live performances resumed with Bobby Braddock & Curly Putman’s “He Stopped Loving Her Today” (1980). Rising to the considerable challenge was Craig Campbell, who sang it at the piano superbly. Multi-instrumentalist Fats Kaplan was a big boost on steel guitar. This house-band utility player also contributed to others on fiddle, guitar, concertina and more.

Eric Paslay took on “Always on My Mind” (1982’s NSAI winner, by Johnny Christopher, Mark James & Wayne Carson). T.G. Sheppard (“She Believes in Me,” 1979, Steve Gibb) and Walt Aldridge (“Holding Her and Loving You,” 1983, written with Tommy Brasfield) were the next celebrants on screen.

“You’re the Reason God Made Oklahoma” (1981, by Larry Collins & Sandy Pinkard, plus the Byrants) was sung by its originators, Shelly West and the always-superb David Frizzell. This drew another S.O.

On screen, Kenny O’Dell (“Mama He’s Crazy,” 1984) and Bob McDill (“Baby’s Got Her Blue Jeans On,” 1985) entertained with anecdotes. Paul Overstreet masterfully performed “On the Other Hand” (1986, written with Don Schlitz) with Colin Linden on slide guitar.

Next was a lovely rendition of “Somewhere in My Broken Heart” by Billy Dean & Richard Leigh (1991). Overstreet returned with an audience sing-along on “Forever and Ever, Amen” (1987, written with Don Schlitz).

Max T. Barnes (“Chiseled in Stone,” 1988, by Vern Gosdin & Max D. Barnes) and Don Henry & Jon Vezner (“Where’ve You Been,” 1990) offered video nostalgia. This interlude was followed by standing ovations for Garth Brooks & Kent Blazy (“If Tomorrow Never Comes,” 1989).

Goddess Trisha Yearwood took the performance and song levels to a new high with Hugh Prestwood’s “The Song Remembers When” (1993). Everyone got up and danced as Billy Ray Cyrus and tambourine-smacking, boogie-dancing backup vocalist Bekka Bramlett ignited the house with “Achy Breaky Heart” (1992, Don Von Tress) mashed up with “Tulsa Time.”

With dynamite harmonizing, All-4-One brought a terrific r&b element to the show with “I Can Love You Like That” (1995, Jennifer Kimball/Maribeth Derry/Steve Diamond) and “I Swear” (1994, Frank J. Myers/Gary Baker). They were also rewarded with a standing ovation.

From roughly 1990 on, we were thoroughly into the era of co-writing and multiple co-writing. Clint Black (1997, “Something That We Do,” written with Skip Ewing), Allen Shamblin & Steve Seskin (1998, “Don’t Laugh at Me”) and Steve Wariner & Billy Kirsch (also 1998 [it was a tie] “Holes in the Floor of Heaven”) testified on video. So did Tia Sillers (2000 & 2001, “I Hope You Dance,” written with Mark D. Sanders), Phillip White & D. Vincent Williams (2002, “I’m Movin’ On”), Doug Johnson (2003, “Three Wooden Crosses,” written with Kim Williams) and Jeff Hanna/Marcus Hummon/Bobby Boyd (2007, “Bless the Broken Road”).

Music City native Deana Carter charmed the crowd by saluting Nashville’s sense of community. She sailed through “Strawberry Wine” (1996, Matraca Berg/Gary Harrison). Marv Green, Aimee Mayo & Chris Lindsey did “Amazed” (1999). Hillary Lindsey & Gordie Sampson earned a standing ovation for “Jesus Take the Wheel” (2006, written with Brett James).

On video, Tim Nichols & Craig Wiseman recalled writing “Live Like You Were Dying” (2004), as did Don Sampson & Wynn Varble about their summer song (2009, “Waitin’ on a Woman”).

During this “home stretch,” Miller got a standing ovation by saying, “The technology that delivers the songs is not, nor has it ever been, more valuable than the songs, themselves.” He gave the NSAI President’s Award to Bart Herbison.

Commanding Trace Adkins sang “You’re Gonna Miss This” with Miller on mandolin (2008, co-written by Miller and Ashley Gorley). Alternating video tributes came via Tom Douglas & Allen Shamblin (2010, “The House That Built Me”) and Paul Worley (2011, “If I Die Young” written by Kimberly Perry).

Perry’s salute predicted that the eve’s end would be dominated by female songwriters. Lee Brice was ill and struggling to sing, so super Jessi Alexander came to his rescue. She co-wrote his “I Drive Your Truck” (2013, with Connie Harrington & Jimmy Yeary). Dolly Parton appeared on video to speak of “I Will Always Love You” (2012), as did Nicole Galyon/Natalie Hemby/Miranda Lambert (2014, “Automatic”) and Liz Rose/Hillary Lindsey/Lori McKenna (2015, “Girl Crush”).

McKenna broke into tears as she reached the end of “Humble and Kind “ (2016), which was so sweet and touching. Then Hillary Lindsey equaled Kristofferson’s three-time NSAI win as “Blue Ain’t Your Color” was announced as the organization’s 2017 Song of the Year. “If you want to know what heaven feels like, it feels like right now,” said her co-writer Clint Lagerberg.

The finale was Hillary, Clint and co-writer Steven Lee Olsen doing a fantastic trio vocal arrangement of their song with snappy electric-guitar solos by Clint.

If you’re still reading this, you might think we were numb as we reached the three-hour mark. Au contraire. Just ask Barry Coburn, Vernell Hackett, Dennis Lord, John Ozier, Lisa Sutton, Rick Diamond, Ralph Murphy, Aaron Hartley, Eric T. Parker, the NMPA’s David Israelite, Amy Kurland, Erika Wollam Nichols, Eddie Stubbs, Sherrill Blackmon, Tom Long, Del Bryant, Pat Rogers or Brandi Simms.

Songwriter-supportive Congress people included Marsha Blackburn, Doug Collins, Diane Black and Chuck Fleischmann.

 

One year ago First Tennessee launched a music business banking group, under the direction of former SunTrust banker Andrew Kintz. Starting from scratch has been an enjoyable challenge for Kintz and his team. He recently spoke to MusicRow about building a clientele, Nashville’s collaborative environment and why the music business is still a growth industry.

What was the bank’s mission in building this practice?

The music industry is a growth industry, not only locally, but across the country. Part of the bank’s overall corporate strategy is to look at more national businesses, and also specialty businesses, where there is growth. So, about the same time, they also started a new sponsor-backed healthcare group and had a team very similar to mine join the firm to work with those kinds of companies.

I think it is also because Tennessee is a place of music. Think about bluegrass in East Tennessee, country and Christian here in Middle Tennessee, and blues and rock ‘n’ roll in West Tennessee. Of all the banks headquartered in this state, we have the largest market share of the overall state, so the executives were thinking, “Wait a second. We’re not deep in the music industry?”

Was it appealing for you that First Tennessee didn’t already have an established music division?

I was kind of a free agent last summer, so I started talking to banks, business management firms, and publishers, just trying to figure out my next ten years.

What I wanted at that time was to build something completely from scratch, because I don’t have the risk appetite to be a real entrepreneur. I wanted there to be a blank page. I wanted to have zero clients. I wanted there to be no credit policy internally.

First Tennessee didn’t have a music division, but they wanted to make a large investment, so we entered the industry. Day one, all we had was expenses and no revenue. And to say, “Okay, let’s take on that challenge. And let’s build the team, and let’s find our own space.” It’s been wonderful. It’s been really hard and really fun.

What are you building today that’s different from your previous banking experiences?

When you’re starting with zero clients, you have to think about the business in a really strategic way. And you have the time and space to think.

Each one of the music banks, who are all my friends, and people I care about and respect, all kind of have a niche. So it’s figuring out, “What’s our identity? Who do we want to serve? Where is our place in the industry?”

Companies make up about 75 percent of our business and individuals about 25 percent. I think that business mix is going to remain. Most of our current business is commercial-forward, meaning “company first, individual to follow after that.” For companies in the music industry we loan money or do treasury management. Our approach has been to become the company’s bank. And then the second step has been doing something for the owner, or doing something for one of the big writers of that publishing firm that became our client.

Many people believe the music industry is struggling. But you see the glass as half full. Why is it a growth industry?

There are segments of the industry that are a challenge, but as a whole, we see it as a growth industry. Arguably, this time last year, we were in the very first year in a long time that all three main sections of the music industry were growing: performance royalties, touring, and recorded music. 

The PROs are collecting and distributing more dollars every year.

Live music has crested the $10 billion mark in the United States. Ticket sales continue to be strong, and if you look at the Pollstar numbers that came out June 30, it was an 11 percent growth from the prior year. Sponsorship business is healthy. Advertising is healthy.

And then, finally, recorded music is coming back. Meaning that it went from $15 billion in the year 2000, down to $7 billion in 2015, but in 2016, it was back up to $7.7 billion, because of streaming. So we’ve increased 10 percent in recorded music.

With so many banks vying for entertainment business here in Nashville, what is the environment like?

It’s extremely friendly. It’s unlike banking in general where banks are going head-to-head. I was at Regions Bank recently being hosted by Brad Peterson at a great information session led by John Barker from ClearBox. I use that as an example, because it’s that way with the competitors such as Pinnacle Bank, Regions Bank, SunTrust Bank, City National Bank and Franklin Synergy. And I have worked with most of them, literally, when we were all at the same bank. Over time, those relationships have been strong.

I think that collaboration is unique to Nashville. It’s not like this in the other entertainment hubs in the country. I know my competitors’ strengths, and if there is a product or service that another bank may have that I don’t, I’ll call the other banker about it. I honestly believe that all the banks can win and grow. I bet if you talk to each leader they would honestly say their business is growing.

Now that you’ve got a year behind you, what are some of the things that you learned by starting with a clean slate?

I’ve learned to be very inclusive of my team, which is made up of Bryan Bolton, Mark Ford, and Aaron Hester. It’s important for the four of us to make decisions together. For example, we’ve created this cool, little sub-brand: ‘First Tennessee Bank—Made for Music.’ 

I’ve also learned about the importance of overlap in roles and duties. We are all almost 20-year bankers so we basically wear all hats. I’m doing portfolio manager work, relationship manager work, executive work, and assistant work. And I like it—it’s bootstrapping. It’s a good thing for someone to need to do everything, and not consider themselves in a specific role. And, I want to make that continue even as we grow and as I hire more people over the next six months.

For clients seeking music banking services, what should they look for in a bank?

If they’re meeting with any entertainment bank, I think it’s very important for them to understand the overall corporation’s investment in the business. And thankfully, all of the main banks have shown great commitment to the business. If you’re a significant client, I would want to meet the leader of the music industry group and the leader of the bank itself, to really understand how invested the bank is in the business.

I think another piece of it is understanding the breadth of your bank. In other words, anybody can do a commercial loan to acquire a piece of real estate. But there are other things to try to understand. I would want to have one bank that could essentially serve all my needs. If I was a publisher and was expanding, I would want to understand how they underwrite a catalog purchase. Those parameters can vary widely— amortization, term, rate, pre-payment penalty, the value of the catalog. And I’d ask, at what size loan do they require evaluation? Because there are transaction costs. There would be a lot of questions depending on what segment of the industry I was in.

The hard economics of being a songwriter has created ongoing dialogue in the news. What are your thoughts about how we as an industry address this?

There are a lot of reasons for hope, for professional songwriters, for the PROs who represent them, and for the publishers who sign them. The pie really is getting bigger, but the songwriter piece needs to be getting bigger commensurate with the way the overall industry is growing. There are other things that are kind of replacing that income in the industry and those funds need to be getting to writers.

With the NMPA, AIMP and NSAI and all of these wonderful organizations fighting like crazy for songwriters, I have reason to hope. I think that having two PROs under consent decrees is a really difficult thing for songwriters. But I see hope that those will be changed.

There are less songwriters in this city than there were 20 years ago. And that’s to the detriment of us all. The magic thing for some up-and-coming songwriters is that money is not the end goal. Because this is art.

What advice would you give someone starting out in this business, who wanted to follow a similar career path similar?

I would say to enjoy the people and friendships first. You have to learn about what makes someone tick, what makes their business work, what they’re passionate about. The business and clients will follow. Once you get the music industry bug, you can’t get rid of it. When I moved to Nashville to be in the music industry, I completely fell in love with the people in the industry and not the business of it.

If you’re 22 years old, then go and join all of the different kind of young societies. YEP, or the Hall of Fame’s young society. You will meet all these other people who you’re going to come up in the industry with.

One last question. No one has ever accused Andrew Kintz of not having passion. After having a substantial number of years in this industry, how do you keep that passion burning so brightly?

I love listening to new music and hearing about how it was created, so that’s a huge part of it. It’s also the attitude of seeing this all as a gift. I pinch myself because I’m always getting to go hear music, be part of music, have some small part to play in the creation and the performance of music. So, to me, the passion is because there’s always something new.

That’s the secret sauce—stay excited about music.